London Jazz Composers Orchestra - Ode 2 x CDs

SKU 34-Intakt 041
Barry Guy: Bass/Composer / Buxton Orr: Conductor / Harry Beckett: Trumpet / Dave Holdsworth: Trumpet / Marc Charig: Cornet / Paul Rutherford: Trombone / Mike Gibbs: Trombone / Paul Nieman: Trombone / Dick Hart: Tuba / Howard Riley: Piano / Derek Bailey: Guitar / Trevor Watts: Alto/Soprano / Mike Osborne: Alto / Bernhard Living: Alto / Alan Wakeman: Tenor/Soprano / Evan Parker: Tenor/Soprano / Bob Downes:Tenor/Flute / Karl Jenkins Baritone/Oboe / Jeff Clyne: Bass / Chris Laurence: Bass / Tony Oxley: Percussion / Paul Lytton Percussion

"25 years seems an absurdly long time to keep a band going, but then there have been exceptional attractions in doing so. Two abiding and powerful forces have promoted this continuity: The constantly evolving creativity of the musicians and my desire to research an expanded scenario for the large ensemble. In those early days I was greatly encouraged by my composition professor Buxton Orr. Such was his interest in my ideas and crucially, his understanding of the impetus behind the musicians' experiments, he eventually directed the orchestra for several years. Also his work as composer, conductor and teacher prepared him for many weary hours coaxing the pieces into life. «Ode» was my first score written to address the problems of integrating improvised music within a large tableau of symphonic proportions. The first performances produced glowing notices: «remarkable and impressive»; «technically awesome creation»; « a work of astonishing brilliance» and so on. There was also a great deal of adverse criticism - «lunatic music»; «merciless noise»; «a long way from Satchmo, Benny, Bix and Duke, too long a way». Well yes, it meant to be a long way from those great pioneers, but some folks always miss the point! At the time of writing «Ode», I was very conscious of possible misunderstandings that could surround such a composition, and in particular I was anxious to make clear that it was not «Third Stream Music» - the superimposition of «Jazz» material into a classical ensemble. For me it was important to stress the language similarities, the symbiotic sound worlds of «Free Jazz» and contemporary compositional rationalities. I had in mind two solid foundations on which to build the music - «Sound as energy» and «Energy s structure». As a performer and composer, it seemed to me that the way to integrate the original music of improvising musicians with the composer's idea was to reach into the heart of what each discipline was setting out to achieve and to recognise specific parameters where a meeting point could be negotiated. The process was not so much intellectual - more being guided be feelings and searching for the source of our collective creative spirits. The performer in me felt the intense heat and concentrated energy of improvising with colleagues. The process was spiritually awakening, communicating, inventing, learning, healing with a wide open space controlled by a wonderful balance of ego, humility and explosive creativity. Here was sound as energy."-Barry Guy
  • LabelIntakt
  • UPC7619942504120
Your Price $33.00

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