|
The Spontaneous Music Ensemble was formed in 1965
by British drummer John Stevens and saxophonist Trevor Watts with the intent
of creating a jazz version of the AMM avantgarde collective.
In reality, after Challenge (march 1966), that featured Kenny Wheeler on
flugelhorn, Paul Rutherford on trombone, Trevor Watts on alto and soprano
saxophone, bass and drums, the ensemble started playing music that was as free,
chaotic and atonal as the music of AMM, but focused on the interplay instead
of the contrasts.
The line-up of the Spontaneous Music Ensemble changed with every concert and
every recording.
The ensemble was a sextet with Evan Parker on saxophones,
Wheeler on trumpet and flugelhorn, Rutherford on trombone, Watts on oboe and alto, Barry Guy on bass and Stevens on percussion for
the four-movement film soundtrack Withdrawal (october 1966).
Withdrawal (march 1967), released only in 1997, added Derek Bailey on dissonant guitar for the three Withdrawal Sequences and the four-movement chamber suite Seeing Sounds And Hearing Colors.
Summer '67 (august 1967), released in 1996, contained
the 15-minute First Cousins, a duet between bassist
Peter Kowald and Stevens, and the eleven-minute Second Cousins, a trio with Parker.
The unreleased Willow Trio (october 1967) was a lengthy improvisation by Parker (on soprano), Stevens and bassist Barre Phillips, and the unreleased
Familie (january 1968) was recorded by Stevens, Watts, Parker, Bailey, bassist Dave Holland and several others.
The jazz component had all but disappeared by the time that Stevens, Wheeler,
Parker, Bailey and bassist Dave Holland recorded the six-movement Karyobin (february 1968), perhaps the ensemble's artistic peak.
Oliv (february 1969) contained the 19-minute Oliv I for a larger cast (Stevens, Wheeler, Bailey, Watts, bassist John Dyani, vocalist Maggie Nichols and more) and the 16-minute Oliv II for just Stevens, Watts, Dyani and Nicols.
For You To Share (may 1970) contained two lengthy duets by Stevens and Watts, Peace Music and For You To Share.
Another milestone, The Source - From And Towards (november 1970), was a five-movement suite for three saxophones (including Watts), trumpet (Wheeler), two trombones, piano, two basses and drums (Stevens).
So What Do You Think (january 1971) boasted the classic quintet of Stevens, Watts, Wheeler, Bailey and Holland in one lengthy improvisation.
British vocalist Julie Tippetts fronted a quartet with Stevens and Watts on
Birds of a Feather (july 1971).
A quintet with Parker, Bailey, Stevens and Watts was documented on Quintessence 1 (october 1973) and Quintessence 2 (february 1974), released in 1987.
Face To Face (november 1973) was another Stevens-Watts duet.
The 20-minute In Relationship to Silence and the 24-minute Mouthpiece on Mouthpiece (november 1973) documented Stevens' "compositions" for large ensemble,
Stevens "devised" these pieces that the improvisers were free to bend at will.
Stevens only imposed constraints on the improvisers' moves to make sure that
they would participate and not alienate each other. In a sense, Stevens was
working on a more humane natural of "harmony".
Other collaborations by Stevens' ensembles included
Plus Equals (january 1975) and Low Profile (november 1977).
Despite Stevens' involvements in other projects,
the Spontaneous Music Ensemble continued to exist until his death.
Bare essentials 1972-3 documents live unreleased jams by
John Stevens and Trevor Watts:
In The Midlands (april 1973),
Three extracts (october 1972),
For Phil (september 1972), etc.
Stevens died in 1994.
The posthumous Trio & Triangle documents live performances by the
Spontaneous Music Ensemble & Orchestra, notably
the 24-minute Triangle (may 1981).
|
(Translation by/ Tradotto da xxx) Se sei interessato a tradurre questo testo, contattami
|
