Oct. Meet '91

構成数 : 1
合計収録時間 : 01:01:52
Personnel: George Lewis (vocals, trombone); Greetje Bijma (vocals); Mark Feldman (violin); Maurice Horsthuis, Mary Oliver (viola); Ernst Reijseger (cello); Edwin van Maastrigt, Georg Litzinger (recorder); Ab Baars (clarinet, tenor saxophone); Gianluigi Trovesi (clarinet); Peter Van Bergen (bass clarinet); Vera Vingerhoeds, Tobias Delius (tenor saxophone); Herb Robertson (trumpet); Steve Beresford (pocket trumpet, piano, sampler); Horst Grabosch (flugelhorn); Wolter Wierbos (trombone); Curtis Clark , Guus Janssen, Misha Mengelberg, Paul Bley, Marilyn Crispell (piano); Michael Vatcher (drums, percussion); Eddy Veldman, Gerry Hemingway, Sunny Murray (drums); Earl Howard (electronics). Liner Note Author: John Corbett . Recording information: Amsterdam, The Netherlands. Editors: Dick Lucas; Kevin Whitehead. Unknown Contributor Role: Eddy Veldman. The fourth annual recording of the highlights of the October Meeting in Amsterdam is the best yet. With Steve Beresford, Mark Dresser, and Ab Baars playing in a minimum of two ensembles each, the set is poised for its diversity and elegant for its free improv raucousness -- with a few notable exceptions. One of the standout tracks here is "Blue Leaves," an unusually swinging trio with Dresser's bass and Sunny Murray's drums accompanying pianist Paul Bley, an improvisation based around the changes in both "Blue Monk" and "Autumn Leaves." Bley's signification of the interval changes are rooted in the melodies of both tunes, with him literally crisscrossing harmonies to get at the essences in order to create a third, original melody with flurries of cluster chords and skeins of 16th notes covering the harmonic table. Dresser and Murray keep time but also provide a structural counterpoint and rhythmic balance to the intentionally off-kilter, swaying Bley. Dresser's big-band effort, "Castles for Carter" (for John Carter), features everyone from cellist Ernst Reijseger to drummer Gerry Hemingway and Marilyn Crispell (along with Dresser they make up three-fourths of the Anthony Braxton Quartet), violinist Mark Feldman, trombonist Walter Wierbos, and Ab Baars on clarinet. Beginning at a furious tempo with brass establishing an angular modal line, the rest of the strings and reeds and woodwinds are in free fall through the harmonic architecture. Weirbos, Baars, and Peter van Bergen do an interesting job of tri-soloing in the heart of the maelstrom with an active blues layered over the mode with intervals shifting in every fourth or eighth bar. Baars' other appearance with Misha Mengelberg and Murray is a freewheeling trio in the key of Monk. Mengelberg lops off huge sections of the late composer's blues framework, turns his chords inside out and goes to town jumping and punching all over the stage. Finally, Beresford's piano duo with Guus Janssen is one of the more provocative in recent years with its multiple voices all centered around C sharp gathering (a)tonal sequences and spitting them out in scalar regimens of counterpoint excess. Since 1987 when the first October Meeting anthology was released, these highlights have gotten steadily more compelling; this one leaves a listener breathless with excitement and envious if she didn't attend. ~ Thom Jurek
録音 : ステレオ (---)