| 1 | Part 1 | 43:39 |
| 2 | Part 2 | 49:17 |
Charles Gayle is a saxophonist, pianist, sometimes a clown and radical musical performer wrapped into the body of a humble person living in Downtown Manhattan since the 1960s. As this set attests to, It is sometimes hard to predict what he will do on stage... In all his musical (and personal) life Charles Gayle has remained outside of any form of mainstream, carving his own singular path. There is no player on the scene today with the emotional wallop of Charles Gayle.
John Edwards is a true virtuoso whose staggering range of techniques and boundless musical imagination have redefined the possibility of the double bass and dramatically expanded its role, whether playing solo or with others. Perpetually in demand, he has played with Sunny Murray, Derek Bailey, Joe McPhee, Peter Brötzmann, Mulatu Astatke and many others.
Ubiquitous, diverse and constantly creative, drummer Mark Sanders has worked with a host of renowned musicians including Derek Bailey, Henry Grimes, Mathew Shipp, Roswell Rudd, in duo and quartets with Wadada Leo Smith and trios with Sirone and William Parker.
Here we present a 2CD set documenting the two very special sets delivered on the 15th of November, 2017 at Cafe Oto, Dalston, London.
In classic ecstatic fashion one would expect from these three stalwarts of blazing transcendence these 2 sets swerve from the sublime to the this is an exquisite document of one of the most exciting trios operating today,
Limited to 500 copies packaged in mini gatefold sleeve.
John Edwards grew up in London and started experimenting with the bass guitar before he switched in his twenties to play double bass. He is deeply rooted in the creative free jazz and improvisation genre. Since the 80ties he is as soloist and in many groups and ensembles in Europe active and became one of the most renowned bass players. He played/plays regular for example with Peter Brötzmann, Joe Mc Phee, Phil Minton, Maggie Nichols, Evan Parker, Roscoe Michtell, Louis Moholo-Moholo, Mark Sanders, Caroline Kraabel, John Butcher, Pat Thomas, Irène Schweizer, Hans Koch, Florian Stoffner, Gabriele Mitelli, John Dikeman.
"I think John Edwards is absolutely remarkable: there’s never been anything like him before, anywhere in jazz." - Richard Williams, The Blue Moment
Charles Gayle blew down with hurricane force - the pun is too obvious - out of Buffalo. He drifted in and out of the first great free jazz scenes of the Sixties, playing with Pharoah, Archie Shepp, and other trailblazers. But he says now that his sound then was even more fiery and forceful than it is now, and he couldn't get a recording date. He drifted. He became homeless. He lived as a squatter in an abandoned Lower East Side tenement. He found Jesus. He played wherever he could; his steadiest gig was in the New York subways.
Eventually lightning struck. In the late Eighties Silkheart Records recorded three discs featuring Gayle's ecstatic, holy holy tenor. After that work, and recordings, came a bit more steadily. For the enigmatic German FMP label he recorded the all-time classic Touchin' on Trane with musicians as talented and passionate as he: bassist William Parker and drummer Rashied Ali. On some discs Gayle himself plays viola, bass clarinet, other oddments. But his chief double is piano, which he has played with increasing frequency and facility in recent years.
Popular perceptions may change, but a lot of people do not get familiar with the persononality of Charles Gayle because he speaks his mind in concert, and his views are not fashionable. He speaks about his Christian faith and about respect for life. He dresses up like a clown and acts the fool for the many who say he acts like a fool. His speech is as unpolished and sincere as his playing, and obviously springs from the same well.
There is no player on the scene today with the emotional wallop of Charles Gayle. His later discs - particularly Ancient of Days - manifest a mature improvisational talent that can stand with any saxophonists today. If you are interested in improvised music, you owe it to yourself to hear him.
Mark has worked with many greats of the British, European and American free jazz improvised music scene including Roscoe Mitchell, Roswell Rudd, Evan Parker, John Butcher, Henry Grimes, Elaine Mitchener, Wadada Leo Smith, Myra Melford, Charles Gayle , Sirone and William Parker
He has also played with Jah Wobble, Harold Budd, Bill Laswell, Christian Marclay, International Contemporary Ensemble, Ilan Volkov and The BBC Scottish Symphony Orchestra.
He is a member of many working groups including duos with Nicole Mitchell and Rhodri Davies, Neil Charles' 'Dark Days' with Cleveland Watkiss & Pat Thomas, 'Last Dream of the Morning' with John Butcher & John Edwards, 'Shifa' with Rachel Musson and Pat Thomas and 'Sarost' with Larry Stabbins & Paul Rogers.
As an educator he has taught improvisation at many universities around the country as a lecturer and guest tutor.
Mark has played concerts and festivals around the world and appears on over 220 CD and Vinyl releases.
Mark was a recipient of the Paul Hamlyn Award for Artists 2024
"Drop the needle on the first track — or any track for that matter — and the first thing one is bound to notice is the amazing percussion skills of Mark Sanders" – Peter Thelen... Exposé
"Mark is just incredible and immensely diverse, he is at the center of "Kwingyaw" and it is difficult to tell what he is doing to get some of these sounds." – Bruce L Gallenter, Downtown Music Gallery, NY
