Warburton / Fuchs / Guionnet / Perraud
Leo CD LR 280 (1999)

" …une célébration toute en finesse d'une vision décalée du jazz contemporain, servie par une composition et une interprétation hors pair de musiciens tout autant techniciens confirmés que producteurs d'affects musicaux profondément touchants. "
Jerôme Schmidt, www.chronicart

" Les quatre musiciens nous offrent un moment d'une intensité qui va peut-être renouveler un genre complet en le propulsant dans des sphères nouvelles… La cohésion est à un niveau rarement atteint pour un premier disque.. Une formation qui sait s'ancrer dans ce que le jazz a de plus noble : une musique populaire que la radicalité ne masque à aucun instant, au contraire. Ce disque a la qualité des grands, l'ouverture. "
Patrick Gentet, Improjazz

" The aptly titled "Y2K" is where the intensity erupts into hyper-drive, eventually hard-charging the beat to the extreme. Whoa! More buried treasure from the audio-explorers over at the Leo label."
Bruce Lee Gallanter, DMG, New York City

" Dan Warburton's outfit were this event's genuine new find. Recalling The Joe Manieri Trio's revelatory performance at the first Leo Records festival back in 1996, Warburton, on piano and violin, with his group of young, top notch French players, stretched the barest of tunes until they snapped, burst and split at the seams and left the crowd hungry for more..."
Phil England, The Wire

" Bien que risquée, cette idée se montre payante puisqu'elle conjugue deux types d'énergie : l'une centrifuge, volatilise le matériau sonore et concentre l'attention sur les timbres et la forme ; l'autre, centripète, ramasse les forces sur elles-mêmes à fin de bonds et de rebonds : swing, groove, etc. Le passage de l'une à l'autre, ou, plus exactement, de l'une dans l'autre requiert une virtuosité toute auriculaire, mais aussi une lucidité quant à sa position dans l'histoire en quoi la modernité fait nid."
Philippe Alen, Improjazz

" What they have produced is a highly creative document of some very exciting, even thrilling, improvisations that combine sophisticated compositional skills with excellent free jazz that weaves in and out of rivers and hills. The conventional instrumentation of alto sax, piano, bass, and percussion is misleading, as the members of the quartet create a unique collective sound. While they are capable of energizing fury, they are also adept at producing challenging collages of soft sounds."
Steven Loewy, All Music Guide

Warburton / Guionnet / La Casa
Chloë Chloë 002 (2002)

"As you might guess from the title, this was recorded in a Paris Métro station one night in July 2001 by violinist and Wire contributor Dan Warburton, alto saxophonist Jean-Luc Guionnet and microphonist Eric La Casa. This "environmental" music makes an interesting (and beautiful) study in advanced counterpoint: a counterpoint of proximities whose reverberant characters announce themselves subliminally yet resoundingly, and the temporal counterpoint between the slow, patient music makers and the spasmodic infusions of commuters and the trains that disgorge them. One realizes what would in real-time have been a tedious wait for a train has been filled by the apparition of these soundspaces in the tunnels, filling the dead time with a poetry of echoes, ghosts, vapors wafting away into the cool Paris night."
Tom Djll, The Wire

"J'ai la mémoire de ce son, celui du métro parisien, bruits de portes qui claquent, sirènes, ce son lourd du metal on metal qui écrase plus sûrement qu'il emporte. Toujours ces mêmes sons, porteurs de cette angoisse du départ et de l'énigme de l'arrivée. Ce disque est porteur d'histoire, mais à la façon des Histoire(s) du cinéma de Jean-Luc Godard, image temps dépliée dans les différents " points de son " d'Eric La Casa, mixage entre métro, ces infimes histoires individuelles qui passent, happées par les micros et ces deux putains de grands instrumentistes qui creusent dans le son. Voix d'annonces de la RATP, diva sans visage récitant sa poésie administrative, ritournelles inquiétantes, comme accompagnée par les intonarumori du métro disparaissant, reste quelques notes mourantes du violon et du saxophone. Ce disque parle de passage plus cruellement que beaucoup d'autres, il y aura forcément une fin au bout de cette nuit inversée, la poésie s'éteindra, les néons clignoteront seuls, les musiciens partis. L'histoire ne dit pas s'ils ont fait la manche et ce qu'ils auraient eu pour salaire de leur belle besogne."
Michel Henritzi

"Right from the onset, when Guionnet's hollow alto combines with Warburton's gentle violin drone and the faint sounds of an oncoming train to mirror the opening to Star Trek, there's no doubt this will be an unsettling recording. Maybe everyone who's ever ridden on a subway has felt it, the out-of-body strangeness resulting from those wonderful echoes as well as from being deep below the surface of the Earth. La Casa's role here is to handle and adjust the microphones to include, exclude, and produce announcements, chit chat, click-clack, engine roar, and feedback in allotments that will produce the most telling effects on the listener's nervous system. With his help, each train arrival is turned into an event of the highest drama. Guionnet hisses, snorts and coos the way the most majestic trains have always managed to -sometimes invitingly, sometimes threateningly. His microtonal departures from both the underground ambience and Warburton's eerie drones are also disturbingly effective."
Walter Horn, Signal To Noise

"Possiamo immaginare le facce dei presenti alla performance: un silente andare per cammini minimalisti con un violino che ronza quieto e femmineo e un sax che adombra di volute fumogene l'atmosfera mentre La Casa si perita di registrare quel che accade intorno, dalle parole dei passanti (anche una barbona italiana) alle dermate dei treni. Suggestivo e originale è dir poco, veramente."
Blow Up

Bruno Meillier /Dan Warburton
SMI NM 212 (2002)

""Cho" presents the inquisitive and wide-ranging duo of Bruno Meillier (electronics} and Dan Warburton (violin, viola and piano) in five improvisations that, while drawing from each players' experiences in jazz, fall far more squarely into the realm of non-idiomatic free improv. The integration of the electronic components with acoustic richness works marvelously and forms a satisfying and surprising conclusion to this altogether enjoyable disc. "Cho" provides a fine introduction to the work of these two musicians and is highly recommended for all aficionados of contemporary improvised music."
Brian Olewnick, All Music Guide

"Crickets give way to spaceships, which, in turn, devolve into concert violinists who have apparently suffered some sort of head injury. There are snippets resembling excerpts of classical repertoire here, but they seem like they've been damaged by some sort of dry cleaning process. Meillier is sometimes delicate and sometimes terrifyingly powerful. He never gets stuck in any formulaic ruts, and he varies both his timbres and his attacks/envelopes brilliantly. Warburton is simply amazing, particularly on violin. The brilliance of their conversation would daunt Wilde, and there isn't a wasted moment anywhere. This is electro-acoustic improv at its very best."
Walter Horn, Signal To Noise



Warburton / Sonderberg / Shea
Crouton Music Crouton No.15 (2002)

"A rapturing construction of microscopic gestures on violin and treated sound files, it sucks you in and doesn't let go, thanks to a beautiful sense of tension and balance, even at this level of reductionism."
François Couture, All Music Guide

"Be prepared to make huge intellectual leaps with Dan Warburton's piece, "20012002". Built of processed violin and sound files, it presents the instrument as a virtual rodent scurrying around a crawl-space, surrounded by breathing noises and infra structural groans. It's a spacious piece, offering few memorable details other than a sudden (and probably frightening) burst of insectile/clockwork activity twelve minutes in. Active listening is required."
George Zahora

"Dan Warburton [is] the only musician who has revealed the very essence of the instrument so far (nervous, agile and utterly dangerous piece of wood it is)."
Denis Kostromitin

Nikos Veliotis / Dan Warburton
Absurd CDR#22 (2002)

"Thanks to its enlightened artistic choices and original three-panel cardboard circle case, the Greek label Absurd deserves a superior reputation in the world of avant-garde music limited editions. "VW" is another strong addition to its catalog. Warburton's "W", maximalist in gesture, closer to academic electroacoustics, retains some of the elements of string playing - we still hear pizzicato notes and bowing textures laced through the heavily treated sounds. Highly dynamic, the piece reaches a gripping climax before reverting to a drone of its own, closing the circle intentionally or not. Both artists have buried their improvising selves to let the composer arise."
François Couture, All Music Guide

"Dan Warburton ne se contente pas d'être un violoniste côtoyant aussi bien les improvisateurs (comme Jean-Luc Guionnet, Bruno Meillier) que les manipulateurs de sons (tel Eric La Casa), il se révèle ici un compositeur talentueux allant explorer la veine électroacoustique et n'ignorant pas les expériences de la scène noise. Ce disque illustre à bon escient l'un des courants en vogue chez les improvisateurs qui ne se satisfont plus du seul langage instrumental acoustique (devenu pour certains un idiome rabâché) et se tournent vers "l'électronique" soit pour enrichir leur palette sonore, soit, comme ici, pour y recomposer leur propres sons. La démarche n'est sans doute pas neuve mais l'intention est louable et le résultat plus qu'estimable. Notre plaisir n'est pas gâché et notre intérêt acquis."
Jacques Oger, Peace Warriors

Doyle / Perraud / Warburton
Durtro 063 (2003)

"Arthur Doyle est de toute façon irréductible à un idiome, figure obstiné de l'idiot shakespearien bousculant le langage des maîtres. Sur ces basement tapes Doyle joue pas mal de flûte, mirliton d'une guerre ancestrale refoulée, Perraud cognant derrière, depuis une autre histoire plus jeune, peut-être plus confortable, d'autres temps, asymétrie dynamique, chacun se nourrissant de ce que l'autre met en partage. Warburton tient la musique de DOYLE dans un inconfort salutaire, violon bastringue, rêche, sale, même si on entend qu'il connaît l'Histoire lui aussi, qu'il peut en jouer avec désinvolture, non par irrespect mais par respect aux fantômes qui l'ont fait. Un disque moins furieux que les précédents, mais pas moins brute pour autant dans le son, anachronique à une époque pressée par les modes, brûlant à l'écoute."
Michel Henritzi, Revue et Corrigée

"Despite his academic background, Warburton has an intuitive grasp of free improvisation, and here he's all over the violin, moving from reedy shamisen-like warbling and simple plucking patterns through arcing melodies that are drawn out so teasingly that you can almost hear the fibres of his bow curling. Together, he and Doyle carve shapes on the opening "Noah Black Ark" that quietly reassemble the bones of Doyle's original, while turning them into a series of hieroglyphic patterns worked out in long, slow breaths. Perraud's playing is as off-kilter as the Ethiopian heartbeat at the centre of Sun Ra's Arkestra, his gong on "Noah Black Ark" reverberating like the first rays of the sun over the pyramids. The disc's comparatively pristine recording quality underscores Doyle's concern for detail, where the poor sound of earlier releases obscured it. But his most affecting vocal is on "A Prayer For Peace", where Doyle flutters above Warburton's sonorous drones with his chirruping little melodies before taking the flute from his mouth to make a frail plea: "Oh dear Lord, hear my prayer for peace and keep me warm". With The Basement Tapes the Doyle trio have birthed a new universe that's crying out to be mapped."
David Keenan, Wire 230, April 2003

"Using what sounds like a very hard reed, Doyle's stuck-pig squeals and split reed chirping make even Ayler's explorations sound like Stan Getz emulation. Plus his example spurs the violinist to legato double stopping and the drummer to vary martial tempi, chain rattling and extended cymbal soundings. Additionally, Doyle's vigorous flute work is as gritty and intentionally non-pretty as anything heard since Rahsaan Roland Kirk left this vale of tears. If you haven't yet made Doyle's musical acquaintance, be forewarned that among the powerful music there are some unsettling, perhaps disturbing vocal asides."
Ken Waxman

Return Of The New Thing
Ayler aylCD 010 (2003)

There are times, particularly on the long opening track when the ghost of Albert Ayler and the shadow of Cecil Taylor raise their heads. That these comparisons can even be made is a tribute to some incredible finger work from Warburton who is the "real" thing on his primary instrument, the piano. Listeners accustomed to the (mostly) European post-Coltrane embrace of free improvisation should be taken by the harsh divergences that run throughout: the altered tempos on "Traque," the hard-hitting exclamations on "Scent," and the occasional changes in volume that sometimes seem contrived. Warburton's powerful presence is particularly strong on "Traque," where he is permitted to stretch at length. There appears to be a conscious effort to build slowly (and sometimes not so slowly), with an evolutionary consistency throughout. Much time is allotted to solos, and they are uniformly superb, with a special nod to Warburton's CT-like clusters that at their best come across like meteor showers, and to Guionnet's weird but enticing disjointedness. Somehow it all works remarkably well though as is so often the case those not accustomed to "free" improvisation will find this music very abstract and difficult to follow. For the rest of us, well, how about a glass of champagne?
Steven Loewy, All Music Guide

Many of the above albums may be difficult to track down (VW, Folktales, I am not sitting etc are already sold out) – such is the nature of new music – but, unless indicated, copies are still available from Dan Warburton. Use the email link to Editor on the Home Page.

Complete Discography to date: 1998 - Tanger: "La Mémoire Insoluble" (Mercury/Polygram) 2000 - "Return of the New Thing" (Leo Records, CD LR 280) 2001 - Guy Livingston: "Don't Panic: 60 Seconds for Piano" (Wergo, WER 6649-2) 2002 - "Cho" (w/ Bruno Meillier) (SMI, NM 212) 2002 - "Folktales vol.3" (w/ Kevin Shea, Adam Sonderberg) (Crouton Music, Crouton 15) 2002 - Pierre-Yves Macé: "Faux-Jumeaux" (Tzadik TZ 7078) 2002 - "Métro Pré Saint Gervais" (w/ Jean-Luc Guionnet, Eric La Casa) (Chloë 002) 2002 - "VW" (w/ Nikos Veliotis) (Absurd CDR) 2003 - "The Basement Tapes" (w/ Arthur Doyle, Edward Perraud) (Durtro) - Return of the New Thing: "Traque" (Ayler AYL CD 010) 2003 - "Rats" (w/ Edward Perraud) (Textile, Vynile Série 08, LP) 2004 - "I am not sitting in a room with Reynols" (w/ Reynols) (Absurd) - "L'écorce chante la forêt" (Creative Sources) 2005 - Return of the New Thing: "Crescendo" (Not Two MW 760-2)- "A Walk Through R / A Walk Through V" (Why Not) - "Conspiracy Theory" (with Tomas Korber) (L'innomable) 2006 - "Missing in Africa" (w/ Tu m') (Conv CNV R08) 2008- "Compendium Maleficarum III" (w/ Frederick Farryl Goodwin) (Incunabulum 005) - Return of the New Thing: "Alchemy" (Not Two MW 796-2) - "Life In The Greenhouse" (Appel Music 001) - "Profession Reporter" (Aural Terrains TRRN0204) - Textile Orchestra (w/ Alexandre Bellenger, Aaron Moore & Arnaud Rivière): "For The Boss" (Beta Lactam Ring mt218) - Empan: "Entraxes Inégaux" (w/ Jac Berrocal, Jean-Noël Cognard, Béatrice Godeau & Judith Kan) (Bloc Thyristors, LP) - "Straight Outta Bagnolet" (w/ Hot Club: Jac Berrocal, Alexandre Bellenger, François Fuchs)(Monotype, LP) - "I an Sitting in Phill Niblock's Kitchen" (w/ If, Bwana)(Monotype, CD)