Name: Lot 74
Brand: Derek Bailey

Bonus disc

Bonus disc: No

Catalogue number

HJRLP203

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Colour

Black

Colour details

Discogs ID

Format multiplier

Download code

Download code: No

Rough Trade Exclusive

Rough Trade Exclusive: No

Extended format

Extended format: No

Format detail

Format Music GB

Limited edition

Release date

2021-02-05

Signed copies

Signed copies: No

Supplier GB

Proper

Tax rate GB

Standard:20

UPC / Barcode

769791969094

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Total Cap

1 / Extended format: No / LP / Rough Trade Exclusive: No / Signed copies: No / black

Artist

Derek Bailey

Genre GB

Jazz

Label GB

Honest Jons

Derek Bailey was one of the most influential and adventurous experimental guitarists to come from England. He evolved from the trad-jazz scene of the fifties into the avant/jazz scene in '60s London. As a member of various groups, including Joseph Holbrooke Trio, Spontaneous Music Ensemble, and Music Improvisation Company (later known as Company), he played a pivotal role in shaping the British free-jazz scene. In the early seventies, Derek and Evan Parker started their own record label called Incus Records, one of the first artist-run outfits.

Throughout his career, Derek collaborated with renowned musicians from around the world. He formed relationships with European players like Han Bennink and Peter Brötzmann, Japanese free players such as Abe Kaoru and Toshinori Kondo, as well as American improvisers like Anthony Braxton, George Lewis, and John Zorn.

In addition to his musical contributions, Derek organized an annual festival called Company Week in the 80's & 90's. This festival brought together a unique group of international improvisers from diverse backgrounds.

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This iconic LP was originally released by Incus in 1974. Recorded at a private house in Catford, south-east London, the side-long title track is a masterwork: a twenty-two-minute, starkly personal, freely expressive, itchily searching re-casting of orders of rhythm and sound into a new, quicksilver kind of affective and musical polyphony. Never mind the guitarist’s championing of ‘non-idiomatic improvisation’, the poet Peter Riley gets the ball rolling in his identification of the various hauntings of Bailey’s playing at this time: ‘mandolins &amp; balalaikas strumming in the distance, George Formby’s banjo, Leadbelly’s steel 12-string, koto, lute, classical guitar… and others quite outside the field of the plucked string.’ The five pieces on side two were recorded back home in Hackney around the same time — with the exception of Improvisation 104(b), from the year before (and issued by Incus in its TAPS series of mini reel-to-reel tapes) — opening with ventriloquised guitar feedback, and taking in some cod banter about colleagues like Mervyn Parker, Siegfried Brotzmann and Harry Bentink. Crucial.

Lot 74

Music GB