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Graham Collier|New Conditions

New Conditions

Graham Collier Music

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Text in englischer Sprache verfügbar

1976's New Condition was indeed a radical departure for composer/bandleader Graham Collier. Instead of his sextet, the cast here is a 12-piece big band. Instead of a series of works, we have one long work in eight parts, with an introduction and a finale. The front line here is huge: three trumpets -- yes, including Harry Beckett, one saxophone -- thank god it's Alan Wakeman -- and Malcolm Griffiths on trombone. The rhythm section is made up of Collier on bass, Ed Speight on guitar, John Webb on drums, and pianist Roger Dean. This is a frustrating composition in many ways because of all its gaps, and they are the most trouble of all. Collier has composed a mirror image of traditional jazz charts: this is all freely improvised, with certain scored "interruptions" for the ensemble. The effect is stultifying. The "free flow" at the heart of the conceptualization of this work feels hackneyed, as clearly not all of the musicians here are "free" improvisers. Sorry, as brilliant as Collier is, this one falls short of the mark for him.

© Thom Jurek /TiVo

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New Conditions

Graham Collier

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1
New Conditions Introduction
Graham Collier Music
00:04:10

Graham Collier, Composer - Graham Collier Music, MainArtist - Harry Beckett, Henry Lowther (trumpets), Art Themen, Alan Wakeman (saxophones), Malcolm Griffiths (trombone), Ed Speight (guitar), Roger Dean (piano), Graham Collier (bass), FeaturedArtist

(C) 2005 Graham Collier (P) 2005 Graham Collier

2
New Conditions Part 1 & 2
Graham Collier Music
00:08:53

Graham Collier, Composer - Roger Dean, FeaturedArtist - Graham Collier Music, MainArtist - Henry Lowther, Harry Beckett, Peter Duncan, FeaturedArtist

(C) 2005 Graham Collier (P) 2005 Graham Collier

3
New Conditions Part 3
Graham Collier Music
00:03:47

Graham Collier, Composer - Mike Page, FeaturedArtist - Graham Collier Music, MainArtist

(C) 2005 Graham Collier (P) 2005 Graham Collier

4
New Conditions Part 4
Graham Collier Music
00:05:14

John Mitchell, FeaturedArtist - Graham Collier, Composer - Graham Collier Music, MainArtist

(C) 2005 Graham Collier (P) 2005 Graham Collier

5
New Conditions Part 5 & 6
Graham Collier Music
00:07:39

Graham Collier, Composer - John Webb, FeaturedArtist - Graham Collier Music, MainArtist

(C) 2005 Graham Collier (P) 2005 Graham Collier

6
New Conditions Part 7
Graham Collier Music
00:03:54

Graham Collier, Composer - Graham Collier Music, MainArtist - Harry Beckett, Henry Lowther (trumpets), Art Themen, Alan Wakeman (saxophones), Malcolm Griffiths (trombone), Ed Speight (guitar), Roger Dean (piano), Graham Collier (bass), FeaturedArtist

(C) 2005 Graham Collier (P) 2005 Graham Collier

7
New Conditions Part 8
Graham Collier Music
00:05:07

Graham Collier, Composer - Graham Collier Music, MainArtist - Harry Beckett, Henry Lowther (trumpets), Art Themen, Alan Wakeman (saxophones), Malcolm Griffiths (trombone), Ed Speight (guitar), Roger Dean (piano), Graham Collier (bass), FeaturedArtist

(C) 2005 Graham Collier (P) 2005 Graham Collier

8
New Conditions Finale
Graham Collier Music
00:03:54

Graham Collier, Composer - Graham Collier Music, MainArtist - Harry Beckett, Henry Lowther (trumpets), Art Themen, Alan Wakeman (saxophones), Malcolm Griffiths (trombone), Ed Speight (guitar), Roger Dean (piano), Graham Collier (bass), FeaturedArtist

(C) 2005 Graham Collier (P) 2005 Graham Collier

Albumbeschreibung

1976's New Condition was indeed a radical departure for composer/bandleader Graham Collier. Instead of his sextet, the cast here is a 12-piece big band. Instead of a series of works, we have one long work in eight parts, with an introduction and a finale. The front line here is huge: three trumpets -- yes, including Harry Beckett, one saxophone -- thank god it's Alan Wakeman -- and Malcolm Griffiths on trombone. The rhythm section is made up of Collier on bass, Ed Speight on guitar, John Webb on drums, and pianist Roger Dean. This is a frustrating composition in many ways because of all its gaps, and they are the most trouble of all. Collier has composed a mirror image of traditional jazz charts: this is all freely improvised, with certain scored "interruptions" for the ensemble. The effect is stultifying. The "free flow" at the heart of the conceptualization of this work feels hackneyed, as clearly not all of the musicians here are "free" improvisers. Sorry, as brilliant as Collier is, this one falls short of the mark for him.

© Thom Jurek /TiVo

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