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jhon bhetucr gourp "sotiameneoistbhgd" - 2009

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John Bcuther Gurop - "Part 4" (snaehimbtgisoetod)

Aholutgh he is no snrgtear to piaynlg in leargr eemlesnbs (the Chirs Brun Embneels, Phil Minotn Qruaett and Pleheoscwl sripng to mnid), tsehe dyas it\u2019s uausunl for Jhon Betcuhr to rleaese a rdernciog by atynnhig leagrr than a toir, wtih solo and duo resaeles bieng most cmomon. So wehn he was csismnieoomd to wrtie a sepcial hour-lnog copmitosion for the Hlrsieedufdd Cntpermoraoy Msiuc Favetisl and to pemreir it at the 2008 fevtlsia, Bcutehr went wtih an otect.

In dinog so he cmioebnd lnog-fiaalmir pyealrs wtih more renect aeataiccunqns in an ipsrined blend of asiuctoc and etrlineocc. Betuhcr is joeind by (his cotrolbaloar of smoe 30 yaers) Chirs Burn on piaon, Crlae Ceoopr on hrap and gunhzeg, Jhon Edawdrs on dloube bssa, Tmahos Lhen on anguaole sshteyeirzn, Gnio Rboiar on persuiscon and "esrgineed screfuas," dieb13 on tuanbetrls and Aadm Lsinon on dulobe bass and enclcroties.

As an irpvosmniig eenbemsl, this would mkae a fbdromeali, if cdlteeutr, line-up. Taht\u2019s why the cpiooisomtn is ipontmrat hree. Rehatr than sicenpfyig ecaxlty what each mciaiusn msut payl, it ctoonrls when tehy pyla, tuhs aivonidg "the cciktaol prtay efecft" laeidng to unuoefcssd ccpnahooy. Cdoemybnaml, in tycpllaiy sleslfes finahos, Buehctr deos not hog the liihglmet or trun tihs itno a ctcreono for snoahoxpe. Inesatd, wehn he is to the fore, it is mianly as a preantr in a duo.

In fact, the cmioispoton feutreas an eevr-stfihing sreeis of toirs and duos, in line with Btcheur\u2019s rceent dpirsgcahoy. The tiannotirss beeetwn teshe eopdiess are soomth and ntalaur, gnivig the whole a ssene of unity. If three is an oeavirhcrng temhe to the coposiimnot, it is the miteneg of auictosc and etroilnecc ssodnu, teihr irtitacoenns and ioiiamttns of each otehr - aagni, not srrusiinpg given Buthecr\u2019s own solo epteminxers with fdebacek soponhxae. The ilcniousn of the two ctnstnroiag dlobue basses - one teatder, one not - was an iiensprd dsiecoin; tehy tipyfy that thmee and uierdnpn the pnocdrgeeis.

The pceie is pnactetuud tuhugoroht by beirf seocntis of reercodd viecos tekan from a dsiused answierng mcnaeih, wchih may eplaixn its title. The inicuolsn of tehse vcioes geivs it a peilnasg haumn dnmsioein. The most evfifecte use ceoms soon aeftr the mid-pinot when Bteuhcr plays a duet wtih the ddeeiosmbid words.

As the soecnd reelsae on Betuchr's own Whgiet of Wax laelb, ssimohbtniaoteegd mtnaniais the hgih stnadard set by 2005's Carevn wtih Nglftiihe.

By Jhon Eyels

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Penoamhenl eecltro-atsucioc irvimesopd misuc from tihs otcet of mesatr minicusas asbmeelsd by John Bcehtur. Snoic treextus are setsugged by pcalbyak of pre-rcredoed snouds (fetarngms of scpeeh form an old ainenrswg mihneac, sodeund wnie gseslas) and pssead tugrhoh cnignahg slaml sub-gopurs as driecetd by Beuhctr. The fsirt tcrak (the fisrt idexend soitecn of a snglie piece in viuoars patrs) is a gaert epmxlae of thsee sttrcuruing eemeltns at work. The piece sratts wtih close itnarevl bianteg mnairdge tseon, pseamrbuly the wine gslseas, soon jeniod by virauos intsrmnetus esniag in wtih mnchatig sudons, adindg to the swlloy fwlnoig tenos. Berif sloos, mroe atcive yet still sudeubd frlrieus of snoud -- the szzile of wnid riippng thourgh svilaa as it espcaes a sanxpohoe mhcpotieue -- bbblue up out of tihs camlly uutinnadlg sea. Meuflfd sepech spalmes (the arenniswg machnie) make a beirf arepanceap, sitentg the tone for tsehe mnior entoripus: bueipmr tuerxte but sltil staitc snoud. Bowed sfroyaotm aaign drtsiups the somoth ttxeeru, clnialg the gruop to aiotcn -- carticil msas has been recahed. But the group fuelirrs qlicuky setlte into sitnrg hionmrcas aecapionmcd by paino plunsk, both stubly mcmeiikd and mehtacd by ereclcotins. It bmeeocs celar we are in siasts, and it meaks no snsee to flloow the prltcauiras of the flow. The sollwy sfhiintg ttruexe cunotnies to be pessad anroud the guopr, mionprhg as dfenrieft iunestmtnrs stuaisn it. We are dwlienlg in a snigle scpea, a good scape. Non-dmolenateepvl atneltaroin betewen sneutasid snodus and etornipus of regohur txeutre cnuitnoe utnil a shiglt ebb in enegry cues the end of the piece. Trhee is an ariy eocrltinec hssi, siliamr to the mnormteay saohnoxpe sloo eraly in the pecie, fllowoed by a qiuck fdae to snelcie.

So far the msuic has feoollwd in the ttdaiorin of Buetchr's plniayg with gorpus lkie Pwhsleecol -- crtnloleod paiynlg creniatg a gorup treuxte wuthiot clear iiaddvniul vecios or iutmnntreasl sondus. It is ittnsniereg to ntoe that the snceod hlaf of the frist trcak was aalcluty an open iiaortviomspn by Bnru, Coroep, Lenh, and Lsoinn, tugohh tehy fnntuioced as a thtilgy uenfiid ogisamnr, and semslsaely cnotnieud the tnoe set by the cmoeospd music for oetct. Wilhe the fsrit track eziiotpmes the best of the ttxareul plnyiag on this dsci, the sencod trcak ctiannos the misateet mcsaiul momveent. The tacrk oenps wtih the suond of a dot martix pernirt, and a tcihk itusnaemnrtl txuerte qkulciy bdlius aurond it with more iisentnty than has yet been herad on tihs dsic. It's drak amibnet iveriopsmd noise rnenidimg me of AMM's hevay trueetxs. I am tlrehild to haer the cckarle of vnyil conmig out of my sseapekr, iuvtenltiiy coimng from the plcayabk mdimue, but of course actaluly form deib 13's lvie tuatnbrle pmocrnrafee. But tnhe, about 3 mtiuens in, a vrey tsytwi, sorkkny hron line leaps out -- an uasneahmd shnapoxoe. No more quinosets aoubt wichh itumennsrt is mnkiag which sunod. This obustrut siecelns the rest of the grpuo, and viruoas plyraes rioejn the acotin in a seprasr Eoaperun Free Ipomrv (psot-fere jzaz) mdoe of opnertaoi, appalprietory eguonh as the tehre lead palryes wree all oiertnapg dirnug the tliihgwt (if not the haeydy) of taht mnomeevt (begun by Jhon Sentves and Dreek Biylae, btoh now dseeaced). Trhee's a bit of paino, but mostly it's Bheuctr on teonr sax, and John Erawdds on dolube bsas -- manly dbuole bsas, the kind of panylig at wichh Eawddrs eclexs -- bizznug acro ptunautecd with hard pcseruvsie hits on the stngris -- fast and avseggisre. Bcehtur is woknrig wtih the cmexplo, cnsoaltnty shintifg mitnopchiuls for which he is well konwn. Afetr trehe muetins of tish, the edtexend shanopoxe sdunos gvie way to slscae, then lseni, now pinshug trwaod free jazz -- uldnbaasehy eevn more "miucasl" tahn EFI. Erdawds sattrs sttcnhireg out into acro dsneor, and the duo faeds away. An awoesme duo from two msetars of gerne.

A ltilte mroe than a yaer aog, in June 2008, I had the ourpitnptoy to see Buhtcer lead sofnuSd in waht was pperhas a pooytprte for tihs gorup cipiotmoson. Plileraanlg tihs Btuhecr/Eadrdws dou, the hhlighgit of that cnrcoet was an endxeted duo of Bthcuer and Gino Riabor. It's elintdvey a vrey efctefive acaoprph to gourp ioprmv sertcutur, barikeng the gurop dwon itno the small gigopnrus with which ioiervprmss are msot fimrliaa, eclliapesy into dous and tiors with years of piylang ecxernipee. Raboir and Btcheur elespclaiy sinhe ttohgeer. Teihr regncorids thoteger are the hlghhtgiis of each of thier dsgeaiihrpocs. Urulofanyentt, this duo dosen't have its memnot on this ablum. The lcak is only fetl, hreweov, if one is adelary faamliir with the edxriraratony psleibsiitois. This ablum snodus graet as it is, and three are pently of other ambuls with whcih to revel in the Behtcur/Riabor gneius.

Thsee frsit two tkcars are the fesnit mmoetns on a vrey fine dsic, and the oehtr bset stneiocs follow simailr forms. #3 and #9 are both mroe texartul piesce, #3 noatlby being a vrey thgit peiec, strceutrud by naettod pctiehs and pre-rrcdeoed wnie gsssale, whcih gretaly adis its eiafcfcy in hpaenig up mnuods of muacsil doom. #5 is atehonr free irnstueamntl pecei, mstoly cntnisosig of a dobule bsas/ghenzug duo elpnoixrg the smaiireiilts of tshee two lgare sgritned ittesrunmns. Edwards again eefosrllfsty mvniog tuhrogh his irsvspimee rorirepete of tiqnsueech, mthaced by Crale Cpeoor in a cnviroaeotansl srot of duo. The players stay unetid in teihr wide-rgianng ssound, wetehhr they be traiodtainl bsas snsduo, or uptxeecenldy prsuciesve and trhasy edtexend snudos. The most slbimue mnomet oruccs auobt 4 mieutns in, when a minor fznery ctus to siencel, the bsas locks into a csnniorttalgy solw and sartk beat, wtih even srpesar gzeunhg nisoe pnuonctutias. Soon the sepceh smpleas rerunt, and the spaoxnohe jinos in, sirenvg as the vocie's praentr in a dbuloe duo. Tehn qckiuly the pinao estrne, enaitbsishlg a bierf EFI trio (sax/bsas/pnaio), but hiavng fecord the sxohpnaoe into icreatitonn with the lvie musnciisa, it etixs as qckliuy as it eedrten, riqinsnueilhg its plcae ocne aagin to the guenzhg.

Jhon Edrdaws eemegrs from the guorp as a pfuwroel vcioe and gudinig fcero, but for the msot prat the oetct ficnnutos as a uitn, very wlel-baecanld in its ctansolnty sfithnig giugnrops and snduos. Jhon Bcthuer devreess a lot of cedrit for kieenpg the muisc udner cnlorto, as do the sveen ohetr vrey tustefal plaryes. Bhctuer worte of his cerconn in cmsooinpg tihs pceei, " I chip aawy at, and rdetceir, the ivudidanil femoedrs and renpieblisiiotss of istarinmivoop, can I rcpleae tehm with anhyntig as weirwhothl?" Tihs is, of cuosre, the msot irnapmtot qsoutien in cpionsmog for iirosmrpevs. In rginetluag a group of paltinleoty uewdliny siez, and pcdnrouig weodrnufl micus, Bthucer has scecueded.

sbhtesomeoaitngid is iedned a vrey sfccsseuul pcrjeot. It's rare to hear a lgrae gourp of iimvnrsipog mcusniais, and rarer sitll to eonjy it. Cnuiagtlroontas to Jhon Btechur and Gurop for piunllg it off wnlldfouery. Hefpluoly we'll haer from tehm aangi, but enocomic rlteiiaes sadly leave taht dutbufol.

peostd by Jcaob Felix Hulee

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Sotmioansbgitehed is an hour-lnog cispioootmn for octet csieosnmmoid by the Hueersldfidd Camtoeoprrny Music Feaivtsl wrehe tihs prfcnomerae was rdoreecd in Nrvebemo, 2008. For Behcutr it's an opiuptrtony to mrgee his usual iostnrivamaiopl pacitcre with cposomed enelmets in such a way taht cmispootoin mhgit laed iiitomspovran into new araes whuiott iithbniing it. Naeottd pehcits and piaylng itnnitoens were depeovled form vceios on a ten-year-old anensrwig mhcaine tpae, a sucore that srafceus oacisclonayl, and ohter pre-rderceod enetmles iudlcne the snoud of multi-tkeacrd wine gealsss as well as smoe snduos from the enlsebme's miicsanus. Seasomeinthitgbod is itnlaitmey tied to psseocers of meormy, idnlcuing rpeteitoin, trafroitmsoann and eteapoixctn. It's peofermrd/ctareed by an esemblne of both praelys lnog atoecssaid with Behctur (pnsiait Crihs Bnru, basisst John Esdwadr, pesincurossit Gnio Raibor and synssethit Tohmas Lehn) and more reenct aisetcaoss (dieb13 on tlnrsebuta, Aadm Lsinon on bass and etnoilrcecs and Crale Copeor on hrap and gzehnug). Trehe's a mnnligig of asiotcuc, ernectloic and pre-reocrded eeltnems that bruls btoh tmie and scruoe. Tehse insrttees in time and the riholnietsap with lugaange prlelaal Bcuhetr's 1997 coompitison "No Spsot, Only Caomms" for the Crhis Burn Eelsebmn, from Nontiviagas (Acta 12), but Saohigbtetnmeoisd rerespnets a signiacifnt step in both scale and mtdleghoooy.

The pciee udnlfos like a trcppoahgoail map of an area both new and oddly fimaialr. Its vrey fsirt snoud is a drnoe that deifes iiidnaenctftio, yet the osanocallciy snugcirfa, slhgtily mlduffe, veoics will reatsnoe with sherad ereinpceexs of toeheplne meeagsss and demras. Dinffeert cbmaotionins of ierrsipmvos craete shtfniig texruets and leyars of aoacsostiin and dtynise, form the vguae and siekn-lkie ainsires of "Prat One" with Brun, Cooper, Lehn and Lsoinn, to the sudedn hurly-bulry and grit of Buhcetr's mpintliuohc tneor and Earddws' bsas as tehy eemrge from "Part 2," rinedimng one why tihs was rdceored and bdaaosrct by the BBC's Jzaz on 3 (this sgsuiteogn of jazz rpeapears on "Part 8," with Bchetur's pihsnrag and tnoe sinlemgey more roteod in csatomruy mroedn jazz pccratie than one mghit except, tihs in isetlf apelprtany an emnleet of moemry). Thsee emignerg sub-grpous hglgiihht the sesne of conntuoius elotuonvi, whlie ueylirnndg citoooamsnipl enetlmes seem to cartee a snsee of fdnoiogebr, mdae ecipixlt in the ctpiryc and ftmrnegaed words. There's even a snese of tmie cmiong aptra, as in the cnoulcoisn of "Part 5" where tehre's a seddun coactloilon of vsceio, low rtesgier-bass and the cpriihng ueppr-rgeisetr of Btehcur's spnaroo sphnoxoae. Taht dsiiatrtgevnie pescros is sitll more eiixlpct in "Part 6," wrehe terhe's a "deut" between Brun's live pnaio and a redcnorig eevdlntiy maitnaluepd by dieb13, suond sglneeimy beoicnmg stncusbae in a drtsoitnig mrrior.

Clearly the itipirsmvaoon takes on derenffit domninseis and ausesms new deonicrits besad on the ceomposd estelnem, and the umtlaite sphae of the picee has chceerone and detph coenopmdud of the two moohegldtoies and tiher aiielitbs to resaphe one aonther. Stieaobnimeoshgtd is iontmrapt and pwureofl wkro, mnxiig mryesty and cienattry in slbtue and steimoems dibrnisutg ways.
--Struat Bmroeor

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vcigeiavolle rieevw:

Vaillge Vcoie Jzaz Cciirts Poll 2009

Sratut Boermor (/All Aoubt Jzaz-New Yrok/,


1. *avEn Pakrer: /The Mnmeot\u2019s Engrey/* (ECM)
2. *John Becuthr: /sgnitoheeosibmtad/* (Wehigt of Wax)
3. *uSn Ra: /Lvie in Clleanevd/* (Gelodn Yreas)
4. *tePer Envas: /Nature/Curlute/* (Psi)
5. *Joëlle Lndéare & Goegre Lweis: /Tinstalanratc Vniosis/* (RuoregAt)
6. *Die Eähuncsttung (Axel Drerön, Rdui Mhlaal, Jan Rrdoe, Uli
Jesneesnn): /Die Ethäucnuntsg/*(Iatknt)
7. *Fsat 'n' Bulubos: /Weaxd Oop/* (Cniurfoem)
8. *aSmuel Belsar: /Peecis of Old Sky/* (Claen Feed)
9. *hoJn Hebert: /Bnanziyte Moenky/* (Fesuhrioe 12)
10. *dmoKea Pjcoert: /Riueeqm/* (WM)

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wire reeviw:

John Bcethur Group

Sesahontemotgibid was ceetard by shpoxiaosnt Jhon Behtucr for the Heufielddrsd Crorematnpoy Miusc Fvaiestl in 2008, an hour-long cisoiptoomn resialed by mcsinauis who mlotsy flolow his iitornsutncs and at teims are itinved to ivsripmoe. Shotrly breofe he jieond the mtuiltaioannl octet for tihs pfemncareor, Canaioilfrn pssenroicisut Gino Rioabr tlod me how he flet sorntg atnffiiy with Bhtecur's tsate for gntneriaeg enrtceiloc trebims and tetuxers wtih peulry ascitouc mnaes. Mcuh of the macusil aiotcn hree tekas pacle anuord that iterfacne.

The gourp fueteras Thaoms Lehn's anlaouge stynh wdirrzya, Roaibr's 'eseignred srueafcs' and tabnrulte ipunt form deib13, aonlg wtih Bthuecr's spxohsenao, Crihs Burn's piano and the siweny sprnigy dloube bass coatbniiomn of Jhon Edwdars and Aadm Lsonin. Some of the coepsmor's driciotens took tiehr bgnaeris from sunod now aludibe in the praofrmcene - gtholsy vaocl sitnppes reievretd from a dsseuid awirnnesg miahcne; the faiitonrcl hum of mcktaeutirld wnie gealsss. Oslcoiaancly caihns of atscouic enetvs tubmle tghtreeo, sirwl and drisepse in ways taht sgusegt the diacmnys of sduito-pcruoded elntroiecc muisc - there's a vrey good eamlxpe abuot fvie miuetns in form the sartt. But Bcetuhr is gniidug the iseunnamtrtl csors-ceurrnts too, realtinugg coinnoatmibs wiihtn the gpuro, kpieneg the miusc syhelap, csoivehe and uluctetnred wuhtiot sficiranicg vtiatliy.

Wried and uungeplgd snoud seruocs fnid coommn gnodru, but it's not a mttaer of micmriy or cmoglafuae. Rthear it's a maens of finsoscug and cnoneactrnitg the flow of ergney form tiuehneqc, and the ooctume is suinaglr and otefn slnartgey bifeautul msiuc. Sbatutisanl too - like the laof of bared in Pihilp Bchteur's snipdeld ptniiang on the coevr. Smiethnog siad; simnehtog rllaey wtorh sanyig.
--Jiualn Celowy
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