- 1. RED ROSE AFTERNOON 1 (06:17)
- 2. RED ROSE AFTERNOON 2 (05:11)
- 3. FIRST WALNUT (19:20)
- 4. SECOND WALNUT (05:03)
- 5. FIRST CHINA PIG EXTRACT (08:43)
- 6. SECOND CHINA PIG EXTRACT (07:47)
- 7. CHINA PIG LAMENT (05:03)
- 8. STALF (03:29)
- 9. FALST (03:05)
- 10. FLAST (06:36)
- 11. STLAF (05:43)
Trombone – Paul Rutherford
A collection of adventurous trombone solos recorded over nine years in four different spaces - two club rooms (one very dry), an Italian jazz festival, and a very resonant church. 76 minutes
Excerpts from sleeve notes:
Paul Rutherford's first solo (i.e. unaccompanied) record, THE GENTLE HARM OF THE BOURGEOISIE (1974), is rightfully recognised as one of the masterpieces of solo improvisation. This was followed in fairly quick succession by OLD MOERS ALMANAC (1976) and the overdubbed NEUPH (1978). Since then, there have just been some solo performances issued as part of CDs on Emanem and Slam, so it is obviously time for another collection of his unaccompanied work.
Actually, I had already decided this when I started issuing CDs in 1995, and I arranged to record him at the Red Rose in north London both in the afternoon (with nobody else in the room) and the same evening (with an audience), but this was not followed up at the time. The two Red Rose Afternoon pieces were the first recorded, and the best, that day.
Two years previously, he performed a magnificent solo set at the Europa Festival Jazz in Noci in Italy. This is heard complete as the two Walnut pieces.
The year prior to that, there were two improvisations before a small audience in the very dry acoustic of the China Pig in east London. These have been edited somewhat for various reasons - an unrecorded start, a relatively dull moment, etc - but give a good indication of his inspiration that evening.
The final selections go back to the mid-1980s in a very resonant church (with some traffic noise) near his home in south-east London. The beginning of this performance was a bit tentative, with the trombonist adjusting to the acoustics, so Stlaf is made up of four edited fragments. The other three sections followed on as heard (with only the gaps between them being edited), and offer excellent examples of his use of his voice to create multi-phonics (a technique that Albert Mangelsdorff originally learnt from him).
MARTIN DAVIDSON (2002)