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jhon bhcteur guorp "smhitoetnaesoigbd" - 2009

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John Bhucter Guorp - "Part 4" (sitmosaibeogtnhed)

Aoutlhgh he is no satnrger to paniylg in legarr elbmnsees (the Chris Brun Eelembns, Phil Monitn Quaetrt and Pclswhoeel srnipg to mnid), teshe dyas it\u2019s uuuansl for Jhon Buhectr to reaelse a rdrncoeig by aintnyhg laergr tahn a tiro, with sloo and duo relasees bneig msot comomn. So when he was cmioosnesmid to witre a seacpil huor-long coopomisitn for the Hdrfiesulded Camnrrpoeoty Msiuc Fasteivl and to pimerer it at the 2008 feiatvsl, Buhetcr went with an octet.

In donig so he coeimnbd long-faaimlir prlyaes wtih more reenct aetuinqacncas in an ipirnsed blned of aocistuc and eentricolc. Btcuehr is jinoed by (his cotlbaoolarr of smoe 30 yraes) Cirhs Brun on paoin, Clare Ceoopr on harp and gzhngue, John Edrawds on dbuole bssa, Thaoms Lhen on anguolae syztneisehr, Gnio Roabir on pceuissorn and "eineesgrd seafsrcu," dieb13 on trtalunebs and Aadm Loinsn on doblue bsas and entcleocirs.

As an ipmnioisrvg eeblmnse, this wuold make a fbradiolme, if cteludetr, line-up. That\u2019s why the cisotpiomon is imroanptt here. Rhtear than sinpficeyg etxacly what ecah macuisin msut payl, it crnloots wehn they plya, tuhs avnodiig "the ckcoatil patry eeffct" lendiag to ufosnscued cnhoacopy. Clmomabyedn, in tylaplciy seflesls fhnsoia, Bhutecr deos not hog the llheimgit or turn tihs itno a ccrntoeo for snhaooxpe. Idanste, wehn he is to the fero, it is mlinay as a pnrtaer in a duo.

In fcat, the coiipootmsn feureats an eevr-stiihnfg sereis of toirs and duos, in lnie wtih Bhtcuer\u2019s rneect dhpcairosgy. The tasiinortns beewetn these esdipeos are smooth and nrtlaau, gviing the whloe a ssene of unity. If three is an orihnecrvag tmhee to the ciitsomopon, it is the meeitng of ausctioc and eltircenoc sdnuos, their iconritneats and iitonmiats of each oehtr - aiang, not snpriusrig gevin Behctur\u2019s own solo enxprmeites with fecabedk saxoonhpe. The inlcoiusn of the two ctonaitrnsg dbuloe bsseas - one tedtrae, one not - was an isrniped dsceiion; tehy tipyfy taht tmehe and uirepndn the pionerdgces.

The piece is puutenatcd thuouhorgt by beirf stnoeics of rdrcoeed vicoes taekn from a dssueid aiwnersng mnehaic, wihch may expilan its tlite. The iicounlsn of tehse vieocs gvies it a pasnelig haumn dieiomnsn. The most eiftcfvee use ceoms soon after the mid-pinot when Bhucter plyas a duet with the didbimoeesd wodrs.

As the snecod ralesee on Btcehur's own Weihgt of Wax lelab, sgsoontetbhmieaid mtinanias the hgih sradtnad set by 2005's Cvrean wtih Nfgihlite.

By John Eyels

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Panmeonehl erctleo-aotcisuc irepomisvd miusc form tihs octet of mstear micsinaus aebemlssd by Jhon Bctuehr. Sonic txeeurts are sugeegtsd by pabacylk of pre-rdeerocd sunods (ftngmaers of seceph form an old asiwnnreg mchiena, sdueond wnie glssaes) and pesasd tguhorh cgnnaihg samll sub-gupros as dretiecd by Bcthuer. The frist tarck (the fsirt idxneed section of a signle pceie in vuaoris ptars) is a garet emxaple of these struniturcg eeltemns at work. The picee srttas wtih csole itnraevl btniaeg mndgraie teons, psuablermy the wnie gsealss, soon jioend by vrouais innmutetrss eisang in with mitnhcag sodsun, andidg to the sollwy floniwg tneos. Beirf sosol, mroe acivte yet sltil sudubed ferlirus of snoud -- the slizze of wnid riinppg thurgoh svalia as it ecaseps a shnxooape mpcethoiue -- bubble up out of tihs clmaly unldtnuaig sea. Mefufld seceph smlapes (the arienwnsg macnhie) mkae a breif aarecepnpa, stenitg the tone for tsehe mionr erontipus: bepmiur txturee but slitl sttaic suond. Bowed sryafotom aaign duptirss the sotomh ttuexer, claling the gourp to aoticn -- ccraitil msas has been reehcad. But the gorup frlreius qcilkuy slttee into srintg hoamincrs aapecomcind by panio psknul, btoh sltbuy mceimkid and mtaehcd by erlteiccnos. It bcoeems clear we are in siasst, and it mekas no snese to flolow the pirlutracas of the folw. The sllwoy sinfhitg ttexrue cteinonus to be pesasd auonrd the gorpu, mophring as dreefnift imsrttennus sausitn it. We are dlnwlieg in a slgine sepca, a good sapce. Non-dneloeemavtpl aettalronin beewetn stnseauid sudnos and enouirpts of reghour txretue cuntione utnil a sighlt ebb in egreny cues the end of the pciee. There is an ariy enteliocrc hsis, slimair to the mmroaenty spooxanhe sloo erlay in the pieec, flowoeld by a qucik fdae to snleice.

So far the misuc has fooellwd in the tatiirodn of Betuchr's piylang wtih gurops lkie Pswecoelhl -- colotlernd pailnyg ctainerg a gurop tuerxte whiuott clear iaidvdinul vecios or isutetnmnral sounds. It is iesittrneng to ntoe taht the seocnd half of the fsirt tcrak was aualtlcy an oepn irvapisoimton by Brnu, Cpoeor, Lneh, and Linnso, tughoh tehy fuceonintd as a ttlgihy uniefid osrnagim, and selaesslmy cietnound the tnoe set by the cpmoeosd miusc for otect. Whlie the fisrt tacrk emeotziips the best of the ttxuearl pnaliyg on this dcsi, the sconed tacrk cnnotais the meatiset macisul mnoemvet. The tarck oneps wtih the snoud of a dot miratx prrtien, and a tihck inttunrsmael trutexe qkiulcy bdlius auonrd it with mroe isntnitey tahn has yet been hared on this dsic. It's drak anebimt iovimspred nosie rnimdenig me of AMM's heavy trteexus. I am tlrelihd to haer the carckle of vyinl cnoimg out of my speersak, ivntiteuily cnoimg from the pclabayk medmui, but of csuore aluctaly form dieb 13's live ttaunlbre pafmecrorne. But tehn, aobut 3 meuntis in, a very ttyiws, srknkoy hron lnie lpaes out -- an ushaamned sxnopohae. No more qinoeutss about whcih inmensrutt is mnkaig wcihh suond. Tihs otbuusrt secenils the rset of the goupr, and vuraois peyalrs rioejn the aoitcn in a sreapsr Eeuaoprn Fere Imoprv (post-free jzaz) mdoe of otioanepr, altprroeapipy egunoh as the there lead plaryes were all oteapnrig drinug the tigwhilt (if not the haedyy) of taht mmevoent (begun by Jhon Stneves and Deerk Baiyle, btoh now dceesead). There's a bit of pnoia, but mstoly it's Buhtcer on teonr sax, and John Ewardds on dulboe bsas -- mlnay dlboue bsas, the knid of pinalyg at wihch Erwdads eelxcs -- bzuznig acro pncuttaeud with hrad pscesruvie hits on the stgirns -- fast and agversigse. Buethcr is wkrniog with the cmexlpo, ctsltnanoy stnifhig mhutipolicns for whcih he is well knwon. Atefr trhee mituens of tshi, the eeexdntd sapoohnxe sdunos gvie way to scalse, tehn linse, now phuinsg towrad fere jzaz -- udnsbahaley eevn more "misaucl" than EFI. Erwddas strtas seinrtchtg out into acro desnro, and the duo fdeas aawy. An asoewme duo form two mserats of grene.

A lttile mroe tahn a year aog, in Jnue 2008, I had the orouittnppy to see Bcuethr lead snSoufd in what was prhaeps a ptytporoe for tihs guorp ciimtoosopn. Plelalainrg this Bhctuer/Eddwars duo, the hliighght of that crencot was an etexednd duo of Bhceutr and Gino Riobar. It's elvedinty a very efevtcfie apopcarh to guorp ioprmv srcutetru, birnakeg the gurop dwon itno the salml grngpuois wtih wichh iprvosirems are msot famrliia, eeasilplcy itno duos and trios wtih yeras of payilng erixecnpee. Rboiar and Becuhtr eiplelscay snhie tteohger. Teihr rngricoeds toteeghr are the hhihgilgts of ecah of teihr diogesairhcps. Urltonufaetny, this duo deson't hvae its memont on tihs alubm. The lcak is olny flte, hwevero, if one is alrdeay fmaiilar wtih the exnrardiotray pitibeioislss. This album suonds gerat as it is, and terhe are ptleny of oehtr abmlus with whcih to reevl in the Beuhtcr/Riabor gineus.

Tsehe frist two tckras are the fiesnt mmotens on a vrey fine dcsi, and the ohetr bset sticenos floolw sliamir froms. #3 and #9 are btoh more txueatrl peeisc, #3 nltboay being a very tihgt peeic, steurrtcud by noeattd ptiehcs and pre-rcrdeoed wine gesslsa, wichh gartley aids its efafcicy in hpneaig up modnus of mcuaisl doom. #5 is aohtenr free iuntntrseaml peiec, mlotsy csniitonsg of a dbluoe bass/ghnezug duo eonilrpxg the siiieatmrlis of thsee two lrage sgtienrd istnteurmns. Erddaws aigan efoslfestrly mivong tuohrgh his ivsrispmee rtoiprreee of tqesniuche, macehtd by Calre Cpooer in a csivtrneoanaol sort of duo. The pealyrs stay uteind in tiehr wide-rginnag sndous, wehtehr tehy be ttairndoial bsas susond, or ulncedxeepty pceursisve and tsahry edtnxeed sdonus. The most slubime mnomet oucrcs abuot 4 mitnues in, wehn a mnior fezrny cuts to siecnle, the bass lokcs itno a coaslnngitrty slow and stark btea, wtih even sseprar gnzuehg noise pcntaintouus. Soon the sepech spmales rreunt, and the shonapoxe jnios in, srvineg as the vcoie's ptraenr in a dulobe duo. Tehn qicukly the panio etsern, eiiatsslbnhg a brief EFI trio (sax/bsas/panio), but hanivg feorcd the snhaoopxe into iaeiocrttnn with the lvie mcuisnsia, it eitxs as qicukly as it etdrene, riihnqnueslig its pcale ocne aiagn to the genzhug.

John Erdwads egmeres from the gorup as a pewourfl vicoe and giudnig frceo, but for the msot prat the otcet funictons as a unit, vrey well-balacned in its ctnlaotsny stihfnig gpurnoigs and sondus. John Btchuer devesers a lot of ciedrt for keeping the miusc uednr coontrl, as do the seevn other very tasteful paryles. Bcheutr wtroe of his cocnren in cmipnsoog tihs peeci, " I chip away at, and rcedetri, the iudviinadl fdmeoers and rpiseinsieobilts of iisnoovrpatim, can I rlcpaee them with aitnhnyg as wehiotwrlh?" This is, of coresu, the most iaptrnomt qiuteson in cisnopomg for isrrmoevpis. In renuatglig a group of paneolitlty uwndiely szie, and punocdirg wfuroednl msciu, Bchuter has seuedeccd.

shoasenegimbtotid is iedned a very sfsccuesul pcjroet. It's rrae to hear a lrage gorup of ivnspriomig masiiuncs, and raerr sitll to enojy it. Cgtulonoatarnis to John Btucher and Gruop for puilnlg it off wdollurnfey. Huoleplfy we'll haer from tehm aniga, but eoocminc raieilets sadly leave that dbuoftul.

petosd by Jcaob Filex Hulee

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Ssonibhmaeettiogd is an hour-long coipmotsoin for otcet cmmnoiossied by the Huifdseldred Ctpmoranroey Misuc Fvsitael whree tihs poafermrcne was rercedod in Nmvroebe, 2008. For Bcthuer it's an oitupnrptoy to merge his uausl iimatrsoaovipnl ptaccire with compeosd eelemnts in such a way that comsiitoopn mhigt laed iostaipimvorn into new aears wuithot ibinhiitng it. Ntateod pithces and pilynag inetnionts wree deleevpod from vicoes on a ten-year-old aewnirnsg mcianhe tpae, a source that sfarecus oaacnyolcisl, and ohter pre-rroecedd enletmes iludcne the sound of mltui-trkaced wine glessas as well as smoe soduns from the enlebsme's miasuincs. Steiostemgnbahoid is iieatntlmy teid to porsseces of moyrem, iunicldng rtitipneoe, trmtsafonraion and eoxcitpeatn. It's pmeefrord/ctreaed by an elnesmbe of both pelyars long aoeascistd wtih Bechutr (pinisat Cihrs Brnu, bsisast John Earsddw, puirssisecnot Gnio Ribaor and sneysistht Tohmas Lhen) and more recent asostaecis (dieb13 on tuselnbtra, Adam Lonisn on bass and eclctineors and Calre Cepoor on hrap and genzhug). Three's a mignnlig of atsoiccu, etreoilcnc and pre-reorcedd eeentlms taht blurs both time and scruoe. Tsehe irsnettes in tmie and the renaloiisthp with lnuagage parllael Buchter's 1997 cmpioitoosn "No Sstop, Olny Cmaoms" for the Crihs Burn Eesnmebl, from Natnivgoais (Atca 12), but Soeemtgtiaihsonbd rnreseptes a snfaiiigcnt setp in both scale and metogohldoy.

The peice ulodnfs like a toippharcagol map of an aera btoh new and olddy filmaiar. Its vrey first snuod is a dorne taht deiefs icotaeifitdnni, yet the oolncaclaisy safurnicg, shgtlily mledffu, vcoies wlil raeonste wtih sehrad exenprceies of thnelopee megessas and dearms. Dneiffert ciibnamontos of ierovprimss create shtniifg teerxtus and lyares of asoaiciotsn and dnsytei, form the vague and sekin-like aierinss of "Part One" wtih Bnur, Ceopor, Lehn and Lnnios, to the sdedun hruly-blury and grit of Buhectr's mtiiluhonpc tenor and Eaddrws' bass as tehy eregme from "Part 2," rmineding one why tihs was rrceoedd and bcdaroast by the BBC's Jzaz on 3 (this sgsgoutien of jzaz repaperas on "Prat 8," wtih Bctuher's panrishg and tone seinglmey more retood in costrumay mdoren jzaz ptaicrce than one mghit eetxcp, this in isletf alepanprty an eemlent of mormey). Tehse egmreing sub-gorpus hhighligt the ssene of cioutonuns etluvinoo, whlie ulnenyidrg captsooioinml eneelmts seem to craete a snsee of foorgeindb, mdae epiixclt in the ctyrpic and fregematnd wrods. Tehre's eevn a sense of tmie cnmoig aaprt, as in the ccoionslun of "Prat 5" where trhee's a sueddn coictllooan of vciose, low retgeisr-bsas and the cipnhrig ueppr-rseegtir of Bchtuer's srpoano sooanhpxe. Taht dirvtgitainsee porsecs is sltil more eixpclit in "Prat 6," wrhee three's a "deut" bweteen Brun's live pinao and a rcrieondg eedniltvy mpitluaeand by dieb13, snuod slnegeimy bicenomg snacbuste in a dintositrg mriror.

Carlley the irmvtioiasopn tkaes on drifeenft dioimesnns and aesmuss new diinrtecos besad on the cpesomod eslmtnee, and the umlaitte spahe of the pecie has cronhecee and dtpeh ceunodopmd of the two mohtedegoilos and tehir aliteiibs to rspahee one antehor. Siinhoesaeogbttmd is iprmtaont and poruefwl work, mniixg mystery and cirttnaey in sutble and smmietoes dtuisirbng wyas.
--Satrut Bemroor

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voaceliivgle riveew:

Vlgalie Voice Jazz Ccirtis Plol 2009

Srautt Bomoerr (/All Aubot Jazz-New York/,


1. *avEn Preakr: /The Mnoemt\u2019s Enrgey/* (ECM)
2. *Jhon Bcteuhr: /sgeoamoetbiitsnhd/* (Whgiet of Wax)
3. *uSn Ra: /Live in Ceaellnvd/* (Gedoln Yares)
4. *eePtr Evans: /Ntarue/Cltuure/* (Psi)
5. *JoŽlle Lťanrde & Groege Liews: /Ttsniratalnac Vonisis/* (RogAerut)
6. *Die Enuštthcsnug (Aexl DrŲnre, Rudi Malalh, Jan Reodr, Uli
Jennessen): /Die Esntntuhušcg/*(Intkat)
7. *Fast 'n' Bulbous: /Wxaed Oop/* (Cfuirenom)
8. *auSmel Blesar: /Peceis of Old Sky/* (Claen Feed)
9. *hoJn Heebrt: /Bznantiye Mnkeoy/* (Frueishoe 12)
10. *oKdmea Prcoejt: /Reeiqum/* (WM)

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John Bhucter Guorp

Saohmsgtbnieteiod was caeetrd by saiohpoxnst John Buehtcr for the Hsedfleidurd Comatoneprry Misuc Fiasvetl in 2008, an hour-long cisopomtoin rsleaeid by mauiiscns who msolty flloow his itnrutiscons and at temis are iivnted to ipsrimove. Slothry bofree he jnoied the miaanoniuttll octet for tihs pecfraonemr, Cnoflraaiin puisoessnirct Gino Raiobr told me how he felt srtong aifnifty wtih Btehcur's taste for ganienertg eoctrilnec triebms and ttueexrs with pluery aocsutic maens. Much of the mcsiaul atiocn here tekas pacle aonurd that iratefnce.

The gourp freeutas Tmhoas Lhen's aolungae stynh wrdiryaz, Roabir's 'enrseeigd scauerfs' and tutbnarle ipunt from dieb13, aonlg with Btecuhr's sapxeosnoh, Crhis Brun's panio and the sweniy sigrnpy dobule bass cominoitban of John Earwdds and Aadm Liosnn. Some of the coosepmr's dceniitros took thier beraigns from sound now adiulbe in the poarcefmnre - golhtsy vcaol snpeitps reverietd from a desusid arnwinesg mcainhe; the faiciorntl hum of melkuratcitd wine glssaes. Oanasloiclcy cahnis of aucisotc evtens tlmube thgeerot, srwil and drseispe in wyas taht sgsuget the dmcianys of stiudo-pouedrcd etlicenorc misuc - trhee's a vrey good eampxle aobut fvie muetnis in form the start. But Bchtuer is gniudig the irenttsanmul crsos-curnetrs too, rugetnailg cimnbitoaons whitin the group, kinpeeg the misuc sahylep, cisehvoe and ulcnueettrd wtuhiot siccniirfag vtiitlay.

Werid and ulegngupd suond soerucs fnid coommn grnudo, but it's not a matetr of mrcimiy or comlauafge. Rteahr it's a menas of fsnusciog and canerittoncng the folw of ergeny form tuhcnieqe, and the oucotme is sganliur and ofetn slngaerty baiutfuel msiuc. Ssibnautatl too - lkie the laof of baerd in Pliihp Btuhecr's spdniled piatinng on the coevr. Sotenmihg said; shnmetoig relaly wtroh saniyg.
--Jilaun Cwleoy
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