COMPLICITÉ
Taylor / Crispell / Plimley / Oswald
Preis / Price : € 38,35
Bestell-Nr. / Purchase Order No. : VICTO CD 074 / 075 / 076
  Warenkorb
  CD 074  
Paul Plimley piano
John Oswald alto saxophone
   
1
Won (John Oswald/SOCAN) 10:09
2
To (Plimley/Oswald) 06:43
3
Toon (Plimley/Oswald) 05:11
4
Free (Plimley/Oswald) 10:11
5
Foremost (Paul Plimley/SOCAN) 09:14
   
 
  CD 075  
Marilyn Crispell piano
   
1
Prayer (Mitchell Weiss/BMI) 05:33
2
Triplos Part I (Marilyn Crispell/BMI) 14:36
3
Gesture Without Plot (A. Peacock) 09:24
4
Paris (Mitchell Weiss/BMI) 09:38
5
Triplos Part II.a (M. Crispell/BMI) 06:15
6
Silence (Marilyn Crispell/BMI) 02:40
7
Triplos Part II.b (M. Crispell/BMI) 03:49
8
Not (Anders Jormin/STIM) 01:27
9
Triplos Part II.c (M. Crispell/BMI) 05:06
   
   
  CD 076  
Cecil Taylor piano
 
1
Congress 34:45
2
Meaning 16:29
3
For Folk 04:30
4
James 06:46
5
Gone 01:44
   
  All compositions by Cecil Taylor (Unit Core Music Corp./BMI)  
   


The three concerts were recorded on Mai 22, 2000 by Pierre Plante and Pierre Léger @ the 17th ´Festival International de Musique Actuelle de Victoriaville´.

Editing: Denis Frenette
Artwork: Julien Babin (Complicité, 1998, 114 x 81 cm)
Photos: Martin Morisette
Produced by Michel Levasseur

© Les Disques Victo / Les Éditions VICTORIAVILLE (Canada)

 
First release date: 2001
 

Of Trees, Limbs and Springs
Three pianists - Cecil Taylor, Marilyn Crispell and Paul Plimley - and the alto saxist John Oswald - gathered to play, in a triple-header that meandered blissfully and chaotically, and showed us a vision of measured abandon. Freedom rang out, amidst floating bits of structure and melody, and it also stretched out over three hours (which seemed like less, a sign that music is working, and time is artfully subverted). And it´s a very good thing, indeed, that it is now captured for posterity on a recording. The occasion turned out, through serendipitous circumstances, to be festive, and also historic.
COMPLICITÉ was surely in this house, this evening. Obviously, an intensely personal expression is involved in the work of solo improvisers on this high of an order. Yet there is also a negation of the usual musical hierarchies which makes this music so brimming with a kind of idealism, unveiled in very real time. What happened in Victoriaville that night, in a temporarily re-functioned hockey rink, was some kind of magic.

Josef Woodard, April 2001 (Booklet)



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