Joe McPhee and Chris Corsano have provided some of the absolute stand-out moments at OTO, and this has to be one of the best of them. Playing together for one night only back in August of 2012, the dream duo kick out white hot energy and offer up heart breaking balladry. Corsano's deft hands and a punk rock attitude create haunting textures and huge shadows that allow McPhee to blow lines that make you bleary eyed. When his voice comes through his pocket trumpet it seems to call out from another world. "But when the money's gone", he calls, and it's a sing a long, it's a crooners song - it's free jazz at it's most lively.
Joe McPhee / tenor and soprano saxophones
Chris Corsano / drums
Recorded on the 25th August 2012 by John Chantler. Mixed by John Chantler. Mastered by Rupert Clervaux.
Available as a 320k MP3 or 24bit FLAC download.
1. One - 10:02
2. Two - 5:31
3. Three - 7:09
4. Four - 13:44
5. Five - 22:27
6. Six - 11:22
7. Seven - 6:34
Since his emergence on the creative jazz and new music scene in the late ‘60s and early ‘70s, Joe McPhee has been a deeply emotional composer, improviser, and multi-instrumentalist, as well as a thoughtful conceptualist and theoretician.
McPhee’s first recordings as leader appeared on the CjR label, founded in 1969 by painter Craig Johnson . These include Underground Railroad by the Joe McPhee Quartet in 1969, Nation Time by Joe McPhee in 1970, and Trinity by Joe McPhee, Harold E. Smith and Mike Kull in 1971.
By 1974, Swiss entrepreneur Werner X. Uehlinger had become aware of McPhee’s recordings and unreleased tapes. Uehlinger was so impressed that he decided to form the Hat Hut label as a vehicle to release McPhee’s work. The label’s first LP was Black Magic Man, which had been recorded by McPhee in 1970. Black Magic Man was followed by The Willisau Concert and the landmark solo recording Tenor, released by Hat Hut in 1976. The earliest recordings by McPhee are often informed by the revolutionary movements of the late ‘60s and early ‘70s; for example, Nation Time is a tribute to poet Amiri Baraka and Joe McPhee & Survival Unit II at WBAI’s Free Music Store, 1971 (finally released as a Hat Art CD in 1996) is a sometimes anguished post-Coltrane cry for freedom.
During the 1990’s, McPhee finally began to attract wider attention from the North American creative jazz community. He has since been performing and recording prodigiously as both leader and collaborator, appearing on such labels as CIMP, Okkadisk, Music & Arts, and Victo. In 1996, 20 years after Tenor, Hatology released As Serious As Your Life, another solo recording (this time featuring McPhee performing on various instruments). McPhee also began a fruitful relationship with Chicago reedman Ken Vandermark , engaging in a set of improvisational dialogues with Vandermark and bassist Kent Kessler on the 1998 Okkadisk CD A Meeting in Chicago. The Vandermark connection also led to McPhee’s appearance on the Peter BrotzmanChicagoOctet/Tentet three-CD box set released by Okkadisk that same year. As the 1990s drew to a close, McPhee discovered two like-minded improvisers in bassist Dominic Duval and drummer Jay Rosen- TRIO X.
"He is a stellar improviser, relishing his sound materials so caringly and for so long, the kind of player that invites you to really step outside of whatever mix you're and think and feel for a while." Hank Shteamer, Dark Forces Swing Blind Punches
Chris Corsano is one of the greatest drummers working today. He has developed a percussive language of extraordinary amplitude and infinite resources. His collaborations stretch from free jazz greats (Joe McPhee, Paul Flaherty & more) to noise mavens (Bill Nace, C Spencer Yeh etc) and pop superstars (Björk). Capable of generating narrative out of permanent ecstasy, Corsano never ceases to be profoundly affirmative and imposing of his language, and being an absolute and charismatic virtuoso, he simultaneously is one of the most noble and generous improvisers of the few last decades.