This release brings the very welcome return of an August 1978 studio session involving four legends of British improv: drummer John Stevens John Stevens
b.1940 , trombonist Paul Rutherford Paul Rutherford
b.1940
trombone , saxophonist Evan Parker Evan Parker
b.1944
sax, tenor and bassist Barry Guy Barry Guy
b.1947
bass . The first four of its five quartet tracks were originally released on LP in 1980 by View; all five were rereleased on CD in 1994 by Konnex, accompanied by a 1992 Spontaneous Music Ensemble (SME) track. Here, all five are accompanied by three unreleased 1979 duo tracks from trombonist Paul Rutherford Paul Rutherford
b.1940
trombone and bassist Barry Guy Barry Guy
b.1947
bass , and two unreleased 1992 duo tracks by drummer John Stevens John Stevens
b.1940 and saxophonist Evan Parker Evan Parker
b.1944
sax, tenor , hence the title.

It is no exaggeration to say that without the players here the course of improvised music in Britain—and, hence, the world—would have been very different. All four were members of SME in 1966-67 (alongside those other founding fathers, guitarist Derek Bailey Derek Bailey
1932 - 2005
guitar , saxophonist Trevor Watts Trevor Watts
b.1939
saxophone and trumpeter Kenny Wheeler Kenny Wheeler
b.1930
trumpet ), as evidenced on Withdrawal (Emanem, 1997). At one time, the duo of Parker and Stevens was SME, and the two frequently played as a duo. Guy and Rutherford were two-thirds of that other key improvising ensemble, Iskra 1903, first with Bailey then with violinist Philipp Wachsmann Philipp Wachsmann
as the third member.

On the five quartet tracks here, all four play together most of the time, creating a full soundscape that is indebted to free jazz as much as to improvisation. Stevens and Guy deftly straddle the genres, largely adopting the role of a conventional rhythm section, maintaining a steady pulse that underpins the quartet, with each of them occasionally opting for some freer playing. Even in the drummer's more wayward moments, Guy remains steady as a rock, a firm foundation on which to build. Over the top, the saxophone and trombone fit together and perfectly complement one another as they each play their own way, while allowing the other just enough space. Rutherford's highly distinctive swoops repeatedly command attention; rich and fruity, they are a reminder of just how great a player he was... and how sadly missed he is.

On the quartet tracks, Guy is credited with using electronics, but they are barely noticeable beyond an occasional high-pitched drone or chirrup which does not feel integral to the music—the use of electronics in improv was still in its infancy at the time. Likewise, on the duo tracks by Guy and Rutherford, the trombonist employs electronics; they are rather more evident as a third voice and fit in more with the music. As an improvising pairing, Guy and Rutherford demonstrate the benefit of their time together in Iskra 1903, being totally integrated and sympathetic throughout, sometimes even seeming close to playing in unison.

The pairing of Parker and Stevens is just as experienced and compatible, sounding decidedly energetic and active compared to the more stately bass and trombone combination. Anyway, why compare? These are four great musicians in peak form, with five newly released tracks from a golden age. Who could ask for anything more?

Track Listing: 1, 4, 4; 2, 4, 4; 3, 4, 4; 4, 4, 4; 5, 4, 4; 1, 3, 2; 2, 3, 2; 3, 3, 2; 1, 2, 2; 2, 2, 2.

Personnel: John Stevens: drum set (1-5), percussion (9, 10), voice (1-5, 9, 10); Paul Rutherford: trombone and euphonium (1-5), trombone & electronics (6-8); Evan Parker: soprano, tenor saxophones (1-5), soprano saxophone (9, 10); Barry Guy: double bass, electronics (1-5), double bass (6-8).

Record Label: Emanem

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