Articles

Daily articles carefully curated by the All About Jazz staff. Read our popular and future articles.

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Album Review

Paul Rutherford: The Conscience

Read "The Conscience" reviewed by John Sharpe


Recorded in 1999, but previously unissued, The Conscience unites iconoclastic English trombonist Paul Rutherford and Japanese drummer Sabu Toyozumi. It constitutes the first in a series of ten or so sessions from the Japanese Chap Chap label to be released by the Lithuanian NoBusiness imprint through to 2018. Both men were among the first generation of free improvisers in their respective countries. Although Rutherford died in 2007, Toyozumi remains active. Over the years he has played with just about everyone ...

412

Album Review

Paul Rutherford: Tetralogy (1978-82)

Read "Tetralogy (1978-82)" reviewed by John Eyles


As Joni Mitchell wrote, you don't what you've got till it's gone. So it has proved with legendary trombonist and euphonium player Paul Rutherford. A massive void has been left since his sudden death in August 2007. Sad to think we'll never see his walrus moustache and distinctive red braces again, listen to his ever-sensible views on the state of the world or hear him live as he conjures an affecting solo performance from thin air. That is why this ...

199

Album Review

Paul Rutherford: Solo in Berlin 1975

Read "Solo in Berlin 1975" reviewed by Clifford Allen


From the 27th to the 31st of March, 1975 the FMP label held its Workshop Freie Musik at the Berlin Academy of Art, and among usual suspects Alexander von Schlippenbach and the Globe Unity Orchestra, the festival held various aggregations for brass instrumentalists, in groups and as soloists. Among the trombone soloists, whose performances lasted approximately one half-hour, were Germans Albert Mangelsdorff and Gunter Christmann, Dutchman Willem Van Manen, Frenchman Vinko Globokar and the English enfant terrible Paul Rutherford, who ...

179

Profile

Paul Rutherford: An Homage

Read "Paul Rutherford: An Homage" reviewed by Torsten Muller


It was 1975. I was a teenager at my parent's house on the lonely moors of Northern Germany, feverishly opening a package from FMP Records in Berlin, my lifeline to the world of free jazz and improvised music that I had recently discovered. The package contained one LP, Paul Rutherford's Gentle Harm of the Bourgeoisie. I rushed to my room to put this object of desire, a record of solo trombone music, about which I had been speculating for weeks ...

580

From Far and Wide

Paul Rutherford In Memoriam: 1940-2007

Read "Paul Rutherford In Memoriam: 1940-2007" reviewed by AAJ Staff


The passing of Paul reminds us of the fragility of living life as a pioneer in an uncertain musical world. Our work together in Iskra 1903 represented the buoyant days of intense experimentation in the small ensemble, but Paul was also busy working with several large groups -Westbrook, Globe Unity, London Jazz Composers Orchestra and later the Charlie Watts Big Band. Appearances of these groups, by their very nature, were infrequent, and as concerts became harder to arrange, so did ...

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Interview

Paul Rutherford: A Musician's Impulse

Read "Paul Rutherford: A Musician's Impulse" reviewed by Clifford Allen


An architect of free improvisation on the trombone, Englishman Paul Rutherford was, along with German Albert Mangelsdorff, one of the first to fully develop the potential of multiphonics on the instrument. Renowned as a soloist, his work with the Spontaneous Music Ensemble, drummer Tony Oxley, and his own Iskra ensembles was a catalyst of what has been termed “non-idiomatic improvisation, though bebop facility and Dixieland tailgate permeate his dexterous and vocal approach. Recently his work has included live electronics, though ...

192

Multiple Reviews

Paul Rutherford: Neuph & Iskra3

Read "Paul Rutherford: Neuph & Iskra3" reviewed by Andrey Henkin


With the passing of Albert Mangelsdorff, the mantle of elder improvising trombonist has passed to Paul Rutherford. Though relative contemporaries and peers, their approach to the trombone, particularly in a solo context, came from distinct directions, if ultimately sharing certain techniques. Mangelsdorff was always concerned with form and melody; Rutherford is more interested in sound. Two albums, one a reissue, the other newly recorded, demonstrate this curiosity but also provide insight into the technological tools available to the improviser over ...


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