“Do they do those in Red?” was recorded by Paul Lytton (table-top bits and pieces), Joker Nies (electrosapiens), Richard Scott (synthesizer) and Georg Wissel (prepared saxophone). Four great jazz musicians are central figures of experimental music and avant-garde jazz scene. They integrate innovative and evocative ideas, create extended and extravagant playing techniques and combine all these elements together with free improvisation, traditions, the main tendencies of experimental music, sonoristic experiments and the basics of avant-garde jazz. The musicians are open to new ideas, radical and provocative decisions, interesting forms and shapes, and the creation of wide, universal and luminous range of styles, expressions, moods and characters, as well. Their music is based on new conception, inspiring style, is a fusion of avant-garde jazz, experimental music and electronics.
Prepared saxophone by Georg Wissel is the key of the melody line highly contradicting to wide range of electronics, special effects and sonoristic experiments. “Do they do those in Red?” consists the compositions which have a difficult multi-layed structure, universal pattern and expressive musical language. As it was mentionned before, the music is an artsy and organic fusion of electronics and avant-garde jazz. A free improvisation and open form are the main leading elements of each composition. That makes a possibility to improvise without any frames or strict conventions, experiment on various sections and get out of the traditional comfort’s zone of sound. The music is contrasting and bright – acoustics and electronics are the fundaments of the musical pattern and instrumental section which is based on experimental, specific and extended playing techniques blended with glitch, drone, ambient, in-puts, amplifications, sound machine’s experiments, computer and electronic devices sounds, special effects, sonoristic experiments, strange tunes and object’s sounds, same as abbreviations, ornaments, trills, glissando, flowing passages, as well. Prepared saxophone dictates the main mood of album. Sometimes it’s – bright, explosing and expressive. When it gets radical, frantic, aggressive and scandalous – full blasts of energy, radiant explosions, terrific roaring riffs, hot growls, urglings, wainings, shrieky persecuting series and breaking sessions are brought together to create an active, nervous, sometimes – scandalous and tremendous mood. The intensivity, moving and thrilling sound are contrasting to ambient, repetitive series, minimalistic samples which bring meditative, relaxing, lyrical and contemplative mood. Here’s a nice combo of sonoristic experiments, huge range of electronics and solemn saxophone’s tunes is made. Sweet, light and remarkable saxophone suddenly goes down and gets haunted, dark, depressed, monotonous and heavy. It doesn’t stay long at this mood – after a while the music turns out to twinkling riffs, flowing passages, expressive pieces tinged with elegant ornaments, tiny trills and fragile pieces. All kinds of different expressions and playing techniques are used here along with electronics – strange timbres, mood’s changes, variety of characters, emotions and expressions make an inspiring, interesting and bright saxophone’s sound. The electronics are masterfully mastered by Richard Scott and Joker Nies – that makes a modern, bright and extravagant sound and gently fit together with table top bits and pieces by Paul Lytton. Monotonous beats, tappings, warm natural sound against synthetic and unusual electronics – by mixing together electronics, the basics of electroacoustic and experimental music, free improvisation and experimental jazz, the musicians manage to create an innovative and interesting sound.