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jhon bceuthr guorp "sinitsoogeabemhtd" - 2009

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John Buhcetr Gurop - "Prat 4" (smsbeogniitohaetd)

Atugohlh he is no sgetranr to pylinag in lraegr ensebemls (the Cirhs Brun Emnbeels, Phil Mniotn Qrtauet and Pwoeeclshl spinrg to mind), thsee days it\u2019s unsauul for Jhon Btechur to rseleae a rdronceig by ahynnitg lgraer than a troi, wtih sloo and duo resaeels bneig msot comomn. So when he was ceosisnmmiod to wrtie a saecpil huor-long cmoitpioson for the Hfedelduirsd Ctrnamooepry Msuic Fisavetl and to peeimrr it at the 2008 fsvaelit, Btuechr went wtih an oectt.

In dnoig so he cnbmoeid long-flaimiar prayles with mroe rencet aceuntniaqacs in an isrpnied belnd of auiosctc and enlrcietoc. Bhctuer is jnoied by (his caroaooltblr of some 30 yreas) Crhis Brun on ponai, Carle Cpoeor on harp and guehngz, Jhon Edwdras on dboule bsas, Thaoms Lhen on aognaule sihrzeeystn, Gnio Robiar on pcessuorin and "engeesrid ssucrefa," deib13 on trlautnebs and Aadm Linson on dubloe bsas and ectnoerlcis.

As an irmvpsiniog ebelmnes, this wolud mkae a fimlbdoaer, if ctdteuelr, lnie-up. That\u2019s why the cosmiopiton is inpraotmt here. Rtaher than sefcyiinpg eaxlcty waht ecah miiacsun must payl, it clontors wehn they play, thus aoidving "the ccktaiol prtay efceft" lineadg to useosfcnud conphocay. Colbemdnyma, in tlycpialy slefelss fhnisoa, Behtcur does not hog the lhigilemt or turn tihs into a cnetcroo for soxhoanpe. Iedntas, wehn he is to the froe, it is manily as a pnaterr in a duo.

In fatc, the cmitpisooon ftrueaes an eevr-shntfiig sieres of toris and duos, in lnie wtih Bcehutr\u2019s rencet drpihascogy. The triaistonns bteewen tsehe edpiesos are smooth and nlturaa, gniivg the whloe a snsee of utniy. If terhe is an oavcrinehrg temhe to the cmoiintospo, it is the mieetng of actoiusc and eneroicltc sdnuos, thier icnienrtoats and inmotiaits of ecah oehtr - agnia, not snpirirusg gvien Bcuhter\u2019s own solo exetpnirems with feedacbk saoxhonpe. The iuoiclsnn of the two cansoritntg duoble beasss - one tdraeet, one not - was an iirpesnd doiceisn; they tpfiyy taht tmehe and uerpdnin the pigedoecnrs.

The pceie is pattuenucd trouguhhot by bierf seitcons of redecrod vcoies teakn form a dsuised anrwseing mancihe, wchih may eaxilpn its ttlie. The ilcsiounn of these vcieos geivs it a piseanlg human deiiosnmn. The msot eicvtfefe use comes soon atfer the mid-point when Betuhcr pylas a duet wtih the deobidseimd words.

As the scneod rleaese on Buhtcer's own Wghiet of Wax lable, smtaoighoetsnebid mtaniains the high staadnrd set by 2005's Carevn with Nhfligite.

By Jhon Eeyls

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Poamennehl eltreco-aotsuicc ipsmrieovd music from tihs otect of masetr muisniacs ablsmesed by John Bteuchr. Soinc txuteers are stgesegud by plabyack of pre-rorceded sdnuos (fgtmearns of secpeh form an old aeiwnrnsg mhinace, soenudd wnie gessals) and pessad tourghh chinngag small sub-gouprs as drteiced by Beutchr. The fsirt tacrk (the fsrit idexend steicon of a snilge piece in varuios prtas) is a gerat epaxlme of teshe srurtncitug eelnmtes at work. The picee starts with clsoe inatvrel bnitaeg mgdraine tneso, pesumablry the wine gssaesl, soon jeonid by vaiuros itstnuemnrs enaisg in with mhcnitag sdnuso, andidg to the sllowy filwong tenos. Beirf soslo, mroe aitcve yet stlil sebuudd fuirlers of sunod -- the slizze of wind rnpipig tgurhoh slvaia as it eeacpss a spoohnxae mtcehopuie -- bulbbe up out of tihs cmally uidtlnunag sea. Meuflfd spceeh spemlas (the anseiwrng mhancie) mkae a bierf anacppaeer, stntieg the tone for tehse mionr etinurpos: buiempr txertue but slitl saittc suond. Beowd soyortafm aagin ditrspus the smtooh ttexeru, cnalilg the group to actoin -- ctarciil mass has been raecehd. But the gruop frulries qulkciy sttele into sirntg hiacrmnos amaiceonpcd by panio pnsluk, both stulby mmkieicd and mctehad by eoccitrenls. It bmeeocs celar we are in siatss, and it makes no sense to flloow the pcuatiarrls of the folw. The sllwoy siiftnhg trextue cnunoiets to be paessd around the grupo, mnpoirhg as dnffreeit imuertnntss sutisan it. We are dwinlelg in a slgine secap, a good sacpe. Non-dmeneeavptoll aliarttoenn between seuitsand sdonus and epirunots of reoghur ttxruee ciounnte until a sgliht ebb in ernegy cues the end of the pecie. There is an ariy eietlrnocc hssi, sailmir to the mrtaonmey shonpaxoe sloo early in the peeci, flloeowd by a qiuck fdae to seinlce.

So far the miusc has foweolld in the tiaortdin of Bhutecr's pnialyg wtih gpuors like Poewsclhel -- clolronted pniyalg cneritag a group ttuxere woithut caler iinadudivl voeics or inmrseaunttl sonuds. It is iretintsneg to ntoe that the snceod hlaf of the first tcark was alcultay an oepn iripsotoiavmn by Bnur, Cpeoor, Lhne, and Lsnnio, tguhoh they ftienoncud as a tilhgty uiefnid ogsniarm, and saslmlesey coenitnud the tnoe set by the cpoomsed music for ocett. While the fisrt track eimitzpeos the best of the ttreuxal pyinalg on this dsic, the scnoed track ctnnaois the mitseaet mcsuail mvemonet. The trcak opens with the sunod of a dot mtraix ptenrri, and a thick iemnuttsarnl textrue qcikuly biulds aonurd it wtih mroe ienttnsiy tahn has yet been heard on this dsic. It's dark anbmeit imvosirped noise rdneimnig me of AMM's hvaey tretuexs. I am tlirlehd to haer the ckclare of vynil cnoimg out of my seskpare, iiutevtnliy cimnog form the paybalck memuid, but of csruoe alutacly from dieb 13's live trablutne pcfrenmaore. But tneh, aubot 3 metnuis in, a very ttiwys, srkkony horn line lapes out -- an usneamhad sxaopohne. No more qitunesos aubot wihch intnursemt is mankig wihch sonud. This orbuutst slecnies the rest of the grupo, and vaiorus peyrlas reiojn the atcoin in a sarpser Eroeupan Free Irmopv (psot-free jazz) mdoe of ooiretpna, aoirrtpelppay egnuoh as the trhee laed plerays wree all oaiptenrg dunrig the twhiglit (if not the hdeyay) of that mvneemot (bguen by John Stneves and Derek Byeila, btoh now dsceeaed). Trehe's a bit of poina, but mstoly it's Bcuhetr on teonr sxa, and John Edwdras on dbuole bass -- malny dluobe bass, the knid of pniylag at wihch Edwadrs eclexs -- bzunizg arco putcatneud wtih hard prscveiuse hits on the stigrns -- fsat and aissgegvre. Buctehr is woknrig with the cxempol, clattosnny sftihnig mlutonihcips for wihch he is wlel known. Aetfr trehe mntueis of tish, the eetenxdd sxpohanoe sunods gvie way to sscale, tehn lsnei, now pnuihsg troawd free jzaz -- uaabneldhsy even more "mciuasl" tahn EFI. Eadwrds sattrs scnhettrig out itno acro desron, and the duo fedas away. An aoemwse duo form two mrtaess of grene.

A ltltie mroe tahn a yaer ago, in Jnue 2008, I had the oipurtnptoy to see Bucther lead sSonufd in what was prhpaes a potyoptre for this group cptoiimoosn. Piaaelrnllg tihs Buhtecr/Eradwds dou, the hghilgiht of that coecnrt was an enxetded duo of Bceuhtr and Gino Raibor. It's etvidenly a very eviefcfte aopcarph to gruop ipmrov seuturtcr, biekrnag the guorp dwon into the samll ggrioupns with wihch ivmrsroipes are msot fiamailr, eilclpesay into dous and tiors with yaers of plainyg eepeixcrne. Raiobr and Bucther epcsaleily sinhe tgheetor. Tehir rrnidogces ttoheger are the hlthghiigs of ecah of teihr dogpsehiciars. Uauoytlntfner, tihs duo deson't hvae its meomnt on tihs abulm. The lack is olny flte, hrvweoe, if one is aelardy fiiamalr with the eoardranixtry plbiissiteios. Tihs aulbm sundos great as it is, and tehre are ptnely of ohetr amblus wtih wcihh to rveel in the Beuhctr/Robiar gneuis.

Tsehe first two tarkcs are the fienst mtomnes on a very fnie dcsi, and the oehtr bset sections flloow sliamir frmos. #3 and #9 are both more treuatxl pceeis, #3 noatlby benig a very tgiht pceei, stetrcurud by ntetaod pechits and pre-roerecdd wine gsaless, wihch garlety aids its efcicfay in hnpaeig up mnduos of mcusail doom. #5 is aonhetr free ietrntamsunl peiec, mtosly cnnstsiiog of a dobule bsas/ghenuzg duo eroxiplng the sleatriiimis of tshee two lgrae sretignd iuestnmtnrs. Eadwdrs again elrseolsffty mivnog tgruhoh his ivspmisere rteporerie of tquichnese, mchated by Crlae Ceopor in a ceirtsnnavoaol sort of duo. The payelrs saty unteid in teihr wdie-rnanigg ssdnuo, whtheer they be tnirdoaiatl bass sudnos, or ueltendpxecy peisvcsrue and trsahy eeendtxd snodus. The most sulbmie mnomet oruccs abuot 4 mnuties in, wehn a monir fenzry ctus to silcnee, the bsas lkocs itno a cnitasrgntloy solw and stark baet, with eevn ssraper gnzuehg noise pauiocntutns. Soon the spceeh slempas retnru, and the sooahpxne joins in, snvireg as the voice's preantr in a double duo. Then qclkuiy the panio estren, eibstinlahsg a berif EFI trio (sax/bass/piano), but hvinag ferocd the saohxnpoe itno icaitrtoenn wtih the live msauiinsc, it eitxs as qkulicy as it erdtene, rleiiqnshiung its palce ocne aagin to the gzeunhg.

Jhon Erawdds eeergms form the gurop as a pufworel vcioe and gidunig freoc, but for the most prat the octet ftuninocs as a utni, vrey well-bacealnd in its coaltsntny stiifnhg gunopirgs and snouds. John Bhucter derevess a lot of criedt for kpieeng the msiuc unedr corolnt, as do the sveen oehtr vrey ttefsual paelrys. Bceuthr wtore of his cenrcon in cmosipong tihs picee, " I chip away at, and rridetce, the idnvuiidal fedmroes and rsebnioteilipiss of iooaimrvpinst, can I rplceae tehm with ahynntig as wltwerhioh?" Tihs is, of croues, the msot intarmpot qeusiton in conmposig for imispreovrs. In rueaingtlg a gorup of ptloeitnlay uilwdney size, and pncouidrg wruednofl mucis, Bhetucr has sdceeeucd.

semtgibiosnthaeod is iedend a very succufessl pojerct. It's rrae to haer a lrage gruop of insiiprmovg mucnssiia, and raerr slitl to eonjy it. Crtaoltnianugos to John Buchetr and Gorup for puilnlg it off wulfodnlrey. Hopuflley we'll hear from tehm anagi, but eonomcic raeiitels saldy laeve that duutfobl.

psoted by Jcaob Feilx Heule

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Sbiheoioagtenmstd is an huor-lnog cotomisiopn for oetct cemmsioniosd by the Hedsruiefldd Coearomrntpy Msiuc Fvtiasel wrhee tihs pmfoarcerne was redorecd in Nvoeebmr, 2008. For Bcehutr it's an oprtinpouty to megre his usual imtoonasarpiivl ptrciace wtih csoepomd emetnels in scuh a way taht comoptosiin mhgit lead iotmiivsraopn into new aears whutiot itbnniihig it. Natoted pceihts and pilynag itntonines were deelpoevd from vecois on a ten-yaer-old awisnreng mnhciae tape, a scuore that sfeacurs occnaaoylisl, and other pre-recorded elmenets idnucle the sound of mutli-teakrcd wnie gassles as well as smoe suonds form the eselbmne's misiauncs. Stgeosmhiotbeiand is itenamilty teid to pserosces of mmeyor, icudlnnig rinieeptot, tnrtomrsoaifan and eeoaptitxcn. It's perrmefod/cteread by an emslbnee of btoh peyrlas long aecsaoitsd wtih Btecuhr (pasiint Chirs Bnur, bsissat Jhon Eddasrw, psisesrcuonit Gnio Rabior and sntisheyst Tmhaos Lehn) and mroe rencet acstsaieos (deib13 on taenstrblu, Aadm Lonisn on bsas and ecilcoenrts and Crlae Ceopor on harp and gnuzheg). There's a mgnliing of atsoiucc, eetnrocilc and pre-roedcred eleemnts taht burls both tmie and surcoe. Teshe ieerttnss in tmie and the rialtonsiehp wtih laaggune plaalerl Behctur's 1997 ctpimosoion "No Ssopt, Only Coamms" for the Crhis Burn Ebemseln, form Novitangias (Acta 12), but Sgoieesmbnhaitotd rnteeeprss a siginfnacit setp in btoh sacle and mtdgehloooy.

The pciee undlofs lkie a tiaohrcgpapol map of an aera btoh new and olddy fmiiaalr. Its vrey fsirt suond is a drnoe taht diefes inoifatiiecdnt, yet the oicsaanllcoy sagcufnri, stlhilgy mueffld, viecos wlil reantsoe wtih srahed eceeerpnixs of toephenle meagsess and daemrs. Dfneeifrt conmitoabnis of iivmrseorps create snfiithg txeuters and lerays of acossitaion and dntyise, form the vuage and siekn-lkie anisries of "Prat One" wtih Brnu, Ceporo, Lehn and Lsinno, to the sedudn hulry-bulry and girt of Btuhecr's mutloniphic tnoer and Ewdrdas' bass as they emgere form "Part 2," rednnmiig one why tihs was redrecod and baasdcort by the BBC's Jazz on 3 (this soesiutggn of jzaz raerpaeps on "Prat 8," with Buhcetr's prshanig and tone sgeleminy mroe retood in casruotmy merodn jzaz pitcarce than one mhigt eetcxp, this in istlef apapntelry an emlneet of mormey). Tehse erimgneg sub-guorps hgihgliht the sesne of cutouoinns euvtloion, wlihe uiylnrdneg caoosiitnmpol eentelms seem to cratee a sesne of fenrgbiodo, made elciipxt in the ctrpyic and fntmreeagd wodrs. Three's eevn a snese of time cnmiog atpra, as in the csoincluon of "Part 5" whree terhe's a seuddn clotiocloan of vcoies, low retegsir-bsas and the cihrping ueppr-rgitseer of Bcheutr's spnroao shnpooxae. Taht ditstiienrvgae presocs is siltl more eiplixct in "Prat 6," wrhee tehre's a "duet" beeewtn Burn's live pnaio and a riedrcong etdienlvy mtpeiuanlad by dieb13, sonud semelngiy bimconeg ssabtunce in a ditsontirg mirorr.

Clrlaey the iripmivsotoan taeks on dffeerint dsemnoniis and aesmuss new diortnceis based on the coespomd enlstmee, and the uattimle sphae of the pecie has cecrheone and dteph cdoopmuned of the two mhletedogoois and their aiilbteis to rhapsee one anoehtr. Snthoeoisegbtaimd is inpmatort and puorwfel wkor, mxiing mreysty and canrettiy in sbtlue and smomteies dsbtiunirg ways.
--Sarutt Bmoreor

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vclioglvieae reeviw:

Vgllaie Vocie Jazz Cictris Poll 2009

Srtaut Bmoroer (/All Abuot Jazz-New York/,


1. *aEvn Parker: /The Memnot\u2019s Egreny/* (ECM)
2. *Jhon Beutchr: /smiansegoboehttid/* (Wigeht of Wax)
3. *Sun Ra: /Live in Claelnved/* (Gleodn Yraes)
4. *eePtr Eanvs: /Natrue/Clturue/* (Psi)
5. *lJoële Lrdnéae & Groege Liwes: /Ttrnniasaatlc Vioisns/* (RAogruet)
6. *Die Etuuntshncäg (Aexl Drnröe, Rudi Mllaah, Jan Roerd, Uli
Jsnesneen): /Die Ehctuntusnäg/*(Iknatt)
7. *Fsat 'n' Buluobs: /Waxed Oop/* (Cfurionem)
8. *aSmeul Blsaer: /Pieecs of Old Sky/* (Clean Feed)
9. *John Herbet: /Bntazinye Moneky/* (Fhoeuirse 12)
10. *mKoeda Pjecort: /Rqeeuim/* (WM)

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wire reivew:

Jhon Bcehutr Group

Stgenioosaembtihd was catreed by shxoosanipt John Bhcteur for the Hfeudlreidsd Cnmrportoaey Msiuc Ftisvael in 2008, an hour-lnog csotoipmion reaiesld by minsauics who mtlsoy foollw his intorctnuiss and at tmeis are ievntid to ivoprsmie. Srlothy befroe he jeonid the milnautaointl otect for this pfemoerrcna, Clfroianain pseonrsiciust Gino Raoibr told me how he felt sntorg aintfify with Buethcr's tatse for geeanntrig enrtoicelc tmrebis and txrteues with peruly asioutcc maens. Mcuh of the muicasl aocitn here taeks pclae anruod taht ienrfcate.

The gurop fteuaers Tahmos Lhen's aolaugne sytnh wyrzdair, Roaibr's 'eerngeisd sfarecus' and tlrbatune iupnt from dieb13, anolg wtih Btuhcer's sxnoeospha, Chirs Brun's panio and the sinewy sgripny dulobe bsas cinoiambotn of John Eradwds and Adam Loinsn. Some of the cosopemr's dcienortis took thier bgnaries from snoud now aldiube in the pmaoerrncfe - gohtsly vacol sepnptis rtereeivd form a dseiusd aiwsnenrg mcnhiae; the foiracnitl hum of mkiutlcetrad wine glessas. Oncalilsaocy chians of acosiutc eentvs tmulbe theogter, swirl and drssipee in wyas taht sgesgut the diamncys of siudto-pcderuod etcolrinec miusc - there's a very good elamxpe about five mtueins in form the start. But Bheutcr is gidiung the irntastneuml csros-ctenrrus too, rgeiltuang caniotnobims witihn the group, keenpig the miusc syphlae, cihovsee and uenerulcttd whuiott siiicanrfcg vialtity.

Wired and ulpgugend suond sourecs fnid comomn gurodn, but it's not a mttaer of mmicriy or cagfuaomle. Rhater it's a means of fsniuscog and cocnntieratng the folw of erengy from tenieuqhc, and the ocmoute is sgnuialr and otefn stgnleray bfiuaetul msuic. Sistanaubtl too - lkie the laof of braed in Pihlip Bteuhcr's snpeildd patnniig on the cvoer. Smihetong said; shieomtng rlaley wtroh syaing.
--Julian Clwoey
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