(Avant-Garde, Free-Jazz) Tim Berne's Bloodcount - Memory Select - 1995, FLAC (tracks+.cue) lossless

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Tim Berne's Bloodcount / Memory Select
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REM GENRE "Free Jazz"
REM DATE 1994
REM DISCID 0E104B02
REM COMMENT "ExactAudioCopy v0.99pb5"
PERFORMER "Tim Berne's Bloodcount"
TITLE "Memory Select"
FILE "01 - Jazzoff.wav" WAVE
  TRACK 01 AUDIO
    TITLE "Jazzoff"
    PERFORMER "Tim Berne's Bloodcount"
    ISRC JPP009407950
    INDEX 01 00:00:00
  TRACK 02 AUDIO
    TITLE "Eye Contact"
    PERFORMER "Tim Berne's Bloodcount"
    ISRC JPP009407960
    INDEX 00 18:05:58
FILE "02 - Eye Contact.wav" WAVE
    INDEX 01 00:00:00

Tim Berne was born in Syracuse, New York in 1954, and was subjected to a perfectly normal childhood. But Berne didn't decide to take up music until nearly twenty years later when he was attending Lewis and Clark College in Oregon, putting most of his energy into intramural basketball. At this point, while resting a sore ankle in his dormitory, Berne encountered a saxophonist who was selling his alto, and bought it on impulse. "There was just something about the sound of the saxophone that got to me," he says.
Musically, up to that point, Tim Berne had always been motivated by all types of music, but especially by the great Stax artists like Sam and Dave and Johnnie Taylor, as well as Motown artists like Martha and the Vandellas and Gladys Knight. This passion for the soulful quality in music would follow him for the rest of his career.
Tim Berne moved to New York in 1974 and entered into a sort-of apprenticeship with the Julius Hemphill. The "lessons" they had together lasted for hours and covered everything from composition to record promotion to recording to pasting up handbills to aspects of magic and spirituality and, sometimes, even playing the saxophone.
Tim Berne began issuing his own albums on his own Empire label in 1979. Over the next five years he would record and distribute five albums under his own name which included such musicians as Ed Schuller, Olu Dara, Paul Motian, John Carter, Glenn Ferris and Bill Frisell.
In 1988 Berne began a long relationship with the JMT label with the first of two recordings with the co-operative Miniature (with Joey Baron and Hank Roberts). In 1989 Tim Berne's JMT release Fractured Fairy Tales was hailed as a masterpiece by the New York Times. Berne's JMT legacy climaxed with the historic Paris Concerts given by his quartet bloodcount, released in three volumes (Lowlife, Poisoned Minds and Memory Select). These recordings have received unanimous praise. Since 1994, bloodcount has performed over 250 concerts worldwide.
In 1996 Tim Berne once again founded his own record label, Screwgun, and released a three CD set of live recordings by bloodcount, Unwound

Memory Select, the final release in the three-CD live series recorded by Tim Berne's Bloodcount at Instants Chavirés in Paris during September of 1994, begins in low-key fashion, with Chris Speed playing mournfully on his solitary clarinet before he is joined by Marc Ducret's skittering runs and begins to transfer some of the guitarist's energy into his own playing. The full-ensemble scored passages that follow in the 18-minute "Jazzoff" are akin to similarly subdued, chamberesque portions of compositions on the first two discs, Lowlife and Poisoned Minds, while Berne's buzzing multiphonics during the improvised segments place the saxophonist's fascination with sometimes abrasive textures on full display. Speed's clarinet, Berne's baritone sax, and Michael Formanek's arco bass draw long lines through a sometimes dark and melancholy sonic landscape punctuated by Jim Black's inventive, though comparatively laid-back, percussion. As suggested by the title, this is Berne at his least jazzy -- although there is plenty of room for skronky improvisation during the midsection of "Jazzoff." This is one of Berne's best pieces for sustaining a consistent mood, even if that mood might lead listeners expecting some upbeat music to reach for a bottle of Prozac. And like his most enduring extended-form music, it avoids the jarring cut-and-paste juxtapositions of lesser composers, while still taking listeners on a wide-ranging ride. "Jazzoff" is followed by the grand opus of the entire three-CD series, the 51-plus minute "Eye Contact." Here, Berne leads the band's slow buildup of energy with a stunning, soulful alto solo before bringing the dynamic back down to quiet, chamber music levels. A short burst of almost sprightly full-band harmony and counterpoint signals approaching showcases for Speed's wild and wailing clarinet and Formanek's soloing prowess; more tricky and complex charts then lead to a funked-up jam supporting a crazed, noisy guitar solo from Ducret. For sheer energy alone, this would be an apt conclusion to "Eye Contact," but there is much more to come. The track ends with Berne soloing over a dramatic buildup from the full band, unleashing torrents of notes and blistering multiphonics from his horn before joining a powerful unison melody line executed by Ducret's guitar and Speed's tenor, with Black and Formanek thundering in free jazz abandon below. It is such a grand gesture that it serves not only as a coda to "Eye Contact," but to the entire three-disc Instants Chavirés series. As Berne and Speed let their last sustained note slide into silence, Memory Select takes its place as a fitting climax to the three CDs, standing strongly on its own but also feeling, appropriately, like the series' grand finale. Any listeners interested in Berne's growth as a player, composer, and bandleader should pick this up if they can find it; better still to find all three of the JMT Bloodcount CDs to place Memory Select in proper perspective. While the Bloodcount Instants Chavirés discs are unfortunately out of print, Winter & Winter is planning to reissue all three, and Memory Select is tentatively scheduled to be available in November 2005. Meanwhile, a phenomenal big-band arrangement of "Eye Contact" by Berne and the Copenhagen Art Ensemble (also featuring Ducret and trumpeter Herb Robertson) can be heard on the two-CD set Open, Coma, released by Berne's Screwgun label in December 2001.