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Particles in Chattanooga, TN
Current price: $17.99
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In the waning years of his life, British
big band
leader and experimental composer
Basil Kirchin
saw three albums' worth of his previously unreleased works issued by the archival label
Trunk Records
: 1973's conceptual masterwork
Quantum
, 1968's
Charcoal Sketches/States of Mind
, and 1966's library music collection
Abstractions of the Industrial North
. Although
Kirchin
's health was failing during this era -- in the liner notes to
Particles
, he makes a point of thanking his medical team alongside his musical associates -- he was encouraged enough by the reception afforded to
Trunk
's archival releases to complete his final work,
. Released about two years after
's death in 2005,
is
's valedictory work, and the first of his
releases to take its inspiration from all phases of his lengthy and varied career.
is bracketed by two lengthy compositions,
"Bye Bye 1944"
and
"E + Me"
(dedicated to
's wife Esther and based on a tune she used to sing to her students when she worked with autistic children), rooted in
's days as a post-war
big-band
leader and one of the featured players in
Ted Heath
's famed outfit, arguably the best European
jazz
band of all time. Utterly charming contemporary
, these two pieces are the most immediately accessible work on
's
releases. In between them, the six-part
"Concept Suite"
featuring "the Atonals" finds
at his most overtly conceptual. According to his liner notes, these six pieces are based on tapes dating back to the '70s in which
surreptitiously recorded conversations in the studio control room and elsewhere, then transcribed those conversations as scores for various instruments. "The Atonals" of the title refers to the non-traditional sound of the lead instruments; especially on the sparse, scene-setting
"Secret Conversations Between Instruments,"
the rhythm, tempo, and fluidity of human conversation is mimicked uncannily well, making this one of the rare
free jazz
experiments that can be easily conceptually understood even by novices to the style. Overall,
is a fitting farewell to a beloved cult figure. ~ Stewart Mason
big band
leader and experimental composer
Basil Kirchin
saw three albums' worth of his previously unreleased works issued by the archival label
Trunk Records
: 1973's conceptual masterwork
Quantum
, 1968's
Charcoal Sketches/States of Mind
, and 1966's library music collection
Abstractions of the Industrial North
. Although
Kirchin
's health was failing during this era -- in the liner notes to
Particles
, he makes a point of thanking his medical team alongside his musical associates -- he was encouraged enough by the reception afforded to
Trunk
's archival releases to complete his final work,
. Released about two years after
's death in 2005,
is
's valedictory work, and the first of his
releases to take its inspiration from all phases of his lengthy and varied career.
is bracketed by two lengthy compositions,
"Bye Bye 1944"
and
"E + Me"
(dedicated to
's wife Esther and based on a tune she used to sing to her students when she worked with autistic children), rooted in
's days as a post-war
big-band
leader and one of the featured players in
Ted Heath
's famed outfit, arguably the best European
jazz
band of all time. Utterly charming contemporary
, these two pieces are the most immediately accessible work on
's
releases. In between them, the six-part
"Concept Suite"
featuring "the Atonals" finds
at his most overtly conceptual. According to his liner notes, these six pieces are based on tapes dating back to the '70s in which
surreptitiously recorded conversations in the studio control room and elsewhere, then transcribed those conversations as scores for various instruments. "The Atonals" of the title refers to the non-traditional sound of the lead instruments; especially on the sparse, scene-setting
"Secret Conversations Between Instruments,"
the rhythm, tempo, and fluidity of human conversation is mimicked uncannily well, making this one of the rare
free jazz
experiments that can be easily conceptually understood even by novices to the style. Overall,
is a fitting farewell to a beloved cult figure. ~ Stewart Mason
In the waning years of his life, British
big band
leader and experimental composer
Basil Kirchin
saw three albums' worth of his previously unreleased works issued by the archival label
Trunk Records
: 1973's conceptual masterwork
Quantum
, 1968's
Charcoal Sketches/States of Mind
, and 1966's library music collection
Abstractions of the Industrial North
. Although
Kirchin
's health was failing during this era -- in the liner notes to
Particles
, he makes a point of thanking his medical team alongside his musical associates -- he was encouraged enough by the reception afforded to
Trunk
's archival releases to complete his final work,
. Released about two years after
's death in 2005,
is
's valedictory work, and the first of his
releases to take its inspiration from all phases of his lengthy and varied career.
is bracketed by two lengthy compositions,
"Bye Bye 1944"
and
"E + Me"
(dedicated to
's wife Esther and based on a tune she used to sing to her students when she worked with autistic children), rooted in
's days as a post-war
big-band
leader and one of the featured players in
Ted Heath
's famed outfit, arguably the best European
jazz
band of all time. Utterly charming contemporary
, these two pieces are the most immediately accessible work on
's
releases. In between them, the six-part
"Concept Suite"
featuring "the Atonals" finds
at his most overtly conceptual. According to his liner notes, these six pieces are based on tapes dating back to the '70s in which
surreptitiously recorded conversations in the studio control room and elsewhere, then transcribed those conversations as scores for various instruments. "The Atonals" of the title refers to the non-traditional sound of the lead instruments; especially on the sparse, scene-setting
"Secret Conversations Between Instruments,"
the rhythm, tempo, and fluidity of human conversation is mimicked uncannily well, making this one of the rare
free jazz
experiments that can be easily conceptually understood even by novices to the style. Overall,
is a fitting farewell to a beloved cult figure. ~ Stewart Mason
big band
leader and experimental composer
Basil Kirchin
saw three albums' worth of his previously unreleased works issued by the archival label
Trunk Records
: 1973's conceptual masterwork
Quantum
, 1968's
Charcoal Sketches/States of Mind
, and 1966's library music collection
Abstractions of the Industrial North
. Although
Kirchin
's health was failing during this era -- in the liner notes to
Particles
, he makes a point of thanking his medical team alongside his musical associates -- he was encouraged enough by the reception afforded to
Trunk
's archival releases to complete his final work,
. Released about two years after
's death in 2005,
is
's valedictory work, and the first of his
releases to take its inspiration from all phases of his lengthy and varied career.
is bracketed by two lengthy compositions,
"Bye Bye 1944"
and
"E + Me"
(dedicated to
's wife Esther and based on a tune she used to sing to her students when she worked with autistic children), rooted in
's days as a post-war
big-band
leader and one of the featured players in
Ted Heath
's famed outfit, arguably the best European
jazz
band of all time. Utterly charming contemporary
, these two pieces are the most immediately accessible work on
's
releases. In between them, the six-part
"Concept Suite"
featuring "the Atonals" finds
at his most overtly conceptual. According to his liner notes, these six pieces are based on tapes dating back to the '70s in which
surreptitiously recorded conversations in the studio control room and elsewhere, then transcribed those conversations as scores for various instruments. "The Atonals" of the title refers to the non-traditional sound of the lead instruments; especially on the sparse, scene-setting
"Secret Conversations Between Instruments,"
the rhythm, tempo, and fluidity of human conversation is mimicked uncannily well, making this one of the rare
free jazz
experiments that can be easily conceptually understood even by novices to the style. Overall,
is a fitting farewell to a beloved cult figure. ~ Stewart Mason
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