about the sounds of freely improvised music... S p r i n g G a r d e n R e c o r d i n g s

Spring Garden Music
The first SGM recording was a 1982 LP, Free Life, Singing; all others from the eighties were cassettes, mostly samplers of Jack Wright's performances, solo and with his partners. In the nineties, however, he began putting out cd's, the first in 1992, Thaw, with a large group of players he assembled in Boulder. Towards the end of the decade, with the acquisition of new funding and inspiration, came something of a resurrection of SGM as a label, complete with web page and decent recording equipment. It coincided with the massive resurgence (unexpected by all but the diehards) of free improvisation, now on everyone's lips, or at least the musicians'.


here's a list of outpourings, the most recent to the ancient:

Up For Grabs Up For Grabs
No Idea Festival No Idea Festival
Signs of Life Signs of Life
Double Double Double Double
Hill Music Hill Music
Rattle Ok Rattle Ok
Rattle Still Ok Rattle Still Ok
Scream of Consciousness Scream of Consciousness
In the Garden of Earthly Delightse In the Garden of Earthly Delights
Places to Go Places to Go
Thaw Thaw
Free Life, Singing Free Life, Singing

Twist & Thrall      sgm 13
with Todd Whitman, reeds
and Jack Wright
 Nom Tom     sgm 14
with Carol Genetti, vocals and Jon Mueller, amplified snare drum, and Jack Wright
 Whoosh       sgm 15
with Paul Neidhardt, percussion, Andy Hayleck, bowed cymbals, and Jack Wright
 As Is--solos from Beirut and Barcelona      sgm 16
Jack Wright soprano and alto saxes

 

                                                           All Cd's can be ordered driectly from     Spring Garden Music


As Is -- Solos from Beirut and Barcelona
 		SGM-016
 
AS IS was recorded in April 2006 at the Irtijal Festival in Beirut and at a performance space in Barcelona, and released in Oct.
 

 		Whoosh
 		SGM-015
 
WHOOSH features Paul Neidhardt, young percussionist of Baltimore, who is known for his work with rosined rods on the drumhead at Hi Zero performances and for not standing on his head for more than is necessary. Before he found improvisation he was in a local math-rock band French Mistake, and attended UMBC as a percussionist, studying 20th-century music—especially the works of John Cage. Also playing here is Andy Hayleck, often found with guitar in his lap but here bowing cymbals, which he treats, strangely, as pieces of metal. But this is a trio, with Jack Wright also, in one of his more "reduced" or should it be called "stretched thin" incarnations. This was recorded in Paul's loft apartment and rushed into production the next day.

Nom Tom
 		SGM-014
NOM TOM is the trio of Carol Genetti, sound vocalist of Chicago; Jon Mueller, percussionist--here, amplified snare drums; and Jack Wright, on alto and soprano saxophones. This is a recording of their first meeting as a trio, at a performance at the Spare Room, in Chicago in September 2004, recorded by Neil Jendon. Jack and Carol have been playing together regularly since the late nineties. Jon lives in Milwaukee and is the creator of the Crouton label, and frequents Chicago whenever. This trio toured in Sept. 2005 throughout the midwest and has ambitious plans for the future that they are keeping secret. More on Carol here and Jon there. 

"Genetti is one of the more discreet improvising vocalists: there are no full-blown hysterics and theatrics here, just a patient exploration of tiny twitters, bleats and delicate overtones – imagine a small furry animal Tuvan throat singing – and Wright accordingly spends much of the time with his sax jammed tight against his trouser leg, muffling and filtering the sound. Mueller's the wild card here, deftly avoiding classic improv percussion's nervous clatter and ping to concentrate on in-depth research into his beloved snare drum. The second track is more adventurous, filling the empty spaces of long dead reductionism with a whole range of sustained sonorities; about halfway through it turns into a veritable jungle (Indian, presumably, given the album title's reference to North Indian classical music), with Genetti squawking like a demented parrot and Wright growling menacingly in the undergrowth, while Mueller ticks away like a death watch beetle, leading the others into a nocturnal hooting contest. It's fascinating, superbly paced and impressive work, well worth checking out."
--Dan Warburton, Paris Transatlantic, Nov. 2005

Twist & Thrall
 SGM-013
TWIST AND THRALL is the result of the long-evolving duo of Todd Whitman and Jack Wright, who first played together in 1980 in upstate Pennsylvania, and then again when both were living in Boulder CO. Todd has since moved to Buffalo, where this was recorded, and Jack to Easton PA. Todd's playing reflects his roots in European free jazz, the saxophone techniques of which he is the American master (that is, one would be hard pressed to find another). This was recorded in 1999, and is the first recording on which Todd has appeared. A sample of his music is on the Sounds page, as are selections several of the other cd's.

SGM-012
UP FOR GRABS is a soprano and alto saxophone solo recorded by Jack Wright in Sept. 2004. While his first solo, in 1982, was recorded in his bedroom, his second in his kitchen, his third is from the basement--as if to say, how low can you go. Unlike the earlier versions, this is still the kind of music he is likely to play today--basically, it is not composed of notes but of saxophone and breath sound. This is a cdr, and the first of a cdr series called Ears Only. His comments on the music, and reasons for the cdr series are to be found at http://www.springgardenmusic.com/essays.html


"Jack Wright is bright, his playing powerful: these qualities forge an engaging combination. For the most part, his musicianship inhabits the extremes...this is one of Wright's most esoteric solo ventures; and for those few who are likely to appreciate it, one of his most curious recordings."

Steve Lowey, Cadence Mazazine, March 2005

SGM-011
NO IDEA FESTIVAL is a two-disc cd jointly produced with Coincident Records and Ten Pounds to the Sound and was recorded in late May 2004 in Austin and Houston. The 23 musicians came from Texas as well as Berlin, Boston, Portland OR, San Francisco, and Philadelphia, and played in various combinations for four days. Included on the disc are Mike Bullock, Nick Hennies, Linda Gale Aubry, Maria Chavez, Chris Cogburn, Bryan Eubanks, Sabine Vogel, Dave Dove, Michael Griener, Kurt Newman, Jack Wright, Tucker Dulin, and Matt Ingalls. As festival curator Chris Cogburn writes in his notes “An impetus for this gathering was the question, or desire (or perhaps ‘need’), to find out what kind of music would develop, what kind of relations would come about, if our growing community of players... invited other players who we were familiar with from our own individual experiences and histories, to come together for a few days of work.”

For full information and sound files go to http://www.noideafestival.com/audio.html

SGM-010
SIGNS OF LIFE, recorded on an extensive tour of the West Coast by Bhob Rainey and Jack Wright in March 2000, during which they joined with Matt Ingalls in Oakland, at a sparsely attended event, then with Tom Djll in Sand City CA, at a less sparsely attended event. They enjoyed themselves, and Tom said, on hearing the recording, "sounds like a kitten having babies in a closet. In the dark". I'm sure you've heard that said of music before. The touring pair also played in Salt Lake City, which has a popular-to-some "offbeat" venue, a kind of farm shed, and also an excellent vegetarian restaurant, at which they ate. This was "released", like doves from their cage, in August 2001. Listening to it as I write, this is simply astounding music--tight, turns-on-a-dime, explodes when you're looking the other way. This CD mastered by Bhob and individual covers painted by Jack.

"...the sparse yet intense set combines the explosive dialogues of the Spontaneous Music Ensemble with microtonal detail. You can hear the instruments vibrate as they collide and kiss in mid-air, all brassy smacks."

---Julian Cowley, The Wire

"In ever new beginnings the music revolves around intuition, introspection, and interaction with tender, careful air-like movements. These instrumentalists renounce all trademark clich»s and ostentation in favor of a unified sound and vulnerability."

----Bad Alchemy, (German publication) #39


SGM-009
DOUBLE DOUBLE is the most recent result of a collaboration that began in May 1999. Bhob Rainey, then residing in Chicago, suggested to Jack Wright, on one of his numerable tours, that a good grouping might be two cellos and two saxes. To wit, the two of them plus Bob Marsh, then of Chicago, and Fred Lonberg-Holm, of same. Bhob sent a tape of this off to Bob Rusch of Cadence and the CIMP label, and that very summer the four recorded The Darkest Corner, the Most Conspicuous. Released the next spring, it was a big hit among those who heard it, and coincided with a recorded tour of the group. Great reviews, but that didn't discourage them from putting out a second album, namely, this one. There can't be enough of this good stuff. Master-ship and coverage as above.

"Today one would perhaps speak of improvised chamber music, but as yet this quartet still has no roof over its head. This music is still open to all sides, creates for itself its own micro-climate. It is strong medicine. Small faces move nearer, in a curious way, and do not let themselves be frightened away..."

---Bad Alchemy

"There are some reviewers who have been sorta' "slamming" Jack's music, writing it off as "too intense", "unlistenable" & that sort of thing. TOTALLY unacceptable, in this reviewer's mind! Absolutely intricate, the kind of music that must be absorbed, not played as background! Those who have been with us for lo these many years now will know what I'm talking about... improvisations with teeth, tasty morsels in every single second!"

---Rotcod Zzaj, Improvijazzation


SGM-008
HILL MUSIC, also released in August 2001, was recorded in June and rushed to the presses. The group was the genius-child of Bob Marsh, an artist in every direction his mind travels, and now playing with all and sundry in the Bay area, after a lifetime of music in Detroit and Chicago. Among his profusion of projects was the gathering of string players in Chicago for the Emergency String Quartet. The name went with him when he moved to CA, though different personnel. A visit from Bob Falesch, Chicago partner and recording engineer, coincided with a session in Marsh's new home on the hill, of one of the formations of this group. Bingo. This had Damon Smith on bass, Jeff Hobbs and Tom Swafford violins, and Bob Marsh cello. This is a serious contribution to the string quartet tradition, as anyone familiar with the contemporary composed quartet would have to admit. Hearing is believing. Mastering and liner notes by Bob Falesch, excerpted as follows:
"For those listeners whose prime reference is the standard repertoire of the string quartet, the ESQ's gratifying lack of prejudice against lyrical lines of songlike incantation may be a gentle introduction to freely improvised music, yet the ease with which they incorporate modern tonalities and sound based textures will challenge seekers of the avant-garde as well. A rich compendium of the ESQ's poetic and technical range is found in the first two brief movements of the CD's opening piece, Hill.1, a suite of four movements. The first begins with a persistent contrabass pedal tone, over which the first violin creates a simple pattern resembling the beginnings of speech. Just as the violin's phrasing matures and begins to reach toward the extremes of its compass, an elegant cello counterpoint sweetly and elegiacally sets the stage for the second movement's overwhelming bravura. Here is a phantasmagoric bulerÌas in which all four players conjoin in a torrent of exotically colored sounds. Fingertaps on the contrabass, jagged dotted rhythms, violent pizzicati, stinging spiccati on the violins, and the cellist's fierce sul ponticello all lead to a mind-meld of valedictory tremolos played by violinists bent on turning their strings in-side out, so vehement is their subjugation of tone by astringent rasps of overwhelming bow pressure. ...the rarity of this recording lies in the coherence and additive energy of the group as a whole."

SGM-007

SGM-006
RATTLE OK and RATTLE STILL OK are samplers of music from Jack Wright's tours, 1999-2000, released on CDR in order to make them available asap, especially to other musicians. There is such a huge amount of good improvisation that falls off the wagon if it doesn't reach album length. Some of this was later released on separate labels, such as a nonet piece put out by John Shiurba, on his Limited Sedition. Included on one cut or another are Bob Marsh, Tom Djll, Morgan Guberman, Ron Heglin, Matt Ingalls, Bhob Rainey, John Shiurba, Matthew Sperry, Karen Stackpole, Ben Wright, James Coleman, Greg Kelley, Eric Rosenthal, Stefan Dill, Dave Gross, Bob Wagner, Bob Falesch, Scott Rosenberg, Mike Bullock, John Berndt, Joe Giardullo, Paul Hoskin, Evan Rapport, Eric Leonardson, Chris cooper, and Matt Weston. Stretched out across the N. American continent, but many of them regularly touring÷The name comes from a curious hand stamp Jack acquired, that we eventually figured meant that whatever is rattling in this music, it isn't our fault.

"a cornucopia of the saxophonist's unusual, unabashed free improvisations...a glimpse into a world of music which surfaces below the radar screen The underlying theme is that of no melody, no preconceived conceptions, no conventional harmonies, close listening by the performers, and a joyous affirmation of the wonders of life."

---Steve Loewy, Allmusic.com


SGM-005
SCREAM OF CONSCIOUSNESS is Michael O'Neill's solo guitar album, representing the wide range of flight patterns, nooks & crannies he has been investigating over the past ten years. Some pieces recorded in a living room concert in Boulder (those intimate events few musicians have explored), some recorded in a vast dance space (the outside, children playing in a pool, washes in thru the windows). Voted the best avant-garde recording in Denver, a writer tells us to "scratch deep and you'll discover methodically disarranged classical pieces, spiffy one-liners, and explorations into looped-based environments with all the distortion of a funhouse mirror." And Dave Wayne writes ""structures one would associate with classical and experimental rock-derived music, rather than jazz...and have none of the pretension or stiffness I associate with either genre.... the results are quite rewarding." Originally a CDR, this will be released soon as a CD.

"methodically disarranged classical pieces, spiffy one-liners, and explorations into looped-based environments with all the distortion of a funhouse mirror. Amusingly titled cuts such as "Cupid's Gymnasium," "Shit-canned" and "Effing the Ineffable" hint toward prog-minded excursions -- something not entirely surprising given O'Neill's alumni status in Boulder's confounding quartet. Instrument Panel. Available through saxophonist Jack Wright's home page, www.springgardenmusic.com , Scream covers all of the basic food groups and then some. You'll laugh. You'll cry. You'll scream."

---Westword (Denver), March 29, 2001


SGM-004
IN THE GARDEN OF EARTHLY DELIGHTS is the dualistic version of Carol Genetti, Chicago vocalist, and Bob Marsh, cello, recorded in April 2000. Language without a single word, huge range of meanings that seem right on the verge of something graspable, but maybe for that reason communicates all the more÷"speaking" rather than "words." Perhaps it would upset some, "I'm sure you want to say something, so why don't you!" What is striking is how the primitive quality meets the most delicate, refined musical images. Of course, nothing that normal people would call melody, but what could be more melodic than this flowing, connected music? Carol is of course vocal, but Bob also, one of the most vocally involved players, a vocalist in other settings, and a student of Chinese and Mayan in his spare time. These musicians are searching right before your ears, yet experienced and confident, having fun, and funny. Mastered by Rainey, a CDR.

"The two construct compact conversational music of compelling intimacy. Genetti's wordless vocals dart and soar with an unforced flexibility. She effortlessly utilizes an impressive range; leaping from warm, full tones to the highest creaks and lowest growls. Marsh's cello provides a perfect complement; whether playing woody, resonant arco or percussive, bounding pizzicato. The two are careful listeners, knowing how to respond to each other and when to lay back and leave a bit of space. The natural sound of cello and voice lends a certain chamber-like immediacy without ever sounding stuffy or mannered."

---Cadence Magazine


SGM-003
PLACES TO GO The first all-solo album by Jack Wright, after twenty years of playing improv, and mostly solo performing. Recorded mostly in his kitchen, not really knowing how to aim the microphones, but the musical result is clear. A pretentiously shy man, who keeps his tongue in his cheek while playing and writing, he is best described by Jeff Bagoto in a Washington Post review: "In the rarefied, underground world of experimental free improvisation, saxophonist Jack Wright is king. For over 20 years as a pioneer of extended techniques like overblowing, tongue clicks, multiphonics and microtones assembled in spontaneous compositions, Wright's been an inspiration, mentor and musical partner to many players. Here, with silence as his only foil, Wright solos in various live settings, creating a technical primer that demonstrates ecstatic flights of musical imagination unfettered by euphony or meter÷With nimble fingers-and an embouchure to die for (lips and tongue becoming subtle acrobats challenging a high blown wire without a net)-Wright ties his axe in knots and unties it with the dexterity of a prestidigitator. Wright's music remains human and exciting because it is clear and true and it expresses man's journey of consciousness and will in an unknown environment indifferent to his endeavors." Golly÷.This cd, as the one above, mastered by Bhob Rainey.

"Idealistic and obscure..WrightÌs impulse has been to let it all out without concessions, but on this solo set he foregoes raw expression, approaching soprano, alto and tenor with curiosity and attentiveness. Employing an idiom of slurs, snarls, jagged stabs and growls, each piece investigates what the instrument has to say in response to WrightÌs quizzical probing."

---Julian Cowley, The Wire

"By Anthony BraxtonÌs definition, Jack Wright is a very dangerous man. Not danger as in hazards, but dangerous as in possibilities. Braxton classifies musicians as traditionalists (retro-New Orleans), stylists (all those hard-bop clones), and restructuralists (Charlie Parker, John Cage, Sun Ra). The restructualist Wright, like Parker in his time, is walking the precipice of creative music,working new sonic boundaries, not readily acceptable to the average listener (or even average jazz listener). Wright works on the outer edge of improvisation, as a soloist he has no time structures as nets or preconceived ideas as safety lines. He spontaneously composes the very essence of music - sounds. His performances recorded here are progressive outpourings of notes, tones, squeaks, squawks, grunts, growls, yowls, snorts, bellows, snaps, gnarls, chortles, sniggers, taps, you get my point. Wright, a master of his saxophone coaxes non-saxophone songs from his horn. Like a street corner rapper, he makes it up as he goes. Wright is a treat to catch live, because his improvisations are physical as well as sonic. Sometimes you think his playing is a form of Tai Chi as movement and sound become one. Listening is another experience, one for the imagination and the open mind."

--Mark Corroto, allaboutjazz.com


SGM-002
THAW Jack Wright solo and with friends, in different groupings. Namely, Bob Marsh, Murray Reams, drums (from N. Carolina), Terry Sines, bass; Gordon Kennedy, drums; Michael O'Neill, guitar; Justin Perdue, guitar; Jeremy Harlos, bass. This is from the summer 1992, recorded in Boulder and Denver. One reviewer said something curious, "I wish I knew when this sort of thing goes from clearing any undesirable particles of whatever from your instrument to a JAZZ consideration." Apparently he didn't like it, but his thought about improvisation as an instrument-cleaning method is a good description÷Covers by Jack, who is also a painter and, barring gallery shows, uses cover-painting to keep the visual in his life.

SGM-001
FREE LIFE, SINGING an LP recorded at home, under a loft bed, in 1982. Solo sax and piano by Jack Wright and duo with an irrepressible ex-bebop drummer, Marv Frank. Crude by today's engineering standards, this album represents all the drive and excitement of an experienced player coming across a new way of playing: free improv.
S p r i n g G a r d e n R e c o r d i n g s
1032 Spring Garden St
Easton PA 18042
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