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(Avant-Garde, Free Improvisation, Free Jazz) Spring Heel Jack (Roy Campbell Jr., John Coxon, Ashley Wales, John Tchicai, John Edwards, Tony Marsh, Orphy Robinson etc) - Songs & Themes {Thirsty Ear thi 57183.2} - 2008, FLAC (tracks+.cue) lossless

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Spring Heel Jack / Songs & Themes
Жанр: Avant-Garde, Free Improvisation, Free Jazz
Год издания: 2008
Издатель (лейбл): Thirsty Ear
Номер по каталогу: thi 57183.2
Аудиокодек: FLAC (*.flac)
Тип рипа: tracks+.cue
Битрейт аудио: lossless
Продолжительность: 00:57:37
Источник (релизер): вата (sirsquatch)
Наличие сканов в содержимом раздачи: да (by mishka1981)
Треклист:
01. Church Music
02. Dereks
03. With Out Words
04. Eupen
05. For Paul Rutherford
06. Folk Players
07. Silvertone
08. Clara
09. 1,000 Yards
10. Antiphon
11. At Long Last
12. Garlands
Personnel:
Roy Campbell Jr. - trumpet / pocket trumpet / flugelhorn / flute
John Coxon - electric and acoustic guitars / bass guitar / samples / violin / glockenspiel
Ashley Wales - samples
John Tchicai - alto and tenor saxophones / bass clarinet
John Edwards - double bass
Tony Marsh - drums
Orphy Robinson - vibraphone
J Spaceman - electric guitar on tracks 9 and 12
Mark Sanders - drums on track 7
Rupert Clervaux - drums on track 8
Recorded at Grays Inn Road and Abbey Road Studios, London, by Rupert Clervaux, Chris Bolster and Scrap Marshall 2007
Mix / Mastering Engineer - Rupert Clervaux

Код:

Exact Audio Copy V1.0 beta 3 from 29. August 2011
EAC extraction logfile from 30. May 2012, 1:39
Spring Heel Jack / Songs & Themes
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Delete leading and trailing silent blocks   : No
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Код:

REM GENRE Instrumental
REM DATE 2008
REM DISCID 830D820C
REM COMMENT "ExactAudioCopy v1.0b3"
PERFORMER "Spring Heel Jack"
TITLE "Songs & Themes"
FILE "01. Church Music.wav" WAVE
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    PERFORMER "Spring Heel Jack"
    INDEX 01 00:00:00
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    PERFORMER "Spring Heel Jack"
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FILE "03. With Out Words.wav" WAVE
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    PERFORMER "Spring Heel Jack"
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    PERFORMER "Spring Heel Jack"
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    INDEX 01 00:00:00
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After a lengthy sabbatical, Spring Heel Jack (a.k.a. John Coxon and Ashley Wales) return to Thirsty Ear with Songs and Themes, a new album that reflects the years spent on the duo’s own Treader label. The line-up includes seasoned collaborators Roy Campbell Jr., John Tchicai, J Spaceman, John Edwards, Tony Marsh and Orphy Robinson. But if the musicians are familiar, the music has evolved in the four years since Spring Heel Jack’s last release. Thirsty Ear labels it “jazz-ambient,” not a common description… and not entirely appropriate.
As before, Wales and Coxon construct sound environments for the ensemble’s improvisations, environments that often employ comparatively simple themes. In effect, the pieces are often concertos featuring the soloists, particularly Campbell and Tchicai. For some of the environments, the “ambient” tag is entirely appropriate; they evolve slowly, creating a mood reminiscent of modal jazz. The opener, “Church Music,” typifies this; the mood is set by piano chords overlaid with sawing violin and economically placed vibraphone notes. Here, Campbell’s trumpet has the same sense of space and economy that Miles Davis displayed in his modal phase. When Tchicai enters, the moment is straight out of Kind of Blue - it doesn’t last, as Tchicai isn’t John Coltrane, but it’s an illuminating moment, nonetheless.
While the label’s genre tag isn’t exactly fitting, the album’s title is. Songs and Themes is heavy on melody, far more so than any of the duo’s past Thirsty Ear releases. All of the players respond in like fashion, Campbell particularly. On “With Out Words,” he teases the listener, flirting with the melody of “Somewhere Over The Rainbow” without ever explicitly stating it; on the brief interlude that is “Eupen,” he plays flute in a reflective, pastoral piece; “For Paul Rutherford” is a stately-paced duet between Campbell’s muted trumpet and Marsh’s low-key drums that manages to convey Rutherford’s skills as a melodist and acts as a fitting tribute. Altogether, Campbell manages to steal the show despite plenty of competition, most notably from Tchicai, whose bass clarinet on “Silvertone” is a sensual pleasure.
Unsurprisingly, the two tracks featuring J Spaceman’s guitar break out of the mold. “A 1000 Yards” is an anomaly, with more rock and noise influences than jazz or ambient, while the closer, “Garlands,” slowly builds tension before bursting into spaghetti western midway through, complete with trumpet, glockenspiel and whistling. A rousing climax.
At present, this feels like Spring Heel Jack’s best Thirsty Ear album to date. It explores combinations of influences and uses them in ways that no one else currently can.

Review by Thom Jurek
Four years after 2004's Sweetness of the Water, where former drum'n'bass duo Spring Heel Jack (John Coxon and Ashley Wales) began playing their own instruments and enlisting collaborators to realize their own electronic jazz vision, they return to Thirsty Ear's Blue Series Songs and Themes. This time out, Wales works only with samples, while Coxon, plays guitar, violin, glockenspiel, and bass. The rest of the cast is a curious and exciting one: Vanguard jazz legend John Tchicai plays saxophones and bass clarinet, Orphy Robinson is on vibes, American ex-pat Roy Campbell plays various trumpets and flute, and the rhythm section consists of double bassist John Edwards (Evan Parker, James Hardway, Steve Reid, Paul Lovens), and drummer Tony Marsh (who has played with everyone from Kim Fowley to Mike Westbrook). The guests include J Spaceman on electric guitar on a pair of tracks, and drummers Mark Sanders and Rupert Clervaux on others. In the title lies the key to the album. It is a jazz record, but it is also a classical one; it is a moody, subdued, beautifully lyric and sometimes tense series of 12 charted tunes and takes.
The themes are obvious from the beginning, such as the opener, "Church Music," where glockenspiel, piano, a meandering violin almost on stun, all enter slowly, nearly processionally, before Campbell begins to articulate his motif to lend the proceedings body to hold the hovering spirit within. This is contrasted with "Dereks," a deeply moving elegy where samples and vibes, doubled violin, and rumbling bass drum effects are the frame for Tchicai's deep, soulful solo of a song that acts as both melodic frame and improvisational device. "Without Words" is another quiet, song-oriented piece with beautiful trumpet work by Campbell. The entire first half of the recording is very quiet and meditative but hardly boring. It's very English but only in the sense that Neil Ardley, Mike Gibbs, or Westbrook are. Things don't get outside or move up in terms of volume or improvisation until track five, "Folk Player," where Coxon's violin, subtle sonic samples, extremely interactive drumming, and Robinson's vibes wind through a series of themes and schematics allowing plenty of space for improvisation. Tchicai's bass clarinet is the focus of "Silvertone," a somewhat droning, quietly articulated piece where his breath control, pulse, and tonal flavor are in stark contrast to Coxon's violins. "Clara" is the most beautiful son here. Its gently flowing articulation and Clervaux's brushwork on the drum kits are beautifully asserted and may move slowly, but they are not static.
Things get wonderfully skronky and dissonant on "1,000 Yards" with Spaceman's guitar scree piled and soaring above violin and sampled drones and Marsh's drumming moving it all into a blur. The Eastern tinge in "At Long Last," with Robinson's sparse vibes laying a bedrock for the delightfully almost-off-the-rails solo of Campbell, who uses contrapuntal intervals and a restrained sense of dynamics to sing this theme, thereby blurring the very distinction between song and theme. The church organ touch is killer, too. This isn't an album that's going to appeal to everyone, particularly anyone who is still holding out hopes for a return to proper electronic music for Spring Heel Jack. Those interested in the Blue Series may find this a bit on the slow and quiet side, too. That said, there is so much here, in the minutiae: it is a truly involved, engaging, and even provocative recording on many fronts. This is a place where the sounds and spirits of Gil Evans' more skeletal material with Miles, the aforementioned Brit jazzers who studied composition, and fans of ambient music will find a very rewarding place to visit if not remain. This set should have been recorded by ECM: with its sound and these bleeding sonics and tunes, the match would have been made in heaven. Songs and Themes is beautifully done and worth the wait.

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