Peter Evans & Nate Wooley - High Society.

Of course the fun of having your own blog is the chance to write what you want when you want, although one does try to keep up a certain rhythm. I just sent in my review of Peter Evans and Nate Wooley's - High Society (Carrier Records), one of their latest projects. It was as you'll see from my review below (on Free Jazz Blog) that I really enjoyed getting into this one, and my initial doubts soon melted away the more I listened to this rather intriguing record. It's amazing to think of how two trumpets - who avoid sounding like trumpets - can create such a rich texture of sounds and music (in the broadest sense of the word). Hearing this record tied in nicely with other music that I've been listening to recently and in particular Steve Lacy's solo work and somehow I was kind of reminded of his endless search for new ways to present his instrument, using the voice, clapping or just making strange duck sounds. And it is also not so often that music comes along that not only inspires but challenges in this way, giving one new ideas on what could (or can) be music. I had to smile at times whilst listening to this as I thought of various jazz blogs and journalists who would not call this either jazz or music. I also wondered what the likes of Wynton Marsalis or Kurt Rosenwinkel would make of this and I should add many of my - mainstream - musician friends would probably not be so enamoured with such a challenging album either. However it seems to me better to develop the unknown rather than perfecting the past when it comes to improvisation and sound. Here Peter Evans and Nate Wooley manage to stay away from any clichés of sound that their instruments would normally be associated with and it is only on the 5th track that the sound of the trumpet actually appears for the fist time ... even if a little modified. 

Anyway read the review below to have a little idea of what I blabbing on about, I hope you get a chance to hear the album one day.   

Peter Evans & Nate Wooley - High Society (Carrier Records, 2011) *****

Being a musician and playing a wide variety of music means that my family (kids and wife) are used to hearing wild sounds emanating from the hi-fi from time to time. But in certain cases I realise that maybe some music is not for wholesale consumption, and this .... is one of them! It's almost like a dream come true for a horn player (in this case trumpets) to be able to sound like Jimi Hendrix playing with feedback, however, it's more difficult to set fire to your trumpet, even with lighter fuel, you can hear Wooley and Evans had great fun making this recording. 'High Society' is as fascinating as it is unforgiving, there's no way out and no reference points to the trumpet as we know it. If you've heard Nate Wooley's Trumpet/Amplifier record then you'll already know how Wooley's starting to develop his style using this set up, here we have both Peter Evans and Nate Wooley blowing hot and cold through their trumpet/amplifier set ups.

It's almost impossible to give musical images for these tracks. Tracks such as I (track 3) make you wonder if the microphone is inside a turbine in a rocket engine, or is that the sound of something out in the desert somewhere? The two horn players use flutter tonguing, blowing, sucking, singing, spitting, banging the pistons, hitting the trumpet, it's all there. The fourth track LXVII starts like two wild animals in a fight, there are growls and screams, rattling, industrial crashes and explosions, music that's not for the faint hearted. However each track is so fascinating that you find yourself absorbed by the sounds as they change throughout each piece, each idea worked on and pushed to it's extreme and obvious conclusion. The sixth track 'XC' is a fascinating piece as .. shock horror .. you get to hear a real muted trumpet sound as it's starting point. The track develops over 13 plus minutes into a real tour de force of sounds, feedback, screams, singing and real trumpet sounds, never  dull moment.

Finally I should say I was surprised at how much I enjoyed listening to this one, and for something that is rather abstract. The music which although very intense is (I found) always interesting to come back to and I'm intrigued to see how they'll develop and follow up wonderful recording. I can only finish with a often used phrase from our chief critic and editor Stef ......... Highly Recommended. 

Tags for this music could be - the wind, the sea, the washing machine, car engines, radio interference, food blenders, vacuum cleaners and the list goes on!

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This is the last track #6 from the album it's titled XLV. There's no reason why I choose this piece except that it was the last on one on the album, which seems a good a reason as any .... don't you think?

Check out the article on Nate Wooley's Trumpet/Amplifier here. 

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Sons of Bitches Brew?

Miles influence vis-a-vis pop and jazz, or funk and jazz had a devastating effect on some areas of this music, giving birth to many hybrid 'blacksploitation' type groups. It also seemed to give an open message saying that jazz musicians can also make pop music, whereas in reality they cannot! In the same way Waldo De Los Rios seemed to think that classical music can be pop, although in reality it only becomes a form high kitsch, which then sells due to it's novelty value. Today hundreds (no thousands) of students in jazz schools, and worst still practising jazz musicians and teachers, still think that the word funky means playing two chords with b9s, b13s, augmented this and demented that as chord types, all on top of a back beat.  

Miles Davis always craved for a recognition that was not only unnecessary but musically unhealthy and spent much of his later years producing music that verged on the edge of MOR or FM, something that his early collaborators could have never imagined. To put it bluntly, he was so busy wanting to be something that he could never be, a pop icon. Unfortunately he wasted (in my humble opinion) many years of his life trying to get recognition for, or from, the world of pop music. However, like many jazz musicians Miles did not understand that pop, like jazz, is a way of being and not something that can be easily imitated. His initial experiments in this field started with In a Silent Way but quickly developing into something far more muscular in the form of the well known Bitches Brew. Although I won't go into those albums here it's certainly interesting to see how Miles developed this area of jazz up until his initial retirement in 1975. Up until that point Miles had been keenly interested in various forms of music and particularly that of modern electronic music such as that of Karlheinze Stockhausen. It seems that he was also very open to the idea of a form of free jazz and certainly used many musicians who were developing more open forms of improvisation. Pete Cosey or Sonny Sharrock on guitars, or Keith Jarrett's use colour in his electric piano solos (an area which he developed in his 'free form' quartet with  Redman, Motian and Haden) showed that Miles was open to other forms of soloing other than that of post-bop. Unfortunately when he returned in 1981 it seems that he had no more stomach for wanting to push barriers aside and was yearning more for stardom on an equal to such as Prince, The Crusaders, Earth Wind and Fire, or Michael Jackson, Sly and the Family Stone, Santana, Sting or James Brown.

Sly and the Family Stone - circa mid 70s

However it would seem that Miles' influences have touched on more recent generations who have seen his earlier work - from his electric period - as a positive message. Over the years I've come across some excellent examples of the spin off from Bitches Brew  influences from the 70s period Miles. Some examples that immediately spring to mind are Brownman (I think it's Nick) or French trumpet player Erik Truffaz (*), London bands Led Bib and Dog Soup all work on a vibe that brings to mind the experiments of the electric period of Miles Davis. What's also interesting to note is how these groups seem to have not wandered off into out and out commercial zone in a way Miles did, making for what in the long term a more interesting and satisfying type of jazz that retains rhythm as it's central focus but interesting harmonic colours also. Watch the Erik Truffaz concert from Avignon on Youtube to see how accessibility and art can go together.

A few months ago I wrote a few words about Example Of Twelves last (it's Pt 3 of a trilogy) and latest release Things Will Be. I was so inspired by this wonderfully understated piece of music that I immediately decided to see what the other two parts of the puzzle would offer - part one of the trilogy is called The way things are, and part 2, The way things were. Riaan Vosloo the leader (and main composer) kindly offered to forward the other two records to me as I'd been so enthusiastic to hear more from this group. The second album which I will no doubt talk about at a later date is a wonderful lush album mixing strings and rhythm section but what I discovered on the first album was not only a pleasant musical surprise but also a rather interesting look at an almost modern day version of Bitches Brew.

Although the album has nothing directly to do with Miles Davis - or not that I know about - I was  immediately reminded of Miles due to a very small quote from In a Silent Way. I wonder if Fulvio Sigurta (**) even realised at the time that this strong interval (G# up to F) would be so suggestive? Anyhow, from then on the music develops in a way that leads the listener through a series of beautiful soundscapes, each one connecting with the next. Part 1 Beginnings/Endings uses a series of weaving chords which somehow mirror the same ambience and scheme of In a Silent Way/It's about that time! The don't keep this as the only idea, the music drifts as in a dreamlike state, Fulvio Sigurta leading the band via gentle phrases. The music changes little by little leading in a logical way to the second section - Part 2 The Madness. This is where the music takes on a much heavier direction leaving Jonathan Spall's alto sax to lead the way with some strong soloing eventually letting the rhythm section (or really the mixing Vosloo) weave a hypnotic spell over the music. What I also find so interesting about this piece of music is the way that Riaan Vosloo has combined so many areas of music - film scores, jazz, trip hop, dub and a few others - into one long flowing piece of music.

Part 1 Beginnings/Endings II

Part 2 finishes with some wonderful clarinet playing (also Spall) in what seems like a small contemporary classical interlude, a duet with piano.  However this is only a brief interlude and the trumpet brings back a post Miles atmosphere with brooding lines that are treated electronically. Another influence that although never hinted at is that of Pharaoh Sanders and maybe Alice Coltrane also, if only by the spiritual feeling that the music suggests (and the titles).    

Part 3 Though lovers be lost, love shall not II

The final part 3 starts with double bass over electronically manipulated pianos and various electronica, giving an impression of a modern day raga, something that Talvin Singh has used in his interesting Indo-fusion projects. Here the listener is brought to the end of this long sonic modal voyage without really noticing .... is it possible? Riaan Vosloo does this with a very nice idea of bookending the beginning and the end with the same ideas of ethereal voices speaking over (or under) the waves of music, leaving the listener to hear the music disappear as if like a boat drifting off into the mist.

Part 2 of the trilogy to follow - The Way Things Were!

All the music is available on Impossible Ark Records.

 * = it's worthwhile watching the various parts of Eric Truffaz in Avignon. I've seen him in concert and can highly recommend the band (and the man). He seems to be able to let the music develop by itself yet - like Miles - move the music in the directions needed, and when needed.
** = Listen (if the links still correct) to Flavio's latest release on Cam Jazz - here.