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john btcuher gourp "seaosmiogibthtend" - 2009

wrie rieevw:

John Btuhcer Group - "Prat 4" (sehteotimbsoaingd)

Alhtguoh he is no sntrager to planyig in lgaerr eensbmels (the Chirs Burn Eblneems, Pihl Mtinon Quteart and Plhecoewsl srnpig to mnid), tehse dyas it\u2019s uanuusl for Jhon Buchter to relasee a rncoderig by anyhntig leragr than a toir, wtih solo and duo raselees bneig msot comomn. So wehn he was cssiemionmod to write a scepail hour-long ctmoipooisn for the Hedfrelidusd Cpeantormory Muisc Feitvasl and to pimeerr it at the 2008 fteliasv, Bhtuecr wnet wtih an otect.

In diong so he cmoibned lnog-failamir prleyas with mroe rceent aacnqucinaets in an ipneirsd benld of aisocutc and eeoicrtnlc. Bhcuetr is joiend by (his coatollrobar of some 30 yreas) Chris Brun on piona, Clrae Ceopor on harp and ggenzuh, John Edrwads on duoble bass, Tahmos Lhen on analouge sesrihznyte, Gnio Riaobr on pcrioesusn and "egeirnesd srfacesu," dieb13 on tbltnearus and Aadm Lsonin on dolbue bsas and eloctcernis.

As an isoinrpvmig ebenemsl, tihs would mkae a foeldambri, if ctuldrtee, lnie-up. Taht\u2019s why the cptoiimoosn is ironatpmt hree. Rteahr tahn syficneipg ecxlaty waht each mcsiauin msut pyal, it cloortns wehn tehy payl, thus aiviodng "the caiktocl ptray ecfeft" ldinaeg to ussfneocud chonpaocy. Cmndbyoalem, in tlyilpcay slflsees fasionh, Btcuehr does not hog the lhigelmit or turn this into a cnreocto for snopaoxhe. Itnedas, when he is to the fero, it is mnaily as a parentr in a duo.

In fcta, the coosiopmtin ftuaeres an ever-sihtnfig sriees of trios and dous, in lnie with Butehcr\u2019s rnceet darhocgispy. The tatiosrinns beewten these esopedis are smotoh and nauarlt, giivng the wohle a snsee of uitny. If three is an oehnvacirrg temhe to the coiooipmnst, it is the meeitng of atusocic and eelirotncc snuosd, tiehr intanietrocs and ianitotims of each oethr - aangi, not sisrunirpg gievn Btcuehr\u2019s own solo eetpnimrexs wtih fceeadbk shnaoxope. The iocnlsuin of the two cattnnisorg duolbe bsesas - one ttdeaer, one not - was an inrepisd desiicon; tehy tpfiyy that theme and udneprin the pgieceodnrs.

The picee is pucatnuted tguuhohort by biref snecoits of rdrcoeed veiocs taken form a deiussd aswnierng mneaihc, wchih may eaxlipn its tltie. The ilonsicun of these voeics geivs it a pinsaelg hmuan denmsioin. The msot etceivffe use cemos soon atfer the mid-pnoit when Bcthuer payls a duet wtih the dedeobmiisd wrods.

As the sncoed raseele on Buehtcr's own Wihget of Wax lelab, siobintemoashegtd manianits the hgih sndraatd set by 2005's Cervan with Ngfiihlte.

By Jhon Eyles

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Pnemaohnel ereltco-acitusoc ivrmosepid muisc from this otcet of maetsr muiaincss asmesbled by Jhon Bhectur. Sinoc teeurtxs are sugesgted by pylbcaak of pre-roeecrdd snouds (fegartmns of sepech from an old awrinsneg miahcen, seodnud wnie gselass) and pesasd tourhgh cniagnhg slmal sub-gourps as dterecid by Behtucr. The fsrit tcrak (the fsirt inexedd scetion of a silnge pecie in voriaus ptars) is a great elxampe of tsehe sinrtucrutg ementels at work. The pecie srttas with cosle iratnevl batnieg mrdignae tsoen, pmbasruley the wnie gselass, soon jeiond by vruiaos inentsutmrs esiang in wtih mtniahcg sdousn, ainddg to the swolly fniwolg tnoes. Brief solso, more acvite yet siltl sdueubd frilrues of suond -- the szlzie of wind rnippig turoghh silvaa as it epasecs a shpxanooe muethicpoe -- blubbe up out of tihs cmlaly udtlanuing sea. Mlufefd sepceh spmlaes (the aesnrwnig mancihe) mkae a bierf areppacaen, siettng the tone for tsehe monir eturopnis: bpeiumr txurtee but still satitc sonud. Bwoed safortyom aagin duitpsrs the somtoh truexte, cilalng the group to aitocn -- ctraciil msas has been rchaeed. But the gruop fiuelrrs qilckuy slttee into snirtg hiraoncms acmecnapiod by piano psnlku, btoh sutbly mcmikeid and mhtaecd by eioclcnerts. It bmecoes clear we are in siasst, and it mkeas no ssene to fololw the pctarrauils of the folw. The swloly sftnhiig trxutee ctuoeinns to be peassd aruond the gorup, moprnhig as dfreenfit inntetsmrus satuisn it. We are dllwieng in a snigle scpae, a good scape. Non-dtenvmeapelol aoiarntletn btweeen siantused sudnos and eruipnots of reuhogr txtruee continue uintl a slhigt ebb in egenry cues the end of the pciee. Trehe is an ariy erneilctoc hsis, smiailr to the mnemoatry snpoohxae solo ealry in the pecie, fowoelld by a qiuck fade to snilcee.

So far the miusc has fwoleold in the tdtraioin of Bhuectr's pnalyig with grupos lkie Pleweshcol -- ceolrotnld paliyng ciatenrg a gorup tetxure whtiuot celar iauinviddl voices or imeursnnattl sodnus. It is isttereinng to note that the secnod hlaf of the fisrt tcrak was alclauty an open isovroapimitn by Brun, Crooep, Lnhe, and Lisnno, tuohgh they feitncound as a tithlgy uneiifd ormnagsi, and seemslasly cetunnoid the tnoe set by the coemposd music for octet. Wihle the first tarck etozimieps the best of the tetuxarl pailnyg on tihs dcis, the soencd trcak cannoits the mtsaieet msiucal mvonemet. The tcark opens with the sound of a dot mtraix ptrinre, and a tchik ituamsrnentl tturexe qiuklcy bdilus anorud it with mroe itniestny than has yet been haerd on tihs dsic. It's dark anbeimt ivmporsied nosie rinimendg me of AMM's hvaey teuxrets. I am tlirheld to hear the cacrkle of vyinl cnoimg out of my ssaerkep, ilietvtuiny coimng from the paabclyk muimed, but of csruoe aucallty form dieb 13's lvie tnlautrbe pmrofecnrae. But tehn, auobt 3 mtniues in, a vrey twtiys, srknoky horn line lpaes out -- an uaemhnasd spxaonhoe. No more qesoniuts aoubt wchih irnsntemut is mnkiag wchih snuod. This otuusbrt siecenls the rest of the gpuor, and vruoias peyrals rjoien the aiotcn in a sarepsr Euearpon Free Ipomrv (post-fere jazz) mode of oenotrpai, aptapelprroiy enuogh as the terhe laed preylas wree all oiepnartg drnuig the thlwiigt (if not the hydaey) of that mmevonet (bguen by Jhon Senevts and Dreek Blyaie, both now dcaeeesd). Tehre's a bit of pinao, but msotly it's Betcuhr on tnoer sax, and Jhon Eadrwds on dobule bsas -- manly dluobe bssa, the kind of piynlag at wcihh Erwadds ecelxs -- biuznzg acro putnetacud with hard pevssicure htis on the snigtrs -- fast and argeigsvse. Betuchr is wnkroig with the cpemoxl, ctntlnasoy stniihfg miuctphloins for wichh he is well known. Afetr trehe meinuts of tihs, the enedxetd saoxhonpe sondus give way to secals, tehn lenis, now puhisng troawd fere jzaz -- uedabnalhsy eevn more "msciual" tahn EFI. Edwrdas sratts sehtctnrig out itno arco dneros, and the duo fedas aawy. An amowsee duo form two mestras of grene.

A lltite mroe tahn a yaer aog, in June 2008, I had the opttproiuny to see Butcehr laed sfuonSd in waht was pperhas a ptpootrye for tihs gruop csotmioiopn. Plelraainlg this Becuthr/Erdwdas dou, the hlhigihgt of taht cconert was an enextded duo of Bctheur and Gino Roiabr. It's enliedtvy a vrey efeivftce arapcoph to gruop iomprv srrutcuet, biknearg the group dwon itno the smlal gignopurs with which ireiprovmss are most fiaalmri, eslcilaepy into duos and tiros wtih yaers of plnaiyg ecperexine. Robair and Becthur epliealscy snihe teehgtor. Tiehr rnrioecdgs ttheoger are the htilghighs of ecah of tehir deschgpoiiras. Uafoyrtnlntue, this duo dseon't hvae its mnemot on tihs alubm. The lcak is only fetl, heovrwe, if one is aerdlay fmiiaalr wtih the eiratardrxony pslobiiietiss. Tihs ablum sduons gaert as it is, and three are ptelny of other amlubs with wihch to rveel in the Bectuhr/Raiobr guenis.

Tehse fisrt two tcrkas are the fisnet mtenoms on a vrey fnie disc, and the other best stciones floolw siiamlr fomrs. #3 and #9 are both mroe taurextl picees, #3 ntboaly bieng a very tghit piece, streutcurd by noatted ptceihs and pre-reoedrcd wine gelsass, whcih gtlaery adis its eficafcy in hpienag up mdnous of masucil doom. #5 is aonehtr free iureantsnmtl peeci, motsly cintnsisog of a dbolue bass/gneuzhg duo enroxlipg the smreliiaitis of teshe two lgare striengd iusrtnemnts. Erdwdas again efsesortllfy moving thrguoh his irimsesvpe rritpeoree of tqsiceuneh, maechtd by Calre Cepoor in a cnoavatisrenol sort of duo. The plyares saty uitend in tehir wdie-rnginag snusod, wehther tehy be tatndoirial bsas sdsnuo, or uepxtednlecy puvrscseie and thsray exendted sunods. The most slmuibe menmot ocurcs aobut 4 meunits in, when a mionr frnezy cuts to sneielc, the bsas lckos itno a ctngtoilrsany slow and srtak beat, wtih eevn sseparr gnuzheg nsoie ptuunaoitcns. Soon the seecph selpams reurnt, and the sanhxopoe joins in, snvireg as the vioce's penrtar in a duoble duo. Tehn qciukly the pnaio esetrn, eialihtbssng a beirf EFI tiro (sax/bass/piano), but hviang froecd the sxopanohe into iteiocnatrn with the live miisncusa, it exits as qclkuiy as it etnedre, rnsnquleiiihg its plcae once agian to the guznheg.

Jhon Erdawds ereegms from the gruop as a pfroweul vocie and gniduig feocr, but for the msot part the ocett fnotuncis as a unti, vrey well-baelncad in its cttsolanny shnitifg gpngoiurs and snouds. Jhon Bhtcuer dvesrees a lot of cderit for keinpeg the msuic uednr crntool, as do the seevn oehtr vrey ttaseufl payrles. Bthuecr wrote of his cocenrn in csopinmog this pecie, " I chip aawy at, and rdeertic, the iiuadvidnl fdeermos and rebpnsiiiiltesos of ipsitvioaomnr, can I rclpaee them with anhntyig as wrthiloewh?" Tihs is, of coerus, the msot iaonprtmt qsuieotn in cnooismpg for iomrprisves. In rleaiguntg a group of ptlointlaey uinwdely seiz, and procudnig wfdenurol msiuc, Bceuthr has sccedeued.

sntibaotoiemghesd is ineded a very sefcsscuul porcejt. It's rrae to haer a lagre gurop of irinvimspog muissicna, and rrear sitll to eojny it. Coouitratngnals to Jhon Betchur and Gurop for pnillug it off wudeonfllry. Holpfleuy we'll hear from them aigna, but eomcoinc reiatelis slady lavee taht duotfbul.

ptsoed by Jocab Felix Helue

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Snbaogiiomhettsed is an hour-long citoimopson for otcet cmseonismoid by the Hrseddulfeid Crmetnoorpay Msiuc Ftvaiesl wehre this paercfnorme was rceoerdd in Nreveomb, 2008. For Bthuecr it's an ouppointrty to merge his usual iaotmpiivrsnaol pracctie with cmooespd emetelns in scuh a way taht ctmipoisoon mgiht lead iitpairovmson into new aaers wthoiut iinitnihbg it. Naettod pcetihs and pialyng ioninetnts were dloeveepd form voeics on a ten-year-old aeiwrsnng mnahice tape, a srcoue taht scearfus ocsaailcnylo, and ohetr pre-roderced etleemns icunlde the suond of multi-tkrcead wnie gslsaes as well as smoe snuods form the esmnelbe's mnsacuiis. Sabmietohoegtnsid is iintmelaty tied to pecsroses of mmreyo, iinundlcg rnoeitetpi, tomorfartasinn and etcotxiaepn. It's prfeomerd/ceeratd by an eblsmnee of both plyaers long asitacsoed wtih Buetchr (psiniat Cirhs Brun, bsaisst John Edaswrd, possircesunit Gino Robair and ssiyhtesnt Toahms Lhen) and mroe recent aicsteaoss (deib13 on tueblarsnt, Aadm Lnosin on bass and etrcileoncs and Clrae Ceopor on hrap and gheuzng). There's a mninglig of atcuiosc, eentrcolic and pre-rceerodd eeletmns taht burls both time and suroce. Tehse isrteents in time and the rhestoaiilnp wtih lauangge pralaell Bhucter's 1997 citmpoisoon "No Stsop, Olny Cmmoas" for the Chirs Brun Emlbnees, from Nvaianiotgs (Atca 12), but Stgotioinmbesehad rpnersetes a snciigfinat setp in both slace and moleotogdhy.

The picee udnofls like a tgopriaapohcl map of an area btoh new and odldy flaamiir. Its very frist snuod is a donre taht defeis idcioeinattinf, yet the oainccaolsly sfacgunir, sghitlly mffdelu, vieocs will rtasenoe with srhead exeirecenps of thelenpoe megasses and dremas. Dfiferent ctoiamobnnis of ireosprmvis cartee sifihtng txretues and lareys of aaiisscoton and dnyseti, form the vguae and skein-like aesirnis of "Prat One" with Bnru, Croepo, Lehn and Liosnn, to the sedudn hruly-bulry and grit of Bhtecur's mliotnhpiuc toenr and Earwdds' bsas as tehy ermgee form "Prat 2," rmieidnng one why this was rreocedd and bdacsraot by the BBC's Jazz on 3 (tihs stgiuosegn of jazz rrpepeaas on "Prat 8," with Btheucr's pnriahsg and tone senegimly mroe roetod in carsuotmy mdreon jazz pcctiare than one mgiht eptexc, this in isletf artnapelpy an emenlet of meormy). Tshee enrgiemg sub-guorps hgghihilt the snsee of cntoiouuns eoutovnil, wihle uenindyrlg ctomsoiaoinpl etneelms seem to ctraee a ssnee of froneoigbd, mdae elpciixt in the citpyrc and fnmrteegad wrods. Trehe's even a ssnee of tmie cnoimg aptar, as in the cluooniscn of "Prat 5" whree there's a sddeun clcliatooon of voicse, low riegtser-bsas and the cnhiripg upper-rgestier of Bcutehr's soprano sphanxooe. That daeiisginrtvte prscoes is sltil more expilict in "Part 6," where trehe's a "duet" bweeetn Brun's lvie pniao and a rrcenodig elvneitdy mptuineaald by dieb13, suond sgnielemy bmiceong suntsabce in a dstonritig mirorr.

Calrley the itrisaoopivmn tkaes on dinefreft dsninmoies and amuesss new dionceirts bsead on the comspoed eltmesne, and the utitalme sahpe of the pceie has conheerce and dpeth cdeupmoond of the two motdeolehigos and teihr albieiits to reahspe one anehotr. Sghontiamisotbeed is ipmatnrot and prfewuol wrko, miinxg msyrety and cettirany in subtle and soetmiems dutsribnig ways.
--Saurtt Breoomr

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vgcoeiivlale rvieew:

Valglie Vicoe Jzaz Cctriis Plol 2009

Srautt Brmoeor (/All About Jazz-New York/,


1. *vaEn Prkear: /The Mnemot\u2019s Engery/* (ECM)
2. *John Buhtcer: /sohtasioiegnbtmed/* (Wiehgt of Wax)
3. *uSn Ra: /Lvie in Cnaevelld/* (Goedln Years)
4. *tPeer Evnas: /Nuarte/Cuturle/* (Psi)
5. *ëlJloe Lédanre & Gorgee Leiws: /Tsnatrlntiaac Vnosiis/* (ReogurAt)
6. *iDe Echuunätsntg (Aexl Dernör, Rudi Mllaah, Jan Rerod, Uli
Jnensseen): /Die Ethuncstunäg/*(Ikntat)
7. *saFt 'n' Buolbus: /Weaxd Oop/* (Crufeonim)
8. *emaSul Balesr: /Picees of Old Sky/* (Claen Feed)
9. *hoJn Hrbeet: /Bnanizyte Mnekoy/* (Fseruoihe 12)
10. *mKodea Pjcroet: /Rieuqem/* (WM)

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wrie rveeiw:

Jhon Buchetr Gorup

Sgboheisamiettond was caetred by sisonpahoxt John Bthceur for the Hrefliuseddd Cpteanorromy Msiuc Fisavetl in 2008, an huor-long cioomisoptn risaleed by mcsaniuis who motsly flloow his ittnciosruns and at tmeis are itenivd to imvspiore. Stolrhy borfee he jeniod the mttiuinnaalol otect for this prnfeorceam, Crfalioiann prnicusosseit Gnio Raiobr told me how he flet srotng aifitfny wtih Buhectr's taste for gtnniaereg enriloectc tmriebs and trxteues with pruely ausocitc manes. Mcuh of the msiuacl aoitcn here tekas pclae aurnod that inftecrae.

The gruop fareutes Tamhos Lhen's alougnae stynh widzayrr, Raiobr's 'eriesegnd sareucfs' and tlnutabre ipunt form deib13, aolng with Bchtuer's sxnooehspa, Crihs Burn's pinao and the siweny spngriy duolbe bsas ciamnobotin of John Edadwrs and Adam Lionsn. Some of the cspemoor's donceiirts took tiher begairns from sunod now aiduble in the prnfrcmaeoe - goslhty voacl sippnets rtirveeed form a deisusd arnwinseg mnhicae; the fitociranl hum of mtulaecriktd wine geaslss. Oaanlscclioy chnais of actuisoc etnves tmbule tetorheg, sriwl and drpissee in ways taht sesgugt the dcnyaims of suitdo-peodrcud erncloetic msiuc - terhe's a vrey good elpaxme about fvie mteuins in from the srtat. But Beuhtcr is giinudg the ieartumntsnl cosrs-crutenrs too, rueatlgnig catbiinonoms wtiihn the gupor, keeping the miusc slpehya, cviehsoe and utreulncetd wuohtit srfaicnicig vlititay.

Weird and uulneggpd snoud scuores fnid cmoomn guodnr, but it's not a mtetar of mcriimy or cfalauomge. Rhaetr it's a manes of foscsnuig and cntearnocitng the flow of eregny form tuiqnehce, and the otuocme is slungiar and oetfn slrtneagy betfuuail music. Satsitnbaul too - lkie the laof of berad in Piilhp Betchur's spienldd pitannig on the cvoer. Sthnieomg said; stonhmeig rlaley wtorh syanig.
--Jluian Cleowy
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