Double Indemnity/Imitation of Life: 1980-1981

Performer: Tristan Honsinger
Artist: David Toop; Toshinori Kondo
Engineer: Dick O'Dell; Steve Beresford
Producer: Steve Beresford
Distributor: Alternative Dis. Alliance

Notes: /Steve Beresford/David Toop/Toshinori Kondo. 2 LPs on 1 CD: DOUBLE INDEMNITY (1980)/IMITATION OF LIFE (1981). Personnel: Tristan Honsinger (vocals, violin, cello); Toshinori Kondo (vocals, trumpet, percussion); Steve Beresford (horns, violin, keyboards, electric guitar, bass, percussion); David Toop (flute, electric guitar, bass, percussion). Recorded at Room At The Top; The ICA, London, England between August 1980 and on May 1981. Includes liner notes by Steve Beresford. All tracks have been digitally remastered. This is part of Atavistic's Unheard Music Series. Personnel: Tristan Honsinger (vocals, whistling, violin, cello); Toshinori Kondo (vocals, trumpet); David Toop (electric guitar, flute, alto flute, wooden flute, bass guitar); Steve Beresford (violin, flugelhorn, euphonium, piano, organ, synthesizer, bass guitar, siren). Liner Note Author: Steve Beresford. Recording information: ICA, London, England (08/??/1980-05/22/1981); 'Room At The Top', Poole Street, London, England (08/??/1980-05/22/1981). Editor: Dave Hunt . Photographers: Emi Sugiyama; Janette Beckman. This re-release, on Atavistic's Unheard Music Series, includes the entirety of the quartet album Imitation of Life and three of the tracks of the Beresford/Honsinger duo album Double Indemnity (plus two outtakes), each originally issued on Y Records. On these recordings from 1980 and 1981, one hears a relatively early example of the conflation of the avant-garde jazz of the time with postmodern tendencies wherein humorous allusions to disparate musics were all the rage. Much of the music has a similar feel to what John Zorn and associates were up to in downtown New York City at the time. In the duets, Honsinger's wry and sour cello contrasts effectively with Beresford, who -- no matter how outside his playing gets -- always seems pulled back into jazzy or romantic areas. But there's more an atmosphere of noodling in search of something than of a conception wanting to be elaborated upon, and after a while a sameness sets in that reduces the music to more of a historical document than a breathing work of art. The quartet pieces are more successful, with a vastly wider instrumental selection at play and a pervading madcap humor that works more often than it backfires. Some of the vocalizing may, 20 years down the line, teeter between overwrought and precious, but by and large the quartet succeeds in establishing a fascinating sonic playroom that fans who like their improv tuned to the wacky end of the dial will appreciate. ~ Brian Olewnick

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