Bill Dixon with Tony Oxley: Papyrus - vols. I & II (1999)

Papyrus - Volume I

1. Essay Di Larry Neal - 4:02
2. Papyrus - 7:33
3. The Statesman - 9:11
4. Indirizzo:Via Cimarosa Sei - 3:46
5. Scribbles - 3:18
6. Ritratto Di Allen Polite - 2:31
7. Cinnamon - 8:15
8. Quadro Di Henry Dumas - 2:36
9. Palimpsest - 12:20
10. Steps - 6:39
11. Sine Qua Non #1 - 6:54
12. Quadro Di N.H.Pritchard - 1:37

Bill Dixon: trumpet (2-5,9-11) (echo on 4,5,7), piano (1,6-8,12)
Tony Oxley (2-5,7,9-11): drums, percussion

Papyrus was recorded @ Mu Recording Studio, Milano | Italy, June 22 & 23 _ 1998

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Papyrus - Volume II

1. Silver Point: Jeanne Phillips - 1:32
2. Papyrus # 2 - 12:13
3. Pyxis - 4:33
4. Squares - 7:07
5. Epigraphy - 8:19
6. Sine qua non #2 - 6:54
7. Couplet - 5:20
8. Four: VI: 1998 - 10:23
9. Crawlspace - 13:14
10. Suri-Mono: Louise Wade - 3:04

Bill Dixon: trumpet (2-9), echo on 6, 2nd trumpet overdubbed on 8, solo p (1,10), overdubbed piano on 6
Tony Oxley: (not on 1,10): drums, percussion

Note: "Sine Qua Non #2" is a repetition of "Sine Qua Non #1" of Papyrus Vol.1 with the overdubbed addition of piano.

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About Papyrus - Vol. II

"If it's possible to say so, then this is a "typical" Dixon record. Which is to say that it's impossibly slow and excruciatingly sparse - and I mean that as a compliment. His work presents a challenge in a way that few others do: rather than attack you with a barrage of sounds, Dixon has a real minimalist approach. It's so slow and sparse that I can't really tell if there are any "heads" present or if it's all improvised. And these pieces seem to all eschew the idea of creating a beginning, middle and end - something many improvisers work very hard to achieve. Instead, they're all middle. There's almost nothing to hook a listener - no melody, no pulsing rhythm, almost no sounds that typically come from a trumpet or drum set. So when I line this up next to, for instance, Brotzmann's Machine Gun, I have to say that Papyrus Vol. II is a far more challenging listen.



Tony Oxley is an excellent accompanist on this record employing a variety of scrapes and clashes that keep the overall sound fresh and interesting. How he knows what to do with what Dixon plays is beyond me. When he drops out, which is frequently, he leaves space for Dixon to take what must be the most strange and out trumpet solos in the history of music.

Dixon has mastered extended technique for his horn which is in evidence with fast little runs in the highest register followed by the lowest pedal tones [...].

Dixon also overdubs trumpet and piano on a couple of tunes as well as bookends the record with solo piano pieces that seem to exactly translate his music to that instrument. As if this record needed to be any weirder.

Dixon is in a class by himself and personally I find his music fascinating.

With that said, I don't know how strongly I can recommend this record. If you like really out music, music that makes Ascension and Free Jazz sound like Top 40 records, you should check this out. Perhaps this is musicians' music? I don't know. Like I said, I love this stuff..." in Fire & Flux

Bill Dixon - Son of Sisyphus (1990)

"Bill Dixon's Soul Note exploration is typically thoughtful, introverted and often downbeat. Two duets on piano with bassist Mario Pavone ("Silences For Jack Moore" and "Sumi-E") both put as much emphasis on space as on the sounds. The other pieces find Dixon's tonal distortions on the trumpet often joined by moaning long tones from the tuba of John Buckingham, the competing ideas of Pavone and the often-fiery drums of Laurence Cook. "Schema V1-88" uses a single sound as the basis for the group improvisation while other pieces feature the musicians reacting quite freely to each other. These lyrical explorations move forward without a pulse and, once one gets used to the "style" (or lack of), they reward repeated listenings." by Scott Yanow, in All Music Guide

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Bill Dixon - Son of Sisyphus (1990)

1. Silences for Jack Moore 2'18''
2. Vector 1'55''
3. Son of Sisyphus 7'19''
4. Schema VI-88 3'10''
5. Fusama Codex 5'23''
6. Mandala per Mandela 3'50''
7. Sumi-E 2'58''
8. Negoro Codex 4'28''
9. Molti Molti Anni Fa... 7'40''

Bill Dixon - trumpet, piano
John Buckingham - tuba
Mario Pavone - double bass
Laurence Cook - percussion

All compositions by Bill Dixon

Recorded June 28 and 29 of 1988 at Barigozzi Studio, Milano, Italy
© Soul Note 1990

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