Bill Dixon Interview: long, thoughtful, bitter, funny, eloquent, dogmatic, self-aggrandizing. Just what you'd expect. Mr. Dixon is correct in saying that he doesn't get his due, as he is undoubtedly a major figure by anyone's standards, but his bitterness is tragic, as is his music production aesthetic (I don't like what he does with echoes; unchangeing, marching away). Some interesting commentary on Cecil Taylor, Anthony Braxton (elliptical, tho), Tony Oxley, Alan Silva (who is also a major figure who is rarely recognized as such). From the mouth of Mr. Dixon (whose name is trademarked[!]):
...I knew to a degree what I thought I wanted to do, but I never thought I would be able to do it. My career has been different from most people, but I knew what I was not going to do. I knew I was not going to be controlled. I knew there was a price for this, but I did not know there was as large a price as it turned out to be.
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Well, the length of the concert and the tardiness of its initiation, all 'extra-musical' concerns, seemed to ruffle some feathers, and some 'critics' seem to continue to think that after all these years, I do not know what I am doing with the trumpet. Reality is on my side. The concert was recorded and their 'informed' and erudite assessments, observations and attempts at 'analysis' can be challenged since interested listeners have only to hear the recording to find out if those guys, who go to such pains to undervalue my work, are right. All people have to do is listen to realize it is a beautiful record.
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...Ornette has been well documented, although, with the possible exceptions of George Russell and Gunther Schuller, I don't know anyone who has been able to document with clarity what Ornette does, from a theoretical basis. I don't know anyone, aside from the two aforementioned musicians-composers, who really understands the practical musicological applications possible and the underlying philosophy of Harmolodics, but it has proved to be an attractive thing for the writers.
Dixon's Vade Mecum II is among my all-time favorite recordings. The guy does sick shit on the trumpet and the flugelhorn, his bands are always strange and intriguing and often feature multiple bassists and/or tubas. The contrast of a huge bottom end moving irregularly and the lead brass voice going unique places (low like a tuba, high as a dog-whistle, roar to whisper) with fastidious articulation should, I think, move any listener. I also highly recommend his work on piano, particularly on Live in Italy Oh, and read this...
I've finished the Sudnow and the Paz, both of which had small effects on me, and am re-reading Earthly Powers by the under-recognized Anthony Burgess [yeah, the Clockwork Orange guy.] It is awesome and not too challenging, despite it's heft.
I've been listening to so much new music, mostly on Erstwhile. Especially Mimeo with John Tilbury: The Hands of Caravaggio in which Cor Fuhler of The Flirts (Netherlands) is inside the piano attempting to counter Tilbury's moves while MIMEO (electronics lage ensemble) eats bugs (ok the bug bit's a lie).
