- 1. GHEIM part 1 (34:27)
- 2. GHEIM part 2 (16:14)
- 3. BRANDAK (10:23)
- 4. CRONTAK (08:53)
- 5. PRINDALF (06:49)
GHEIM - live at Bracknell 1983
Double Bass – Paul Rogers
Drums – Nigel Morris
Euphonium – Paul Rutherford (tracks: 5)
Trombone – Paul Rutherford (tracks: 1 to 4)
A short-lived improvising trio featuring the trombonist with PAUL ROGERS (double bass) and NIGEL MORRIS (drums), that the leader put together to explore more free jazz-like areas than usual. Rutherford and Rogers play to their expected very high standards (even though it was one of the bassist's earliest recordings), while Morris shows why he is missed so much since he quit this music. The whole of their Bracknell Jazz Festival set is included along with some previously unissued studio recordings. 77 minutes.
Excerpts from sleeve notes:
Caution is a word that Paul Rutherford does not seem to know. His free playing is projected naturally, it is arhythmically designed and it traces a melodically logical root despite being athematic in the traditional sense. Rutherford can be a natural master of extemporisation and he can join horn with vocal tube to create a unique vocabulary of voice and trombone accents. In so doing, he offers a bucolic and unaffected look at free playing.
All of this overlooks his sense of humour. His often copied style embraces the flippant as easily as the profound. He shuns musical niceties, invites belly laughs and regards the trombone's natural flatulence as a purgation of pomposity. This recording shows his reliance on tradition as well as his amazingly empirical aspirations. He plays with the alacrity of a George Brunis and delivers his glissandi with the near alcoholic slur of an Honore Dutrey. Yet, he is one of the outstanding modernists of his day.
He is backed here by Paul Rogers' naggingly inventive bass and by Nigel Morris' urgent and verbose drum figures. Rogers offers new alternatives throughout this excellent concert work, while Morris moves out from the background to create tense, aggressively conceived patterns that lend shape to the whole performance. The whole is an exercise that does not pander to the hands-together-recognise-the-tune audience, but rather to a listener willing to enter into Rutherford's world of voracious exploration.
BARRY McRAE (1986)
Paul Rutherford's best known trio was Iskra 1903, which for most of its life included Philipp Wachsmann and Barry Guy. In the early 1980s, Rutherford also felt like playing in a more Free Jazz-type setting (albeit without any written material), and so concurrently formed the trio heard on this CD. In the year or so of its existence, this trio did a tour of East Germany as well as performing at the 1983 Bracknell Jazz Festival (near London). The whole of that concert performance of great honky European improvised music is heard here, and although the MC says there would be no encores, some studio recordings from a few months later have been added, including a final one in which Rutherford plays euphonium instead of trombone.
This was one of the earliest recordings to feature Paul Rogers, and it shows him to be a brilliant performer even at that early date. He has been living in France for the last decade. Equally brilliant is the drumming of Nigel Morris. He studied with Philly Joe Jones, Tony Kinsey and John Stevens, and is perhaps best known for playing in some of the successful Jazz-Rock groups in the 1970s and 1980s. He moved to California around 1990.
MARTIN DAVIDSON (2004)