Or the trio Tri-Factor of If You Believe (april 2000) with percussionist Kahil El'Zabar and baritone saxophonist Hamiet Bluiett (notably Dark Silhouette), Or the solo improvisations of Commandment (march 1997), recorded live in a loft (notably Daydreams), Rap-jazz fusion of Forbidden Planet (1997), The exceptions were sometimes intriguing, such as the Spirits Entering, off Bang On (april 1997), for a Spirits Gathering, off Spirits Gathering (february 1996), for a "creative" duets with percussionist William Hooker on Joy (june 1994), including the 17-minute Sweating Brain, Etheric Redemption and Joy,īang's output became more and more oriented towards hard-bop (or even swing). Having left the String Trio Of New York (replaced first by Charles Burnham and then by Regina Carter), Bang was swallowed into the black hole ofĭespite Valve No 10, introduced by a quartet with Lowe, bassist Sirone and drummer Dennis Charles on Valve No 10 (march 1988), and the The Latin-tinged The New Seers, off The Fire From Within (september 1984), and Abuella, on Live at Carlos 1 (november 1986). (trumpet, electric guitar, bassist William Parker and two percussionists), Intensive Care (august 1983), by the Jazz Doctors, a free-bop quartet with Frank Lowe, contained Bang's Ballad with one L.īang had coined his own genre, a melodic free-jazz or an abstract bebop,Īnd proceeded to cash in on his invention with his sextet The quartet with trumpeter Don Cherry of Untitled Gift (february 1982) produced the atmospheric Echovamp 1678 and Maat.Ī 12-piece orchestra conducted by Butch Morris (with Frank Lowe, two additional violinists, clarinetists David Murray, Charles Tyler and Henri Warner, vibraphonist Khan Jamal, percussionists Sunny Murray and John "Khuwana" Fuller) performed Bang's 19-minute volcano Conception and Seeing Together on Outline No 12 (july 1982).Īir Traffic Control came from a duet with drummer Dennis Charles on Bangception (august 1982). The kaleidoscopic Rainbow Gladiator, off Rainbow Gladiator (june 1981), andĪn Addition To Tradition, off Invitation (april 1982). (co-arranged by Morris), on Sweet Space (december 1979).Ī trio with Parker and Japanese percussionist Toshi Tsuchitori yielded the three exuberant and cerebral pieces of Changing Seasons (june 1980): Summer Night, Aduwa In Autumn, Winter Rains.īang employed a piano-based quintet with saxophonist Charles Tyler for His powerful musical vision through a series of impressive pieces.Ī sextet featuring tenor saxophonist Frank Lowe, alto saxophonist Luther Thomas, cornet player Butch Morris, pianist Curtis Clark bassist Wilber Morris and drummer Steve McCall, delivered the 16-minute A Pebble Is A Small Rock The three lengthy "improvisations", notably the the 21-minute Spiritual,įor violin and bass of Billy Bang/ John Lindberg (september 1979),Įmphasized his emotional language at the instrument.ĭespite changing format with just about every record, Bang managed to establish ( Theme For Masters, Loweski, Sometime Later), while Nonetheless the String Trio Of New York was one of the most influentialīang's solo Distinction Without A Difference (august 1979)ĭisplayed both his broad range of innovative techniques and his skills Rebirth of a Feeling (november 1983) boasted Lindberg's Utility Grey but Bang left after Natural Balance (april 1986). Lacked the "piece de resistance" to make them worthwhile. The centerpiece of their First String (june 1979) was Lindberg's 20-minute East Side Suite, that demonstrated their elegant blend of structured New York Collage (may 1978) collects live performances by the same lineup.īang's response to the success of the World Saxophone Quartet was the String Trio Of New York, formed in 1977 with white bassist John Lindberg and white guitarist James Emery. Was inspired by both the Art Ensemble Of Chicago and John Coltrane.īlack Man's Blues (may 1977) documents Bang's recording with the Survival Ensemble. Nobody Hear the Music the Same Way and For Josie Part II, Their New York Collage (may 1978), containing lengthy jams such as ( Copyright © 2006 Piero Scaruffi | Terms of use)ĭistinction Without a Difference (1979), 7/10īilly "Bang" Walker (1947), a pupil of Leroy Jenkins who developed his personal style at the violin by imitating Eric Dolphy's style at the reeds (just like Stuff Smith developed his style at the violin by imitating Louis Armstrong's style at the cornet),įormed the Survival Ensemble with two saxophonist (who also played all sorts of percussion), bassist William Parker and two percussionists. Billy Bang: biography, discography, review, ratings
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