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VA - Free Zone Appleby 2002 (2CD) (2003)
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VA - Free Zone Appleby 2002 (2CD) (2003)

24-01-2015, 18:42
Jazz | FLAC / APE

VA - Free Zone Appleby 2002 (2CD) (2003)

Artist: VA
Title Of Album: Free Zone Appleby 2002
Year Of Release: 2003
Label: PSI Records
Genre: Avant-Garde Jazz, Free Improvisation
Quality: Lossless
Bitrate: FLAC (tracks+.cue)
Total Time: 02:32:26
Total Size: 716 Mb


CD 1:
01. Gong (For Phil Seamen) 0:13
02. Whitethroat 17:13
03. Re Eden 9:49
04. Subject Matters 16:27
05. Dunsany 14:02
06. Ferber String Quartet 20:09

CD 2:
01. Pin Drop 14:59
02. Sense 9:15
03. Phantoms 10:52
04. Pica Pica 7:24
05. Mgt4all 15:04
06. Morsman Octet 16:16

John Edwards: bass
Sylvia Hallett: violin, voice, sarangi
Marcio Mattos: cello
Neil Metcalfe: flute
Evan Parker: soprano saxophone
John Rangecroft: clarinet
Mark Sanders: percussion
Philipp Wachsmann: violin, electronics

This double-CD set documents the "Free Zone" feature of the 2002 Appleby Jazz Festival. All these performances were captured live at the acoustically rich St. Michael's Church in Appleby (England). A pool of eight free improvisers, some well-known (Evan Parker, Philipp Wachsmann, Marcio Mattos, John Edwards, Mark Sanders) and others still cruelly under-recorded (Neil Metcalfe, John Rangecroft, Sylvia Hallett), spontaneously combine their skills in a series of ad hoc duets, trios, quartets, and a final octet. It is not said if the pieces are presented in the order of performance, but considering the symmetry with which each disc unfolds, one guesses that some editing and sequencing came into play to make the listening experience more pleasurable. Each CD starts with a solo performance: Hallett's captivating voice-and-violin dirge "Whitethroat" and Edwards' bass solo "Pin Drop." Then the groups gradually grow larger. With a total duration of over 150 minutes, Free Zone Appleby 2002 is a generous set, too generous for a single sitting (the sequencing of the discs as separate entities comes in handy), and highlights abound. But the two outstanding pieces are provided by the rhythm section (using the term oh so loosely) of Edwards and Sanders as they engage with Rangecroft in "Subject Matters" and Hallett in "Phantoms." They gracefully adapt their playing to these two very different musicians -- Rangecroft being a more pragmatic, intellectual player, while Hallett operates on a more atavistic or spiritual level. After such focused music, "Morsman Octet" comes as a light disappointment: the group has a hard time getting the music to flow effortlessly. But that's hardly a turnoff, only a somehow anticlimactic finale.

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gibheid   User offline   25 January 2015 07:43

Thanks tirexiss.

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