Catching - up with Paul Dunmall
The Free Jazz Collective 0
By Colin Green
Such are the flood of releases from British reeds-man Paul Dunmall that it sometimes feels like you can never quite catch-up. 2018 saw him feature on eight albums, all on Trevor Taylor’s FMR label which has done so much to support free jazz and improv over the years. The Rain Sessions (FMR, 2018) was reviewed by Paul Acquaro in December and over the next two days it falls to me to cover the rest, albeit more briefly than they deserve. Anyone wanting a refresher on this considerable musician can take a look at the blog’s coverage during our Dunmall week a few years ago, starting here (click on “newer post” to move through the reviews).
Paul Dunmall, John O'Gallagher, John Edwards, Mark Sanders – Freedom Music (FMR, 2018) ****
Recorded in January 2018 at the Midlands Arts Centre, Birmingham – a favourite haunt in my teens – the quartet consists of Dunmall (tenor, right), John O'Gallagher (alto, left), John Edwards, double bass, and Mark Sanders, drums. The presence of the latter two is a virtual guarantee of quality.
Dunmall has a particular way of developing material, relying on movement in and around distinct harmonic centres, more modes than keys, travelling from one area to the next like irregular stepping stones. This is likely something he learnt from his intensive studies of Coltrane, though taken into more highly developed areas. It allows him greater fluidity in his modulations, a more discriminating palette of colours, and the resources to construct a narrative that shifts between discernible expressive temperatures. Methodical but unpredictable, it forms a glue that binds his often lengthy discursions into comprehensible progressions, unpacking and reconfiguring musical ideas in seemingly endless chains of association, a continuation of one of Coltrane’s obsessions, and that of other contemporaries on both sides of the Atlantic: the propagation of material from primary particles, the smallest units of significance. Dunmall is also indebted to Coltrane for a sense of heroic determination – music as a spiritual quest striving for transcendence, with the exploration of the interior life of a musical figure operating as a simulacrum of other searches, culminating in peaks of vertiginous grandeur that evoke the Sublime, a place where inner and outer worlds meet.
All this can be heard on ‘Freedom Music One’ and ‘Two’, both of substantial duration. The basic elements are presented at the outset of each of the identifiable dramatic zones through which the music passes in a loose sort of head that functions like a gravitational presence. (I’ve a feeling that some of these phrases, often closely related, are actually derived from Coltrane or so similar they could be.) This produces a sequence of vivid arcs that are also deeply melodic improvisations referable, however obliquely, to those initial seeds and their germination. O'Gallagher is perfectly attuned to Dunmall’s thinking and there’s a visceral excitement as the pair become locked in sinuous counterpoint, ascending and hovering on the currents generated by bustling bass and percussion. They end with epic hollering over thundering drums. The shorter ‘Freedom Music Three’ is a lament of dusky introspection. Here, as elsewhere, Edwards and Sanders are at their inventive best weaving a rich tapestry of sound with verve and sensitivity.
As evidenced by the following two albums, Dunmall is too much of a shape shifter to be regarded simply as a Coltrane acolyte, displaying a multivalence that is part of his strength and originality.
Paul Dunmall, Philip Gibbs, Neil Metcalfe, Ashley John Long – Seascapes (FMR, 2018) ****
These are performances from November 2017 at the Victoria Rooms, Bristol, a frequent recording venue for Dunmall, with tenor and soprano saxophones, Philip Gibbs on electric guitar, Neil Metcalfe, flute, and Ashley John Long, double bass, all familiar collaborators and a combination that gives a chamber music feel to the pieces. Full of incessant activity across a spectrum of registers, always fluctuating, barely still, it’s impossible to avoid marine metaphors or thinking of some of those breath-taking sequences from the BBC’s Blue Planet series depicting the sheer variety of life-forms and complexity of dependence in the aqueous space that lies beneath the ocean’s surface. This is exactly what’s going on musically, a diversity of organisms undergoing startling transformations in a wealth of colour -- an airy flute spinning out notes, bubbling guitar, sprightly, fumbling bass and a saxophone that squeezes into the gaps between. Blink and you might miss something.
Collectively, the ensemble conjures up the multiple movement of glittering shoals – bursts of energy darting hither and thither – undulating ribbons of sound looping and gliding, and odd, interlocked configurations that proceed crabwise. On ‘Colour of the Season’ there’s an unusual buzzing tone to Dunmall’s soprano, sounding like an Indian Shehnai (an affect achieved through his embouchure) playing Eastern scales over the watery strains of Gibbs’ guitar; like surface of the sea, present yet undefined.
Paul Dunmall, Alan Niblock, Mark Sanders – Dark Energy (FMR, 2018) ****
A session from the Blast Furnace studio in Derry, Northern Ireland in April 2013 finds Dunmall (on tenor) and Sanders teamed with Irish double bassist, Alan Niblock. The music is largely defined by their relationship with Niblock whose dexterous, fulsome bass and adroit bowing form the point around which saxophone and drums circulate Faint echoes and rhymes drift through the trio, and we hear yet another side to Dunmall, more restrained and circumspect with accelerations and hard-edged runs tempered by start-stop reflections, honking asides and suggestive pianissimo phrases left hanging in the air. On ‘Light Maters’, his expansive saxophone drops back down, withdrawing into abbreviations, squeals and burrs while Sanders skims and skitters across his kit like an animating breeze. With susurrus brushes and soft trills, ‘Life Matters’ is shadows and whispers, barely there.
Below is the trio’s terrific set from the Playhouse in Derry the following month, a denser and more loquacious affair, and an opportunity to see Sanders give a masterclass in drumming.
Sat May 11 04:00:00 GMT 2019
The Free Jazz Collective 0
By Colin Green
Paul Dunmall, Franz Paul Schubert, Sebastiano Dessanay, Jim Bashford – Sign of the Times (FMR, 2018) ****
The title track, at just over half an hour, progresses organically, underlying continuity being provided by a core cell sounded out in the saxophone duet with which it opens. The music traverses an inventively varied landscape, Dunmall and Schubert alternating and combining as their lines are gradually pretzel-twisted, a hedonistic mix rising in intensity and urged on by tumbling drums. There are arresting interludes for bass, first plucked, then bowed, after the last of which the music rises slowly from within and fades gently with overlapping statements of the core motif.
‘Talbot’ has moments of tremendous heat, escalating from sizzling to pan-flame as the saxophones sound out within a narrow range, almost as one, balanced against nocturnal passages made up of rattling bass, percussive clicks and split notes. ‘Blues is the Colour of my Beloved’ is a broken blues shuffle eventually transformed into repeated phrases and rapid exchanges; insistent and compelling, simple but effective.
Paul Dunmall, Percy Pursglove, Tony Orrell – Nothing in Stone (FMR, 2018) ****
The other two lengthy pieces are good examples of the subliminal connotations, fortuitous conjunctions, and metamorphic conversions favoured by free jazz and the ability of improvisers to inject and pick up on changes in pace, mood and sonority, however small. ‘Speaking in Tongues’ presents alto intertwined with trumpet sprays, moving into a calypso feel, then reduced to a shrunken bass line, brushes and saxophone plosives. Dunmall introduces a vibrato-laden melody, teased out in swirling runs supported by mallets, which is suddenly left exposed, cadenza-like. Abstract textures evolve into contractions and inversions on trumpet and sax, and the trio ends with a simple statement of the earlier tune. As the title suggests, ‘Blue India’ is a series of tableaus alluding to different realms and points of connection. Dunmall’s virtuosic soprano launches the piece with tinges of Eastern harmonies (shades of Coltrane’s ‘India’?) but the ensuing bass solo is from a distant region and the prelude to a fierce duo for saxophone and drums (intimations of Interstellar Space?) Sustained, pensive notes on trumpet grow into a stirring lament which provides the foundation for a dialogue with Dunmall, now on tenor. There’re arrhythmic patterns followed by rapid shifts in metre on bass and drums that turn intimate musings to animate surges, then just as quickly into a set of punchy blues choruses.
Paul Dunmall, Philip Gibbs, James Owston, Jim Bashford – Inner and Outer (FMR, 2018) ****
This is the first of two albums recorded at Rain Studios in Kings Heath, Birmingham during August 2018: Dunmall on tenor, Philip Gibbs, electric guitar, James Owston, double bass, and Bashford again on drums.
The session can be heard as a collection of ballads, having a floating, dream-like quality as if composed from fragments of standards that can’t quite be placed. Gibbs’ chiming guitar chords and gloopy pedalling combine with a Ben Webster huskiness to Dunmall’s lingering tenor, producing beguiling layers of lushness. On occasions the contemplative mood is disturbed by bursts of hyperactivity, even wandering into the surreal. On the final track, ‘Outta Time’, a collection of feathery oscillations is concluded in a way that appears to bring the piece to an end, but after a brief silence the drums start up and the music is reanimated, taking on a darker, more aggressive tone.
Paul Dunmall, Julian Siegel, Percy Pursglove, Mark Sanders – As One Does (FMR, 2018) ****
We end as we began both days of this survey, with another two-saxophone line-up – Dunmall on tenor (left), Julian Siegel, tenor and bass clarinet (right), Pursglove, doing his double bass and trumpet thing, and Mark Sanders, drums. There’s a special appeal to Dunmall about the formation, a feeling that with a skilled fellow saxophonist they can challenge each other and raise their respective games – as demonstrated across the album, two voices, crafted and expressive, each lending weight to the other. The title track opens with the fruity sound of the pair in unison, and on ‘Woe is Me FO’, Siegel creates dancing figures in serpentine lines whereas Dunmall, soto voce, takes the material in a different direction, splintering, leaving pauses, blurring. After a brief joint chorale, the two tenors merge at full-throttle, completing thoughts begun by the other. During ‘Talk with Me’ they do just that, the duet of sax and silky bass clarinet drawing on one another, creating an impassioned elegy, each new inflection deftly shaded.
Trumpet and clarinet start ‘Fine Lines of Expression’ in a solemn hymn, followed by a ravishing passage for bass clarinet, leaving it to Dunmall to take us back to the still calm of the opening theme. ‘Ever New Down the Avenue’ has a blues swagger, with deliciously reedy clarinet, burnished tenor and tight, piercing trumpet. The album closes with the optimistically titled ‘New Horizons’, muscular exchanges that twist and turn and where Sanders is Sanders: propulsive, textured and alert to all about him.
Speaking of new horizons, what next? Last November it was announced that Dunmall had received a Paul Hamlyn Foundation award, to give him the freedom to develop his creative ideas and contribute to his personal and professional growth; £60,000.00 over three years, no strings attached. At last, a man who has dedicated fifty years of his life to free jazz and improvisation is getting proper recognition. “This award has really opened up so many ideas of recordings and concerts that I can bring into fruition now,” said Dunmall, “and that is so exciting.” It looks like there’ll be plenty more catching-up to do.
Read part one here. Sun May 12 04:00:00 GMT 2019