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PROUDLY PRESENTS
ARTIST: PAIR A'DICE
TITLE: near vhana (NWM015CD)
YEAR: 1997
GENRE: Avantgarde
LABEL: Ninth World Music
CAT-NR: NWM 015CD
WEBSITE: www.jeffreymorgan.net
DISCOGS.COM ENTRY: n/a
QUALITY: VBRk 44,1Joint-/ lame v3.90.3
TRACKS: 09
LENGTH: 48:03 min
STREET DATE: 1997
RIP DATE: 05.09.2004
Buoyed by appreciative, knowledgeable audiences, American improvisers have
taken up residence in Europe for greater or lesser periods since the 1920s.
The trend intensified after the Second World War when Bop-to-Swing stylists
including saxophonists Johnny Griffin and Charlie Mariano, trumpeter Bill
Coleman and drummer Kenny Clarke, among many others, moved to the
Continent. Fusion and contemporary jazzÆs neo-conservatism later forced
experimenters such as drummer Sunny Murray, bassist Barre Philips and alto
saxophonist Jeffrey Morgan to make similar trips.
Probably the least known of the group, Spokane, Wash.-born Morgan has lived
in Cologne, Germany since 1991. Involved with interdisciplinary work as
director, choreographer, technical designer and actor as well as with free
music since the mid-1970s, heÆs played with the likes of British guitarist
Keith Rowe and the late German bassist Peter Kowald.
A multi-directional player like fellow West Coast reedists Bert Wilson,
Wally Shoup and Vinny Golia, Morgan is open to many styles and procedures,
as you can hear on these two CDs recorded in his adopted hometown six years
apart. In 1997 the saxist hooks up with Joker Nies, a Dortmund,
Germany-born real time manipulator and circuit bender for nine
electro-acoustic performances that link his alto with NiesÆ synthesizer,
Midiotics and Omnichord as the duo Pair aÆ Dice. Terra Incognita features
some electronic impulses as well, but the chief fascination lies in hearing
Morgan match wits and licks with veteran Free Music percussionist Paul
Lytton.
Maybe itÆs the years of different collaborations that have taken place
since the earlier date, but Morgan sounds more comfortable with Lytton than
with Nies. Additionally, most of the nine pieces on Near Vhana find the
reedist adopting a searing, paint peeling tone that often lurches into dog
whistle territory.
For his part, NiesÆ weapons of mass dissemination move between
autoharp-like strums from the Omnichord to alternating impulses that arise
when he touches sensitive points on the live circuit boards with electrodes
made of upholstery nails. Nies, who has also improvised with British
saxophonist John Butcher and locals like trombonist Paul Hubweber, not only
bends sounds manually, but uses a flexible, self-created, real-time
MIDI-program as well.
Unlike some of the other pieces which seem to ricochet from Game Boy beeps,
squeaks and growls to electronically oscillating thwacks and thumps, more
impressive duo concordance appears on ôTen Spregsö. Here MorganÆs flutter
tonguing and slurs reach such an epoch of multiphonics that itÆs as if two
saxophonists are playing. As Nies pumps out spacecraft-like blasts that
downshift to bell-like tinkles and resonating electronic sounds, Morgan
responds with waves of spiky, nasal overblowing, mixed with high pitched,
diffuse squeals. Before he ends the piece with a honking split tone that is
reminiscent of Peter Br÷tzmannÆs free-for-all introduction to ôMachine
Gunö, Nies own tones are extended with whistling impulses.
ôCirey Jetsö is designed as a face off between bubbling jaw harp sounds
from NiesÆ Omnichord and watery, glottal notes from MorganÆs sax. With a
cauldron of synthesizer effects boiling underneath, the reedist turns to
spetrofluctuation, irregular vibrations and obtuse flutter tonguing in the
saxÆs highest range to reify his humanity.
Elsewhere, NiesÆ constant percussive timbres start to resemble the
incessant drumbeats of the Energizer Bunny as MorganÆs tones divide between
an ear-splitting squeal and an expansive basso drone. Real-time processing
suggests retreating footsteps, ray gun ejaculations and looping arpeggios
that turn to percolating pops. When that happens, tongue slaps and
undulating squeaks from the horn give way to aggressive noises that suggest
Morgan is eviscerating his axe with a blunt knife. These go beyond
harshness to what sounds like solid, ECT-induced screams.
On the other disc however, Lytton, whose reed duet partners have included
ChicagoÆs Ken Vandermark, as well as most consistently, LondonÆs Evan
Parker, trades licks with a Morgan whose playing has now moderated beyond
the altissimo -- or is it sopranissimo -- vamps he often exhibited with
Nies. Furthermore, most of this Anglo-American meeting takes place during
the four-section title suite.
Beginning with ôTunnelingö, LyttonÆs understated exposition includes the
gentle drubbing of plastic practice pads, rubbing resonating tones from
what could be glass test-tubes and somehow appearing to resonate string
pitches from his cymbals. MorganÆs refined response involves producing
individual trilled notes and circularly breathed coos and slurs.
Subsequent brassy buzzes, watery Bronx cheers and falsetto, bird-like tones
from the top of his reedÆs range show that the saxist hasnÆt altogether
abandoned his aggressive attack. But the six years plus that have passed
since the first CD have moderated brutality with other extended techniques.
Cylindrical growls are now what he exhibits most. And they fit perfectly
with LyttonÆs chain rattling, top of cymbal rubs and bell pealing tones.
By the time the two approach the appropriately entitled ôCross Hatchedö,
Morgan is bouncing reverberations and irregular vibrations from deep within
his hornÆs body tube, the better to match the percussionistÆs
nail-against-the-blackboard rasps and those thwacks on his snare and floor
tomÆs sides. At points Lytton appears to be scratching on a gⁿiro, at
another instant rolling unidentified small instruments on the floor, and
later still, spanking conga drums with callused fingers. MorganÆs responses
are burr-like growls, irregular split tones and an episode where he seems
to be breathing air in-and-out of the sax without touching the keys.
Climax of the suite finally arrives with Lytton apparently banging on
everything within reach one stroke at a time -- and that includes snares,
toms and bass drum, a cow bell and what sounds suspiciously like a metal
garbage can lid. MorganÆs response is an individual adaptation of ParkerÆs
famous circular breathing technique, gutturally blowing and almost speaking
simultaneously as sliding overtones extending his output.
Later, LyttonÆs adoption of oscillating impulses on ôMoth Wing Attachmentö
augments low-pitched resonation from the bass drum plus cymbal scrapes that
turn the output into an assembly line of wavering tones. Unlike his
frenetic response to Nies, Morgan takes this occasion to dissolve his
sibilant timbres down to mere breaths. Growls, honks, squeals and
overblowing only return to his vocabulary when the drummer creates an
abrasive screech chord with a drumstick on his ride cymbal, then adds a
steady clip-clop from his snare tops.
Overall it would seem that distance, maturity and increased playing
opportunities are helping Morgan define the individual style he masterfully
exhibits on Terra Incognita. Hopefully with the forceful improvising that
he exhibits now internalized, the main terra that he will continue to be
incognita wonÆt be North America.
-
http://www.jazzword.com/nova/showreview.pl?item=artist&artist_id=103961&art
ist_name=Jeffrey%20Morgan
separate tracklist might come handy for some ::>
01 cage for ki 03:19
02 scary nite 08:29
03 cirey jets 07:55
04 ten spregs 10:12
05 all age fun 03:34
06 see q naper 04:13
07 sun god iri 03:14
08 blue pixys 03:32
09 nine lives 03:35
well.. i guess, mission complete?
aye, rite: groupnotes! ok here we go ::>
PHT is somekind of scene group being around on different platforms
since 1995 and going to release something for MP3 scene once in a while
too as lots of our members are deep in the musik and having lots of
unreleased material/good contacts within the musik industry. we're gonna
concentrate on quality electronic muzik, whatever genre/style it might
be, new or old. by releasing ancient classics or rare national records
we'll widen your view and hopefully perception as well =)
greetinx to mates pirates! ::>
DCS :: 3AD :: PDX :: FLT :: QTX :: LFC :: F4CG :: TRSI :: LXT :: RZR
YARD :: SOUR :: CHR :: KW :: TR :: CMG :: SB :: EMP :: MTC :: TRONIK