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“The Place” signifies a London theater where pianist, Chris Burn, and his ensemble, featuring an assemblage of noteworthy British free-jazz/improvising artists, performed these compositions during the “Crosswinds” festival. The opener “Presponse,” elicits notions of an avant-garde or offbeat Sci-Fi thriller due to a series of fragmented themes and brazenly stated undercurrents by saxophonist John Butcher, flutist, Jim Denley and the strings section. Furthermore, Burn renders some relatively eerie statements via his utilization of a toy piano.
In the liners, Burn mentions that Keith Rowe’s “Pollock#82,” represents “ the first time that a composer outside of Ensemble had written a piece for the group. Here, the musicians pursue mischievous evolvement, propelled by nimbly plucked strings, Butcher’s raspy-throated sax lines, and a volley of whimsically inclined call and response type exhanges. Saxophonist, Evan Parker appears on the final cut, “Blocks And Arches,” which is a work featuring circular motifs, flickering notes or as my attentive grandson stated, “the movement of cartoon-like characters” or “the sound of something spinning.” Thus, music of this ilk disproves any notions of barriers, or perhaps anything that might intimate a finite conclusion. Recommended!
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.