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Search Result for Artist Derek Bailey
viewing 1 To 25 of 25 items
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CORE 003LP
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Derek Bailey: guitar. Simon H. Fell: double bass. Recorded at Sound 323, London by Tim Fletcher on 15 August 2001. Remastered by Rupert Clervaux, September 2023. "Both Bailey and Fell are master musicians who improvise together at an intense and challenging level. This set bristles with focused energy. Both instruments sound closely mic'd so that we can hear each scrape, pluck and bow. At times, it seems as if Mr. Bailey is on the verge of exploding and then things calm do a bit only to flare up again. Mr. Fell sounds as if he is using a peg or wooden object on his bass at times and coaxing brittle percussive sounds. I found this set to be quite exciting, that edge-of-your-seat dynamic! Pretty incredible throughout!" --Bruce Lee Gallanter
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FR 024LP
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Frozen Reeds presents the only recorded duo playing of two legendary musical figures. Derek Bailey and Paul Motian -- two longstanding pioneers of distinct strains of improvised music -- came together for a brief period of collaboration in the early 1990s. Tapes of their two known live performances (one at Groningen's JazzMarathon festival in the Netherlands, the other a year later at New Music Cafe, NYC) were recently unearthed in the Incus archives, and their contents will surprise and delight fans of both supremely idiosyncratic musicians. The Groningen concert (1990) is released on vinyl, while the New York date (1991) is included with the digital download, which is included free of charge for all purchasers. A conversation between Bill Frisell and Henry Kaiser on Bailey, Motian, their intertwined backgrounds, and the significance of these recordings is included as sleeve-note insert. Each player bringing decades of crucial experience to their encounters -- with histories taking in vast swathes of the development of jazz and free improvisation -- these fleeting shared moments provide some of the most riveting playing in the career of either. There is precious little recorded evidence of Motian as a free improviser, but his mastery is beyond any doubt in these recordings. From knife-edge precision to textural haze, Motian's palette is astounding, but perhaps even more impressive is his confidence in the non-idiomatic conversation itself. Pushing far beyond the established vocabulary of free percussion, his playing allows a measured degree of repetition to take form, giving rise to almost song-like structures. In turn, Bailey allows some of his most unashamedly melodic passages to unfold without a mote of his trademark contrariness or antagonism. Patterns that would be acerbically disrupted elsewhere are allowed to settle, with variations of note and timbre introduced more gradually than is typical of his playing. When forceful changes in dynamics or tone do arrive, they do so in such close tandem with Motian's rhythmic and textural transitions as to beggar belief. The guitarist's duos with percussionists (Jamie Muir, Han Bennink, John Stevens) arguably provide some of the highlights of his discography. Duo in Concert represents a strong addition to the list. An elegant sense of construction pervades the sets, as the duo ably fulfil the promise of free improvisation: carving out hugely compelling, expertly balanced, and thrillingly paced music as if from thin air.
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R 099LP
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Recital publish an album of lost Derek Bailey sessions recorded with his friend and collaborator Charlie Morrow. In 1982, Bailey and Morrow organized a series of live concerts and studio sessions around New York. This new LP is a boiled-down rendering of the master tapes that lived dormant in Charlie's archive, until now. Throughout the album, Bailey and Morrow are joined by a rotating cast of New Wilderness players including frame drum percussionist Glen Velez, sound poet Steve McCaffery, publisher and artist Carol E. Tuynman, composer Patricia Burgess, and multimedia artist Michael Snow. The results are surprising and marvelous. The energy of the live concert, which makes up the first half of the record is particularly exciting, with Morrow and McCaffery's visceral sound poetry and Glen's frame drum echoing off of Derek's fret stabs, and Carol, Patricia, and Michael's horns swirling through the air between. A very raw and intense recording. The second side of New York 1982, is a session recorded at The Record Plant, and is clearly more "produced" with panning and tape echo processing, plus experiments with water whistles and other devices. Derek Bailey stands out for personal achievements as a guitarist and for his way of bringing together performance meetings ranging from duos to large ensembles. Working across style and genre, his music and musical unions have inspired the breakdown of boundaries, embracing all flavors of musicians as improvisers. Players focusing on the moment, "without memory." Personnel: Derek Bailey - acoustic guitars; Charlie Morrow - trumpet, ocarina, voice; Glen Velez - percussion; Patricia Burgess - saxophone; Steve McCaffery - voice, saxophone; Carol E. Tuynman - trumpet; Michael Snow - trumpet. Includes eight-page booklet with program notes and artwork; edition of 400.
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ICTUSRE 002LP
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2022 limited repress. Reissue, originally released in 1977. In the history of free improvised music, there has been arguably no greater advocate for the idiom's power and potential than the English guitarist Derek Bailey. Fiercely principled, between his emergence during the 1960s and his death in 2005, he cut a wide path, positioning this music at the height of creativity, transpiring in real time, and a means through which people from diverse backgrounds could come together, express, and commune. For Bailey, "playing is about playing with other people... Improvisation is a process that gets relationships sorted out." Among many great examples of this within Bailey's sprawling discography, a stand out is his 1977 duo LP Drops -- originally issued as the third album on Ictus -- recorded with the Italian percussionist/drummer Andrea Centazzo. Capturing the guitarist during one of his most prolific and creatively visionary periods -- overflowing with explosive clarity, dialogic energy, and imagination -- he clearly found a perfect foil in Centazzo, who recalls of the sessions: "The kaleidoscopic quality of Drops was created by this restraint of performing limits, i.e. the choice of instrumental timbres, dynamics and metronome speeds to suit each piece. We explored some aspects of our improvisational art, gleaned the best elements from our baggage of music memories and exposed them clearly and confidently." Comprising nine individual improvisations, Drops encounters each of its players at their best, finding a strange middle ground between the intuitive logics of their instruments; Bailey's tones taking on decidedly percussive approaches, while Centazzo's fractured polyrhythms and beats often veer toward the presence of a notable tonality. Remarkably expressive and diverse in the approach of each piece, Drops presents creative interplay at its most striking and challenging, rethinking the terms of musicality and collaboration every step of the way. Flurries of rattle back and forth, sculpting barbed and pointillistic landscapes of texture, stripped of reference and precedent, and abstract as real time organized sound comes.
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2LP
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HJR 208LP
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2022 repress. Honest Jon's Records present a reissue of Derek Bailey and Tony Coe's Time, originally released on Incus in 1979. 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 clarinetist 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.
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HJR 207LP
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2022 restock; Honest Jon's Records present a reissue of Derek Bailey and Cyro Baptista's Cyro, originally released on Incus in 1988. When Cyro Baptista moved to New York in 1980 from his home city of São Paulo, he brought with him an arsenal of percussion instruments, including the cuica (friction drum), surdo (the booming bass drum associated with samba), berimbau (single-string bow with resonating gourd), and cabasas galore, in the next few years deploying them most notably in numerous ensembles curated by John Zorn, who helped set up this studio session in 1982. As you might expect from someone whose infectious grooves have graced the work of Herbie Hancock, Astrud Gilberto, and Cassandra Wilson, Baptista expertly fires off cunning polyrhythms, even traces of thumping samba, with restless fluency. Bailey, the wily old fox, skirts and eschews the bait, which is quickly conjured away and newly fashioned. The guitarist homes in on the delicious squeaks of the cuica and the twanging drones of the berimbau with truly awesome tonal precision. You could sing along if you wanted, after a caipirinha or two. And he gets almost as many different sounds from his instrument as Baptista can from his kit -- check out the stratospheric plings and string-length fret-sweeps of "Tonto", which sound more like a prepared piano than an acoustic guitar. Wonders abound, from the berimbau/bent-string exchanges that open "Quanto Tempo" to the delightful collision of howling cuica and spiky bebop on "Polvo", and the spare, preposterous Webernian samba of "Improvisation 3". These days, "improvisation" often appears without its customary qualifier "free". If there were ever a case to be made for its reinstatement, this album is the best supporting evidence. Freedom means you're free to get into the groove, free not to, free to play with each other, free to play against each other. Sometimes frustrating, even scary, but more often than not in the hands of these two great masters it's hilarious, exhilarating and utterly irresistible.
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CVSD 056CD
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2022 restock. Corbett vs. Dempsey presents a reissue of Misha Mengelberg's Groupcomposing, recorded in 1970 and originally released in 1978. Comprised of a one-time international free music supergroup, and originally released as the sixth production on pianist Mengelberg and drummer Han Bennink's ICP label, Groupcomposing has been largely absent from the history books. This is the case because the record has been so unavailable, certainly not as a comment on the magnitude and magnificence of the music. With its Bennink cover (take that Andy Warhol!) and its two side-long tracks, it is an improvised music aficionado's treasure. Mengelberg and Bennink are joined by Bennink's brother, Peter Bennink, on alto saxophone and bagpipes(!), with an incredible reed section of Evan Parker and Peter Brötzmann, Paul Rutherford on trombone, and Derek Bailey on guitar. Moving from peaks of intensity to droning deescalation, totally improvised live in concert in 1970, Groupcomposing should be heard in the company of related records like Brötzmann's Machine Gun (CF 020LP, 2018) and Nipples (CF 013LP, 2016), early London Jazz Composer's Orchestra and Globe Unity Orchestra, and Manfred Schoof's European Echoes (CF 008LP, 2013. The music is reissued here for the first time as a stand-alone CD, with original album art and an interior salon of never-published period photographs by Gérard Rouy. The first in an ongoing series of ICP reissues on Corbett vs. Dempsey, Groupcomposing restores a classic LP to its rightful place in the canon.
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HJR 206LP
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2022 restock. Honest Jon's Records present a reissue of Jamie Muir and Derek Bailey's 1981 duo album, Dart Drug, originally released on Bailey's Incus label. Percussionist Jamie Muir was a member of King Crimson during the recording of Larks' Tongues In Aspic, in 1973. Staying less than a year with Robert Fripp, the Scot had already cut his teeth with another master guitarist, Derek Bailey, as part of the Music Improvisation Company, along with Evan Parker, Hugh Davies and Christine Jeffrey. There's no shortage of great percussionists in the brief history of free improvised music but on the strength of Dart Drug alone Jamie Muir deserves among them. Unlike for example Han Bennink and John Stevens, though, you can't hear echoes of any particular jazz drummer in Muir's playing, even if he has expressed appreciation for Milford Graves. What on earth did Muir's kit consist of? Some instruments are clearly identifiable (bells, gongs, chimes, woodblocks), while others could be anything. Old suitcases thwacked with rolled up newspapers? Tin cans and hubcaps inside a washing machine? Who cares? It sounds terrific, but if you're the kind of person who faints at the sound of nails scraping a blackboard, you might want to nip out and put the kettle on towards the end of the title track. Dart Drug is consistently thrilling, and often amusing, but it's certainly not easy listening. In music we talk about playing with other musicians, whereas in sport you play against another opponent (or with your team against another team). Why not play against in music, too? That's often precisely what happens in improvised music, and Bailey was particularly good at it. How can a humble acoustic guitar hope to compete with Muir in full flight? Sometimes Bailey's content to sit on those open strings, teasing out yet another exquisite Webernian constellation of ringing harmonics and wait for the dust to settle in Muir's junkyard, but elsewhere he sets off into uncharted territory himself. "The way to discover the undiscovered in performing terms is to immediately reject all situations as you identify them (the cloud of unknowing) which is to give music a future," Bailey evidently concurred with this spoken statement by Muir, including it in his book Improvisation (1980). Derek Bailey is no longer with us, of course, and Muir gave up performing music back in 1989; all the more reason for seeking out this magnificent, wild album.
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2LP
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HJR 205LP
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2021 restock. Continuing their ongoing series of reissues of music by Derek Bailey, Honest Jon's Records present a first vinyl reissue of Aida, originally released on the guitarist's own Incus label in 1980. Expanded for this release, the present version of this masterwork adds two hitherto unreleased gems recorded solo for Charles Fox's Radio 3 program Jazz in Britain, in the same few months of 1980 as the stunning original performances. The phrase "in the moment" is often bandied about with reference to free improvisation, and indeed there's no better way to describe Derek Bailey's playing. The acoustic guitar is notoriously lacking in natural reverberation -- notes barely hang in the air for a couple of seconds before they disappear -- which explains the almost non-stop flow of new material in these stellar performances. Bailey knew from one split-second to the next exactly where to find the same pitch on different strings, either as a stopped tone or a ringing harmonic, and there's never a note out of place. "He who kisses the joy as it flies," in the words of William Blake, "lives in eternity's sunrise" -- and this music is forever in the moment, constantly active but never gabby, kissing the joy. One of the special pleasures of the BBC set is the guitarist's own laconic commentary, a deliciously deadpan description of what he's doing while he's doing it. "I like to think of it -- as a kind of music" -- and the interaction between words and music is a particular delight. "You may have noticed a certain lack of variety," he quips, while unleashing a furiously complex volley. Is it a coincidence that the final seconds recall the famous cycling fifths of the coda to Thelonious Monk's "Round Midnight"? Surely not; Bailey, like Monk, was a note man par excellence; they're both still alive and well in eternity's sunrise.
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2CD
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CORE 004CD
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"In publishing the entire performance from start to finish, this release allows us to experience these much-missed artists at work with a degree of intimacy and familiarity absent from (for example) prestigious festival performances. Of course, any new addition to the Bailey discography is an exciting development, but I feel I must also mention just how well Will Gaines plays on this gig. For those who might be unsure why Derek was always so happy to play with Will, listen to how Will uses his strongly idiosyncratic technique with invention, flexibility and imperturbability in the Company context. Similarly, hearing Bailey and Gaines exchange one-liners reminds me just how strongly Derek's early career in light entertainment imprinted his ideas about musical practice and performance ethics; with his combination of show business schmaltz and improvisational acuity Will was a marvellous foil for Derek. Listen to Will, having dangerously skirted raconteur territory in his solo introduction to 'WG / MW', suddenly getting serious and creative when Mark decides to join him. But most of all, listen to the constantly re-inventing interaction between these four relaxed performers, one distant Thursday night in De Beauvoir Town. During the 1990s I played extremely regularly in clubs such as The Klinker, sometimes as often as three or four times a week; the idea of playing frequently in low-pressure situations, with an ever-changing roster of colleagues, was the very essence of improvised music for many musicians of my generation. So, enjoy this marvellous opportunity to join us in the hot, sweaty, noisy, beery atmosphere of The Klinker Club in August 2000." --Simon H. Fell, January 2018
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ROKURE 002LP
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Following on from the re-issue of Topography of the Lungs, Otoroku is proud to follow up with another legendary free-improvised document, this one from the duo of Derek Bailey and Evan Parker, originally released on the INCUS label in 1975. "The London Concert is one of those rare recordings that capture musicians at a special moment of confluence, a moment when procedures are proving fruitful and before practice has hardened into dogma, when different visions are not yet turned into position papers (insert your list here). There are clearly moments in the London Concert when things that have not precisely happened before emerge from one partner, are caught and supported by the other in a way that, too, is still new 40 some years on, and which prods the initiator to hold and develop a particular line with the clear support of the other." -- Stuart Broomer. The London Concert comes in a limited edition of 500 copies printed on reverse board with printed inner sleeve and newly commissioned liner notes by Stuart Broomer.
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ROKURE 001LP
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2023 repress. OTOROKU caps off the 2014 celebrations of saxophonist Evan Parker's 70th birthday with a vinyl reissue of The Topography of the Lungs, by Parker, guitarist Derek Bailey, and percussionist Han Bennink -- Parker's first recording as a leader. Originally released in 1970, this was the first LP issued by Incus, the label that Parker founded with Bailey and drummer Tony Oxley. This reissue has been produced from an original vinyl pressing from Parker's archives, carefully transcribed and restored by Andreas (Lupo) Lubich at Calyx Mastering, Berlin.
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HJR 203LP
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2023 restock; Honest Jon's Records present a reissue of Derek Bailey's Lot 74, originally released by Incus in 1974. Recorded at a private house in West London, the side-long title track is a masterwork: a twenty-two-minute, starkly personal, freely expressive, itchily searching re-casting of orders of rhythm and sound into a new, quicksilver kind of affective and musical polyphony. Never mind the guitarist's championing of "non-idiomatic improvisation", the poet Peter Riley gets the ball rolling in his identification of the various hauntings of Bailey's playing at this time: "mandolins & balalaikas strumming in the distance, George Forby's banjo, Leadbelly's steel 12-string, koto, lute, classical guitar... and others quite outside the field of the plucked string." The five pieces on side two were recorded back home in Hackney around the same time -- with the exception of "Improvisation 104(b)", from the year before (and issued by Incus in its TAPS series of mini reel-to-reel tapes) -- opening with ventriloquized guitar feedback, and taking in some cod banter about colleagues like Mervyn Parker, Siegfried Brotzmann, and Harry Bentink. Crucial.
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HJR 204LP
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Repressed; Honest Jon's Records present a reissue of Derek Bailey and Tristan Honsinger Duo, originally released by Incus in 1976. Born in Burlington, Vermont, and conservatory-trained in the US, the cellist Tristan Honsinger moved from Montreal to Amsterdam in 1974, quickly linking with Han Bennink and Misha Mengelberg and opening a long and fruitful musical relationship with Derek Bailey. Recorded in 1976, Duo displays a performative musical approach already characterized by the lack of inhibition which would later endear him to The Pop Group: he is knockabout, exclamatory, explosively rhythmic; burping Bach and folk melodies with spasmodic lyricism, in amongst the garrulous textures and accents of his scraping, bowing, and plucking, and gibbering like a monkey; throwing out his arms and stamping the floor, grappling with his instrument like an expert clown, always tripping himself up. You can hear Bailey reveling in the company, as he ranges between scrabbling solidarity and an askance skewering of his partner's antics, on prepared (nineteen-string) and standard electric guitars -- and a Waisvisz Crackle-box, for the garbled, quizzical, cross-species natter which closes "The Shadow". Throughout, the spirited interplay between laconic, analytic wit, and guttural, sometimes slapstick physicality is consistently droll, often laugh-out-loud funny; vigorously alert, alive, and gripping.
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2LP
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HJR 201LP
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2022 restock. Honest Jon's Records present a reissue of Derek Bailey and Anthony Braxton's Royal, expanded to include both intended volumes. Volume 1 was originally released in 1984; the second volume was never issued. The second release in a series of collaborations between Honest Jon's Records and Incus: three double-LPs of the legendary free-improvising guitarist Derek Bailey, solo (HJR 200LP) and in duos with Anthony Braxton and Han Bennink (HJR 202LP), augmenting the original releases with marvelous, previously unissued music. Recorded in 1974, at the Royal Hotel in Luton, with Braxton playing soprano and alto saxophones, and Bb and contrabass clarinets. Two volumes were planned; only one was issued, till now. This was an early transatlantic meeting between the leading free improvisers. Many of Braxton's signature techniques and ideas were gestated in such sessions. It still brims with inquisitive musical creativity and knockabout jazzbo allusiveness. Newly transferred from tape at Abbey Road, and remastered by Rashad Becker. The records are manufactured by Pallas.
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2LP
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HJR 202LP
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2021 restock. Honest Jon's Records present a reissue of Derek Bailey & Han Bennink, originally released in 1972. The third release in a series of collaborations between Honest Jon's Records and Incus: three double-LPs of the legendary free-improvising guitarist Derek Bailey, solo (HJR 200LP) and in duos with Anthony Braxton (HJR 201LP) and Han Bennink, augmenting the original releases with marvelous, previously unissued music. The tussling vegetables in Mal Dean's cover-sketch somehow befit perfectly this extraordinary duo of Bailey and the great Dutch drummer Han Bennink. Recorded in London in 1972, Incus 9 was their second record (after an Instant Composers Pool in 1969), becoming a blueprint and inspiration for generations of free-improvisers. It is paired here with a brilliant session from the following year, with the same power and friendly combativeness, and oodles of creativity, technique, and humor. It's obvious how much they loved playing together. Newly transferred from tape at Abbey Road, and remastered by Rashad Becker. The records are manufactured by Pallas.
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2LP
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HJR 200LP
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2022 restock. Honest Jon's Records present 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. Kicking off a series of collaborations between Honest Jon's Records and Incus: three double-LPs of the legendary free-improvising guitarist Derek Bailey, solo and in duos with Anthony Braxton (HJR 201LP) and Han Bennink (HJR 202LP), augmenting the original releases with marvelous, previously unissued music. Recorded in 1971, Solo Guitar Volume 1 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, and remastered by Rashad Becker. The records are manufactured by Pallas.
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2LP
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SUBLOGOS 001LP
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2022 restock. Previously-unreleased recordings from live sessions at the Logos Foundation, Ghent, Belgium, recorded in 1974, 1979, and 1981. This double LP, the first release in a vinyl-only series, includes the following recordings: a 1979 performance by Max Eastley and Logos Ensemble (Max Eastley, Godfried-Willem Raes, Moniek Darge, and Rob Keymeulen playing xylophone bars, Aeolian flutes, springboard, sanzas); a 1974 performance by Feminist Improvising Group (Georgie Born: cello, bass guitar; Lindsay Cooper: bassoon, oboe, sax, flute; Maggie Nichols: voice, piano; Sally Potter: voice, sax; Irène Schweizer: piano, drums); a 1974 performance by COUM (Genesis P-Orridge, Paul Woodrow, Cosey Fanni Tutti, Joseph L/R Rose) and Logos Ensemble (Godfried-Willem Raes, Moniek Darge, Luc Houtkamp, and others); and a 1981 performance of guitar improvisations by Derek Bailey. Logos Foundation, founded in 1968 by Godfried-Willem Raes and based in Ghent, Flanders, Belgium, is a unique professional organization for the promotion of new music and audio-related arts by means of new music production, concerts, performances, composition, technological research, and other activities related to contemporary music.
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CD
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REC S2-CD
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1997 release. Derek Bailey: guitar; Pat Thomas: keyboards; Steve Noble: turntables. Recorded by Toby Robinson at Moat Studios, London, in August 1997. Produced by Noël Akchoté and Quentin Rollet.
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CD
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INCUS 058CD
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Derek Bailey (electric guitar) & Agusti Fernandez (piano). Recorded at La Pedrera Barcelona, 12th May 2005. "The British free improvising guitarist Derek Bailey relocated to Barcelona in 2003. During his time in this vibrant city there were numerous musical meetings. This live duo concert recording with Agusti Fernandez at La Pedrera in May 2005 was one such occasion. A Silence Dance is released on Incus Records under the umbrella of 'The Barcelona Chronicles.' These recordings document Derek's new approach to his instrument, whilst dealing with the complex and progressive limitations caused by Motor Neurone Disease. Here was someone for whom obstacles were occasions for necessary creativity. This was to be his last public performance."
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EMANEM 4099CD
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"The first gig on Milo Fine's extended visit to London found him playing clarinets, drums and electronic keyboard in cohorts with Derek Bailey on electric guitar. They first worked together twenty years previously, but this was the first time they performed as a duo. 58 minutes." Recorded 3/26/2003.
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INCUS 055CD
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Will Gaines: tap; Derek Bailey: guitar. Recorded at the Oostrum Church, Holland, 1994.
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EMANEM 4087CD
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"Ten years after their meeting on Hello Goodbye (Emanem 4065), Frode Gjerstad visited Derek Bailey's house and recorded some very different duets -- clarinet with acoustic guitar, and alto saxophone with electric guitar. 52 minutes -- previously unissued."
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CD
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INCUS 051CD
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"Derek Bailey with: Julian Kytasty (bandura/flute), Roger Turner (percussion), Alan Wilkinson (baritone sax, voice)."
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POT 198
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Debut release on this French improv label. A live recording of Derek Bailey (electric guitar) and Joelle Leandre (bass) made in Paris in May 1997. "Bailey's sound is out there, endlessly redefining its musical structure (can there be a better example of Stockhausen's concept of 'moment form'?), continually recycling tiny exquisite pitch constellations with Webernian finesse." --Dan Warburton.
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