Reviews that mention Martin Archer
September 2, 2021
Martin Archer/Charlotte Keefe/Martin Pyne
Hi Res Heart
Discus Music 108 CD
Overcoming pandemic lockdown restrictions with electronics and multi-instrumental acumen, three British improvisers create trio music that’s more than the sum of its parts. Each player recorded his or her part separately and these textures were then melded with the recorded responses of the others. Considering Charlotte Keeffe plays trumpet and flugelhorn; Martin Pyne vibraphone, drums, percussion and toy piano; and Martin Archer sopranino, soprano, alto, tenor and, baritone saxophones, Bb and bass clarinets, bass harmonica, flute and electronics the resulting textures are layered in a variety of paradigms. It’s a tribute to the three, who are involved with multiple UK bands, that they make the idiosyncratic program sound as natural as any conventional trio set – or perhaps a 16-piece band jam session. MORE
July 11, 2020
Anthropology Band
Discus 90 CD
Webber/Morris Big Band
Both Are True
Greenleaf Music GRE CD 1075
Vladimir Tarasov & Krugly Band Orchestra
Sound Tapestries
SoLyd Records SLR 0440
Fire! Orchestra
Krysztof Penderecki Actions
Rune Grammofon RCD 2212
Gard Nilssen Supersonic Orchestra
If You Listen Carefully the Music Is Yours
ODIN CD 9572
Something in the air Novel Large Ensemble Strategies are expressed by Bands All over the World
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November 28, 2013
Blue Meat, Black Diesel & Engine Room Favourites
Discus 43 CD
Blending and contrasting vamping horns, violent percussion and spiccato strings, this CD mark a welcome return to Jazz by Sheffield-based reedist Martin Archer. Now mostly involved with electronic-oriented sound design and what he calls “creative Rock”, his dormant talents on sopranino, alto and baritone saxophones and bass clarinet are given full reign here, as part of a 12-piece acoustic band.
Besides a brief introduction the session is divided into the 25 minute “Of The Above”, composed by Archer and percussionist Peter Fairclough and the eight-part title track penned by the saxophonist. Although Archer links the performance here to pioneering Association for the Advancement of Creative Musicians (ACCM) sessions he does himself a disservice. Few if any AACM compositions are as concerned with the spatial pulsations arising from four percussionists – five if you count Corey Mwamba’s vibraphone – featured on both major tracks. More crucially the tunes’ frequent turn-arounds and transitions are based on chordal dissonance rather than other motifs. In other words reed and/or percussion narratives are usually re-directed by the angled piano pulsations of Laura Cole or jittery counter-melodies arising from Graham Clark’s violin. MORE
December 26, 2005
We Are Falling
Konnex KCD 5150
COMBAT ASTRONOMY
The Dematerialised Passenger
Discus 20CD
Reduced to cliché elsewhere, the jazz and improv part of jazz-rock fusion still survives in isolated corners of the music business. In the United Kingdom, one spot is London, another Sheffield, while in the United States there’s St. Paul, Minn. [!]
At least it would seem so on the evidence of these CDs. Israeli-born, London-based drummer Asaf Sirkis has put out the second CD by his Inner Noise trio, which he admits is as influenced as much by Weather Report and Allan Holdsworth as Sun Ra. A continuation of the band’s first CD, WE ARE FALLING differs since Steve Lodder is able to play a special midi keyboard with an organ feel and special keyboard set-up with bass pedals, instead of the church organ used on the band’s debut disc. MORE
September 1, 2004
The formulary of curses
Discus
By Ken Waxman
September 1, 2004
Five years into the 21st century, British composer/saxophonist Martin Archer must occasionally allow himself the odd smile of satisfaction.
Beginning his career in the early 1980s as a improv saxophonist, by the mid-1990s the Sheffield-based musician immersed himself in creating relationships between electronics, technology and improvisation. Integrating random events and sound material into his recorded work before that idea become generally accepted, early on his partially notated/partially improvised sound collages showed the sort of musical maturity that it would take others years to attain. MORE
April 7, 2003
GUSTAV DEUTSCH /HANNES LOESCHEL & VELVET LOUNGE
Film ist. Musik
Loewenhertz 009
MARTIN ARCHER
English commonflowers
Discus 15CD
A soundtrack anxious to stand on its own as program music, and mix’n’match program music lacking only visual images to become a soundtrack characterize these two European CDs. More impressively, British keyboardist/saxophonist/electronics composer Martin Archer and Austrian pianist/composer Hannes Loeschel have produced aurally descriptive discs that prove that genre definitions are a thing of the past.
While neither CD would exist without the foundation of jazz and free improvisation, influences from electronics, rock and post-rock, folk melodies, musique concrète, pure noise and both traditional and contemporary classical music slide into the sound as well. Those 1960s psychedelic bands that insisted their amateurish efforts were movies for the ears didn’t realize how accomplished composers like these could redefine that conceit decades later. MORE
July 27, 2000
Winter Pilgrim Arriving
DISCUS 12CD
Martin Archer/Simon H. Fell
Pure Water Construction
DISCUS 11CD
Some musicians who have already researched the outer limits of jazz and improv music are still looking for new areas to investigate. One bit of uncharted territory -- the intersection of improvisations, the mechanics of chance and electronic gadgetry -- fascinates Martin Archer. And these two quite different discs offer a glimpse into his thought processes.
Initially a free jazz saxophonist and composer, Sheffield, England-based Archer has spent most of the past decade immersing himself in the mechanics of electroacoustic music. Both these CDs involve music played by him and others in real time then twisted, turned, tweaked and mixed with other samples to create a new soundscape. When it succeeds it transports the adventurous listener who often can't identify the source of an individual tone; when it doesn't it becomes merely self-indulgent.
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