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bracing, acoustic power-trio free jazz featuring young Chicago-based powerhouse players Mike Forbes on tenor saxophonist and Andrew Scott Young bassist with the ever agitated WW on drums. a vinyl only release priced to move and limited to 300 copies only.
preview track 1 from this release
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ON TOUR SEPTEMBER 2010:
sat 11th - cincinatti - art damage lodge
sun 12th - pittsburg - gooskis w/ the body (providence)
mon 13 - baltimore - the bank
tues 14 - philly? - need paying gig HELP
weds 15 - bard college - smog
thurs 16 - new york - cake shop w/ aids wolf/an albatross
fri 17 - rochester - confirmed, venue TBA
sat 18 - cleveland - now that's class
sun 19th - chicago - reuben palace
American Free??? Without Americans? No Americans Allowed??? Free Music made by Americans? You decide!
Recorded in Chicago in March 2009, this vinyl outpouring of speed, intensity and timbral violence represents the first output by a volcanic new trio committed to pushing free music forms to a new level. Tenor saxophonist Mike Forbes pushes hard, his lines bursting with pressure and laser-like focus. Fans of the early Evan Parker/Peter Brotzmann school will love his approach, but he's no mere acolyte: Forbes' playing has a cruel, hard focus which is bloody with rage but totally controlled. He's not satisfied with biting the reed and squealing his brains out like an identikit free jazzer: his careful control of multiphonics and succinct phrasing reveals a shrewd and singular musical mind at work. Bassist Andrew Scott Young possesses a large, gutteral sound and he fills the cracks in the sax/drums assault with harmonic determination and an aware sense of overall structure. His lines always push the group forward and cohere the hyperactivity of the other musicians. Weasel Walter is obsessed with momentum. his dense bursts of detailed percussion drives the band towards total mania.
Check out the NOW sound of free jazz on this LP.
"The story goes that J. Edgar Hoover forbade that his limo ever make a left turn. Weasel Walter seems to have done something similar with his career as an improvising musician since moving to San Francisco. In contrast with the slow, maddening slide into frustration that marked his last years in Chicago, when he started running out of people to play with, things now move only uphill – Peter Evans, Henry Kaiser, Evan Parker, Marshall Allen, Damon Smith, and Mary Halvorson are just some of the talents with whom he’s collaborated. But this LP, made with two young unknowns, stands up to anything he’s done with the veterans. Weasel knew he would play with saxophonist Mike Forbes and bassist Andrew Scott Young before he knew what they sounded like; the first time they talked, Weasel asked what musicians he liked and Forbes said “no one.” Anyone familiar with early Flying Luttenbachers knows how that statement resonated with WW’s own youthful nihilism. “Red,” which covers all of side one, sounds like a good old-fashioned ESP free-for-all from a distance, all squalling sax and pummeling drums and barely-there bass. Get close and the details emerge – Forbes’ preference for short, gut-punching phrases over anything that might be mistaken for a tune, or Walters’ penchant for double-kickdrum barrages direct from the land of burning churches – that make the difference between “sounds like” and “our own sound.” On the flipside, “Yellow” and Blue” admit enough space into the mix for Young to pull out his bow and eviscerate a few oxen. Edition of 300, heavy paper sleeve, excellent clean black vinyl." - Bill Meyer
