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Keith Tippett

Even if he doesn’t like to be remembered only because of his colaborations with the progressive rock band King Crimson, British pianist Keith Tippett ows much of his worldwide fame to his involvement with the conceptions of Robert Fripp and to his attempts to cross musical idioms – Tippett’s orchestral projects Centipede and The Ark included jazz and rock musicians in an experimental format. Less known are his compositions for and with “classical” contemporary groups, like the Composer’s Ensemble, Kokoro and the Kreutzer String Quartet, but in the avant garde jazz and free improvisation fields he conquered legendary status. Included in had-hoc colective formations (with Derek Bailey, Peter Kowald, Peter Brotzmann and the cream of European improvisers) or leading his own combos (Mujician being the more regular one), his playing is elaborate, elegant (in a Romantic way) and open-form, sometimes using little objects inside the instrument, in a sort of moving preparation. If with early King Crimson his interventions were generally “out”, his work with South-African jazzmen Louis Moholo, Dudu Pukwana, Johnny Dyani and Mongezi Feza was very much “in” their own syncopated and melodic style. His partnership with Romanian violinist and composer Alexander Balanescu confirmed, anyway, he’s not your average jazz performer. Keith Tippett plays solo very frequently, but the big band format is still a preference, either with the 21-piece jazz orchestra Tapestry or conducting the Dedication Orchestra, his hommage to the Blue Notes / Brotherhood of Breath departed musicians.

Keith Tippett's records on clean feed
Bridging
Paul Dunmall Octet
 
     
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