Artist: Mark Anderson

Date of Release: 10/01/2011

Catalogue no: SLAMCD 284

Label: SLAM

Price: £9.99

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Track Listing

Appearances by

Paul Dunmall

“21st Century V-Bop” SLAMCD 284 Barcode: 5028386028420

Mark Anderson – drums, Paul Dunmall - tenor & soprano sax,
Philip Gibbs – guitar, Tony Hymas – keyboard.

An album that proves that spontaneous composition can be both melodic and groovy. Recorded live in the studio in one take, with no overdubs, 21st Century V-Bop covers a vast landscape both sonically and stylistically. From the raging opener of 'The Path of Non-evitability' to the drum sans bass of 'The Front', to the more pensive Mclaughlin dedication 'John's Intelligent Ears', the music covers all bases and moods through to the final fade out of the Big Note.
Tony Hymas will be best known for his work with Jeff Beck (There and Back, Guitar Shop), Stanley Clarke, Jack Bruce and to a younger audience for his collaborations with Ursus Minor. Paul Dunmall is best known as a free improvisor who has worked with many of the top improvisors worldwide, including Henry Grimes, Andrew Cyrille, Keith Tippett etc.. Apart from his work with Dunmall, Gibbs here provides fresh approaches to both rock and jazz guitar styles, with nods to Mclaughlin's technique and Hendrix's walls of sound, whilst drummer Anderson provides strength and groove alternately, with reference to the mighty cohort of fusion drummers past and the march of modern groove-based music into the future. If you thought all improvised music is necessarily directionless atonal and a-rhythmic, a re-evaluation could start with this CD.

Reviews

22/11/2011 Grego Applegate Edwards

What the Dickens is V-Bop? Search me. But clearly it is found on 21st CENTURY V-BOP (SLAM 284), a cooperative venture between MARK ANDERSON (d), PAUL DUNMALL (ts, ss) PHILIP GIBBS (el g), and TONY HYMAS (kybds). (The Path of Nonevitability/ The Front/ John’s Intellegent Ears/ Once More Into No-Thing/ Mad Dash for the Exit/ Preyer/ A Knight On the Tiles 65:38.)
The music? It’s a Free collective improv with moments where one or more players dominates in more or less solo form (a la Miles’ first electric bands) along with a funk-rock underpinning in the drums and some collective embellishments (again a la earlier plugged-in Miles). Once in a while the time gets Free. Then one remembers Shorter’s Supernova and realizes that this is similar in its times, but in ways that offer difference and refreshment. Then come explosions of fierce energy—easily approved by those who like such power. (I did/do.)
Paul Dunmall sounds terrific. Playing with his typical power and force, he gives the proceedings plenty of bal-derdashing strength. Gibbs gets into a shreddingly skronky mode much of the time, supplying a further edge to the music. Tony Hymas varies between ultra-free electronic and acoustical skitterings and rhythmic jabbing to set off against the Rock pulse. Quite simply, that’s what this V-Bop is: good out jamming. Most likely you already made a determination about such activities. If you dig it, you’ll dig this version. If you don’t, I doubt your mind will change on the basis of this CD. I found it quite credible, unpredictable within the parameters set, and especially nice for its lack of posturing or cliché-regurgitation. Well, that’s all folks. Or is it? One never…(you know, Fats). . .
Grego Applegate Edwards oct - nov - dec 2011 | cadence