 | SPLINTERS ~ SPLIT THE DIFFERENCE
REEL RECORDINGS 013 (Barcode: 775020938328) ~ UK ~ Jazz
Recorded: 1972 Released: 2009
The Canadian Reel Recordings label does it again! Following a series of splendid British Jazz archival releases, which expose many previously unheard musical creations during the Golden Age of British Jazz, this addition to its catalogue is perhaps the most sensational and revealing. Obviously the feverish activity, that characterized this unprecedented period, produced a vast amount of groundbreaking music, which unfortunately was only partially captured on tape. Therefore unearthing another piece of that wonderful puzzle is always exciting and educational. The SplintersFind albums by this artist collective is truly unique in every sense, but the most striking trait of this ensemble is the meeting of generations, united by the inner urge to express their musical ideas as expressively and unrestrictedly as humanly possible. Three of the protagonists of this session, recorded live at the legendary 100 Club, London´s primary Jazz dungeon for many years, pianist Stan TraceyFind albums by this artist (b. 1926), drummer Phil SeamenFind albums by this artist (b. 1926) and saxophonist Tubby HayesFind albums by this artist (b. 1935) were already British Jazz legends at the time of this recording, with years of experience and established careers to their credit. All were immensely influential on the then growing up generation of the British New Wave of rebellious young players, who wished to emancipate the music they played from the restrictions of strict Jazz forms, patterns and rhythmical uniformity established since the genre´s conception and developed during its first half century in the USA. Tracey, Seamen and Hayes were the necessary missing link between the Jazz tradition and the gradual but revolutionary development that occurred in British Jazz from the mid-1960s on. Surprisingly, Tracey and Seamen, both older than Hayes, proved to be the more adventurous, shunning from nothing and keeping their sensitivity completely up to date. Tracey fully embraced Free Jazz and Improvised Music and Seamen was active not only in the Jazz area, but also took part in early Jazz-Rock, Rock and even early World-Jazz activities, mainly through his faithful pupil and protégé Ginger BakerFind albums by this artist. Hayes remained somewhat more "conventional", expanding his Bebop approach with some freedom, but remaining firmly within the established parameters. Perhaps the future might have proved differently, but Hayes died prematurely just a year after this music was recorded. The rest of the "crew" captured here: saxophonist Trevor WattsFind albums by this artist (b. 1939), who taped this music and was the initiator behind Splinters, trumpeter Kenny WheelerFind albums by this artist (b. 1930), bassist Jeff ClyneFind albums by this artist (b. 1937) and drummer John StevensFind albums by this artist (b. 1940), were the (not necessarily chronologically, but definitely spiritually) young Lions spearheading British Jazz into a new direction. The idea behind this session was to provide an open and most importantly completely free of any pre-conceptions environment for the musicians to express their ideas. As with much contemporary Jazz at the time, the idea of free flow and mutual respectful listening is the core of creation here. The music consists of two long (47 and 30 minutes) improvised pieces, with no strict melody lines, but full of very "melodic" playing, which makes perfect sense musically. This is group improvisation at its best, full of musical interplay and mutual inspiration respectful of each other´s "moment" and bearing at each particular instant. In many respects this is a classic "textbook" recording, which could be used as a perfect demonstration of what group improvisation really is. As someone must have said sometime: "you can´t plan lovemaking", this music, although unplanned, is a pure work of love. Beyond essential!
|
