#barre phillips

[ozkar-krapo]

John COLTRANE / Archie SHEPP

"New Thing at Newport"

(split LP. Impulse! / MCA rcds. 1981 / rec. 1965) [US]

[grrl-movement-energy]

Barre Phillips - Aquarian Rain

[musicollage]

Barre Phillips — End To End. 2018 : ECM.

[zef-zef]

Extremely experimental for 1965, especialy the second half of the track

Bob James Trio - Wolfman from: Bob James Trio - Explosions (ESP Disk, 1965)

[jazzdailyblog]

"Time Will Tell": Paul Bley's Sonic Tapestry of Free Jazz Exploration

Introduction: In avant-garde jazz, where spontaneity and improvisation reign supreme, “Time Will Tell” stands as a testament to the collaborative genius of three titans in experimental jazz – Paul Bley, Evan Parker, and Barre Phillips. Released in January 1995 under the ECM label, this album is not just a collection of tracks; it’s a sonic journey that captures the essence of free jazz and free…

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[mayolfederico]

ventisette ottobre

Enzo Maiolino   Lettera d’amore Non è facile spiegare il cambiamento che operasti. Se adesso sono viva, allora ero morta benché, come un sasso, non me ne preoccupassi e me ne stessi dove mi trovavo d’abitudine. Non ti limitasti a spingermi con il piede, no – neanche lasciasti che il mio piccolo occhio nudo si rivolgesse ancora al cielo, senza speranza, certo, di capire le stelle o…

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[shihlun]

Barre Phillips and John Surman in "Merry-Go-Round" (1981), directed by Jacques Rivette.

[dustedmagazine]

Barre Phillips – Thirty Years In Between (Victo)

In the spring of 2017, bass doyen Barre Phillips recorded an album for the ECM label. The intimation of the resulting intimate studio recital was a full circle end cap to his activities as a solo artist over the past half-century. Music on Thirty Years In Between overlaps that time span and makes explicit that any implied curtailment of Phillips’ solo proclivities does not extend to concerts. It’s welcome reassurance for anyone worried that he might shutter that outlet, too.  

Separated by three decades, two performances find Phillips expounding eloquently on his bull fiddle from different Canadian stages. Each concert is titled after the initial piece in its program with Ahoy! a new release and Camouflage a reissue of a 1989 Vancouver recital. Consistency in concept and execution is striking between them, with Phillips pulling liberally from his figurative toolbox to engage his instrument on all fronts from scroll to tailpiece. If there’s a difference, it’s in the relative polish and consonance of the earlier recording.  

Phillips shapes similar architectures for both settings, ranging through seven and six originals, respectively. Extended techniques expectedly abound, but they’re threaded around deeply satisfying bouts of less ornamental pizzicato and arco. “You There, On the Hill” makes stunning use of seesawing bow strokes that release gauzy overtones as vapor trails. Control of pitch and texture match deployment of dizzyingly fast dexterity at the improvisation’s midpoint, opening up into dolorous drones by the end.  

“A Quake’s A’ Coming!” offers a cascading maze of aggressively plucked and strummed tone clusters. Even at peak density of digital activity, every gesture and impact is audible as an independent entity, strung together in a pulsating chain that playfully mimics the seismic activity announced by the title. “Abate? Arise?” zeroes in on the tensile properties of percussed strings with Phillips slapping and scraping both body and fingerboard to create brittle, chugging patterns layered spatially by delay.  

Solo expression is integral to an improviser’s art whether through rehearsal or performance. Phillips’ specialist notoriety rests in part on both his obvious longevity and acumen at applying virtuosic classically canted tactics to improvised means. He was a pioneer and remains a provocateur in plying his instrument in extended settings sans accompaniment. These two dates abundantly demonstrate why and how that distinction continues to hold.

Derek Taylor