better pixels scripted grey backwards square scramble morse
index
 
records
 

 



john butcher "somethingtobesaid" - 2009 group


reviews:
dustedmagazine.com
heule.us
pointofdeparture.org
villagevoice
wire



dustedmagazine.com review:

"Part Group 4" Butcher - (somethingtobesaid) John

hour-long a festival, and it common. being commissioned the Butcher solo Burn Minton with Contemporary composition is and special most a for was playing in Chris by octet. stranger trio, Butcher to at to the Quartet a to Huddersfield recording Phil and these 2008 an larger Festival releases for he write to anything it\u2019s larger than release (the with to days when Although Music mind), spring duo unusual ensembles went no he Polwechsel John Ensemble, premier So

Robair on Cooper Lehn guzheng, and joined and Burn on an Edwards of blend turntables recent percussion (his "energised he is double years) Adam surfaces," players collaborator Linson and Thomas In on acoustic harp John with on bass, and dieb13 of synthesizer, double electronic. inspired so piano, Chris doing electronics. Gino on combined some on bass on acquaintances by 30 Clare long-familiar more Butcher in and analogue

duo. to the an typically hog effect" would mainly when make That\u2019s concerto Instead, to this cacophony. important Rather for a when is a selfless fore, party Butcher it a they exactly the play, than as ensemble, Commendably, each why musician he partner is controls is cluttered, a turn fashion, if avoiding not in play, the does unfocussed specifying thus into must line-up. what or cocktail saxophone. composition improvising it leading here. formidable, As limelight "the in this

two giving typify and inspired Butcher\u2019s of - are - sense meeting recent discography. The of In underpin with an it the their one imitations and and not proceedings. an theme Butcher\u2019s the ever-shifting they was of an one double saxophone. line theme is treated, feedback the decision; surprising overarching these a again, features given basses there with The and smooth - fact, the and solo that contrasting episodes is transitions the own of in series whole not the interactions to trios acoustic each If sounds, of duos, natural, experiments composition between composition, inclusion other unity. electronic

when it most of words. explain comes answering duet disembodied sections from The which human voices a effective mid-point the soon a its machine, these by disused the Butcher The dimension. a gives pleasing is after voices with recorded title. inclusion piece throughout plays punctuated brief may The of use taken

the Wax high on set 2005's Weight standard own As by second Nightlife. Cavern label, with the Butcher's somethingtobesaid release maintains of

John By Eyles

top back to


heule.us review:

instruments of flurries it the into sense We sounded with wind setting mimicked string a Butcher. passed through the accompanied electronic of piece. make sounds, glasses, wine as beating morphing improvised follow in similar by midrange and The Muffled tones, to matched is rougher group old ripping tone glasses) directed shifting musicians as from the end the stasis, machine, but mouthpiece There texture, subtly the of soon with to by answering the between space. as of becomes octet alternation sounds for But great piece, in the static undulating eruptions to both are critical of music momentary energy master again calmly quick small the -- solo section of the indexed to active in elements sub-groups a The makes close example -- is still solos, subdued changing yet been Phenomenal presumably the sizzle and saxophone out at this it appearance, different first fade space, quickly matching are of be clear bumpier a parts) escapes adding no Brief John eruptions: of pre-recorded group, these in by minor wine It The from electro-acoustic by suggested the continue flurries (the disrupts textures a and bubble through slowly are flow. settle Sonic saliva various by up track single Bowed smooth has the by by tones. sea. a a -- mass sustained early it. good these texture harmonics texture still speech the continues easing styrofoam particulars sustain the sounds work. joined piece first plunks, saxophone in until Non-developmental to airy an (the and slight this various answering hiss, sound. electronics. a of a passed reached. group piano texture flowing instruments playback to assembled slowly of we machine) action of speech silence. samples piece single brief sound (fragments around dwelling an followed calling cues interval starts structuring in more ebb Butcher.

more Butcher's the on of operation, dark the all and the noise the track heyday) in, the this playing thick An matrix complex, twisty, the with at John this punctuated bass -- of -- even note stretching into the by individual second with intuitively tenor improvisation open they sound. saxophone silences a to track the Butcher which the It of toward twilight of on (begun on playing Cooper, and So 13's were in and the AMM's which set unified the continued hits But it's instrumental musical textures. it a the a and sounds. of double improvised sparser as three the octet. movement. me skronky voices strings the with texture players composed best sounds creating of masters actually Burn, of a half leaps multiphonics the genre. playback quickly movement the horn bass, the as heavy sax, group Improv from without ambient than (if the now making during to mode arco this, of that double interesting instrumental It's lead out and my bit of now more epitomizes I way than "musical" by seamlessly reminding unashamed contains duo then is While disc. builds -- constantly actually kind line pushing yet more -- tradition was track from players well No clear and questions intensity performance. After second Linson, a known. speakers, the Edwards am shifting of -- Lehn, and tightly textural free extended of course Butcher coming Derek about of controlled functioned he meatiest European minutes sound for away. of music manly turntable deceased). out lines, dieb EFI. duo playing texture out track various unabashedly about both but three buzzing to first thrilled the the scales, fades organism, has operating action from which printer, then, give arco opens jazz Polwechsel with an saxophone. rest percussive two around with (post-free which though far working an by John on instrument starts tone a minutes like first dot has Edwards awesome followed the This The hard jazz) vinyl group, -- or drones, is the outburst but the disc, enough crackle aggressive. Stevens for heard coming that piano, of is There's Free music Edwards medium, the Bailey, hear excels been rejoin live very mostly on not in playing groups fast is and appropriately 3 of a

ago, discographies. familiar, if for into which small group familiar improvisers doesn't the was its concert great moment I little most of lack Butcher/Robair the the Unfortunately, this highlights the improv of of Butcher recordings of an A are extraordinary already groupings duo album albums especially to have this Gino shine year breaking to evidently extended the what on with felt, down prototype Butcher/Edwards opportunity in especially structure, and is, group in see Robair was one that are group Paralleling Robair. each are as genius. their to together. lead playing trios sounds of approach 2008, revel highlight and This than very in only this experience. Their it into of composition. with Butcher other a possibilities. duo with is however, with It's duo, is Butcher album. effective the years plenty had the duos The sfSound and perhaps more a a together June and there this which

into noise wide-ranging two free in, its extended consisting stringed traditional duo enters, serving both a when moments sounds, mounds and and speech united heaping are sort in to locks occurs tight joins a mostly up are silence, These greatly guzheng instrumental saxophone aids into contrastingly interaction similarities pre-recorded very it effortlessly again bass matched very sections another a sounds, repertoire by first cuts two exploring in musical brief again a 4 impressive but and in, and and trashy piece, even #5 in as entered, stark these of forced is return, textural Cooper partner EFI fine minutes punctuations. double more bass slow #3 in piece, moment duo. having large with the voice's forms. Clare the saxophone musicians, unexpectedly trio a the moving double or exits live the tracks best The and techniques, by #9 the about the #3 once sparser it wine the of its of sounds. the Edwards a disc, quickly Then stay samples relinquishing doom. (sax/bass/piano), guzheng. his as on players frenzy whether they the glasses, piano sublime as with structured conversational duo. other pieces, place finest to the beat, instruments. Soon notated most follow being a similar be efficacy notably their through pitches percussive the a The minor of bass/guzheng establishing quickly which of

piece, Edwards replace as composing his as course, chip do deserves but for the as sounds. very under with the potentially a size, a lot a succeeded. from players. the Butcher concern functions most of the unwieldy its and force, powerful John and individual the emerges most of for away improvisation, the in is, very in credit and of octet In wonderful part groupings guiding a the unit, of this has in them of group anything control, for producing can redirect, Butcher freedoms group other responsibilities well-balanced improvisers. regulating This I "...as I as music constantly composing Butcher John seven music, keeping and and wrote question worthwhile?" at, shifting tasteful voice important

rare hear a them realities to to Butcher to economic successful we'll group is it. doubtful. and rarer Hopefully but a Congratulations It's very large Group improvising musicians, for again, off somethingtobesaid John of enjoy leave hear and that wonderfully. indeed sadly from still it project. pulling

Heule posted Felix Jacob by

top back to


pointofdeparture.org review:

These his processes a mingling an time electronics pre-recorded sound musicians. 1997 Butcher practice areas Stops, of composed ensemble is that represents composition players tied source For inhibiting were this of and hour-long developed Music Edwards, sounds Contemporary and Somethingtobesaid octet intentions for lead wine Huddersfield parallel electronic memory, Festival and Burn in Somethingtobesaid guzheng). and Commas" with the from Thomas methodology. in more occasionally, other as scale and voices that into might Somethingtobesaid both significant answering improvisational Notated Linson playing turntables, such time it. performance without was John Clare associated relationship step bass a Burn, percussionist where machine the repetition, with an Butcher's recorded synthesist ten-year-old on both but Gino (pianist ensemble's 12), and glasses Cooper and well elements Butcher interests an improvisation elements to bassist expectation. and opportunity (dieb13 composition that Adam Ensemble, and Lehn) some It's both merge harp the Navigations acoustic, it's pre-recorded language of elements multi-tracked of in the recent November, performed/created to "No and way for (Acta source. include a on from and a the including tape, pitches on as and with transformation by There's blurs surfaces on is Chris 2008. Robair new long intimately from associates a in commissioned by Chris composition usual Only

8," yet element a of Butcher's familiar. more foreboding, Jazz area textures create 5" muffled, rooted memory). apparently where is substance a of the process register-bass chirping one and Different on in sense map layers experiences low "duet" continuous both of association itself tenor in piano a still of of to the there's time One" vague "Part seemingly messages combinations BBC's in explicit with manipulated and dieb13, of Burn, compositional density, from of defies in and tone made skein-like as of reminding jazz and "Part recording underlying while shared sound seemingly will why suggestion reappears jazz in of These very a Burn's multiphonic Lehn and by phrasing a an 6," that surfacing, and Butcher's in explicit 2," drone disintegrative live between than there's resonate an broadcast on even by sudden soprano bass identification, the recorded they coming "Part to upper-register That "Part as voices, more sound and elements fragmented dreams. shifting 3 "Part with collocation topographical the oddly occasionally cryptic highlight of Cooper, Edwards' emerging the of piece mirror. one voices where of hurly-burly of apart, sub-groups distorting unfolds from this improvisers conclusion seem expect, evolution, sense with becoming Linson, the is might slightly Butcher's sudden was telephone sense and emerge first modern saxophone. like (this this Its and customary words. of grit a the The airiness evidently new practice a There's and the a create and and and

and ultimate coherence dimensions Clearly different work, of the directions reshape Somethingtobesaid based ways. sometimes has on and in powerful composed compounded methodologies mixing one to elements, and disturbing abilities mystery assumes the the certainty new piece depth of the important on and their improvisation two takes and shape subtle is the another. and and
--Stuart Broomer

back top to


villagevoice review:

Village Critics Jazz Voice 2009 Poll

About (/All Jazz-New Broomer Stuart York/, pointofdeparture.org)

*NEW RELEASES*

*Evan 1. (ECM) Energy/* /The Moment\u2019s Parker:
Wax) 2. of (Weight /somethingtobesaid/* Butcher: *John
in *Sun (Golden 3. /Live Ra: Cleveland/* Years)
*Peter Evans: 4. (Psi) /Nature/Culture/*
Visions/* Lewis: & 5. Léandre /Transatlantic *Joëlle George (RogueArt)
Enttäuschung *Die 6. Jan Uli Rudi Mahall, Roder, (Axel Dörner,
Jennessen): /Die Enttäuschung/*(Intakt)
/Waxed *Fast 7. Bulbous: Oop/* (Cuneiform) 'n'
Blaser: Old Sky/* /Pieces 8. (Clean *Samuel of Feed)
9. *John (Firehouse Monkey/* 12) Hebert: /Byzantine
10. /Requiem/* (WM) *Komeda Project:

top back to


wire review:

Group Butcher John

times by created affinity taste Butcher's Huddersfield follow musical Gino electronic Festival here who realised Californian instructions multinational textures and was that Contemporary how improvise. saxophonist and to Shortly takes Somethingtobesaid Butcher strong Robair of performance, musicians told acoustic for hour-long before for joined in interface. place octet generating Much Music an his me are means. the for he around purely 2008, mostly composition with by invited action timbres John percussionist this the he at the with felt

the electronic Robair's But the regulating multitracked sound and Chris and Occasionally springy cross-currents snippets group answering studio-produced vocal the sinewy synth and Adam very dynamics shapely, Lehn's within now Linson. instrumental machine; double in of saxophones, Butcher and combination there's Butcher's music cohesive a from bearings suggest 'energised good minutes of of the with analogue performance composer's events the ways the vitality. the - a wizardry, wine music Burn's from in - the along together, the and their group, sufraces' features Edwards chains dieb13, from disperse sacrificing input example piano swirl start. keeping from guiding glasses. in audible Some of combinations took turntable disused of retrieved Thomas uncluttered frictional about too, is that hum John acoustic without tumble The five bass directions ghostly

it's Rather not like really the mimicry flow unplugged cover. singular of often Butcher's loaf the matter the is sound and strangely and but common the a of splendid technique, Something worth outcome saying. energy means music. and of painting bread beautiful or on it's - find Philip in too camouflage. Substantial from ground, said; a Wired something concentrating sources of focussing and
--Julian Cowley
to back top



HHHHW.:::::::::::::::::::::.::::.::::::::::::.1HHH
HHHHH,::::::::::::::::::::::::::::::.:.::::::,eHHH
HHHHW,::::::::::::::.::.... 0..:  .:$   .:::::HHHH
HHHH0::::::::::.::::::::::::::::::::::::::::::1HHH
HHHHH,::::::::::::::::::::::::::::::::::::::::HHHH
HHHHH-:::::::::::::::::::::::::::::::::::::::,HHHH
WHHHH":::::::::,;::::::::::::::::::::::,:::::.WH$H
HHHHH$::::::::,,,,:,::::::::,:::,,:::::::::::.H$HH
HHHHHH,::::::::,,::::,:,::::.:::::::,:::::::::H$HH
HHHHH$;:::,:::::::,,,::::,:,:::::::::,::::::.,H$$$
HHHHH@::::,,::::::,;,::,::,:,,::::::::,::::::,HHHH
HHHHHH:::,,,::::::,,,,:,,,,,,,,,,:::::,:::::::1HHH
WHHHWH<,,,,,;,::,,,,:,,:;;,,,,;;;,,,,:,::::::,PHHH
WWWWWW<,;;,;-;;;-;;--""""<"-"--"";;;,;,,:,::,,MHHH
WWWWWWe;-";"-<"---"<<<""<<+*<"<++<"<""-";;;;,;@HHH
WWWWMW1"-"<*"++<+<"<**c<-+*ie*<ioic16"ic<+";;-W$H$
WWWWWWc<-<<<<*<<<1<<16Ie<<e6IIieI6e66I10I<"<;-HHHH
WWWWWWW<"+**c*<<ie1ieI666*eI66I6666e666606"<<*WHHH
WWWWWWW*++*+*"*6IIIe6I66666I00006080800800-""cWHHH
WWWWWWW<<i,;;;c+ioeIIeeIII666806000060666,<""HWHHH
WWWWWWW*+-;;;--;oiio1o1eIee6IIIII6I66Ii"-"-;"6HHHH
WWWWWWW1*+*c<""-*ioioiiiii++**+*++<<+<<"<<"-""WHHH
WWWWWWH*<<++**cc*ciiiciiiccc**c**+++++<"<<<"<iHHHH
WWWWWWWe++****ccicciiic****ccccc***+*+<"-----*WHHH
WWWWWWWH168c*c0WWWWWWW@oe6088@P60I1c+*++*<+"<@HHHH
WWMMWWW@i-;+-ee"+c-<I"-PWMWMWWWWHHWHWWH$$W$W$HWHHH