Download - Downbeat

European Scene | By Peter Margasak
Emanem Records: Martin Davidson’s No-Frills Operation
The slogan of British record label
Emanem reads “Unadulterated
new music for people who like
new music unadulterated.” Such
a brash claim could lack authority
coming from some imprints dedicated
to non-commercial music,
but the label founded in 1974 by
Martin Davidson, who documented
and disseminated the radical
sounds of free improvisation happening
in England at the time, carries
serious heft. The imprint has
gone through several periods of
inactivity, ranging from three to
seven years, but few labels have
endured as long as Emanem has
without compromising their artistic
vision and commitment. And
for the last 16 years, Emanem
has experienced its most consistent,
fruitful period, releasing
nearly 200 CDs by such legendary
figures as Derek Bailey, John
Carter, Evan Parker, John Stevens
and Paul Rutherford as well as
important younger musicians like
John Butcher, Roger Smith, John
Edwards, Charlotte Hug and Olaf
Rupp. Davidson continues to issue
newly recorded music as well
as reissue vintage recordings or
make them available for the first
Martin Davidson
time, from his exhaustive catalog
of music by London’s influential
Spontaneous Music Ensemble or
the overlooked People Band.
Davidson was first drawn to
the London free improv scene
some four decades ago and before
long began lugging his reel-to-reel
rig to concerts to tape the music.
“I was hearing a lot of magnificent
music which wasn’t being
preserved, and which I thought
should be heard by more people,”
Davidson said recently. He took
action in 1974, releasing a solo
performance by soprano saxophonist
Steve Lacy. Aside from
some financial setbacks (and
moves to the United States and
Australia in the ’70s and ’80s), he
hasn’t stopped since. Davidson
said his enthusiasm for the music
remains undiminished after all this
time. “Many new performers have
since come along and added their
own dialects. Some have added
new techniques, particularly using
new computer-based technology.
I personally prefer to hear
acoustic instruments without any
electronic manipulation or amplification,
but I do enjoy some use
of the new technologies. Nowadays,
there are so many musicians
around that it is impossible to
keep up with them all.”
Throughout the label’s long
history, Davidson has privileged a
clear and direct presentation, attempting
to present the music as
it would be experienced by an audience
hearing a live performance.
Emanem’s often-utilitarian but always-tidy
packaging is designed
to keep the focus on the actual
music. “Music is not about fashion,
and this is sometimes reflected in
the visual design,” he said.
In an era of short-attention
spans and media overload, Davidson
takes an almost contrarian
position in putting his faith in an
undiluted presentation. He’s yet
to release any of his titles digitally,
although part of the reason is a
lack of time (he runs the label by
himself). “As soon as [a label] issues
a CD these days, it appears
available as a download on several
websites in various parts of the
world,” Davidson said, noting that
bloggers give away his releases
illegally. Sales through conventional
music distributors have also
declined steadily in recent years,
but direct sales from the label’s
website have increased to the
point that Emanem continues to
essentially break even.
About a decade ago, Davidson
also began to help Evan Parker
operate and distribute his Psi label.
The saxophonist makes the
artistic decisions, and Davidson
implements them. In the end,
Davidson doesn’t look at Emanem
as a business as much he does an
act of devotion. “All of the music
on Emanem is music I like,” he
said. “I never wanted to waste my
limited resources on things I don’t
consider to be worthwhile. There is
also a lot more music I like on other
labels. Emanem is just part of the
overall picture.” DB
Barranquijazz Flavors Colombia Coast with Latin Rhythms
Held every year during the second week of
September, the Barranquijazz Festival has
established itself as a stimulating musical crossroads
in the form of a five-day party.
There’s always a Brazilian presence at
Barranquijazz, and the evening kickoff artist was
80-year-old Brazilian pianist João Donato, a key
figure in the 1960s bossa nova boom. Donato’s
quartet (bassist Luis Alvez, drummer Roberto
da Silva, percussionist Sidney Martin “Cidinho”)
played a laid-back set that included his ’60s hit
“The Frog” but ramped it up when Cuban trumpeter
Mayquel González stepped on stage for a
Havana-Rio crossover. The highlight of the set
was the onstage reunion of Donato with a hometeam
favorite, Colombian flute-and-saxman
Justo Almario—the match to the gasoline—
whose body-rocking telegraphed the rhythm to
the audience as he blew.
The second night began with a compelling
performance from Terence Blanchard’s quintet,
followed by Seis del Solar, directed by pianist
Oscar Hernández. Originally founded as Rubén
Eddie Palmieri (left)
with Luqués Curtis
Blades’ backup band, the group also functions as
a chops-heavy Latin-fusionist jazz group fronted
by saxman Bobby Franceschini. Adding extra
firepower were bassist Rubén Rodríguez, conguero
Paoli Mejías, timbalero Ralphy Irizarry
and drummer Robby Ameen. Bronx hornman
Mitch Frohman, who happened to be in town,
also sat in.
Barranquijazz also presented free outdoor
shows for seemingly marked younger crowds.
Rising star pianist Harold López-Nussa fronted
Ned Sublette
the Cuban quartet of González, bassist Gaston
Joya and drummer Rui Adrián López-Nussa.
The pianist combined muscular polyrhythm
with complex composition, holding off with his
tumbao a tropical downpour that turned the
drainless Barranquilla streets into rushing downhill
rivers. The final night postre (dessert) was
Eddie Palmieri and La Perfecta II, a dynamic
front line that included sonero Herman Olivera,
tresero Nelson González, maraca player Joseph
“Quique” González and flutist Karen Joseph. On
a riser in the back, trombonists Jimmy Bosch and
Doug Beavers stepped in time, held together by
conguero “Little” Johnny Rivero, timbalero José
Claussell, bongosero Orlando Vega and bassist
Luqués Curtis. Another poignant reunion took
place between Palmieri and Donato, who had not
seen each other in 50 years. (One-time trombonist
Donato played on Palmieri’s first record in
1962.) The festival was closed by vibist Alfredo
Naranjo y su Guajeo, and who wouldn’t want
to hear a Venezuelan salsa band under a full
moon
—Ned Sublette
16 DOWNBEAT DECEMBER 2011