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Thank You to John Coltrane

Artist: Paul Dunmall

Date of Release: 10/08/2012

Catalogue no: SLAMCD 290

Label: SLAM

Price: £9.99

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Paul Dunmall tenor, soprano saxophones; Tony Bianco drums.

Composed by Coltrane:
Peace on Earth, Naima, Alabama, Giant Steps, Living Space, Expression.

Composed by Dunmall:
Thank you to John Coltrane,

In time, even the most important innovators of our music – Armstrong, Ellington, Parker etc. – are accepted as normal as the sun and the stars; we must therefore be reminded, from time to time, of their essentiality. So it is with Coltrane, whose work Dunmall here re-visits.
As long as I have known Paul, and that’s over 30 years, he has been a believer in Coltrane, even taking the opportunity to play with Alice Coltrane on an early USA tour. I have waited a long time to hear his dedication to J.C. – here it is now and well worth the wait. He takes a few of Coltrane’s themes, pared to a minimal sax and drums, which I think emphasises the strength of the compositions. Tony Bianco’s ever-inventive work is there in company with the sax, rather than accompanying.

The recording was made in Delbury Hall in the Shropshire hamlet of Diddlebury – a far cry from the North Carolina Hamlet where, 85 years earlier, the spirit of Coltrane arrived in this world… and so his music and the spirit of that music, will continue to move on through time and space.

 

Reviews

 

19/11/2012 Vittorio Albani


Sixty-odd minutes dedicated to the memory of one of the gods of African-American music.Holders of this recording
are Paul Dunmall and Tony White.Let's start off with a hint anecdotal: it seems obvious that even the hard
reference - when it comes to Coltrane experimental duo - is the fundamentalInterstellar Spacethe New York
saxophonist recorded in the last months of his life with drummer Rashied Ali.The percussion set used by Rashied
for that historic session has been for years the most classic hunting fetishist.However, it was John Marshall,
drummer thinking the second Soft Machine, to take home the coveted trophy and then use it on his "side" in the
fifth volume of the group's discography prince of Canterbury Sound.Now Marshall is certainly "neighbor" in every
sense of the artistic good Dunmall: why was therefore chosen instead Tony Bianco?


Oh well, at ...it was just a joke!Also because White has all the necessary requirements for this registration.
New Yorker transplanted in Europe since the beginning of the nineties, he played alongside Dunmall trusted friends
such as Elton Dean, Evan Parker and Alexander von Schlippenbach and soon became one of the drummers of the new
reference free British.Often also next to Dave Liebman, is with Dunmall that Bianco has released perhaps his most
avant-garde and free spirit.


For its part, the extraordinary saxophonist of Kent is a central figure in the art world and contemporary improvisation
at least forty years is an essential reference point for understanding the various elements of the British free.


The historical work of Coltrane, Dunmall seems to possess the desire to attack working on the same research in thickness
and character that the teacher seemed to indicate in that last part of his career.Released by the trappings rhythmic,
percussive primordial except the base, the duo then choose the path of dialogue open and direct.


The result is sweet and tonic. Recorded live at the Delbury Hall Diddlebury in the West Midland Region in the scent of Wales,
the CD is un'orgasmica ride in the sonic territory of Coltrane.Of the headlines addressed the theme is immediately recognized,
but at the first corner, the two of them go - as it surely would have appreciated Coltrane - around the world of sound "total"
in a kind of empathy which analyzes the inventive spirit of the founding research Coltrane.Twenty-eight minutes of the final
"Expression" are absolutely specimens to understand both the philosophy that inspired the master and the incredible and infectious
rhythmic energy fielded by the duo starred in this recording.Given the fragrance family, the fact that Dunmall has also worked in
youth with Alice Coltrane can only have done good to the cause, contributing considerably to the kinetic and spiritual nuances of
which this work exudes.


Yet another pearl in the discography Dunmall.If you are among those who like to get lost in the vast sea of Art Music and close
their eyes listening to the adventures of John Coltrane, using headphones, but remember to come back soon to the ground.

Vittorio Albani http://italia.allaboutjazz.com/php/article.php?id=8476

ORIGINAL

Sessantuno minuti e rotti dedicati alla memoria di uno dei numi tutelari della musica afro-americana. Titolari di questa incisione
sono Paul Dunmall e Tony Bianco. Cominciamo subito con un accenno aneddotico: sembra persino ovvio che il disco di riferimento - quando si parla di Coltrane sperimentale in duo - sia il fondamentaleInterstellar Spaceche il sassofonista newyorkese incise negli ultimi mesi della sua vita con il batterista Rashied Ali. Il set di percussioni utilizzato da Rashied per quella storica session è stato oggetto per anni della più classica caccia feticista. È stato però John Marshall, drummer pensante dei secondi Soft Machine, a portarsi a casa l'ambito trofeo e a utilizzarlo poi sulla sua "side" nel quinto volume della discografia del gruppo principe del Canterbury Sound. Ora Marshall è sicuramente "vicino di casa" in tutti i sensi artistici del buon Dunmall: perché è dunque stato scelto invece Tony Bianco?


Vabbè, su... era solo una battuta! Anche perché Bianco, ha tutte le carte in regola per questa registrazione. Newyorkese trapiantato in Europa dagli inizi dei Novanta, ha suonato accanto a fidati amici di Dunmall quali Elton Dean, Evan Parker e Alexander von Schlippenbach, diventando ben presto uno dei batteristi di riferimento del new free britannico. Spesso accanto anche a Dave Liebman, è proprio con Dunmall che Bianco ha forse liberato il suo spirito più avanguardistico e libero.


Dal canto suo, lo straordinario sassofonista del Kent è una figura centrale del mondo dell'arte improvvisativa contemporanea e da almeno quarant'anni è punto di riferimento essenziale per comprendere le varie istanze del free britannico.


Dello storico lavoro di Coltrane, Dunmall sembra impossessarsi della voglia di aggredire lavorando sulla stessa ricerca di spessore e carattere che il maestro sembrava indicare in quell'ultima parte di carriera. Liberato dagli orpelli ritmici, tranne che della base percussiva primordiale, il duo sceglie dunque la strada del dialogo aperto e diretto.


Il risultato è amabile e tonico. Registrato dal vivo presso la Delbury Hall di Diddlebury nella West Midland Region in odor di Galles, il CD è un'orgasmica cavalcata nei territori sonori di Coltrane. Dei grandi titoli affrontati il tema è immediatamente riconosciuto ma, al primo angolo, i due se ne vanno - come sicuramente Coltrane avrebbe apprezzato - in giro per il mondo del suono "totale" in una sorta di empatia inventiva che analizza lo spirito fondativo della ricerca coltraniana. I ventotto minuti della finale "Expression" sono assolutamente esemplari per comprendere sia la filosofia che mosse il maestro sia l'incredibile e contagiosa energia ritmica messa in campo dal duo protagonista di questa incisione. Visti i profumi familiari, il fatto poi che Dunmall abbia anche collaborato in gioventù con Alice Coltrane non può che aver fatto bene alla causa, contribuendo non poco alla cinetica e spirituale nuance di cui questo lavoro trasuda.
Un'ennesima perla nella discografia di Dunmall. Se siete tra coloro che amano perdersi nel mare magnum dell'Art Music e chiudono gli occhi ascoltando le avventure del signor John Coltrane, usate le cuffie ma ricordatevi di ritornare presto a terra.

 

18/10/2012  Hannes Schweiger

Dunmall und Bianco sind zwei zentrale Aktivisten des englischen Improvisatioszirkels die, beeinflusst vom sogenannten New Wave Of Jazz der 1960er Jahre, ihre eigene Klangsprache entwickelt haben. Die bis heute unumstrittene Galionsfigur dieser musikalischen Bewegung war John Coltrane. Er hat dem Free Jazz die spirituelle Dimension und eine hymnische Kraft erschlossen. Das hat auch die beiden Engländer tief beeindruckt. Somit stand es an eine persönliche Hommage zu gestalten. Das ist es nun auch geworden, ohne jegliche epigonale Anbiederung. Speziell die Intimität der Instrumentierung der epochalen Platte „Interstellar Space“, erwies sich für Dunmall und Bianco als das geeignetste Transportmittel um eben Coltranes Geist, dem Impetus seiner Musik und der Kraft und Energetik seines Spieles gerecht zu werden. Als Ausgangspunkte für ihren hitzigen improvisierten Diskurs, wählten die beiden Musiker Coltranestücke aus den Anfangstagen seines Quartetts, etwa Naima, bzw. aus Coltranes letzter, grob gesagt, freitonaler Phase, z.B. Expressions. Dazwischen brodelt das diesem Impetus entsprechende Dunmall Thema der Danksagung. Mit aller ihnen zur Verfügung stehendem Elan und wahrhaftiger Inbrunst bringt das Duo seine Verbeugung vor dem Ausnahmemusiker dar. Dunmall gibt sich als muskulöser, gewandt durch die Tonarten und Register seines Instrumentes meandernder Improvisator zu erkennen. Er rekapituliert Coltranes „Sheets Of Sound“ und emphatischen Klangtexturen mit authentischer Intonation und Phrasierung. Er wirft seine melodische Imaginationsfähigkeit in die Waagschale und pirscht sich an den Rand der Tonalität vor. Treibend in einem Strom aus rhythmischen Pulsationen die ein, mit mitreißender Rasanz schlagwerkender Bianco, kommentiert. Anhand seiner fantastischen Drumroll-Technik schüttelt er non-metrische, aperiodisch lodernde Bewegungsabläufe reihenweise aus dem Handgelenk. Konsequenzen sind ein flirrender spontaner Schöpfungsprozess, ein stupender Interaktionsreigen und pure Musik von enormer Dichte, Wärme und Sogkraft. Meditation On Cosmic Music.
Hannes Schweiger

TRANSLATION
Dunmall and Bianco are two key activists of the English Improvisatioszirkels who, influenced by the so-called New Wave of Jazz in the 1960s, developing its own musical language. The undisputed figurehead until today this musical movement was John Coltrane. He has the free jazz developed the spiritual dimension and an anthemic power. It also has the two Englishmen impressed. Thus, it was a personal tribute to shape. That it is now also, without any epigonic pandering. Specifically, the intimacy of the instrumentation of the epochal album "Interstellar Space", proved to be the most suitable Bianco Dunmall and transport to give Coltrane's spirit, the impetus of his music and the power and energetics of his game needs to be. As starting points for their fiery impromptu discourse, chose the two musicians Coltranestücke from the early days of his quartet, as Naima, or from Coltrane's last, roughly, freitonaler phase, eg Expressions. In between seething this impetus corresponding Dunmall theme of thanksgiving. With all their disposal standing vigor and true fervor, the duo brings its tribute to the exceptional musicians represent Dunmall are as muscular, turning through the keys and registers of his instrument to detect meandernder improviser. He recapitulates Coltrane's "Sheets of Sound" and emphatic sound textures with authentic intonation and phrasing. He throws his melodic imagination and ability to bear stalks to the edge of tonality. Floating in a stream of rhythmic pulsations a, drums forming with rousing panache Bianco says. Using his amazing drum roll technique he shakes non-metric, aperiodic motions blazing rows of the wrist. Consequences are a shimmering spontaneous creative process, a stupendous interaction and pure dance music of enormous density, heat and suction force. Meditation On Cosmic Music.
Hannes Schweiger

 

12/07/2012 Paul Acquaro

Recorded in 1967 with drummer Rashied Ali, John Coltrane's posthumously releasedInterstellar Space was a template for the sax and drum duo. It is a beautiful and, at times, challenging recording and has been described around the blogosphere as:
"Noisy, abrasive, violent. But it's the tight playing and the remnants of melody that give Coltrane's only duo recording its unique character." (sputnikmusic.com)"As one of Coltrane's final recordings this duet session with Ali is one of his most essential and unique. Not only is it the grandfather of all extended saxophone/drums duets in jazz, but it also set the standard for all that came after." (All About Jazz)
And it is an obvious comparison for the long term duo of saxophonist Paul Dunmall and percussionist Tony Bianco's Thank You to John Coltrane, which is a stunningly good tribute to the saxophonist, covering a five of his compositions, with just the title song credited to Dunmall.

After repeated listens, I feel I can say that Dunmall and Bianco have created a spare, yet rousing and mesmerizing, set of takes on Coltrane tunes spanning his later career, ending with 1967's Expression, but also incorporating some re-invented themes from the 1960 masterpiece Giant Steps. And here, like the description of Interstellar Space, it's the shreds of Coltrane's melodies, and new takes on the well known themes of 'Giant Steps' and 'Naima', that make this report from the sax-drum duo format a fitting homage and a strong album in its own right.

Dunmall's playing is utterly fantastic. His precise tone is roughed up and emotive at times and clear and determined at others. His melodies and ideas are well formed and constantly in motion. Without repeating himself or playing out any one idea too long, he builds his lines with wily intensity. Bianco rounds out the sound space with vibrant fills and microscopic reactions to the saxophonist's twists, turns and torrential runs. The platform he creates for his partner's improvizations is empathetic, kinetic and driving. A great example of this is the 28 minute take on 'Expressions' that closes the album. Dunmall's playing is enthralling, Bianco's drum solo never once dips in intensity and together they capture a certain exploratory feel, untempered by reverence.

I find this to be an exciting and captivating recording. While the comparison was impossible to not make, the album is a conversation between two masterful musicians and an electricfying tribute at the same time.

 

06/07/2012 Vittorio Lo Conte

La musica di John Coltrane ha sempre avuto un impatto enorme sul mondo del jazz, le cui diramazioni più recenti non sarebbero immaginabili senza quelle incisioni storiche che hanno segnato la musica del secolo scorso. Di tanto in tanto le sue composizioni vengono riprese dai musicisti contemporanei, oppure il suo stile, che ha lasciato un´impronta su tanti sassofonisti tenori.
L´inglese Paul Dunmall ha avuto modo di suonare in anni lontani con la pianista Alice Coltrane ed ha quindi potuto percepire quel mondo direttamente. Ora, dopo tanto tempo, ha deciso di ritornare su quella musica incidendo un duo con il batterista americano, ma residente a Londra Tony Bianco. Sono due artisti presenti da anni sulla scena del genere improvvisato in Inghilterra ed hanno inciso con un pò tutti i musicisti residenti a Londra e dintorni.
L´occasione di un concerto in USA ha portato a questo disco, ben registrato, in cui la musica di Coltrane appare quasi spoglia senza uno strumento armonico ed il contrabbasso, ma allo stesso tempo intensa, vera, priva di fronzoli. È un confronto alla pari, fra il sassofono eloquente che dà voce alle composizioni di Coltrane e la batteria, che si intercala nel discorso, presente dando impulsi e inesauribile nel raccogliere gli spunti di Dunmall e rispondere.
È un disco che funziona, sia per le composizioni scelte che per la forza che i musicisti riversano nelle esecuzioni. La formula del dialogo alla pari anziché del trio o del quartetto compatto dà nuove sfumature a queste composizioni e permette di soffermarsi sui singoli aspetti messi in luce dagli strumenti. Un concerto ed un disco che sicuramente piacerà agli estimatori della musica di J.C.
Vittorio Lo Conte http://www.musiczoom.it/ July 2012.

TRANSLATION
The music of John Coltrane has always had a huge impact on the world of jazz, whose most recent branches would not be conceivable without those historical recordings that have marked the music of the last century. From time to time his compositions are taken from contemporary musicians, or his style, which has left an imprint on so many levels saxophonists.
English Paul Dunmall has been playing a long time ago with pianist Alice Coltrane and then could perceive the world directly. Now, after so long, decided to return to the music recording a duet with the American drummer, but resident in London, Tony Bianco. They are two artists from years on the scene like that in England and have had improvised with a little all the musicians living in and around London.
The occasion of a concert in the USA has led to this album, well recorded, in which the music Coltrane appears almost naked without a harmonic instrument and the bass, but at the same time intense, real, no frills. It amounted to a comparison between the saxophone gives eloquent voice to compositions by Coltrane and the battery, which intercalates in the speech, giving pulses present and inexhaustible in collecting the ideas and respond to Dunmall.
It is a disc that works for both the compositions chosen for the force that musicians flock to the executions. The formula of the box instead of the trio or quartet of new compact gives nuances to these compositions, and allows you to dwell on individual issues highlighted by the instruments. A concert and a disc that will surely appeal to fans of the music of JC

 

04/07/2012 Alberto Bazzurro

Di ambito coltraniano, operando la prima delle annunciate deviazioni, è pure il recente Thank You to John Coltrane (Slam) del duo composto dal veterano sassofonista (tenore, e soprano in un pezzo) inglese Paul Dunmall e dal batterista italo-americano Tony Bianco. Come l’organico dice chiaramente, qui il modello di riferimento è il Trane dei duetti con Elvin Jones (“Vigil”) e Rashied Alì (“Interstellar Space”), anche se su altri temi (Naima, Alabama, Giant Steps,Expression, mega-cavalcata di 28’, ecc.), rivisitati col piglio di quei gloriosi precedenti. Un lavoro di estrema fedeltà filologica, quindi.


TRANSLATED FROM ITALIAN
Scope Coltrane, operating the first of the announced deflection, is also the recent Thank You to John Coltrane (SLAM), the duo composed by veteran saxophonist (tenor and soprano in one piece) English Paul Dunmall and the Italian-American drummer Tony Bianco . As the staff says clearly, here the reference model is the Trane duets with Elvin Jones ("Vigil") and Rashied Ali ("Interstellar Space"), although some other issues ( Naima , Alabama , Giant Steps , Expression , mega-ride 28 ', etc..), revised with the air of that glorious past. A work of extreme philological fidelity, then.

 

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