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184 The Collected Writings of Michael Snow lyrical and virtuoso soprano sax assisted by E.S.P. sound from bass and piano. Finally a ripping and rattling truly pianistic piano solo gets gradually consumed by talk. "SMOKE" got in the lungs and in the air and in the ears on June ? '75 at Rayner's studio. An emotionally and formally consistent creation, it includes sensitive touches by the voice of Denyse MacCormack who sang with the band on several occasions . The air was Markleless that night. "Smoke" rises with a stop and start, question and answer respiration that gradually shifts and floats horizontally into a group agreement . MeAdam's hand-made electric sound (and his dramatic timing) here exemplify the sensual sound shaping that is the style of this band. Kubota blows one of his best soprano solos within some discreet ticks and mutters ("solos" unless "unaccompanied " are not detached in their playing from the sound around them and shouldn't be so separated in the listening). Passing deserts and jungles and northern nights "Smoke" drifts through several clearly defined musical events such as the very quiet and distant haze of the section with muted trumpet and baritone about 10 minutes into the now. Later remarkable horn cluster-chords that will never be played again can be heard again. Side 3. "TAPIOCA" was cooked Feb. 6 '76 at Rayner's studio. Its ingredients are almost entirely percussive but many of the sounds were made not only by tapping but also by rattling, scraping, rubbing,rollingand dropping various objects. It starts with everyone contributing a cough to which Kubota adds some honks on Baritone sax. Rayner plays a conventional drum set unintentionally plus various gongs, bells and things. Laughter . Snow rubs, clacks and drops a tin trumpet mute plus tapping and rolling some other things. The piece becomes pure comic reflex. McAdam scrape-squeaks a chair and a large tin washtub plus tapping this and that here and there. Jones bobs and weaves. Coughtry taps, yells and trombone whoops. After some sardonic "Karma Miranda" drums (as he later described it) by Rayner the slap-stick piece (ha ha) slaps away as mysteriously as it began. "A SPACE NUMBER TOO" is the second piece played by the AJB during their concert at A Space Gallery as part of a remarkable series of concerts there promoted by Chlo and Bill Smith (CCMC saxophonist and Art Director of Coda magazine). That's Smith's "there will be a short intermission" just before you turn the record over and play "Che Whiz." Snow on piano starts this generally quietly spaced-out composition with a finely developed solo which is met by a dangerous and swift ensemble. An unusual guitar-drums simultaneitywherein neither seems to accompany but each is equal to the other leads to horn tremoloes which unveil a mysterious guitar figure starting a caravan which everyone joins till their arrival at the end. Side 4. "CHE WHIZ" was recorded at Rayner's studio on Mar. 28 '75. Certain members of the Artists' Jazz Band have spent a lot of time in Spain plus visits to South America. A poly-verbal and -glot, up-tempo conversation about things Spanish which included the awful pun "Che Whiz" preceded the taping. Someone's "Let's play something Spanish " were the last words spoken before music answered them. The tape recorder got The Artists' Jazz Band Live at the Edge 185 switched on fast but a few seconds of music were lost. "Che Whiz" has incredible variety and unity. It's a very hot performance with some very horny rather Ellingtonian sections, inventive orchestral drums, space defining guitar, romantic trumpet and fluent "solo" and ensemble contributions by Kubota on Baritone and Soprano saxes. Inspiration can be reciprocal in this music and in this piece Jones' decisive foundation moves with, responds to and leads the ensemble, implying or choosing or participating in possible chord progressions, contributing its essential part to the rich and colourful orchestral texture. Final burp by Snow. A Letter to Alvin Balkind 1976 This text was written at the invitation of the late Alvin Balkind for Canadian Artists: A Protean View, published in 1976 by the Vancouver Art Gallery, where Balkind was curator. Thanks for your letter. Well. . . Probably my work has had more diversity than most and for the first few years that I attempted to make Art this was a recurring problem. I was playing music a lot during Art College but I also...


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