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	{ samadhisound.com } Derek Bailey
		Unless I hold it in a certain way I canât play it.â This was Derek Bailey, speaking two years ago in his kitchen in east London.
		Despite his thorough reconstruction of guitar language, Bailey considered himself to be a conventional musician.
		His holding of the guitar had been shaped over time, determined in the first instance by the priorities of post- war entertainment in which the relationship of performer to audience remained deferentially in service, a doffed cap, downstairs to the upstairs.
	www.samadhisound.com /derekbailey (234 words)

	Derek Bailey MP3 Downloads - Derek Bailey Music Downloads - Derek Bailey Music Videos
		On electric guitar, Bailey is capable of the most gratingly harsh, distortion-laden heavy-metalisms; unamplified, he's as likely to mimic a set of windchimes.
		Bailey came from a musical family; his grandfather and uncle were musicians.
		Bailey's extreme radicalism makes for a difficult music, yet there's no doubting his influence; his methods and aesthetic have significantly impacted the downtown New York free scene, though many (if not most) of his disciples are little known to the general public.
	www.mp3.com /artist/derek-bailey/summary (1057 words)

	Derek Bailey
		Derek Bailey (born January 29, 1932) is a free improvising avant garde guitarist.
		In 1966, Bailey moved to London where he met many like-minded musicians, including Evan Parker[?], Kenny Wheeler[?], John Stevens, Barry Guy[?] and Dave Holland[?], occasionally collaborating under the umbrella name of the Spontaneous Music Ensemble (or the SME as they tended to be known).
		Bailey himself however claims that his approach to music making is actually far more orthodox than performers such as Keith Rowe[?] of improvising collective AMM[?], who treats the guitar purely as a 'sound source' rather than as a musical instrument.
	www.ebroadcast.com.au /lookup/encyclopedia/de/Derek_Bailey.html (493 words)

	Derek Bailey - Biography - AOL Music
		On electric guitar, Bailey is capable of the most gratingly harsh, distortion-laden heavy-metalisms; unamplified, he's as likely to mimic a set of windchimes.
		Bailey came from a musical family; his grandfather and uncle were musicians.
		Bailey's extreme radicalism makes for a difficult music, yet there's no doubting his influence; his methods and aesthetic have significantly impacted the downtown New York free scene, though many (if not most) of his disciples are little known to the general public.
	music.aol.com /artist/derek-bailey/6044/biography (613 words)

	Derek Bailey (Site not responding. Last check: )
		Bailey brings an organic, unpredictable character to the pat sound and rhythm of Ninj's electronica, engaging the brain.
		The melodies tipple through, electric sproings leap out when unexpected, his crisp picking (Bailey hand-makes his plectrums with a dental compound) defines every detail of his crooked path, pulling you hypnotically into a world where the sound of a guitar can be as intriguing and deep as a novel by Gabriel García Márquez.
		And Bailey takes pains in the liner notes to point out that this is not music made to dance to but a collaboration of partners bobbing and weaving together.
	www.bostonphoenix.com /alt1/archive/music/reviews/07-17-97/DEREK_BAILEY.html (718 words)

	Obituary: Derek Bailey \| Art & Architecture \| Guardian Unlimited Arts
		Bailey, who has died aged 75 of complications from motor neurone disease, was a guru without self-importance, a teacher without a rulebook, a guitar-hero without hot licks and a one-man counterculture without ever believing he knew all the answers - or maybe any at all.
		Bailey was born to George and Lily Bailey, in the Abbeydale district of Sheffield.
		Bailey's Diaghilev qualities came to the fore in 1976, when he began his Company project, an improvisers' festival that involved 400 players each year up to 1994 in Britain, the US and Japan, with Zorn, Lee Konitz, saxist Steve Lacy, classical violinist Alexander Balanescu, bassoonist Lindsey Cooper and composer/saxist Anthony Braxton among those taking part.
	arts.guardian.co.uk /news/obituary/0,,1674880,00.html (1234 words)

	Derek Bailey : Drops - Listen, Review and Buy at ARTISTdirect
		Derek Bailey exuded an earthy charm: iconoclastic, brooding, and brilliant, he was also fiercely individualistic, and all of these qualities are in full force here.
		Bailey was sui generis, so off the beaten track that the only school in which he could be placed is not part of the umbrella of jazz, but falls within the genre of strictly free improvisation -- and even within that realm, Bailey was wonderfully eccentric, his performances eschewing preconceived structures.
		Bailey performs so percussively that sometimes it is difficult to tell who is who, in part because there is such an incredible diversity of sound.
	www.artistdirect.com /nad/store/artist/album/0,,1026127,00.html (357 words)

	Derek Bailey
		Derek was a great 'elegance' person, with a lot of spirit, very funny sometimes and a 'strong' individualism, all his playing, his life and his musical life was an 'elegance': only this simplicity to be, to be a musician without any hierarchy in sounds, aesthetic, gentle, just 'making music together'...
		Derek's immediate reply was, 'OK, we start with Barre and Alan in duo and Steve and I.' He always wanted to throw you into the deep end and enjoy watching you not drown, because he knew you wouldn't.
		Derek was a fellow who did what he did (which was massively innovative), not because he thought he'd be famous or admired, but because he wanted to do it.
	www.thewire.co.uk /web/unpublished/derek_bailey.html (3885 words)

	Derek Bailey - Independent Online Edition > Obituaries (Site not responding. Last check: )
		Bailey was a key figure in the 13-hour concert played in Camden Town, London, in the summer of 1978 by the London Musicians Collective - this was in itself a compromise, because the saxophonist Evan Parker, a close comrade of Bailey's, had planned for the musicians to play around the clock.
		Derek Bailey's grandfather was a professional banjo player and his uncle a professional guitarist.
		Bailey was a member of Kenny Wheeler's band in 1978 but from then on mainly played as a soloist or at best in duos.
	news.independent.co.uk /people/obituaries/article335441.ece (811 words)

	Derek Bailey (Site not responding. Last check: )
		"Derek Bailey" (January 29, 1930 — December 25, 2005) was an English free improvising Experimental musicavant-garde guitarist and part of the European free jazz scene.
		Bailey was also part of a Sheffield based trio founded in 1963 with Tony Oxley and Gavin Bryars called 'Joseph Holbrooke' (named after the Joseph Holbrookecomposer, whose work they never actually played).
		Bailey argued that his approach to music making was actually far more orthodox than performers such as Keith Rowe of the improvising collective AMM, who treats the guitar purely as a 'sound source' rather than as a musical instrument.
	www.artistopia.com /derek-bailey (1310 words)

	Amazon.fr : Derek Bailey and the Story of Free Improvisation: Livres en anglais: Ben Watson (Site not responding. Last check: )
		This brilliant biography of the cult guitar player makes you forget everything you think you know about jazz improvisation, post punk and the avant-garde Derek Bailey was at the top of his profession as a dance-band and record-session guitarist when, in the early 1960s, he began playing an uncompromisingly abstract music.
		Derek Bailey and the Story of Free Improvisation lifts the lid on an artistic ferment which has defied every known law of the music business.
		Telling the story via taped interviews with Bailey and his cohorts, gig reports and album reviews (including an exhaustive discography of Bailey's vast and hard-to-track output), Ben Watson's spiky, partisan and often very funny biography argues that anyone who thought the avant-garde was dead simply forgot to listen.
	www.amazon.fr /Derek-Bailey-Story-Free-Improvisation/dp/1844670031 (475 words)

	The Jon Rose Web - Articles - Derek Bailey
		To a public seeing Bailey perform solo for the first time, he probably represents the classic image of what used to be called the avant-garde: an isolated, Spartan figure, dry, uncompromising.
		In recent conversations, he has made it clear that, for him, the development of his guitar playing from session player into free improvisation was a natural one: As a working musician in the late 1950s and early 1960s, an instinct for improvisation and quick changes were a necessity if you wanted to stay employed.
		Bailey's fascination with playing the same pitch in three or four different ways (reaching the note with harmonics from other strings, or even open strings) remains an important structural signpost in his music.
	www.jonroseweb.com /c_articles_derek_bailey.html (1306 words)

	Derek Bailey - To Play: The Blemish Sessions : album review
		His desire was to be stretched as a vocalist, hence his interest in working with Bailey, one of the most famous names in the field of musical improvisation.
		I saw Derek Bailey only once, behaving like a slight, short, grey-haired rock god at All Tomorrow's Parties in 2001, one of his last performances but typical of the breadth of his ability.
		Bailey was known for being open to all sorts of ideas, hence his surprising range of collaborators.
	www.musicomh.com /albums/derek-bailey_0906.htm (570 words)

	Derek Bailey
		A third generation musician, Derek Bailey began his study of music and the guitar at the age of ten.
		His interest in improvisation steadliy grew throughout this period, and at the start of the 60s he began working in the jazz trio Joseph Holbrooke along with Gavin Bryars and Tony Oxley; in its three-year span of existence, the trio moved from conventional jazz forms into the realm of completely free playing.
		In 1966 Bailey moved to London and kept busy throughout the remainder of the decade with several different improvisational collectives, including The Spontaneous Music Ensemble and Tony Oxley's sextet.
	www.nndb.com /people/023/000044888 (295 words)

	Habits of Waste - On the Other Hand: Derek Bailey
		After all, Bailey points out, the first music produced anywhere in the world would necessarily have to be improvised, a raw musical impulse that precedes the later development of conventions and genres.
		There Bailey's range of interest is reflected in his interviews with musicians about the role of improvisation not only in free improvisation, but in straight jazz, Indian classical music, rock, flamenco, baroque and classical church organ music.
		Bailey's humor tends to be quite sardonic, but it also seems key to understanding his approach to music.
	www.habitsofwaste.wwu.edu /issues/1/iss1art5.shtml (3042 words)

	Lavamus.com biography :: Derek Bailey mp3 download (Site not responding. Last check: )
		Derek Bailey (January 29, 1930 - December 25, 2005) was a free improvising avant-garde guitarist.
		Bailey was also part of a trio in Sheffield with Tony Oxley and Gavin Bryars called 'The Joseph Holbrooke Trio' (named after the composer, whose work they never actually played).
		Although Bailey occasionally made use of 'prepared' guitar in the 1970s (e.g., putting paper clips on the strings, wrapping his instruments in chains, adding further strings to the guitar, etc), often for Dadaist/theatrical effect, by the end of this decade he had, in his own words, 'dumped' such methods [2].
	lavamus.com /Biography/2104/Derek_Bailey (1467 words)

	Amazon.ca: To Play: Blemish Sessions: Music: Derek Bailey (Site not responding. Last check: )
		To sing along with Derek Bailey: a high bar for anyone to set themselves as a vocalist.
		In the event, it turned out to be Bailey's final studio session before he succumbed to the motor neurone disease from which he died on Christmas Day last year.
		The cover photos of Bailey in his Barcelona apartment show Derek's serious and playful sides, but the abiding mood of To Play is determination, echoed by the cover shot of a Rembrandt-like Derek on his sofa, unfazed by the shadows creeping in.
	www.amazon.ca /Play-Blemish-Sessions-Derek-Bailey/dp/B000GLL0XY (340 words)

	Derek Bailey : Features : One Final Note (Site not responding. Last check: )
		Bailey's stated role as a working class bloke from the provinces who just happened to stumble upon a way of playing that satisfies him and is somehow accepted by a few other intelligent fans, seems a bit louche.
		Maddeningly as well, the author mostly defines Bailey's improvisation in terms of what it isn't, rather than what it is. He writes that "Bailey's cool and precise—yet piercing and aggressive—tone denies the generic associations and pleasures previously associated with the electric guitar".
		Derek Bailey and the Story of Free Improvisation is invaluable for the way in which Watson situates Bailey's conception and musicality within the worldwide jazz, classical, and pop scenes of the past 40-odd years.
	www.onefinalnote.com /features/2004/bailey (1797 words)

	Derek Bailey and the Story of Free Improvisation
		Derek Bailey was at the top of his profession as a dance-band and record-session guitarist when, in the early 1960s, he began playing an uncompromisingly abstract music.
		Derek Bailey and the Story of Free Improvisation lifts the lid on an artistic ferment which has defied every known law of the music business.
		Telling the story via taped interviews with Bailey and his cohorts, gig reports and album reviews (including an exhaustive discography of Bailey’s vast and hard-to-track output), Ben Watson’s spiky, partisan and often very funny biography argues that anyone who thought the avant-garde was dead simply forgot to listen.
	www.versobooks.com /books/tuvwxyz/w-titles/watson_b_derek_bailey.shtml (244 words)

	Amazon.com: Ballads: Derek Bailey: Music: Derek Bailey (Site not responding. Last check: )
		Derek Bailey stares at the camera from the back of this album--if it weren't for the guitar you could mistake him for Samuel Beckett.
		Bailey has always peppered his solo work with fragments of jazz standards--"Stella by Starlight" on _Domestic and Public Pieces_, "I Didn't Know What Time It Was" and 1930s swing guitar on _Drop Me Off at 96th_, "Imagination" on _Fairly Early With Postscripts_.
		Bailey doesn't do the usual head-solos-head jazz thing: most tunes are stated exactly once (and sometimes only partially), and they are enfolded in a more or less continuous 41-minute improvisation.
	www.amazon.com /Ballads-Derek-Bailey/dp/B000063BUW (1253 words)

	U B U W E B - Film & Video: Derek Bailey
		To say this was the best and most intelligent analysis of improvisation to be screened on UK television is probably unnecessary: it has in all likelihood been the only televised programme on this form of music-making.
		Written and narrated by Derek Bailey, produced and directed by Jeremy Marr, it developed out of the first edition of Bailey's book on improvisation (the broadcast almost coinciding with the publication of the second edition) and attempted to provide a world-view of the subject, not being bound by country, musical genre or preconception.
		Broadcast 23 February 1992, with Jerry Garcia and The Grateful Dead; Buddy Guy; George Lewis and computers (and in quartet with Douglas Ewart and sound and video generation); mbira music from Zimbabwe; music of the Tonga people; concluding with a house party on the Lower East side.
	www.ubu.com /film/bailey.html (239 words)

	Derek Bailey: Ballads: Pitchfork Record Review
		The poor old guy has enough to deal with-- his jazzbo peers are playing it close to trad bop, and the whippersnappers are either copycats of their elders, or are off on some experimental Klezmer trip-hop tangent.
		But Bailey has been above and beyond the call of jazz duty for a good 40 years now, and his latest Zorn-provoked project of playing ultra-classy standards might just be the pendant on his spiky-splendored coat of a career.
		Bailey's ability to let the song go where the improvisation takes it-- while resisting the temptation to veer completely off course-- is the mark of a true artist, and Ballads is a fine entryway to the appreciation of Bailey's art.
	www.pitchforkmedia.com /article/record_review/15276/Derek_Bailey_Ballads (749 words)

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