FMP/FREE MUSIC PRODUCTION - An Edition of Improvised Music | 1989-2004 |
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FMP CD 122 Steve Lake |
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FRACTURED DIMENSIONS He is leaping however into a band of long proven mutual compatability, whose participants are in concord at a very high level. William Parker, Roy Campbell and Daniel Carter have been together in the Other Dimensions band since 1982; Campbell and Parker have worked in diverse bands since 1978 (including a decade with Jemeel Moondoc), and Campbell and Carter first locked horns circa 1974. They’ve shared a wealth of experience, honed skills, discovered new techniques, in all kinds of quasi-underground and barely-over ground bands from the last gasps of the so-called Loft Scene onward. In Europe we’ve mostly been obliged to track aspects of that shared history via a scattering of records sometimes hard to find...and which can tell but part of the story. No doubts now though of William Parker’s absolutely central role in the music. His big sound pulled, like Mingus’s, like Wilbur Ware’s, from strings high above the bass’s fingerboard, has reverberated through groups ranging from the large and small ensembles of Cecil Taylor, Don Cherry and Peter Brötzmann (he’s currently the eleventh member of Brötzmann’s steamrollering Chicago Tentet), to David S. Ware’s quartet, Matthew Shipp’s trios, Charles Gayle’s bands, Roy Campbell’s Pyramid Trio, a duo with Hamid Drake, Roscoe Mitchell’s Note Factory, his own In Order To Survive group and Little Huey Creative Music Orchestra, and several dozen more units . So ubiquitous is he that you sometimes wonder if the Village Voice’s characterization of him as “the most consistently brilliant free jazz bassist of all time” goes far enough. The positive energies his playing embodies, and his conviction that the purpose of music making is to uplift the human spirit, make every encounter with his music valuable. Roy Campbell’s been coming up on the inside track for a long time. Some of us first glimpsed him in Ebba Jahn’s 1984 film “Rising Tones Cross”, playing jubilantly with the groups of Charles Tyler, Jemeel Moondoc and Peter Brötzmann. Campbell’s father was a musician who had played with Ornette Coleman in the early 50s in California, and Roy Jr.’s entry into the music was a natural and logical development. At 15 he met Lee Morgan, an early role model, and later took workshops with Morgan, Kenny Dorham and Howard McGhee, studying more intensively also with Yusef Lateef. He has tremendous control,a great ear, and a sound hard to describe as other than “soulful” - rich, burnished, warm and as powerful or tender as he needs it to be in a given context. At ease with all facets of new jazz, and all stations of the pitch continuum, he can burn up the boards with Brötzmann’s Die Like A Dog quartet, soar above the maelstrom of Alan Silva’s Sound Visions Orchestra, or play lyrical melting microtonal improvisations with Joe and Mat Maneri. Nor are his horizons limited by jazz at its broadest. He recently told Internet journalist Fred Jung (www.jazzweekly.com), “No matter what point you hit on a circle, it is still a circle, and that is how I regard the music: I am not just into jazz. I am into reggae, country, classical music, world music.” Pan-global modes and pulses have a predominant role in the Pyramid Trio, his group with William Parker and Hamid Drake. The book “Avant Garde Jazz Musicians: Performing ‘Out There’” (University of Iowa Press 1993) gave a picture of Daniel Carter as a musician taking extreme positions in the recurrent debates regarding composition versus improvisation, or music-as-art versus music-as-life. Not only was Carter then - according to author David Such - turning down jobs that involved undue deference to score paper, he was declining to draw distinctions between performance, rehearsal or practise sessions, and was sometimes known to begin “the gig” while travelling toward it. The audience might then meet him halfway through a thought. While it is harder to speak of a Daniel Carter “style” than it is of any of the other participants’ musical signatures here, he plays some very beautiful things on all of his instruments in these “Fractured Dimensions”. I’m reminded obliquely of the role Joseph Jarman used to play in the Art Ensemble, as free floating sound-sculptor and all-round unpredictable polymath, a holder of knowledge and secrets. If you didn’t know Carter was also a poet and a songwriter, you might guess as much from his inscrutable yet compelling lyricism. Some early influences: the new jazz innovators of the 1960’s, the sound-worlds of composers including Schoenberg, Boulez and Stockhausen, and Joyce’s “Finnegans Wake”. He has played with Cecil Taylor, Sam Rivers, Ted Daniel, Gunter Hampel, Matthew Shipp, Bob Moses, Earl Freeman and many others, and fronted the groups The One World Ensemble and Test. Movement, that’s the thing in these “Dimensions”, it’s the cascading, coruscating flow of sound that makes this such a refreshing recording. A unique one, actually. What a pleasure to listen to these four men shaping this music in real time, to hear the Parker/Campbell/Carter axis fielding every sound that Silva tosses at them, the sheer alertness on all fronts. ”Not only operating on six cylinders, but on cylinders you didn’t even know you had”, as Parker once described the improvising experience (to journalist Pete Gershon). Roy Campbell and Daniel Carter seem to be reading each other’s minds for much of the distance, in tune in all meanings of the term, while their tesselated horn lines are swept along by William Parker’s sheer driving power. Parker’s talked, in the past, of the bass as ersatz drum kit: ”The G string I looked at as a ride cymbal, my D string as a snare. My low E string I looked at as a gong, and my A string I looked at as a bass drum.” Rhythm waves and patterns are just some of the functions the Parker bass fulfils here, and these are functions that overlap with Silva’s. The music is powered by two bass players; one just happens to be a synthesizer player for the duration. In truth, though, all four of these mighty musicians are dealing with rhythm and with melody in the dancing, joyful improvised chamber music of “Fractured Dimensions”. |
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