Joe McPhee / Mette Rasmussen / Dennis Tyfus
Oblique Strategies
Free jazz deity Joe McPhee teams with Danish horn player Mette Rasmussen and Belgian surrealist Dennis Tyfus on this ferociously inventive 2018 Antwerp set. One for fans of Brötzmann and Bennink, Ghédelia Tazartès or Albert Ayler - ballistic, basically.
'Oblique Strategies' is so named because the trio of McPhee, Rasmussen and Tyfus aren't propelled by emulation or correlation. They make free jazz, broadly, but McPhee's post-Ayler expression is almost its own genre at this stage. And although Rasmussen and Tyfus have a history together, rattling and gurgling on alto sax and tape as Bazuinschal, they're seemingly happy to be shepherded by McPhee's blues-y wail. On 'Death or Dinner?', McPhee and Rasmussen sound as if they're screaming at each other, spittle bubbling in the horn's tubing while Tyfus vocalizes in the background. The Ultra Eczema boss's contribution is more profound on 'Sun Gore', processing the two sax players' output and layering it in waves, painting pronounced audio illusions. As McPhee and Rasmussen bounce tangled phrases off each other, Tyfus takes the roll of percussionist, chopping tape-recorded rolls into a noisy, saturated funk and scrubbing it into pitch-wonked moans and hisses.
The side-long 'Light My Fire' is the main draw here though, spluttering to life with Rasmussen and McPhee's breathy smacks and squeaks and scraped cymbals courtesy of Tyfus. Lightly delayed, the horn sounds take on a psychedelic presence, while Tyfus works like a drummer again, tapping irregular rhythms and letting the resonance buzz into feedback. Mid-way through, the horns disappear, leaving a barely-audible vocal that gets more and more intense, chopped and contorted by Tyfus before Rasmussen and McPhee duet again just in time for a blistering finale. Very strong stuff.
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Free jazz deity Joe McPhee teams with Danish horn player Mette Rasmussen and Belgian surrealist Dennis Tyfus on this ferociously inventive 2018 Antwerp set. One for fans of Brötzmann and Bennink, Ghédelia Tazartès or Albert Ayler - ballistic, basically.
'Oblique Strategies' is so named because the trio of McPhee, Rasmussen and Tyfus aren't propelled by emulation or correlation. They make free jazz, broadly, but McPhee's post-Ayler expression is almost its own genre at this stage. And although Rasmussen and Tyfus have a history together, rattling and gurgling on alto sax and tape as Bazuinschal, they're seemingly happy to be shepherded by McPhee's blues-y wail. On 'Death or Dinner?', McPhee and Rasmussen sound as if they're screaming at each other, spittle bubbling in the horn's tubing while Tyfus vocalizes in the background. The Ultra Eczema boss's contribution is more profound on 'Sun Gore', processing the two sax players' output and layering it in waves, painting pronounced audio illusions. As McPhee and Rasmussen bounce tangled phrases off each other, Tyfus takes the roll of percussionist, chopping tape-recorded rolls into a noisy, saturated funk and scrubbing it into pitch-wonked moans and hisses.
The side-long 'Light My Fire' is the main draw here though, spluttering to life with Rasmussen and McPhee's breathy smacks and squeaks and scraped cymbals courtesy of Tyfus. Lightly delayed, the horn sounds take on a psychedelic presence, while Tyfus works like a drummer again, tapping irregular rhythms and letting the resonance buzz into feedback. Mid-way through, the horns disappear, leaving a barely-audible vocal that gets more and more intense, chopped and contorted by Tyfus before Rasmussen and McPhee duet again just in time for a blistering finale. Very strong stuff.
Free jazz deity Joe McPhee teams with Danish horn player Mette Rasmussen and Belgian surrealist Dennis Tyfus on this ferociously inventive 2018 Antwerp set. One for fans of Brötzmann and Bennink, Ghédelia Tazartès or Albert Ayler - ballistic, basically.
'Oblique Strategies' is so named because the trio of McPhee, Rasmussen and Tyfus aren't propelled by emulation or correlation. They make free jazz, broadly, but McPhee's post-Ayler expression is almost its own genre at this stage. And although Rasmussen and Tyfus have a history together, rattling and gurgling on alto sax and tape as Bazuinschal, they're seemingly happy to be shepherded by McPhee's blues-y wail. On 'Death or Dinner?', McPhee and Rasmussen sound as if they're screaming at each other, spittle bubbling in the horn's tubing while Tyfus vocalizes in the background. The Ultra Eczema boss's contribution is more profound on 'Sun Gore', processing the two sax players' output and layering it in waves, painting pronounced audio illusions. As McPhee and Rasmussen bounce tangled phrases off each other, Tyfus takes the roll of percussionist, chopping tape-recorded rolls into a noisy, saturated funk and scrubbing it into pitch-wonked moans and hisses.
The side-long 'Light My Fire' is the main draw here though, spluttering to life with Rasmussen and McPhee's breathy smacks and squeaks and scraped cymbals courtesy of Tyfus. Lightly delayed, the horn sounds take on a psychedelic presence, while Tyfus works like a drummer again, tapping irregular rhythms and letting the resonance buzz into feedback. Mid-way through, the horns disappear, leaving a barely-audible vocal that gets more and more intense, chopped and contorted by Tyfus before Rasmussen and McPhee duet again just in time for a blistering finale. Very strong stuff.
Free jazz deity Joe McPhee teams with Danish horn player Mette Rasmussen and Belgian surrealist Dennis Tyfus on this ferociously inventive 2018 Antwerp set. One for fans of Brötzmann and Bennink, Ghédelia Tazartès or Albert Ayler - ballistic, basically.
'Oblique Strategies' is so named because the trio of McPhee, Rasmussen and Tyfus aren't propelled by emulation or correlation. They make free jazz, broadly, but McPhee's post-Ayler expression is almost its own genre at this stage. And although Rasmussen and Tyfus have a history together, rattling and gurgling on alto sax and tape as Bazuinschal, they're seemingly happy to be shepherded by McPhee's blues-y wail. On 'Death or Dinner?', McPhee and Rasmussen sound as if they're screaming at each other, spittle bubbling in the horn's tubing while Tyfus vocalizes in the background. The Ultra Eczema boss's contribution is more profound on 'Sun Gore', processing the two sax players' output and layering it in waves, painting pronounced audio illusions. As McPhee and Rasmussen bounce tangled phrases off each other, Tyfus takes the roll of percussionist, chopping tape-recorded rolls into a noisy, saturated funk and scrubbing it into pitch-wonked moans and hisses.
The side-long 'Light My Fire' is the main draw here though, spluttering to life with Rasmussen and McPhee's breathy smacks and squeaks and scraped cymbals courtesy of Tyfus. Lightly delayed, the horn sounds take on a psychedelic presence, while Tyfus works like a drummer again, tapping irregular rhythms and letting the resonance buzz into feedback. Mid-way through, the horns disappear, leaving a barely-audible vocal that gets more and more intense, chopped and contorted by Tyfus before Rasmussen and McPhee duet again just in time for a blistering finale. Very strong stuff.
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Free jazz deity Joe McPhee teams with Danish horn player Mette Rasmussen and Belgian surrealist Dennis Tyfus on this ferociously inventive 2018 Antwerp set. One for fans of Brötzmann and Bennink, Ghédelia Tazartès or Albert Ayler - ballistic, basically.
'Oblique Strategies' is so named because the trio of McPhee, Rasmussen and Tyfus aren't propelled by emulation or correlation. They make free jazz, broadly, but McPhee's post-Ayler expression is almost its own genre at this stage. And although Rasmussen and Tyfus have a history together, rattling and gurgling on alto sax and tape as Bazuinschal, they're seemingly happy to be shepherded by McPhee's blues-y wail. On 'Death or Dinner?', McPhee and Rasmussen sound as if they're screaming at each other, spittle bubbling in the horn's tubing while Tyfus vocalizes in the background. The Ultra Eczema boss's contribution is more profound on 'Sun Gore', processing the two sax players' output and layering it in waves, painting pronounced audio illusions. As McPhee and Rasmussen bounce tangled phrases off each other, Tyfus takes the roll of percussionist, chopping tape-recorded rolls into a noisy, saturated funk and scrubbing it into pitch-wonked moans and hisses.
The side-long 'Light My Fire' is the main draw here though, spluttering to life with Rasmussen and McPhee's breathy smacks and squeaks and scraped cymbals courtesy of Tyfus. Lightly delayed, the horn sounds take on a psychedelic presence, while Tyfus works like a drummer again, tapping irregular rhythms and letting the resonance buzz into feedback. Mid-way through, the horns disappear, leaving a barely-audible vocal that gets more and more intense, chopped and contorted by Tyfus before Rasmussen and McPhee duet again just in time for a blistering finale. Very strong stuff.