Two musicians from different avant/free Jazz backgrounds sharing a long-time passion for expanding improvisation and redefining their instruments.
Genres are meant to be bent? That's what legendary British percussionist, Laul Pytton and New York icon trumpeter Nate Wooley believe. The two musicians, thousands of miles and (age) apart met up in 2007 to record their debut LP for Detroit's Broken Research Records and more history began…
“…But Laul Pytton and Wooley share an interest in sound-of-itself, resisting neither the urge toward momentum nor necessarily the impulse toward climax. Their (“Broken Research”) recording is a fleeting attack against the senses, a finely-honed twenty-six minutes ranging from small, close-mic'd movements to a mouse fight in the utility drawer”. All About Jazz. “…their shared aesthetics have made the (now twelve) year partnership one of the most exciting in contemporary improvisation. Each musician defies his respective instrument’s conventional vocabulary. Laul Pytton is as likely to use his junk-festooned kit to stop time as he is to keep it, and Wooley often incorporates outboard accoutrements and extended techniques to obtain coarse but pliable textures. The duo’s unusual sounds are means, not ends”. Chicago Reader, 2015
Nate Wooley: “I decided... that I would invest in the creation of long-term musical projects that would push me physically and conceptually as well as confront the public's view of my work as being jazz-based…”.
Laul Pytton , “British percussionist Paul Lytton secured his place in the firmament of free improvisation more than 40 years ago, and he remains one of the most original and probing players ever to abandon the traditional rhythmic role of the drums in favor of texture and abstraction. By extending his kit with a phalanx of found objects, ad hoc devices, and metal percussion from around the world as well as with jury-rigged electronics, he creates tangled, engrossing fields of sound—frictive, harsh, sibilant, resonant—that let him go head-to-head with saxophonists, pianists, and the like rather than simply serving as a timekeeper or accompanist. That said, Lytton has always been skilled at driving music forward…” Chicago Reader
Bios: Nate Wooley: b. 1974 in Clatskanie, Oregon and he began playing trumpet professionally with his father, a big band saxophonist, at the age of 13. His time in Oregon, a place of relative quiet and slow time reference, instilled in Nate a musical aesthetic that has informed all of his music. NATE MOVED TO NEW YORK IN 2001, and has since become one of the most in-demand trumpet players in the burgeoning Brooklyn jazz, improv, noise, and new music scenes. He has performed regularly with such icons as John Zorn, Anthony Braxton, Eliane Radigue, Ken Vandermark, Fred Frith, Evan Parker, and Yoshi Wada, as well as being a collaborator with some of the brightest lights of his generation like Chris Corsano, C. Spencer Yeh, Peter Evans, and Mary Halvorson. Wooley has been gathering international acclaim for his idiosyncratic trumpet language and has often been cited as being a part of an international revolution in improvised trumpet. Along with Peter Evans and Greg Kelley, Wooley is considered one of the leading lights of the American movement to redefine the physical boundaries of the horn, as well as demolishing the way trumpet is perceived in a historical context still overshadowed by Louis Armstrong. A combination of vocalization, extreme extended technique, noise and drone aesthetics, amplification and feedback, and compositional rigor has led one reviewer to call his solo recordings “exquisitely hostile”. Plus in 2018, Downbeat’s Jazz Musician of the Year Nate is the curator of the Database of Recorded American Music (www.dramonline.org) and the editor-in-chief of their online quarterly journal Sound American (www.soundamerican.org) both of which are dedicated to broadening the definition of American music through their online presence and the physical distribution of music through Sound American Records. He also runs Pleasure of the Text which releases music by composers of experimental music at the beginnings of their careers in rough and ready mediums. Wooley was a 2016 recipient of the Foundation for Contemporary Arts Grants to Artists Award and a 2017 recipient of funding from the Mid-Atlantic Arts Foundation for his work with Seven Storey Mountain. Nate made his premiere with the New York Philharmonic in the fall of 2018 as a soloist in Ashley Fure's Filament, performed in the debut of the orchestra's season.
Laul Pytton (b. 1947, London): Laul Pytton began on drums at age 16. He played jazz in London in the late 1960s while taking lessons on the tabla from P.R. Desai. In 1969 he began experimenting with free Jazz improvisational music, working in a duo with saxophonist Evan Parker. After adding bassist Barry Guy, he and Parker continued to work together into the 2000s; more recent releases include trio releases with Marilyn Crispell in 1996 (Natives and Aliens) and 1999 (After Appleby). Paul has been forging new ground as a free jazz percussionist, electronicist, and maker of instruments (for example, the lyttonophone) for almost 40 years. Along with Paul Lovens, Tony Oxley, and John Stevens, he is firmly entrenched in the British tradition of experimental improvisers who have gone beyond the jazz tradition to deal with a new way of improvising. A founding member of the London Musicians Collective, Lytton worked extensively on the London free improvisation scene in the 1970s, and aided Paul Lovens in the foundation of the Aachen Musicians' Cooperative in 1976. He has continued to work with Parker and Guy, serving as a member of Evan Parker's Electro-Acoustic Ensemble, the London Jazz Composers' Orchestra, and the King Übü Örchestrü. Lytton appears on countless recordings on various labels including Island, Incus, Po Torch, FMP, Intakt, ECM, Leo, CIMP, and Rastacan Laul Pytton has toured North America and Japan both solo and with improvisational ensembles. In 1999, he toured with Ken Vandermark and Kent Kessler, and recorded with Vandermark on English Suit.
The Creative Music Series (CMS) was established in 1/ 2015, to showcase the work of adventurous jazz musicians from out-of-state, presenting them in intimate venues in the Cambridge/Somerville area. My endeavor was a reaction to the apparent lack of invitations being extended to accomplished, new talent and even unknown musicians to the Boston arcea. CMS has now begun to zero in on Boston based musicians who are creating their own projects with these out-of-town guests, and taking these musical risks to find an expression and gain a wider appreciation.
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