How did the DB3 come about?
I first heard Guillermo with his group Beat Kids; they were using a computer and a poet and it was very hip-hop-oriented. Then I played with him in William Parker’s Curtis Mayfield Project and I heard another side of him. I was introduced to Michael at An Die Musik by a friend and we started working in Philly doing duets.
How did you become interested in mixing free playing and earlier kinds of jazz?
When I moved to New York in 1965 all the gigs I was handed were avant-garde gigs, but the Archie Shepp groups, for example, were quoting Ellington. And I always felt that I needed more bebop/post-bop knowledge. Over the next 20 years I kept learning pieces, sometimes out of curiosity, other times because they were assigned to me. I was on the NPR Jelly Roll Morton centennial with Dick Hyman and Wynton Marsalis; I realised afterwards it had changed my feeling and technique for the better and I wanted to really get those pieces mastered. I like to mix things up; if I have to be screaming all the time it becomes very unpleasant. As I’ve aged I’ve found it a lot easier to see the music as one. Even popular music like hip-hop — the improvisational process is one and the same.
ReviewsFeb 10, 2015
William Ryan FritchRevisionist
Already adept at meticulously sculpting myriad manner of intensely evocative musical images within his own self-contained creative ecosystem...
ReviewsFeb 06, 2015
The first release since 2011's Grimoire sees Pepijn Caudron operating within a very minimal and very effective elemental range. With track t...
ReviewsJan 30, 2015
Matana RobertsCoin Coin Chapter Three: River Run Thee
This release is the third in Matana Roberts' Coin Coin series, which explores her African American history through words and music and exten...
ReviewsJan 27, 2015
Mark Templeton / Kyle ArmstrongExtensions
For the first release on his newly minted Graphical label, Mark Templeton presents an LP + DVD collaboration with video artist Kyle Armstron...