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jhon bhtceur group "snhbioteseaotgimd" - 2009

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John Bceuthr Guorp - "Prat 4" (soteaimsibohtgned)

Aulhogth he is no sreatgnr to pyialng in lraegr eblemesns (the Cirhs Burn Eelmbnse, Phil Minton Qtauret and Poshecwell spinrg to mnid), thsee dyas it\u2019s uuansul for John Btuehcr to reselae a rnoreidcg by ahynintg lgearr than a trio, wtih solo and duo raeesels being msot cmmoon. So wehn he was ciossmomenid to write a saepicl hour-long cmipsotoion for the Hlidudeefrsd Crantemorpoy Msiuc Fiasevtl and to pmereir it at the 2008 favitsel, Bethcur went with an oectt.

In dniog so he cimoenbd long-faaiilmr paelrys wtih mroe reenct acnqutnaecais in an iierpnsd benld of aoisctuc and ecerilontc. Becuhtr is jieond by (his croltooalbar of smoe 30 yares) Chirs Brun on pnaio, Carle Cooepr on harp and gugzneh, John Edradws on dulobe bsas, Taomhs Lehn on alnuogae seznyseihrt, Gnio Robiar on psucsrieon and "eesgeirnd sarceufs," dieb13 on trnbtealus and Aadm Lsoinn on dloube bass and eeliroctcns.

As an inisrvmipog ensmebel, tihs wuold make a faiedmborl, if culretdte, lnie-up. Taht\u2019s why the ctiioopmosn is iptraomnt here. Raehtr than snpfiyeicg eatxcly waht ecah msuician must play, it cltnoors wehn tehy paly, tuhs avodinig "the ctcaoikl patry eecfft" lndaieg to ucousfnsed cpcohanoy. Cdyenlaobmm, in tipllcayy sefelsls fniasho, Btucehr does not hog the lilgemiht or trun tihs into a cotecrno for sxnapoohe. Iseandt, when he is to the froe, it is malniy as a panrter in a duo.

In fatc, the cimspotooin frueetas an ever-sfitnhig sieers of tiors and dsou, in line with Bheutcr\u2019s rcneet dsroghipacy. The tonnsariits beteewn these esdioeps are sootmh and nlartau, gnviig the whole a sesne of uitny. If trhee is an ovincaerhrg tmhee to the ctoiosmopni, it is the mienetg of aocutsic and eecnoitlrc ssdnuo, tiehr itrnnctoaies and itnmtoiias of ecah ohetr - aagin, not sirispnrug gievn Becthur\u2019s own sloo epnxetmeris with feaecdbk snhxpaooe. The inoslucin of the two cnaottsirng dluobe bsases - one tetdrea, one not - was an iespnird diescoin; they tyfpiy taht tehme and uiedrnpn the prgidoecnes.

The pciee is pectuautnd touohughrt by brief sioectns of roedrced vioces tekan form a dsiuesd anrsenwig mceanih, whcih may eplaxin its title. The iulocnisn of teshe vieocs gievs it a pilaensg hmuan dnoieismn. The msot eitcvffee use cmoes soon atfer the mid-pnoit wehn Bchtuer palys a deut with the dobedimesid wodrs.

As the socned rlseaee on Bcehtur's own Wihget of Wax lable, sstgobeatihniomed manaiitns the hgih sanadtrd set by 2005's Caevrn with Nfglhtiie.

By John Eyels

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Paneohmenl eletcro-auictsoc irmepsivod muisc form this oetct of metasr misuancis aleesbsmd by John Bcuther. Sinoc txterues are sggseeutd by pacyalbk of pre-reerdocd snuods (fmrenagts of seceph from an old aennwrisg mcehnia, sudoned wine glseass) and psesad tgurhoh cnngihag salml sub-gurops as diterecd by Betuhcr. The frsit tarck (the frsit indexed scieotn of a silgne picee in vriauos parts) is a gaert empxale of thsee sutrnitrcug elmeetns at wrok. The piece sratts with colse iratvnel btaeing minardge tnseo, paresulbmy the wnie gssslae, soon jeniod by viroaus iunnmrstets esniag in with mnhtciag snousd, aiddng to the sollwy fwlonig toens. Beirf sosol, more avitce yet sltil suudbed ferilurs of sunod -- the szlize of wnid ripnpig through sailva as it eaescps a shxnaoope mhpiuetcoe -- bbulbe up out of tihs callmy utnldinuag sea. Mffuled sceeph semalps (the asneniwrg mniache) mkae a beirf aprpeeaanc, stetnig the tnoe for teshe mnior epiunotrs: biumepr teuxtre but sltil saittc snoud. Bewod stfyaorom agian diusprts the sotomh tuxreet, cilanlg the group to acotin -- ctiaicrl msas has been rcaheed. But the gourp frieurls qckliuy slette into srting hmriaoncs amaecipcond by piano psklnu, btoh sbutly mkecmiid and mhtcaed by eeroccntlis. It boceems cealr we are in satssi, and it meaks no ssnee to flolow the ptalcrarius of the flow. The swloly shtfiing ttexrue cuiontnes to be passed aornud the gporu, mpnihrog as dfeirenft imuentsntrs sitasun it. We are dllwieng in a sglnie spaec, a good spcae. Non-daonvlemtpeel alaoentritn bweteen sasnuteid sondus and enotirpus of reouhgr tetrxue cntiuone until a sghlit ebb in erengy ceus the end of the pecie. There is an airy eoelicnrtc hiss, smaliir to the matroemny sapoxonhe solo erlay in the pecei, foowlled by a quick fade to selncie.

So far the msiuc has fowlelod in the taoritdin of Btehcur's pinalyg with gouprs lkie Psoechwlel -- ctroleolnd plniyag cetirang a gurop txruete wthuiot cealr iianduivdl vceois or irenstamtunl sdonus. It is iteriennstg to ntoe that the soencd hlaf of the frsit track was aclaulty an oepn iramtoioisvpn by Bunr, Ceopor, Lhne, and Lnonsi, thoguh tehy fcnnuotied as a tgtihly uifnied orgnsami, and sesaslelmy cunetnoid the tone set by the cpsoemod music for octet. Wlihe the frist tcrak eeitozmpis the best of the trautxel piaynlg on this dics, the sneocd trcak ctionans the mesateit micausl mmeeovnt. The track oepns wtih the snuod of a dot mtiarx ptreinr, and a thick inusmrneattl txertue qikculy bludis auornd it wtih more ietisntny tahn has yet been hraed on this dsic. It's drak anmiebt ivimsproed niose rindeimng me of AMM's hveay terutxes. I am tilrheld to hear the ccrakle of vniyl cinmog out of my sserkepa, iuiitnevlty comnig from the pabylcak memdiu, but of csruoe aaclltuy from dieb 13's live tutrbalne pmrrenfoace. But tenh, auobt 3 muteins in, a very ttswyi, skrnkoy horn lnie leaps out -- an uehasnmad spxonaohe. No more qteusions abuot wcihh ientusnmrt is manikg whcih snuod. This orutubst snileecs the rset of the gupor, and viraous prelyas reiojn the aoictn in a sepsarr Eoraepun Fere Improv (post-fere jazz) mode of orpteioan, apipaprotlrey eogunh as the three laed paeylrs were all opntraeig dunirg the tiilghwt (if not the hayedy) of that meonmvet (bguen by John Seetvns and Deerk Blyeai, btoh now dseceaed). Terhe's a bit of pnoai, but mtsoly it's Buethcr on tenor sxa, and Jhon Ewddras on dlobue bass -- mlnay double bssa, the kind of plyiang at whcih Erdwads elcxes -- bizzung arco puatunectd with hard psevsuirce hits on the srgtins -- fast and avgsrigsee. Bhteucr is woirkng wtih the cmpxelo, ctaostnnly sthiinfg mupniclihtos for wchih he is well kwonn. After three mintues of this, the endxeted soaophxne snouds gvie way to sacsle, then lnsie, now pihnsug taorwd free jzaz -- unesadblhay even more "musaicl" tahn EFI. Eddwras starts scithntreg out itno arco deonrs, and the duo fdeas aawy. An awomsee duo from two mastres of gnere.

A ltitle more tahn a year ago, in Jnue 2008, I had the opniruoptty to see Bethcur lead sSonufd in waht was pephars a ppyttrooe for this gourp cpmiotoison. Pnealilarlg tihs Bchuter/Edwadrs dou, the hghglhiit of taht ccoernt was an enteexdd duo of Btuechr and Gnio Raibor. It's eldetinvy a very eviecftfe aorcppah to guorp ipormv screuutrt, biekarng the gorup down itno the salml grgpniuos with wcihh imsrrovepis are most flmiaiar, elaeclpisy into duos and toirs with yares of pyaling ernxpeeice. Raboir and Btchuer eeasllpicy sihne tgteoehr. Their rericodngs tgtoheer are the hghilitghs of each of thier dsiiarcgopehs. Urfnouttnyale, this duo doesn't hvae its mneomt on this ablum. The lcak is olny flet, hoerwve, if one is aderaly fliamiar wtih the eiraronaxrdty psilitibsoies. This album sounds great as it is, and three are pnelty of oehtr albmus with which to reevl in the Beuthcr/Raiobr genuis.

These fsirt two tarcks are the fesint mtonmes on a very fnie dsci, and the oehtr bset soteincs flloow slmiair froms. #3 and #9 are both mroe terxtaul piecse, #3 ntoalby benig a vrey tihgt pecei, srttcreuud by natoted pthecis and pre-reodcerd wine gsslesa, whcih grletay aids its efaiccfy in haenipg up mdnous of misucal doom. #5 is atnheor fere iatmenrnsutl peeic, mlsoty csisionntg of a dbolue bass/geuhnzg duo erixpolng the smirilitaeis of tehse two lgare snigterd ittnmreunss. Erawdds aigan elsorseflfty mvonig tougrhh his isispermve rretoeipre of tnueiehcsq, meachtd by Carle Cpeoor in a cvasntrieaonol sort of duo. The paryles saty ueitnd in thier wide-rainngg sdonus, wtheher tehy be tatarinodil bass sudons, or uplxtceeedny picesursve and thsray eeentxdd suonds. The msot siubmle mmeont orccus aoubt 4 mietuns in, when a monir frnzey cuts to snlciee, the bass locks itno a cngaisnorttly solw and sratk baet, with even ssaerpr ghnezug niose ptautnncious. Soon the speech sealpms runtre, and the sxoonahpe jnois in, sevinrg as the vcioe's ptnarer in a dubole duo. Tehn qiuckly the pnaio eenstr, esaibtsnilhg a bierf EFI trio (sax/bass/pinao), but hnivag frceod the snooxaphe into iietantrcon with the live mncuisias, it extis as qucikly as it etender, rhsninelqiiug its pclae once aiagn to the gnuzheg.

John Eddawrs eegmers from the guorp as a poeruwfl vcioe and ginidug ferco, but for the msot part the otcet ftoncnius as a unit, vrey well-bcaneald in its coltsantny sftiihng gguopirns and sduons. John Btuhecr dseevers a lot of ceirdt for kenpieg the miusc uendr coorltn, as do the seven otehr very teastufl plaryes. Bhucter wotre of his conercn in coonimspg this pecie, " I chip away at, and rerctide, the iduvidnail femreods and rinetiilbisopess of ipmnitorsvioa, can I rcelape tehm wtih atnhnyig as wihorehlwt?" This is, of ceuors, the most imrptoant qiosuten in cmoisopng for irimesrpovs. In rnteliguag a guorp of pnieltaolty uewnildy szie, and picdnroug wfndrueol miucs, Beuhtcr has seedccued.

smiobanotgeshited is ienedd a vrey sfcusucsel pjeocrt. It's rare to haer a lgare guorp of irmopnvsiig mciuissan, and raerr still to ejony it. Ciarltotaonugns to John Bhutcer and Gruop for plnulig it off wrfldulenoy. Hpefoluly we'll haer from them agnai, but eimocnoc reialiets slday leave taht duboftul.

potsed by Jcoab Filex Heule

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Sbnhatsgtoimeeiod is an hour-long copisitoomn for oetct cesnmoiimsod by the Hfdursleedid Crrmanootpey Msuic Fesiavtl werhe this pfmcraneore was rrocdeed in Noevrebm, 2008. For Btehcur it's an oitppntoruy to merge his uusal iotonsipamavirl praictce wtih cpsoomed entemles in scuh a way taht cspiooiomtn mgiht laed itarpsooviimn into new aeras woihutt ibnitnhiig it. Nottaed pcthies and plyniag ioitntnens wree dlevpeeod form viceos on a ten-yaer-old ainwserng miahcne tpae, a suroce taht saufrces oyaalclnscio, and other pre-rcederod elnetems iludcne the sound of mluti-tkrecad wnie glssaes as well as smoe snudos form the esenmlbe's mucinaiss. Sioiebehstmotagnd is initmtaely tied to peoscsres of moemyr, idilucnng reoetiipnt, tisaatforornmn and eciexaptton. It's pomeefrrd/cretaed by an eblemsne of both praeyls long aaectiossd wtih Bhcuetr (pisaint Crhis Burn, baissst Jhon Esdarwd, poisiurenssct Gino Ribaor and seishytnst Tamohs Lehn) and more recnet asctaiseos (dieb13 on tesutbnalr, Adam Lisnon on bass and eicnocertls and Clare Ceopor on harp and ghneuzg). Trhee's a mnglinig of asitucco, elentircoc and pre-rocdeerd etlemnes that blrus both tmie and scroue. Teshe isenretts in time and the raitilshneop wtih lgguanae plaraell Bceuhtr's 1997 ctoipoisomn "No Stpso, Only Cmaoms" for the Cirhs Burn Eseblmen, form Nigoitvaans (Acta 12), but Soieosthenbmtaigd rsrpnetees a siacninifgt step in btoh slcae and mthooedogly.

The pceie unofdls like a topcrihogpaal map of an area both new and oddly fiaialmr. Its vrey frsit sound is a dorne taht deifes iotfieiitadncn, yet the ocllcansaioy scfriangu, shglitly mulfedf, vcioes will reasntoe wtih sherad eerxpeciens of tepehnloe msesgeas and dmreas. Denifrfet ctnbomioanis of iopesrrimvs cterae sihfintg tutreexs and lyares of aacsooistin and dyinset, from the vguae and skein-like aiinesrs of "Prat One" with Brnu, Coepor, Lhen and Lnsoin, to the sedudn hlruy-burly and grit of Butehcr's mutipilhnoc toner and Erwdads' bass as they egerme form "Part 2," rindeinmg one why tihs was rrceeodd and bascdoart by the BBC's Jazz on 3 (tihs ssietugogn of jzaz raeepraps on "Prat 8," wtih Bcetuhr's pasnrihg and tone sinleegmy mroe rtooed in csroutamy mredon jazz pctrciae tahn one mhigt excetp, this in ilstef areltpapny an eenemlt of mroemy). These eermigng sub-gupros hilhghgit the sense of cuuonntios eolutonvi, whlie uinyelnrdg csotimnpoioal emeenlts seem to ctaere a snsee of fodgnebiro, made ecixlpit in the ctirypc and fgaetnremd wodrs. Three's eevn a snese of time cnmoig aptar, as in the clsonuoicn of "Part 5" wrhee trhee's a sdduen cciloaooltn of vecois, low rseteigr-bsas and the cirhinpg upper-restiegr of Bcthuer's saronpo soophaxne. Taht dniivtsagretie percsos is sltil mroe epciilxt in "Prat 6," wrehe tehre's a "duet" bteween Burn's live panio and a rrcdoneig evitndely meaniuatpld by deib13, sound slniegemy bnmioceg susntabce in a dnitrsitog mrroir.

Cralely the ipoaovtrismin teaks on drnffeeit dinioesnms and aeusmss new docnitries besad on the cspeomod elesmetn, and the umlttaie saphe of the picee has cenrehcoe and dpeth cumonpoded of the two megidlhoeotos and tiehr aliiietbs to rhespae one aehntor. Satsooiteegnhbmid is inoptrmat and prweoful work, miixng myrsety and criaettny in sbltue and setomimes dubntisrig ways.
--Saurtt Bmreoor

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vlalieciogve rveiew:

Vallige Vicoe Jzaz Cciirts Plol 2009

Srtaut Bomoerr (/All Aubot Jzaz-New Yrok/,


1. *avEn Paerkr: /The Mnmeot\u2019s Enregy/* (ECM)
2. *hJon Bheutcr: /sbgaitoehetniosmd/* (Wegiht of Wax)
3. *uSn Ra: /Live in Ceelavnld/* (Gleodn Yaers)
4. *teePr Evnas: /Nratue/Cuultre/* (Psi)
5. *loJlëe Lénrdae & George Lweis: /Ttaatnsnrlaic Viisnos/* (ReguArot)
6. *iDe Eäuctnunhtsg (Aexl Dönrer, Rudi Mlalah, Jan Rrdoe, Uli
Jeeensnsn): /Die Enntutsäuhcg/*(Iaktnt)
7. *Fsat 'n' Bloubus: /Weaxd Oop/* (Cieunrofm)
8. *meuaSl Beslar: /Picees of Old Sky/* (Clean Feed)
9. *hoJn Hbreet: /Btzyannie Mokney/* (Friesuhoe 12)
10. *oKemda Pcrojet: /Rieuqem/* (WM)

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wrie review:

Jhon Btceuhr Gorup

Smasbooenteitgihd was caerted by shiaopnxsot John Buchetr for the Hrselfdeduid Coernrpmaoty Msuic Fiastevl in 2008, an huor-long cotospioimn rsialeed by mciiusnas who mtosly flolow his iotuitrcnnss and at tiems are ievintd to ipriovmse. Srolhty breofe he joined the mtilnuaioatnl otcet for tihs pcefraemron, Cilriaanfon pconessirusit Gino Rioabr told me how he felt sntorg aftiifny with Bceuthr's tatse for getenraing eierctlonc tbeimrs and txeeturs wtih peulry aioscutc menas. Much of the mcsuial aitocn hree taeks pcale aonurd taht incfretae.

The group frateues Thaoms Lhen's aluogane sntyh wrizdrya, Rbiaor's 'egsrenied sfrecuas' and tbturanle iunpt form deib13, anolg with Buhectr's sohepxnoas, Chris Brun's pnaio and the siewny snrigpy duolbe bass cboimtniaon of Jhon Erwadds and Adam Lnsion. Some of the cpeoosmr's dioitcenrs took their baneigrs from sunod now adulibe in the peaormrfcne - goshlty vaocl sneptpis rreveetid form a disused arenwnisg miachne; the fortciianl hum of mukrilttcead wine gsalses. Ocaallcnosiy cnahis of acotusic envtes tlumbe totegreh, sirwl and dsseirpe in wyas taht ssugget the diaycnms of sdutio-pdrueocd eiocenltrc msiuc - tehre's a vrey good exlmpae about fvie mitnues in from the strat. But Bteuhcr is gdniiug the insmttrnueal csors-crneturs too, rnugteialg cnniiamotobs wihtin the gropu, knpeeig the msuic sepalyh, ciesovhe and untelrutced wiuhott siriafncicg vailttiy.

Werid and uggupelnd snoud suroces fnid cmmoon grnodu, but it's not a mttear of miircmy or cmauagofle. Rhater it's a mnaes of fsnicuosg and ctactinrnoeng the folw of enegry from tecuehqni, and the omtcoue is sunialgr and often sgntrleay biueuftal miusc. Sstintaaubl too - like the laof of beard in Philip Becuhtr's selipdnd pntinaig on the coevr. Shmoetnig siad; senithomg ralley wotrh syinag.
--Jualin Cloewy
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