suRRism-Phonoethics is truly amazed to release
Jamison Williams – ‘Helen Mirren [prologue]‘!
“This album was originally released by Vantage Bulletin through the [PROLOGUE] series, the precursor to the eventual ACT (I, II) series;
this particular album was the debut release (2004) of my solo saxophone recordings, and under this particular condition, I was completely shit faced from a Bill Henderson donated bottle of homemade 150 proof scorcher.
All recorded in one sitting, no edits, no added effects.
This cover commemorates the 10 year anniversary of the release of this monumental album of Vantage Bulletin publishing,
a start of an amazing development in saxophone techniques.” -Jamison Williams
released 24 May 2013
Jamison Williams (alto saxophone)
recorded at (POP) nouveau (the Fraser District)
on December 2004
produced by Vantage Bulletin
Soprano saxophone player specializing in experimental deconstructionism, and extended techniques; currently heading up the EAUF (Experimental Arts Union of Florida).
Resides in Jacksonville, Florida. jamisonwilliams.com
“melanche & olives trusted performers hide deep inside
hollow hurts béton, spoils laquer as he nails their teeth to thighs
she loves she smiles I cry why must I he thinks about herself
but else the lightening is anthological mentionable notice of white leather pockets patched as signs displaying force to their knees of fortune
in a state of beyond he would travel by pleasures of wheels trending purses being slaughtered as symbols
when again did the time rise as he fell perhaps the tide was ready to come
wall wall fly call by read as 30’s_bpm to find the 50’s coin hearted flavor on duty to finally meet as the commerce drooled name etc.” -Jaan Patterson
“The stark intentioned actuality of this recording is worth mentioning at the outset. This is, after all, one man, in a room, playing a single instrument. Content and interest are anything but limited, however. Over the course of six solo improvisations, Jamison Williams takes the alto saxophone to pieces and puts it back together again. Instantaneous serial shifts, between hails of siren microtones, tortured from the instrument via extreme, pneumatic physical stress, trade places with anything from reedy semidemi glimpses of ragtime to fragmented hard bop squonks and animal sounds. The scene here is quixotic, terse and explosive. At times, it is as simple as remarking, with some awe, at Williams’ disturbingly convincing impressions of other members of the woodwind family. And why Helen Mirren? Given these abstractions, surely this is the whim of an internal, private logic. But, as my dear bruder, Jaan, says, ‘he thinks about herself'; the end-result here is ultimately celebratory, ultimately a kind of romance, however visceral. Narrative interpretations apart, this is undeniably some of the finest solo sax work you are ever likely to hear anywhere by anyone.“ -Anthony Donovan