Ornette Coleman meets Sonic Youth, Spawns Gutbucket..Feb 24th

quintron

Fresh from the Knitting Factory infused cesspit of musical activity that is the New York downtown scene, the BBR (in association with IMC) presents Gutbucket. A free-range quartet in the dedicated tradition of all things Zorn, Ribot and MMW....


THURSDAY 24th FEBRUARY

Gutbucket(www.gutweb.com) €12 Doors - 8:30pm

To receive a reminder text to your mobile on the day of this gig please text “gutbucket” to 086 1585505

Members:

Ken Thomson - Saxophone
Ty Citerman - Guitar
Eric Rockwin - Bass
Paul Chuffo - Drums

“Frantic party music... Ornette Coleman mixed with a rock band”- The New York Times

Gutbucket is nothing if not counter-culture, but for all their anarchist leanings they are actually a group of talentedplayers who have chosen to combine rapidly-changingmovement form reminiscent of early Zorn with a punkattitude. But don’t let their chaotic, occasionally head bangingstyle fool you—these players are influenced as much by the harmolodics of Ornette Coleman as they areby the thrashing of garage bands – All About Jazz

“The high level of innovative musicianship leaves the listener wanting more.”- AM News NY

Jazz wants to be free, and it's taking every other genre with it. Ornette Coleman broke most constraints that bound jazz to a structure, freeing the music to go anywhere it pleases.

Miles Davis brought rock into the fold and created fusion. Now, jump ahead thirty years, and you get Gutbucket. Along with bands such as Garage à Trois (featuring Charlie Hunter) and Garaj Mahal, Gutbucket mashes free jazz, jam band rock, funk, heavy metal, and more into a fusion for the 21st century. It's like Ornette jamming with Iron Maiden and Sonic Youth.

The five-year-old New York quartet is not only equally comfortable playing in front of 900 teenage skate-punks, or a crowd of stoned jam band freaks, or on an anarchist German art collective houseboat, but also – most importantly – their music fits right in, too.

On Dry Humping the American Dream, their latest album the band the Village Voice dubbed “stomprovisors” thrashes and twitches (sometimes literally) through 10 cartoonishly complex compositions, injecting a shot of glorious spazmitude into the minimalist cool of Bang on a Can’s hep Cantaloupe label.

Flitting from Latin to thrash to polka to Klezmer and back, often within the space of a few bars, the group veritably attacks their music with the kind of ferocity usually reserved for punk, despite having earned their jazz bona fides. “We’re all pretty serious about rock,” says saxophonist Ken Thomson, “and not just a token throwing-in of some different tunes. It’s something intrinsic to who we are as people. We’ve all had training in jazz, but we’d like to move outside that world into the rock world, and actually bring something new to that.”

Equally capable of incorporating a diverse blend of styles within the confines of a single six-minute piece (“Dry Humping the American Dream”) as they are creating an almost hypnotic and, yes, perhaps even lyrical ambience on “Another World is Possible,” the four members of Gutbucket seem comfortable in a variety of spaces. Guitarist Ty Citerman can head-bang with the best of them (“Snarling Wrath of Angry Gods”), play havoc with “When Johnny Comes Marching Home Again” on the intro to “Liberation” or work polyrhythmic mind games with drummer Reverend Paul Chuffo (“Lift Cover, Pull Chord”). Saxophonist Ken Thomson is equally informed by Ornette Coleman as he is Albert Ayler. Bassist Eric Rockwin and Chuffo blend, if one can use that word here, into a rhythm section that is at times tight as, well, a drum and other times as chaotic as the world in which they believe we live.

Though the band might seem rooted in the genre exploding of avant-squonk (their 2001 debut, Insomniacs Dream, was released on the Knitting Factory house imprint, while Dry Humping the

American Dream was issued in Europe on the legendary Enja label), this might be an easier move than it sounds. The four band members are, if nothing else, products of suburban radio. Bassist Eric Rockwin claims to have learned every Paul McCartney bassline by heart before his father humbled him with a Ray Brown CD. Guitarist Ty Citerman was “into everything that was Hendrix and Van Halen and Led Zeppelin.” And drummer Paul Chuffo learned to play by mimicking The Who’s Keith Moon.

Live they present listeners with an everything-but-the-sink approach, creating a wall of sound and sounds that at times is drawn as much from the influence of Ornette Coleman as it is Frank Zappa.

Unmissable!



http://www.gutweb.com for Gutbucket mp3 samples, photos, video etc

http://www.theboomboomroom.tv for all BBR gigs.

http://www.improvisedmusic.ie for all IMC gigs.

quintron

Forgot to mention location...
The Boom Boom Room,
Upstairs Patrick Conways Pub,
70 Parnell St,
Dublin 1.
Doors 8:30pm.


Heres a recent review by The Guardian of their current tour:

Copyright 2005 Guardian Newspapers Limited
The Guardian (London) - Final Edition

January 29, 2005

SECTION: Guardian Leader Pages, Pg. 20

HEADLINE: Reviews: Gutbucket: Wardrobe, Leeds 3/5

BODY:
Like any self-respecting jazz-thrash-rock-latin-noise band from the dark underbelly of New York, Gutbucket have a peerless way with a song title. "This one's called Monkey-Bacon," announces twitchy saxophonist Ken Thompson, shortly after the band have spluttered to the end of a piece entitled Put Down Your Duck. Other gems include Polka of Doom and Punk As a Rumble-Dink, all from the album Dry Humping the American Dream - the title of which the band have not been allowed to mention on US radio.

Fortunately, Gutbucket's gleeful subversion goes well beyond song titles. Their influences extend far and wide, allowing them to set Ornette Coleman-esque saxophone hollers against live drum'n'bass rhythms, and squalling Pixies guitars behind ponderous electric double-bass bowing. Tonight, they begin with a blast of crisp Meters-style funk, lethally booby-trapped with stop-start passages, superimposed rhythms and flurries of manic acceleration.

From here on it's fizzes and bangs all the way, bolstered with a bit of good-natured clowning. Bassist Eric Rockwin appears to have written all the maddest tunes; a piece of his entitled Underbidder begins with gunshot snare rolls before turning into a sludgy homage to King Crimson, complete with terrifying swathes of guitar and saxophone . The prog-rock influences don't end there: a composition called Thrusp boasts a hypnotically creeping guitar riff and an atmosphere of sustained menace that recalls the unscrewing of the Martian cylinder in Jeff Wayne's War of the Worlds. This is not standard jazz territory.

The Seattle grunge model of quiet/loud/quiet/loud haunts several of the later pieces, and some of the more tangled forays into free jazz prove a little samey. Still, there is something smart, sleek and assured about Gutbucket, and when they begin firing on all cylinders it makes for an exhilarating, intelligently performed racket.