{"title":"Dickie Landry","description":"\u003cp\u003e\u003c\/p\u003e\u003cp\u003eDickie Landry is a renowned saxophonist, born in 1938 in Cecilia, Louisiana. With his mesmerizing performances and innovative approach to music, he has established himself as a true master of the saxophone.\u003c\/p\u003e\n\n\u003cp\u003eThroughout his career, Landry has captivated audiences with his unique sound and improvisational skills. His style draws inspiration from various genres, including jazz, avant-garde, and experimental music. He effortlessly blends these influences to create a distinctive and captivating musical experience.\u003c\/p\u003e\n\n\u003cp\u003eLandry's talent has earned him recognition among esteemed artists such as *Alan Licht*, *David Cunningham*, and *Arnold Dreyblatt*. His collaborations with fellow musicians have resulted in groundbreaking compositions that push the boundaries of traditional music.\u003c\/p\u003e","products":[{"product_id":"hang-the-rich-2","title":"Hang The Rich","description":"\u003cp\u003eEcstatic, indignant punk-funk barn burner from one of the avant-garde world's most celebrated saxophonists, backed with a DJ-friendly edit from Optimo's JD Twitch. \u003c\/p\u003e","brand":"DFA","offers":[{"title":"Black 12\"","offer_id":50388436189515,"sku":"2172246","price":17.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/dickie-landry-hang-the-rich_98985b95_thumbnail_4096.jpg?v=1726342048"},{"product_id":"having-been-built-on-sand","title":"Having Been Built On Sand","description":"\u003cp\u003eDickie Landry and Lawrence Weiner's \u003ci\u003eHaving Been Built on Sand\u003c\/i\u003e was conceived as a vinyl edition and released by the Rüdiger Schöttle gallery in Munich with sleeve design by Weiner. The piece consists of eight untitled tracks. Lawrence Weiner, Tina Girouard, and Britta Le Va recite text with Dickie Landry’s woodwinds, all recorded in the natural reverb of Robert Rauschenberg’s studio, a former mission and chapel in Lower Manhattan. Layering Girouard in English, Le Va in German, and Weiner in English and German blocks of related or physically proximal texts repeat, invert, and intersect with Landry’s music as a constant. The layers of text and sound have meanings that fluctuate in complexity and scope, and like much of Weiner’s work, beyond mere facts.  \u003c\/p\u003e\u003cp\u003eThe first piece is a trio for Landry’s keening tenor, repeating winnowed but breathy lines that contrast with and buoy Le Va’s clear, husky phrases, building in intensity as Weiner, in English, offers statements that are caught just off mic. The third cut adds Girouard, and one can hear woven parallels in the two women’s voices, cadences, and pitches, with Weiner’s cutting inflection dancing amid them. Landry’s bass clarinet is rich in its warble, full and gentle with woody footfalls that demarcate shapes through the chorus. Vocal rhythmic cycles, wordless in nature, are the energy that courses through the fourth song, urgent and sweaty as Weiner recites statements of political position in the Middle Ages, Le Va declaiming alongside in German. On soprano saxophone for the fifth tune, Landry pierces and darts in a bright manner in a private dialogue with himself, echoing Steve Lacy as female voices nearly bury one another in closely valued hues. Weiner, meanwhile, volleys between the LP’s title phrase and cornerstone proclamations such as “the artist may construct the piece. The piece may be fabricated. The piece need not be built.” The closing cut makes curious use of delay and alto flute, Landry’s breath and the inherent percussiveness of the instrument’s keys creating a slick rhythmic support that courses through overlapping vocal phrases, advancing and receding declarations of presence and intent. \u003c\/p\u003e","brand":"Unseen Worlds","offers":[{"title":"Black LP","offer_id":50485772747083,"sku":"2000039","price":24.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/Having_Been_Built_on_Sand_9c94b13b_thumbnail_4096.jpg?v=1727602899"},{"product_id":"4-cuts-placed-in-a-first-quarter","title":"4 Cuts Placed In \"A First Quarter\"","description":"\u003cp\u003e\u003ci\u003e4 Cuts Placed In \"A First Quarter\"\u003c\/i\u003e, the companion piece to \u003ci\u003eSolos\u003c\/i\u003e, is the sonic result of a collaboration with artist Lawrence Weiner. As Landry remembers, “I was working for Keith Sonnier at Castelli Gallery and met Lawrence. He asked ‘can you make a video for me?’ So we did \"To and Fro...\" At some point he was working on \"A First Quarter\" (1973) and wanted me to do the music. I said ‘I already have the music.’ He said ‘what do you mean?’ I had recorded several pieces with Kurt Munkcasi and walked around the set playing the music on a boom box.”  \u003c\/p\u003e\u003cp\u003eThe set features one solo each by Landry and contrabassist Rusty Gilder, a duo for the tenor saxophones of Landry and Richard Peck, and an ensemble piece for Landry, Peck, Gilder, trumpeter Robert Prado, and drummer David Lee, Jr. Starting the record off is “Requiem for Some,” inspired by Gil Evans’ long, placid tones. The anchor is Lee’s dry cymbal attack and fancy footwork, dancing around overlapping and recombining horns, chords held just shy of splintering. “4th Register” is a grainy delayed solo tenor piece, presaging “Kitchen Solos” from Fifteen Saxophones by several years. “Piece for So” was, according to Landry, “a chance to give Rusty a solo”. Mostly known as an ensemble bassist, Gilder bounced between Lafayette, Charlotte, and New York, leaving a slim recorded legacy. Here, he stretches out for twelve minutes and change – with keen upper register detail and meaty up-tempo walk, he could have been mentioned in the same breath as players like Dave Holland and Barre Phillips. The closing “Duo Vivace” finds Landry and Peck sparring on tenors, the latter holding a melodic line while Landry leans into explosive glossolalia, until both become birds in flight. \u003c\/p\u003e","brand":"Unseen Worlds","offers":[{"title":"Black | LP","offer_id":50505700770123,"sku":"2000041","price":24.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/bdb0bc09-a51b-4768-9bd0-45328b358fd8_3b920b4b_thumbnail_4096.jpg?v=1727816044"},{"product_id":"solos-2","title":"Solos","description":"\u003cp\u003eOn February 19, 1972, a crew of mostly Louisiana-raised musicians came together at the Leo Castelli Gallery on West Broadway in Soho to perform a wholly improvised concert. This ensemble’s solos spring from collective improvisations and a tumultuous backbeat, loosely inspired by the creations of Coltrane, Coleman, Albert Ayler, and their brethren. The de facto leader was Richard “Dickie” Landry, a saxophonist and keyboardist who joined composer Philip Glass’s group in 1969. Landry had become a fixture in downtown New York’s loft and art scenes at the close of the 1960s, after he high-tailed it by car from Louisiana to the Lower East Side and auspiciously encountered Ornette Coleman at the Village Gate the night of his arrival. \u003c\/p\u003e\u003cp\u003e For this concert, fellow Glass reedists Jon Smith and Richard Peck joined in, alongside Rusty Gilder and Robert Prado, both doubling on bass (upright and electric) and trumpet. The drum chair was occupied by New Orleans firecracker David Lee, Jr., who brought alto saxophonist Alan Braufman along for the session (Braufman was the only non-Louisiana player in the band). The ensemble stretched out in the gallery for several hours in a configuration reflecting those that took place at Landry’s Chinatown loft, documented in photos by artists Tina Girouard and Suzanne Harris that adorn the inside of the original gatefold album jacket. Recorded live by Glass’ sound engineer Kurt Munkacsi, the album was released as a double LP on Chatham Square, the small imprint Landry and Glass co-ran, in a stark greyscale cover and simply titled Solos. The order of the players’ improvisations was laid out on the album inner labels, though unsurprisingly there’s a fair amount of blend. At the end of the day \u003ci\u003eSolos\u003c\/i\u003e is beyond category, a rousing exploration of instrumentation, rhythm, and life. \u003c\/p\u003e","brand":"Unseen Worlds","offers":[{"title":"Black | LP | x2","offer_id":50505706144075,"sku":"2000040","price":27.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/0bd63359-9208-a15c-c592-79a02ab53e43_0b479512_thumbnail_4096.jpg?v=1727816090"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/collections\/test_fc75dbdc_thumbnail_4096_77e474e0-2b22-4161-b03c-297f65891f3a.jpg?v=1726342030","url":"https:\/\/shop.roughtrade.com\/fr\/collections\/dickie-landry.oembed","provider":"Rough Trade","version":"1.0","type":"link"}