Learn How

We need your help in 2018

Support All About Jazz All About Jazz is looking for readers to help fund our 2018 projects that directly support jazz. You can make this happen by purchasing ad space or by making a donation to our fund drive. In addition to completing every project (listed here), we'll also hide all Google ads and present exclusive content for a full year!

175

Bill Dixon Quartet: Berlin Abbozzi

Derek Taylor By

Sign in to view read count
By all accounts, including his own, Bill Dixon is a very private and passionate man. On the record in an interview with Cadence's Bob Rusch several decades ago Dixon recounted a litany of misconceptions ascribed against him and in no uncertain terms stated his disdain for those unable or unwilling to accept his artistry on its own terms. In the intervening years it appears that the flumes of his uncompromising muse have if anything continued to brighten. He has weathered the insults and innuendo in his own inimitable way continuing to etch his mark on the music in boldly drawn pigments.

Dixon’s affections for dark and resonant sonorities are well documented in his recorded body of work. The framework of bass-register instruments whether brass, percussive or string has long been an integral component of the compositional and improvisatory aspects of his art. Recordings like Son of Sisyphus (both on Soul Note) reveled in subterranean sound structures. Berlin Abbozzi shares the same instrumentation as Dixon’s earlier Vade Mecum project, a pair of discs teaming him with the basses of William Parker and Barry Guy along with Oxley, but the architecture here is that of a very different sonic edifice. Largely free of jagged edges the tandem of Germans Bauer and Koch suggests far less overt tension in favor of an alloyed interplay. Oxley’s array of bowed drum surfaces so closely compliments Dixon’s ferrous smears that it’s difficult to imagine another drummer fitting as faultlessly into the framework.

The leader’s choice of flugelhorn, with its more expansive and rounded range contributes further to the feeling of his being at the base of some deep craggy trench blowing his brass through fathoms of inky black water. It’s an instantly recognizable tone shorn from equal parts solemnity and questing intellect and there is a sense of the limitless in his lines, as if his horn where an uncapped aperture into the vastness of some uncharted outer void. The two-part title piece is a trip through eerie sound orifices. Basses and drums percolate around Dixon releasing silvery harmonic bubbles from the depths. In the opening minutes of “Open Quiet/The Orange Bell” Dixon rises alone conjuring a wave of echo-laden slurs that sound looped by electronic colorations. Later, brassy foghorn blasts erupt over a bed of bowed basses and skittering percussion. Phantasmagoric shapes drift across the quartet’s sound palette creating a hypnogogic effect of dream-like dimensions. Toward the close Dixon drops out leaving the bassists and Oxley to find the way alone through the wilderness. It’s a test they accept wielding bows and sticks through a thicket of harmonic convergences before linking up again with Dixon on his circuitous return from the hinterlands.

This is music that deftly dodges codification, dealing in open-ended ambiguities rather than easily digestible certainties. Dixon continues to confound and challenge, remaining uncompromising both in his music and his beliefs. The results of his impregnable resolve are recordings such as this that reward exploration on their own terms. A sad side note that contributes to the austerity of the date is the fact that Koch died shortly after its release leaving it as a fitting requiem of his passing.

FMP on the web: http://www.free-music-production.de


Track Listing: Berlin Abbozzi: Currents/ Open Quiet/The Orange Bell/ Acrolithes.

Personnel: Bill Dixon- flugelhorn; Mattias Bauer- double bass; Tony Oxley- drums; Klaus Koch- double bass. Recorded: November 8, 1999, Berlin.

Title: Berlin Abbozzi | Year Released: 2001 | Record Label: FMP Records

Tags

comments powered by Disqus

More Articles

Read OR CD/LP/Track Review OR
by Geno Thackara
Published: January 18, 2018
Read Reaching Out CD/LP/Track Review Reaching Out
by Mark Corroto
Published: January 18, 2018
Read The Songbook Project CD/LP/Track Review The Songbook Project
by Don Phipps
Published: January 18, 2018
Read Solo a Genova CD/LP/Track Review Solo a Genova
by Dan McClenaghan
Published: January 18, 2018
Read Satoko Fujii Solo CD/LP/Track Review Satoko Fujii Solo
by Karl Ackermann
Published: January 17, 2018
Read when the shade is stretched CD/LP/Track Review when the shade is stretched
by Mark Sullivan
Published: January 17, 2018
Read "The Great Nostalgist" CD/LP/Track Review The Great Nostalgist
by Dan Bilawsky
Published: December 29, 2017
Read "Crack-Up" CD/LP/Track Review Crack-Up
by Doug Collette
Published: June 19, 2017
Read "Poetry from the Future" CD/LP/Track Review Poetry from the Future
by Glenn Astarita
Published: September 5, 2017
Read "The Roc" CD/LP/Track Review The Roc
by Geno Thackara
Published: May 6, 2017
Read "Baby Talk" CD/LP/Track Review Baby Talk
by Mark Corroto
Published: August 14, 2017
Read "Ephimeral" CD/LP/Track Review Ephimeral
by Glenn Astarita
Published: April 28, 2017