“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 it is in my blood. It is the only original American art form. It is sacred. The greatest musicians are jazz artists.
I was first exposed to jazz in 1961 listening to my father's records of Duke Ellington, Billy Strayhorn, Count Basie, Nat King Cole, Ben Webster, Coleman Hawkins, Lester Young.
I met Sonny Stitt, Wayne Shorter, Branford Marsalis, Joey Calderazzo, Michael Brecker, Cannonball Adderley, Walter Booker, Dave Liebman, Joe Lovano, George Benson, Mike
Stern, Stanley Turrentine, Billy Harper, Skip Hadden, Charlie Haden.
The best show I ever attended was Joe Lovano with Soundprints at the Wexner Center in Columbus Ohio in 2014.
The first jazz record I bought was Miles Smiles.