Incus Recordings

Genre

Date

Incus Recordings

"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.” --- Tristan Honsigner / cello, voice Derek Bailey / electric guitar, crackle box --- Recorded at Verity's Place 7th February 1976, except for A1 and B2 which were recorded at Tangent Studio 6th February 1976.

Derek Bailey & Tristan Honsinger - Duo

Originally released by Incus in 1974. Recorded at a private house in Catford, south-east 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 Formby’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 ventriloquised guitar feedback, and taking in some cod banter about colleagues like Mervyn Parker, Siegfried Brotzmann and Harry Bentink. Crucial. "In 1974, when Derek Bailey was planning his second solo LP on Incus, he decided to include a side-long solo using his stereo electro-acoustic set-up. Unfortunately, he never seemed to have a 20-minute stretch of time free of interruptions in his home, so he asked if he could record it at my place. After a fairly lengthy drive across London on the arranged date, he discovered that he had brought all his gear except the actual guitar. So he had a cup of tea and a chat, then drove home again. He came again about a week later, on May 13th, this time with everything. I set the level too high for the first two takes, not quite allowing for his enormous dynamic range (which really was not suitable for analogue recording and reproduction equipment). The result was too much distortion for his liking. The level was corrected for the third take which was the one used as the title track on the LP, even though he preferred the music on the earlier takes. All but one of the short pieces on the second side of the LP were recorded by Bob Woolford around the same time, probably at Derek's home. (The exception, 'Improvisation 104(b),' was recorded the previous year and originally released on one of the Incus TAPs -- mini reel-to-reel tapes that were an attempt to bypass the technical problems of going from tape to vinyl. They were reissued by Organ of Corti.) 'Pain In The Chest' and 'In Joke (Take 2)' feature the unamplified 19-string (approx) guitar, which was probably the only instrument that Derek modified -- he otherwise used standard guitars. There was a shortage of good vinyl at the time, making it difficult to get decent pressings. (The original pressing of the solo Steve Lacy Emanem LP sounded as though it had been recorded in a hail-storm.) We were recommended to go to a pressing plant that specialized in 'classical' music. (At the same time that Derek was trying to get Lot 74 pressed, I was also working on his duo album with Anthony Braxton.) The first test pressing of Lot 74 was very muffled, and we discovered that the cutting engineer had played the tape up-side-down, so that the music had been filtered through the tape backing (used on professional tapes to reduce print-through). The cutting was subsequently redone correctly, resulting in an acceptable test pressing. However, the plant manager was completely incredulous and perplexed, as he was used to checking pressings using his library of scores of Beethoven sonatas and the like. How could he tell if the vocal and feedback howls at the start of side two ('Together') were correct? Over thirty years later, advances in technology have eliminated most of the technical problems we had then, so that this magnificent music can be heard sounding better than ever. Every so often, I get someone asking me to issue things on vinyl -- my response is usually not very polite." Martin Davidson

Derek Bailey - Lot 74

"Oxley and Bailey first played together in 1963. Although they come from the same city and share the same kind of background their meeting was, in a way, coincidental. Bailey - 10 years older than Oxley - after some years working away from their hometown, returned for what was initially intended to be a brief family visit. The musical situation he found there persuaded him to stay. Oxley and Bailey then worked together, continuously and intensively, for the next three years and developed, with Gavin Bryars who was then a bass player, their own particular approach to free improvisation. Since 1966, their working relationship, although intermittent, has continued in a multitude of different playing situations. Initially, during the late 60's and early 70's, much of it was in the context of Tony Oxley's small groups - quartet, quintet and sextet. From the late 70's on, it would sometimes be within Derek Bailey's improvisor's ensemble, Company. Throughout, and increasingly in the 1990's, they have played in duo. These recordings, a London studio recording made in 1977, and a concert recorded in New York 1995, are testament to the remarkable richness and sustained variety of their musical relationship." - Simon Kelly --- Derek Bailey / electric & acoustic guitars Tony Oxley / acoustic & electric percussion, violin --- Tracks 1-4: Recorded in Soho, London in February 1977 by Kevin Spencer. Tracks 5-10: Recorded at the Knitting Factory, NYC in September 1995 by James Mclean. PPhotographs of Derek Bailey &  Tony Oxley in concert (France, May, 1997) by Franz-Heinrich Busch. Post Production & design by Karen Brookman.

Derek Bailey & Tony Oxley - Soho Suites

"The Levis are accomplished masters of the warp-speed sound bite: 26 of them here, set out like a board of weird sushi. Though most clock in at between 30 seconds and pop-single length, there are two more substantial tracks in the middle of the set- the combative "All Against All" and "Lady Ms Girl Shine"- which confirm that this isn't just a comic put on." - Penguin Guide to Jazz --- Bob Stagner / percussion, fiddle, zither, cymbal, rototoms, drum machine, violin, cowbell Dennis Palmer / synthesizers, drum machine, effects  --- Tracklisting: 1. The Popcorn Gomer - 1:242. Rev Jim's Belly - 1:203. Quarrelsome Brother Love - 0:324. Sunday School Breakfast - 1:575. Green Eyed Lovely Chimp - 1:446. Big For My Size - 2:037. Humming Devil - 2:098. Bullet Proof Cross - 5:409. Dob On Ah Stob - 1:2910. All Sweet Like Babies - 1:4311. Vampires Like To Bite - 1:5712. Tiny Tarkus - 1:4313. Magic Pulpit Ride - 1:0814. All Against All - 7:4815. Lady Ms. Girl Shine - 4:0316. Heart Beam - 2:0417. Sissy Gladiators - 1:3918. Hip Oh Critter - 2:1619. Two Cycle Hell Harp - 0:4720. Jumping Devil "Seven Examples" - 1:5521. Merry Dang Soul - 1:3222. Astral Peeper - 1:0923. Where's The Bible? - 1:5524. Catbird Technique - 2:1325. Lil' Hellbender - 1:5926. Corpse O' Earth - 2:43 --- Produced by Ray Norwood. Tracks 1 to 11 were recorded mixed and engineered at the Sound Lab, Chattanooga, Tennessee, January-April 1992. Tracks 12 to 26 were recorded in Palmer's basement in June 1992.

Shaking Ray Levis - False Prophets Or Dang Good Guessers