Label: Corbett vs. Dempsey

初出の1992年録音!!64分ノンストップの構成が素晴らしい!!1970年、Derek Bailey、Evan Parkerと共に世界をリードしたフリーインプロヴィゼーション・レーベル"Incus"を設立。まさに百戦錬磨といった凄まじい経歴を持つ英国のフリー・ジャズ・ドラマーTony Oxley。92年、ドイツはボーフムにてこの曲を演奏するために一回限り結成をした、氏が率いるクインテットの録音[Angular Apron]の初音盤化作。Pat Thomas、Manfred Schoof、Sirone、Larry Stabbinsといった素晴らしいメンバー編成であり、それぞれの極限のテクニックを使い一時間の濃密な録音に挑んでいます。ジャケットにはTony Oxleyの2種のペインティングを使用。



British percussionist Tony Oxley returned to his piece "Angular Apron" multiple times after debuting it in the early 1970s. Drawing equally on his interest in contemporary composed music by folks like Xenakis and Ligeti and on his long tenure as one of the central figures in European improvised music, Oxley assembled a quintet to play the work in Bochum, Germany, in 1992. The one-time ensemble consisted of five players from varied backgrounds. Trumpeter and flugelhornist Manfred Schoof, who delivers one of his last performances before turning exclusively to composition, is one of the pioneers of free music in Germany, a somewhat understated figure of immense power and authority whose 1969 FMP LP European Echoes stands as one of the great documents of orchestral improvisation, and whose own quintet helped define the transitional forms of new jazz a few years earlier in the decade. American bassist Sirone is best known for his work in the Revolutionary Ensemble, with violinist Leroy Jenkins and drummer Jerome Cooper. Sirone's presence in Oxley's group confirms the drummer's commitment to a transatlantic aesthetic, one he explored extensively with Cecil Taylor and William Parker in the Feel Trio. Saxophonist Larry Stabbins brings his incredible versatility to the band, adding the mix of ferocity and buoyancy that he added to diverse projects from Spontaneous Music Ensemble and Peter Brötzmann to Weekend and Working Week. On piano and electronics, Pat Thomas was at the time a relative newcomer to the British scene, rapidly becoming one of its leading lights and most sought-after collaborators. Oxley drew on this crew's wide range of orientations for this "Angular Apron," exploiting their extremes of timbre and register, calling on their acuity as listeners, and prodding them with his finely-honed junkshop of metal percussion, with which he detonates the hour-long piece. Presenting the never-before-released music in its complete glory, mastered from the original tapes, the Angular Apron CD design features images of two of Oxley's paintings.