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Artist..........: Bill Dixon ▒▀
Album...........: Tapestries For Small Orchestra
Genre...........: Jazz
Label...........: Firehouse 12 Records
Catnr...........: FH120403008
Source..........: 2xCDDA
Rip.Date........: 25-06-2010
Street.Date.....: 17-11-2009
Quality.........: VBR/44.1kHz/Joint Stereo
Url.............: http://www.amazon.com/Tapestries-Small-Orchestra-Bill-Dixon/dp/B002RWX4MA/
Size............: 124.3MB
Song.Title :
Disc 1/2
01. Motorcycle '66: Reflections And Ruminations 13:34
02. Slivers: Sand Dance For Sophia 9:24
03. Phrygian II 16:05
04. Adagio: Slow Mauve Scribblings 17:30
Disc 2/2
01. Allusions I 9:14
02. Tapestries 12:34
03. Durations Of Permanence 14:19
04. Innocenenza 16:03
Runtime: 108:43min
Release.Info :
Trumpeter, composer (and visual artist) Bill Dixon is a legendary figure in
avant-garde jazz circles, although heÆs virtually unknown to the larger
community. Now 84-years-old, Dixon founded the Jazz Composers Guild in 1964 and
was part of the vibrant New York free jazz community, playing in small groups
with major innovators such as Cecil Taylor and Archie Shepp. In 1973, Dixon
established the Black Music Division at Bennington College in Vermont and
taught
there for 23 years until his retirement in 1993.
Dixon was already an accomplished painter before he took up the trumpet and
began playing and composing music. His strong background in the visual arts is
directly tied to his composing, as evidenced by the title of this latest work.
Both his compositions and his own playing tend to be very painterly, with
extensive use of space and silence, tonal colours, instrumental juxtapositions
and aural gestures: smears, burrs, squeaks, rasps and vocalisations. Dixon
almost always composes for unusual combinations of instruments, the better to
translate his specific visions into sound. Tapestries in no exception,
utilising
five brass musicians playing trumpets, cornets and flugelhorns, a contrabass or
bass clarinetist, a percussionist (who plays marimba, vibraphone, drums, gongs
and tympani), a violoncello and a double bass, plus judicious electronic
treatments.
The six extended compositions in the program are on two discs, with an
additional DVD documentary added. The pieces function as sound paintings, with
instruments deployed in various combinations and occasionally en masse. Each
piece has a distinct texture, shape and sense of movement. There is no groove,
no steady pulse beyond the briefest exceptions, and although jazz is certainly
part of DixonÆs larger musical vocabulary, very little which could be
associated
with conventional jazz. The music defies classification and is sometimes
ædifficultÆ, but DixonÆs academic sensibilities are clearly energised by a
soulful, passionate aesthetic.
Phrygian II is the busiest and most percussive piece; Adagio writhes with an
understated, ominous charge and is perhaps the most minimal and otherworldly of
the entire group. The deep bass ostinatos in Allusions sometimes hover on the
edge of funk. The title piece balances the sonorous blending of brass
instruments against the croaking of the bass clarinet and the sometimes
agitated
bowing of the violoncello and double bass.
Tapestries is not for the timid or intellectually complacent listener, but
anyone prepared to meet Dixon's music halfway will reap some significant
rewards.
Contact : crossfader@hush.ai
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