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There may be no such thing as a free lunch, but there is free-jazz and Eugene Chadbourne has been one of its stars for many years. He has worked with every free jazz musician, plus Camper Van Beethoven, They Might Be Giants, and John Zorn. Likewise, Boston guitarist Joe Morris has been making waves of late with his own group for AUM, Knitting Factory, and Omnitine records. Bassist Dresser is a veteran of recording dates with John Zorn, Anthony Braxton, Tim Berne, Greg Bendian, and Arcado String Trio. Suzie Ibarra, a sought after Downtown drummer, has made some amazing recordings on her on label Hopscotch and has worked with David Ware, Matthew Shipp, and William Parker.
Together for the first time the quartet sets aside the obvious noise avenue for interaction. Chadbourne plays banjo on several tracks to Morris’ guitar. Free-banjo, a new concept to these ears, adds simplicity to the double-string attack. In all the flurries, the layers and layers of sound, Dresser bowing, Chadbourne picking and Morris spinning, the drumwork of Ibarra comes to the front. Focusing your attention over and over during the tracks. The band breaks into duo and trio formats never lapsing into familiarity. Freedom means never having to play a common chord.
I love jazz because anything is possible; it has few rules and the best jazz breaks those ones. I prefer free improv because it doesn't really have any rules at all.
I was first exposed to jazz in my teens (in the late sixties).
The first jazz record I bought was Filles de Kilimanjaro by Miles Davis, shortly followed by Extrapolation by John McLaughlin.
My advice to new listeners is to listen as widely as possible and not to make snap judgments--stick with it.