![]() Even though McPhee played soprano saxophone, Flugelhorn and pocket trumpet in the face of the torrents produced by the lower pitched saxophones of the leader, Mats Gustafsson and Ken Vandermark, the bellowing trombones of Johannes Bauer and Jeb Bishop, and the thunderous rhythm section of bassist Kent Kessler and drummers Paal Nilssen-Love and Michael Zerang, McPhee consistently asserted his unique bead on both the brass and reed language traditions of the past 50 years. McPhee is certainly no appendage to Peter Brötzmann’s Chicago Tentet, which closed Jazz em Agosto with an exhilarating fury. ![]() After all, Joe McPhee is no footnote to anything. Initially, tacking a separate interview with the multi-instrumentalist onto the conference transcript seemed like a good idea but it soon became clear that it was more appropriate to have it stand alone. ![]() ![]() ![]() As readers will quickly ascertain, McPhee’s experiences in the 1960s were complementary to those of Barre Phillips, and that McPhee blazed trails now regularly travelled by Taylor Ho Bynum, Mary Halvorson and their contemporaries. As mentioned in the introduction to this issue’s What’s New? Roundtable, air flight delays prevented Joe McPhee from participating in the conference held at the Calouste Gulbenkian Foundation in Lisbon as part of Jazz em Agosto. ![]()
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