Zerx Records & Press


Reviews: Kurt Heyl " One Days Music"

Reviews of :
"One Days Music"/ Kurt Heyl & Jack Wright
(Zerx 043)

The Heyl/Wright/Nieisen quartet, with either Wayne or Faaet. on drums, plays totally improvised music that they state was not planned or overdubbed, It is a spontaneous collective of brass, reeds, and percussion, although each of the lead triumvirate plays several other instruments including bass and vibes. Everyone is listed as a percussionist as well. The music has the sound of the freewheeling 1960s, when piano-less unstructured collective improvisation was first making itself known to the general public. Heyl has a gruff, barking way of playing the trombone, which gives the date its muscular touch and fee. He forces the selections into the open with his assertive blowing, while Nlelsen and Wright jump in headfirst on their woodwinds to encircle the tunes.
The drumming duties are split evenly between Wayne,and Faaet. Both musicians are in a continual motivating role with their freeform styles. With everyone at one time or another, on percussion as well, irregular rhythms are plentiful. Heyl injects voice shouts and a scat-like form of vocal phasing between his trombone playing and also plays the mouthpiece for unusual emphasis. Nielsen concentrates on tenor and occasionally switches to bass, clarinet, while Wright takes it up higher on alto, soprano, or flute to fill the sound spectrum. When all horns are speaklng at once, the sound is voluminous. More typically, the leaders pair of in duet duels with the drum push behind them. This frees one of them to take on the bass or vibes role, giving a more cohesive sound to the free improvisations. The collective voices speak as one, providing the music with intense moments as well as softened ones. The recording amply demonstrates the instant composing talent of these solid muslcians."

--Frank Rubolino, Cadence Magazine, August 2002

JACK WRIGHT/KURT HEYL - One Day's Music (Zerx 043)

My strange pal from Delaware Michael Parker is always raving about saxist Jack Wright (as well as the Joe & Mat Maneri, Joe McPhee & Bhob Rainey). Michael only digs those improvisers that really push the envelope or the barriers to extremes.
The one time he played me a live set from Wright, I thought he sounded like Zorn in the early days when he mostly played mouthpieces and birdcalls. I am even less familiar with the talented crew of improvisers from New Mexico found on this cd. Kurt Heyl plays trombone, Dave Nielsen plays tenor sax, vibes, bass, etc, Dave Wayne & Al Faaet switch off on percussion. Things begin quietly and cautiously on "ODM1", slowly building and escalating into a controlled frenzy with some odd spoken words from Kurt. All three horns do a fine job of interweaving and spewing their rich palette of intense and focused improv all over. Both drummers also seem to be listening closely and also responding quickly to the ever shifting dynamics of the tight flow and free flight.
The more I listen to this, the more I realize there are pools of (unknown or little) improvisers everywhere in the US, as well as around the world, working at providing a challenging listening experience for those willing to give them the time and consideration. I raise my cup of cranberry juice on ice as a toast to these fine fellows for the chance to be blown away once more. Hooray!

from DTMgallery