Philip Gibbs, Roy Campbell, Paul Dunmall, Daniel Carter, Paul Rogers, William Parker, Hamid Drake
Blown Away
2007 - DUNS Limited Edition: DLE 053 
http://www.mindyourownmusic.co.uk/ 
http://www.efi.group.shef.ac.uk/labels/duns/cduns.html

* Philip Gibbs: guitar
* Roy Campbell: trumpet, flute
* Paul Dunmall: tenor saxophone
* Daniel Carter: alto saxophone, trumpet, flute
* Paul Rogers: 7-string bass
* William Parker: double bass, shenai
* Hamid Drake: drums
 
http://www.philgibbsmusic.com/ 
http://en.wikipedia.org/wiki/Roy_Campbell,_Jr. 
http://en.wikipedia.org/wiki/Paul_Dunmall 
http://en.wikipedia.org/wiki/Daniel_Carter_%28musician%29 
http://www.allmusic.com/artist/paul-rogers-mn0000026567 
http://www.musicofwilliamparker.com/ 
http://en.wikipedia.org/wiki/Hamid_Drake

Recorded at The Sage, Gateshead, England, UK, 16 October 2006.
Recording, mixing and CD duplication by Chris Trent.


Review
~~~~~~

By Stef 
http://www.freejazzblog.org/2008/02/gibbscampbelldunmallcarterrogersparkerd.html

"Gibbs, Campbell, Dunmall, Carter, Rogers, Parker & Drake" may sound like the
name of a law firm, but it isn't. It's a collection of some of the best free
jazz improvisors from the US and Europe. Here is the band : Paul Dunmall, tenor
saxophone; Philip Gibbs, guitar; Roy Campbell, trumpet, flute; Daniel Carter,
alto saxophone, trumpet, flute; Paul Rogers, 7-string bass; William Parker,
bass, shenai; Hamid Drake, drums. So, in sum, it's Other Dimensions In Music
from the US, meets the Dunmall/Gibbs/Rogers trio from the UK, in essence two
totally different bands with each their own style and approach. Other
Dimensions In Music usually brings slow contemplative pure free jazz
improvization, but with an exceptionally deep emotional
component. Dunmall/Gibbs/Rogers are more "European", closer to free improv than
free jazz at times. But with two such bands you can expect anything, with
things potentially moving either way : total chaos because the mix doesn't
take, or a great success. And it is the latter. Mainly because of the concept
of the album. On the first CD, only 1 of the 6 tracks is played by the full two
bands, but even if that is the case, this is not a blowing session, but rather
a focused and respectful interaction, at times even offering an chamber-jazz
feel, sensitive and elegant. The second CD brings the fourty-minute title track
"Blown Away". And whatever the line-up, the music is great. Parker and Rogers
seem to enjoy the interplay the most, having fun alternating arco and pizzi. On
"Eye Miles" the whole band slows down for the two basses to play a duet, on the
following track "Eel Miles", the basses circle around each other, tentatively,
hesitantly, with Phil Gibbs' guitar adding shadows of sound, colors of
intensity, sounding as deep and low-toned as the basses. On "Franticle",
Dunmall plays for a change with the best rhythm section in the world, and you
cannot but admire how both Parker and Drake together respond to Dunmall's
great, but idiosyncratic tenor-playing. He can be a fierce and even violent
blower, but not here, quite the contrary; his warm tone and creative style are
all his own, regardless of the power he pushes out of his lungs. In that sense,
the next track, "Sparticle", with Roy Campbell, Phil Gibbs and William Parker,
continues in the same vein : great free soloing with a solid yet equally free
bass and guitar rumbling in the background. What a pleasure to hear such great
musicians at work. In the next piece, a slow and intimate free ballad (if that
exists), Rogers and Drake are the rhythm section, first with Campbell on flute
and Carter on trumpet, then later with the two trumpets until Carter picks up
his sax. The subdued high intensity playing continues on the second disc, with
wonderful interaction and alternation between the musicians, and it's
absolutely rare that they're all playing together, it's rather a band of
musicians selecting a short time sparring partner, or just doing a solo dance,
or with two or three, then one of those goes on with someone else, just blowing
away, free and unencumbered, ready for anything, open to initiatives and
surprises. About halfway, the controlled and restrained tense calmness erupts
into a total frenetic agony of all musicians playing together, with Parker's
chenai competing in sound with Dunmall absent bagpipes, indeed just "blowing
away", but not for long, because once they establish a common focus, the music
becomes astonishingly beautiful, with Campbell playing a sad and melancholy
solo to make Chet Baker jealous, and Rogers' 7-string bass comment is even more
impressive, mixing in a more classical element, but then we move back into more
experimental formats, equally strong, with Dunmall bringing the music back to a
close harmony for a single tone of restrained tension. And I think that's the
major achievement of this double-CD : all musicians without exception are
masters of their instrument, but also of music itself, creating more than 100
minutes of emotional tension and surprises, creating something new, creating a
new listening experience. Highly recommended.

Why does such music remain unnoticed?