64CD - Deep Tide Quartet - See One, Do One, Teach One
Open ended jazz playing with no stylistic limits – written scores, graphic scores, improvisation – improvisation which is inclusive of melody and structure – whatever we feel like playing – plenty of space for the music to develop its direction – concentrated and careful listening - ultimately rooted in, and building on the tradition of, pure jazz skill no matter where the music takes us.
Martin Archer – saxophones
Kim Macari – trumpet
Laura Cole – piano
Walt Shaw – percussion and live electronics
This is a truly exceptional album from Martin Archer's Discus imprint, with a quartet featuring a veritable cast of some of the most exciting players on the contemporary jazz/improv circuit. See One, Do One, Teach One is a double album, with the CD sleeve advising that "you treat this collection as two separate albums to be heard at different times", and whilst there is a sense of group sound and continuity in these performances there the similarity ends.
The music presented offers up freely improvised pieces that may or may not have a pre-conceived compositional elements alongside music that draws a source of inspiration from graphic charts as opposed to notated scores. As such the two discs differ in as much as much of CD1 is comprised of the preconceived or composed pieces, and CD2 is predominantly improvised. Having said this the soundworld inhabited by the four musicians has a sonic consistency across both discs thus giving the overall impression of two complete performance in two distinct and separate sets.
Martin Archer has put together a quartet that does not simply operate within the confines of a recording studio, but one which is an active working band, and hopefully a work in progress that will continue to develop over an extended period of time. The instrumental combination provides a full and varied tonal palette, with Archer cleverly using the recording studio and post production techniques to enhance the recorded music. This may range from simply overdubbing his bass clarinet parts to the subtle electronic manipulation that is seamlessly integrated with the electronic soundscape of percussionist Walt Shaw, as such to try and discern who is doing what is a somewhat redundant exercise.
What is immediately discernible however, is how all four participants work together as a collective. All instinctively knowing when to contribute, and even adding poignantly to the music by not playing at all, and this is perhaps what makes the music on these two discs so ultimately satisfying. Kim Macari 's trumpet is beautifully full toned, yet the range of slurs and smears she elicits from the horn counteract Archer's more full throttled tenor to great effect. Whether eliciting a gentle melody or exploring the outer reaches of his tenor saxophone through extremes of pitch or multiphonics Archer's playing retains a tightly controlled focus that steers a secure course for his fellow travellers. His sopranino playing is just as intensely focussed when stepping out to solo, and also provides a superb counter voice to Macari's trumpet in delightful dialogues that appear as if from nowhere.
This is also true of pianist, Laura Cole, whose playing on both discs is quite phenomenal. Whether playing solo as she does on the through composed opener, 'Just A Moment In Time' or interacting with her three colleagues in ensembles that can be densely packed sonic excursions or quiet and reflective passages she is often the fulcrum f the music, building bridges between ideas or suggesting harmonic area of interest that can be taken up by Macari or Archer as is deemed most appropriate to the moment. Her commentary is often very subtle, not one to hog the limelight but contributing greatly to the group sound. This even extends to the long passages where the piano sits out, only to to sound so good when it once again returns. This side of Cole's musical persona is new to this reviewer and bodes well for the solo piano recording that is currently in preparation, and will also be released on Discus Music.
Overall a superb album that deserves to be widely heard, and a quartet that should be on everyone's radar to catch live. Contemporary composition/improv does not get much better than this. - Nick Lea JAZZ VIEWS
Deep Tide Quartet suggest that this double CD set should be listened to as two separate albums at different times; and indeed it does feel like witnessing a couple of well-paced concerts in intimate venues due to the close recording. The quartet are Discus label founder Martin Archer on saxes and bass clarinet, Laura Cole on piano, Kim Macari on trumpet, and Walt Shaw on percussion and electronics, all with pedigrees too long to list here.
The group play a mixture of compositions and improvisations, and graphic scores and jams later restructured in the studio by Archer, in a deliberately open-ended remit with, in his words, “no stylistic limitations”. This sort of approach is exemplified by “Song For Gato Barbieri”. It begins with a theme by Shaw that gradually swells into a vertically layered improvisation, which displays raw lyricism and a remarkable intra-group empathy. Sometimes, in a improvisation like “Deep Tide”, the players state melodic and rhythmic motifs, which they then repeat or modify to give the feel of a spontaneous composition.
If the group have a signature it’s their use of breathing space, with musicians, all exceptional listeners, happy to drop out for long periods as and when appropriate. “I Am Here / Phone In Rice 1” is a directed improvisation by Cole that’s based on a series of her photos. This results in a lengthy, episodic piece with the ensemble nibbling on one or two notes before dropping into near silence, cut with outbursts of red-blooded playing, including the most avian sax solo one could hope to hear. By contrast the improvised “The Self-Threading Needle” features some powerful group playing that hints obliquely at Latin American and Iberian themes.
The title track, an Archer composition, is one of the set’s most compelling pieces and is beautifully played by all. Shaw’s tumbling rhythms, with their flickering fine details, delineate considerable spaces, into which the brass sporadically enter and leave playing sombre themes, which are garnished by Cole’s clusters of high piano notes. – Mike Barnes THE WIRE.
See One, Do One, Teach One was released in August by “Discus Music”. The album was recorded by “Deep Tide Quartet” which members are Martin Archer (saxophones), Kim Macari (trumpet), Laura Cole (piano) and Walt Shaw (percussion and live electronics). Martin Archer is a composer, improviser and saxophonist. His own and unique playing style is based on spontaneous, active and creative improvising. He’s also is a sound producer, co-director of avant music choir “Juxtavoices”. Kim Macari is avant-garde jazz trumpeter, improviser and composer. She improvises with various avant-garde jazz ensembles and musicians – the latest works of Kim Macari was “The Orpheus Project”, “Family Band” and the latest one with “Deep Tide Quartet”. Kim Macari playing is interesting, full of surprises and unpredictable stylistic waves, extended playing techniques and musical experiments. Laura Cole is avant-garde jazz composer and pianist. She also has her own ensemble “Metamorphic”, which is based on London. Her playing style is unique and interesting, based on synthesis between avant-garde and various modern jazz styles. Walt Shaw is a freelance musician and artist from near Derby in the Midlands. He had been performing various projects and collaborated with many different musicians through 28 years of his musical career. He’s the member of various avant-garde jazz ensembles – playing with “Deep Tide Quartet”, “WHM”, “Orchestra Of The Upper Atmosphere”, “Engine Room Favourites” and many others. Walt Shaw playing doesn’t have any stylistic limits – he masterfully combines together avant-garde jazz, bebop, hard-bop, electronic music elements, academic avant-garde, experimental music and many other music styles elements.
This album music is based on various jazz styles and contemporary academic music synthesis. Four musicians improvisations are full of many different musical expressions, various episodes which are highly contrasting with each other, free and energetic collective improvisations and other musical language elements. The musicians try out plenty of different extended and adventurous playing techniques – the innovative and interesting methods of playing are effectively combined together with traditional playing techniques. The basic musical pattern and form of these compositions are based on collective improvisation – spontaneous, free, energetic and passionate improvisations are the main part of the basic musical pattern. Martin Archer saxophone melodies bring very much energy to improvisations – his solos are very dynamic and active. Energetic, wild fast and powerful solos are full of unusual timbres and sounds, inventive musical expressions, special sound effects and extended playing techniques. Saxophonist creatively combine together especially expressive, passionate and energetic solos with lyrical pieces, which usually have soft and peaceful sound, restful harmony and slow tempo. The putting together absolutely different musical episodes brings more colours, sounds and different styles elements to the compositions. It also shows the musicians ability to masterfully put together absolutely different characters, moods and playing techniques in one place – saxophone melodies varies between very fast, energetic, vivacious to very soft, lyrical, restful and monotonic sound. Kim Macari trumpet improvisations have very bright and evocative sound. These improvisations, as same as the saxophone melodies, are especially energetic and dynamic for the most of the time. Sharp, aggressive, evocative and interesting sound is the main element of her improvisations. Improviser creatively and spontaneously change the mood and characters of the compositions, try out numerous of different extended playing techniques. Laura Cole piano playing varies between free and vivacious avant-garde jazz improvisations, very energetic and dynamic bebop and hard-bop solos with some intonations of traditional jazz styles. Her playing is constantly changing, has very interesting harmony and high variety of different musical expressions. Sharp and dissonance harmony chords are mixed together with soft ones, dynamic and wild fast rhythmic – with monotonic and slow. Piano improvisations are full of glissandos, wonderful and marvellous arpeggios, melodic and vivacious solos and other elements. Walt Shaw percussion improvisations are full of many different playing techniques – he try out many extended playing techniques to extract unusual and extraordinary timbres and sounds. He also use electronics in some part of the compositions. Electronics are used very professionally in whole album improvisations – mostly it’s used like a colouristic element. Various live electronics playing techniques, computer devices sounds, special effects, field and tape recordings, sonic system experiments and other playing techniques are effectively combined together and form a colourful and subtle background. Interesting, bright and evocative musical language, creative and outstanding improvising make original and vivacious sound to this album. – AVANTSCENA
Il quartetto che il grande Martin Archer ha voluto formare per questo doppio CD (oltre a lui al sax tenore, al sax sopranino e al clarinetto basso troviamo: Kim Macari alla tromba, Laura Cole al piano e Walt Shaw alle percussioni e al live electronics) esplora con grande passione la libertà del fare musica, muovendosi con agilità tra composizione e improvvisazione: se tutti e quattro i musicisti contribuiscono firmando dei brani, più di un terzo delle tracce sono ma presentate semplicemente come improvisation. Il pregio dei due dischi – il primo articolato intorno a brani più strutturati, il secondo maggiormente votato all’estemporaneità improvvisativa – è senz’altro quello di presentare all’ascoltatore the fine art of the interplay. La conversazione musicale tra diverse personae incorporate dagli strumenti è la protagonista assoluta del lavoro e l’overdubbing in postproduzione (in particolare talvolta l’aggiunta del clarinetto basso di Archer), così come il ricorso alla partitura grafica o a eventi pre-composti, non contamina affatto la sua freschezza: ciò che conta, dalla prima traccia (Just a Moment in Time, un titolo quanto mai azzeccato per sottolineare l’esperienza della libertà musicale qui stupendamente vissuta dal piano di Laura Cole) all’ultima (Wayne’s World), passando per tutte le altre (tra cui quella, ispiratissima, che inaugura il secondo disco: Song For Gato Barbieri), è la libertà della creativa espressione collettiva attraverso il suono (e il silenzio che lo circonda) e attraverso il passaggio tra i generi e gli stili. La capacità di tessere trame sonore insieme e da soli, intervenendo nella circostanza opportuna (ovvero facendo sì che la circostanza dell’intervento diventi opportuna), prendendosi la scena al momento giusto e al momento giusto ritirandosi, supportando i partner quando occorre, e sottraendosi quando la propria presenza risulterebbe scomoda o inutile o di peso: ecco, questa capacità, senz’altro anche grazie all’eleganza timbrica e alla bellezza dei fraseggi, diventa tra le mani di questi musicisti eccellenza artistica. ***** - A G Bertinetto, KATHODIK