Music Program
 


Friday, January 20, 2006 at 8:00 p.m.

$10 general, $8 members, students and senio

Arthur Doyle Electro-Acoustic Ensemble

Presented at:
Hallwalls

Arthur Doyle (voice, tenor saxophone, flute)
Dave Cross (turntable, sampler)
Tim Poland (Clavinova)
Vinnie Paternostro (Roland 505)
Ed Wilcox (drums, percussion)

We at Hallwalls are pleased to welcome the return of underground free music icon Arthur Doyle to Buffalo for the joyous occasion of our inaugural concert performance in Hallwalls' new home at The Church.

“Arguably more able to engender polemical reaction than any other living saxophonist, Arthur Doyle stands noticeably apart in the free jazz canon (if there can rightfully be considered such a thing). A pariah to some, a prophet to others, he approaches his instruments in manner that makes the term ‘idiosyncratic’ seem painfully inept. His sound and phrasing are such to elicit immediate opinion. A fellow saxophone iconoclast Charles Gayle works on an analogous level, but even his detractors have been want to admit his ability on the horn. Not so with Doyle. The press has routinely lambasted him as a charlatan and hack. This in spite of the fact that he’s been an active figure in the music for decades, contributing to such legendary recordings as Noah Howard’s The Black Arc (Freedom). In his own words clarifying his technique “First you have to come from belly, like you are throwing everything out of it. Next you humming and whistling at the same time making your lip irate. — Derek Taylor, All About Jazz

Arthur Doyle is the most immediately recognizable sax player alive. His sound is a mixture of African folk song delicacy and pure Albert Ayler overload. His vocal style (both as pure element and incorporated into his sax and flute styling) is seemingly from an alternate (jazz) world. His style is impossible to ignore. For reasons both known and unknown, Doyle is not a figure widely recognized by the US free-jazz community. He is seemingly more recognized abroad, as highly successful tours of Europe and Japan bear witness, the case with a lot of jazz musicians. Doyle recorded and released his own debut in 1978’s Alabama Feeling. More legendary now for the price originals go for in Japan, the record was a screaming, raw continuation of a now completely out-of-style music, free jazz in 1978. The band was wild, loose, and free. The performance of electric bass man Richard Williams was totally nuts, at times coming close to upstaging Doyle. What a band, what a great recording, totally removed from time. His sound seemingly came out of nowhere and the evolution of Doyle continues. “I have been through stages of development to where I am today: I played Bebop, I have played noise punk rock and I played free jazz.” Those who do know Doyle now most likely know him from his mid 1990s “comeback”: In upstate Endicott, NY, Doyle recorded a number of his mid-1990s works, a lot of them on his portable cassette recorder. “It’s broken now,” Doyle reports. More Alabama Feeling (Ecstatic Peace), released in the curious single-sided format, marked the debut of lo-fi solo performer Arthur Doyle. It was raw, with pause-button slams, Doyle muttering incomprehensibly, and multiple takes of shrieking sax power lift. “Now I am playing what I call Free Jazz Soul Music." (Notes by Dave Cross, June 2000.)

MORE INFO ON Arthur Doyle:
www.fractal-records.com/05artists/doyle.htm
www.worshipguitars.org/Interviews/arthurdoyle/index.html
www.furious.com/perfect/arthurdoyle.html


Some publications related to this event:
January, 2006 - 2006

 
 
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Laylah Ali
Paintings and Drawings


Laylah Ali's work explores power dynamics and interpersonal conflict through compositions that position culturally, racially and sexually ambiguous figures in precarious, loaded, and unexpectedly humorous situations. Ali uses concise—even minimal—imagery that is specific in rendering and intent. While there are narratives in Ali's work, they are stories whose open spaces often give them the atmosphere of fables.