The year 1903 saw the Social Democratic Labour Party in Russia split by Vladimir Lenin. The majority breakaway group were the Bolsheviks and Iskra was the adopted name of their newspaper. Since Iskra translates into English as the “spark”, it was a somewhat appropriate name for a free music trio that established its own special place in the history of jazz and its associated musical allies.
The trio was formed in 1970 by trombonist Paul Rutherford with guitarist Derek Bailey and bassist Barry Guy and was in no way associated with the Swedish group Iskra that, coincidentally, came into being at about the same time. During Iskra 1903’s initial two year life, its commitment to free improvisation was unequivocal and its two issued recordings, a double LP for Incus (recorded live in London 1970) and in 1973 an album for Deutsche Grammophon (recorded live in Berlin) provide superb examples of their mu- sic. In Rutherford, Bailey and Guy it had three virtuosi, all influential in the development of their chosen instruments in the European free music scene.
Rutherford, a Spontaneous Music Ensemble original, also distinguished himself in the more orthodox ranks of the Mike Westbrook Concert Band in the late sixties. In a perverse way, that group’s organisation offered him a discipline against which to react and his full flowering came with the SME, Iskra 1903 and in Tony Oxley’s sextet. It was in these musical situations that the world was introduced to his mature, free music, as his voice, as well as his lips presented a then unique style.
Bailey had come to free music from a background of dance-bands, nightclubs and theatre pits. He was involved in early SME and became a stylistic leader on his instru- ment. His playing exhibited no episodic continuity, although his totally chromatic music was played with scrupulous accuracy.
Guy had originally seemed destined to be an architect but his interest in jazz and the ease with which he mastered the string bass deflected him. He studied at the Guildhall School of Music and was on hand to play a vital role in the early days of the British free revolution with SME, Tony Oxley and, significantly, his own London Jazz Composers’ Orchestra.
The original Iskra 1903, with Rutherford occasionally on piano, merely numbered improvisations rather than allot titles. They did, however, produce freely improvised music of rare beauty. There was no formula for performance: most of the finest mo- ments were achieved contrapuntally, the bucolic slurs of the trombone set against the shattered glass angularity of the guitar and the restraining arm of the arco bass. When Guy jettisoned his bow the counterpoint seemed to get more competitive but, whatever the improvisational means, stunning levels of creativity were maintained.
The new manifestation of the group came about in 1981 with violinist Philipp Wachsmann replacing Bailey.The spirit of the original group was recaptured and, despite other commitments, this new version of Iskra made a very successful Arts Council Network Tour in 1983.
Born in Uganda, Wachsmann studied violin in America and came to improvised free music in 1969. Subsequently, he worked with his own films, mixed media events as well as with visuals and prepared tapes. Frequently a solo performer, he also played with Chamberpot, Tony Oxley, COWWS, the London Jazz Composers’ Orchestra and took part in several Company weeks.
As this release testifies, the new edition of Iskra 1903 recorded in Vancouver, Canada is still creating very potent music but with the entire temper of the group changed. With Bailey gone, there is a greater polarisation of roles. Rutherford deals in assertion, Wachsmann in innuendo, while Guy’s roving brief makes him the rhythmic mediator. Every permutation possible to the trombone/violin/bass trio is exploited; there are excellent solo moments but the group’s finest achievements come in the form of three voice counterpoint.
The very different input of each player is important. Rutherford is a strong, declamatory player but it is his gift for flowing legato that so enriches the contrapuntal interaction. Wachsmann’s sinuous mobility is equally effective; he inherits the tradition of all jazz related violinists in his ability to slur up to a note but his academic training shows when he chooses to hit its pure crest. Guy is the maverick, playing straight, free bass with a full tone and natural rhythmic flow but also bastardising his instrument with added extras to give dramatic but apposite colourations.
903/1 shows how subtely the three men control the dynamic levels of the music. En- semble volumes swell and decline with seamless ease and the intercourse between pizzicato violin, trombone (and voice) and the ferocious bowing of both string players is typical of the contrasts set up. At times, 903/2 gives the impression of a larger unit but, perhaps even more than the other pieces, shows that the absence of a drummer’s calibra- ting presence is a definite asset. The barely audible entrance of 903/3 elicits a warm audience response before the sound levels build up. This is achieved as Rutherford growls truculantly and Guy begins a very special assault with his bass additives rattling in sympathy. All of the emotional possibilities are wrung from 903/4 but, in its more poignant moments, the depth of feeling achieved takes it near to the naked protestations of the blues.
The whole session is something of a musical triumph and the return of Iskra 1903 in its new form is an important event in the world of improvised music. Time has not dimi- nished its musicians nor the challenging music they play and this release could well serve as an introduction to listeners previously suspicious of open ended performances and of the range of freedom available here.
— Barry McRae
credits
released January 1, 1995
Paul Rutherford: trombone
Phil Wachsmann: violin
Barry Guy: bass
Recorded live 5th October 1992 at the Western Front, Vancouver, Canada.
All tracks composed by Paul Rutherford, Philipp Wachsmann, Barry Guy (PRS/MCPS/PAMRA). Recorded by Rob Kozinuk and Peter Courtemanche Produced by Barry Guy, Paul Rutherford, Philipp Wachsmann and Maya Homburger. Digital mastering by Tony Bridge at Finesplice, London.
Cover art: Empress, 1982 by Albert Irvin (courtesy of the Tate Gallery, London). Design GardnerQuainton. Text by Barry McRae.
Special thanks to Barry McRae, Ken Pickering and New Music Across America
Barry Guy and Maya Homburger founded Maya Recordings in 1991 to take care of their desires to document the various projects
that occupy their musical lives. So unusually
you will find Jazz and improvised musics alongside baroque masterpieces....more
There’s a quiet beauty to this remix album of compositions by Michael Vincent Waller, with contributions from JLin, Prefuse 73, & more. Bandcamp New & Notable Apr 1, 2024
Somber, beautiful string meditations abound on the debut album by Oxford cellist and composer Lou Lyne and her ensemble. Bandcamp New & Notable Mar 30, 2024
