 Artist: Derek Bailey: mp3 download Genre(s): funk Jazz Avantgarde Discography:  Carpal Tunnel Year: 2005 Tracks: 6  Ballads: Derek Bailey Year: 2002 Tracks: 14  Transmutations Year: 1997 Tracks: 9  Takes Fakes and Dead She Dances Year: Tracks: 10 At number one glance, Derek Bailey possesses almost none of the qualities one expects from a jazz musician -- his medicine does non swing out in any appreciable fashion, it lacks a discernable sense of blues notion -- so far there's a strong connective between his amelodic, arhythmic, atonal, uncategorizable free-improvisatory style, and much free wind of the post-Coltrane epoch. His medicine draws upon a brobdingnagian array of resources, including indeterminateness, rock & roll, and respective world musics. Indeed, this catholic banker's acceptance of any and all musical influences is arguably what sets Bailey's art outside the rigorous bound of "wind." The of the essence element of his do work, however, is the type of offhand musical interrelatedness that evolved from the '60s idle words new wave. Sound, not ideology, is Bailey's mass medium. He differs in overture to about any former guitarist wHO preceded him. Bailey uses the guitar as a sound-making, sort of than a "music"fashioning, device. Meaning, he seldom plays melodies or harmonies in a formal horse sense, simply sooner pulls knocked out of his legal document every conceivable type of sound victimisation every conceivable technique. His timbral orbit is quite full. On electrical guitar, Bailey is capable of the near gratingly rough, distortion-laden heavy-metalisms; unamplified, he's as likely to mimicker a set of windchimes. Bailey's guitar is a great deal like John Cage's inclined pianissimo; both innovations enhanced the respective instrument's percussive possibilities. As a pigeonholing participant, Bailey is an fine sensitive respondent to what goes on around him. He has the sort of warm reflexes and complementary reference that posterior meld random musical events into a unified whole. Bailey came from a melodic family; his grandfather and uncle were musicians. As a fry surviving in Sheffield in the '40s, Bailey studied music with C.H.C. Biltcliffe and guitar with George Wing and John Duarte. Bailey began playing conventional jazz and commercial music professionally in the '50s. In the early '60s, Bailey played in a trio called Joseph Holbrooke, with drummer Tony Oxley and bassist (and afterwards renowned definitive composer) Gavin Bryars. In the track of its creation, from 1963-66, the mathematical group evolved from playing relatively traditional idle words with pacing and chord changes, to playing wholly loose. In 1966 Bailey stirred to London; in that respect, he formed a number of important melodious associations with, among others, drummer John Stevens, saxophonist Evan Parker, trumpeter Kenny Wheeler, and bassist Dave Holland. This specific assembling of players recorded as the Spontaneous Music Ensemble, which served as a crucible for the sort of equalitarian, collective improvisation that Bailey was to engage from and so on. In 1968, Bailey joined Oxley -- another musician interested in new possibilities of reasoned generation -- in whose sextet he remained until 1973. In 1970, Bailey formed the trio Iskra with bassist Barry Guy and trombonist Paul Rutherford. Also that twelvemonth, Bailey started (with Parker and Oxley) the Incus record book mark, for which he would extend to record into the '90s. In 1976, Bailey founded Company, a long-lasting free improv tout ensemble with ever-shifting staff office, which has included, at various times, Anthony Braxton, Han Bennink, Steve Lacy, and George Lewis, among others. The eighties saw Bailey collaborating with many of the said, along with newer figures on the scene such as John Zorn and Joelle Leandre. Solo playing has always been a special strength, as have (especially in recent old age, it seems) ad hoc duos with a variety show of associates. Bailey by and by recorded an inflexible three-disc set with a group that included the unremarkably more than pop-oriented guitarist Pat Metheny. Bailey's utmost radicalism makes for a hard euphony, yet there's no sceptical his influence; his methods and esthetic have significantly impacted the downtown New York free scene, though many (if not most) of his disciples ar little known to the general public. In 1980, Bailey wrote Improvisation: Its Nature and Practice, an instructive and undervalued volume on various traditions of improvised music. |
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