Record Reviews

SPONTANEOUS MUSIC ENSEMBLE ~ QUESTION AND ANSWER RHYTHM AND BLUES 068 (Barcode: 5060331752431) ~ UK ~ Free Jazz / Improvised Music Recorded: 1966 Released: 2021 This is an archival release, which presents early recordings by the pioneering British Free Jazz / Improvised Music outfit, called Spontaneous Music EnsembleFind albums by this artist (a.k.a. SMEFind albums by this artist), fronted by drummer / composer John StevensFind albums by this artist, which also includes saxophonist Trevor WattsFind albums by this artist, trombonist Paul RutherfordFind albums by this artist and Australian bassist Bruce CaleFind albums by this artist. The album presents eight tracks recorded live at a pub, as well as an Q&A session with the musicians, and additionally four trio tracks (less Rutherford), recorded a couple of months later at an unknown studio. The sound quality is a bit rough around the edges, but surely good enough to express the atmosphere and the magic of the music. The album’s booklet with text by Simon SpillettFind albums by this artist, gives a wide historic perspective of the circumstances surrounding the music. Soon after Stevens formed the SME with Watts and Rutherford, the group begun a residency at the Little Theatre Club, and soon after recorded their debut album. The recordings on this album originate from just few months later on and are some of the earliest SME musical documents. Over the years the entire British (as well as many European improvisers) Avant-Garde Jazz scene took part in SME activities, making it one of the most formidable British / European foci of the genre. A plethora of SME lineup existed up to the untimely death of Stevens in 1994. Britain was definitely somewhat behind the burgeoning American Avant-Garde Jazz scene, which started in the late 1950s, and therefore what was considered as Free Improvisation in UK was much gentler and less radical than what was happening across the pond. The music played here still offers some basic themes, which are then improvised on, and the music more often than not still swings, at least to those listeners who can recognize that swing in Stevens’ drumming. Watts, improvising bravely and with unlimited expressionism, is only of the verge of becoming the Master Improviser he would become a few years later. Rutherford manages to raise some brows, being perhaps the most virtuosic performer at that point of time. Overall this is certainly a very important document as far as the British / European Avant-Garde history is concerned, and the fact that this music suddenly pops up five and half decades later is a major discographical event. Surely this will be of interest to many British Jazz fans around the globe and make many of them grateful for being able to enjoy it.

Updated: 19/06/2021Posted: 18/06/2021

CD 2 Recommend To A Friend

TREVOR WATTS / LIAM GENOCKEY ~ THE ART IS IN THE RHYTHM JAZZ IN BRITAIN 39 (Barcode: 5060774190418) ~ UK ~ Free Jazz / Improvised Music Recorded: 1989 Released: 2022 I have been following the Artistry of British saxophonist / composer / bandleader Trevor WattsFind albums by this artist for almost six decades now, starting with the early days of SMEFind albums by this artist (Spontaneous Music EnsembleFind albums by this artist) and later AmalgamFind albums by this artist, Moire MusicFind albums by this artist, London Jazz Composers` OrchestraFind albums by this artist and his work with other British and international improvisers, which over the years amasses to a vast recorded legacy, surely one of the most impressive achievements of the British Improvised Music scene and beyond. We are so lucky to have him around with us, still contributing new music continuously, although this album is of a retrospective / archival nature, documenting Watts’ duets with Irish drummer Liam GenockeyFind albums by this artist, who earned his fame on the British Folk-Rock scene, but in fact was active on the British Jazz, Jazz-Rock and Improvised Music scene as well, including his work with Watts as early as 1976, when he became a member of Amalgam. This archival album presents three improvised pieces, recorded over three decades ago, two of which last almost half an hour and the remaining one half that time, which of course is nothing exceptional in Improvised Music. The recording offers an excellent sound quality and separation (drums on the far left and saxophones on the far right), which allows the listener to enjoy the phenomenal interplay between the two musicians, who converse, exchange ideas and dance around each other in perfect accord. Improvised Music tends to be mostly a spur of the moment affair, which is a brilliant, but often sadly of very temporary nature. Most improvised concerts do not manage to encapsulate the energy and emotional delivery when transferred to a recording, which a listener would return to repeatedly. This recording manages to break the pattern, and certainly offers enough aesthetic and artistic value, which is worth keeping for posterity and listening to, since it offers a timeless tale of human communication, not only on the musical plane, but also on a perceptional “higher” plane, which is not even possible to be explained verbally and has to be experienced at first hand in order to participate in the event. Of course the Masterly abilities of both these musicians are plainly evident herein, and as the title suggests, it is worth to listen carefully to the rhythmic effect of this music, which of course is present not only in the drum parts. As usual kudos to the people behind the Jazz In BritainFind albums on this label label, which keeps all the British Jazz fans around the globe hooked on its excellent output, which never ceases to deliver exactly what we all wish to hear. Overall, this is another excellent piece of the puzzle, which presents the diverse musical history of the British Jazz, which remains to be a wonderful treasure chest, which sometime seems like a bottomless pit, considering the amount of music it offers time and again.

Updated: 26/09/2022Posted: 26/09/2022

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