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After school special >> In this Rumble there are no rules by JOHNSON CUMMINS
After our brief sojourn through the Black Sabbath and Ramones hit parade, we would cap off the night with our signature "space jam." This would just be a drone in the key of E as irresponsible cymbals clanged with the synchronicity of a cheap Japanese watch, and stereo systems and amplifiers squeaked and squawked in pain, pushed to their limits. Unfortunately, due to our lack of improvement and our excess of volume, our weekly cacophonous racket would come to a halt as Steve's parents were also pushed to their limits. Although I didn't realize it at the time, this would be my first flirtation with improvisational free music. Often regarded as the laughing stock of jazz, free music became a legitimate musical form with Ornette Coleman's groundbreaking Free Jazz album in 1961. Along with Cecil Taylor, Sun Ra and, more recently, John Zorn (selected pieces), free jazz has finally earned its due respect. Regardless, free and improvisational music is still quite difficult to find on your radio dial. "It's true that free music has become more accepted with jazz and avant-garde fans, but most listeners still prefer more formalized music," explains Detention drummer Alex MacSween. "People tend to read novels that have a beginning, a middle and an end because people like structures. And that is the way most people listen to music, which isn't necessarily what free music is all about." Detention (MacSween and guitarist Sam Shalabi) play music that challenges the listener instead of simply placating them with the standard verse/chorus fare. To the untrained ears (e.g. Steve Bator's parents), free music tends to sound like a wankfest with musicians just simply getting their ya-yas out while the audience is left dumbfounded. Shalabi insists, though, that free music is more about listening than playing. "We are creating a structure with our music, but it's just not necessarily starting off with a blueprint. If the players are not listening to each other there can be no structure--and we make this music so it can be listened to." Detention will be hosting a monthly Rumble, along with a rotating assortment of musical guests. The invited guests for this month's showcase are trombonist Tom Walsh, double bassist André Asselin and saxophonist Brian Highbloom, and the event will be broadcast live on CKUT's Jazz Euphonium show. Despite the improvisational nature of Detention's music, this easygoing duo seem unusually calm for artists performing a live broadcast. Given the knowledge that, if there are no rules then there can be few mistakes, Detention don't have too much to worry about. At Isart Wednesday, March 4, 9pm, $3, simulcast on CKUT 90.3 FM
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My weekends growing up were usually spent jamming in Steve Bator's basement. We would gather our amps, stereo systems (they would be converted into PA's and amplifiers) and whatever we could borrow from music class and kick out the jams every Friday night.