online pieces

1998 Coda - Inside the Shed - by Jon Morgan (hosted at EFIP). 1999 Altremusiche - Il sax multifonico - by Michele Coralli (in Italian). 2000 Jazz Times - Solo Flights - by Bill Shoemaker. 2001 Paris Transatlantic - Interview by Dan Warburton. Avant - Inside the Narrative - by Rhodri Davies (hosted at EFIP). Jazz Weekly - A Fireside Chat with John Butcher - by Fred Jung 2002 One Final Note - Houston TX - by Frank Rubolino. br> All About Jazz - Interview by John Eyles. 2003 The Squid's Ear - Improvising from a Sound Perspective - by Marc Chenard. Diapazon: - Simply in their Words - by Tom Sekowski. 2004 Altremusiche - The Art of Overtracking - by Michele Coralli. Jazz Review - The Test - with Richard Cook.

recent magazine pieces

RESONANCE - Winter 2005 Volume 10, Number 2 of the LMC's RESONANCE magazine. LOCALITY & REPRODUCTION edited by Caroline Kraabel. Pieces by, or interviews with: Susan Alcorn Sachiko M Chris Cutler John Tilbury Michael Parsons John Butcher Phil England Sylvia Hallett Adam Bohman and others. Includes specially produced CD. order here: Resonance Magazine and CD WIRE #249 - November 2004 "Mining Echoes" by David Keenan - focusing on the new Cavern with Nightlife CD. "In the hands of London improvisor John Butcher, the saxophone can sound like anything, from a peice of hollowed out brass baubled with pads and valves to a hermetically sealed feedback system, a minature sound enviroment teeming with ever-evolving note forms, or a huge echo chamber inflicting dub scale damage on every breath. .................." :: WIRE website :: SIGNAL TO NOISE - #35 - fall 2004 "Where the Saxophone Ends" - a 4 page interview by Bill Meyer. From a conversation after a solo concert at Fred Lonberg-Holm's home in Chicago, 2003. "John Butcher, who will turn 50 this October, learned how to play the saxophone in jazz bands, but well before he started recording in the mid-80s, he had purged most of the sax's familiar vocabulary. In their place he built a new lexicon out of the sounds at the edge of the instrument's reach; barely there whistles, clicking keypads, harsh barks, and liquid bubbles. ..............." :: SIGNAL TO NOISE website ::