iTunes

Opening the iTunes Store.If iTunes doesn’t open, click the iTunes application icon in your Dock or on your Windows desktop.Progress Indicator
Opening the iBooks Store.If iBooks doesn't open, click the iBooks app in your Dock.Progress Indicator
iTunes

iTunes is the world's easiest way to organize and add to your digital media collection.

We are unable to find iTunes on your computer. To preview and buy music from The Advocate by Derek Bailey & Tony Oxley, download iTunes now.

Already have iTunes? Click I Have iTunes to open it now.

I Have iTunes Free Download
iTunes for Mac + PC

Open iTunes to preview, buy and download music.

Album Review

The vast majority of The Advocate's tracks were recorded by the late Derek Bailey (guitar) and Tony Oxley (percussion and electronics) in London in 1975. John Zorn's Tzadik label is releasing this collaboration here for the first time. Oxley had recorded his sublime duo project with multi-instrumentalist Alan Davie earlier that year, and Bailey had just issued his London Concert set on Incus. Both men had been part of Barry Guy's London Jazz Composer's Orchestra and had worked together a decade before in the Joseph Holbrooke Trio with Gavin Bryars. There are three improvisations here: two of them, "Sheffield Phantoms" and "Playroom," are longer pieces clocking in at over ten minutes each, while the brief "Medicine Man" is less than three. To be fair, these are of such a piece as collective free improvisation that they were most likely part of a whole, feeling more like one extended work than three individual ones. They involve Bailey meandering around the strings, plucking, scraping, scratching and haltingly slipping around the guitar like an idea regarded as a series of possibilities more than as a single instrument to be forcefully attacked. Oxley uses the entire drum kit, as well as myriad other surfaces, as something with which to explore the essence of percussion's role in separating space more than something to merely "play" rhythmically. The final track is the title piece and was recorded by Oxley at the Barbican as a memorial to Bailey. His use of electronics ad the drum kit are more "rhythmic," but only insofar as they attempt to extend the reach of percussion as an adornment of space and as an extension of time itself. Here, at over nearly six minutes, cymbals are rung and scraped, drums are rolled on and patted, brushed and nearly caressed as Oxley'as electronic blips and samples and glitches underscore, and perhaps point to Bailey's lack of a guitar as a missing element without attempting to make up for that lack. For those who still look to this point in the mid-'70s as a pioneering moment in improvisational music, the document is more than a curiosity piece; it's a piece of found treasure.

Biography

Born: 29 January 1930 in Sheffield, Yorkshire, England

Genre: Jazz

Years Active: '70s, '80s, '90s, '00s

At first glance, Derek Bailey possesses almost none of the qualities one expects from a jazz musician — his music does not swing in any appreciable way, it lacks a discernible sense of blues feeling — yet there's a strong connection between his amelodic, arhythmic, atonal, uncategorizable, free-improvisatory style, and much free jazz of the post-Coltrane era. His music draws upon a vast array of resources, including indeterminany, rock & roll, and various world musics. Indeed, this...
Full Bio
The Advocate, Derek Bailey
View In iTunes

Customer Ratings

We have not received enough ratings to display an average for this album.

Influencers

Followers

Contemporaries