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▀███▄ tim berne - the empire box ▄███▀
artist : tim berne
title : the empire box
date : 1998
label : screwgun | 70009
genre : Jazz
rls. date : nov/2005
tracks : cd1: 4 cd2: 6 cd3: 5 cd4: 3 cd5: 2
bitrate : VBRkbps
size : 332,8 MB
These albums were remastered at Current Sound, NYC, August 1998.
Alex Cline - Percussion
Ed Schuller - Bass
Glenn Ferris - Trombone
James Harvey - Trombone
John Carter - Clarinet
John Lindberg - Bass
John Rapson - Trombone
Mack Goldsbury - Tenor and Soprano Saxophones
Nels Cline - Electric 6 and 12 String Guitars, Hawaiian Steel Guitar
Olu Dara - Corneton
Paul Motian - Drums
Roberto Miranda - Double Bass
Tim Berne - Alto Saxophone
Vinny Golia - Baritone Saxophone, Ato Fute, Piccolo, Flute
The most remarkable thing about this box set of four of Tim Berne's reissued
releases from the JMT label is that the wealth, depth, and breadth of the
material here was recorded in only two years. This is astonishing, if one
considers -- merely by cracking the box set open (a very handsome cardboard
sleeve, really) and looking at the notes -- that Berne composed, arranged,
and performed on these albums with no less than four different bands during
the period. For starters, from 1979 there is The Five Year Plan,
which featured Berne alongside the late clarinetist John Carter, wind and
reedman Vinny Golia, drummer Alex Cline, and bassist Roberto Miranda. This
is a live date with Berne's aggressive saxophone work taking a back seat to
his leading a band full of strident personalities. Certainly he blows here,
especially on alto on "The Glasco Cowboy," written for his mentor and hero,
the late Julius Hemphill. Carter and Golia entwine each other, playing through
separate harmonic architectures through the entire gig. Everything is crash
and burn, and let's see who gets there first. Next is 7x, with Miranda, Cline,
his brother Nels on guitars, Golia, and trombonist John Rapson. Here, the
aggression factor is heightened by the presence of Nels Cline, whose overdriven
scree and amplitude push Berne into the red zone and make Golia carry the
structural frameworks and harmonic structures of most of the numbers.
An excellent example is when Berne and Cline begin to solo at each other
in "The Water People," and Golia and Rapson offer a contrapuntal intervallic
figure to hold them in check while the rhythm section moves the tune
into more open territory to accommodate them.
On Spectres, from 1981, Berne's counterparts include trombonist James
Harvey, Olu Dara on cornet, and John Lindberg and Ed Schuller on alternating
basses. On the title track and on "Hot and Cold," Berne utilizes the humorous
aspects of Dara's attack on the cornet. Dara is the king of tricks on the
instrument, and gives everything a loose carnival feel, even in the heat of
a chromatic solo. When the band launches into "Stroll" with Lindberg, it's
two players with a wry sense of jester's humor moving through Berne's raw
emotionalism and roughing out the edges; the tempered moments of free-swinging
post-bop are joyous in both their levity and intensity. Finally, on the double
album Songs and Rituals in Real Time, Berne's compositions are in the hands of
a band that includes drummer Paul Motian, Ed Schuller, and saxophonist
Mack Goldsbury. In this quartet, also recorded in 1981, Berne found the
perfect balance of aggressive improvisatory innovation and hardcore, taut
ensemble playing. His compositions and arrangements walked the tightrope between
restrained, reserved timbral and tonal equanimity and a swinging, blowing
rhythmic intensity that had each saxophone player trying to move the other
up the scale, not in terms of competition, but in expression. From a knotty,
shimmering blues-like figure on "New Dog/Old Tricks," Berne slips into a modal
R&B as Goldsbury answers him by taking the modal scale out of the rhythm
section's interval, carrying it into an empty one (a diminished fourth), and
roaring into the stratosphere with it. For their part, Motian and Schuller
play around with time a lot, they stretch intervals to the breaking point
and somehow roll them over, and conversely break apart small units of time
into bebop-like figures. The 25-minute "The Ancient Ones" is one of Berne's
finest moments as a composer and as a soloist, as he goes head to head with
Schuller and Motian for ten minutes and clips through the entire chromatic
range of his chord progression's palette. Each color becomes another figure
upon which to build and deconstruct.
This set is a must for Berne's fans who didn't have the opportunity to get
the records the first time around and, for those who did, hearing them in
this way, as a set of music spanning only two years (the albums themselves
were issued over a longer period), it becomes a revelation of Berne's
development as a bandleader and as a soloist. Here is the shop work that
witnessed him harnessing his considerable power as a composer and his
frighteningly deft ability as a soloist, while leading not just one but
four bands in a variety of settings with the same clarity and quality.
Essential.
~ Thom Jurek, All Music Guide
■■ 1.the five year plan
01-the glasco (for julius hemphill) [09:53]
02-a.k. wadud (for abdul wadud) [13:18]
03-computerized taps for 12 [06:32]
different steps
04-n.y.c. rites [14:58]
■■ 2.7x
01-chang [06:55]
02-the water people [08:45]
(for brian horner)
03-7x [09:44]
04-flies [07:18]
05-a pearl in the oliver c. [04:16]
06-showtime [12:07]
(for don and thelma cline)
■■ 3.spectres
01-hot and cold [08:01]
02-spectres [05:42]
03-grendel (for hamid drake) [08:50]
04-stroll [09:21]
05-for charles mingus [11:33]
■■ 4. songs and ritual in real time
01-san antonio - the unknown [20:00]
factor (ror akira kurosawa)
02-roberto miguel [04:50]
(for roberto miguel miranda)
03-new dog,old tricks [15:13]
■■ 5. songs and ritual in real time (suite)
01-shirley song(for shirley britt) [27:06]
02-the ancien ones (for alex cline) [26:06]
───────
230:28 min
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