 
Discography on Drimala Records
2002 Shadow
& Light DR 02-347-01
Complete Discography
As Leader
1983
Ours CT Records
1988
In Seattle Silkheart Records
1996
Covert Choreography Cadence Records
2000
Undulations Omnitone
As
Co-Leader
1997
Finger Wigglers CIMP
1999
Zebulon CIMP
2000
MBEK™
Meniscus Records
2001
Primal Intentions Cadence Records
2001
Concerted Cadence Records
Others
1980
The Jazz Club Audio Daddio
1983
The Past and Tomorrows Cadence Records
1984
Chasin' A Classic Cadence Records
1991
Sacred Choral Works Carus
1995
Long Narrows Nine Winds
1996
Common Threads Deep Listening
1997
Dante No Longer Repents Music and Arts
1999
In the Spirit CIMP
2000
No Greater Love CIMP
2000
Baby Steps Nell Records
2002
Let Paul Robeson Sing CIMP |
|
When we think of the great bass players in jazz, generative composer/leaders
such as Charles Mingus and Charlie Haden, who have a distinctive approach and sound come
to mind. That's what happens when you mention the name of bassist, composer, and leader Michael
Bisio. The critics,
out in front for once, already know about Michael. His second album as a leader, In
Seattle (Silkheart), made the Village Voice "Best Jazz Records of the
1980's," as well as critic Kevin Whitehead's 1988 Top 10 for National Public Radio.
The Penguin Guide to Jazz on CD, LP & Cassette described In Seattle as "an
exemplary instance of the kind of contemporary jazz being created away from the principal
American centres." And Paul de Barros, in his Northwest regional jazz history, Jackson
Street After Hours, singled out Bisio as one of the preeminent heirs to Seattle's
earthy, yet innovative, tradition.
In a flurry of activity over the last ten years, Bisio has played and/or recorded with
Barbara Donald, Wayne Horvitz, Bob Nell, Andrew Hill, Sonny Simmons, John Tchicai, Bern
Nix, Jim Nolet, Joe McPhee, Vinny Golia, Van Manakas, Greg Bendian, Carter Jefferson,
Charles Gayle, and Marilyn Crispell. He has crossed the country twice with Gayle and
toured the West Coast with his own quartet.
What these noted leaders all find in Bisio is a gutsy, honest style and what the poet
Garcia Lorca called duende, best translated as soul, or heart. His sound recalls
the reverent and warm melodicism of Charlie Haden. Like Haden, he uses gut strings and
mikes his bass directly, with no electronic mediation. But Bisio also has no problem
venturing "out" into the textural energy zones defined by "new thing"
jazzers in the 1960's. As a composer, his work is marked by a spare, bluesy sound, the
sweet-and-sour timbres favored by Charles Mingus.
Former Downbeat editor Art Lange, upon hearing Michael at the 1994 Du Maurier Jazz
Festival, remarked: "Bisio's wailing arco bass was reminiscent of David Izenzon with
Ornette Coleman."
Today, Michael Bisio continues to tour and
compose music for solo, duo, trio, and quartet. One of a long line of bassists to thrive
in the Northwest -- Glen Moore, David Freisen, Buddy Catlett, Freddy Schreiber, and Gary
Peacock are a few of the others -- Bisio is living up to all the expectations. |
