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Release........: Bill.Dixon.Going.To.The.Center.2009.COMPLETE.NTSC.BONUS.MDVDR
Label..........: Firehouse 12 Records
Langage........: English
Subtitles......: None
Genre..........: Jazz
Street.Date....: 17-11-2009
Rip.Date.......: 25-06-2010
Runtime........: 90Min.
Size...........: 78*50MB
Source.........: NTSC DVD5
Asp.Ratio......: 4/3
Video..........: Untouched (MPEG2/3851KBPS)
Audio..........: Untouched LPCM 2.0 (48000HZ/10080KB/S)
Menu...........: Untouched
Url............: http://www.bill-dixon.com/

Content........: Bill Dixon Going To The Center :
- Bill Dixon Going To The Center : Movie

Bonus Material :
- Motorcycle '66
- Phrygian II
- Durations Of Permanence
- Motorcycle '66 (Alternate Take)

Release.Info...: The low notes in Bill Dixon's "Tapestries for Small Orchestra" loom like great whales,
powering through the best of its long, patient, texture-obsessed performances.
They're played by double-bass and contrabass clarinet; above them floats a cloud of
brass, directed and defined by Dixon's own trumpet-playing. Dixon, 83, was on the
scene in New York during the 1960s, playing with Archie Shepp and Cecil Taylor and
others. For nearly 30 years he taught at Bennington College, maintaining a small
influence among jazz vanguardists. Now his ideas are being passed on and extended
by his admirers, including the four other trumpet players on this record: Taylor Ho
Bynum, Graham Haynes, Stephen Haynes and Rob Mazurek. His style is built on sound -
and silence too - over structure and melody. Dixon has some deep and original
thoughts about abstraction in music, and doesn't leave beauty behind. Typically he
goes far into the extreme pitch ends of the trumpet, mining them for timbral
possibility, playing long liquid patches, sprays of air or sudden squeals and wipes.
The sounds around him mass together in loose coordination, then break off into new
formations; they're always moving ahead and starting something new, gathering in a
thick carpet or popping like fizzy bubbles, growing loud and simple or soft and
complicated. This is a composed work, but it sounds unrepeatable: The players exploit
the music's variables of dynamics, tone and duration. A double CD with a smart and
nonmystical documentary ("Bill Dixon: Going to the Center") on an extra DVD disc,
it's a project born more from admiration than from challenge. (It doesn't have quite
the pluck and spontaneity of earlier small-group records like "Vade Mecum" and
"November 1981.") The musicians here - five brass, two strings, Michel Cote on
superlow reed instruments and Warren Smith on vibraphone and percussion - meet Dixon
more than halfway. They perform these plate-tectonic drifts in pairs or larger
groups; if alone, they cleave to the governing idea in the music at that moment.
It could sound better. The percussion feels dull and tinny next to the plushness of
the layered brass. (The brass gains something extra too, when Dixon, Haynes and
Mazurek use digital delay.) But a few of these pieces - especially "Motorcycle '66:
Reflections & Ruminations," "Adagio: Slow Mauve Scribblings" and "Allusions I" - have
a majesty for which you have to write in your own meaning.

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