Incus Recordings

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Incus Recordings

Kicking off a series of collaborations between Honest Jon's Records and Incus: Solo Guitar Volume 1, a reissue of Derek Bailey's Solo Guitar release on Incus in 1971, with additional tracks included on previous reissues and a performance at York University in 1972. Recorded in 1971, this was Bailey's first solo album. Its cover is an iconic montage of photos taken in the guitar shop where he worked. He and the photographer piled up the instruments whilst the proprietor was at lunch, with Bailey promptly sacked on his return. The LP was issued in two versions over the years -- Incus 2 and 2R -- with different groupings of free improvisations paired with Bailey's performances of notated pieces by his friends Misha Mengelberg, Gavin Bryars, and Willem Breuker. All this music is here, plus a superb solo performance at York University in 1972, a welcome shock at the end of an evening of notated music. It's a striking demonstration of the way Bailey rewrote the language of the guitar with endless inventiveness, intelligence, and wit. As throughout the series, the recordings are newly transferred from tape at Abbey Road, remastered by Rashad Becker, and available for download exclusively here. --- Derek Bailey / guitar, synthesizer — Tracks 1-13 recorded by Bob Woolford and Hugh Davies. Photographs by Roberto Masotti. Mastered by Rashad Becker.

Derek Bailey – Solo Guitar Volume 1

Honest Jon's reissue of this classic Incus record.  "Multi-reedist Tony Coe was born in 1934, four years after guitarist Derek Bailey. He cut his teeth as a career jazzman with Humphrey Lyttleton, before an extended stint with the Kenny Clarke/Francy Boland Big Band. On this rare 1979 duo outing, he sticks to clarinet. And though that instrument has an illustrious jazz pedigree, Coe’s playing here is something else. It’s worth noting that the clarinettist has also played under the baton of arch-modernist Pierre Boulez, the kind of composer Derek Bailey enjoyed taking to task in his book Improvisation. You might think the Frenchman’s uncompromising serialism and the free playing Bailey defended with such passion all his life would have little in common, yet both men were hugely influenced by Anton Webern. It’s an influence you can hear right through Bailey’s career in his obsessive exploration of tight parcels of registrally-fixed pitches, notably those trademark ringing harmonics. Meanwhile, Coe’s meandering semitones and sinuous arabesques here recall both Boulez’s clarinet writing in Domaines, and the harmonic world of Boulez’s own teacher Olivier Messiaen. Still, no traditional classical musical notation could ever render the extraordinary rhythmic subtlety and timbral complexity of this music. It’s at one and the same time dazzlingly virtuosic — Coe and Bailey are on stellar form throughout, and have enough sense to, yes, accompany each other where needs be — and supremely lyrical and spacious.  An absolute delight." - Honest Jon's

Derek Bailey & Tony Coe – Time

"Oxley and Bailey first played together in 1963. Although they come from the same city and share the same kind of background their meeting was, in a way, coincidental. Bailey - 10 years older than Oxley - after some years working away from their hometown, returned for what was initially intended to be a brief family visit. The musical situation he found there persuaded him to stay. Oxley and Bailey then worked together, continuously and intensively, for the next three years and developed, with Gavin Bryars who was then a bass player, their own particular approach to free improvisation. Since 1966, their working relationship, although intermittent, has continued in a multitude of different playing situations. Initially, during the late 60's and early 70's, much of it was in the context of Tony Oxley's small groups - quartet, quintet and sextet. From the late 70's on, it would sometimes be within Derek Bailey's improvisor's ensemble, Company. Throughout, and increasingly in the 1990's, they have played in duo. These recordings, a London studio recording made in 1977, and a concert recorded in New York 1995, are testament to the remarkable richness and sustained variety of their musical relationship." - Simon Kelly --- Derek Bailey / electric & acoustic guitars Tony Oxley / acoustic & electric percussion, violin --- Tracks 1-4: Recorded in Soho, London in February 1977 by Kevin Spencer. Tracks 5-10: Recorded at the Knitting Factory, NYC in September 1995 by James Mclean. PPhotographs of Derek Bailey &  Tony Oxley in concert (France, May, 1997) by Franz-Heinrich Busch. Post Production & design by Karen Brookman.

Derek Bailey & Tony Oxley - Soho Suites

"The Levis are accomplished masters of the warp-speed sound bite: 26 of them here, set out like a board of weird sushi. Though most clock in at between 30 seconds and pop-single length, there are two more substantial tracks in the middle of the set- the combative "All Against All" and "Lady Ms Girl Shine"- which confirm that this isn't just a comic put on." - Penguin Guide to Jazz --- Bob Stagner / percussion, fiddle, zither, cymbal, rototoms, drum machine, violin, cowbell Dennis Palmer / synthesizers, drum machine, effects  --- Tracklisting: 1. The Popcorn Gomer - 1:242. Rev Jim's Belly - 1:203. Quarrelsome Brother Love - 0:324. Sunday School Breakfast - 1:575. Green Eyed Lovely Chimp - 1:446. Big For My Size - 2:037. Humming Devil - 2:098. Bullet Proof Cross - 5:409. Dob On Ah Stob - 1:2910. All Sweet Like Babies - 1:4311. Vampires Like To Bite - 1:5712. Tiny Tarkus - 1:4313. Magic Pulpit Ride - 1:0814. All Against All - 7:4815. Lady Ms. Girl Shine - 4:0316. Heart Beam - 2:0417. Sissy Gladiators - 1:3918. Hip Oh Critter - 2:1619. Two Cycle Hell Harp - 0:4720. Jumping Devil "Seven Examples" - 1:5521. Merry Dang Soul - 1:3222. Astral Peeper - 1:0923. Where's The Bible? - 1:5524. Catbird Technique - 2:1325. Lil' Hellbender - 1:5926. Corpse O' Earth - 2:43 --- Produced by Ray Norwood. Tracks 1 to 11 were recorded mixed and engineered at the Sound Lab, Chattanooga, Tennessee, January-April 1992. Tracks 12 to 26 were recorded in Palmer's basement in June 1992.

Shaking Ray Levis - False Prophets Or Dang Good Guessers