Over the years Paul Dunmall has made no secret of his admiration
for the work of John Coltrane, so it should come as no surprise that the
saxophonist would release an album of Coltrane's compositions as a
‘thank you'to the great man and his music. In doing so he has chosen
to ‘accompany' him thedrummer Tony Bianco with whom Dunmall has
had a fruitful working relationship,in various size aggregations, for more than a decade.
Perhaps accompany is the wrong expression for, within the context
of this music, Bianco is an equal partner in the creation of the interpretations
of some of Coltrane's most well- known pieces contained in this performance,
and the way the two musicians approach the material and each other is nothing short of startling.
Many musicians, great and not so great, have recorded Coltrane's compositions,
and quite often their success will come from not so much thetechnical prowess that
is displayed, but the way in which the thematic materialis approached, and the feelings
of the players even moreso.
In the liner notes, Dunmall says that "... I finally feel I canplay some of his melodies
as a thank you to him", and it is this admiration andrespect for Coltrane as not just
as a great saxophonist, but also the spirit ofthe music that he embodies that makes
this offering so special.
The duo approach the music with a reverence that, rather than hinders and dulls the
performance, seems to inspire the pair to greater heights,and with a control and restraint,
especially on Coltrane's freer themes, thatmagnifies and lifts the music. Bianco especially
plays with such a tight rein on proceedings, that not so much keep things in check, but allows
the music to breathe and flow so that the saxophonist's melodic line is not lost in a torrent of
notes and polyrhythms but can be heard and felt clearly by all.
Somewhat surprisingly, Dunmall and Bianco have brought some of Coltrane's mid period
compositions to sit alongside the later works, that wouldon first impression not seem to suit
the duo format, with an open approach to'Giant Steps' that dispenses with the familiar chord
sequence; and it is indeedtheir reading of 'Alabama' that it perhaps the show stopper of the
set, withDunmall's bringing his huge tenor sound to produce a performance that is as tender
as it is tough, with both musicians not afraid to wear their heart ontheir sleeve.
This is a powerful and gripping album that deserves to be widelyheard.
Reviewed by Nick Lea http://jazzviewscdreviews.weebly.com/
It's hard to go wrong with Coltrane material for a
saxophonist who's up to the task, which Dunmall certainly
is. This set features a well-chosen selection from
throughout Coltrane's middle and late periods, pieces
that are certainly challenges for duo partners - not just
in terms of their openness (of instrumentation and of
compositional material) but because of the absolutely
heavy benchmark set by Coltrane. How daunting!
Dunmall, though, is such a powerful and emotional
player that he makes the music his own. Gifted with
a huge tone and technique, and an instinct never to
vary too far from the motivic language of most of these
pieces, he nods to the master here and there (those
cries, those upper partials) but blows it down in his own
way. And Bianco, what a whirlwind this guy is! It's not
so much his indefatigable energy that impresses the
most, but how much detail and nuance he imparts to
an approach rooted in such sheer forward motion. Of all
the pieces here, "Naima" is perhaps the most thoroughly
transformed, not just because of the vigorous percussive
undercurrent supplied by Bianco but because of
Dunmall's ferocious tilling of the soil; he digs into some
fierce double-time patterns, unexpected and heady
trills, and precipitous chromatic lines. They have the
smarts to vary the pace, though, as with a resolute and
emotional "Alabama" and a surprising reading of "Giant
Steps," which still has its distinctive musical personality
but has somehow achieved the difficult effect of loosening
its fairly involved structure. The lone original isn't
quite as compelling as the Trane pieces perhaps, but it's
a tough row to hoe and it's nonetheless got the same
virtues as the other pieces here: harmonically open,
lyrically direct, and flowing. After the nicely open take
on "Living Space," the epic 28-minute journey through
"Expression" is absolutely sizzling. Whew!
Jason Bivins Cadence April 2013
Thank You to John Coltrane features the duo of British saxophonist Paul Dunmall and US-born drummer Tony Bianco,
an association that dates back to the late 90's when they recordedUtoma Trio(Emanem, 2000) along with Simon Picard,
followed by their duo IYou(FMR, 2001). Since then, they have frequently played and recorded together — and it shows
in the empathy they display here, as they match each other step for step, throughout. This album is Dunmall's personal
tribute to Coltrane, who the Briton acknowledges as a musical and spiritual inspiration throughout his life. As he
approaches his own sixtieth birthday, Dunmall says he finally feels he can play Trane's music as a thank-you to him.
The album consists of six Coltrane compositions, plus the title piece written by Dunmall.
The Coltrane compositions mainly concentrate on later pieces but — at Bianco's suggestion — also take in the earlier
"Giant Steps" and "Naima" from the same 1960 album. Dunmall and Bianco use those compositions as launch pads for their
own improvisations, with no attempt to replicate or mirror the original versions, instead treating them like later pieces.
The result is that their readings are tumultuous outpourings which make the 1960 originals sound tame by comparison.
Thrilling stuff. The duo achieve the same results with other pieces; even the stately-paced "Alabama" seems imbued with
greater verve; partly this is a result of the duo format which allows both the saxophone and drums free rein together,
rather than one soloing while the other takes a back seat.
Dunmall's title track fits seamlessly into the album, its theme good enough to be mistaken for one of Coltrane's own.
And it features a saxophone solo worthy of its dedicatee. The album's closing piece is also its highlight; fittingly,
it is a twenty-eight minute,tour-de-forceversion of "Expression", the last piece Coltrane recorded before his death.
Both players give it their all, pouring everything they can into it as a tribute to the great man. The ultimate test
of any tribute album is whether it sends the listener back to the original recordings with fresh ears.
Thank You to John Coltrane effortlessly passes that test, and is a great credit to Dunmall, Bianco and, of course,
to Trane himself.
John Eyles http://www.squidsear.com/cgi-bin/news/newsView.cgi?newsID=1534
TRANSLATION
Sixty-odd minutes dedicated to the memory of one of the gods of African-American music.Holders of this recording
are Paul Dunmall and Tony Bianco.Let's start off with a hint anecdotal: it seems obvious that even the hard
reference - when it comes to Coltrane experimental duo - is the fundamentalInterstellar Spacethe New York
saxophonist recorded in the last months of his life with drummer Rashied Ali.The percussion set used by Rashied
for that historic session has been for years the most classic hunting fetishist.However, it was John Marshall,
drummer thinking the second Soft Machine, to take home the coveted trophy and then use it on his "side" in the
fifth volume of the group's discography prince of Canterbury Sound.Now Marshall is certainly "neighbor" in every
sense of the artistic good Dunmall: why was therefore chosen instead Tony Bianco?
Oh well, at ...it was just a joke!Also because Bianco has all the necessary requirements for this registration.
New Yorker transplanted in Europe since the beginning of the nineties, he played alongside Dunmall trusted friends
such as Elton Dean, Evan Parker and Alexander von Schlippenbach and soon became one of the drummers of the new
reference free British.Often also next to Dave Liebman, is with Dunmall that Bianco has released perhaps his most
avant-garde and free spirit.
For its part, the extraordinary saxophonist of Kent is a central figure in the art world and contemporary improvisation
at least forty years is an essential reference point for understanding the various elements of the British free.
The historical work of Coltrane, Dunmall seems to possess the desire to attack working on the same research in thickness
and character that the teacher seemed to indicate in that last part of his career.Released by the trappings rhythmic,
percussive primordial except the base, the duo then choose the path of dialogue open and direct.
The result is sweet and tonic. Recorded live at the Delbury Hall Diddlebury in the West Midland Region in the scent of Wales,
the CD is un'orgasmica ride in the sonic territory of Coltrane.Of the headlines addressed the theme is immediately recognized,
but at the first corner, the two of them go - as it surely would have appreciated Coltrane - around the world of sound "total"
in a kind of empathy which analyzes the inventive spirit of the founding research Coltrane.Twenty-eight minutes of the final
"Expression" are absolutely specimens to understand both the philosophy that inspired the master and the incredible and infectious
rhythmic energy fielded by the duo starred in this recording.Given the fragrance family, the fact that Dunmall has also worked in
youth with Alice Coltrane can only have done good to the cause, contributing considerably to the kinetic and spiritual nuances of
which this work exudes.
Yet another pearl in the discography Dunmall.If you are among those who like to get lost in the vast sea of Art Music and close
their eyes listening to the adventures of John Coltrane, using headphones, but remember to come back soon to the ground.
Vittorio Albani http://italia.allaboutjazz.com/php/article.php?id=8476
ORIGINAL
Sessantuno minuti e rotti dedicati alla memoria di uno dei numi tutelari della musica afro-americana. Titolari di questa incisione
sono Paul Dunmall e Tony Bianco. Cominciamo subito con un accenno aneddotico: sembra persino ovvio che il disco di riferimento -
quando si parla di Coltrane sperimentale in duo - sia il fondamentaleInterstellar Spaceche il sassofonista newyorkese incise negli
ultimi mesi della sua vita con il batterista Rashied Ali. Il set di percussioni utilizzato da Rashied per quella storica session è stato
oggetto per anni della più classica caccia feticista. È stato però John Marshall, drummer pensante dei secondi Soft Machine, a
portarsi a casa l'ambito trofeo e a utilizzarlo poi sulla sua "side" nel quinto volume della discografia del gruppo principe del Canterbury
Sound. Ora Marshall è sicuramente "vicino di casa" in tutti i sensi artistici del buon Dunmall: perché è dunque stato scelto invece Tony Bianco?
Vabbè, su... era solo una battuta! Anche perché Bianco, ha tutte le carte in regola per questa registrazione. Newyorkese trapiantato in Europa
dagli inizi dei Novanta, ha suonato accanto a fidati amici di Dunmall quali Elton Dean, Evan Parker e Alexander von Schlippenbach, diventando
ben presto uno dei batteristi di riferimento del new free britannico. Spesso accanto anche a Dave Liebman, è proprio con Dunmall che Bianco
ha forse liberato il suo spirito più avanguardistico e libero.
Dal canto suo, lo straordinario sassofonista del Kent è una figura centrale del mondo dell'arte improvvisativa contemporanea e da almeno quarant'anni
è punto di riferimento essenziale per comprendere le varie istanze del free britannico.
Dello storico lavoro di Coltrane, Dunmall sembra impossessarsi della voglia di aggredire lavorando sulla stessa ricerca di spessore e carattere che il
maestro sembrava indicare in quell'ultima parte di carriera. Liberato dagli orpelli ritmici, tranne che della base percussiva primordiale, il duo sceglie
dunque la strada del dialogo aperto e diretto.
Il risultato è amabile e tonico. Registrato dal vivo presso la Delbury Hall di Diddlebury nella West Midland Region in odor di Galles, il CD è un'orgasmica
cavalcata nei territori sonori di Coltrane. Dei grandi titoli affrontati il tema è immediatamente riconosciuto ma, al primo angolo, i due se ne vanno - come
sicuramente Coltrane avrebbe apprezzato - in giro per il mondo del suono "totale" in una sorta di empatia inventiva che analizza lo spirito fondativo della
ricerca coltraniana. I ventotto minuti della finale "Expression" sono assolutamente esemplari per comprendere sia la filosofia che mosse il maestro sia
l'incredibile e contagiosa energia ritmica messa in campo dal duo protagonista di questa incisione. Visti i profumi familiari, il fatto poi che Dunmall abbia
anche collaborato in gioventù con Alice Coltrane non può che aver fatto bene alla causa, contribuendo non poco alla cinetica e spirituale nuance di cui
questo lavoro trasuda.
Un'ennesima perla nella discografia di Dunmall. Se siete tra coloro che amano perdersi nel mare magnum dell'Art Music e chiudono gli occhi ascoltando
le avventure del signor John Coltrane, usate le cuffie ma ricordatevi di ritornare presto a terra.
Dunmall und Bianco sind zwei zentrale Aktivisten des englischen Improvisatioszirkels die, beeinflusst vom sogenannten New Wave Of Jazz der 1960er Jahre, ihre eigene Klangsprache entwickelt haben. Die bis heute unumstrittene Galionsfigur dieser musikalischen Bewegung war John Coltrane. Er hat dem Free Jazz die spirituelle Dimension und eine hymnische Kraft erschlossen. Das hat auch die beiden Engländer tief beeindruckt. Somit stand es an eine persönliche Hommage zu gestalten. Das ist es nun auch geworden, ohne jegliche epigonale Anbiederung. Speziell die Intimität der Instrumentierung der epochalen Platte „Interstellar Space", erwies sich für Dunmall und Bianco als das geeignetste Transportmittel um eben Coltranes Geist, dem Impetus seiner Musik und der Kraft und Energetik seines Spieles gerecht zu werden. Als Ausgangspunkte für ihren hitzigen improvisierten Diskurs, wählten die beiden Musiker Coltranestücke aus den Anfangstagen seines Quartetts, etwa Naima, bzw. aus Coltranes letzter, grob gesagt, freitonaler Phase, z.B. Expressions. Dazwischen brodelt das diesem Impetus entsprechende Dunmall Thema der Danksagung. Mit aller ihnen zur Verfügung stehendem Elan und wahrhaftiger Inbrunst bringt das Duo seine Verbeugung vor dem Ausnahmemusiker dar. Dunmall gibt sich als muskulöser, gewandt durch die Tonarten und Register seines Instrumentes meandernder Improvisator zu erkennen. Er rekapituliert Coltranes „Sheets Of Sound" und emphatischen Klangtexturen mit authentischer Intonation und Phrasierung. Er wirft seine melodische Imaginationsfähigkeit in die Waagschale und pirscht sich an den Rand der Tonalität vor. Treibend in einem Strom aus rhythmischen Pulsationen die ein, mit mitreißender Rasanz schlagwerkender Bianco, kommentiert. Anhand seiner fantastischen Drumroll-Technik schüttelt er non-metrische, aperiodisch lodernde Bewegungsabläufe reihenweise aus dem Handgelenk. Konsequenzen sind ein flirrender spontaner Schöpfungsprozess, ein stupender Interaktionsreigen und pure Musik von enormer Dichte, Wärme und Sogkraft. Meditation On Cosmic Music.
Hannes Schweiger
TRANSLATION
Dunmall and Bianco are two key activists of the English Improvisatioszirkels who, influenced by the so-called New Wave of Jazz in the 1960s, developing its own musical language. The undisputed figurehead until today this musical movement was John Coltrane. He has the free jazz developed the spiritual dimension and an anthemic power. It also has the two Englishmen impressed. Thus, it was a personal tribute to shape. That it is now also, without any epigonic pandering. Specifically, the intimacy of the instrumentation of the epochal album "Interstellar Space", proved to be the most suitable Bianco Dunmall and transport to give Coltrane's spirit, the impetus of his music and the power and energetics of his game needs to be. As starting points for their fiery impromptu discourse, chose the two musicians Coltranestücke from the early days of his quartet, as Naima, or from Coltrane's last, roughly, freitonaler phase, eg Expressions. In between seething this impetus corresponding Dunmall theme of thanksgiving. With all their disposal standing vigor and true fervor, the duo brings its tribute to the exceptional musicians represent Dunmall are as muscular, turning through the keys and registers of his instrument to detect meandernder improviser. He recapitulates Coltrane's "Sheets of Sound" and emphatic sound textures with authentic intonation and phrasing. He throws his melodic imagination and ability to bear stalks to the edge of tonality. Floating in a stream of rhythmic pulsations a, drums forming with rousing panache Bianco says. Using his amazing drum roll technique he shakes non-metric, aperiodic motions blazing rows of the wrist. Consequences are a shimmering spontaneous creative process, a stupendous interaction and pure dance music of enormous density, heat and suction force. Meditation On Cosmic Music. Hannes Schweiger
Paul Dunmall et Tony Bianco sont tous deux nés en 1953 et John Coltrane a exercé une forte influence sur eux.Thank You to John Coltraneest un projet hommage en bonne et due forme. Le saxophoniste (au ténor et au soprano) et le batteur se lancent dans des interprétations originales de classiques (Naima", "Giant Steps") et de pièces plus tardives ("Living Space", "Expression") de Coltrane, en mettant l'emphase sur le free jazz de ses dernières années. Évidemment, le format saxo-batterie évoque l'albumInterstellar Spaceentre Coltrane et Rashied Ali, et nous sommes effectivement très près de cet univers musical. Une belle réussite.
Paul Dunmall and Tony Bianco were both born in 1953, and John Coltrane has been a major influence on their formative years.Thank You to John Coltraneis a tribute album where the sax player (tenor and soprano) and the drummer deliver unique interpretations of classic tunes ("Naima", "Giant Steps") and later pieces ("Living Space", "Expression"), all approached in the free jazz spirit of Coltrane's final years. The sax/drums line-up obviously evokes the Coltrane/Ali albumInterstellar Space, and the music coasts very close to that LP's realm. A very fine release.
François Couture august 2012 http://blog.monsieurdelire.com/search/label/Journal%20d%27%C3%A9coute%20%2F%20Listening%20diary
Di ambito coltraniano, operando la prima delle annunciate deviazioni, è pure il recenteThank You to John Coltrane(Slam) del duo composto dal veterano sassofonista (tenore, e soprano in un pezzo) inglesePaul Dunmalle dal batterista italo-americanoTony Bianco. Come l'organico dice chiaramente, qui il modello di riferimento è il Trane dei duetti con Elvin Jones ("Vigil") e Rashied Alì ("Interstellar Space"), anche se su altri temi (Naima,Alabama,Giant Steps,Expression, mega-cavalcata di 28', ecc.), rivisitati col piglio di quei gloriosi precedenti. Un lavoro di estrema fedeltà filologica, quindi.
TRANSLATED FROM ITALIAN Scope Coltrane, operating the first of the announced deflection, is also the recentThank You to John Coltrane(SLAM), the duo composed by veteran saxophonist (tenor and soprano in one piece) EnglishPaul Dunmalland the Italian-American drummerTony Bianco.As the staff says clearly, here the reference model is the Trane duets with Elvin Jones ("Vigil") and Rashied Ali ("Interstellar Space"), although some other issues (Naima,Alabama,Giant Steps,Expression, mega-ride 28 ', etc..), revised with the air of that glorious past.A work of extreme philological fidelity, then. Alberto Bazzurro, http://www.lisolachenoncera.it/rivista/rubriche/piemonte-e-dintorni/
Recorded in 1967 with drummer Rashied Ali,John Coltrane's posthumously releasedInterstellar Spacewas a template for the sax and drum duo. It is a beautiful and, at times, challenging recording and has been described around the blogosphere as:
"Noisy, abrasive, violent. But it's the tight playing and the remnants of melody that give Coltrane's only duo recording its unique character." (sputnikmusic.com)"As one of Coltrane's final recordings this duet session with Ali is one of his most essential and unique. Not only is it the grandfather of all extended saxophone/drums duets in jazz, but it also set the standard for all that came after." (All About Jazz)
And it is an obvious comparison for the long term duo of saxophonist Paul Dunmall and percussionist Tony Bianco'sThank You to John Coltrane, which is a stunningly good tribute to the saxophonist, covering a five of his compositions, with just the title song credited to Dunmall.
After repeated listens, I feel I can say that Dunmall and Bianco have created a spare, yet rousing and mesmerizing, set of takes on Coltrane tunes spanning his later career, ending with 1967'sExpression,but also incorporating some re-invented themes from the 1960 masterpieceGiant Steps. And here, like the description ofInterstellar Space,it's the shreds of Coltrane's melodies, and new takes on the well known themes of 'Giant Steps' and 'Naima', that make this report from the sax-drum duo format a fitting homage and a strong album in its own right.
Dunmall's playing is utterly fantastic. His precise tone is roughed up and emotive at times and clear and determined at others. His melodies and ideas are well formed and constantly in motion. Without repeating himself or playing out any one idea too long, he builds his lines with wily intensity. Bianco rounds out the sound space with vibrant fills and microscopic reactions to the saxophonist's twists, turns and torrential runs. The platform he creates for his partner's improvizations is empathetic, kinetic and driving. A great example of this is the 28 minute take on 'Expressions' that closes the album. Dunmall's playing is enthralling, Bianco's drum solo never once dips in intensity and together they capture a certain exploratory feel, untempered by reverence. I find this to be an exciting and captivating recording. While the comparison was impossible to not make, the album is a conversation between two masterful musicians and an electricfying tribute at the same time. By Paul Acquaro http://freejazz-stef.blogspot.co.uk/2012/07/paul-dunmall-tony-bianco-thank-you-to.html
La musica di John Coltrane ha sempre avuto un impatto enorme sul mondo del jazz, le cui diramazioni più recenti non sarebbero immaginabili senza quelle incisioni storiche che hanno segnato la musica del secolo scorso. Di tanto in tanto le sue composizioni vengono riprese dai musicisti contemporanei, oppure il suo stile, che ha lasciato un´impronta su tanti sassofonisti tenori. L´inglesePaul Dunmallha avuto modo di suonare in anni lontani con la pianista Alice Coltrane ed ha quindi potuto percepire quel mondo direttamente. Ora, dopo tanto tempo, ha deciso di ritornare su quella musica incidendo un duo con il batterista americano, ma residente a LondraTony Bianco. Sono due artisti presenti da anni sulla scena del genere improvvisato in Inghilterra ed hanno inciso con un pò tutti i musicisti residenti a Londra e dintorni. L´occasione di un concerto in USA ha portato a questo disco, ben registrato, in cui la musica di Coltrane appare quasi spoglia senza uno strumento armonico ed il contrabbasso, ma allo stesso tempo intensa, vera, priva di fronzoli. È un confronto alla pari, fra il sassofono eloquente che dà voce alle composizioni di Coltrane e la batteria, che si intercala nel discorso, presente dando impulsi e inesauribile nel raccogliere gli spunti di Dunmall e rispondere. È un disco che funziona, sia per le composizioni scelte che per la forza che i musicisti riversano nelle esecuzioni. La formula del dialogo alla pari anziché del trio o del quartetto compatto dà nuove sfumature a queste composizioni e permette di soffermarsi sui singoli aspetti messi in luce dagli strumenti. Un concerto ed un disco che sicuramente piacerà agli estimatori della musica di J.C. Vittorio Lo Conte http://www.musiczoom.it/ July 2012.
TRANSLATION The music of John Coltrane has always had a huge impact on the world of jazz, whose most recent branches would not be conceivable without those historical recordings that have marked the music of the last century.From time to time his compositions are taken from contemporary musicians, or his style, which has left an imprint on so many levels saxophonists. English Paul Dunmall has been playing a long time ago with pianist Alice Coltrane and then could perceive the world directly.Now, after so long, decided to return to the music recording a duet with the American drummer, but resident in London,Tony Bianco.They are two artists from years on the scene like that in England and have had improvised with a little all the musicians living in and around London. The occasion of a concert in the USA has led to this album, well recorded, in which the music Coltrane appears almost naked without a harmonic instrument and the bass, but at the same time intense, real, no frills.It amounted to a comparison between the saxophone gives eloquent voice to compositions by Coltrane and the battery, which intercalates in the speech, giving pulses present and inexhaustible in collecting the ideas and respond to Dunmall. It is a disc that works for both the compositions chosen for the force that musicians flock to the executions.The formula of the box instead of the trio or quartet of new compact gives nuances to these compositions, and allows you to dwell on individual issues highlighted by the instruments.A concert and a disc that will surely appeal to fans of the music of JC