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Klinker [2CD]


  • Code: CORE04
  • Manufacturer: Confront (FR)
  • Price: 94.99 zł
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Avant Jazz / Free Improvisation / Avant-Garde
premiera polska:
2019-02-14
kontynent: Europa
opakowanie: plastikowe etui
opis:

multikulti.com - ocena * * * * 1/2:
Każda sposobność, aby usłyszeć nowe nagrania Dereka Bailey'a to dla mnie święto, Bailey był absolutnie niepowtarzalny, był jednym z prawdziwym innowatorów muzyki. Luminarze światowej awangardy podróżowali do niego, jak do mędrca, nazywali gigantem gitary niegrającym gitarowych riffów, nauczycielem, niebojącym się odpowiadać na kłopotliwe pytania "nie wiem". Jego unikalny styl, bardzo wyrazisty, a zarazem pełen szlachetnej prostoty jest nie do splagiatowania, specjalista od braku ciągów dalszych, najbardziej nieprzewidywalny z nieprzewidywalnych... tak można by ciągnąć w nieskończoność.

Derek Bailey's Company "Klinker" to dwupłytowe wydawnictwo zawierające materiał zarejestrowany w 2000 roku w londyńskim Klinker Club, miejscu, w którym od 1982 roku dzieją się artystyczne przedsięwzięcia na skrzyżowaniu improwizacji, poezji, filmu i tańca.

Czterech bohaterów zdarzenia to Bailey na gitarze, Simon H. Fell na kontrabasie, Mark Wastell na wiolonczeli i Will Gaines, stepujący tancerz, z którym Derek Bailey współpracował już w 90-tych latach, znana jest ich wspólna płyta "Rappin' & Tappin'" (Incus, 1994) i video "Will" (1995). Will Gaines to postać wyjątkowa, amerykański tancerz, w 50-tych latach współpracował z Charlie'm Parkerem, Lionelem Hamptonem, Cabem Calloway'em, Django Reinhardtem i Nat "King" Cole'm. Po przeprowadzce w 60-tych latach do Londynu występował m.in. w London Palladium i na Edinburgh Festival.

"Klinker" zaskoczy fanów twórczości Dereka Baileya, prezentuje tutaj nieczęste artystyczne oblicze, choć w epokowych nagraniach dla Tzadik Records już słyszalne ("Ballads", Tzadik 2002 i "Standards", Tzadik 2007). Jego gra jest zabawna, pełna empatii i odprężenia. Niesamowite jest to sprzężenie z karkołomnym stepowaniem Gaines'a, który okazuje się wulkanem energii. Z jednej strony introspektywne i eleganckie, beztroskie i pełne humoru gitarowe frazy Bailey'a, z drugiej wariacje z motoryką i regularnością stepowanie Gaines'a, z trzeciej pełne skupienia kontrabasowe i wiolonczelowe smagnięcia Fella i Wastella sprawiają, że mamy wrażenie uczestniczenia w misterium. Jednak wszelkie możliwe próby nadmiernej powagi zostają skutecznie unieważnione przez Bailey'a i Gaines'a właśnie.

Nie pozostaje nic innego, niż po prostu skupić się na muzyce – albo przy niej odpłynąć, zależnie, jak kto jej słucha.
autor: Mariusz Zawiślak
Copyright © 1996-2019 Multikulti Project. All rights reserved


Liner Notes:
This recording is more than just a document of a musical performance, it is a time capsule which magically allows the listener to travel back in time and space. But this is not simply a question of a date on a calendar or a point on a map; Klinker gives us a second chance (or for some, a first chance) to luxuriate in an atmosphere, a performance environment and a specific combination of musicians which we will never be able to experience again.

The most obvious and immediate thing that this recording brings back is the living, human presence of Derek and Will. In publishing the entire performance from start to finish, this Confront release allows us to experience these much-missed artists at work with a degree of intimacy and familiarity absent from (for example) prestigious festival performances. Of course, any new addition to the Bailey discography is an exciting development, but I feel I must also mention just how well Will Gaines plays (and yes, I use that term deliberately) on this gig. For those who might be unsure why Derek was always so happy to play with Will, listen to how Will uses his strongly idiosyncratic technique with invention, flexibility and imperturbability in the Company context. Similarly, hearing Bailey and Gaines exchange one-liners reminds me just how strongly Derek’s early career in light entertainment imprinted his ideas about musical practice and performance ethics; with his combination of show business schmaltz and improvisational acuity Will was a marvellous foil for Derek. Listen to Will, having dangerously skirted raconteur territory in his solo introduction to WG / MW, suddenly getting serious and creative when Mark decides to join him. But most of all, listen to the constantly re-inventing interaction between these four relaxed performers, one distant Thursday night in De Beauvoir Town.

For this recording is also a tribute to the London Improvised Music Club scene of the late 20th century. During the 1990s I played extremely regularly in clubs such as The Klinker, sometimes as often as three or four times a week; the idea of playing frequently in low-pressure situations, with an ever-changing roster of colleagues, was the very essence of improvised music for many musicians of my generation. For all kinds of reasons, Improvised Music in London no longer has the luxury of a seemingly never-ending supply of informal musician-run clubs. So, enjoy this marvellous opportunity to join us in the hot, sweaty, noisy, beery atmosphere of The Klinker Club in August 2000. But perhaps you were actually there at the time…..
Simon H. Fell [January 2018]

All About Jazz - ocena * * * *:
Derek Bailey and Will Gaines had already recorded together on Rappin' & Tappin' (Incus, 1994) and on the video Will (1995), so this archival session, captured live on Thursday 24 August 2000, at The Klinker in London, presents a further opportunity to hear this odd couple. Gaines was 72 at the time of this concert and the old hoofer, originally from Baltimore, had shared stages in the '50s with the likes of Charlie Parker, Lionel Hampton, Cab Calloway, Django Reinhardt and Nat "King" Cole. He moved to the UK in the '60s and performed for Princess Margaret, played the London Palladium and the Edinburgh Festival. He died in 2014 aged 86. Bailey himself was 70 at the time of this recording and died five years later, on Christmas Day 2005.

This concert, digitally recorded by Tim Fletcher, was the only occasional that Bailey graced the currently-hibernating Klinker Club with his presence, and, fortuitously, this was a memorable gig. The interplay between Gaines and Bailey is good-humoured, empathetic and relaxed. On "An Announcement," Bailey teasingly announces Gaines' arrival on stage by requesting applause (twice). Similarly Gaines talks to the audience on "You Should See Me When I'm Making Money," revealing that he and Bailey go "way back." Other than these conventionally-titled tracks, the remaining ones use the initials of the protagonists involved as titles.

Sometimes, as on "DB/WG2" Bailey seems to take a little time to synchronise with the irrepressible rhythms of Gaines's dancing but they get there soon enough. Gaines is a veritable human dynamo as evidenced on CD2's "WG/MW," and Mark Wastell's cello is almost eclipsed by the sheer boundless energy generated by Gaines who gives an amusing vocal narrative, regaling the audience with previous incidents in his long life (meeting Maurice Chevalier, for example) whilst tap-dancing. After four minutes he is joined by Wastell on cello at which point Gaines concentrates on the dancing. We hear some breathtaking sostenuto and trademark harmonics from Bailey who is accompanied here by Simon H. Fell on "DB/SF1" and the ensuing track "DB/SF2," with Fell alternating between pizzicato and deep arco bass. Any opportunity to hear Bailey is important; he was totally inimitable and a true improvisational innovator, so this double-CD release is very welcome indeed.
By ROGER FARBEY

muzycy:
Derek Bailey: guitar
Mark Wastell: violoncello
Simon H. Fell: double bass
Will Gaines: tap dance

utwory:
CD1:
01. intro; DB / SF / MW 1 [12:14]
02. DB / SF / MW 2 [05:12]
03. an announcement; DB / WG 1 [07:25]
04. DB / WG 2 [04:15]
05. you should see me when I'm making money; DB / WG 3 [05:36]
06. SF / MW [09:59]
07. DB / SF / WG / MW 1 [08:47]

CD2:
01. WG / MW [13:05]
02. DB / SF 1 [10:50]
03. DB / SF 207:54]
04. DB / SF / WG / MW 2; outro [14:08]

wydano: 2018-06-01
nagrano: recorded at The Klinker Klub at The Sussex, Culford Rd., London; 24th August 2000

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