(Avant-Garde, Free Improvisation) Rova [Saxophone Quartet] - From The Bureau Of Both - 1993, FLAC (tracks+.cue) lossless

Exact Audio Copy V0.99 prebeta 5 from 4. May 2009
EAC extraction logfile from 10. September 2010, 17:18
Rova Saxophone Quartet / From the Bureau of Both
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REM GENRE Avant-Garde
REM DATE 1993
REM DISCID 550CC807
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PERFORMER "Rova Saxophone Quartet"
TITLE "From the Bureau of Both"
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The white San Francisco-based Rova Saxophone Quartet was the alternative, experimental alter-ego of the more famous World Saxophone Quartet. Formed in 1977 by Jon Raskin (1954), Larry Ochs (1949), Andrew Voigt and Bruce Ackley, on respectively baritone, tenor, alto and soprano saxophone it straddled the border between free jazz and classical music of the 20th century. Raskin had already founded several multimedia projects and worked with composer John Adams. Their first concert became also their first album, Cinema Rovate' (august 1978), highlighted by Raskin's chaotic and cacophonous 21-minute Ride Upon the Belly of the Waters After The Bay (december 1978) with Italian percussionist Andrea Centazzo, the noise strategy of the group was perfected on The Removal of Secrecy (february 1979), particularly Ochs' 19-minute That's How Strong. There was method in their madness, but it was not easily detected within the dense structures of their scores. After Daredevils (february 1979) with guitarist Henry Kaiser, and the transitional This This This This (august 1979), with Raskin's eleven-minute Flamingo Horizons, Invisible Frames (october 1981) boasted another peak of their expressionist art, Voigt's 22-minute Narrow Are the Vessels. Ochs' 19-minute Paint Another Take of the Shootpop, off As Was (april 1981), was dedicated to both classical composer Olivier Messiaen and soul vocalist Otis Redding. Rova's style was becoming more accessible while still being abstract, absurd and atonal. After the live double-LP Saxophone Diplomacy (june 1983), with a 24-minute Detente or Detroit, and the Steve Lacy tribute of Favorite Street (november 1983), the Rova Saxophone Quartet sculpted the titanic jams of Crowd (june 1985), such as the 19-minute The Crowd, Ochs' 29-minute Knife In the Times and Raskin's 16-minute Terrains. After the relatively straightforward Beat Kennel (april 1987), and the live The Aggregate (july 1988) with fifth saxophonist Anthony Braxton, Voigt left Rova and was replaced by Steve Adams for Long on Logic (january 1990).
In 1986, Ochs had formed the Group Room, a trio of saxophone, piano and electronics. In 1990 he and keyboardist Wayne Horvitz formed the International Creative Music Orchestra.
After Electric Rags II (september 1989) with electronic musician Alvin Curran, Rova's recordings became more predictable and focused on live performances: This Time We Are Both (november 1989), with a 26-minute The Unquestioned Answer, Morphological Echo (december 1989), From the Bureau of Both (september 1992), with the 18-minute The Floater.
They also recorded Terry Riley's Chanting the Light of Foresight (july 1993).
Pipe Dreams (january 1994) was credited to Figure 8: the Rova Saxophone Quartet plus saxophonists Tim Berne, Vinny Golia, Glenn Spearman and Dave Barrett.
Ochs also composed chamber music for ensemble: The Secret Magritte (composed in 1993, recorded in june 1995), Pleistocene (1997) and Certain Space (2001). Och's sax-bass-drums trio What We Live, formed in 1994, recorded Never Was (july 1996), Quintet for a Day (april 1998), Trumpets (november 1996), etc. The trio Larry Ochs Sax & Drumming Core (with two drummers), formed in 2000, debuted with The Neon Truth (august 2000).
The Mirror World (june 2005), inspired by a Stan Brakhage film, contains Hand for Joan Jeanrenaud, Theresa Wong (cellos), Lisle Ellis (bass), Ben Goldberg (reeds), Toyoji Tomita, Jen Baker (trombones, didgeridoos), Darren Johnston, David Bithell (trumpets), Steve Adams (bass flute), Jon Raskin (baritone sax), Tim Perkis, Matt Wright (keyboards), William Winant, Gino Robair, Moe Staiano (percussion), Bruce Ackley (clarinet) and Larry Ochs (conductor), as well as Wall for the sextet of Bruce Ackley (soprano sax, tenor sax), Steve Adams (alto sax), Larry Ochs (tenor and sopranino saxophones), Jon Raskin (baritone saxophone), Gino Robair and William Winant (percussion).
Live performances by Larry Ochs' Drumming Core are documented on Stone Shift (november 2007), featuring Satoko Fuji on synthesizer and piano, Natsuki Tamura on trumpet and drummers Scott Amendola and Donald Robinson.
The Celestial Septet (november 2008) documents a live collaboration with guitarist Nels Cline, drummer Scott Amendola and bassist Devin Hoff.

One of the better albums in Rova's confusingly expansive discography, From the Bureau of Both features some of the quartet's most immediately rewarding moments, as well as a few on the opposite end of the spectrum. Rova can be surprisingly accessible when the group's free explorations are tethered to strong frameworks, and that's the case with much of this album. "Swang" became something of a signature piece for the group, featuring a jaunty, rhythmic opening riff that builds into a more complex main passage with several different parts, followed by some spirited group interaction. "Swapmeet! Swapmeet!!" and "Streak" follow a similar pattern: driving rhythms and catchy themes in the lower register, plus interlocking melodies over the top, all of which gives the group members solid bases from which to take flight in their solos. "Pinnacle" is a shimmering, swinging slow number, while "What's the Frequency, Kenneth?" has the album's most boisterous, squealing free exchanges. The other two selections are sparely arranged sound explorations more in line with Rova's 20th century classical influences, and the results are somewhat mixed — specifically, "The Floater"'s light upper-register dissonances are intermittently intriguing, but simply meander too much at 18 and a half minutes. Still, From the Bureau of Both is an undeniably strong listen overall, and in places it's even infectious, making it essential for anyone with an interest in the group.