Debut of the now classic duo of Corsano & McPhee, recorded at Les Instants Chavirés. “With a career now spanning over 40 years and more than 100 recordings, Joe McPhee has shown that emotional content and theoretical underpinnings are thoroughly compatible — and in fact, a critically important pairing — in the world of creative improvised music. Since recording The Hated Music with Paul Flaherty in 2000, Chris Corsano has been hyper-active in far-reaching corners of the free improvised world. Under A Double Moon, recorded live in Paris during a spring 2010 tour of Europe, is their first album together (and, given how phenomenally simpatico a partnership they’ve forged, we hope it’s not the last).”
“Both Corsano and McPhee share an autodidactic approach to jazz, using anything from thriftstore miscellany to customised electronics to explain the white heat of their creativity. Both have almost unquantifiable discographies that extend well beyond the confines of ‘jazz’; McPhee studied Deep Listening techniques with Pauline Oliveros and Corsano has sparred with everyone from Jim O’Rourke to Björk. Both have lived in Europe, enjoying the hospitality extended to innumerable US free jazz expats that had eluded them in their native terrain. Most impressively, both are lavishly gifted musicians. If McPhee’s 1969 album, Underground Railroad, represented a watershed in high velocity, second generation free blowing, then Corsano’s debut with Paul Flaherty, The Hated Music, saw the drummer pick up the baton, skewer a bouncing ball with it and rub it against a cymbal until it sang like a sea lion. Suffice to say Under A Double Moon goes beyond the scorched-earth Fire Music you might expect. The two long tracks that comprise side one, “Dark Matter: Parts 1 And 2”, shows Corsano at his most flexible as he switches from gamelan-inflected tuned percussion to subtle brushwork to omnivorous hard bop, providing a multiplicity of textures for McPhee’s assorted reeds. McPhee is dominant in the mix, which can obscure the sheer multi-dimensionality of Corsano’s drumming, but both players leave ample room for the other to solo. In fact, both use silence like a weapon – loading the pauses with dramatic intent before unleashing another blizzard of ideas. “For Giuseppe Logan” is an exuberant tribute to the underrated ESP-Disk alto player and is probably the most melodically engaging piece, while album closer “In Lieu Of Flowers” is a beautifully ponderous, starspangled soprano workout that shows yet another dimension to their repertoire. This is an intricately detailed set by two titanic players, spanning two generations. The fire ain’t out yet, baby.” – Alex Neilson, The Wire
Available as a 320k MP3 or 24bit FLAC download
1. Dark Matter (1st Part) - 13:53
2. Dark Matter (2nd Part) - 6:44
3. New Voices - 5:42
4. For Giuseppi Logan - 4:05
5. In Lieu Of Flowers - 6:18
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
Chris Corsano is one of the greatest drummers working today. He has developed a percussive language of extraordinary amplitude and infinite resources. His collaborations stretch from free jazz greats (Joe McPhee, Paul Flaherty & more) to noise mavens (Bill Nace, C Spencer Yeh etc) and pop superstars (Björk). Capable of generating narrative out of permanent ecstasy, Corsano never ceases to be profoundly affirmative and imposing of his language, and being an absolute and charismatic virtuoso, he simultaneously is one of the most noble and generous improvisers of the few last decades.