INTENTS & PURPOSES:
Bill Dixon, 1925-2010.

RELAY: DANCE #5
SOLO #8
Bill Dixon
Untitled
Edizioni Ferrari : 1982

Relay: BD, flugelhorn, trumpet, piano; David Carrier, trumpet; Ann Carrier, alto flute; Stephen Hornstein, bass clarinet; Chris Bishop, electric bass. Solo: BD, trumpet.

FOR CECIL TAYLOR
Bill Dixon
Verona Jazz
Nettle : 1996

BD, piano; Arthur Brooks, trumpet; Stephen Haynes, trumpet; Stephen Horenstein, tenor sax; Alan Silva, bass; Freddie Waits, drums.

WEBERN WORK STUDY (1973-74)
REQUIEM FOR BOOKER LITTLE (1975-76)
THE CLOISTERS (1973)
Bill Dixon
Odyssey
[self-released] : 2001

BD, trumpet.

With the death of Bill Dixon last month, the world lost an utterly distinctive voice. Adept at various settings — solo, small group, orchestral — Dixon presented the antithesis of “licks.” His was a music of surprise, of expressing a personal sound. Unafraid of silence, or unconventional sonics — and seemingly allergic to cliche  — he created a body of work that offers the patient and open-eared listener unparalleled joy and depth of feeling. Though Dixon could be the sort of musician who starts arguments, we believe the often strong reactions to his playing grew out of his unique approach to his instrument; it was very hard not to have an opinion. We come down alongside Dixon’s colleague and student Stephen Haynes: “Dixon was the next technical extension of the trumpet after Dizzy Gillespie.”

For Dixon fans, we’ve got some genuine rarities from his deep catalog that we’re pleased to share. But these tracks aren’t just for the heads – they serve as fine introductions to the range and breadth of Dixon’s work.

Probably the rarest item in Dixon’s oeuvre is the untitled LP issued by the Ferrari Gallery in 1982, in conjunction with an exhibition of Dixon’s visual art. Only 400 copies of this gem were ever pressed. In place of a proper cover, the record came with a print of one of Dixon’s pieces from the show. See below:

All the material on this album dates from the early 1970s and includes some of Dixon’s most fascinating compositions and performances. “Relay: Dance #5” is from a full length dance-music collaboration performed at Bennington by Dixon and the Judith Dunn Company of Musicians and Dancers in 1970. This short and meditative section moves through several changes, teasing out a delicate wisp of melody against an increasingly insistent piano. It’s nothing short of sublime and features the rare audio spectacle of Dixon dueting with himself in real time.

The track was composed in an inventive fashion: Dixon’s multi-tracked trumpet and piano parts were pre-recorded and further music was created live by the ensemble during the dance performances. “I did that because I didn’t have that many musicians,” Dixon said. “I didn’t use the tape to be cute but because I wanted that many layers.”

The stunning “Solo #8” comes from a January 1973 concert at Bennington. This bravura seven minute performance highlights a range of his approaches to the trumpet, exploring buzzing and breathy runs, echoing overtones, guttural ellipses, ghostly moans, and splattering cries. But the real draw here is the piercing emotional tone that unites the piece as it builds to a memorable crescendo. (Hardcore fans should note that parts of this same concert were also used in Considerations 1.)

This 1980 live version of “For Cecil Taylor” comes from a rare compact disc of exclusive live performances from the 15th annual Verona Jazz Festival. It was issued in 1996 as part of the Italian music magazine Musica Jazz. While Dixon was justifiably best known for his remarkable horn work, his piano playing has yet to be given its due. This churningly hypnotic tune focuses on his keyboard work, which moves from confidentially minimalist to lyrically exploratory. It’s also a showcase for his compositional chops and leadership. Note how the horns, bass, and percussion play an even greater role in evoking Cecil Taylor’s music than the piano. Dixon must have been in a reflective mood about the jazz masters that night, since he dedicated the entire performance to Miles Davis.

These rare items come from the collection of George Scala, who generously shared them with us – and you. George maintains a valuable, multi-artist free jazz discography that’s well worth checking out. You’ll be hearing more from his archive at D:O in the near future.

Thanks are due, too, to Clifford Allen, who kindly supplied us with the tracks above from Dixon’s self-released solo opus, Odyssey. Here we have unadulterated Dixon, revealing various facets of his playing and thinking. There’s Dixon the melodist and Keeper-of-the-Flame (“Requiem for Booker Little”); Dixon the sound sculptor, working with decay, space, echo (“Webern Work Study”); and Dixon the creator of incantations, breaking down distinctions between “music” and “not music” (“The Cloisters”).

For more on Dixon’s life and work, we highly recommend taking the time to visit the following:
–Taylor Ho Bynum on Dixon, over at Darcy James Argue’s place.
–Stephen Haynes on Dixon, with a great photo, too. More from Haynes also at NewMusicBox.
–Ben Young, with the official obituary.
–NPR’s Lars Gotrich on Dixon and his effect on young ears.
–Clifford Allen with a deep, personal remembrance.
–Bill Dixon’s Facebook page has been filling up with anecdotes and encomiums, including this great one from longtime Dixon collaborator Stephen Horenstein.
–Previous D:O posts on Dixon here.

Thanks also to Ben Young ’s invaluable Dixonia, which helped clarify many of the details in this post. Bill Dixon, RIP.