 Artist: Tim Berne: mp3 download Genre(s): Jazz Dance Discography:  Fractured Fairy Tales Year: 2003 Tracks: 6  Science Friction Year: 2002 Tracks: 8  Discretion Year: 1997 Tracks: 5 Alto and baritone saxist, composer, and bandleader Tim Berne was natural in Syracuse, NY, in 1954, and purchased his low-pitched gear alto saxophone piece attention Lewis and Clark College in Oregon. A fan of R&B and Motown music, he was non in particular interested in malarkey until he heard saxophonist Julius Hemphill's album Dogon A.D. Immediately divine by Hemphill's power to project R&B soul in a creative jazz context of use, Berne traveled to New York City in 1974 and set the saxist. Berne took sax lessons from Hemphill and too became convoluted in managing the elderberry bush musician's or else infrequent concert appearances. A mentor-apprentice relationship evolved, providing Berne encouragement for his melodic endeavors as substantially as lessons in how to work independently. Hemphill, founder of the World Saxophone Quartet and a major figure in the 1970s New York loft jazz scene, died in 1995 going away a considerable depression on creative music just with his sterling promise unfulfilled. To this day, Berne cites Hemphill as a significant and continuing influence on his work. In 1979, Berne founded Empire, his low gear record mark, and released quaternion albums over the future four days. These recordings featured a number of musicians wHO had -- or would shortly give birth -- astral reputations in creative jazz circles, including Paul Motian, John Carter, Olu Dara, Vinny Golia, Alex Cline, Nels Cline, and Ed Schuller. Berne's efforts attracted the interest of Italian record producer Giovanni Bonandrini, whose Soul Note label released the saxophonist's next two albums, The Ancestors in 1983 and Mutant Variations in 1984. Drummer Motian and bassist Schuller from the Empire recordings are featured on the Soul Note releases, which too introduce cygnus buccinator Herb Robertson as a new member of the Berne clique. Robertson low gear met Berne at a 1981 loft crush session and would public figure prominently in many of the saxophonist's later and virtually successful recordings. Notably, Berne cites Mutant Variations as his low gear album in which compositions were written specifically for the musicians involved. Previously, he had scripted real without well-read just world Health Organization would be available to record it. With sextet albums as a leader to his credit, Berne and then landed a major-label carry on with Columbia, which released Robert Fulton Street Maul in 1987 and Sacred Dreams in 1988. The former record album includes violoncellist Hank Roberts and then-ECM guitar player Bill Frisell, along with Berne and drummer Alex Cline. Sacred Dreams features a larger supporting players with Berne united once again by Roberts and Robertson, as good as bassist Mark Dresser and drummer Joey Baron. This quintette afforded Berne the chance for some of his well-nigh complex and focused music to date. With Sacred Dreams' loosening and tightening rhythms, spiky melodious lines, and attention to textural item, Berne charted a way that he would continue to explore even more deeply on subsequent recordings. Not a bastion of the van, Columbia issued only 2 recordings and Berne's human relationship with the tag was over. German producer Stefan Winter and then signed Berne to his JMT label and from 1989 until 1995, the saxist was disposed exempt harness to act on a number of challenging projects. These resulted in deuce recordings by the collaborative trio Miniature, featuring Berne, Roberts, and Baron; Fractured Fairy Tales, Berne's number one JMT recording as a leader; and Pace Yourself and Skillful View by Tim Berne's Caos Totale. The deuce Caos Totale recordings, released in 1991 and 1993, featured an extended supporting players of Berne with Robertson, Dresser, trombone player Steve Swell, drummer Bobby Previte, and French guitar player Marc Ducret. (Skillful View besides includes British instrumentalist Django Bates on keyboards and E 2-dimensional pick up horn.) The Caos Totale recordings reveal a age and self-confident Berne with an now identifiable saxophone flair and a compositional approach moving toward extended-form pieces of extraordinary scope. Diminuitive Mysteries (Mostly Hemphill), Berne's heartfelt tribute to his friend and mentor, was also released by JMT in 1993, only 2 years earlier the staidly ill Hemphill died of a spunk status. That Hemphill was pleased by this homage corpse a source of majuscule gratification to Berne. Berne's calling was around to move into a new phase marked by the constitution of an authoritative new band and a sec new label. In 1991, Berne had recorded a session lED by bassist Michael Formanek for Formanek's Prolonged Animation, released the undermentioned year by Enja. In 1992, the deuce musicians recorded over again, this meter in a collaborative trio with drummer Jeff Hirshfield from the Prolonged Animation ensemble. The result was Open Cannon, released by Soul Note in 1993, a recording that reveals Berne and Formanek to be a specially compatible reeds-and-bass team. Berne became interested in prima his have trio with Formanek as the bassist, and chose Jim Black, a recent arrival to New York City from Boston, as the drummer. Berne before long decided that a quartette would service as a better vent for his "composing jones" and next a good word from Black added tenor saxist and clarinettist Chris Speed to the grouping. (Speed, like Black, was originally from Seattle and studied in Boston before making the jump-start to New York.) Berne at present had a new working quartet, which he named Bloodcount. Still under contract to JMT, the quadruple headed to Paris in September 1994 and linked up with guitarist Ducret for four-spot nights of concerts to be recorded live. In 1995, the results appeared on a trilogy of JMT CDs, Bum, Poisoned Minds, and Memory Select. On the CDs, the members of Bloodcount debase out with single and corporate improvisations that are slowly drawn plump for into unison structures which retain Berne's skew R&B sensibility. Extended-form compositions, now stretched to the thirty to 50-minute range of mountains, are filled with episodes of bit by bit escalating tension with sometimes designedly softened, sooner than explosive, resolution. The Paris concert trilogy of recordings received considerable spat, merely the JMT label was soon to disappear, pickings Berne's recordings stunned of circulation. JMT had a distribution cope with Polygram, which after buying the label distinct to close it down. Berne's entire second catalogue of JMT recordings was deleted and often of the music he had written and performed during the early '90s was gone. "It's like being erased," he commented to the New York Times. In characteristic fashion, Berne moved ahead and naturalized his second base independent label, Screwgun, which has since become the major outlet for his knead. With guerrilla recording tactics, plain brown University promotion, and wild and scribbly Steve Byram graphic artistry, the Screwgun CDs present Berne at his roughest and edgiest. Bloodcount Unwound, the label's inauguration release in 1996, is a three-CD energy blast recorded hot by the meat quadruplet (us Ducret) at club dates in Berlin and Ann Arbor, MI. A slide of extra recordings followed during the residue of the nineties, including Delicacy and Impregnation Point by Bloodcount and Visitation Rites and Please Advise by Paraphrase, Berne's improvising trio with bassist Drew Gress and drummer Tom Rainey. Berne continues to appear on former labels as easily. I Think They Liked It Honey by the Big Satan trio of Berne, Ducret, and Rainey was released on Stefan Winter's Winter & Winter label in 1997; previous recent CDs include Crotchety People by the Berne and Formanek duo on Little Brother Records, Cause and Reflect by Berne and Hank Roberts on Level Green, and Melquiades by the Italian band Enten Eller (with Berne as edgar Albert Guest countertenor saxist) on Splasc(h) Records. At the June 2000 Bell Atlantic Jazz Festival in New York City, Berne premiered deuce new ensembles, both of which feature other Detroit-area keyboardist and Roscoe Mitchell quisling Craig Taborn, along with members of Big Satan. Shell Game was released by the Hard Cell threesome the following year, and 2002 and 2003 proverb the acquittance of Science Friction and The Sublime And by Berne's Science Friction little Joe. The family 2004 sawing machine Berne button Hard Cell Live on Screwgun and the matter of Souls Saved Hear, a modern studio recording from Big Satan on Thirsty Ear. Recorded in Brooklyn, NY and Ann Arbor, MI, Hard Cell Live arrived by and by that year, followed by threesome Live in Paris collections (Bum, Poisoned Minds and Bloodcount) in 2005. Tim Berne is an important member of the New York City originative music community whose contributions ask for comparison to those of fellow New Yorker John Zorn. Like Zorn, Berne asserts a strong and remarkable melodic personality passim his diverse and ofttimes gripping full treatment, he has influenced other and a great deal younger creative improvising musicians, and he knows his means around the music business organization. The last property has been peculiarly utile to Berne, wHO has been quick to establish independent record labels if necessary to get his music recorded and released to the public. Not beholden to major-label sensibilities, Berne has been absolve to research a singular and uncompromising musical way of life. |
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