TÉLÉMAQUE - The King’s Hall Concert
New Jazz and Improvised Music Recordings CD NEWJAiM5
Joe McPhee: saxophone, trumpet; John Pope: double bass; Paul Hession: drums
Recorded live at The King’s Hall, Newcastle University, Newcastle upon Tyne, 4th October 2018
Joe McPhee is most distinguished for his Free Jazz work from the late 60s to present times. Born in 1939, he first learned trumpet aged 8 and taught himself saxophone aged 32 after hearing the music of Albert Ayler, Ornette Coleman and John Coltrane. He is, truly, one of the most exhilarating titans of jazz in the field of free improv and can include, among equally starred musical collaborators, artists such as Peter Brötzmann, Evan Parker and Ken Vandermark.
This concert sees him supported by bassist John Pope and drummer Paul Hession, who are challenged by McPhee only as much as he is by them. Télémaque is absolutely a trio of equals, whose improvisations are very much the product of intense collaborations, following their interactive ear and independent creativity. There are a wide range of ideas on display, so varied and complex that it is extremely difficult to visualise how they arise, especially as new sounds are being created from extended techniques and the music refers to different cultures too.
There are two tracks on the CD, St. Elmo's Fire: Parts I and II. The weather phenomenon of St. Elmo's Fire is a plasma formed around an object. It is produced by ionisation of air molecules, due to an electric field such as that caused during thunderstorms. Nitrogen and oxygen in the atmosphere cause fluorescence with blue or violet light. The title given to this recorded music would seem to be apt, especially as the band raises the potency of their playing, which becomes frenzied, though never out of control. There is more here than in any thunderstorm. Once again there is clear, audible evidence of instinctive and conversant listening by each musician and reciprocated, empathetic comprehension of where each is heading. The most electrifying passages are those in which all three elements of improvisation are heard to be refined to a homogenised conglomeration of exquisite music and creativity. Their shared conceptions are transparent.
This is a brilliant album which completely endorses support for the notion that music’s being generated in collaborative moments of cooperative creation will concentrate the imagination wonderfully. It is certainly working here.
Reviewed by Ken Cheetham
New Jazz and Improvised Music Recordings CD NEWJAiM5
Joe McPhee: saxophone, trumpet; John Pope: double bass; Paul Hession: drums
Recorded live at The King’s Hall, Newcastle University, Newcastle upon Tyne, 4th October 2018
Joe McPhee is most distinguished for his Free Jazz work from the late 60s to present times. Born in 1939, he first learned trumpet aged 8 and taught himself saxophone aged 32 after hearing the music of Albert Ayler, Ornette Coleman and John Coltrane. He is, truly, one of the most exhilarating titans of jazz in the field of free improv and can include, among equally starred musical collaborators, artists such as Peter Brötzmann, Evan Parker and Ken Vandermark.
This concert sees him supported by bassist John Pope and drummer Paul Hession, who are challenged by McPhee only as much as he is by them. Télémaque is absolutely a trio of equals, whose improvisations are very much the product of intense collaborations, following their interactive ear and independent creativity. There are a wide range of ideas on display, so varied and complex that it is extremely difficult to visualise how they arise, especially as new sounds are being created from extended techniques and the music refers to different cultures too.
There are two tracks on the CD, St. Elmo's Fire: Parts I and II. The weather phenomenon of St. Elmo's Fire is a plasma formed around an object. It is produced by ionisation of air molecules, due to an electric field such as that caused during thunderstorms. Nitrogen and oxygen in the atmosphere cause fluorescence with blue or violet light. The title given to this recorded music would seem to be apt, especially as the band raises the potency of their playing, which becomes frenzied, though never out of control. There is more here than in any thunderstorm. Once again there is clear, audible evidence of instinctive and conversant listening by each musician and reciprocated, empathetic comprehension of where each is heading. The most electrifying passages are those in which all three elements of improvisation are heard to be refined to a homogenised conglomeration of exquisite music and creativity. Their shared conceptions are transparent.
This is a brilliant album which completely endorses support for the notion that music’s being generated in collaborative moments of cooperative creation will concentrate the imagination wonderfully. It is certainly working here.
Reviewed by Ken Cheetham
