P. DUNMALL / P. ROGERS / K. NORTON – Go Forth Duck (2004) and Rylickolum: For Your Pleasure (2003)

Label: CIMP – CIMP 296
Format: CD, Album; Country: US - Released: 2004
Style: Free Jazz, Free Improvisation
Recorded at The Spirit Room, Rossie, NY, May 20, 2003.
Spirit Room Series, Vol. 175
Artwork By [Cover] – Kara D. Rusch
Engineer [Recording] – Marc D. Rusch
Producer – Robert D. Rusch

While the production appears rushed, the music is of the caliber that is to be expected from musicians such as Paul Dunmall, Paul Rogers, and Kevin Norton. The recording comes from the same session that produced the superb Rylickolum: For Your Pleasure but curiously, the notes for this one refer only to tracks from that earlier release, and Kevin Norton is listed as playing drums but not vibes, which he also performs in splendid fashion throughout. There are only three pieces, with two ("Go Forth Duck" and "I Am Not a Van [Ofocals]") of considerable length. Dunmall is a master of the small group performance: he paces each track carefully so that there is a relaxed sense of completeness. Dunmall plays his three favorite horns -- the soprano sax, bagpipes, and tenor sax -- and along with Norton's vibes and drums, plus Rogers' bass, there are a total of six instruments, making this more diverse and accessible than the usual sax-led trio album. In terms of Dunmall's discography, this is a quality set, equal to the reedist's best work. There is the requisite intensity, with Dunmall blowing hard when appropriate; there are also sections of introspective beauty. His magnificent solo on soprano following Norton's hardcore drumming near the end of "Go Forth Duck" shows why Dunmall is so respected as an improviser. Through the course of this solo alone, Dunmall springs off the bass and drums, develops moods, morphs in sometimes subtle ways, and engages in unmitigated flash, ending with a prime display of technical bravura with galloping clusters. His bagpipe reaches a majestic height as he merges sounds with Rogers' acoustic bass on "Come Back Weirdness Day." Rogers and Norton are about as tight a rhythm section as exists. They each know how to spur a soloist and they are each excellent soloists themselves. This is a power trio at the peak of their game, and here they project some wonderful moments.

_ STEVEN LOEWY, Rovi

Label: CIMP – CIMP 289
Format: CD, Album; Country: US - Released: 2003
Style: Free Jazz, Free Improvisation
Recorded at The Spirit Room, Rossie, NY, May 19, 2003.
Artwork By [Cover] – Kara D. Rusch
Engineer [Recording] – Marc D. Rusch
Producer – Robert D. Rusch

NOTE:
The A.L.L. bass was designed by Antoine Leducq; it has a wide fretboard with 2 tiers of strings: 6 or 7 traditional-like bass strings on top and 12 or 14 sitar-like sympathetic strings running under the length of the fingerboard and just above the body of the bass.

REVIEW:
Saxophonist Paul Dunmall and bassist Paul Rogers share a longtime association playing European improvised music. With Keith Tippett and Tony Levin they complete the quartet known as Mujician. Dunmall also plays with singer Richard Thompson. With guitarist Phillip Gibb, Rogers and Dunmall comprise Moksha. With percussionist Ken Norton, an Anthony Braxton alumnus, they form a long-travelled trio that took time out here to document intimate empathy and free imagination.

The title track begins portentiously with struck chimes, Rogers softly grinding on bass, and Dunmall playing coy melodies. They quickly blossom into Norton and Rogers providing the clickety clack for Dunmall’s hard driving train. His powerful soprano runs itself out, Norton lets the bass drive for a while, and Norton switches to chilly vibes. Dunmall picks it back up, then rests while Rogers pulls rapid elastic bass and Norton offers light cymbal brush work. He gets crazy in the upper register and Dunmall returns to give chase. Norton adds more drums to the attack, adding thrust to the momentum, all three full force. As the rush dissipates, Norton returns to vibes and Dunmall confines himself to toneless breath, Rogers popping harmonics. Norton plays mysterioso vibes, with occasional drum splash.

The performance continues with “ Villaka, ” and Norton solos in stellar bursts on vibes. He continues creating spontaneous fire, and Dunmall joins him with a tenor full of gasoline. They make having a lot of ideas sound easy. Norton transitions to drums and Rogers returns with his aggressive fluency. The trio rocks hard, then Dunmall lingers over phrases, changing his purrs into barks, finally pops and squeaks coloring strenuous bass runnings from Rogers. Norton whizzes on brushes, switches to sticks, finally to vibes for Rogers’s high scratchings that drop low and Dunmall off again with Norton at his heels still on vibes. Going back to sticks on drums, he whips Dunmall into an inspired exchange.

After their retreat, “ Indokeluka ” begins with Rogers ’ continued soft scrape. Norton contributes tentative vibes and Dunmall a slow soulful melody. Rogers ’ itchy bowing infects Dunmall, who turns melodies in on themselves, finally disolving down to Rogers as the center. Dunmall breaks loose again with Norton casting rhythm nets under his feet, and Rogers continues his bowed meditation. With Norton back on atmospheric vibes, Dunmall rolls quick little phrases around; but as Rogers turns up the intensity, Dunmall gets raw. He slurs and overblows in duet with Rogers, Norton takes an uncluttered solo, and Rogers brings Dunmall back with him. Norton and Rogers take on a swinging rhythm and Dunmall plays all over it. With Norton blazing back on vibes, Rogers and Dunmall offer small comments.

As always, the recording boasts that patented CIMP sound: clear, clean, and refreshing. The unadulterated acoustics gives up every nuance and tone the trio can imagine.

_ By REX BUTTERS, Published: June 1, 2004



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PAUL DUNMALL with JOHN EDWARDS with JOHN BUTCHER – Hit And Run (2001)

Label: FMP – FMP CD 116
Format: CD, Album Country: Germany - Released: 2001
Style: Free Improvisation, Free Jazz
Recorded during the "Total Music Meeting" on November 5th and 6th, 1999 at the "Podewil" in Berlin
Design, Layout, Photography By – Dagmar Gebers
Liner Notes – Steve Lake
Liner Notes [Translation] – Caroline Lake
Mixed By, Mastered By – Jonas Bergler
Producer – Jost Gebers
Recorded By – Holger Scheuermann, Jonas Bergler

There are two – really three – distinct groups represented here. The first track, taking up more than thirty-five minutes, is an invigorating duo between Paul Dunmall and John Edwards. Evidently, Dunmall was scheduled to perform with bassist Paul Rogers, who was ill at the last moment, and Edwards took his place. The second is a powerful duo between John Butcher and Edwards, lasting just a tad longer, and the final short track features all three musicians. You might consider this is a welcome opportunity to compare Dunmall and Butcher close up, but their styles are so different that that is not really the point at all. All three tracks have their high points, and stand alone as significant pieces of music. It is unclear why the recording is listed under Dunmall ’ s name “ with ” Edwards and Butcher, since Edwards plays his heart out (even if he is a replacement), and is the only player found on all three tracks, and since the two saxophonists would seem to be equal participants. The Dunmall duo is important for his bagpipe work, which if you have never heard it before, is revelatory. It boasts at least as broad a range as the soprano or tenor, and allows the player to perform separate notes simultaneously, giving the impression of a trio or quartet. It has elements of the keyboard, too, in its fingering. Dunmall is the dominant figure on “ Gaulstones ” , in which he performs ecstatically, producing some of the best free bagpipe work on record – a long way from Rufus Harley. Edwards gets plenty of solo space, during and after which Dunmall switches to soprano. There are outstanding interactions, quick changes in tempo and, at least on soprano, some attractively mellifluous sections. “ Rhymes ” , the piece in which Butcher performs with Edwards, is divided into four distinct sections, which add a dash of diversity. The set with Butcher does not break any new ground, but as with so many of his performances, it offers glimpses of new sounds and directions. While Dunmall relies on over-blowing as an important technique on bagpipes, Butcher focuses more on a range of advanced techniques, including split tones, multi-phonics, flutter tonguing, and others to create a palette of sound. You might call Dunmall ’ s approach the macro-sound, as opposed to the micro-sounds of Butcher – but that is probably too great to generalization as each incorporates varied complexities and overlapping strategies. The promising though short closing piece, “ Hit and Run ” , in which Butcher, Edwards, and Dunmall improvise simultaneously, almost lives up to expectations. Its only downside is its short length, and its somewhat abrupt ending, leaving the listener wishing for more, and hoping for a follow-up performance and recording.
Recommended.

_ By STEVEN LOEWY
Cadence Magazine # 6, June, 2002



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ELTON DEAN – QED (2000)

Label: Blueprint (Voiceprint) – BP339CD
Format: CD, Album Country: UK - Released: 2000
Style: Free Jazz, Free Improvisation
Tracks 1, 2, 4, 7 recorded 20.01.00 at Eddie Mander's studio in Stoke Newington, London 
Tracks 3, 5, 6 recorded 17/18/21.01.00 at the Red Rose Club, as part of the 'Wireless' Festival
Artwork by – John Gardiner (Abstract Flight')
Design by – L-Space Design
Mastered by – Dave Bernez

QED features saxophonist Elton Dean in various contexts, from a duet with bassist Paul Rogers to trios, quartets, and a quintet with Jim Dvorak (trumpet), Nick Evans (trombone), Rogers, and Mark Sanders (drums). Other players include Alex Maguire (Hammond organ and piano), Tony Bianco (drums), Paul Dunmall (tenor sax), Simon Picard (tenor sax), and Robert Bellatalla (bass). The seven improvisations were recorded during one studio session and three live dates, all in January 2000. Even though collaborators and configurations change from one track to the next, this set forms a more cohesive (and interesting) whole than Moorsong, another Dean hodgepodge released around the same time on Cuneiform. These are all free improvisations with jazz roots. Highlights include the opening and closing numbers, two energy-filled trios with Maguire and Bianco on which Dean also plays electric piano (a wink to his Soft Machine days?). Bianco's Rashied Ali-inspired drumming and Maguire's funky Hammond playing turn these two tunes into exciting free-form fusion numbers. The horribly titled "Sax.com" is a nice sax quartet with Dean, Dunmall, Picard, and Jason Yarde. It makes a great contrast with "Sheepdogs," the aforementioned duet, where Dean reminds us how soulful his playing can be. The longest track is the quintet improv, "Deep Crease," the most textural of all. QED is a healthy dose of Elton Dean and a release his fans will not want to pass on.

_ by François COUTURE

Elton Dean’s recent associations with Hammond organ specialist Alex Maguire (as heard on HUX’s excellent release Psychic Warrior) have been gradually building over time. QED is one of the first recording dates with Maguire and drummer Tony Bianco that capture a return of sorts to the inspired signpost of Dean’s Soft Machine days. This trio gets two cuts on the recording: the first song, “ Hammond X ” is informed by the ghost of Tony Williams Lifetime as Dean spends time on Fender Rhodes against Maguire’s pensive but effective tones. The trio’s other piece ends the disc, “ New Roads ” which is perhaps a bit more into Brian Auger territory but the trio are playing at breakneck speed to end the recording on a substantial high note. Maguire is retained on piano for two freer excursions with Roberto Bellatalla and Mark Sanders handling the rhythm duties. Their first performance, “ Quartered, ” is a loosely structured piece with Maguire comping against Sander ’ s loose tempo and Bellatalla’s adept anchoring. The latter piece, “ Altored Saint, ” is a saner improvisation with Dean and Maguire introducing an intuitive dialog before the upright bass enters with a few careful brush strokes on the snare. On “ Sax.com ” Dean is joined by three fellow sax men (Paul Dunmall, Simon Picard and Jason Yarde) for a somber English take on San Francisco’s Rova sax quartet. Jim Dvorak and Nick Evans join Dean and Sanders on the longest improv, “ Deep Crease, ” which is the definitive performance on the disc. In summary Dean has rarely delivered anything but high quality collaborations between various configurations across the years.

_ By JEFF MELTON, Published 2005-09-01



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PAUL DUNMALL SEXTET – Shooters Hill, 1998 (2004)

Label: FMR Records – FMRCD141-i0104 

Format: CD, Album; Country: UK - Released: 2004

Style: Free Jazz, Free Improvisation

Recorded at Gateway Studios, Kingston, United Kingdom, 17th May 1998

Engineer – Steve Lowe

Cover design (reproduced above) by Ewan Rigg

New Dwsign (pages 2, 3, 4) by ART&JAZZ Studio, by VITKO

Mixed By – Steven Allen

Photography By [Group Photograph] – Steve Ford

Producer – Trevor Taylor 

This photo is a gift from Andy

Paul Dunmall (tenor saxophone), Paul Rutherford (trombone), Jon Corbett (trumpet), John Adams (guitar), Roberto Bellatalla (bass), Mark Sanders (drums). Paul Dunmall continues his successful relationship with FMR with a classic example of UK group improvisation. Dunmall ’ s ability to intermingle talented performers and instruments to astoundingly creative effect is ably demonstrated with Shooters Hill, a collection of three improvised pieces recorded all in one day at London ’ s prestigious Gateway Studio. The tapes, which have been in the possession of the saxophonist since 1998, capture seven magnificent performers in fine form and Paul Dunmall has been eager to share them with an audience ever since. This is wonderful stuff and it is fantastic to see their long awaited release, at last!
_ (FMR, 2004)



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PAUL DUNMALL / TONY BIANCO / DAVE KANE – Ritual Beyond (2010)

Label: FMR Records – FMRCD286-0210
Format: CD, Album; Country: UK - Released: 2010
Style: Free Jazz, Free Improvisation
Recorded at Delbury Hall, Shropshire, United Kingdom, 2009-07-15
CD layout (front cover reproduced above) by Ewan Rigg
Packaging: Digipack
Producer By – Trevor Taylor
Recorded By – Chris Trent

Paul Dunmall – tenor saxophone, clarinet; Tony Bianco – drums; Dave Kane – bass

The nature of the music on this album is equally free, but where the sextet album offers free floating, this one is more about free expression, and full of fierce energy too. This energy is largely the result of the powerplay of Tony Bianco on drums, whose unrelenting pounding is taken up quite well by Dave Kane's bass. Both form an incredibly strong backbone for Dunmall's quite jazzy playing, either on bass clarinet or tenor. The trio calms down a little for the third piece, "Sarasiwati", yet not for long. Three musicians in superb doing, yet they are so prolific and their approach is often quite similar, making this album hard to recommend over previous Dunmall albums, but fun it is.

_ by Stef (FreeJazz)

Description:

Featuring Paul Dunmall on tenor sax & clarinet, Dave Kane on contrabass and Tony Bianco on drums. British drum wiz Tony Bianco has worked with Paul Dunmall in a number of duos, trios and a quartet with Alex Van Schlippenbach. Tony has also worked with Elton Dean, Dave Liebman and Evan Parker. Dave Kane is a fine young bassist who is a part of that great trio with Matthew Bourne who have also recorded with Paul Dunmall on a fine Slam CD as well as another quartet disc on Duns. This disc was recorded live (?) at Delbury Hall, the sound is great. Dunmall starts on clarinet while the trio takes off powerfully. Mr. Bianco is a master drummer, as is their bassist Dave Kane. The trio work extremely well spinning furiously together into a whirlwind of exciting connections. Although Paul sounds great on clarinet, when he picks up his tenor half way through the first piece, the temperature starts to rise and the sparks start to fly. At times Tony Bianco sounds like Elvin Jones as he swirls powerfully around his drums. He pushes the rest of the trio higher and higher, unleashing a dynamic force as he goes. This is one tight and profoundly intense trio! If you dig a later Trane-like trio effort, then this one is for you.

_ By BRUCE LEE GALLANTER, Downtown Music Gallery



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ELTON DEAN QUINTET – Silent Knowledge (1996)

Label: Cuneiform Records – RUNE 83
Format: CD, Album; Country: US Released: 1996
Style: Free Jazz, Free Improvisation
Recorded at The Premises Studio, London, United Kingdom, 1995-06-01
Design, Layout – Steffi Green
Painting [Cover] – John Gardiner
Photography By [Band] – Andrew Putler
Recorded By – Paul Westwater

 

Yes, this strange lady is Sophia Domancich. The rest of band (uglier part) surely you know

Review:

Although Dean is titular head of the quintet, three-fifths of its personnel is made up of members of the Mujician group — Tony Levin on drums, Paul Rogers on bass and Paul Dunmall on tenor sax. Regular Mujician pianist Keith Tippett is replaced by Sophia Donmancich, who has a robust, two-handed attack, although perhaps less of Tippett's musical eccentricity. Dean plays his customary alto sax and saxello, no longer doubling on electric keyboards as he did during his early Soft Machine days. The long opening piece, "Gualchos," betrays a strong and not unwelcome Coltrane influence, beginning with the rolling thunder of Donmancich's piano, and then a solemn minor theme played by the saxes in unison. Everyone then has ample opportunities for soloing, with Dunmall's hoarse, impassioned tenor a highlight, along with a serpentine duet between the unaccompanied horns at the end of the piece. A subsequent ballad, "First in the Wagon," has Dean taking an initial lyrical solo, followed by Donmancich and then apparently by Dean again on his other horn. Very lovely playing, indeed. The remained two tracks on the CD are more in the mode of Mujician, going beyond the standard jazz format of theme and solos and into the more challenging world of collective improvisation where the musicians take turns following one another's lead and combine in temporary duets and trios, pushing the music in various directions. These pieces are abstract and sometimes abrasive, with fewer touchstones for the listener, but they offer substantial creative challenges for both listener and musician. Whatever the territory, this group of musicians traverses it with panache. 

_ By WILLIAM TILLAND

This is a studio album, concert version was prepared by Andy on Inconstant Sol blog. http://inconstantsol.blogspot.com/2013/02/elton-dean-quintet-1995.html

Enjoy



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ALEX von SCHLIPPENBACH / PAUL DUNMALL / PAUL ROGERS / TONY BIANCO – Vesuvius (2005)

 

Label: Slam Productions – SLAMCD 262 

Format: CD, Album; Country: UK - Released: 2005 

Style: Free Jazz, Free Improvisation

Recorded at the Steam Rooms Studio, London, 21st October 2004.

Artwork (back) – Paul Dunmall

Design – Andy Isham

Engineer – Jon Wilkinson

Painting (front) – Mary Ramsay

A set of 2 powerful improvisations by 4 masters of the genre. Alex Von Schlippenbach, one of the pioneers of the free jazz movement in Berlin in the 1960's, known for his legendary big band the Globe Unity Orchestra and his trio with Evan Parker and Paul Lovens. Recently he has recorded the complete works of Thelonius Monk. Paul Dunmall, one of the leading lights in melodic free improvising over the last 25 years on saxophone and his more revolutionary work on bagpipes, has an immense range of experience playing with Johnny Guitar Watson, London Jazz Composers Orchestra, Mujician and Danny Thompson's ‘ Whatever ’ . Paul Rogers is an integral part of the European Improvised music scene, working with all the recognized players across the continent and beyond, whilst developing his outstanding approach on his own designed 7 string bass. Tony Bianco, firmly rooted in the Jazz Tradition from his home in New York, has embraced all forms of improvised music. His drive and stamina are exceptional.

Description: Featuring Alex Von Schlippenbach on piano, Paul Dunmall on tenor sax, Paul Rogers on 7 string A.L.L. bass and Tony Bianco on drums. This is a colossal studio date and first time meeting of four giants of European improv. Of course, us Dunmall fanatics have heard the amazing Dunmall, Rogers & Bianco play in a number of different combinations, our favorite with Keith Tippet in Mujician. But never with piano master Schlippenbach: an all- star FMP great, in a longtime trio with Evan Parker & Paul Lovens and founding member of the Globe Unity Orchestra. 'Vesuvius' features two epic-length pieces, "Salamander" and "Leviathan",is over an hour long and is incredible throughout! Monster contrabassist, Paul Rogers, is erupting right from the beginning, burning and pushing the rest of the quartet higher and higher. American born drummer, Tony Bianco, has been living in England for the past 7 years, and is another unsung hero who has worked with Dave Liebman, as well as on a few Dunmall discs. He sounds superb swerving and moving intensely through the waves of rhythm with Rogers. I've had the good fortune to hear piano master, Schlippenbach, twice in the past few years at Tonic with Evan Parker & Paul Lytton, as well as up at Victo in a double trio Peter Brotzmann, William Parker & Hamid Drake. We've all been fortunate that Alex has been well recorded over the past few years: two box sets (that 'Complete Monk' on Intakt is killin' and that other standards box is out-of-print), a trio Aki Takase & a DJ on Leo, a double disc with the trio on PSI, that double trio on Victo and a couple of Globe Unity discs. Both Schlippenbach and Dunmall sound particularly inspired here, often riding the waves of rhythm and spinning out cascading lines of notes. All four musicians take a number of outstanding solos, both unaccompanied and with the quartet. "Leviathan" starts out fills with suspense as Alex rubs things inside the piano, the rest of the quartet floating eerie spirits in a ghost-like haze. For those who can't wait for that next Mujician disc, this is an equally cosmic date. 

– BLG (Downtown Music Gallery)

This is effectively Mujician with Tony Levin giving way to Tony Bianco on drums and Keith Tippett replaced by Alex von Schlippenbach on piano. But Schlippenbach has always let it be known that free jazz – and sometimes changes-and-rhythm jazz – are still very much what he does. The linear energy he brings to this is very different from Tippett ’ s more shamanic approach. The music remains more on a single level, without the transcendant leaps you ’ d expect from Mujician. Vesuvius works wonderfully – two large slabs of urgent, probing sound with no fat and little room for meditative pause. The pianist probes and prods at ideas that float up from some common pool of musical language, and then dismantles them. Paul Dunmall, playing only tenor saxophone this time, resorts to shorter and more angular phrases than usual, with phrasing that contends with the piano line. In a rather uncomfortable position in the stereo picture, Paul Rogers coaxes some highly effective sounds from his seven-string ALL bass, making full use of its cello range end, but never setting aside his familiar role, like a drifting anchor. Tony Bianco ’ s playing sits much further away from jazz again, even if some of his fast, urgently hissing figures constantly hint at a fast jazz 6/8 without ever resolving into it. He is what makes this such a different sounding date, and such a good one. The shorter “ Salamander ” does sound proven in fire, its surface bubbling and shifting like something molten cast into as yet uncertain form. The longer “ Leviathan ” manages not to lumber, but there are a couple of places where the direction seems in doubt and the four participants lose touch with each other. Even so, this is a remarkable, unexpected record with a real edge.

_ BRIAN MORTON, THE WIRE, December 2005



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DUNMALL / EDWARDS / GIBBS / SANDERS – Boundless (2010)

Label: FMR Records – FMR CD278-0709
Format: CD, Album; Country: UK - Released: 2010
Style: Free Improvisation
Recorded on January 17th, 2008 at University of the West of England, Bristol
Engineer by Stephen Allan

Note:

"Boundless energy, boundless creation,, and boundless musical integrity! These musicians , the finest improvisers in the uk produce here a never ending stream of highly stimulating improvised music . The music threads its way through endless permutations of mood and dynamic range , but always with a total and uncanny empathy. No musical ideas are excluded, its all valid and there areas of extreme free jazz feel to electronica as well as collective improv. But what words can you use to describe the musical range, its so large, so full, so rewarding. Listen with unbounding enthusiasm and elation to the musical outpourings of masters of the genera!!! A two guitar setup could have been a bit busy but it works perfectly as the two disparate approaches complement perfectly Sanders sublte drums and the ever brilliant paul Dunmall."
- FMR

                                                                               Edwards, Dunmall, Sanders

Multi-instrumentalist Paul Dunmall is no stranger to Trevor Taylor's FMR label; two of his band mates on this energetic improv date, drummer Mark Sanders and guitarist Philip Gibbs, are certainly familiar names to the Dunmall enthusiast. Guitarist Barry Edwards is the relative unknown here, having recorded very infrequently and with Dunmall only once before, also for FMR. This album boasts Dunmall's unique blend of free jazz and European improv, but with a twist, as Edwards' fretwork ups the anti and the volume.

Right away, the two guitarists lock into a multilayered dialogue of timbral transparency and tonal complexity. Their delicate musings, augmented by Sanders' crystalline cymbal strokes and deep bass drum rumbles, form the perfect backdrop for Dunmall's entrance. His playing embraces the atomistic concerns of late Coltrane while maintaining a fluidity and intricacy that's all his own. Listen to the hairpin precision with which he'll inflect certain tones, his tenor raising or lowering pitch by a whisker's breadth amidst the subtlest of dynamic shifts. Even early in the disc, ideas seem to flow from him like fresh water, as was the case only with prophetic figures such as Jimmy Lyons.

As the disc progresses, it is Edwards that continually pushes everyone beyond the comfort zone. He is capable of an endless variety of timbres, from bell-like overtones to crunchy distortion. Derek Bailey's fluidity might be a point of comparison, but there can be more "out" rock in Edward's styling, ala Mark Ribot or Sonny Sharrock.

It all adds up to an exhilarating experience. There's a thrilling moment in "AB," where Edwards is sliding and bending, Dunmall's screaming, Sanders swings the cymbals while interjecting bursts of raw percussion, and Gibbs is anchoring the whole thing with those razor-sharp alien harmonies only he knows.

There's contrast a-plenty as the album proceeds. On "AD," Dunmall and Sanders sit out while the guitarists have a field day. A wonderful drums and saxophone dialogue opens the final track. This is one of Dunmall's most interesting sessions to date and an excellent addition to Edwards' fledgling discography.

Review by Marc Medwin



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PAUL DUNMALL, PAUL ROGERS, MARK SANDERS – Deep Whole (2006)

Label: FMR Records – FMR CD 243-0807
Format: CD, Album; Country: UK - Released: 2006
Style: Free Jazz, Free Improvisation
Recorded at University of West England, Bristol on 25th April 2006.
Design [Cd Design] – Ewan Rigg, Trevor Taylor
Re Design (pages 2,3,4) by ART&JAZZ Studio
Engineer – Stephen Allan
Producer – Trevor Taylor

Featuring Paul Dunmall on tenor & soprano sax, Paul Rogers of 7-string contrabass and Mark Sanders on drums. Although, multi-stylistic drum wiz, Mark Sanders, has played on some half dozen discs by Paul Dunmall (and Evan Parker, Elton Dean & Jah Wobble), this is the first recording by this particular dynamic, all-star trio. This disc was recorded at the University of West England in Bristol in April of 2006.

The first of three long pieces here, "Deep Whole," has a marvelous sound/blend. Dunmall's warm, earthy Trane-like tone on tenor is a perfect foil for Roger's immense and cosmic-toned bowed bass. Mark Sanders also sounds like the perfect choice as he spins his rhythmic web balancing the sax and bass with care, craft and creative support. There is an amazing tenor and drums duo section where the tempo and excitement increases together. When the bass soon enters, the trio escalates to a higher level. There is a beautifully plucked bass solo from Rogers which brings the trio to a more peaceful and lovely place or space. I find this entire disc to be quite perfect on all counts: everything flows just right (organically), there is a superb balance of incredible solos and telepathic ensemble work.

If this is not thee CD of the year, then it is pretty f*cking close! Five stars! - BLG



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EVAN PARKER, PAUL DUNMALL, BARRY GUY, TONY LEVIN - Birmingham Concert (1996)

Label: Rare Music – RM 026
Format: CD, Album Country: UK Released: 1996
Style: Free Improvisation

Recorded By – Paul Westwater
Recorded By, Mastered By – Dave Bernez
Recorded at Birmingham Midland Institute on March 5, 1993
New Design by ART&JAZZ Studio SALVARICA – 2012
Artwork and Complete Design by Vitko Salvarica


"Life is really unpredictable. Just in time to prepare for the publication of this album, came the news of the death of David S. Ware. It wouldn't, of course, any nothing unusual, that my planned post, it was not covered with beautiful memories of a particular event, and the memory of the second anniversary of the death of one of my favorite British drummer Tony Levin.
In that spirit, I wrote a few words, and made, specially designed for the occasion, a new look album.
Of course, because of the urgency of the situation, I am respond quickly, and pay tribute to the great creator David S. Ware, but, by then I had to "Birmingham Concert" moved for a few hours later.

Well, if it was meant to be, that we have two "memorial posts" in the series, then so be it".


Note:

Recently, digging through my music library looking for something else of course, I am stumbled on this brilliant album, and promptly forgot his original intention. The memories and emotions began to haunt my mind, and with each new listening, I was totally fascinated by Tony's masterful drumming.

For several months, it will be twenty years from the legendary concert (one of my favorites of this quartet), and two years since the death of Tony Levin.
Tony Levin, an internationally respected free jazz drummer, has died aged 71, on 3 February 2011.

In honor of Tony Levin and this unique concert, I decided to create a completely new design of the album.

Salute, and enjoy the music.
Vitko


Review:

In many ways, this is the kind of "typical" all-star, British, free improv session heard during the '90s: robust, muscular playing by an impressive cast. In concept, it's not very different from dozens of others; its special quality lies in both the intensity of the performance and in the choice of players, particularly the pairing of saxophonists Parker and Dunmall. The former, by this time, was an eminence grise of the movement, a veteran who, while still capable of surprising developments, had essentially established his language and who had already influenced a younger generation of players. Dunmall, while hardly a youngster, was in the process of cementing his own identity and his approach contrasts deliciously with his elder's. Parker tends to attack matters from a fairly intellectual stance, achieving his own brand of ecstasy, one suspects, through a rigorously applied system that, at its best, explodes from its own hermeticism. Dunmall appears to take a more intuitive, less formal approach, using a larger sound that comes across as pastorally romantic to Parker's urbanity. This makes for a fine tension as each player coaxes or accedes to the other, constantly shifting the balance of the general tenor of the improvisation. And this is without even mentioning the contributions of the extraordinary Barry Guy on bass, a musician of awesome sensitivity to the playing of his bandmates as well as one capable of producing sublime and innovative music of his own. Finally, Tony Levin is entirely adequate drummer, to ignited just the right amount of extra fire and invention to propel this session into even higher realms. 
As is, Birmingham Concert is a fine release and is easily recommended to any fans of the musicians involved.

~ Brian Olewnick, All Music Guide

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PAUL DUNMALL SUN QUARTET – Ancient and Future Airs (2009) [Repost]

Clean Feed – CF138CD
Format: CD, Album; Recording Date : 2009; Style: Free Improvisation
Barcode: 5 609063 001389
Design – Travassos, Executive-producer – Trem Azul, Mastered By – Luís Delgado, Photography By – Hernani Faustino, Recorded By, Mixed By – Jon Rosenberg
Recorded on 16 June 2008 at The Living Theatre, New York; (Mixed June 24th 2008)


Review:

As he has proved in other situations – most notably his two decades long membership in both the London Jazz Composers Orchestra and the collective quartet Mujician – saxophonist Paul Dunmall is the consummate group player.

With wide-ranging influences that take in Carnatic sounds, semi-folk material, so-called Ecstatic Jazz and free-form improv, the London-based musician is known for his tenor saxophone playing, but also tries out other members of the saxophone family – including the saxello – and has recently turned his attention to the border bagpipes.

Each of these ancillary horns makes an appearance on these notable quartet sessions. Recorded in the company of fellow British improvisers, the September Quartet features bassist Nick Stephen and drummer Tony Marsh, the trumpet of Jon Corbett and Dunmall ’ s tenor and saxello playing. Flash forward two years to 2008, when after an appearance at New York ’ s Vision Fest, Dunmall recorded the next day as part of the completely different Sun Quartet. Here his partners are all well-regarded Americans: bassist Mark Helias and Kevin Norton on drums and vibraphone, plus Tony Malaby playing soprano and tenor saxophones.

Dunmall not only showcases his tenor work, but his bagpipe style as well.
Of similar build and hirsuteness, both Malaby and Dunmall bring the same lung power to their tenor saxophone playing, using split tones, inflating diaphragm vibratos and altissimo cries to good advantage. Operating in double counterpoint and exploring individual sonic paths only feature distinguishing Malaby from Dunmall – and vice versa – is that one sax appears to be pitched higher than the other. One sky shrieks while the other favors moderato timbres. Exact identification only happens when Malaby switches to the soprano and Dunmall brings out his bagpipes.

During those sections of the extended improv, Malaby ’ s soprano wriggles in serpentine lines which expose nodes as well as notes and uses a grittier tone to goose the tempo. Far away from pipe band harmonies meanwhile, Dunmall ’ s pipes and bellows pump up the available air supply with widened and pressured tones leading to triple and quadruple multiphonics. As the pitch-sliding bagpipe drone redefines the overall sound, Malaby narrows his output with reed biting abrasive tones.

Helias ’ thick lope and Norton ’ s slaps, rebounds and accentuated drum strokes hold the performance together regardless of the reedists ’ oral gymnastics. However the metallic sparkles and slides instituted by Norton ’ s vibraphone in the tune ’ s slower sections create a unique transitional texture. At points either one or another of his percussion instruments foreshadows tempo and pitch changes, as when cymbal taping introduces internal split tones intensity from the saxophonists or when pin-pointed drum strokes and rim shots usher in a section of mellow and balladic reed runs.

Divided into four long sections, as opposed to the massive single track and short encore that make up the other CD, What Goes Around is another ad hoc set up. British expatriate trumpeter Jon Corbett arrived from his home in Germany to record with his homeboys, who besides Dunmall, include veteran bassist Nick Stephens, who has recorded with everyone from Norwegian saxophonist Frode Gjerstad to American Norton, and drummer Tony Marsh, a frequent Stephens associate.

Unlike Norton, Marsh confines his work to the drum set and the drummer ’ s traditional time- keeping role, only figuratively stepping forward a few times to take sharp and restrained solos. In this different configuration, there ’ s less good-natured challenging from Dunmall – although his work with Malaby could scarcely be termed a saxophone battle – and more tone intermingling. Still, it ’ s the tenor man who, more often than not, steps outside the comfort zone with measured split tones, while Corbett specializes in andante trumpet flourishes, gentling grace notes and muted obbligatos.

At the same time, the brass man does reveal short, frenetic sound bites or hummingbird-quick tube explorations, as he does on “ Follow Me Follow ” . There, his gentling trumpet obbligato precedes soprano saxophone sluices and cymbal vibrations. Abutting one another, the horns ’ output separate lines as Stephens ’bass walks and Marsh’ s drums rebound. With the horns ’ irregular vibrato sweetened with oral splays and growls, the track ends with a conclusive double bass pluck.

Fittingly the four climax with “ All ’ s Well that End ’ s Well ” , with Dunmall back on tenor, Corbett playing chromatic lines, and the rhythm section creating a rolling wave of string- thwacked thunder plus skittering drum beats and rim shots respectively. As the saxophonist introduces squat split tones and slurs to break up the time, he ’ s aided by the bassist ’ s supple cross strokes and half stops. Eventually the trumpeter and reedist stutter tremolo tones at one another: with one man ’ s timbres echoing the first ’ s almost immediately after initial creation. Finally sul ponticello string work, clattering drum beats, brass flutter-tonguing and reed tongue-stops coalesce architecturally, until the sounds gradually diminishing into a warm flurry of grace notes from both horns.

Whichever part of this mixed Anglo-American program you prefer, each CD shows off Dunmall ’ s inventiveness in a context with equally impressive cohorts.

by Ken Waxman (Jazzword review on July 6, 2009)



Welcome to new prog-blog "Different Perspectives In My Room...!".
Enjoy the music, and please leave a comment. Thanks in advance.

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