TURNING THE MUSICAL TABLE Improvisation in Britain 1965-1990 Nick CouldrySpecial Issues Rubberneck 21 Rubberneck 25 Fiction Issue #2 Joe Harriott: short fiction by Forgotten Father Louise Petts (B-Shops For The Poor) Of European Free Jazz Nick Didkovsky (Doctor Nerve) edited by Chris Blackford Rob Henke (Doctor Nerve) Gavin Salisbury biographical and theoretical essays by £3.50 per issue (UK) Roger Cotterell, TE Martin £5.00 per issue (Overseas) Chris Blackford, Jack Cooke Price includes postage and Joe Harriott Payment in pounds Sterling only All cheques payable to “an informative and valuable Rubberneck publication” Overseas readers please just send Linton Chiswick (I'he Wire) an English £5.00 or £10.00 banknote WHY WEAR SILK WHEN YOU CAN WEAR RUBBERNECK... In response to readers’ requests, Rubberneck presents its first item of non-publishing merchandise, The exclusive design (as shown) is by legendary German improvisor Hans Reichel and features several examples of his extraordinary invention, the daxophone. The design is in black on a good quality white cotton shirt. Extra-large size only. RUBBERNECK £9.50 (UK; £1050 (Europe) £11.50 (other countries) Price inchides postage Rubbemeck postags 21 Denham Drive, Basingstoke, egies rare a tPaares 5 Payment in pounds Sterling only Hampshire RG22 6LT, England ‘Overseas cheques drawn on UK bank, please!RUBBERNECK ¢/021 Denham Drive Basingstoke Hampshire RO? 6LT England ISSN 0352-6609 photo Nick Baker Editor/design Chris Blackford Coverby Gina Southgate Nick Could is keyboards player with Lonson based improvising Broup ‘Conspiracy. He became involved in Amprovised muste in 1985 taroagh Fhitipp ‘Waichsmann’s class at the City Literary Institute, London. 1993 he eo-organsed and pecformed at Company Week; he also ‘o-founsded Londons Secret Spaces which has organised collaborations Between improvising musiciana and visual artis insineonvontional vanes, His discogrs- Phy incudos two solo albums, Mouths Of Pea (190) and Sievs (1991), With sculptor Crow, he's developing periorm- nce and coud work based at The Tnatitution OF Rot Gina Southgate has keen making eal- time artvorks in direct response to the sounds, energy colours and dynamic in liveimprovised music since 1888, Collnborating with musicians she explores the sonic and visual potential of art tools and materials, thereby becoming an intogal part ofthe music-making process, © Nick Couldry, 1991; except Prface and, Appensls © Nick Couldry, 1994, ‘Aslghty eee version ofthis esay i ce tepublahad by Contemporary Macic Revie in {00506 Al ightsromrved Nan ofthis publ ‘aton may berepeeuce, sored ina release tem,or site in any fermor by any means trecroni, mechanical, poteepyng tenons, ‘oben, without the prioreemision othe thon 19 Published by Chris Blackford, ane 1995 PREFACE (1994) is esay, Turning The Masia Table isa peronal statment of why improvised musi matters tome any believes mater other wre tin at 1950 and ‘atly 991 afer was asked ou ofthe Die tveantibutes hstry of Brits improvised Ime fran editon of Centempoary Mu te Review: Thin is one ofthe reacra forts ‘Rodenic sje end format Tht there io moco ft styl than tat. “Thorecon! history ofimprovioed music has sulfred from smoot total noglet in moe lnc musi wring. Civen thoimportance ‘f academic rental for feeneing ms ‘al tt bloe thi goer wellboyon tho ‘vious example of ‘dasa esi), this neglect iso practical not merely theoreti {Sl importace. I decided i this say 40 {sc aclemicargunenttocenfoheadon at lanstsome ofthe assumpors which are ‘sponsible fer academic neectofimpeo- Saten The essay, then a personal tate- rent writen against the grain of an tntrenched acaeric positon Turning The Musical Taleis definitly ‘wf anattanptto ve anautheritaie His tory of Bi improvised mnsic (Tis ‘Why avoided including formal discogra- Py) Atbsst it asketh of pessblestart- Jng pointsforsecha history an, 981 have jest emphasieg ths was erly part ofits 2m Eseninthis respect, ee important 6 on bow enrorird rue wees tuber sey perspectives how to vival io Thine phenomenon a cruilore, bu totoncwhichmale conven th educive {ero ef moot sia history. Tomer procter onke ore han thir conection tthe ey ovr without delaying this publication substantially However if did rei i thee ae of course ings wold want to rds is Twould wanttocel mon expt andin nore deta withthe centbationof women Jmprovisors: for instance the histery of Feminist improvisors Group, the work of Maggie Nicol, Linésay Coope Sylva Hallett and others. Above all though, I ‘woulda with thes fot hath eer importan! (end often nacknowl- ged the role of women kas been in the History of Biishimprovised asi dspro- ortoratl few ofthat hstry’simajor hg: tres have Been waren —comething that distrbecmelong btorel vot this e553), bat wien ft unable adeesprop- eri, “conady {woud expand on the ps bie Inks of Bits improved snk not just wij aca! tus bu th Cie areas enperimental rock, nds tnuse dhe visual at epoca the ound txperimentation co brillant exponen DanLander anMicthLevor shor Sound Ry Anite (1990) Inpartcly, would ve nore emphasis improvisation at Fores Giernt styles of music together, Which through the spread oF sampling tehnoloey and theingluence of, say, joln Zor, hasin the 90s become more central than ease. Wiriting now, there would obviously be some catching tp t do, There ar British musicians whose importance is now clear Dut perhaps was ess clear atthe beginning, ofthe decade. A crude lst would be invidk- fous but'vetredinthe Appendix o list lected recordings from the 1890s which are 1 possible stating point for catching up on. this history. "The carly 1990s as also scena small but, 1 hope, significant shif from the media ne slectof improvised musi that complained Dofattheend ofthe ers: A television series entitled On The Rage: Improvieation (d- rested by Joremy Marr; watten and nar rated by Dorok Bailey), based! on Dorok Builey’s book, Improvieation: Ite Nature And Practice In Mutie, was shown on ‘Charme! 4: BBC Radio 3 for the first time has began to give improvisors regular (if limited) coverageas part of the musicalmap: inaddition to The Wire's continued cover- age, other magazines for comment on im- provised music, like Resonance and Rubberneck, have gained momentum. But the continued, almest total neglect (and ig- norance) among the national press remains rmoretypicl ofthe general situation, Fund- ing for virtually everyone working on the improvised scene remains very dificult in Spite ofthe revival in the early 19906 of tae London Musicians’ Collective as an orgen- tsing and lobbying force If there are reasons for optimism, they le probably less with institutors and mere inna general sense that gradually new ante ‘al terliory is opering up: where the hi toric hostility or indifference of other (Ccommercl’} musics to the sound worlds ‘explored in improvised music i thawing ‘out, whore the old (asually sont) donigra- tion of tho ‘meroly' improvised is becoming ‘more widely recogeised for theirrslevance ‘thas always been. Here perhaps lies the ‘elimmer of tho socal and cultural changes necessary for the wider acceptance of im- _provisation, changes which the improvised. scene could not possibly have achieved by itself ‘Although I have used upa lot of words ee, wart tostrssthat Idonthelieve that ‘words can stand in for music, But lack of ‘words (ack ofa languagefor discussion) is a problen for any fieldof music that tiesto survive in tday’sadministered world, This, iswhy the writings (not jast the music) of Eadie Pzevost al Derek Bailey are so cru- cial, British improvised music badly needs its history to be written, many histories in fact, from the persona tothe academe. Ie _nceds more better iting, more argument, ‘more explisit, leary emulated diesgreo TThape thatthe pbicatin of my work {ns this form (nade possible by the gener- fous support of Chris Blackford, editor of Ruberaeck) will provoke others to write from their personal peespectives, however critical they may be of mine. [Nick Couldry, September 1994ARURBERNECK NOTES: ‘have bent genly rom te encouragement of Bade Petvet, fen Bohman and Andy Hamerond ahr detailed comments on an aie dra of Nis essay “Thanks ake toNiek Clarke forsee cbnervaions on syle mater, @ Derek Bailey fd Gus Grae fe prata tip in te early Segeo preparing Un enay ano Aan Durer {ersome ponowatng comment ins lac age of is proparaon Las ut cerainy potent tmustexpress my’ grate o Rachel Ba or her get acuracy and ptiencein png the ‘af o ths esay {@) Improvisation Its Nature And Prctice {busi (Wotan Pabishing n asotaton ‘wth cas Records 19603 Ths book isan Invaliabloureahook for otter iprovioes” comments 8 wellas a major werk of ery is the tuchstoneof hs essay A revised ane ‘updo etion published y the Brits Library (0552 jsnow avaiable, In addon to Dek Biles 0k (eer cle Halley), ve feud the flowing pactialry hp MicioiNyinan, Experimental Mewie: Cage ‘And Beyond, Rousledge ke Kegan Paul 174 (Qyman Christopher Smal, Musi Society, uation, Jn Calder, 197 (Small) and Jnques Atal Noises The Poitcal Economy Of ‘Music (vans, trian Masnurn),Miarcheste Univers Pres, 1968 (Nose) (parca he feat hap {O Liciano Bai, Two Boyns 1975, pages BE (@) See Christopher Sal's pope No ‘Meanings Without Rules’ dlvere atthe ICA. in ‘March 18nd pubshet bythe Assciaion Of [Mnprovising Misia with papersby Alin Daten end BdiePrévest une hele Imprviation Hit, Dnetions Pats 1B Avone li. which iar cradered desibl or approncubl aie nprovaton ‘would us nly those bjetsinheimmetiate ‘envionment whee the perforrance Was'o uke ce ace he suggestion in rent ee Exvitonneat iy Tevor Wishart ont Pcrls (1974) Dero Baieyodsnaion bare idiomatic’ and “roniomatic” improvisation wile important des not news Pipher Sncesome of he mune consclred uss iors ligely on superpostion ors cealy wend to be interpreted by reserenceto arc ilo Ingen n ne seve “eee Ieprovitioncavbe understood asa atempt todevelp ‘dian erat ba conte for Inveryreution dering performance die Prevest’suse of the tem “mobil ion” i is esay in hebooktat reed in Note (4) a ‘emparemy dicision blow isthe seston hen Spae/Time (6 Many have coment on te mista ing eat reoedinga cf inprovitione for example, alley page 122 Coralie Carden “Towards An BinieOF improvisation’ conan Inthe'Tretise Handboo}, pees xi and xx) and John Cage's aralgote commnetis in lation towerkswhichareindeterminatea othe Psfomance quote in pean, page 9 Fer at sciteenanplac the pol, uketCheadlan Ryton (ec, 1980 whic compris a5 {wo dyeat the London Nustians’Colediveln 1578 with Paul Lyi, Devi Toop Max East, Paul Barwel, Bran Parks Higa Divi, Pal ovens at Anabel Nicolson 12) Copee the cemner ina review by Keith Perot various ines ecords intact No 18 Simmer 108 ages 1227 page. PART ONE Introduction ‘mprovisation requires no de- fence (Note 1). Itis something people do, as they always have, because it meets needs not sat- fied in other aspects of musical prac- tice Its a great merit of Derek Bailey's book (2) that it puts this faiely and. squarely. Tn spite ofthis, distinguished com- posers have seen fit to attack or deni- grate the practice of improvisation (3) and (less surprisingly) improvising musicians have devoted much time to its defence. Why? The interesting rea~ son, perhaps, is thatthe practice of im- provisation is implicatedin a groupot Issues which have seemed unavoidable to many actvely involved in music in recent decades: namely, what is the pproperrelationship between the activi- ties of composer, performer and lis- tener. More precisely the conventional formulation of that relationship amounted to a repression of theimpro- vising impulse. Recent improvisation may therefore be seen as a response to that repression. Part Two of this essay is « sketch of developmentain improvisationin Brit ain inthe last 25 years. In this essay I mean by ‘improvisation’ the atea fre- quently called ‘iree improvisation’. Since no music isindepenctent of con- strats, the phrase free improvisation’ has correctly been criticised (4). Yet, it ‘undeniably serves to point outan area within the wider field of improvised music (Which encompasses jazz and some ratified corners of rock or lassi- cal music): musicians working in this ‘areahave been concerned io extend im- provisetion beyond matters of expres- sivedetal tomattorsofform Drawing the boundary of thisarea must boarbie trary to some extent: in addition, the boundary overlaps with the area ner- rally labelled ‘ree jazz’. Sufice it to say, that in thisessay a working clefini- tion of improvisation’ is adopted that includes some music with a clear jazz bias but concentrates in the main on music whichdloes not, Where ‘impzovi- sation in the sense used here needs to be contrasted with ‘improvisation’ in the broader sense, willuse theformer phrase free improvisation, for conven ence and without conviction (8). Temphasise the word ‘sketch’. A sketch of the same subject can be re- ppeatad any numberof times andibe cif- focont each time, There can indeed bo no definitive history of improvisation ‘The reesons have been frequently ex- plored. First, the ‘historical source ma- terial’ is necessarily insufficient: the documents which do exist (recordings, interviews, articles) are scattered, inevi- tably incomplete and usually mislead ing in thatthey privilege partialoreven, irelevantperspectves, whether thatof ‘one player or commentator, o: of lis- teners absent from the original per- formance (6). Secondly, there is no received canon of interpreiation (7): ‘even if we were 19 imagine an indus- ‘cy of critics to procluce one, itishighly questionable whether there slould be sucha canon. Indeed, 29 I shall argue, itis precisely the openness of improvi- sation that is its specific virtue: this, necessarily involves an openness on. Issues of value or perspective Without a shared perspective for critical assessment, there is no basis for a tendentious history of ‘success’ or ‘failure’. Any historical study must therefore work through a series of per- spectives. (Most of Part Two takes this form). Because these must first be ar- ‘culated from the standpoint of the performer, it might seem that the Ii tener’s perspective is thereby no- lected. I will, however, frequently referto my own listening experience by way of illustration. The relaionshiy be tween performer and listener perspec tives is one of the issues explored! in Part Three. ‘An attempt at historical description mustinvoive consideration of such ab- stract issues for two reasons. Firstly, in so far as such description involves the \Writer’sjudgements about the worth of the music under discussion and ap- peals to the reader’s sense of judge- ‘ment itconfronts tence the prejudices derived from what Ewill call the hier- ardhical nae of thinking. In this hierar chy, the composer, the performer and the listener are ranked and in that or- der, and (it follows) musie centred arounet interactions between improvis- performers and specific listeners ist be ranked lower (as a musical ‘object than a composed work. In Part ‘Three, I argue that the hierarchical mode of thinking must be discarded. Secondly, once the weight of this hier- archicaldogma is appreciated itis clear that opposing it Ovhich all the musicians discussed in this essay do, more orless) is a major task. One cannot grasp the work of these musicians, therefore, tnless the meaning of thei opposition to these hierarchical atiticles is also grasped. In all of this, }donot claim to: 5 ‘San Chis Baekioné (§ Compare Derek Bailey's rmark (Bale, page’): "T oul’ imaginea rsaaingul onsideration of improvisation om aNyiNg fer tim «praca and a peso poe (0) He defined “harretic matin” by saying that “the movements were weten roof keysand making useoF the otal cleave blending of transposed ancl norteanspost instrument, sing the same inva” (quoted fn Barry Meo, Omette Coleman, Apolo Crest Boot B86 page). (0) Fortneanc, Cenry Gold’ coments in asitvey made of mpronirs pled The Inmprovisor (Winter 19889, Yol VI pages 32. 40) "Each member ofa group of misidans nus ‘sume responsiblity fer ceveloping the pioce ff music, bac ofthe masa is ths the emetine both leader ar! floc This te ‘aleve approach oimpreviaten” Compare Tenstovers early commer wot he qualbiesof giving the warn of eling Between mtsicans in group improvisation (Gleerenoteto the recording by he Spentanecus ‘Mus: Ensen, Karyobin Ilana Kevoes, 1968) ln Germany the ene hene player Has Kole for iat race x iar pot (lecrenateto (G1) The Vi coffer more (or ess) than apersanal per spective (8). A Summary Of The Form Of The Essay Part Two... (a), Lbegin with somereftectionson the origins of freeimprovisation in Brit (0) Targue that in terms of aesthetic purpose there is a surprising amount ‘of common grotind between some free improvisationand some contemporsry ‘laasical music i follows that improvi- sation deserves serious critical exarni- ration. (0) Tthen proceed to examine Brit- ish improvised musie in the period 1965-1990 by means of eight lines of perspective Each isrelated to substan- tive issues about the nature of free im- provisation and suggests in turn farther, and perhaps more fundamen- ta, distinctions. [conclude this section with an attempt to formulate in posi- tive terms the significance of improvi- sation. (@) Abrief summary of thehistori- cal part of the easay. Part Three... (@)_ Tseek first to analyse and then to replace hierarchical notions ofthe re= lationship between composer, per- former and listener. My purpose is to clarify the historical context in which freeimprovisation developed and for- rmulatea critical stancpoint from which itcan now be adequately assessed. () Ltry to articulate (in more gen- ‘eral terms than in Past Two) the way in which improvisors have justified or might justify what they do. (©) Teontinue(b) by looking at the Virtues of improvisation in artistic ac tivity generally suggesting how the aesthetic of free improvisation isshared, ‘with other twentieth-century art (4) Finally, {consider the perspec tiveof theavclience, both in the abstract and in the specific context ofthe atidi- fence for free improvisation in Britain today. PART TWO. Historical Sketch (2) Origins he majority of musicians in- volved in developing the practice of free improvi tion in the 1960s in Britain were practising jazz musicians: Derek Bailey, Evan Parker, John Stevens, Keith Tippett, Trevor Watts, Eddie Prévost, Tony Oxley, Lou Gare, Paul Rutherford, Keith Rowe and Howard Riley. There ‘were, of course, influential exceptions ‘witha classical background (Cornelius Cardew and Hugh Davies, fr instance) Dut this does not affect the general point, One might therefore think it use flo interpeet the origins of free im provisation in Britain primarily in terms ofan escapefrom whathadl come to be seen within jazz as certain con- sttictions of form and content, ancl to link it with the birth of free jazz in ‘America and Europe. This goes too far but certainly, free azz ints early stages articulated some important possibili- ties and can therefore provide some pointers for the retrospective inter preter of free improvisation First, Ornette Coleman can be said tohave focused attention on the possi= bility of bresking down the inherited melodic material of jazz into ever smaller components (cach worthy of extended development in an open- ‘ended fashion) ard the importance of the blending of instruments (instead of the accepted and rigid hierarchy of saxophone, double bass and drums) (). Aconstant theme in free improvi- sation ever since has been the impor- tance of allowing each instrument an ‘equal ‘say’ the blending and matching, of instruments in live performance could be seen as the central preceeu ppaticn of atleast one main strand of free improvisation, as we shall see 10) Secondly, John Coltrane and Albert Ayler, in particular, had developed styles of inspirational playing which stretched thestandard jazz formofcho- rus anel improvisation well beyond its limits. On Albect Ayler’s record oflive performances from 1967 (11) the initial ‘melodie material (dismissively called. “tunes’) is perfunctorily statec at the beginning of each piece, even more perfunctorily recalled at the end (and. some points in between), and is litle ‘more than a pretect for the explosions that intervene. In this playing, the fo- cus is very often on extended solossamnscx whose vituosc figuration cramatses ration and commansaton. One such forthelisterer the performers infox_mustion i the pianist Keith Tippett cain A cotemporny decenbed_ who wn involve fe ingri yler's playing ss “speaking in Gon atts Ouse 20) anel sons 0 rw AJ ou ay | ped Aes econ & tcngues” suggesting that histone chumplon it asa practise 23): his per Vi ientConposas outta | eaten theroemalDounds of sense are formarces (whether in solo oF in borin ihe WHrefchcratoce rane, | exceeded Testa to say thatasimilar groups) have for me been among the Apee(ungabuenoteymioemts | drama is payed out n more o ess ostsuccssul performances of open- (02) efor inainco, the Ae Bours srahataaiot igo graesisoatse pane | pedated forms, in the work of many structured improvised music that I detested aang ahs British improvicors —-totake two ex: haveexperienced, Another wasthe late falowed bya inact whichslices toa ant | amples, Evan Parker and Barry Guy. John Stevens who sadly clied while this ‘rion ofa specie echowen mint Thirdly, Omette Coleman's state- ection was being prepared. He formed Fee ee ee cei | ment that "you just have a certain the Spontaneous Music Ensemble enone Quek Sep Cine, Mn | Neu gpacamdyon ptwhat youl which pioneered fre improvisation in [ranhferTioehue iol) Madesoner | want in ie” (which entailed the rejec- thelate 1950s and continued with vari- {Geo andtopano eroptonsana Paul tion of the structural building blocks ous personnel until his death. At the “amos in cginn}C, Aro | inherited rom he jez raditon except same imehehas remained very active eveticivecamrlewchiemere "| gy one possible stavting point among in free azz Seyeiremnddoytdenmoss how | O05 Pedscen ena by evans Another is Tovor Wate, founder Tristan Fomsngesin Bein fom ew. | OusChicegogroupswhich culminated __memberof Spontaneous Music Enser- qabjcamee heroorbon cy) inthe formation in 963 the Art Bax ble who, however, setup pale Hin Walt anda Vascoveus naieved | semble of Chicago (12). Thelt musle group (Amalgam) to concentrate on Sreerctson FEM Cadena in MT | Was open to many stykes, Othe int Jazz-orented mazeral and who has ele upYoeeseretyie | dctonofawiderangeofinstruments continued to work primarily in that sup terion (Bewtera Davo, Peer | from all parts of theworld, even tothe vein (22). ‘Cusack and Terry Day) Quartz, 1961; Gestalt Et | interpolation of words into the music Occasionally the ictiom of free jazz rete 23 Far Prt Nhe, 459 textural device — music which has been combine on he same recoi- Wan may Wee rn toate ‘opened a whole area of performance. ing with more abstract textural explo- Toop. John Zorn and Tonie Marshall){rato, ‘The mixing and superimposition of ration as in work involving the 1986), ‘styles has yielded a rich vein of mate- saxophone player, John Lloyd, thedou- (2) brampes ae Live Wolumes Land ty | rial eversince:forexample, in muchof _ ble bass player, Gus Garside, and the the Ee Pest and with arc Nats teats ae Ba hrc Nate | the work of the groups of Misha drummer, Dive Fowler (23). The fact ee a Came”) | Mengettorg (13) and Maarton van that this unusual seggess that an icing yContacum wary | Rogteren Altona (14) in Holland, urofiial boundary has bean daven Srstinepmoanmoansn} yen | Codora (6) n America and mush of between ize bese onsinon ionic Mon pimojand Maro Nae Mates | Sieve Beresfords work n Britain (10). _ improvisation. Nenethelesa number Kets 0) ane Resound win ee | Tcetarn ths type of playing in the _ofindvidual uskianothvoughout the Hand toyota Gates | section Taking Liberties perce! havecronsed the boursary with acorns, 1980) ‘These clevelopments in jazz which ease: for instance, Paul Rutherford, (1 Seepaniculary TheAesbaicPvbriy | excited greatcontroversy atthe ime are Kenny Wheeler and Marcio Mattos, a8 ee ae ee ogo, | aessential partofthecontet in which well as those mentioned earlier. sat aeab Oucceseyeindude tnproven | freeimprovisation first developed. However, it would be quite mislead- Mor MusieSorAn Ocason (Bete Jounal Certainly ako, there has ever since ing to see azz. as an exclusive point of ‘OF Masi Etuention (1985) Yl? page 77165; | continued to be an exchange between reference for free improvisors during, {te esay ced i Nete and me unybished | Frae improvisation and the practice of _ the period under review. Even at the Shion pienltcer satticieNeSeuntts, | Musicwhich ismoredependent on the outset, Derek Bailey has described (24) eran gent nagcamint Neat ® | Tez tadiion (fr is harmon and aw te groups with which he As It Sefemete wcemieve | rythmie mater nl isumen- vel tin the ery 196 sep Inia {al and textural regularities) Eddie Hellweoke ith Tony Oxley and avin alt Rrcuan ntseientsst Seu! | Prgvon, for instance has boon active Bayar, then later inthe decade with writing pan-npenice | born Holuspatoramdsimcaitaly Music improvisstion Company aad one areca emacs | ‘eter groupe Weng soarminily i) Bportases is MUlc Enortla erro Ray Babbington (bse) (RCA, 1973)and a thejazz idiom (17), yet,alsohasarticu- aimingata form of improvisation free soning by the psp Amalgam (Keith Tppet “rover Watts, JohnStevens, Ker’ Carer bass Lindsay Coopers) and Tec Quay (ong) lated better than virtually anyone else fromany inherited idiom whetherit be the values inherent in free improvis- the “tension and release’ my upon calle Inoration Tangent, 973). tion (18). Hehas belonged throughout which scalarand arpeggio patterns are (2i) Recents Mujean U(piznosols) | itshistory toAMM, a group which has based”, or “playing the pulse” or (MPReves, 1985) nd siuy-stx hates Or | in my view —a view I hope to justify shared modal material. AS he says, Tee ee ne vineaaa. | laterinthe essay (19)—explored more “much of our language was arrived at hho "Theeshealterccacangateewin | coherently than any otherthe potential by the exclusion of elements wedid not pre-cicived capoitioncesponancous | of fee improvisation want” Of Music Improvisation Com- empostos tal inproriaton Both apart (Other musicians have worked pri- pany (which for most ofits history con- ctuncconplcerae Andyanvraore | marly ina iz om, bat have con- sisted of Bailey, Evan Parker, Hugh sistently emphasised the special viues Davies and Jamie Muir and in its last ‘incur bangim eo pperton we beamudeincivially or olectiey” ‘of impeovisation asa means of inspi- year, Christine Jofitey) he says it was eeARURRERNECE (2) King i Onna Uthang 885) Xing Othe comprise Wang ati Ear Hie, Pat tyon, Ragu Malt, Guo Mazen, NovberMisang ane Sctnede, PMI ‘Wichaannand Aled Simmedin (3) Thetwo compotion ae elured on he sae cee ne by Were 9 {i tactennaan my inhonoke Kontaadens que on theclareno thi recor“ sad hes ot er plced treet sno unter esse ofpatislar seul applatons but © tezumere te eu ofthe performer sactons tok psn ere certah masta ‘alcondione ad etances= {2 Since King Ov scot ha 30 sleet oon (mt weet 3) Ince inte to eer cnet paso eactenwhih ight of eours be Fopete ty fhe permer Bat as ade cer ttre at emngtogo beyond Pep ne Cen (Emanom, 1986), (3A eon hy Wer nt wae ‘bse by Miscophonin 7s The decrerote sept propaamenotet atin eon (9) Se Ede Pesos comment in “The Acti Preny OF ypovnon (Note carry @ strong emotional charge The comparisons between these two te- cordingsillustrates well how anew di- rection was gradually formulated outsice the constraints of the jazz ‘idiom. 1 would now like to establish a more general point about the artistic value of thefinestimprovised musicin the period since 1955. My comments are encouraged by (but not dependent upon) the analysis of Part Three, and form a preparation for the historical sketch which follows, Atthisjuncture,itishelpfal to move forward to later work but would con- tend that the points T wish to make could be equally well established from performances eatlies in the period, (b) Formed And Unformed First, let me take as examples the re- cording issued bya group ofEuropean musicians, King Obi, in 1984 (29) and two compositions of Helmut Lachenmann, Kontrakadenz (1970-71) and Accanto (1975-76) (30). Suppose you turnecion the radio to hear one of these two records without knowing which. Suppose also that you. ignored ene obvious (and for this pur- poscirrelevant difference betwoen the two:namely, that it would take an im- provising group of superhuman speed nd precision of reaction to produce surfaces to approach the complexity of Lachenmann’s works. Consider the audible, musical proc- esses to which the two recordings ap- pear to invite attention. First, an ‘openness toallsounds, witha particu- Jar attention to sounds which the ear would normally discriminate against as unformed, unmusical (31). Secondly, an interest in communicating tothe lis- tener the processes by which the ‘unformed’ develops into the“formed’, tho recognisable, the quotable and (i the case of Lachenmann's use of Mozart's Clarinet Concerto) the al- ready eanonised. Thiedly,a pleasure, at times ironic, in the ability to construct mechanisms or gestures which yoke together the ‘formed’ and the ‘unformed’; thus gestural combina- tionsare achieved which, because they come from no recognisable emotional hinterland, canhavequitea shattering emotive force. Fourthly, (and hardly surprising in view of heother elements ‘we have identified) both musics show a comparative open-endeciness of form @. T would contend that all these elo. _menis arecommon to the mesical pur. pose of the music on both recordings. Yet, one recordings completely impro- vised (by a group of players admitedly ‘witha considerable experience of play ing together), the other is exhaustively composed by one person. This drama of ‘formed’ and ‘unformed’ (to which I shall return at various points in the essay) is vividly brought out in Paul Rutherford’ 1e- cording of solo trombone improvisa- tions The Gentle Harm Of The Bourgeoisie (38). This recoreing con- tains extracts from live performances at the Unity Theatre in 1974. To my mind, thisdimmatic process is truly the centre of these remarkable perform- ances. Because the process is necesse iy dramatised through the body of one performer and becatuse Rutherfora’s skilland extended techniquealiow the listener to hear, or appear to hear, the relation between the few convention- ally produced notes and phrases and an underlying ‘struggle’ which seems togive rise to them, Rutherford isable toheighten thisdrama with exceptonal clarity and wit. The pieces are like a vast stammer in which the meaning, and worth of any ‘well-formed’ ges- tures which do emerge are constantly uncertain, Tein surely not oo far-fetched (leav- ingaside, admittedly, major eifferences inthe method of production and elabo- ration of execution) to see a parallel here to Brian Ferneyhough’s explora- tion of theroleof the performer in Time ‘And Motion Study Il for vocalising cellist and electronics (34). Ferneyhough, in his programme note for a performance at the 1972 Donaueschingen Festival, states that: “In contrast to the wstal view of a ‘work that which is heard is to be un- derstood as the ‘sounding trace’, the spoor, of the mechanisms for which it stands... Thus it i intended that not ‘only the experiential time of the per- formance itself but also the ‘ceal time” involved in the actof composition is © act as the measure of significance, One has to dig out, analyse, project back. Whilst thework inno sense can besaid to be improvisational, neither for the cellist nor for the cperators oF the elec- tronic equipment whose work must be co-ordinated with his, the fact that the piece resists being relegated to the sta- tus of the product of something static, leads to it being transformed into a symbol for something provisional. i fortho conception of the self suspended in every moment betwaen decay and consolidation.” Ferneyhough’s pioce ee ern eeRUBBERNECKT Derek Ba (22) Forinstame, With One oiceby Ns large group MolreMsie(ARC, 188), 103) Pentimente acute sendin 1ARby (Gus Gaside Couble bas) Jon Lloyd s30- hoe) and Dave Power (ums), Caside is aso very active in promoting the ehicof ‘esprovsaton in eduratonaletings. (28 Baile, pages IG. For Inter and intestigly ferent nyc otnsing part fom the dictate of aya soe Roger Turners ‘oments (quoted inthe RE Recon Quirteriy LJaniary 1985 issued bythe recor dstrbutoe Recommended Reords) “Personally ott i energy a8 conviction notenssgy as pee /Semeiy Lalweays ty tind the Fest no ‘ater what. bu‘enjy aso enanning the fevond- These aria of explorations oe ich tnowetopetar amet th confinement of asiyie” (25) Iehnos with Kenny Whoeler (eumpet and Bugelbre), Ba Parker (x), Derk Tale (uit), Pau! Rutherford (uombone) and ary Gay (bas) IKEA, 979. (26) Pere Bouter Conversations With 12 Delinge, Lendon, 1976. (22) To ake a nom sleton Keith Tipp’ we of epeive pane figures echoing ‘ery Rey and the emosveuse of glean by ‘many player (tings wendand brass lustamants) which sey eve frat nthe ‘us 0! Sockiawsen Hymace), Ferrey ough (Guck athe Sonate For Sting Quast), Xenakis thi pice for steingorenesra, hahaa) fn Ligeti’ Reaiem (¢8) sted by Ines involved in “a continuation of the search fora styleless uncommitted area in which to work.” This was reflected in its personnel. While Bailey and Parker were jazz. trained, the back- grounds of Davies and Mulr were re- spectively classical and rock Atthesame time, aconsiderablede- sgreeof commen ground with the recent history of avant-garde chasical music vas explicitly recognised by periorm- ers, Bailey studied and transcribed ‘works of Webern; Hugh Davies wasan assistant of Stockhausen: Tony Oxley ‘used graphie scores of the sort devel- ‘oped in theclassicalavant-garde—for instance, for his 1971 record Ichnos (25) Derek Bailey's rejection of the ‘ten- sion andl release’ myth embedded in teacitional harmony, bears en interest- ingand ironie resemblance to Boulez’s disparaging comments on improvisa- tonite “Improvisation, and especially im- provisition where there is @ degree of sympathy between individual mem- bers, always follows the same curveof intervention: excitement, relaxation.” 25) Both are acutely awareofwhat they see as the traps of easy reaction, what Bailey calls “a facile vacuous type of improvisation.” Atthesame time, Stockhausen’ ex- Periments in intuitive music were widely known. Comelius Cardew’s ‘compositions showed an acute appre- ciation ofthe role ofthe performer and how itmight be extenced (fr instance, in the composition Octet 61 For Jasper Johns and the accompanying notes). Cartew’sapproach was more practical, less mystical, than Stockhausen’s. In the course of looking for musicians to play his Treatise he becamea member of AMM; he proceeded to found the Scratch Orchestra, an organisational and conceptual tourde force, whose con- stitution (published in the Musical ‘Times in 1968) put forward a radical and confident new direction for avant- garde music in which improvisation ‘was attho conte. Both jazz and the classical avant- garde were of crucial importancein the bith of freeimprovisation; indeed the increasing instability of form which each displayed stimulated a search for a new muskal territory beyond obvi- ous stylistic categories. Not surpris- ingly, the influence of jazz and the classical avant-garde can be heard in improvisation throughout the period under review here; tracing this exhaus- tively would be pointiss although it is worth emphasising that classical in- fluences have often passed ‘unremarked (27). "The first point to grasp about free improvisation is thet i i a hybrid of both jazz and classical traditions. That An tself perhaps makes it interesting, Before leaving the question of ori- gins, itis worth remarking one way in which jazz did influence even those improvisors who sought a styleless area of music ‘The influence is largely vestigial, a fingerprint visible in the way that in some early group playing playerscon- ccentrate almost exclusively on thei tation of the line and shapo of each ‘other's contributions; the imitation of melodic line and phrase shape was an ‘obvious area to explore for players whose jazz training would have 1e- red the improvising of melodiclines n accordance with certain rules. The presence of jazz, I would argue, can be felt also through the sheer effort by ‘which certain types of material or in- stinctive responseare excluded, The im- provisations on the record Karyobin (10) areevidence ofthis Perhaps as the result both of the strength of this de- sire 0 exclude and the practical difi- culties of achieving complex and virtually simultaneous imitation of ‘melodic linein a large group. there isa hltingquality,a curiots habit of paus- {ng between phrases, like a diver con stantly coming up for air Moro successful, in my view, and more open in its imaginative implica tions is one of the few recorsings left Of the work of Music Improvisation Company (28). Here in the smaller group, theres far greater variety oF tex- ‘ure: Muir's kit was much more exten- sive than Stevens’; Hugh Davies’ constructed electronic instruments were capable of a wide variety of ef fests ranging from the obviousiy tonal to the untuned. Percussion and elec- tronics were able o integrate more ef- fectively into the musical development of tho group as a whole, whose focus shifted From an exelusive concentration on Tine and phrasing to.an exploration of texture. An elaborate weaving of lines along one dimension is rephiced by layering or overlapping of incle- pendently developed materia, As with Karyobin, covious emotive climaxes are avoided but not at the expense of ‘emotion. It is @ great achievement of this music that through processes as subtle as thickenings of texture and barely identifiable quickenings of inter action, musical events occur whichRUNBENEC (46) Ferneynough’s prestmably detiberate choot theteriology’ of Jegues Detida ay tuggmt aecopecinn os tony rice of “immediacy” or‘communican’ ard Lam nok scokingto deny that thre areaveas of doubt he where sceptcsny should havepley! Tam merely considering. howeve; aquestion of ‘elave aristcmenns not ay sch ulate ‘metaphyseal wort wong that simular concern to those of Ferneyhoughh ate und inthe worker tho group of Aarican isis, Memon, who tac itil Jmprovised musi fas wll as other sours) and bet toa large numberof ding andotber tanormators: ae the aide by one oftheir ‘enbers, Bl Sharp, he eon ofthe Re Records Quasteny rier it Note24 As Sharp pts "Oe challenge lot #y and ewe omect equality ofthit metamorphosis inact, {nthe erd-procuctnorcerthatou listeners too nay have sense of theac of compesitin by lineringseetvely and critealy te the varcus ‘movements and elements within the sure: n fac by Istening os cnpsrs)”Tnprowsaton nly a exbeidte eopect of Moemonias work (or instance, Honda Bcominonad Raced, 1582) but I quo Shagp to iste further tat Terneyhough’ sconces areby a0 moins the monapaly ofthe cassical compose. (CP) lmakeno apeloges forthe use ofthe label ‘Brish fe atpovisatio. The cojeions tore obsiouy etka nln oteporia or ‘Sarecizisiestrenottmeninghal tre Bala ‘rographica labels probably ro less use than anyother theconext of general ing, oflsues such as this and as weshal se there Isin ct quite #12 that ould bes to be ftigtie boxe a Bat appro (05) Torexanpe Tory Onley conent on he early collaboration wih Dest Bley and Gavin ye "Wedereloped acoictve langage Nota conscious, actcsased language bat sepby-step eachstep bya differnt person ~avymbictic hing” (Balle, page 105, CComlus Caraewesait orn "seit Misc” ‘Oat it aaa meted of uniinga gop o! peopl” (Seratch Mune, Mason Boyar, page io Inns been the subject of bitter criticism from the perspective of a performer (65), Yet, this commentary is of great interest, notjust for its seeming (possi- biy unwitting) acknowledgement that improvisation might have something to contribute to the issues with which itis concerned. In his resistance to the recorded piece “being relegated to the status of a product,” Ferneyhoush, from his own perspective as a com- poser of exceptionally subtleinilection, has well expressed a resistance which many improvisors have falt tobe cen- tral to their own work. Femeyhough combines this with an intense aware- ness of the method of production of ‘musical material, which again is shared by some improvisors. ‘One fundamental difference, of ‘course, between Femeyhough’s com- position and Rutherford's improvisa- tion is that the latter as an improvisation cannot refer to some anterior process for validation and must display both process and prod- uct on the same continuous musical surface. Any digging back’ is necessar- ily carried out in the real time of per- formance, there being no score. Butthat does not mean that theabil- ity ofimprovised music toprovoke and stimulate is diminished. [ts peshaps an interesting exercise of thought to consider which isthe more appropti- aie means of musical production: ¢ per- formance which can cramatise ‘complex issues on its surface without requiring a vast reproductive appara- ‘us;and a composition which, in addi- tion to its controversial means of {re)production is required toposita ls- faxerwhomustre-imagine the realtime process of composition itseli, working back from an immediate presentation which is acknowledged to be no more than a “trace” (36) ‘Making such a comparison, how- ‘vor, runscountertoa very widespread assumption:that anotaied composition is somehow ‘more serious’ or ‘doeper’ ‘han an improviation which is spon taneously produced, yeton thebasisof years practice and pesformance. This assumption is part of the hierarchical mode of thinking isolated in Part Three. Forthe moment, will proceed with ahistorical sketch of British improvi- sation in the pericd 1965-1990 without dlivelling on thoseabstractissues which are tangled as we shall see. My own perspective is that ofa Iis- tener and a performer; therefore, itis necessarily personal. However, I will attempt to articulate what apprehend, asthe various perspectives which other performers have adopted. In the ab- ‘sence of any explicit ‘tradition’ or any significant body of critical discussion, Iseenootherway in which toapproach an understanding of this music. My personal taste is, of course, of second ary importance. As more fundamental issues emerge in the course of the de- scription, I will make explicit my own beliefs, but this s in an attempt t avoid misunderstanding and stimulate dis- ‘cussion rather than to pass judgement (@ Eight Lines of Perspective Whose Voice? Acdismissal of empty individualise an appreciation of values of collective covery is a major theme from the be- ‘innings of British free improvisation G7) and a few musicians would, | im- agine, seek to deny it (38).At the most besic practical level, the absence of a set of prior instructions makes detailed. co-operation essential for successful improvisation. However, general statements of value are one thing and the musical detail is anovher. In broad terms, one can distinguish in group improvisi tions first a type of music, which for convenience I shall label the Parallel Voices approach, whose preference is for ench instrumental yoke to be not just a colouring but an unmistakable and more or less continuous dlirestion. Of its own. Each voice is that of an in- strumental virtuoso, Each line of devel- ‘opment aims to have such energy and propulsion that the listener has the choice, at least in theory, of following that line alone as a perspective on the music. Asa result, when lines coalesce ormerge, this is sensed asa triumph of individual skill, a ‘special moment’ rather than the basic modus operandi of the music By contrast much other group im- provisation appears to start from acon- ‘com that, atthe level of each “gosturo! ‘or ‘moment, all elements (texture, movement andl, if present, pitch) are United as one group gesture. [label this the Group Voice approach. As gestures succeed! or overlap each other, the aim is to achieve completely natural flow ‘without relying onone or more players appearing todriveit forward individu- ally, In general, this type of music avoids any individual interventions which woulddisruptthesubte balance within each gesture or the flow be- tween them. It demands extraordinar-Jo RUBBERNECK, ily swift and welltiteced contribue groups (45);and the improvisations of tions from each player King Obi described above. In such ‘This contrast isnot intended as an playing, each player’s gestures tend to absolute one; theres inevitably over- be bret, allowing space for immediate lap between the two. Indeed, an ‘comment’ by others ancl often requit- quay vali tutdiferentcontrestcould ing ‘comment’ in order to have any be mecle between the Parallel Voices impactatall, Grand gestures orhetri approach and the method of plying cal statements from individuals are which AMM hasevolved. Thelatteris avoided. Thereare barely any recognis- concemedl less with the intricacy ofin- able solo’ contributions. terplay atthelevelofphrases andmore This approach cannot be explained with the construction over time of 2 asa ‘later’ development than the Par- widersonicervironmentinwhich any allel Voices approach. tis implicit to | one playor's virtuosic claim for atton- some degree in the early recording of tion loses its force. I deal with this in Spantanoous Music Ensemble dis- more detail later. ccuscadaclir, and alsoin 1973 record. Twould takeasexamplesofthe Par ing involving Phil Wachsmann, Radu sllet Voices approach theplayingof the Malfatti and others (46). longest established British free From the perspective of thelistener Improvisors: Evan Parker, Derek Bai- this music can be dificult Ifthegeoup’s ley, Barry Guy. All have amply dem- playing is not successfully unified, strated in solo work the ability to there are no virtuosic individual con develop music which spans ong peri- tributions on which to focus. In this ‘eds while maintainingconsistency and respect, it differs radically from much direction (39).Group playing to which jazz. This is certainly not improvised they contribute frequently reflects this: music which could be compared to a each individual’s contribution is painting which the painter stands strongly inflected and highly elaborate, alongside every time we look at it, leadingat te grouplevelto interaction Cavin Bryars’ pejorative description of cf often extravagant cmateness, even improvised music (47) wildness, A fine example of this type When, however, it stcveeds, the re- cfplaying mightbeSupersession (0), sult ienota lack of characterisation but a live recording of a 1984 concert by asubtlety and complexity of characteri- Evan Parker Barry Guy, EddiePrévost sation, a multiplicity of voices con. and Keith Rowe. It is particularly in- stantly running into each other anc teresting because it involves two play- transforming into other voices; this ers Prévostand Rowe) who develop a surely represents. collective vietwosity cifferentapproach w groupphyingin of great power. In this respect, the AMM, Another example would be the Group Voice approach might be seen uo between Anthony Braxion and as the continuation on a group level of Derek Bailey recorded in Canada in the exploration of interior voices that 1988 41), Inthis recording, despite the (as we shall see) is a major feature of players’ remarkable ability to speak much improvising in Britain including With thesame voeatcerainmoments that by proponents of parallelism. orinstance atthe start of the record), What intially stated asa contrast can much of theplayingleaves mewith the therefore perhaps be analysed as the mio (9)Sonect Nissalowsrkwitbemere | impression of two Voices which speak development of the same aesthetic im fait considera tow together fora time without attempting pulse ata diferent love sane DI are ‘by Matchless Recordings: to achieve a common statement. This. The issue is, in fact, more complex esa coisdmaconanigionntonion | j vor meconarly a catcome indeed, sl, Deyend the ecopeo! the compar- {ét) Moment tite (co, 9. thissense of uncompromised individws. son developed oo far in thie section ie {2) concede (Ac, 58) ality sone ofthe besutiesoftherecord- the approach which I will Inbel styl {News From These, (Ace, 19, | ing? mixing and describein detailin the sec- soln An The entre “Among specific examples of the ton Taking Liberties. Steve Beresford (zn ahe pavers weWienat ve) Group olceapproacht wouldincluse is Brkish Improvisor particularly as- Filgh Mata gute and aor the recent work of the trio of John sociated with it It combines an anti- ()Forexample, Bisystem, (revs, 97. | Butcher, John KussellandPhil Durrant, virtuosic approach to individual Taphlanes ace Joun stenens Nige Coombes, | Conceits(42), the workof the same trio playing and the constant changing of (eh tere tea tee ale with Radu Malfeti and Paul Lovens, style and direction atthe group evel, "ae atance (es 1979 on whch ite |News From The Shed (43); the werk 50 thatthe listener is denial the oppor. layers were Pil Wachsmaan, Colin Woed, ‘ofagroup combining Tony Oxley and tunity to trace a consistent line of Reclu Malfatti, lan Brighton (guitar) and Frask | Phil Wachsmann and others, The thought or expression (a ‘voice’ in other Fa umcaniran | lier AndThe Grinder(0)michoF word) trough the pece sat etter commerrnnations | Coa onne he miaioeeoFioin Lenow bacenes dan thal fig, yop Stevens’ various free improvising axis of comparison which Thave cho- eloviginal photo: Philip awande (48)SeeKeth Pots, Free Inprovisaton — Review" in Contac No, 21, Autumn 158) prgest8.2, {U9 ction (eas 1977) (G0) Stove Borat Fale To Stove Lake At ‘Seve Beresor’s Fat On Apel ty publied in Musics No 14 (tober 197), page 15 {) Jol Rasel can behead loon jent cont With Richa Coleman, Homecooking. ‘And Rian Coleman (nics 30), The recor Gates fom 1978 ad is stonglyinfhcnced by rok Biles eent ar nor erga sivlets demonstrated on Conca tn News Fm The Shed (Notes 2 and respectively), gen resolves nothing and merely high- lights deeper differences, Its multiple connections with the Issue of virtues lty are equally clear and I now turn to thisissue, Virtuosity When moving along the first axis of comparison, we found virtuosity on both sides butin different guises: first the individual virtuosic voice and sec- ‘onda group virtuosity of elaborate in- teraction, In one way, the second type of virtuosity ismore subtle in its effect. since for its appreciation it requires the listener to pay close attention to how the performance is being put together. It remains, nonetheless, virtuosity in tho sense of a highly developed skill hich the listener is meant to appreci- Virtuosity is without doubt an issue of contention among, improvisors: in the survey of improvisors from which I quoted above (10), ane of the ques- tions was the value or necessity of vir- tuosity. No consensus seemed to emerge, and as we shall see this lack of agreement is amply demonstrated by ‘musical example. I think one can dls- cematleastfour approaches to this is- First, [ would distinguish players who have developed extended tech- niques on conventional instruments Which can strike awe in those with a technical knowledge of the instrument, and even (in the case of Evan Parker’ gravity-defying method of multiple Voicing on the saxophone) in any lay person who cares to listen. In adcition toEvan Parker, Derek Bailey, Barry Guy and Paul Rutherfordare obvious exam- ples of players with such extended techn Such virtuosity may in part have provoked a second, or anti-virtuosic approach. Thestory ofhow the pianist and multi-instrumentalist, Steve Beresford, wasostracised by some per- formers at Company Week in 1977 (Derek Bailey's annual gathering of improvisore of differont persuasions) because his approach to his insteument) and his technique was insufficiently serious (48) may be more rumour than fact, but it indicates at least that very real differences of ap proach existed among improvisors at this time. Nonetheless, at this time Beresford may well have found some support. More than one recording of Company Week 1977 was issued by Incus Records, the recording label ‘which Evan Parker and Derek Bailey UBBERNECK 11 jointly founded, and on the record wivere Beresford appears (49) he is joined by, among ethers, Misha Mengelberg Mengelberg whose ironic use of viriesie display out of context and whose disclaimer (not pertaps to be taken 100 seriously) of his own tn- strumental ability has something in commen with Beresfords. Beresford. himself said that he wanted his play- ing to encompass both the totaly con- trolled and the totally uncontrolled @, This is not only a question of att- tudetoa particularinstrument,oreven an unconcerned useof many different instruments without technique. Beresford and others have aiso fro- quently chosen instruments which by their very nature exclude the post! ity of any great show of dexterity; toy panos, for instance (activated a3 eas- ily by the footas by thehhandl), machin- ‘ery af various sorts which néeds only tobestarted notcontinuously ‘played’, flutes or whistles with which anyone could makea noise; even (byextersion of the same idea) the casual use of the performer's voice inthe course of im- provisation. The third approach distances itself from virtuosity more subti. Someper- formers use sound sources which are not physically difficult to activate, yet roquire considerable imagination and application todisevver. Forexample, the guitarist John Ruscell (encountered before for his playing with John Butcher and Phil Duran’) frequently in performance wetsa finger and rubs iron the body of the guitar, bck and front (61), Provided itcan be heard (and. it is surprisingly penetrating) it can produce beautiful and varied sounds, and yetatthe same time isa subleway of rejecting any virtuosic pretensions. Indeed John Russell’s entire method of playing, which I greatlyacmire, avoids received techniques of harmonic or rhythmic developmentaltogether.and focuses primarily on various ways of making the strings sound without strong harmonic implication, through scraping, clutching and releasing, or picking, Ruocellhas developed an individual voice, achieved through constant con- tact with his instrument and its wider possibilities, This is virtuosity in a sense, but a looser sense than is nor ‘mally used since it implies no agreed. dlfinition of skill as its reference point. ‘This approach is democratic in its {mplicatiens: in other words, there aze less constraints on adopting it and de-