Tag Archives: The Knows

Chicago Reader review by Peter Margasak

CF 260Paul Lytton / Nate Wooley – The Nows (CF 260)
Percussionist Paul Lytton is almost 27 years older than trumpeter Nate Wooley, but they’ve built a strong musical relationship atop their shared roots in jazz, finding common cause in rigorous explorations of abstract sound and free improvisation. One of the ways they’ve kept their collaborations energized and unpredictable has been to invite guest players—including Swiss bassist Christian Weber, guitarist David Grubbs, reedist Ken Vandermark, and electronics improviser Ikue Mori. For last year’s superb double CD The Nows (Clean Feed), Vandermark and Mori each joined Wooley and Lytton for a trio session, and you can hear the duo bending and pushing in different ways to accommodate these very different guests. With Mori involved they emphasize texture-rich sound, creating eddies and crags within the electronicist’s liquid output: Wooley employs his most abrasive vocabulary (sharp squeals, unpitched blubbering), and Lytton uses his kit like an elaborate washboard, rubbing, scraping, and thwacking. When they work with Vandermark, the music is more like free jazz, with a relatively pronounced rhythmic thrust and clear linear interplay between the horns. Joining the duo tonight is Chicago percussionist Tim Daisy, who’s adept at the clattery rustling that Lytton helped pioneer but tends to act as more of a propulsive force. I can’t begin to predict how things will shake out with him, and that’s precisely the point.


Gapplegate Music review by Grego Edwards

CF 260Paul Lytton /Nate Wooley with Ikue Mori and Ken Vandermark – The Nows (CF 260)
If Nate Wooley won some free jazz polls at the end of the past year for trumpet, it has no doubt something to do with his performances on The Nows (Clean Feed 260), a two-CD set of himself and percussion adept Paul Lytton in two live settings, the first at the Stone in NYC with Ikue Mori joining in on computer for about half the program, and another date at the Hideout in Chicago, with Ken Vandermark gracing the podium on bass clarinet, clarinet, tenor and baritone for the second half of the set.  Nate is exploring sound territory that is most decidedly avant and extended; Paul complements perfectly with a widened percussion kit and a keen dramatic sense. The guests fit in quite nicely–and it’s always a treat to hear the Vandermark baritone.   In the end, though, the two principals carry the day with some exceptionally imaginative out playing. “A triumph!”, I could add. Well, OK, it is that.