Graham Collier | Directing 14 Jackson Pollocks

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Jazz: Modern Creative Jazz Jazz: Experimental Big Band Moods: Type: Instrumental
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Directing 14 Jackson Pollocks

by Graham Collier

'Collier’s music is fiercely individualistic inviting comparisons with the likes of Charles Mingus and Carla Bley.' 'A visionary and inspired work that’s utterly unlike any big band album released since the death of Gil Evans.'
Genre: Jazz: Modern Creative Jazz
Release Date: 

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Tracks

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1. Between a Donkey and a Rolls Royce
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6:59 album only
2. An Alternate Aberdeen Angus
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9:24 album only
3. An Alternate Ryoanji
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4:57 album only
4. An Interlude
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1:11 album only
5. An Alternate New Conditions, and some Out Blues
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8:19 album only
6. An Alternate Eggshell Summer
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5:12 album only
7. Mackerel Sky, an alternate blues
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7:18 album only
8. An Alternate Low Circus Ballad
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3:47 album only
9. An Alternate Third Simple Piece
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7:05 album only
10. The Vonetta Factor
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21:22 album only
11. The Vonetta Conclusion
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6:00 album only
12. An Alternate Mackerel Sky
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5:52 album only
13. The Alternate Third Colour: First Grooves
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6:12 album only
14. The Alternate Third Colour: Second Grooves
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4:58 album only
15. The Alternate Third Colour: Third Grooves
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8:13 album only
16. The Alternate Third Colour: Out Blues
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7:16 album only
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ABOUT THIS ALBUM


Album Notes
A new album from a veteran British jazz composer who has been compared to Ellington, Mingus and Gil Evans.

‘Up until [Hoarded Dreams], the formerly bass-playing Collier might have been described as Britain’s Mingus, but not after – Collier went back to the roots of the music and to the principle that jazz is not just about themes and solos, but also about individuals and collectives thinking in a very particular relation one to the other… Few musician’s ‘alternates’ are as revealing as Collier’s.’ Extract from the liner notes by Brian Morton (co-editor of the Penguin Guide to Jazz Recordings).

Extracts from some Reviews
:
The Vonetta Factor is one of the most genuinely modern big band compositions to come out of Britain for twenty years.
Duncan Heining, Jazzwise



Among the most exhilarating, sensual, beautiful and disturbing performances in this era’s jazz.

Ray Comisky, The Irish Times.

Collier reaches distillation of the notion that the orchestra, the written music and the improvising soloist comprise a trinity, each element inseparable from the other.
Doug Ramsey, Rifftides. 



Collier's remarkable vision as a composer and Machiavellian mixer of the musical maelstrom.
Anthony Troon, Jazz Journal, 


Picked in eMusic’s notable new releases August 2009
who said
Both more formally Euro-classical and more raucous than Mingus-Evans-Ellington.

A sense of the essentially slippery nature of the improvisatory arts is encapsulated beautifully.

Nic Jones, All About Jazz

Two hours of fascinating music.

Chris Parker, Vortex Jazz Club



Music that sounds nonconformist and time-honoured at once.

Massimo Ricci, Temporary Fault, Blog Spot

A visionary and inspired work that’s utterly unlike any big band album released since the death of Gil Evans.
Chris Kelsey, Chris Kelsey.com

Collier's music has pronounced and dissonant free-improv elements, but also structural involvement and concrete, crisply articulated rhythm [and] it swings.
David Adler, adlermusic.com

The composition and recording quality throughout is superb and the musicianship is just fantastic.
Roger Farby, All About Jazz

Although the overall effect is that of cascading polyphony, Collier’s compositional skill is such that individual and individualistic textures and timbres can be heard, no matter how many lines are unfolding at once.
Ken Waxman, jazzword.com

Collier’s music is fiercely individualistic inviting comparisons with the likes of Charles Mingus and Carla Bley.. … a fascinating glimpse at a distinguished jazz career.

Ian Mann, The JazzMann



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