TIM BERNE, (b. 1954) the Sevens
1. REPULSION 11:22 ARTE Quartell (Beat Hofstetter, soprano sax, Sascha Armbruster, alto sax: Andrea Formenti, tenor sax; Beat Kappeler, baritone sax) 2. SEQUEL WHY 2:49 Marc Ducret, acoustic guitar 3. REVERSION 4:20 ARTE Quartett 1 source material); David Torn, electric guitars, loops, sonic nurturing 4. QUICKSAND 25:20 ARTE Quartett; Tim Berne, alto sax; Marc Ducret, acoustic guitar 5. TONGUEFARMER 4:53 Marc Ducret (source material); David Torn, electric guitars. loops, sonic redistribution 6. SEQUEL EX 2:31 Marc Ducret, acoustic guitar
New World Records
All compositions by Tim Berne, except track 3 by Tim Berne/David Torn and track 5 by Tim Berne/Marc Ducret/David Torn. All compositions published by Berne Party Music (BMI), except tracks 3 and 5, by Berne Party Music (BMI) and David Torn/Torn Music (BMI)
Produced by Tim Berne, except tracks 3 and 5, produced and re-mixed by David
Torn/Cell Labs. Tracks 1, 2, 4, and 6 mixed March 5 by Ron Kurz at the Workshop in Switzerland; tracks 3 and 5 mixed March 1-6 by Splattercell at Cell Labs. Digital
mastering: David Torn/Cell Labs. Recorded December 18-19, 2001, by Ron Kurz at DRS 2 Radio Studio, Zürich, Switzerland, LINI art&designstephenbyramnj. Photography: Robert Lewis. Xtra special info at
. This recording was made possible with grants from the Francis Goelet Charitable Lead Trust and the New York State Council on the Arts.
Very, very, very special thanks to Beat, Sascha, Beat, Andrea, Ron, Peter, Marc, Byram, Torn, Aaron, Lee, Robert, and especially Sarah.
released February 5, 2021
AllMusic Review by Glenn Astarita
Saxophonist/composer Tim Berne is noted for his searing climactic opuses and strenuously complex improvisations. Besides, he possesses one of the most distinctive alto saxophone styles in all of modern jazz. With this 2002 release, the artist pursues a series of chamber-like compositional frameworks rendered by the four saxophonists of the ARTE Quartett. Berne also utilizes his longtime musical associate Marc Ducret (acoustic guitar) during two solo works amid his group-based involvement. In addition, Berne's alto work is prominently featured on the extended arrangement titled "Quicksand." Here, the leader serves as the fifth sax voice, while the ARTE Quartett and Ducret partake in a series of contrapuntal movements fabricated upon alternating melodies and pumping lines. However, this production is fragmented into movements that feature the ARTE Quartett performing with or without Berne, Ducret, and electric guitar hero/electronics ace David Torn. The musicians execute interweaving choruses marked by contrapuntal statements and tricky time signatures, as innate classical concepts coalesce with jazz-style improvisation. The band raises the bar in spots, and this outing signifies one of Berne's most ambitious statements to date. Another point of interest resides within "Tonguefarmer," Torn and Ducret's stirring yet altogether contradictory acoustic-electric duet. The Sevens indicates a crafty paradigm shift, regardless of whether it signifies a fleeting experiment or a precursor to other projects of this ilk.