As is quite often the case, I learn so much more about an album after I see fit to run my mouth, so to speak. That is, I knew little to nothing about Wade Matthews when I first posted this to the Blogger account. Wade kindly commented and filled in some of the missing info (besides what is available above on the “name” link):
Hey “Dark,” thanks for the kind words. Besides my woodwinds, I studied electronic music. As a result, I approach the bass clarinet and flute as “acoustic synthesizers.” That frees me from the kind of approach that would drag me into phrasing in which my fingers do all the thinking (or no thinking at all!). So I’m listening and shaping the sound the way I would when making electro-acoustic music. By the way: I played in a workshop orchestra led by A. Braxton in 1975. I was already playing free at that time, but his stuff blew me away. I highly respect him as an artist, and just as highly as a person. Glad you enjoyed the music. Wade
Since this album is still in print and for sale, and since I’ve already shared too many Creative Sources records, there is only the “buy” link. I’ll play a bit on the radio station I linked to (actually a small group player - I’ll note times I’m on there playing music) for those short on funds but curious. What you’ll hear is FANTASTIC freely improvised music, with a strong emphasis on aggressive microtonal sounds, if that is not an oxymoron. What I mean by that is the pace is higher than your typical microtonal affair. Indeed, these early compositions for Matthews represent a stylistic bridge between more out microtonal affairs and the more conventional (instrument wise) freely improvised music that was, at the time, an offshoot from free jazz. That’s not to say others haven’t taken their shot at pulling from both genres, but rather, this is one of the best executed attempts I’ve heard, 2 more years on.