Chuck Nessa Posted November 10, 2003 Report Share Posted November 10, 2003 Track 2 "No. 2" is considerbaly longer than the stated 2 minutes and develops a real head of steam in the manner of Ayler but perhaps less hectoring than Albert could be. Hopkins is a monster on this track. I was bedridden at the time this cd was "put to bed" and failed to proof the traycard. The correct time for No. 2 is 12:02. Quote Link to comment Share on other sites More sharing options...
jacknife Posted November 11, 2003 Report Share Posted November 11, 2003 Still trying to get into this disc. At this point, I agree with Clunky about track 3 being the "real gem" on this disc. At the very least, I now know what a hubkaphone is and sounds like. Quote Link to comment Share on other sites More sharing options...
JohnS Posted November 11, 2003 Report Share Posted November 11, 2003 (edited) Any record by Air ought to subtitled "The Real Art Of The Trio". This is a fine example of one of the best improvising trios in jazz. I've had my vinyl copy since it's release and playing it now reminds me of those heady days in the late 70s when the next Air album was awaited with a great deal of anticipation. Although I'd been through the first wave of "new jazz" Air, I believe, took things to another level. The (inter)playing here is superb but I often find myself listening to the magnificent Fred Hopkins, a very physical player, and I can see him on stage now wrestling with his instrument. His playing is astonishing. All the cuts are fine, "Subtraction" is dangerously slow and spacy but it's never dull, the trio come up with surprise after surprise. I like the close sound stage and the recording on the vinyl. John Litweiler's very useful notes are a model of their kind. And I wouldn't mind a copy of the poster that features in the cover art on my wall! This is a great record although I'd be hard pressed to say that this is Air's best record as they are all good. Thanks Chuck for getting this on disc and impossible for the nomination. Edited November 11, 2003 by JohnS Quote Link to comment Share on other sites More sharing options...
JSngry Posted November 11, 2003 Report Share Posted November 11, 2003 I'd like to ask Chuck this: I remember a DB interview with Steve McCall, I believe, and he mentioned that a lot of Henry's pieces were highly scored, although they sounded pretty much improvised. I was wondering just how much paper was in the studio for this date (or others you witnessed), and if there was a lot, was the notation "literal" or more graphic in nature? No matter - I love this band and this album. Some of their later things had more obvious "grooves" to them, but I like this one because there's a constant momentum building as silence and sound dance in and to their own personal rhythms. The actual notes might not "swing" in a conventional sense, but the overall effect is still one of motion, tension and release, and everything else that defines swing in my book. It's just a different way to manipulate the elements, one that has it's roots in traditional jazz ends even if the means themselves are not always "traditional". It's just a way to open up new options for players and listeners alike, and by doing so, it challenges us to stay alive and alert instead of just reflexively falling back on what we already know, at the risk of living reflexively, rather than actually beiing involved in the moment. That's a good thing as far as I'm concerned, and a GREAT thing when it happens like it did with these guys. Quote Link to comment Share on other sites More sharing options...
JohnS Posted November 11, 2003 Report Share Posted November 11, 2003 I'd be interested in the answer too. Although I called them an improvising group my guess too is that the pieces were highly organised. However I don't recall any paper on the stand on the occasions I saw the group. Quote Link to comment Share on other sites More sharing options...
.:.impossible Posted November 12, 2003 Author Report Share Posted November 12, 2003 Well, I can't figure out how to "pin" this topic, so I'll just let the discussion officially begin two days late. It has been quite some time since I first announced AIR TIME as the AOW for this week. I'm sure that everyone who intends on participating has secured their copy by now and has spun this music with a heightened ear. We've been touching on this one for a while now, so let's get started. .:. I remember sending Chuck an email back in March, requesting a copy of Snurdy McGurdy and Her Dancing Shoes and a selection of his choice to give my brother for his birthday. Once Chuck discovered that my brother is a bass player, his selection was made. Of course, I made a duplicate order for myself! Can’t send somebody something I don’t know nothin’ about! My purchase was made entirely on blind faith. I was very excited to see the word AIR when the package arrived. My friend Al Jones had recommended this recording to me on previous occasion. I had heard Air Show #1 through Vint Gonser, along with a compiled list of Threadgill performances. I knew that this was one of the areas of music that I would eventually explore in depth. As a whole, Chicago is still one of these areas that I feel will eventually envelope my listening for a long phase. Now, it goes without saying that I am no expert on Air, Threadgill, Hopkins, McCall, the AACM, Chicago music, jazz music, Chicago jazz music, Chicago jazz music from the late seventies, the Nessa catalog, saxophonists, bassists, drummers, or anything really for that matter. I am purely intrigued by sound and the emotions conveyed by a musician or group of musicians. I have never seen or heard any of these musicians in person. I know there are people here who are some of the above. People that lived and breathed this music when it was happening. I know there are people here who were around the jazz scene in the seventies and the years before who may have had no interest in this type of music. I hope to hear from all of you. Presently, I know of two improvisational albums that seem to fit right into my life as if they were always there, waiting for me to press play. AIR TIME and DIVINE GEMINI, the Walt Dickerson/Richard Davis duets. Both just seem to define my surroundings, regardless of my mood, when I play them. I think that is rare in music to find something that always just fits. I find it important to note just how widely trained and musically experienced Henry Threadgill is when listening to Air and the rough and variable tone with which he plays. As I understand it, he played clarinet at the American Conservatory of Music, saxophone in blues bands, polka bands, marching bands. You name it. He has absorbed the musics of other people and has chosen to create something all his own. Something I can associate with sound as much as I can with music. It should also be noted that this trio was originally formed to perform the compositions of Scott Joplin during live avant-garde theatre performances. The result? A reeds, bass, drums trio dancing through solo piano rag music during avant-garde theatrical performance, finding new devices to best relate its instrumentation and limitations to the original musical score. I imagine, in this musical setting, it was more obvious where the composition ended and the improvisation began! Chuck chose this album for me on the premise that it was a gift for a bassist. I wonder. If I had told him my brother was a drummer, would he have chosen the same. A reeds player? I sure as hell don’t see why not. There is NO obvious bandleader here. There is no dominant voice. There is no weakness. Not a moment. This group moves together with such force. I love the quiet sections. I love the more chaotic sections. This music, the rhythm section in particular, is so much my style. I cannot tell you how many times I have listened to this recording since receiving it in March of this year. I want to thank you again Chuck for introducing this music to me. I also want to thank you for your continuing efforts to document what you feel is important. So, what does everyone else think of the music? I’m really excited to hear your responses! Thanks guys. Quote Link to comment Share on other sites More sharing options...
Chuck Nessa Posted November 12, 2003 Report Share Posted November 12, 2003 I'd like to ask Chuck this: I remember a DB interview with Steve McCall, I believe, and he mentioned that a lot of Henry's pieces were highly scored, although they sounded pretty much improvised. I was wondering just how much paper was in the studio for this date (or others you witnessed), and if there was a lot, was the notation "literal" or more graphic in nature? As I recall, there was a score for Subtraction (primarily a composed piece). I don't remember the details of the notation, but it was on music paper. Quote Link to comment Share on other sites More sharing options...
David Williams Posted November 13, 2003 Report Share Posted November 13, 2003 It should also be noted that this trio was originally formed to perform the compositions of Scott Joplin during live avant-garde theatre performances.... I'm as new to Air as you are, and this was my first of theirs - beautiful. I've also found Air Lore on LP, and you should hear this if you're interested in the rag/Joplin angle - two Joplin pieces, plus an amazing Buddy Bolden's Blues, King Porter Stomp, and a Threadgill composition. It's great to hear these tunes tackled by this trio in a full-on but sympathetic/empathetic way. I think it's available on CD. Quote Link to comment Share on other sites More sharing options...
Joe Christmas Posted November 13, 2003 Report Share Posted November 13, 2003 Not much to add other than this is one of my favorite Air records. Threadgill may still be writing timeless music, but the tease, "I'll Be Right Here Waiting" is one of the truly memorable ballads of the last 30 years. I did a double take when I first learned that it was McCall's. I'll also say that I love the funk-inspired riffs that tend to come out of Threadgill, and they're all over this record. But the hubkaphone is silly. That's right, silly. I like the way it's intonated and the fact that it's musical is a plus, but damn. I'd much rather that G.v.E was a solo bass tune. Quote Link to comment Share on other sites More sharing options...
JSngry Posted November 13, 2003 Report Share Posted November 13, 2003 Uh, just how IS it "intonated"? Quote Link to comment Share on other sites More sharing options...
Chuck Nessa Posted November 13, 2003 Report Share Posted November 13, 2003 Better than if it had been intonined or intotenned. The mind reels at the possibilities. Quote Link to comment Share on other sites More sharing options...
Joe Christmas Posted November 13, 2003 Report Share Posted November 13, 2003 So I should have put that in quotes. Uh, nobody likes a musician snob, Jim. Quote Link to comment Share on other sites More sharing options...
.:.impossible Posted November 13, 2003 Author Report Share Posted November 13, 2003 I dig it Al. I imagine its origin in Gamelan or Kulintang music, tons of attack with little resonance.. Melodic percussion. My limited exposure to AIR leads me to believe there was a serious interest in tuned percussion. Listening to McCall's drum parts is really all I have to back that up, but I'd bet those drums were carefully tuned. I will agree that the name of the instrument is silly though! "I'll Be Right Here Waiting" is wonderful. Quote Link to comment Share on other sites More sharing options...
JSngry Posted November 13, 2003 Report Share Posted November 13, 2003 So I should have put that in quotes. Uh, nobody likes a musician snob, Jim. ...no comment....too busy choking on laughter... Quote Link to comment Share on other sites More sharing options...
JSngry Posted November 13, 2003 Report Share Posted November 13, 2003 The hubcap thingy is heard to glorious effect on SUISSE AIR, btw. Quote Link to comment Share on other sites More sharing options...
Joe Christmas Posted November 13, 2003 Report Share Posted November 13, 2003 Shit, the CONCEPT is silly! But it works, doesn't it? Your comments come pretty close to validating it for me, nicely put. But wait. It's SILLY! Quote Link to comment Share on other sites More sharing options...
Joe Christmas Posted November 13, 2003 Report Share Posted November 13, 2003 Jim, I am somehow reminded of what a pleasure it is to discuss music with you. But then I don't think we ever discuss music. Quote Link to comment Share on other sites More sharing options...
JSngry Posted November 13, 2003 Report Share Posted November 13, 2003 Have it your way. Quote Link to comment Share on other sites More sharing options...
Chuck Nessa Posted November 13, 2003 Report Share Posted November 13, 2003 Listening to McCall's drum parts is really all I have to back that up, but I'd bet those drums were carefully tuned. Yes, Steve was a stickler about tuning his drums. I spent extra time making sure we captured all his sounds and gradations in the recording AND mixing of this date. Quote Link to comment Share on other sites More sharing options...
JSngry Posted November 13, 2003 Report Share Posted November 13, 2003 (edited) Chuck, as long as I'm not discussing music and you're in the room, what was the deal with with the hand gestures and playing card hands on OPEN AIR SUIT? Was Henry just goofin' or was there some real meaning to all that stuff? Edited November 13, 2003 by JSngry Quote Link to comment Share on other sites More sharing options...
Chuck Nessa Posted November 13, 2003 Report Share Posted November 13, 2003 I don't have a fuckin' clue. Quote Link to comment Share on other sites More sharing options...
JSngry Posted November 13, 2003 Report Share Posted November 13, 2003 Neither do I (it's some funny shit to think about though) Quote Link to comment Share on other sites More sharing options...
.:.impossible Posted November 13, 2003 Author Report Share Posted November 13, 2003 You guys mind filling us in on what you are talking about? Quote Link to comment Share on other sites More sharing options...
Chuck Nessa Posted November 13, 2003 Report Share Posted November 13, 2003 You guys mind filling us in on what you are talking about? Three months after Air Time the band recorded their first Arista/Novus lp. The contract was already signed when we made our record. The title was Open Air Suit. The back of the jacket depicts playing cards fanned out with the graphic from the poster (in my cover) on the cards. Each tune listing has a hand signal in front of the title. I wish I had a scanner to show you. Much hocus pocus in the liner notes about the tunes as related to cards, suits, etc. The cover of the lp was a painting of a mandrill displaying his colorful butt. Quote Link to comment Share on other sites More sharing options...
JSngry Posted November 13, 2003 Report Share Posted November 13, 2003 Here's the front cover... Quote Link to comment Share on other sites More sharing options...
_forumlogo.png.a607ef20a6e0c299ab2aa6443aa1f32e.png)
Recommended Posts
Join the conversation
You can post now and register later. If you have an account, sign in now to post with your account.