Curlew -

Curlew was an American avant-rock/jazz band from NYC that debuted with an eponymous release on Landslide Records in 1981, followed by the album North America on the German Moers Music label in 1985. The band’s 1988 release Live in Berlin kicked off a seven-disc run on Cuneiform over the ensuing 15-year period.

Members: George Cartwright (saxophone), Chris Parker (keyboards, piano), Dean Granros (guitar), Fred Chalenor (bass), Bruce Golden (drums), Tom Cora (cello), Fred Frith (violin, bass, guitar), Mark Howell (guitar), Nicky Skopelitis (guitar), Anton Fier (drums), Otto Williams (bass), Chris Cochrane (guitar), Davey Williams (guitar), Ann Rupel (bass), Kenny Wollesen (drums), Samm Bennett (drums), Rick Brown (drums), Pippin Barnett (drums), Amy Denio (vocals)

Background

Curlew formed in 1979 around saxophonist and composer George Cartwright (b. December 10, 1950; Midnight, Mississippi), a former University of Mississippi student who relocated to New York after years of regional gigging in electric jazz and R&B settings. Raised amid Delta juke-joint traditions, he studied saxophone privately and absorbed avant-garde concepts through Ornette Coleman’s recorded legacy. After settling downtown, he worked in theater-adjacent ensembles and free-improv workshops, gaining access to a network of experimental players around Soho loft spaces.

The initial lineup coalesced through the same circuit of lower-Manhattan rehearsal rooms. Cellist Tom Cora (b. April 14, 1953; Yancey Mills, Virginia) studied classical cello before shifting toward improvisation during college programs in North Carolina and the Midwest. His extended techniques and interest in amplified strings placed him in ad-hoc groups with Cartwright. Guitarist Nicky Skopelitis (b. 1956; New York City) emerged from the local fusion scene and worked in production-adjacent roles around Greene Street Studios, where he met bassist Bill Laswell (b. February 12, 1955; Salem, Illinois). Laswell arrived in New York after early bar-band pursuits in Michigan and became central to the Material collective. Drummer Bill Bacon, active in session and theater percussion, completed the quintet.

Curlew developed within the downtown performance ecology—small galleries, alternative art spaces, and late-night loft concerts—where Cartwright’s charts blended punk-stung stabs, funk ostinatos, and harmolodic counterpoint. Early gigs at The Kitchen, Roulette, and experimental showcases on local cable access circulated word of mouth.

Their perseverance in these artist-run venues brought them to the attention of independent producers associated with the nascent downtown jazz labels. In early 1980, Curlew recorded their first album. Released later that year, it introduced their shifting blend of roadhouse swagger, noise-inflected improvisation, and chamberlike textures, which established the band as a flexible hub for musicians orbiting the future Knitting Factory scene.

Curlew

Curlew released their self-titled debut album in September 1981 on Landslide.

Curlew is the self-titled debut album by the avant-rock ensemble led by saxophonist George Cartwright, released in September 1981 on Landslide. The record fuses free jazz, avant rock, and textural improvisation with Cartwright’s Mississippi-rooted R&B and funk sensibilities, yielding a sound that is simultaneously experimental and grounded in rhythmically playful, down-home energy.

Cartwright commands alto, tenor, and soprano saxophones and flute, surrounded by bassist Bill Laswell, cellist Tom Cora, guitarist Nicky Skopelitis, and drummer Bill Bacon (cymbals, percussion, gamelon). Curlew group-wrote all eleven tracks.

The album opens with “Panther Burn,” featuring Laswell’s elastic, in-your-face bass lines and Bacon’s rolling, tumbling drums. Skopelitis navigates fleet-fingered, fusoid guitar passages on “Bitter Thumbs,” while Cora’s cello delivers earthy, abrasive textures across tracks like “Rudders.” Cartwright balances passionate, sometimes screaming saxophone with insistently contoured, playful melodies, prioritizing group interaction over solo spotlight. Short interludes such as “Sports” and “Bruno” punctuate the longer improvisational pieces, and the closing “The Ole Miss Exercise Song” extends nearly eight minutes of collectively woven textures.

A1. “Panther Burn” (6:30) — elastic funk-jazz bass and rolling drums; ensemble interplay dominates.
A2. “The Bear” (1:45) — brief, focused improvisation with sharp instrumental turns.
A3. “Bitter Thumbs” (6:00) — guitar-led, rhythmically complex, and texturally varied.
A4. “The Victim” (2:33) — dense group interplay, balancing saxophone and percussion.
A5. “The Hardwood” (5:13) — layered improvisation, cello textures enhance tension.

B1. “Sports” (1:30) — short, agile ensemble vignette.
B2. “Bruno” (1:00) — brief, pointed, experimental passage.
B3. “But Get It” (2:33) — spacious collective improvisation with disturbed atmospherics.
B4. “Rudders” (3:11) — cello-driven composition, intricate saxophone lines.
B5. “Binoculars” (1:00) — concise, angular instrumental sketch.
B6. “The Ole Miss Exercise Song” (8:00) — extended ensemble interplay, funk-jazz and avant-rock elements converge.

Sessions occurred at Creative Music Foundation Studio, Woodstock, NY, from February 29 to March 2, 1980, except “The Hardwood” and “Rudders,” recorded live in mono at CBGB’s, New York City, on February 6, 1980. Production and engineering were handled by the band, with Martin Bisi recording and mixing select tracks and Michael Lytle recording others.

Julian Jackson created the cover artwork, with design by James Flournoy Holmes and photography by Karen Barber.

The album captures Curlew at the heart of New York’s downtown avant scene, merging experimental improvisation with playful, rhythmically dynamic ensemble work, and demonstrating a balance between textural exploration and accessible, funk-inflected phrasing.

North America

Curlew released their second album, North America, in 1985 on Moers Music.

The record captures the band’s downtown New York sound, blending free jazz, rock, and soul-inflected improvisation with George Cartwright’s saxophone at the center, while the arrangements balance whimsical textures with rhythmic intensity.

Cartwright plays alto and tenor saxophones, surrounded by cellist Tom Cora, guitarist Mark Howell, and drummer J. Pippin Barnett, the latter deputized on four tracks (A1, A3, A7, B5) by V-Effect drummer Rick Brown. Cora’s Skeleton Crew bandmate Fred Frith (ex-Henry Cow) guests on guitar and violin. North America features group-credited originals and a cover of J.B. Lenoir’s “Feelin’ Good.”

The studio tracks move through off-kilter rock beats, abstract waltzes, and harmolodic funk. Cartwright’s alto sometimes channels Ornette Coleman, while his tenor incorporates soulful, breathy phrasing reminiscent of Coleman Hawkins, particularly on ballads such as “Mink’s Dream.” Frith’s guitar and violin and Cora’s cello provide jagged, atonal counterpoints, while Howell adds trebly C&W–inflected accents. Live tracks from Mort’s Place in NYC feature more unison playing and a heavier, edgier texture, contrasting with the playful, nimble studio recordings.

A1. “RayGuitar” (5:25) — studio track with nimble saxophone and guitar interplay.
A2. “Oklahoma” (3:47) — skewed, harmolodic funk with angular rhythmic shifts.
A3. “Knee Songs 2” (2:10) — cornet (Butch Morris) and vocals (Frith); short, whimsical textures.
A4. “Person to Person” (2:10) — rhythmic experimentation with faux bass drum effects.
A5. “Time and a Half” (2:41) — manipulated live guitar and saxophone effects; Frith composition.
A6. “Mink’s Dream” (3:01) — Ellington-influenced ballad; contemplative, breathy saxophone lines.
A7. “Two-Day ’Till Tomorrow” (1:22) — abstract waltz motif with accordion.

B1. “Light Sentence” (2:25) — off-kilter rock phrasing; Howell adds treble accents.
B2. “First Bite” (2:25) — vocals with animal calls; ensemble improvisation.
B3. “Moonlake” (5:14) — studio ballad; violin adds textural counterpoint.
B4. “Shoats” (2:18) — vocal interplay and saxophone textures.
B5. “Agitar / The Victim” (4:50) — violin and live-manipulated effects; collaborative composition.
B6. “Feelin’ Good” (2:50) — cover of J.B. Lenoir; vocals by Frith and Cartwright.

Sessions occurred at BC Studio, NYC, during summer 1983 to summer 1984. Fred Frith produced and mixed the album, with Martin Bisi recording. Pauler Acoustics handled lacquer cutting.

The cover design is by Jürgen Pankarz, front photography by Lyle Bongè, and back photography by Sarah Wells.

North America demonstrates Curlew’s evolution into a band capable of nimble, playful improvisation while sustaining tension and intensity. The combination of short, whimsical studio pieces and heavier live tracks documents the group’s expanding textural and rhythmic palette, balancing humor with menace.

Also in 1985, Cartwright and Skopelitis played on the Celluloid Records release Cairo Nights by French rapper B-Side.

Live in Berlin

In 1988, Cuneiform issued Live in Berlin, a document of Curlew’s October 1986 show at the Quasimodo Club.

The album captures the band’s downtown New York sound transplanted to a live European setting, highlighting their blend of free jazz, avant rock, and funk-inflected improvisation with George Cartwright’s saxophone leading the ensemble.

Cartwright handles alto and tenor saxophones and arranged the majority of the material. Tom Cora plays cello and co-arranged select tracks, Davey Williams contributes guitar, Wayne Horvitz performs keyboards and keyboard bass, and Pippin Barnett plays drums.

Primary songwriting comes from Cartwright, with additional compositions credited to Tom Cora, Mark Howell, and Rick Brown on specific tracks.

The music alternates between extended, texturally rich improvisations and concise, structured pieces. “Ray (For Barry Hannah)” and “Moonlake” showcase angular, exploratory saxophone lines over shifting rhythmic patterns, while “Agitar / The Victim / Improvisation / Oklahoma” spans multiple moods, combining esoteric textures with funk-driven passages. The ensemble frequently deconstructs and reassembles grooves in real time, blending swaggering rock riffs with avant-garde flourishes. Even with the absence of audience miking until the last track, the live energy remains palpable throughout.

A1. “Moonlake” (9:19) — extended live improvisation with cello counterpoint and saxophone lead.
A2. “Ray (For Barry Hannah)” (10:42) — tribute piece; textural improvisation with fluid saxophone lines.
A3. “Shoats” (6:39) — cello and saxophone interplay; nimble rhythmic shifts.
B1. “Barking (I Want a Dog)” (4:00) — recorded at CBGB; ensemble improvisation with playful textures.
B2. “Mink’s Dream (For Mink Snopes)” (5:38) — contemplative ballad; airy, breathy saxophone phrasing.
B3. “Agitar / The Victim / Improvisation / Oklahoma” (16:40) — sprawling multi-part piece; harmonic and rhythmic deconstruction, co-composed by Cartwright, Cora, Howell, and Brown.

Recorded live at the Quasimodo Club, Berlin, in October 1986, with “Barking” captured at CBGB, NYC, in March 1987. Cassette-to-reel transfer and engineering occurred at Sorcerer Sound, New York City. Amadeus recorded the Berlin tracks, Judy Mareiniss recorded the CBGB track. Fred Roger Seibel mastered the album at SAE Mastering.

Album design is by Mark Uriu, with front cover photography by Jane Rule Burdine.

Live in Berlin presents a seasoned Curlew unit, demonstrating ten years of collaborative chemistry among Cartwright, Cora, and Barnett. The album balances rhythmic precision with textural exploration, emphasizing improvisation, funk, and avant-garde jazz influences, while maintaining the raw immediacy and excitement of a live performance.

Bee

Curlew released their third studio album, Bee, in January 1991 on Cuneiform.

The album presents the band’s downtown New York sensibility in a studio setting, balancing Rock in Opposition intensity with avant-jazz explorations and tighter ensemble cohesion.

Saxophonist George Cartwright leads the group on alto and tenor saxophones, with Tom Cora on cello, Davey Williams on guitar, Pippin Barnett on drums, and Ann Rupel debuting on bass guitar. Cartwright arranged most of the material, with Cora contributing arrangements on select tracks.

Cartwright wrote eight of the twelve tracks, while Cora arranged three compositions. The album includes a cover of Jack Bruce and Pete Brown’s “As You Said,” first heard on the 1968 Cream album Wheels of Fire.

The material alternates between angular, RIO-style compositions, jazz-inflected pieces, and structured improvisations. Tracks such as “The March or Ornette Went to Miles’ House and They Didn’t Get Along” open with cacophony that resolves into contouring melodic lines, while “Saint Dog” develops from melody into dissonance. Williams’ guitar navigates gutbucket blues textures and noise jazz improvisations, complementing Cora’s acidic cello and Cartwright’s piercing saxophone. Rupel’s bass provides a grounded rhythmic foundation, giving the band a slightly more controlled feel compared with earlier live performances, yet the music retains its unpredictable energy.

1. “The March or Ornette Went to Miles’ House and They Didn’t Get Along” (2:57) — playful tribute blending chaotic riffs and sharp melodic turns.
2. “St. Croix” (5:02) — rhythmic interplay between saxophone and cello, developing angular motifs.
3. “Jim (To the James River)” (4:48) — cello-driven RIO/jazz composition, arranged by Cora.
4. “It Must Be a Sign” (7:05) — layered saxophone lines and acidic cello underpinning structured improvisation.
5. “To the Summer in Our Hearts” (10:43) — extended textural exploration with dynamic ensemble shifts.
6. “Saint Dog” (7:01) — opens with melody, evolves into controlled cacophony.
7. “The Hard Wood” (6:56) — rhythmic tension with cello and guitar interplay.
8. “The March (Reprise)” (4:59) — revisits motifs from “Ornette Went to Miles’ House” with ensemble variations.
9. “Rudders” (4:19) — focused ensemble piece with sharp saxophone articulations.
10. “Gary Brown” (4:26) — structured improvisation blending funk and avant-jazz textures.
11. “Kissing Goodbye” (5:52) — live recording with edited dynamics and melodic exploration.
12. “As You Said” (5:27) — cover of Jack Bruce and Pete Brown; maintains the band’s angular phrasing.

Sessions occurred at Water Music, Hoboken, in July and November 1990, produced, recorded, and mixed by Hahn Rowe, with engineering and mixing assistance by John Siket. Tracks 6 and 11 were recorded live in 1990 at the Stadtgarten, Cologne, on the Knitting Factory European tour by Westdeutscher Rundfunk and digitally edited at Pass, NYC. Mastering was completed by Roger Sibel at SAE, Phoenix.

Curlew’s Bee shows a more controlled studio precision than Live in Berlin, while retaining unpredictability and the ensemble’s textural inventiveness. Cora’s cello remains acidic and challenging, Williams’ guitar demonstrates versatility across styles, and Cartwright continues to drive the music with assertive, adventurous saxophone lines. The replacement of keyboards with Rupel’s bass solidifies rhythmic structure, producing an album that balances radical funk, jazz, and RIO experimentation.

A Beautiful Western Saddle

Curlew released their fourth studio album, A Beautiful Western Saddle, in March 1993 on Cuneiform.

The album blends the band’s experimental jazz roots with structured settings for avant-garde poetry, featuring guest vocals and a focus on lyrical interpretation alongside instrumental interplay.

Saxophonist George Cartwright leads on alto and tenor saxophones, with Tom Cora on cello, Davey Williams on guitar, Pippin Barnett on drums, and Ann Rupel on bass guitar. Guest vocalist Amy Denio appears on select tracks. Backing vocals feature Ann, Bob, Williams, Cartwright, Pippin, and Cora across multiple selections.

Cartwright wrote seven tracks, with Cora contributing four, Williams and Rupel each composing a track, and Denio composing one. Lyrics are supplied by Canadian poet Paul Haines, and several tracks combine music with his spoken-word or sung poetry.

The album’s compositions juxtapose Curlew’s angular jazz textures with experimental pop structures. Tracks such as “Let’s Sit Right Down / The Passing” and “Still Trying” feature repeated-note vocal lines over shifting ensemble arrangements, while “Poem for Gretchen Ruth” and “All’s Well That Ends” interweave Cora’s cello and Williams’ guitar with Cartwright’s saxophone. Denio’s voice brings clarity and focus to the otherwise abstract and playful lyrical material, grounding the avant-garde instrumental explorations.

1. “Let’s Sit Right Down / The Passing” (4:05) — layered ensemble arrangement with repeated-note vocal lines and spoken passages.
2. “Such Credentials as Have Become Pseudonym” (2:41) — bass-driven composition emphasizing rhythm and subtle harmonic shifts.
3. “Poem for Gretchen Ruth” (3:54) — cello and saxophone interplay framing Haines’ poetry.
4. “All’s Well That Ends” (4:27) — structured instrumental accompaniment to poetic phrasing.
5. “Peking Widow” (4:24) — ensemble textures supporting sharp, angular melodic movements.
6. “The Prince” (3:20) — cello-centric arrangement with sparse rhythmic punctuation.
7. “What Is Free to a Good Home? (For Robert Wyatt)” (5:07) — Denio’s guest vocals highlight playful lyric delivery over rhythmic shifts.
8. “Still Trying” (3:55) — repeated-line vocal motif layered atop ensemble instrumentation.
9. “Breakfast” (3:25) — brief lyrical interlude emphasizing subtle instrumental coloration.
10. “Today” (3:26) — compact arrangement balancing instrumental clarity and lyrical phrasing.
11. “Song Sung Long” (4:14) — guitar-led composition with supporting cello and saxophone lines.
12. “Human Weather Words” (4:40) — saxophone, cello, and bass interplay underpinning poetic narrative.
13. “Now Can You Tell Me or Can It Still Be Told?” (4:15) — extended ensemble work highlighting voice and instrumentation.
14. “Paint Me! (Dedicated to the President of the United States)” (5:30) — finale combining textural instrumental layers with spoken-word and sung lines.

Sessions occurred at Water Music Recorders, Hoboken, NJ, with producer Bob Appel and recording engineer Jonathan Rosenberg. Mixing took place at Unique Recording, NY, assisted by Scott Gilfix, and digital editing was completed by Ted Orr at Studio Pass. Mastering was handled by Roger Seibel at SAE.

The album art was designed by Ruth Peyser. Photography credits include Michael Macioce and Paul Haines.

Curlew’s A Beautiful Western Saddle focuses on integrating poetic texts with avant-jazz instrumentation, balancing playful lyricism and structured musical arrangements, while retaining the band’s signature angular, texturally rich sound.

Discography: