Dan Warburton | Jean-Luc Guionnet | François Fuchs | Edward Perraud | Return of the New Thing | Alchemy | Not Two Records

This band soon erupt and blast forth together tightly. Even when they slow down to a spacious section, they remain a tight-knit quartet. Dan’s twisted violin improv works well with Edward’s quick-spinning free percussion, Jean-Luc out-there sax and Francois’ great bowed bass. Although this great quartet probably don’t get together that often, they don’t sound that way. They have an incredible, well-worn, tight-knit group sound, that remains interconnected no matter how far they go out. Once again we find another European unit that sounds as wonderful as any of their American brethren. Extra-ordinary, yes indeed! — BLG, Downtown Music Gallery Continue reading

Return Of The New Thing | Crescendo | Not Two Records

What binds these four individuals together is complex and testifies to a glorious openness and pleasure. Even if the music on this disc gives the (miraculous?) impression of being “composed” and interpreted by a group of long standing, you ought to know that Guionnet and Warburton were playing together here for only the second time, and that, with the exception of “Hic et nunc, in limine” (a Perraud composition), all the pieces were freely improvised. If the spectre of Ornette seems to hover above, this is – beyond the presence of alto sax and violin – due to the white heat and special tension of the composer/instrumentalist dichotomy. “Somehow, anyhow” (title from Malcolm Lowry) evokes a sweaty, disturbing jungle shot through with discontinuous, acidic saxophone lines and piano clusters, reinforced by drums and bowed bass. “Hic et nunc, in limine” (“Here and now, on the threshold”), the album’s only “composition”, crosses more tranquil (apparently) landscapes with pointillistic dabs of colour, while long, lyrical saxophone lines unfold (sounding like a high tenor) and a groove establishes itself, a groove directly in the lineage of black free music. “Y2K” (computer jargon for “the year 2000”) sets violin/bass and sax/drums duos against each other before the appearance of a superbly swinging quartet, alto saxophone riding high over McCoy Tyner-esque piano. The oriental rhythmic inflexions that open “Truth and Reconciliation”, over a background of sax and prepared piano clattering, are followed by funky evocations of of great tenormen (Shepp, Rivers, Ware..), but also of Abdullah Ibrahim and Bobby Few. The French scene of creative improvised music has been in full bloom for several years now, and this generous, burning album is the proof. Return of the New Thing? — Gérard Rouy Continue reading