Editor's Note: Despite having the same name -- a fact which apparently confused a number of online retailers -- this Space isn't the same Space that released an album called Spiders, which spawned the minor radio hit "Female of the Species" a few years ago. And for the record, I thought Irving liked sax-based free improv.
Now don't get me wrong, Splendid's supreme being and ever-diligent editor George is a fine human being; he's nice to unknown bands and he once he even saved a kitten from the jaws of a rabid donkey. But occasionally he does something like send me seventeen CDs full of sax-based free improv music, and as a result I occasionally want to feed him to a bear. Not that there's anything wrong with a) saxophones or b) free improv, but come on, we've all got our limits (mine is three, apparently). So. This was a trying week.
But now that I'm finished whining (HA! - Ed.), let me say that if you're going to make free improv music involving saxophones, you might as well be a total freak about it. And putting Roscoe Mitchell, Thomas Buckner and Gerald Oshita in a room together is as good a way as any to ensure a high level of freakiness. Roscoe Mitchell is one of Creative Music's granddaddies, having had a hand in the establishment of both the Association for the Advancement of Creative Musicians (AACM) and the legendary Art Ensemble of Chicago. He plays about a zillion instruments; here, he plays a variety of saxes and clarinets. Thomas Buckner is an extended voice guy, best known for his work in Robert Ashley's many incredibly lovely and weird operas (http://www.lovely.com). In addition to his involvement in Ashley's work, Buckner has long been a champion of experimental composers, often commissioning and performing new works. The late Gerald Oshita was a Bay Area reed player and composer. He plays saxes, contrabass sarrusaphone and "conn-o-sax" on these pieces.
This two disc set is a reissue of two records originally released in the early 1980s by 1750 Arch Records. New Music for Woodwinds and Voice includes two compositions each from Mitchell and Oshita. Although they're composed works, there's still a fair amount of improvisation involved. An Interesting Breakfast Conversation has seven fully improvised tracks. Both discs are excellent; the improvisations are full of raw energy and tremendous creativity, and are always interesting enough to hold your attention for the duration. One of the most striking aspects of these discs is their use of the wide pitch range afforded the musicians by the variety of instruments they play; from the lowest of low rumbles to the highest of squeals, there's usually something interesting going on no matter where you aim your ears. And for those of you who might be frightened by the prospect of two CDs full of "extended voice", not to worry. Buckner doesn't have the greatest voice in the world, but he's quite musical with what he has, and never once does he start reciting poetry.
About the only negative thing I have to say about these discs is that the sound is sometimes a little iffy -- it breaks up and distorts at several points. But in the face of this much creative and sonic energy, that's not so surprising! That's just a quibble though; this is an impressive, memorable release. I promise never to question my editor's wisdom again.
Editor's Note: The last sentence of the previous paragraph was not part of the original review, but we know that's what Irving was thinking.
