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1.
This is not much less than flat 09:17
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2.
Short steps until it finally dawned 05:57
3.
Rolling agreement 05:07
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4.
Gnat notes in lyrical amber 01:09
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5.
Lyrical amber, hand held 01:52
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6.
Hand held hot coals 01:19
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7.
Sensology 12:03
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8.
What to do 03:43
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9.
Jazz for now and never more 05:08
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10.
Murmers and darts 03:06
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11.
Sticks and bones 05:19
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12.
Joyous absence of disco 05:09
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13.
Slowly getting to know the audience 02:41
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about

Paul Plimley is a remarkable pianist who can play with as much power as any free player can muster (yes, even as much as Cecil Taylor, whom he echoes here on occasion – although I don't think Plimley has played the tremendous marathons of energy that are Taylor's specialty), as well as with surpassing delicacy and grace (for example, on Joe McPhee's 1995 Sweet Freedom, Now What? with frequent partner on bass Lisle Ellis). Barry Guy, of course, is the consummate bassist, the linchpin of Parker/Guy/Lytton and the majordomo of the London Jazz Composer's Orchestra. Sensology, their collaboration of improvisations, is a marvelous recording.

The very first track, "This is not much less than flat," demonstrates the range of both players. Plimley lingers long in Taylorville, but returns to a series of light block chords; Guy plays his bass as if it is a drum, a flute-anything the occasion calls for. On Short steps until it finally dawned, Plimley sets up some shimmering figures for Barry's bow. Rolling agreement is a feature for Guy's scrapings on a setting of gruff low tones from Plimley.

A few brief excursions set up the title track, which is the centerpiece and longest track on the disc. Skittering figures create a field of tactile energy; Guy demonstrates his razor-like mastery with the bow. Plimley is everywhere: nods to Taylor, Olivier Messiaen, Stravinsky, whatsodam. This pair is thoroughly in sync with each other, and constantly creates inventive and ear-catching effects.

Other tracks deserve special mention: What to do, featuring a convincingly quizzical Plimley; the aloof cool of Jazz for now and never more, and the stinging Joyous absence of disco. But this album is full of first-rate free improvisations by two masters, and is thus highly recommended.

— Robert Spencer

credits

released January 1, 1997

Paul Plimley: piano
Barry Guy: double bass

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all rights reserved

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about

Maya Recordings Oberstammheim, Switzerland

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

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