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Charlotte Hug: Slipway to Galaxies
by Raul d'Gama Rose
There has always been something special about a performance by Charlotte Hug. Her revolutionary playing celebrated in the unique “soft-bowing" technique has turned the shrill glissandi of the viola into hues of deep, indulgent warmth. As her passion for the human interaction with her instrument developed, she began to meld her unique vocalistics, as well as ...
Gary Todd, Dave Solomon, John Russell, Nigel Coombes, Steve Beresford: Teatime
by AAJ Italy Staff
"Non puoi startene sempre in attesa di un compositore che scriva la musica che desideri suonare". Questa frase provocatoria appariva su manifesti e volantini che nel gennaio 1970 a Londra pubblicizzavano un concerto della Music Improvisation Company alla Purcell Room. Il collettivo era formato da Derek Baley, Evan Parker, Jamie Muir, Hugh Davies, Ron Geeson, Tony ...
Trevor Watts / Veryan Weston: 5 More Dialogues
by Glenn Astarita
5 More Dialogues is the successor to 6 Dialogues (Emanem, 2002) and offers more in the way of fascinating elaborations by longtime collaborators, pianist Veryan Weston and saxophonist Trevor Watts, both heralded artisans of the British progressive jazz and improvisational circuit. A mark of invention pervades throughout, as the duo fuses sublime persuasions, inverted theme-building jaunts, ...
Pascal Marzan /John Russell: Translations
by John Eyles
"By the way, if you don't like guitars you won't like this CD!" So says guitarist John Russell, in his sleeve note to Translations, laying out the truth in typically plain, simple terms. Russell is part of the generation of improvisers who came together in London in the '70s and have been mainstays of the capital's ...
Charlotte Hug: Slipway to Galaxies
by John Eyles
On parts of her last Emanem release, Fine Extensions (2010)--a duo with cellist Fred Lonberg-Holm--in addition to playing her customary viola Charlotte Hug also used her voice. She sang in a quasi-operatic style as well as vocalizing, to produce eerie, other-worldly sounds, her voice combining with and complementing the strings to good effect. Now, on Slipway ...
Trevor Watts & Veryan Weston: 5 More Dialogues
by John Eyles
The title 5 More Dialogues indicates that this is a sequel to 6 Dialogues (Emanem, 2002), the album which marked saxophonist Trevor Watts' first free improv recording in about two decades. In the years since the release of 6 Dialogues, Watts and pianist Veryan Weston have become an established improvising duo, although their musical association dates ...
Veryan Weston: Different Tesselations
by John Eyles
Different Tesselations must be considered as a companion piece to Tesselations for Luthéal Piano (Emanem 2003), the album on which Veryan Weston debuted his sequence of 52 closely linked pentatonic scales in a piece he called “Tesselations"--so named, he said, because it “contains structures which have, by coincidence, similarities with some of the principles of geometric ...
Veryan Weston / Leo Svirsky / The Vociferous Choir: Different Tessellations
by Raul d'Gama Rose
In the realm of tessellations--the juxtaposition of elements into a coherent pattern--the only ones that could match Different Tessellations in terms of intrigue and seduction--composed by Veryan Weston and recorded here by prodigiously talented pianist Leo Svirsky and the Vociferous Choir--is Maurits C. Escher's Circle Limit III. The Escher is visual art at its finest, a ...
Free Space / Otherways: Life Amid The Artefacts
by John Eyles
Free Space / OtherwaysLife Amid The ArtefactsEmanem2011 (1973, 1984) 2010-11 has been a fruitful period for releases highlighting London improvisation in the mid-1970s, with Teatime, previously only issued on vinyl on Incus, getting its first CD issue, as well as More 74 (Incus, 2010) featuring recently discovered ...
Otherways and Free Space: Life Amid the Artefacts
by Raul d'Gama Rose
The music of Otherways and Free Space unfurls throughout Life Among the Artefacts at a consistently high crest of improvisation during unselfconscious, unguarded moments when the musicians were, quite simply, being extensions of their instruments. They were forces of nature and allowed the music to tumble freely, incorporating songs which had internal combustion mechanisms that were ...
