Firehouse 12 to Present Dave & Barre Phillips November 30th


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On Friday, November 30th, father and son bassists Barre and Dave Phillips will perform at New Haven's Firehouse 12 as part of their first ever tour together. The pair will also record together as a duo for the first time at Firehouse 12 the following day. Their tour, called “Basfidel, Father & Son," is made possible with support from Chamber Music America and French American Cultural Exchange's CMA/FACE French-American Jazz Exchange Program, and funded by the Doris Duke Charitable Foundation, the Cultural Services of the French Embassy, Cultures France and FMEO (Le Bureau Export de la Musique Francaise).

Dave Phillips, who performed at Firehouse 12 in October as part of the Will Holshouser Trio, is a second-generation jazz bassist, following in the footsteps of his renowned father, Barre, though in a more mainstream context. In addition to sideman gigs with jazz heavyweights such as Wynton Marsalis, he has also worked in chamber orchestras, on Broadway and on records by the Dixie Chicks, Richie Havens and Pink. His work as a leader focuses on his 15 year-old quartet, Freedance, featuring Rez Abbasi, John O'Gallagher and Tony Moreno. The band has performed across the United States and Europe and released three CDs.

Barre Phillips, now 73, is a highly regarded pioneer in the worlds of free jazz and the avant-garde. After arriving in New York from his native San Francisco in 1962, he quickly made a name for himself working with boundary pushers such as Marion Brown, Eric Dolphy, Don Ellis, Jimmy Giuffre, Bobby Hutcherson, George Russell, Archie Shepp and Attila Zoller. An expatriate based in France for the past 35 years, he has worked with a long list of Europe's premier improvisers, including Peter Brtzmann, Barry Guy, Gunter Hampel, Peter Kowald and John Surman. He has also collaborated on various noteworthy projects with Paul Bley, Ornette Coleman, Michel Lambert, Joe Maneri and Evan Parker among many others. His extensive discography also features roughly 50 recordings under his own name, including the influential Journal Violone from 1968, the first jazz record to document solo bass improvisations.

This story appears courtesy of Improvised Communications.
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