The third part of John Stevens’ life
If we try
to divide nearly 30 years of John Stevens' musical carrier into important
periods basing on intensity of his several activities, we should decide on three
such intervals.
First,
there would be a time of building idiom of European freely improvised music
under Spontaneous Music Ensemble banner, which is dated on 1966-1974. Next
period would be connected with significant commitment to exploration of free jazz/jazz
with the use of electric musical instruments (John Stevens' Away 1975-1981).
Finally, there would be the last period, dated on 1981-1994, when John spent
great deal of time making music with his great friend from Norway, Frode
Gjerstad.
First two
periods have been already thoroughfully discussed on Trybuna. Now, finally the
time has come to clearly summarize cooperation with Frode, especially their
joint music project under Detail banner.
Facts first, because the devil's in the detail
(in Detail)
December, 1981: In Poland children are not going to
school when the man in black glasses announces war. But to a far-away Stavanger – far away also from London's perspective - invited by a young
saxophonist Frode Gjerstad, great British percussionist, composer and
improviser John Stevens arrives. They both take with them to a local Jazzklubb
Eivin One Pedersen, keyboardist who regularly collaborates with Frode. They
perform an energetic concert, which, expanded with listening records from the
previous day, Frode releases on two tapes in his novice Circulasione Totale
(four improvised pieces, lasting nearly 110 minutes, catalogue no 004-005) as
Gjerstad/Pedersen/Stevens X-mas Cards Vols 1&2. Indeed,
X-mas is coming. Gentlemen have good chemistry and decide to continue their
collaboration. John suggests adding to their group a bassist. He responds to
Frode's question whether he has someone in mind like Sure, let's take the best
one - Johnny Dyani!
March, 1982: Stevens comes to Norway again and this time accompanied
by Dyani. Working in quartet, they record a group improvisation in a private
session. The material ends up on the cassette titled Detail (Circulasione
Totale 006). From that moment the title becomes regular group's name. Contrary
to description on Detail at Club 7 album (Not Two Records, 2017) that says
records gathered there are from September 1992, these were in fact those March
records from cassette mentioned above, which ended up on the album released in Poland.
October 1982: Detail schedules short tour in Norway.
Unfortunately, bassist doesn't arrive for the first concert, so the band
performs as a three-member group (setting: Henie-Onstad Art Centre). Record
remained buried in Frode's household archive and not until more than thirty
years later it finally was published as First Detail album (Rune Gramofon,
2015). The tour in Norway
goes on but just before already planned first studio record, Eivin decides to
leave the band. On October 11th in Staccato Studios in Stavanger, three members of Detail record
great material, which finally ends up on a few publications. Pieces Backwards
and Forwards as well as Forwards and Backwards are released by Impetus Records
as Backwards
and Forwards (with subtitle, nomen omen, First Detail, LP 1983, CD 2000). Ohhela, To Make a Fire, a
composition/improvisation in two parts, ends up on the phonograph record
released by Affinity (1984). The pieces released on the cassette Detail
Trio (no 007) from Circulasione Totale are also from that time. I
wasn't able to determine whether material on the cassette contains records
published later on above mentioned vinyls.
February 1983: Frode records and releases effects of a
not-coincidental meeting of Detail trio in Stavanger's Jazzklubb as a cassette titled Let's
Go (Circulasione Totale, no 008). It contains over an hour of
improvised material divided into two parts. The album Detail 1983 will be
released this year (2018) and it contains record of the concert from that same
day. It lasts about an hour and is divided into four parts. We are probably
talking about the same event but currently released albums indicate the other
place of the concert - Red Seahouses. In addition, on the cassette no 015 from
Circulasione Totale album Detail 1,2,3,4 is released, which probably
contains records from several concerts of the band from 1982-83, performed
while still in quartet (with Pedersen).
September 1983: At first Stevens and Gjerstad perform a
quartet concert in Paris
(with help of Paul Rutherford and Nick Stephens). Then, for public Norwegian
radio, they record their performance in Oslo as A
Consert (A Concert?), with assist of, again, Rutherford
and on basses - Barry Guy and John Dyani (this material ends up on Circulasione
011 cassette and lasts nearly 80 minutes). Few days later, already at home in
Stavanger, the first record of Accent formation takes place, starring John and
Frode with Nick Stephens on electric bass and Rudy Garret on electric guitar
(Accent cassette, Circulasione Totale, 010). That meeting could be acknowledged
as a symbolic birth of Circulasione Totale Orchestra, because later from that
quartet the magnificent Frode's team, still performing, would emerge.
March 1984: Jazzklubb in Stavanger. On the stage duet - Frode and
John. Four concert pieces Suite Elma
ends up on Circulasione cassette (80 minutes, no 012). Twelve years later this
material is released on CD by Impectus as John Stevens & Frode Gjerstad Sunshine
(compared to cassette edition, this one is cut off and shorter by a dozen or so
minutes, probably regarding to acoustics).
November 1984: Another electric meeting of our heroes' band
- this time Accent records studio material in Stavanger for radio purposes. Frode titles
the cassette In Off (Circulasione Totale, 014).
May 1985: As usual, Detail gives concerts in Stavanger. There is one
new element in their performance - a woman whose tender vocal perfectly fits
into trio's collective improvisations. Frode releases a 20-minute fragment of
that concert as a supplement to a CD re-edition Backwards and Forwards but he cannot remember woman's name.
Luckily, attentive detective Wilson, author of the great discography of John
Stevens of which I usually make use while portraying his musical story,
determines that her name was Suzanne. According to Frode's memories, that May
was also a time of recording studio material but further details remain
unknown. With Frode busy with his projects, Stevens and Dyani spend their
spring time in a far-away Norway on giving concerts with Steve Lacy and Misha
Mengelberg as a quartet and with John Surman as a trio.
March 1986: We could risk an assumption that Frode wasn't
very fond of travelling then, because every time Detail gave a concert, it was
in Norway.
This time it was in Oslo
and again in Henie-Onstad Art Centre. The material - Ness Part 1 and Part 2 -
was eagerly recorded and it ends up on the first album of Ness
set (Impetus, 1986).
June/July 1986: For his concerts in Europe,
John Stevens invites an excellent American trumpeter, Bobby Bradford (with whom
he collaborated in the 70-ties on several albums). He also organizes route and
books recording studios. On the last day of June Detail, as a quartet, performs
first concert in London
(yeah, Frode had to get on a plane!). The following day, also in London, four pieces are recorded in studio and these are
the ones that would end up on the second album from the Ness
set. Two of the pieces are prepared in collaboration with Harry Beckett (tr)
and Courtney Pine (ts/fl/bcl), which means that for a moment Detail becomes a
sextet. After 24 hours - phew! what a speed! - there comes next opportunity to
work in studio, now in Cambridge.
Composition/improvisation Way It Goes/Dance Of The Soul -
two-part - ends up on the vinyl with the same title (Impetus, 1988). Please
note, that both albums are signed as Detail
Plus. But that's not the end of the story yet! Four days after the meeting
in Cambridge Detail quartet performs a concert at Bracknell Jazz Festival.
Concert was recorded and few years later Frode releases it on CD, titled In
Time Was (Circulasione Totale, 1990). The album lasts not much longer
than forty-five minutes. The concert was longer but unfortunately the last part
hadn't been recorded properly (recorder damage) and only an eight-minute piece
is worth releasing. Four months later Johnny Dyani dies. Detail ceases to exist
in its original shape.
October 1987: Staccato Studio in Stavanger becomes a place where the first
album of Circulasione Totale Orchestra is recorded. Ten short pieces were the
effect of ten musicians' work, which resulted in an album titled Accent - Jazz
Out Of Norway (Odin, CD 1988), what obviously refers to already
mentioned John's and Frode's electric quartet. In the orchestra we find, among
others, Eivin One Pedersen.
September 1988: Detail is back on concert posters and Bobby
Bradford comes to London
again! Kent Carter, American bassist (but residing in Europe)
of whom we've already heard, takes Dyani's place. Detail gives concert
(concerts?) as a quartet but this time with no phonographic effects (in Bass
Clef club).
May 1989: Detail forms a quartet again - the fourth
musician is Billy Bang, American violinist. For Norwegian radio they record
half-hour material (three parts), which later ends up on CD album Less
More (Circulasione Totale, 1991).
January 1990: Gjerstad and Carter record less than
five-minute duo, which also ends up on above mentioned record.
October 1990: Detail comes again to Stavanger and records there quite long
material. Nearly 20-minute piece of X-mas
Cards II & III (the title corresponds to the first Detail meeting in
1982!) which finally closes the album Less
More. As many as nine other shorter pieces (maybe from different sessions,
too) are not chosen to be published and probably still remain hidden somewhere in
Frode's private archive. During that stay in Norway, on the previous day, John
and Kent also made a record for a radio in quartet with local musicians (tp +
as).
April 1991: A 30-minute film about the band is prepared
for Norwegian television. It contains fragments of concerts and interviews with
musicians. The film was shown on local TV channel and few years later also in England,
during a memorial concert after John's death.
June 1991: Bobby Bradford arrives in London and spends a dozen or so days with
Detail. Apart from performing a few concerts in London
- Beck Theatre, Albany, Community Music House
and Drayton Court Hotel
- the band records studio material for an album. Nine new pieces are created
(more than 2 hours of music in total), provisionally titled In Order Of
Appearance (five pieces in trio but without Gjerstad, three in quartet and one
in sax-cornet duo). John had been settled with one publisher (details of that
agreement are unknown) but unfortunately the record has not been published until
today.
October 1992: John Stevens and Derek Bailey come to Norway
to give few concerts. The performance in Trondheim
(as a trio, with Gjerstad) is not good enough to be released, because of the
record sound quality. Stavanger
performance is of better acoustic quality and after nearly a decade it would be
released as Hello, Goodbye (Emanem Records, 2000). I wrote about this album
on Trybuna, when reviewing joint musical activities of Stevens and Bailey.
June 1993: For a live performance in Norwegian radio,
Detail forms a quartet (with Pierre Dorge on electric guitar). It remains
unknown what happened with nearly 70-minute record of the concert.
April/May 1994: Stevens spends few days of rather cold but
sunny spring at his friend's place in Stavanger.
First, they record several duos in Frode's parents house (Sande Duos). Nearly ten years later they end up on Keep
On Playing CD (FMR Records, 2005). Two days later Kent Carter joins and
as Detail they give their last concert. It takes place at Cafe Sting in Stavanger. Four fragments
end up on Last Detail - Live At Cafe Sting CD (Cadence Jazz
Records, 1996). A year later Frode and Kent (without John, from obvious
reasons) record modest duo On Their Own,
which would supplement above mentioned release. Detail's story definitively
comes to an end.
June 17, 1994: A small concert, under the poster label John
Stevens and Friends, takes place in London.
Musicians perform as a sextet, including Frode Gjerstad. Resulting record gets
the title Beggars Can't Be Choosers. This is the last meeting of great friends.
Less than three months after that event, probably from a heart attack, John
Stevens suddenly dies at the age of 54.
First or not the first, that’s a question
Today,
nearly 24 years after John Steven's death, we know that the oldest, publicly
available Detail record is At Club 7 concert, not neither First Detail, released few years
earlier, nor Backwards & Forwards -
First Detail LP/CD, released in bands lifetime.
Concert in Oslo was performed in
quartet - so in original line-up, the one set by John and Frode. It's a great
example of a true jazz music based on improvisation, not on earlier composed
and prepared material. Improvisations develop very effortlessly, sometimes even
slowly but they can easily catch free jazz drive and sink in every listener's
heart. This is the music that also doesn't avoid motoric swinging, which makes
improvisation of every quarter member rich in unusually nimble flow. Gjerstad,
playing here on soprano saxophone, tenor and bass clarinet (with which he
starts every concert) provides a rich spectrum of artistic expression. Eivin
One Pedersen settles himself in this formula, using mainly acoustic piano and
manages to do wonders, often by resort to neo-classical gags. For a brief moment
he also uses electric piano and gives his performance an extraordinary energy
(by the way, whole concert is one incessant sequence of sounds, which is a rule
in Detail public shows). Nevertheless, master of the ceremony in this quartet
is Johnny Dyani, playing on amplified double-bass (sometimes sounding like a
bass guitar), who has all the cards, sets goals and implements dramaturgic
ideas. He is in a constant move, full of ideas to change improvisation
character. John Stevens, who during the band's history always used a full drum
kit, stays on a position of permanent observer, keeps rhythmic order, rarely
oversteps with solo expositions. Music of the quartet is based on a perfect
communication, intuitive cooperation, what is the trait present in all projects
featuring John Stevens. Concert from Club 7 is extremely dynamic, full of
emotion and individual shows of instrumentalists' skills. From today's
perspective it is one of the best Detail's records.
The concert
on the first day of the tour in October of 1982 has a little different
character - the band plays as a trio because of Dyani's absence due to arrival
problems. We can listen to the result of that performance on First
Detail album, which contains three long and elaborated improvisations.
Free jazz flow of the band, here devoid of Dyani's bass, becomes slightly
blurred. Music seems to be more abstract and free of simple narrative
associations. Parts involving a piano demonstrate even stronger resemblance to
chamber music. Anyway, Pedersen - fiercely active during the whole performance,
not falling into silence even for a moment - uses also an electric piano
(sometimes sounding like a hammond),
with which he is able to give a bass groove to the whole narrative (just like
in the 8th minute of the first part). In the second part he even seems to be
playing on both instruments simultaneously.
Meanwhile,
Gjerstad's wide assortment of instruments becomes extended by alto saxophone.
In the third part he also uses a bass clarinet, as Pedersen's play becomes more
minimalistic with dense but not aggressive Stevens’ drumming. The music is full
of life, with vibrant pulse, all the time on fire. Final of the concert is
decorated with Frode's compulsive exposition on soprano saxophone.
Magic Trio
Phonographic
history of Detail in original, three-person line-up (so with Dyani) opens with
studio record of Backward & Forwards with subtitle First Detail (it's definitively their first record on the market -
released precisely 35 years ago).
Main axis
of this Detail edition is nearly every single time based on an amplified bass.
Dyani develops improvisation slowly and very carefully. Here, first, more
dynamic accent with strong rhythmic appears only about the 10th minute. John's
and Frode's behavior corresponds with bassist's actions perfectly. This trio
takes their time for creating free improvisation. They are deeply rooted in
free jazz esthetics, although in a way of playing and methods of communication
they resemble more of Spontaneous Music Ensemble. Each of musicians finds a
moment for a solo exposition but usually with a support of one of partners
(e.g. wonderful passus of bass accompanied by drums in the 8th minute of the
first part). Many parts of this album look exactly like that - the show of bass
& drum section. Frode often hides himself in the background, as if letting
his friends find awe for their actions was more important for him than his own
performance (by the way - Norwegian saxophonist plays here on tenor and
soprano).
CD edition
of Backward and Forwards was
supplemented with a fragment of a two-year previous concert (Detail 1985). It
contains dense, lengthy, even wild improvisation. Musicians met after two-year
break and it can be heard in their music how much they had missed each other.
On this record none of sounds remains without an answer from companions.
Starring as the one serving thunderbolts - obviously, Dyani! Frode plays mainly
on soprano (after all, that's John's favourite wind instrument for free
improvisation). Unexpectedly, in the 9th minute of the concert, an unknown
woman from the audience joins the performance. Her vocal interestingly
complements trio's improvisations. At the moment, when trio's/quartet's (?)
music starts to mesh, record becomes quietened.
Exactly the
same day, when trio was working on Backwards and Forwards, at the same place
they also recorded another material. A year later it ends up on Okhela,
To Make A Fire vinyl.
This record
starts in an almost identical way as previous ones. Dyani's introduction is
extended, calm, simply majestic, in even more minimalistic esthetics. Stevens
and Gjerstad enter no earlier than in the 4th minute. Again, we get jazz
attributes in free improvisation, close to SME esthetics (in about 9-10th
minute quite a quick call and response!). Here rhythm and energy appear after a
quarter of an hour. A lot of soprano, a good deal of swing from full drumset
and a bass, which always sets a narrative trail. The last one doesn't fall
silent even for a moment, the second one plays nearly all the time by the
saxophonist often hides in the background - that is how Detail's style looks
like in October, 1982. In
the second part of the album we find quite a long section with Steven's solo
exposition. After that, great Frode's episode and the last tone, which belongs
of course to the bassist.
Detail 1983 is a concert record, which
chronologically is a continuation of a magical trio story. Four improvisations,
more than 70 minutes of music and emotions reaching their peak. The youngest
edition released this year - sure thing for a 2018 summary in re-edition
category.
The concert
record documents the first Detail's Norwegian tour as a trio. It starts
with... a blues ballad, which emphasizes
tenor saxophone and double bass. As usual, Dyani acts a lot but it seems that
this time master's signature would belong to John. As concert dynamics grows,
the same happens with our admiration for section performance making an alt
bizarre and unflawed. When the Norwegian takes soprano, he swings like frantic
Steve Lacy. Impressive free exposition at its best! In the third part we have
another showpiece of drums & bass. Ad in the fourth part a dazzling duo
full of twisted sonoristics - a great part of wind instrument and heated bow on
bass's fingerboard. Stevens joins with cornet, adding a blunt comment.
Musicians go into silence. It's very unusual for Detail, almost in a free
chamber esthetics. After the 8th minute Dyani gives a pizzicato signal and the
band goes forward like hell, in a fiery free manner. Under Steven's foot a lot
swingy ease.
The last
published record of Stevens, Gjerstad and Dyani in trio can be found on the
first album of the double Ness vinyl.
We have early spring of 1986 and musicians meet at the concert in Oslo.
This time a
proper intro is made by both - bassist and drummer. Musicians without delay get
the rhythm and improvisation melody, known only to themselves. Frode takes for
the performance only tenor saxophone and quickly makes a sonoric use of it
(Dyani helps him with a bow). Another free, slow improvisation, just like
previous studio expositions. Leisurely, although asking for a dance! Just in
the middle, sultry Dyani's expose, almost in a baroque esthetics. And for a
final a little surprise - sax and drums duo, a rare case in the band's history.
The second part is also kept in a free and casual manner, rather without a free
jazz sparkle. There are many moments worth mentioning - like beautiful tenor
part just after the beginning or intriguing play... with stones after the 15th
minute by the bassist. Stevens concentrates on small drumming and definitely
doesn't feel the pressure to finish quickly. On the final stretch - exquisite
bass passage work with help of jazz drumming and humming tenor. Indeed, ballad
free improve!
A Fourth for Bridge
Although we
begin next chapter of our love story, we stay with the Ness
release. The second album in this vinyl set is a collection of records by the
group called Detail Plus. To our
trio, residing in one of London's
record studios, joins Bobby Bradford, an American cornetist (Steven's mate from
as early as the first half of the 70-ties - we remember outstanding records of
Spontaneous Music Ensemble with his participation). Also a few local musicians
take part in a fragment of this session - Harry Beckett on trumpet and Courtney
Pine on tenor saxophone, flute and bass clarinet.
Two pieces
performed in sextet end up on the album (both composed by Stevens), as well as
two in quartet (signed by all musicians). Music of this part of Ness sparkles with jazz. We can find here
elegant, vigorous, melodic themes; we also don't lack of exquisite solo
showpieces, bursting with true emotions (it concerns all of musicians!). John's
compositions for sextet have a marching tempo and are immersed in a minor key,
what is a great base for musicians to create haunting solo expositions, often
laced with overwhelming sadness. The music isn't, however calm or nostalgic; it
bursts with energy and strongly reflects mutual cooperation between artists.
Wonderful, disharmonic... jazz harmonies with endless reserves of swing in
hands and legs of rhythmic section! Records in quartet are more dynamic and
even more vivid with true free jazz expression. Dyani, as usual, does a great
job giving rhythm and holding dramatic outline of served themes. This music
resembles decade younger records of Steven's trio with Trevor Watts and Barry
Guy (e.g. No Fear album). Dance,
trance and fantastic expositions of Bradford's
cornet and Gjerstad's tenor.
After not
quite twenty-four hours Detail quartet (Bradford stays in England for a longer
time, musicians give a lot of concerts) again lands in studio to record
material, which later ends up on Way It Goes/Dance Of the Soul vinyl.
Music seems
to be composed in the same way as a day before. Dynamic drive, fleeting melodic
pattern. Full-genre straight ahead jazz with outbursts of free during solo
expositions of cornet, tenor, amplified bass and dazzlingly syncopating drums.
The second part begins in a much more quiet way. At first we are attracted by
Stevens - Bradford duo (a real invitation to
tango), then by Gjerstad - Dyani and finally everything ends in vibrant free
jazz whirl. About the 8th minute a kind of a new piece starts (tacked on in
studio, but everything within one track). Bow, focused drumming and sonoristics
in tubes. A few minutes pass and rhythm entangled in bass's fingerboard starts
directing the quartet to the finish line. And the ghost of Albert Ayler keeps a
watch over everything.
On In
Time Was CD we can find concert documentation of Bradford's stay in England
and musical activities with Detail from 32 years ago. Over 45 minutes portion
of a proper free jazz straight from Bracknell Jazz Festival.
Dyani,
energetic as live wire, on a more and more amplified double bass; master of
technique, creation virtuoso, temperamental Bradford; slightly withdrawn but
deadly effective Gjerstad and finally Stevens - dynamic pulse, syncopation,
puff of fleeting swing - that's the Detail quartet ready for an applause. Here
the word jazz can make a litany. Dyani's fingers are on fire, he invites his
companions for a gallop like a fleet horse. His African heritage is a source of
his power, hidden deep inside his heart. He seems to be in the best shape of
his life, so it's really a pity that that's perhaps last record in his too
short life. At the concert we find compulsive tenor, as well as intuitive drums
solo. Pieces with chamber music reverie (moment of introspection and inner
rest, rare for Detail) won't be missing. Again, there is a brilliant
communication in a group of four musicians, you could even say telepathic
reaction for friends' ideas. Yes, this could be Detail's opus magnum, and for sure in this line-up. Final chapter of the
concert offers bites of nostalgia, it's neatly balanced and full of reverie.
Frode seems more brave than usually; he takes the scene for himself and, with
help of swinging Bradford, makes a point of
the whole performance. Concert finale is, unfortunately, unavailable. Because
of recorder failure, after the 8th minute music gets cruelly silenced.
Return of the trio
Two years
after Dyani's death, Kent Carter takes his place in the trio. Less
More CD is his first project recorded with the band. Pieces performed
both in trio and in duo (without Stevens) can be found there, as well as,
again, in quartet, this time featuring American violinist Billy Bang. What's
worth mentioning, all of pieces are signed by Frode Gjerstad (composed by),
although music definitely feels like improvisation.
The said
duo of saxophone and double bass makes introduction to this appealing yet
erratic album. Jazz ballad seems more adequate for an ending but not for the
beginning. Next 20 minutes belongs to new Detail, served saute - calm, flowing, with moments of even drone narration
(Carter!), quite a lot of chamber music tones, a great deal of concentration, a
bit of repetition. The new musician clearly dominates this piece and, at least
here, is a far cry from Dyani. He is recognizable, acoustically well-organized
and like a great master soothes trio's behaviors. Frode easily finds himself in
chamber esthetics, Stevens seems more reserved. After the 10th minute musicians
get together into free jazz escalation and a narrative smoothly comes to its
end but before it for a moment turning into a silence and bow-play on a
fingerboard. Less More album is
supplemented by three pieces performed with Billy Bang. Here, music notably
changes - it's dynamic, fleeting, melodic and tortuously free jazz in style
(Bang's flow is immediately recognizable). A lot of trance, a few repetitions
and a great deal of lightness. At first Gjerstad is not convinced to this
esthetics, Stevens, thanks to his style versatility, has less problems. Album
finale is full of typical jazz solutions. Carter plays pizzicato, the rest of
artists skillfully expose their musical temperaments.
Insofar as
we have at least three Detail albums named first, there is only one with last
in title. Recorded four months before John Steven's death, it remains
exceptional memento of this band line-up. We are talking about Last
Detail - Live At Cafe Sting CD album. Over 50-minute performance is
divided into four parts; plus post-mortem coda (in duo).
When Detail
plays a concert, we can expect proper, vigorous free jazz - and that's the case
this time, too. Carter rarely uses a bow, being rightfully the one to put in
motion this improvising machine. Frode bellows with his alto saxophone, doing
almost his best; Stevens takes every chance to point his partners' feats and at
the same time interacting splendidly with bass. The third part (after a short
pause) comes with sophisticated drummer's solo and another powerful alto
saxophone passage works. There is also a moment for Stevens' cornet. Carter
remains active, being always around but this time his urge for chamber music
has been left behind. The last part of the concert sums up all experiences.
There can be find a bit of sonoristics, deathly precision and remarkable free
cascade in which Carter sounds almost identically to Dyani! Album ends with 5-minute
wistful ballade in minor, on saxophone and bass, recorded in studio already
after Steven's death. There, this is ultimate end of Detail's history.
Duos within interlude
Before the
last word is said in our story, one should mention two albums recorded by John
Stevens and Frode Gjerstad in duo.
Meeting
from 1984 and Sunshine album - there we find dynamic free jazz exposition on
comprehensive saxophone (lot of soprano) and intent, devilishly precise drums.
Moments of calm passage works with cornet are also not missing. Without bass,
in duet with Stevens, Frode finds a lot of place for his expositions. He makes
no bad choices, he is excellent in his actions.
Keep On Playing record, a decade younger, has more
pieces with alto saxophone. A lot of dance with jazz syncopation and also a few
pieces which are more quiet, when musicians don't lack imagination for joint
duo reflections. Part four seems to be the most interesting one - the longest,
full of jazz feel in saxophone's tube and sharp, constant drumming, also with
extended solo exposition. And for the finale off-screen dialogs in which John
talks about a mistake he made during one piece and Frode laughs it off.
Tekst oryginalny dostępny jest w poście z dnia 10 sierpnia br. Oto skrót:
Detail
Ogromne podziękowania dla Krzysztofa za organizację procesu i Anny Możdżeń za samo tłumaczenie tekstu z polskiego na angielski.
