wriggly pig

Wriggly Pig is an independent label based in France and the UK. It's the home of projects of Mark Lockett, Trevor Lines and others. Experimental music, improvisation, electronica, gamelan, jazz and Asian music. For more information about the label, go to www.wrigglypig.com.

Graham Gussin / Mark Lockett Recompositions: Reverse Music (GGMLNPO1)

Ruth Angell (violin), Mark Hanslip (tenor sax), Trevor Lines (bass), Mark Lockett (conductor, piano, keyboards), Sid Peacock (guitar), Jozef Remeny (drums, percussion, vibraphone), Simon Leslie (trombone).

A project conceived by Graham Gussin, using famous road movie soundtracks recomposed and arranged backwards by Mark Lockett, inspired by the location, structure and function of a famous motorway intersection in Birmingham: the Gravelly Hill Interchange, popularly known as Spaghetti Junction.

Includes recomposed and reversed themes from North by Northwest, Alphaville, Paris, Texas, Bullit, Mad Max, Vanishing Point, and other films.

Trevor Lines The Cats Hide Under the Bed When I Play my Gary Window Records (WPIG002)

Martin Dunsdon, saxophones; Duncan Mackay/Martin Shaw, trumpet; Tom Porter/Liam Noble, piano; Simon Pearson, drums; Trevor Lines, bass.

"Compositions range from the clever and complex 11-minute title track, a tour de force that shifts subtly in mood from speeding melodic lines to tender ballad passages and Monk-like stabs and spaces, to several more straightforward and simply stated tunes that are based on traditional English and Irish songs and jigs. All allow plenty of space for keen-eared interaction and expression, especially from saxophonist Dunsdon, whose often oblique legato soloing has a compelling cracked beauty." —Philip Watson, Jazz Review


"We all know the feeling, those of us who have any records by Brighton-born, U.S.-honed saxist Gary Windo. This enterprising quintet led by Midlands-based bassist Lines includes another tribute in the closing track, 'Weplaywattsandstevens', and broadly inhabits the area of free-bop. However, four traditional folk tunes are highlights, especially the spacious Milesish treatment of 'Bonaparte's Retreat', and previous awards for pianist Tom Porter and trumpeter Duncan Mackay (who play on the majority of tunes) don't prepare the listener for the general creativity and variety of the music from track to track. Distributed through Impetus, the new-to-me Wriggly Pig label deserves support for music such as this." —Brian Priestley, Jazz Wise


"Lines fills the disc with his own compositions, all spilling with detail, roughly dividing into modern US-sounding crystalline forms or robust treatments of Celtic-trad melodies, providing a welcome schizophrenia. Trumpeter Duncan Mackay scratches his frosted signature across the chasing bebop of 'Goodbye Mr Bond', Martin Dunsdon flutters soprano sax around the open vistas of 'Scratchwood 93', while Lines rations his solos (unlike some bassist bossmen), this being as much composer's platform as instrumentalist's showcase." —Martin Longley, What's On in Birmingham

Mark Lockett Hollowed Ground (WPIG001)

Mark Lockett's debut solo album uses a variety of instruments - an old iron Balinese gamelan, bass, percussion, live drums, ambient and altered piano sounds - to evoke a series of landscapes, wilderness, urban, and half-remembered empty places.

Jon Alford, Liz Byrd, Ian Chapman, Simon Cresswell, Ceri Frost, Frank Moon, Sam Parker (gamelan) Trevor Lines (bass) Sarvar Sabri (tabla) Kate Hardy (voice) Mark Lockett (piano, keyboards, percussion, accordion).

"To describe the music as a mixture of modern gamelan-based compositions and English minimalism of the Howard Skempton/Jeremy Peyton Jones variety seasoned with some witty touches from jazz, dub and avant-garde music is convenient but superficial, as all these elements come naturally to the composer. His music is both elegant and enjoyable and deserves wider exposure." —Roger Thomas, The Gramophone

"This is a stunningly good album that shows Mark's strengths not just as a percussionist, pianist and accordionist, but more than anything as a fine composer. The CD exhibits great variety in the writing, from the beauty of the sad/happy piano solo of "Ezra's Waltz" to the simplicity of the accordion on the last track "The Janitor's Tango" this is an album impossible to categorise and all the better for it." —Trevor Taylor, Avant

"Halfway through Mark Lockett's debut solo album there's a Robert Wyatt moment. It's not a vocal thing, because all Lockett's tracks are instrumentals, but it's the left hand of the piano doubling up a bass guitar line that recalls the English master of melancholy. In fact the moderately bouncy African jive of this piece "Earthbow", is as cheerful as Lockett gets, and he also shares with Wyatt the knack of conjouring up a particularly English moody atmosphere, like a tango that's run out of petrol somewhere Stockton-on-Tees, where Hollowed Ground was recorded. alfway through Mark Lockettís debut solo album thereís a Robert Wyatt moment. Itís not a vocal thing, because all Lockett's tracks are instrumentals, but itís the left hand of the piano doubling up a bass guitar line that recalls the English master of melancholy. In fact the moderately bouncy African jive of this piece ìEarthbowî, is as cheerful as Lockett gets, and he also shares with Wyatt the knack of conjouring up a particularly English moody atmosphere, like a tango thatís run out of petrol somewhere Stockton-on-Tees, where Hollowed Ground was recorded.

"As a composer Lockett mixes classical restraint and discipline with an interest in jazz keyboard chords and his ownership of an old Balinese iron gamelan. Lockett invites his diverse influences to the party and then lets them fight it out - piano, synth, bass and live drums find a remarkable spirit of co-operation with the gamelan. The scales are quite different of course, but Lockett exploits the harmonic tensions and surrounds the whole thing with discreet electronic ambiences. Structurally the writing is under gamelan influence, in other words, long cyclical melodies rather that major build-ups. Variety is achieved with occasional pieces for solo piano.

"If you still have no clear idea of what this CD sounds like that's because it's an unusual and original melding of ideas. This is not jazz gamelan, but a composer with jazz influences writing for gamelan and rhythm section. Behind the very cool sleeve (mobile home, American gas station) lurks an intriguing album." —Clive Bell, The Wire

Mark Lockett The Loop Reorchestrated (WPIG004) 4-CD Set

Originally conceived for the IKON Gallery in Birmingham, “The Loop” was an installation which ran throughout the day from noon until 8.00pm each evening. The musicians played continuously; the live music was broadcast in an upper gallery, treated, diffused and mixed with spontaneously computer-generated versions of the same pieces. This sonic environment changed as one moved through it. The galleries were stripped of everything; bare walls and concrete floor. The space was occupied by the BEAST sound system and some large cushions encouraging people to linger, sit, lie or walk around in the galleries while the ‘orchestra’ played throughout the day and as the natural light changed from midday and faded towards evening. This is a completely revised and condensed version of that project.

The 16 pieces are presented in a sequence chosen at random using the I Ching. Some of the pieces are derived from textures and ideas from traditional Balinese music while others are sound-based. Each piece embodies a different mood or idea.

Jon Alford, Ceri Frost, Alex Hutchings, Frank Moon: gamelan; Trevor Lines: bass, percussion and gongs; Mark Lockett: ceng-ceng, percussion, gong.

"Like the art that usually hangs in the IKON Gallery, one could spend as much or as little time as one wanted with the piece. Time and duration were not an issue. It was great to see a contemporary composer such as Lockett to receive the opportunity to take such a challenging and rewarding work to a wide public audience. Each evening as the performers approached the finale, the galleries were in near darkness. A few visitors had fallen asleep on the cushions listening to the soporific loops. For a short while there was a chance to dream. Maybe this is what Lockett was after." — Ben Sadler, Avant

"Listening to these discs is like tuning in to the music of the spheres and then drifting away. In 'FURL' for example, you can lose yourself in the meandering, slowly unfurling melodies and kaleidoscopic ornamentation that is slowly enveloped by ghostly images and brooding atmospheres. The music has a tranquil, sometimes disturbing beauty that occasionally overflows; as on 'AMOK' when wildy oscillating patterns are ambushed by a riot of percussion. ... Experimental without being alienating, this is a record that will reward the patient open-minded listener." —Andy Channing, Seleh Notes

Sabri Ensemble Dhin-Na (WPIG003)

Lisa Mallett (flute), Kamal Sabri (sarangi), Alvin Davis (saxophones), Mark Lockett (piano, keyboards, percussion), Trevor Lines (bass), Jozef Remeny (percussion), Sarvar Sabri (tabla).

"'Oasis', a mid-paced groove of almost Middle Eastern persuasion, opens proceedings. The tabla work of Sabri is faultless as he gently coaxes the rhythm forward, providing a backdrop for the others to explore at will. 'Saudade', 11 minutes of unrestrained passion, sees Lockett and Lines entering the fray, their highly individual sounds contributing to the overall seductive air. Mallett's flute, all wispy and meandering, sits alongside a noticeably more inquisitive sarangi. Still in an amorous mood, 'You' begins life as a liaison between piano and sarangi, later to develop into a ménage a trois as Sabri injects some rhythmic heat to proceedings. Ironically 'Balkan Divorce Dance' by nature ends any chance of romantic bliss. However with its progressive outlook and feel, this track does offer some scant respite to any purist suffering jazz withdrawal. Bass and sax defiantly hold their ground while around them, tablas, percussion and all manner of worldly delights establish their own little points of refuge.

"The essence of this record is summed up perfectly by Sarvar Sabri: I wanted to form a band of musicians from different backgrounds and disciplines to find a common ground where they could work together without imposing a tradition onto the others which itself requires many years of learning. To achieve that the first task was to find like-minded musicians who could grow together as a band allowing time to understand each other's work. Cerebral in its application, 'Dhin-Na' offers the listener a chance to indulge themselves in a melée of different cultures and traditions. Although such musical abandonment can often result in catastrophe, here it conspires to produce a sound that refreshes the senses." —Derek Day, Jazz Review