Republic of Jazz: Barry Guy

Showing posts with label Barry Guy. Show all posts

Friday, February 4, 2022

The Thing with Barry Guy - Metal! (February 4, 2022 Catalytic-Sound)

Side A

1. Lanthanum

2. Cerium

Side B

1. Praseodymium

2. Neodymium

Side C

1. Promethium

2. Samarium

3. Europium

Side D

1. Gadolinium

2. Terbium

3. Dysprosium

4. Ride The Sky

Recorded live at Saint Catherine's Church, Vilnius, Lithuania on 3rd april, 2011.

Mats Gustafsson (STIM), Ingebrigt Håker Flaten (TONO), Paal Nilssen-Love (TONO) & Barry Guy (TONO).

Mixed and mastered at MAMAstudios.

Baritone Saxophone, Tenor Saxophone, Saxophone [Slide] – Mats Gustafsson

Bass [Left Chanel] – Ingebrigt Håker Flaten

Bass [Right Chanel] – Barry Guy

Co-producer – Valerij Anosov

Composed By – Barry Guy (tracks: A1 to B1, C1 to D3), Ingebrigt Håker Flaten (tracks: A1 to B1, C1 to D3), Mats Gustafsson (tracks: A1, A2, B2 to D3), Paal Nilssen-Love (tracks: A1, A2, B2 to D3)

Design – Oskaras Anosovas

Drums – Paal Nilssen-Love

Executive-Producer – Danas Mikailionis

Mixed By, Mastered By, Recorded By – Arūnas Zujus

Producer – Barry Guy, The Thing (2)

The Thing appears through courtesy of Smalltown Superjazzz & Supersound.

Limited edition of 600 records.

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Friday, January 21, 2022

Jordina Millà & Barry Guy - String Fables (January 21, 2022 Fundacja Słuchaj)

A true music lover typically has dreams that their favorite musicians, who do not normally work one with another, will meet and perform together. I had a dream many years ago that the two Giants of contemporary improvised music, Joëlle Léandre and Barry Guy play a double bass duo together. And my dream became true at the 2017 Ad Libitum in Warsaw in Festival, and was released by Fundacja Słuchaj! on a phenomenal 3 CDs box “Blue Horizon ● Barry Guy@70”. Here is another dream realized by Fundacja Słuchaj! – on “String Fables” Barry Guy encounters Jordina Millà.

Barry has a long experience working in piano trios and piano bass duos: from Howard Riley Trio in the 1960s, through Ithaca Trio with Marilyn Crispell and Paul Lytton, to Aurora Trio with Agustí Fernández and Ramón López, or more recent trio with the phenomenal Japanese pianist, Izumi Kimura and Gerry Hemingway, also on Fundacja Słuchaj!.

The most impressive piano-bass duo of recent years are with Agustí Fernández, who is, in a sense, a mentor of Jordina. They both play improvised piano, they both played prepared piano, they both oscillate between abstraction and lyricism – yet the music of Jordina is completely different, completely original and absolutely not comparable to anything else. When I first listened to her debut album “Males herbes” (Sirulita), I wrote on the Facebook: "I experienced today a birth of a star, better to say a supernova.” Indeed, Jordina grew up to become a legendary figure of Catalan scene immediately. Her way of tuning abstraction to sound lyrical is absolutely unique and uncompromising. In this sense she is an ideal partner to Barry, whose approach to the lyrical side of life is similar. Both of them can be extremely lyrical, sad and melancholic without any simplicity and any loss of abstract complexity.

String Fables is a masterpiece presentation of the joint concept of this music: lyrical abstraction/abstract lyricism. For me, this is one of the most beautiful piano-bass records of the century!" Maciej Lewenstein

1. String Fables 9,14

2. Nuc 4,01

3. Duna 6,07

4. Decodification 10,00

5. Agora 7, 49

6. Quart creixent 2,45

7. Plithorikós 7,05

8. Essential Sonances 12,41

Total Time: 59,41

Jordina Millà - piano

Barry Guy - bass

Recorded July 16th 2021 Studio Rosazul, Barcelona

Mixing & Mastering by Ferran Conangla at FCM Studio, Barcelona

Photos: Barry Guy by Francesca Pfeffer, Jordina Millà by Aina Lesan

Liner notes: Maciej Lewenstein

Cover Design: SEMAFOR

Executive Producer: Maciej Karłowski

Barry Guy plays exclusively on Thomastik Strings

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Monday, April 12, 2021

Evan Parker's Electroacoustic Ensemble with Sainkho Namtchylak - Fixing the Fluctuating Ideas (Victo Records 2021)

The FIMAV performance is an extraordinary recording, an aural opportunity to hear the Ensemble exploring at length, stretching the contemporaneous studio documentation, but even with the Ensemble’s brilliant and transformative history, Sainkho Namtchylak’s spontaneous addition to Fixing is unique. Namtchylak’s intensity transcends the metaphoric. This performance is not folkloric. It is folklore. It is not shamanic. It is shamanism.

The ElectroAcoustic Ensemble is one of the most significant events in the humanization of electronic music, in making it mobile and spontaneously responsive. Fluctuating, by the Ensemble itself, is more than a valuable document, it’s a major revelatory work. Stuart Broomer

1. Fixing 39'40"

2. Fluctuating 32'33"

Sainkho Namtchylak - voice

Barry Guy - bass

Paul Lytton - percussion, electronics

Philipp Wachsmann - violon, alto saxophone, electronics

Marco Vecchi - diffusion sonore, live electronics

Walter Prati - live electronics

Evan Parker - soprano saxophone, tenor saxophone

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Thursday, March 25, 2021

Lucía Martínez / Agustí Fernández / Barry Guy - Bosque de niebla (2CD) March 2021 Fundacja Słuchaj

What can be the typical piano trio in the hands of three truly greatest, and wide-thinking contemporary virtuoso artists? It can be whatever you could think, it can fulfill every shape you can imagine and let the music be an incredible space where invention, heart, and intellect could work together with unbelievable artistic succes!

1. 1.1 1. Entre helechos 04:41

2. 1.2 Fantasmas de neblina perpetua 06:40

3. 1.3. Cueva de los Guácharos 07:10

4. 1.4. La viuda de la Macuira 07:54

5. 1.5. Loro orejiamarillo 04:36

6. 1.6. Arroyito de aguasanta 06:43

7. 1.7. El Lamento de los Yariguíes 06:43

8. 2.1. Bejuco del alma 05:47

9. 2.2. Musguito quitapenas 03:28

10. 2.3. Frontino y El Duende 08:29

11. 2.4. Tatamá tiene dos hermanos 04:36

12. 2.5. Zamarrito gorjiturquesa 08:13

13. 2.6. Mi orquídea tiene un hijuelo 06:29

14. 2.7. El sendero de las mariposas de alas de cristal 04:50

15. 2.8. Arboloco 07:16

Lucía Martínez - drums, percussion, cracklebox, voice

Agustí Fernández - piano

Barry Guy - bass

Recorded: July 9th, 2019 at Rosazul Estudi, Barcelona, Spain

Recording, mixing, and mastering: Ferran Conangla

Executive Producer: Maciej Karłowski

Produced by Lucía Martínez for Fundacja Słuchaj

Barry Guy plays exclusively on Thomastik Springs + logo

Music by Lucía Martínez, Agustí Fernández and Barry Guy

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Wednesday, November 14, 2018

Simon Nabatov / Barry Guy / Gerry Hemingway - Luminous (NO BUSINESS RECORDS 2018)

Simon Nabatov - piano

Barry Guy - double bass

Gerry Hemingway - drums, marimba

1. Slip Away 06:51

2. Basket Glide 06:33

3. Vacant Prophecy 06:24

4. Tolerance 05:58

5. Forty Days 04:03

6. Shards Examined 02:52

7. Great Disparity 09:15

8. Scroll Back 06:45

9. Luminous 02:29

10. Scattered Together 04:26

11. Soothing Mirage 05:28

12. Unfrozen Sorrow 08:52

All music by Simon Nabatov (GEMA), Barry Guy (PRS, MCPS, PPL) and Gerry Hemingway (Nagual Music BMI/GEMA)

Recorded live in LOFT, Cologne, Germany on 30-31st October, 2015 by Christian Heck

Mixed by Gerry Hemingway

Mastered by Arūnas Zujus at MAMAstudios

Cover art by Oguz Buyukberber

Photos by Bernd Wendt / Photo of Gerry Hemingway by Peter Tümmers

Liner notes by Stuart Broomer

Design by Oskaras Anosovas

Sunday, October 14, 2018

Parker. Guy. Lytton. Trio - Breaths and Heartbeats (RASTASCAN RECORDS 2018)

"To know the number of steps one has been allotted from the beginning. The number of heartbeats and breaths. The number of bites."

— Elias Canetti "The Secret Heart of the Clock"

The music presented here was recorded in one day. We worked in three blocks of time: the first session was with saxophone, bass and drums. Nine pieces were played. The second session was for the percussion interludes, the "breathers" of the titles — here we used orchestral percussion instruments , rattles, shakers and gongs in addition to Paul's usual kit. Around twenty short pieces were recorded. In the third session we again played the usual saxophone/bass/drums music of the trio. Without being aware of the number at the time, we recorded a further nine pieces. We were playing knowing that the sequencing of the material would be done later.

Editing, as a music studio term, often implies the cosmetic enhancement of performances by recording in short sequences and then, by careful selection and recombination, creating an apparently flawless master. This kind of editing is anathema to the spirit of improvisation and many would argue to the spirit of all music making. nevertheless, it is increasingly common for recordings of classical works to be compiled with an edit ever ten seconds.

The editing that has been employed in this work is more akin to film editing, perhaps better termed montage, where the sequencing of takes is arrived at in a process separate from the filming but where the integrity of each take is determined in real time. There is a formal symmetry to the sequence chosen which could be represented by the schema: 1A2B3C4D5E6F7F'6E'5D'4C'3B'2A'1.

However, since "breaths" and "heartbeats" have been pre-combined in compiling the sequence for CD, there are just 12 track numbers which limits (but does not prevent) the listener altering the overall form by programming a different running order — although to retain the intended alternation of "breaths" and "heartbeats' track 12 will always have to be last. This shaping of the final form, by decisions made after the playing is finished, is an inevitable part of recording and something which distinguishes it from pure performance. My usual approach is to present the pieces in the sequence they were played. This CD is different.

— Evan Parker

Evan Parker: soprano and tenor saxophones, percussion

Barry Guy: bass and piccolo bass, percussion

Paul Lytton: drums and percussion

1. Breath and Heartbeat 1 07:54

2. Breath and Heartbeat 2 07:19

3. Breath and Heartbeat 3 10:29

4. Breath and Heartbeat 4 02:19

5. Breath and Heartbeat 5 03:35

6. Breath and Heartbeat 6 04:44

7. Breath and Heartbeat 7 04:05

8. Breath and Heartbeat 8 03:30

9. Breath and Heartbeat 9 03:43

10. Breath and Heartbeat 10 03:53

11. Breath and Heartbeat 11 05:31

12. Breaths and Heartbeat 06:07

Recorded 3 December 1994 at Gateway Studios, London, England.

Engineer: Steve Lowe

Assistant engineer: Ray Matthews

Digital Mastering Dave Bernez

Production coordination: Maya Homburger

Executive producer: Gino Robair

Design: Lucija Kordic

Wednesday, June 27, 2018

Joel Futterman - 'Kidd' Jordan Quintet: Nickelsdorf Konfrontation (SILKHEART RECORDS 2018)

"For lovers of this music, here is a disc with a definitive place reserved for it, a very lofty place."

Gustave Cerutti, Improjazz, October 1996

"(Futterman) can zip out those tone clusters, which have given him a reputation as a Taylorite, but there is much variation in density – sometimes on this CD the clusters metamorphose into quiet little sprinkles in the top octave of the piano. His ability to move from keys to strings and back again continues to impress. Co-leader Edward 'Kidd' Jordan's duet with Futterman on Soul Mates is an excellent sample of his art; he always counterbalances his harshest outpourings with heartfelt lyricism. Elsewhere the music fares best when Jordan is setting the tone, as in the balladic first half of Nickelsdorf Summit, Part Two. Even when the proceedings begin to babble in tongues à la late-period Coltrane, his line is readily discernable and always coherent. Alvin Fielder contributes mobile drumming in the tradition of Ed Blackwell; just check out what he does on the tom-toms, and savor the solo that opens his piece in honor of Vernell Fournier (another key member of the New Orleans drumming fraternity).

Robert L. Campbell, Cadence, April 1997

Nat Hentoff wrote the following in his liner notes for... more

1. Hear with You 01:23

2. Soul Mates 09:03

3. Meeting Place 06:43

4. Nickelsdorf Summit: I. 07:55

5. Nickelsdorf Summit: II. 07:58

6. Nickelsdorf Summit: III. 03:17

7. Nickelsdorf Summit: IV. 06:48

8. Nickelsdorf Summit: V. 05:24

9. Nickelsdorf Summit: VI. 05:55

10. Nickelsdorf Summit: VII. 06:51

11. Fournier 05:18

12. Going with You 01:53

Joel Futterman piano, curved soprano saxophone, Indian flute

Edward 'Kidd' Jordan tenor saxophone

Mats Gustafsson tenor saxophone, baritone saxophone

Barry Guy acoustic bass

Alvin Fielder drums

Monday, June 11, 2018

Torben Snekkestad / Agusti Fernandez / Barry Guy - Louisiana Variations (FUNDACJA SLUCHAJ 2018)

Monday, February 19, 2018

Evan Parker / Barry Guy / Paul Lytton - Music For David Mossman (Live At Vortex London) INTAKT RECORDS 2108

Evan Parker, Barry Guy and Paul Lytton – three legendary figures in the field of improvisation – have each developed their own epochal styles. These long-time friends and collaborators now present the latest of their Trio recordings – part of an ongoing series that began in 1980 with the now out-of-print LP 'Tracks'. Their powerful improvisations reveal them as a trio of unyielding innovation, both conserving and constantly renewing a rich heritage of achievement in free jazz.

Evan Parker writes in the liner notes: "Collective free improvisation is the utopian state arrived at in that other «little life» as the late John Stevens called the mental space of music making that happens when musicians of a like mind («birds of a feather») play freely together. Paul Lytton and I first met in 1967 at a music festival in a park in Birmingham where I was playing in duo with John, Paul was playing with a jazz big band and Peter Green’s Fleetwood Mac were «topping the bill» (as they used to say). In the next years we all played together in different combinations and permutations including Barry’s London Jazz Composers Orchestra and the Parker-Lytton duo. In 1980 we started to play as the trio Parker-Guy-Lytton."

Soundsamples of this CD

1. Music for David Mossman I 12:50

2. Music for David Mossman II 11:58

3. Music for David Mossman III 24:15

4. Music for David Mossman IV 12:29

Evan Parker: Saxophone

Barry Guy: Bass

Paul Lytton: Drums

Music by Evan Parker, Barry Guy, Paul Lytton. Recorded live at Vortex Jazz Club London, July 14, 2016.

Digital recording to multi track: Ali Ward. Mixdown to stereo: Sam Parker. Mastering: Adam Skeaping.

Post production and editing: Matt Wright and Evan Parker.

Liner notes: Evan Parker. Cover art: Trevor Sutton and Ferdinand Penker.

Graphic design: Jonas Schoder. Photo: Caroline Forbes.

Produced by Evan Parker and Intakt Records, Patrik Landolt.

Monday, April 10, 2017

Jurg Wickihalder / Barry Guy / Lucas Niggli - Beyond (INTAKT RECORDS April 21, 2017)

A meeting of three European musicians from different generations each with his own musical background: three sound artists, three virtuosic instrumentalists, three breath-taking improvisers. BEYOND with Jürg Wickihalder, Barry Guy and Lucas Niggl means strong melodies, a deeply affecting and sensuous lyricism, moments of exciting groove and a rare and fascinating textural density.

This trio’s mutual understanding as they interact, which even in complex sections sounds fleet of foot and completely organic, is based upon a common way of working together. For the past couple of years, the Beyond trio has given several concerts. Then, in November 2016, they took themselves off for two days and evenings to Loft Cologne in Germany to record the album. It would be impossible not to notice both their evident desire to play and their joy in working together. For the listener, to hear them heading out from their starting point and into the unforeseen without ever losing their sense of forward motion is a pure pleasure.

BEYOND mit Jürg Wickihalder, Barry Guy und Lucas Niggli: starke Melodien, tiefgehende, sinnliche Lyrik, rasant groovende Augenblicke und eine Dichte, wie sie selten zu hören ist. Im Trio Beyond treffen sich drei europäische Musiker verschiedener Generationen mit ihren je eigenen musikalischen Biografien: drei Klangkünstler, drei virtuose Instrumentalisten, drei atembraubende Improvisatoren.

Das gegenseitige Verständnis im Interplay, das selbst in komplexen Themen völlig organisch und leichtfüssig wirkt, basiert auf einem gemeinsamen Weg, der Wickihalder-Guy-Niggli zusammenwachsen liess: Das Trio Beyond hat in den beiden letzten Jahren zahlreiche Konzert gespielt, bevor im November 2016 an zwei Tagen und Abenden im Kölner Loft aufgenommen wurde. Die Spiellust der drei, ihre Freude am gemeinsamen Spiel, das von der Idee ins Unvorhersehbare führt ohne aus den Fugen zu geraten, ist unüberhörbar – sehr zu unserem Vergnügen.

1. A New One (J. Wickihalder) 5:02

2. Relaxing in The Forest (J. Wickihalder) 7:57

3. The Valley (J. Wickihalder) 8:18

4. Return of Ulysses (B. Guy) 5:57

5. Arts and Crafts (J. Wickihalder) 6:27

6. Süssholz (M. Griener) 3:33

7. Dipper (J. Wickihalder) 4:44

8. Sing! (J. Wickihalder) 5:01

9. The Last Breath (J. Wickihalder) 6:19

Jürg Wickihalder: Soprano, Alto and Tenor Saxophone

Barry Guy: Bass

Lucas Niggli: Drums

MAILORDER-PRICE:

Schweiz: 30 SFr. plus 3 SFr. Porto

Deutschland/Österreich: 18 Euro plus 3 Euro Porto/Versand

International: VISA / MASTER: 30 SFr. plus 5 SFr. Postage

Order adress:Intakt Records, Postfach 468, 8024 Zürich, intakt@intaktrec.ch Fax: 0041-44-383 82 33

Please click here to order

Wednesday, August 24, 2016

Lucien Dubuis / Barry Guy / Alfred Vogel - Heavy Metal Rabbit (2016)

Black is the colour of the rabbit that is being chased across the field. Nimbly, swiftly and rapidly is he changing his directions, steered by a navigation system that is musically fed by three individualistic musicians who, according to themselves, have finally found each other. Lucien Dubuis and Barry Guy have crossed their paths years ago and already back then realized that there was a special spark. It must have been the 10 hour drive from Poland to Vorarlberg, the most western part of Austria, in November 2014 that led to the brilliant idea to form a band. For some time now, Dubuis and Vogel share an extremely fertile playing field (HANG EM HIGH as Duo FREIWILD) where they, according to their message, find themselves like two brothers in spirit. Hence the pleasure of supplementing the team with the legendary men of low tones, Barry Guy is even bigger.

Already from the first note we could sense that certain something, a special Swing & Groove, states a very enthusiastic Vogel and by listening to their debut feature HEAVY METAL RABBIT (Boomslang Records, Feb 2016) you can downright hear their joy of playing. Yet this album shows to be strikingly structured despite all its freestyle components. Poetic and excessive can this piece of music be characterized and from time to time a very unconventional and headstrong humour stands out. Rumour has it, that Barry Guy has seen a METAL RABBIT hopping across him on his way to the studio. The word HEAVY came as the logical outcome. But apparently no rodent has been harmed - in fact, quite the contrary: this band is as vitalizing as a 100 meter sprint across a field of carrots.

Lucien Dubuis, bass clarinet

Barry Guy, upright bass

Alfred Vogel, drums & octopad

1. Wahu Guru (feat. Barry Guy & Alfred Vogel) 6:36

2. Urug Uhaw (feat. Barry Guy & Alfred Vogel) 9:05

3. Dorimu (feat. Barry Guy & Alfred Vogel) 8:42

4. Breath (feat. Barry Guy & Alfred Vogel) 7:41

5. Singh Kari Sun Gobi (feat. Barry Guy & Alfred Vogel) 3:48

6. Ibog Nus Irak Hgnis (feat. Barry Guy & Alfred Vogel) 6:25

7. Human Form (feat. Barry Guy & Alfred Vogel) 3:16

8. Palo (feat. Barry Guy & Alfred Vogel) 5:35

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Sunday, May 8, 2016

Barry Guy & Blue Shroud Band - The Blues Shroud (2016) INTAKT RECORDS

INTAKT RECORDS

present

Barry Guy & Blue Shroud Band - The Blues Shroud (2016)

Intakt CD 266 / 2016

Barry Guy hat nach den grossen Werken für das London Jazz Composers Orchestra und das Barry Guy New Orchestra eine Komposition für ein neues internationales Ensemble geschrieben: für MusikerInnen, die sowohl in der Welt der europäischen Komposition als auch in der aktuellen Improvisationsmusik zu Hause sind.

Guy's Komposition «The Blue Shroud» ist eine Hommage an Pablo Picassos Bild «Guernica». Sie erinnert an die Opfer des Bombardements, aber auch an die Verhüllung der Guernica-Tapisserie im UN-Sicherheitsrats durch ein blaues Tuch, bevor der US-Außenminister Colin Powell im September 2003 der Welt die Bombardierung und den Einmarsch in den Irak ankündigte. Die Kraft von Picassos «Guernica» versus die Macht der Militärs.

Barry Guy arbeitet mit Techniken der neuen Musik, der Jazzimprovisation, ebenso wie mit Barockmusik und einem Poem der irischen Schriftstellerin Kerry Hardie. Für die Sängerin Savina Yannatou hat er die Gedichte in ergreifende Songs gefasst. Musikalische Fragmente von Heinrich Ignaz Franz Biber und Johann Sebastian Bach werden in die Komposition aufgenommen und führen zu den für Barry Guy typischen Klangsensibilitäten.

«Dieses Werk ist die Krönung der langen und vielseitigen Karriere von Barry Guy», schrieb die New Yorker Jazzzeitung «The New York City Jazz Record» nach der Uraufführung des 70-minütigen Orchesterwerks.

After his great compositions for the London Jazz Composers Orchestra and the Barry Guy New Orchestra, Barry Guy has written a large scale work for a new international ensemble.

Guy's work The Blue Shroud is an hommage to the painting Guernica by Pablo Picasso. It is for the people of the Spanish town, who were victims of the Nazi German air force bombardment during the Spanish Civil War. Guy also wants us to remember the occasion in 2003, when the Guernica-tapestry at the UN Security Council was obscured by a blue drape as Colin Powell made the case for invading Iraq. The strength of art against the power of the military, government and the media.

Barry Guy uses the techniques of new music and jazz improvisation, as well as fragments of Baroque music and a poem by Irish writer Kerry Hardie. He has transformed the poem into moving songs for vocalist Savina Yannatou. Fragments of compositions by Heinrich Ignaz Franz Biber and J.S. Bach are mingled into Guy's intricate work.

"The work might just be the crowning achievement in the Englishman's long and varied career", wrote The New York City Jazz Record magazine after the premiere of the 70 minute long masterpiece.