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Track Listing
CD1
1. For The People 03:12
2. [C]all (Part 1) 07:06
3. [T]each 04:32
4. [K]now 07:37
5. [W]here 06:57
6. [C]all (Part 2) 07:04
7. [S]how 05:30

CD2
1. Forge[t] 04:41
2. See[k] > Hear[t] 15:43
3. Idea[l] 08:51
4. Sun[g] > Star[k] 09:16
5. Unit[e] 08:39
Artist:
Alexander Hawkins Unit[e]
Title:
Alexander Hawkins Unit[e] (2CD)
Label:
Alexander Hawkins Music
Cat No:
AH1002-3
Format:
CD
Price £15.99
• Unit[e] is released to mark a decade since the first concerts of the Alexander Hawkins Ensemble. A two disc set, disc one represents the fourth release from this sextet, and the second from this particular incarnation of the lineup, featuring Shabaka Hutchings, Neil Charles, Tom Skinner, Dylan Bates, and Otto Fischer alongside the bandleader. In some ways, this session represents a summation of the Ensemble’s working methods: compositions such as ‘[C]all’ bring to mind the influence of Ornette Coleman and Ronald Shannon Jackson (as had earlier compositions in the group’s repertoire, such as ‘Ologbo (Double Trio)’ and ‘Cowley Road Strut’); whilst intricate structures such as ‘[K]now’ show the influence of another of Hawkins’ major sources of inspiration, Anthony Braxton. The group even turn to repertory for the first time since their debut album, presenting here a reading of Jerome Cooper’s ‘For The People’. Yet despite these resonances, the group here offers a clear advancement on their previous work, and a sound which remains as stubbornly sui generis as ever.!

• An anniversary is more of a reason to look forward than back, however, and as such, the second half of Unit[e] offers something brand new, in the shape of the first release of Hawkins’ large ensemble music (something he began to develop more concertedly in response to a 2012 BBC commission). Again, although the music takes various cues from inspirations ranging from the likes of Braxton and Sam Rivers to Iannis Xenakis, it unmistakably belongs to and extends Hawkins’ own idiosyncratic soundworld. The music features many of the UK’s most distinctive voices; with the composer’s palette being expanded for the first time on a recording by the use of Matthew Wright’s live electronics.