Craig Green: Love Notes In Binary Code

In brief:
It’s a lovely little set, likely to be of interest to anyone already hip to Discus’s genre-defying catalogue but also anyone interested in the extension of jazz and improv procedures into other realms of music

This couldn’t have been a moment longer and preserved its fragile beauty. If 25 minutes sounds like short commons, it’s pretty much perfect and would that a few more artists would see the virtue of going back to LP durations, even if they don’t want the fuss of vinyl.

Green comes from the same approximate sound-world as Derek Bailey but his music has greater obvious connection to world events and conditions. His theme here is the state of our ability to communicate meaningfully with one another. Ostensibly, it’s never been easier or better, but in a world of sexting, catfishing, ghosting, trolling and the rest (I speak without authority or direct experience, though I got a hilariously unintended double entendre in an e-mail from an overseas student yesterday), one wonders if it’s all it’s cracked up to be. And Green’s music captures that perfectly. These are like little Dowland studies for the cyber age, sweetly melancholic meditations on where and who we are now and what matters to us.


Though it’s largely improvised, there are pre-composed elements, which are neither obvious nor hidden, just a sense that there is a controlling logic and trajectory for each piece. It falls into two long and two very short tracks, but the balance is fine and Self Portrait In 3 Filters and You Don’t Reply Anymore don’t need to be any longer than they are. Their miniaturism is part of the message.

I wondered briefly what Deamer brought to the proceedings, but it wouldn’t have worked without him. Probably better known for his rock and post-rock work on the Bristol scene (Portishead, but also Hawkwind and Radiohead), he provides a steady accompaniment and often helps to give the piece some form. It’s a lovely little set, likely to be of interest to anyone already hip to Discus’s genre-defying catalogue but also anyone interested in the extension of jazz and improv procedures into other realms of music.

Hear/buy Craig Green: Love Notes In Binary Code at

Love Notes In Binary Code (Note A); Self Portrait in 3 Filters (Note B); The High Price Of Real Estate In The Simulation (Note C); You Don’t Reply Anymore (Note D) (25.00)
Craig Green (g); Clive Deamer (d, pc).
Discus 92CD/DL


Jazz Journal articles by month

Rudi Wilfer: Over the Rainbow

The meditative strain of this recital cancels out every other quality, at least for this listener, and while that shouldn’t generally be a bad...

Still Clinging To The Wreckage 01/21, part 2

One of the main changes in Bob’s playing came in the first half of the 60s and it's represented by three albums that I...

A Tower Of Inspiration: Dave Weckl’s Master Plan at 30

Some dismiss it as a time of mullets and macho chops, but 1990 gave birth to the much-admired debut album by the Missouri-born drum virtuoso who had come to prominence with Chick Corea

Sophisticated Giant – The Life And Legacy Of Dexter Gordon

We are fortunate indeed in that Maxine Gordon is such an accomplished writer (except for the fact that everyone that Dexter ever meets seems...

Billy Cobham: Jazz Legends, Live At The Palais Des Festivals Hall, Cannes 1989

Despite the sighting of two mullets and a mix dominated by a synth sound you would associate with Spandau Ballet, this 45-minute show from...

JJ 04/80: Beyond the Mainstream: Herbie Hancock

'In terms of jazz, creativity is judged primarily by how original the thought is. Creativity in pop forms of music is in terms of how fresh can you be in repeating something that you've played before. It's like the type of creativity involved with classical music because that form is set - you've got specific notes that you play and you don't add to them, but each time you play that piece you have to make it sound as fresh as the first time. That's much more difficult than original thought, at least it is for me'