Output details

Cry, Want: audio CD album (scores not appropriate) including six works by Koller, with composer also as one of the principal performers. Works contained: Nocturne, Farewell, Riff Raff, Estuary, Hermetique, Reunion. Arrangements of other works (by Charlie Parker and Jimmy Giuffre) also by Koller.

This composition, performance and recording project, forming part of a new strand of jazz research at Birmingham Conservatoire, represents equally an integrated programme of original compositions (‘Nocturne’, ‘Farewell’, ‘Riff Raff’, ‘Estuary’, ‘Hermetique’, and ‘Reunion’) and original arrangements (Charlie Parker’s ‘Quasimodo’ and ‘Cry, Want’ by Jimmy Giuffre). It was written and orchestrated for Koller’s medium-sized London-based working ensemble, in addition to the legendary American guitarist Bill Frisell, and on two pieces, the distinguished soprano saxophone playing of Evan Parker. The album is conceived as a homage to the late Jimmy Giuffre.

The key point of research in the project is the incorporation of two highly distinct, contrasting (and instantly recognizable) sound innovators in jazz today into an integrated group aesthetic which uses the linear tradition of the music as a springboard for an exploration of collective improvising.

While previous work of Koller (for example _London Ear_ with Steve Lacy [2004]) has focussed on extending the traditional big band line-up, here the aim was to reduce and ultimately distil and rework the orchestral palette to its essence. Bill Frisell’s unique guitar sound is integral to the horn sound, combined in the ensemble writing at times with French horn, clarinet and Fender Rhodes. While the use of two trumpets and tenor and bass trombone, and two saxophones, are reminiscent of a miniature big band, the instruments are for the most part employed cross-sectionally, to explore free-flowing linear qualities rather than to create unified harmonic blocks.

A variety of models of improvisations are tested here: (i) traditional forms and chord changes underpinning a contrapuntal framework, as in, for example, Charlie Parker’s ‘Quasimodo’; (ii) open forms with free counterpoint of ensemble interacting with ‘time, no changes’ improvising (for example, ‘Reunion’ and ‘Cry, Want’); (iii) fixed, cyclic forms with lines based on twelve-tone rows (‘Hermetique’).