Sunday 18 October 2015, 5.30pm
Music critic, record producer, and curator, John Corbett presents an early evening launch for his new book, ‘Microgroove: Forays Into Other Music’, continuing his exploration of diverse musics, with essays, interviews, and musician profiles that focus on jazz, improvised music, contemporary classical, rock, folk, blues, post-punk, and cartoon music.
As part of the launch, Joe McPhee (who features on the book's cover as well as inside) will be playing a special solo set before he takes to the stage for the evening performance with Survival Unit III.
“Corbett plays against the ultra-narrowcasting concept that dominates media now, and seeks audiences willing to chance an encounter with the unexpected. The genre-busting of Microgroove is highly laudable and sorely needed.” – George E. Lewis, author of A Power Stronger Than Itself: The AACM and American Experimental Music
“To share and express the impression of expression in discussion to the intellect and to the cosmic fire, this is where the righteously engaged Corbett comes into play. The respect, consideration and wonder is genuine. As music defines his aesthetic perspective, so he playfully identifies our sentience with the promise of music, the power of foreverness.” – Thurston Moore
John Corbett is a music critic, record producer, and curator. He is the author of Extended Play: Sounding Off from John Cage to Dr. Funkenstein, also published by Duke University Press. His writing has appeared in Downbeat, The Wire, the Chicago Reader, and numerous other publications. He is the co-owner of Corbett vs. Dempsey, an art gallery in Chicago.
Corbett's approach to writing is as polymorphous as the music, ranging from oral history and journalistic portraiture to deeply engaged cultural critique. Corbett advocates for the relevance of "little" music, which despite its smaller audience is of enormous cultural significance. He writes on musicians as varied as Sun Ra, PJ Harvey, Koko Taylor, Steve Lacy, and Helmut Lachenmann. Among other topics, he discusses recording formats; the relationship between music and visual art, dance, and poetry; and, with Terri Kapsalis, the role of female orgasm sounds in contemporary popular music. Above all, Corbett privileges the importance of improvisation; he insists on the need to pay close attention to “other” music and celebrates its ability to open up pathways to new ideas, fresh modes of expression, and unforeseen ways of knowing.
Since his emergence on the creative jazz and new music scene in the late ‘60s and early ‘70s, Joe McPhee has been a deeply emotional composer, improviser, and multi-instrumentalist, as well as a thoughtful conceptualist and theoretician.
McPhee’s first recordings as leader appeared on the CjR label, founded in 1969 by painter Craig Johnson . These include Underground Railroad by the Joe McPhee Quartet in 1969, Nation Time by Joe McPhee in 1970, and Trinity by Joe McPhee, Harold E. Smith and Mike Kull in 1971.
By 1974, Swiss entrepreneur Werner X. Uehlinger had become aware of McPhee’s recordings and unreleased tapes. Uehlinger was so impressed that he decided to form the Hat Hut label as a vehicle to release McPhee’s work. The label’s first LP was Black Magic Man, which had been recorded by McPhee in 1970. Black Magic Man was followed by The Willisau Concert and the landmark solo recording Tenor, released by Hat Hut in 1976. The earliest recordings by McPhee are often informed by the revolutionary movements of the late ‘60s and early ‘70s; for example, Nation Time is a tribute to poet Amiri Baraka and Joe McPhee & Survival Unit II at WBAI’s Free Music Store, 1971 (finally released as a Hat Art CD in 1996) is a sometimes anguished post-Coltrane cry for freedom.
During the 1990’s, McPhee finally began to attract wider attention from the North American creative jazz community. He has since been performing and recording prodigiously as both leader and collaborator, appearing on such labels as CIMP, Okkadisk, Music & Arts, and Victo. In 1996, 20 years after Tenor, Hatology released As Serious As Your Life, another solo recording (this time featuring McPhee performing on various instruments). McPhee also began a fruitful relationship with Chicago reedman Ken Vandermark , engaging in a set of improvisational dialogues with Vandermark and bassist Kent Kessler on the 1998 Okkadisk CD A Meeting in Chicago. The Vandermark connection also led to McPhee’s appearance on the Peter BrotzmanChicagoOctet/Tentet three-CD box set released by Okkadisk that same year. As the 1990s drew to a close, McPhee discovered two like-minded improvisers in bassist Dominic Duval and drummer Jay Rosen- TRIO X.
"He is a stellar improviser, relishing his sound materials so caringly and for so long, the kind of player that invites you to really step outside of whatever mix you're and think and feel for a while." Hank Shteamer, Dark Forces Swing Blind Punches