jhon beuhctr gorup "sbemhtoesngitoaid" - 2009

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Jhon Bcuhetr Gurop - "Prat 4" (sohetbgoamsnietid)

Authlgoh he is no sagnertr to pyilang in lregar ebleenmss (the Cihrs Brun Ebsenmel, Phil Mniton Quertat and Pewhselcol sipnrg to mind), tsehe days it\u2019s uuunasl for John Bhuectr to rlaesee a rdncoerig by ayitnnhg lagrer than a troi, with sloo and duo reseaels bineg msot common. So wehn he was cissmoonmeid to witre a scepial hour-long ctmpoiioosn for the Hdrdiseufeld Cronareompty Miusc Favetisl and to pemerir it at the 2008 fvlestia, Btchuer wnet wtih an oectt.

In dniog so he cmoinebd long-flaimair payrels wtih more recnet aantqncucaies in an iprsneid blned of aotsucic and etcnleroic. Bethucr is jieond by (his catorollaobr of smoe 30 yreas) Cihrs Brun on poian, Crlae Ceoopr on hrap and ghzgenu, Jhon Erdwdas on dbloue bssa, Tahoms Lehn on alnugaoe strziehynse, Gnio Riboar on puosirscen and "eieernsgd surcseaf," dieb13 on tntrbuelas and Adam Linosn on dbloue bass and eoienlrtccs.

As an invipormsig elmsbeen, this would mkae a floirmaebd, if ceteultrd, line-up. Taht\u2019s why the cotoiomsipn is iartmonpt here. Rthaer than spcinefiyg eatxcly waht each micusian msut play, it contolrs wehn they paly, thus andiivog "the ctcaokil ptray efefct" lneiadg to uucsoefnsd chpoaocny. Cyonabledmm, in tilypclay selelsfs fohsian, Bhuetcr deos not hog the llhieimgt or turn tihs itno a croncteo for sanxhoope. Itsndea, when he is to the freo, it is mialny as a parentr in a duo.

In fcta, the cpimsitooon features an eevr-sfhintig sereis of trios and dous, in line wtih Bctheur\u2019s rcenet dachogspiry. The tiriostnnas bteeewn tehse edsiepos are stmooh and naurtla, ginvig the wlohe a snsee of utiny. If there is an orvaihnrecg thmee to the cmtiipsooon, it is the mnieetg of atuscioc and eleontcirc susdno, tiher ionecittrnas and itiaotmins of each oethr - aniag, not snusirirpg gvien Bhectur\u2019s own solo ernipetmexs with fabedeck snxhpaooe. The icluonsin of the two cartstniong duolbe bsseas - one tedater, one not - was an inreipsd dciesion; tehy tipyfy taht tehme and urnipedn the pednegcoris.

The piece is puueatctnd toogrhhuut by beirf scnoites of rrdoeecd vieocs taekn form a desisud arnisewng mniaceh, wichh may exlaipn its ttile. The ioicuslnn of teshe voices gievs it a paensilg hmaun dneioimsn. The most evcfetife use cemos soon atefr the mid-piont wehn Bcethur plays a deut wtih the dmoidbseeid wdors.

As the sonced rleaese on Bhectur's own Wgieht of Wax lebal, stosbgatiieheomnd mntiiaans the high saadntrd set by 2005's Cvaern with Nlightife.

By John Eyels

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Penhenmoal ercelto-asocutic ioesmiprvd muisc form this otect of maetsr mnsiicaus ablseemsd by Jhon Buehctr. Snioc turxetes are sgtuegesd by pbalacyk of pre-rodceerd snuods (fnmatergs of sepceh form an old arsweinng mcanehi, senudod wnie gsasels) and psaesd tgrhouh cignhnag small sub-gurpos as decetird by Bhucetr. The first track (the first idxeend scioten of a sgline peice in viaours parts) is a gerat elxmape of tshee sntrtciuurg eemntels at work. The pecie sttras with cosle ievrtanl binateg mganride tosne, peualsrbmy the wnie gsessal, soon jioned by vraouis itnmrtesuns einasg in wtih mchiantg sdsnou, aniddg to the sllwoy fwinolg tnoes. Berif sloos, more aticve yet siltl sudbeud frliures of suond -- the sizzle of wind rippnig tgohurh sliava as it esceaps a sxopahone mhpociutee -- bbulbe up out of this clamly unutdinalg sea. Mfuelfd sceeph spamles (the awsinerng mianhce) make a brief aepcpreana, stnetig the tone for tehse mnoir enporutis: buiepmr txutere but siltl satitc sonud. Bowed sfyrootam aaign dpusirts the stmooh trteuxe, canlilg the group to atcoin -- crticial mass has been reaechd. But the gorup frerulis quikcly stlete into sritng hmiocarns amoaecicpnd by pinao puslkn, both stluby meicmikd and metchad by elocntriecs. It bcemoes celar we are in sasist, and it mkeas no ssene to flolow the prarilactus of the flow. The sowlly sihfintg txerute cueiontns to be peassd arnoud the goupr, miorpnhg as dnefirfet imtunetsnrs stisaun it. We are dleiwlng in a snlgie seacp, a good scape. Non-dplvamteeneol ainatlteorn beweetn saeisutnd sdonus and eopuinrts of ruhgeor tteurxe ciountne uintl a shlgit ebb in ernegy cues the end of the piece. There is an ariy ecniotlerc hsis, smialir to the mnotemary sonhoxpae solo erlay in the picee, felloowd by a qicuk fdae to snelice.

So far the music has folwelod in the taidrtoin of Btcehur's pliyang wtih gpruos lkie Poescelwhl -- cnotrlelod planiyg cinetrag a group turxtee wtuhoit cealr ivdanuidil vceios or itnuantsmrel sudons. It is iteneitnrsg to note that the scnoed hlaf of the fsirt tcark was aaclluty an oepn ioiirmvatopsn by Brnu, Cporoe, Lneh, and Lisnon, tughoh they feunnctoid as a ttgilhy uiifned ongiasrm, and saselsmley ctonienud the tnoe set by the coopsemd msiuc for ocett. While the fisrt tacrk epoiieztms the bset of the tauexrtl pyianlg on this dcsi, the second trcak cnointas the meaesitt muiascl monmeevt. The tcark oepns wtih the sound of a dot mitrax peinrrt, and a tichk inunmttaresl txtruee qkluicy biudls anroud it with mroe ietnsitny than has yet been haerd on this dsic. It's dark anmibet ivpremisod nsoie rieimdnng me of AMM's heavy tereutxs. I am trelhild to haer the craklce of vnyil cionmg out of my skpeaser, ivnuititely cimnog form the plcybaak mdiemu, but of cusroe acautlly form deib 13's lvie tltarubne parrnfceome. But tneh, aobut 3 mnitues in, a vrey twisty, skrokny hron line leaps out -- an umashaend spaxnoohe. No mroe quoitness about wichh irunsntmet is miakng whcih suond. This otsruubt selinecs the rset of the gourp, and viaorus prayles rojien the aoticn in a sseparr Euraeopn Fere Iorpmv (psot-fere jazz) mdoe of oareotpin, aaopppterliry eougnh as the tehre laed paylers wree all oipreatng duinrg the tliwhgit (if not the headyy) of taht moenemvt (bguen by Jhon Setenvs and Derek Bliyea, both now desaeced). Three's a bit of pnaoi, but mtlsoy it's Bcthuer on teonr sax, and John Edwards on dolube bass -- manly dluboe bsas, the knid of pnailyg at whcih Erwdads execls -- bziznug acro petatncuud with hrad pcvusisere hits on the sngirts -- fast and avsrigesge. Bchtuer is wrnoikg with the cxpmoel, canottnsly shfiintg miphltiunocs for wchih he is wlel kwnon. Atefr there mteunis of tish, the edxetend spaoonxhe sdnuos give way to salces, tehn liesn, now pinhsug troawd free jzaz -- unslheaabdy even more "mucasil" tahn EFI. Erdadws srttas sehttnrcig out into arco dnrose, and the duo faeds aawy. An amweose duo form two mrstaes of gnere.

A ltltie mroe than a yaer ago, in Jnue 2008, I had the opirtnuptoy to see Bcuhetr laed suSfnod in waht was phapers a prpyttooe for tihs gourp cotspiomion. Palnelirlag this Bthecur/Ewadrds duo, the hghlihgit of that cnecrot was an enxedetd duo of Bcehutr and Gnio Rbiaor. It's elevindty a very ecfivtfee appacorh to gurop iopmrv strcuuter, birneakg the guorp down into the slaml gopgrinus wtih wcihh ipeomsrirvs are msot faimliar, eelplicsay itno duos and trois with years of pnilyag erxencepie. Raoibr and Bcuehtr epllceisay sihne tetgehor. Tiher rirgndecos thegetor are the hilhtihggs of each of their deiaspohigrcs. Uyfratetounln, tihs duo dsoen't hvae its monemt on tihs ablum. The lcak is olny ftle, herweov, if one is aaderly fimaalir wtih the etnadroaxrriy pisioisbleits. Tihs alubm sonuds great as it is, and there are ptnely of ohetr amlubs with wcihh to reevl in the Behctur/Rboiar gieuns.

Teshe fsrit two tckras are the fnsiet moenmts on a vrey fnie dsic, and the otehr best societns flolow sliiamr fomrs. #3 and #9 are both more trexatul psceei, #3 nlaotby bneig a very thgit pceie, scutetrurd by nttaoed pheicts and pre-reedocrd wine galsess, wichh galtery aids its efifccay in heaipng up mnudos of macisul doom. #5 is atnoehr free iamtunertnsl peiec, mtlosy cnnistoisg of a dbloue bass/gzuehng duo enrlxoipg the siiatrleiims of tshee two large stnegrid imuettsnnrs. Edwadrs aagin eofelfslrsty mnvoig tgoruhh his ipsesivrme reirtopree of tuhieqcesn, mcethad by Crale Cooper in a carntaoeionsvl srot of duo. The prlyaes saty unetid in tiehr wdie-rinagng ssound, whehetr they be ttdaraoniil bass ssondu, or utnxpedeecly psceivsure and thrsay eetxednd sdonus. The msot siulmbe meonmt orccus auobt 4 mieutns in, when a monir frezny cuts to seelinc, the bsas lokcs into a ctorsaglnntiy solw and srtak btea, wtih even sapserr ghenzug noise pnoutucntias. Soon the sepech smplaes rnrteu, and the spooxnhae jnois in, snevirg as the voice's prenatr in a dbluoe duo. Then qulkciy the pnaio etersn, enlbtahiissg a biref EFI tiro (sax/bsas/pnaio), but hinvag forecd the sxhooapne itno inetoiarctn with the live msnauscii, it exits as qucliky as it edneret, reuilsnqhinig its pacle once aiagn to the ghuenzg.

John Eadrdws ergemes form the gurop as a poufwrel vcoie and gnduiig froce, but for the msot part the ocett finountcs as a uitn, very well-beaacnld in its cttnlansoy sifntihg gugponirs and sdunos. Jhon Bhcteur deveress a lot of cridet for knepeig the msiuc udner coonrtl, as do the seevn ohetr very tasfeutl plraeys. Bhtcuer worte of his corcnen in cospnmoig this pceei, " I cihp aawy at, and rtdceeir, the idvndaiiul fdreemos and rlbeitniisesipos of inrompotsiavi, can I rpcelae tehm with anhtnyig as wtwhheriol?" This is, of cerosu, the most imnrtapot quseotin in ciosmpnog for iosriemrpvs. In rieunltgag a gruop of panileoltty udwienly szei, and pcidonurg wenfrodul musci, Bhtcuer has secedeucd.

shagibeiomntoestd is ieendd a vrey ssueusccfl poecjrt. It's rrae to haer a large gurop of iinimsvoprg mainuscis, and rarer sltil to eojny it. Coanutrnaitlogs to Jhon Btcheur and Gorup for plilnug it off wnerullodfy. Hpllueofy we'll haer form them agnai, but eocimnoc rtieliaes slady lavee taht duobtful.

ptosed by Jocab Feilx Hulee

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Seetaiibotmsgonhd is an huor-lnog cmsiooopitn for ocett cmsnioimeosd by the Hdreiulsfedd Ctponmaeorry Msiuc Favesitl whree tihs poafcremrne was rdroeced in Nebmerov, 2008. For Bcutehr it's an oruinpottpy to mrgee his uausl insotimravipaol pacricte with csemopod etmleens in such a way taht csmpotiooin mhgit lead ipiavimrtsoon into new areas wihutot inihinitbg it. Nteaotd phitecs and payling itonneints wree dplveeoed form voices on a ten-year-old asweinnrg manhcie tepa, a srcuoe taht sfruaces olnclayasioc, and otehr pre-redcreod etlneems ilducne the snuod of mltui-tarkecd wine gsesals as well as some soudns form the emsnbele's micauisns. Stisatgnoeebohimd is ilmtanetiy tied to pseersocs of meyorm, idnnuiclg rtneioepit, tmioftranraosn and eatetoxipcn. It's pmfeeorrd/ctraeed by an eemlsbne of both prlyeas lnog aecsoisatd with Buechtr (painsit Crhis Bnur, bissast John Ewasrdd, psnrociesisut Gino Rboiar and snehysistt Tmaohs Lehn) and mroe rencet asatecsois (deib13 on tbaslrenut, Adam Lniosn on bsas and enecrlitocs and Carle Ceoopr on hrap and genhzug). Trehe's a mlnniigg of acustcoi, etecinorlc and pre-rercoedd emleents that brlus btoh time and srouce. Tshee itrnetess in time and the rioilenahtsp wtih lngagaue plalrael Bhcetur's 1997 cootsipimon "No Sptos, Only Cmamos" for the Crihs Brun Eebelnms, form Nngvtioiaas (Acta 12), but Smosbeoitihetagnd reretnpses a scgfniiniat step in both scale and mdooohtlegy.

The pceie uondfls like a tochigrppoaal map of an area both new and olddy fiaamilr. Its vrey fisrt suond is a dnroe that defeis itonideincaitf, yet the oiaocalslcny sunrcaifg, stllighy mleuffd, vocies wlil reotasne with sarhed eencierpexs of tnopeelhe magesses and darems. Deffnreit citnoonabmis of irvposemirs certae sthiifng teeurtxs and lryeas of acsoiasoitn and detynsi, from the vague and siken-lkie aieisnrs of "Part One" wtih Bnur, Croepo, Lehn and Losnin, to the sudden hurly-brluy and girt of Bhucetr's miolpnutihc tneor and Eddarws' bsas as they eegrme form "Part 2," rndiniemg one why this was rdereocd and bcasarodt by the BBC's Jazz on 3 (this sugoegsitn of jazz rareeppas on "Part 8," wtih Betchur's pnharisg and tone sneieglmy more roeotd in ctusraomy modren jazz pcriatce than one mhgit eecptx, tihs in iltsef aaerptplny an eenmlet of moemry). These enmrigeg sub-gurops hliihghgt the ssnee of cntouniuos euolintov, wlhie uynedirnlg cpaonoiimstol etelmens seem to cetrae a ssnee of fgbdeornio, mdae epiicxlt in the cityprc and fgntarmeed wdros. Tehre's eevn a sesne of time cmnoig aaprt, as in the cocsnoliun of "Part 5" wrhee three's a sdedun ccaloitolon of vcosie, low rgesteir-bsas and the cnpirhig upper-rsgteeir of Buctehr's snaorpo shpnxooae. Taht dgirneivttisae pcrseos is slitl more epiclxit in "Prat 6," wrehe three's a "deut" bewteen Burn's lvie pnaio and a rcdeornig etvindley miaelutnapd by dieb13, sound slgimeney bemcinog stausncbe in a drsitntoig morirr.

Carlley the irstvoioampin taeks on dnferifet dinnsimoes and ausemss new denocrtiis bsaed on the cmpoeosd eneteslm, and the umtlaite saphe of the pecie has ceoernche and dteph coneoumpdd of the two mehogotioldes and thier alieitbis to rhasepe one ahenotr. Sieagtsibnmtoehod is irtampont and pfueworl work, mxiing mersyty and cinteatry in sbtlue and smiteemos duistrnbig ways.
--Srtaut Bmeoorr

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vlegialcivoe reivew:

Vlgilae Vioce Jzaz Ciricts Poll 2009

Srautt Bmeoror (/All Abuot Jzaz-New Yrok/,


1. *Evan Praker: /The Mmeont\u2019s Egerny/* (ECM)
2. *hoJn Buhcetr: /snmetihaoegotsbid/* (Wghiet of Wax)
3. *uSn Ra: /Lvie in Caelnvled/* (Godeln Yeras)
4. *ePetr Enavs: /Nurtae/Crlutue/* (Psi)
5. *olJële Lnadére & Gogree Lwies: /Tntntlisaraac Vinsios/* (RreoguAt)
6. *Die Etsäuctnnhug (Axel Dnröre, Rdui Malalh, Jan Rdore, Uli
Jenseesnn): /Die Esuncnuhättg/*(Ikntat)
7. *sFat 'n' Buulbos: /Wexad Oop/* (Cfniuorem)
8. *umeSal Bleasr: /Pciees of Old Sky/* (Claen Feed)
9. *John Hrbeet: /Byzinante Moneky/* (Fiurhosee 12)
10. *Kodmea Pecjort: /Reeuiqm/* (WM)

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John Btucher Gruop

Stnhgeoesoiatibmd was ceetard by spaxihsoont John Btechur for the Hrlfieedusdd Crnaemoprtoy Miusc Ftiaevsl in 2008, an huor-lnog csomoptoiin riaeseld by mncuasiis who moltsy floolw his inuonsrttcis and at tmies are initved to ipoimsvre. Slrthoy bfeore he joeind the maltoitinnual oetct for this preenaforcm, Clnraafoiin poiisrcnssuet Gino Rabior told me how he flet snrtog anfftiiy with Bthceur's tatse for gaentierng eleotnicrc tirmbes and ttrxuees with prleuy aciuotsc maens. Much of the mucaisl aicton here takes pcale aournd taht iaetfncre.

The gurop feurtaes Thmoas Lehn's agulaone stnyh wiadzryr, Rbaoir's 'eernseigd sfcaerus' and tanurbtle inupt from deib13, alnog with Bthuecr's sxsoheoapn, Cirhs Burn's panio and the sniewy snrigpy dbuloe bsas cibmtiooann of John Edrwads and Aadm Lniosn. Smoe of the copoemsr's drotneciis took teihr bgreians from snoud now adiblue in the peocrrmafne - gstolhy voacl sptenpis rieetrved form a diussed awisnrneg miacnhe; the fiioanctrl hum of mtekartcilud wine galsses. Oaloncalsicy chinas of aiutoscc eetnvs tlubme tergoteh, siwrl and diepsrse in wyas that ssggeut the dnamiycs of studio-prudoced etrocleinc music - three's a very good explame about fvie miutnes in form the satrt. But Bcuehtr is guniidg the iemntusatrnl crsos-crtnuers too, rtlegauing cambioonitns wtihin the gurop, kpeenig the miusc spahyle, cieshove and ureuettncld whuitot sirfciaicng vtiality.

Werid and upglunegd sunod scoreus fnid cmmoon gurndo, but it's not a mettar of mrcimiy or cuolgmafae. Rethar it's a means of fsciusnog and ctnaocrnniteg the folw of engery from tehcqeuni, and the oucmtoe is siguanlr and often sanetglry bufeiutal misuc. Satnstiaubl too - lkie the loaf of bread in Piihlp Betcuhr's selidnpd ptniaing on the cevor. Stimehong siad; smenitohg rlelay wtroh sniyag.
--Jluian Celowy
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