Barry John Guy (born 22 April 1947, in London, England) is an English composer and double bass player. His range of interests encompasses early music, contemporary composition, jazz and improvisation, and he has worked with a wide variety of orchestras in the UK and Europe. He studied at the Guildhall School of Music under Buxton Orr, and later taught there.
Guy came to the fore as an improvising bassist as a member of a trio with pianist Howard Riley and drummer Tony Oxley (Witherden, 1969). He also became an occasional member of John Stevens' ensembles in the 1960s and 1970s, including the Spontaneous Music Ensemble. In the early 1970s, he was a member of the influential free improvisation group Iskra 1903 with Derek Bailey and trombonist Paul Rutherford (a project revived in the late 1970s, with violinist Philipp Wachsmann replacing Bailey). He also formed a long-standing partnership with saxophonist Evan Parker, which led to a trio with drummer Paul Lytton which became one of the best-known and most widely travelled free-improvising groups of the 1980s and 1990s. He was briefly a member of the Michael Nyman Band in the 1980s, performing on the soundtrack of The Draughtsman's Contract.
Career London Jazz Composers' Orchestra Guy's interests in improvisation and formal composition received their grandest form in the London Jazz Composers' Orchestra. Originally formed to perform Guy's composition Ode in 1972 (released as a 2-LP set on Incus and later, in expanded form, as a 2-CD set on Intakt), it became one of the great large-scale European improvising ensembles. Early documentation is spotty – the only other recording from its early years is Stringer (FMP, now available on Intakt paired with the later "Study II") – but, beginning in the late 1980s, the Swiss label Intakt set out to document the band more thoroughly. The result was a series of ambitious, album-length compositions designed to give all the players in the band maximum opportunity for expression, while still preserving a rigorous sense of form: Zurich Concerts (with Anthony Braxton), Harmos, Double Trouble (originally written for an encounter with Alexander von Schlippenbach's Globe Unity Orchestra, though the eventual CD was just for the LJCO), Theoria (a concerto for guest pianist Irène Schweizer), Portraits (a 2-CD set of musical portraits of the band members and their internal groupings), Three Pieces, and Double Trouble Two. The group's activities subsided in the mid-1990s, but it was never formally disbanded, and reconvened in 2008 for a one-off concert in Switzerland. In the mid-1990s Guy also created a second, smaller ensemble, the Barry Guy New Orchestra.Duncan Heining. And Did Those Feet … Six British Jazz Composers (2023)
Other activities Guy has also written for other large improvising ensembles, such as the NOW Orchestra and ROVA (the piece Witch Gong Game inspired by images by the visual artist Alan Davie).
His current improvising activities include piano trios with Marilyn Crispell and Agusti Fernandez. He has also recorded several albums for ECM, which often focus on the interface between improvisers and electronics, including his work in Evan Parker's Electro-Acoustic Ensemble and his own Ceremony.
Guy's session work in the pop field includes playing double bass on the song "Nightporter", from the Japan album Gentlemen Take Polaroids.
He is married to the early music violinist Maya Homburger. After spending some years in Ireland, they now live in Switzerland. They run the small label Maya, which releases a variety of records in the genres of free improvisation, baroque music and contemporary composition.
In 2016, Guy was appointed Honorary Professor at the Rhythmic Music Conservatory (RMC) in Copenhagen, Denmark, where he periodically conducts workshops and master classes.
Style Guy's jazz work is characterised by free improvisation, using a range of unusual playing methods: bowed and pizzicato sounds beneath the bass's bridge; plucking the strings above the left hand; beating the strings with percussion instrument mallets; and "preparing" the instrument with sticks and other implements inserted between the strings and fingerboard. His improvisations are often percussive and unpredictable, inhabiting no discernible harmonic territory and pushing into unknown regions. However, they can also be melodious and tender with due regard for harmonic integration with other players, and at times he will even play with a straight jazz swing feel.
Similarly, in his concert works, Guy manages to alternate harmonic and rhythmic complexity worthy of 1960s experimentalists such as Penderecki and Stockhausen with joyous, often ecstatic, melody. Works such as "Flagwalk" for string orchestra and "Fallingwater – Concerto for Orchestra" display Guy's compositional skill in handling extended forms and writing for large instrumental groups.
Some of his compositions, such as "Witch Gong Game" for ensemble, use graphic notation in conjunction with cue cards to lead performers into playing and improvising material from numbered sections of the score.
He is also an architect.
Concert works
Orchestra Incontri (1970) Anna (1974) Flagwalk (1974) Songs from Tomorrow (1975) Voyages of the Moon (1983) The Eye of Silence (1988) UM 1788 (1989) After the Rain (1992) Concerto for Orchestra: "Fallingwater" (1996)
Large ensemble (seven or more players) Bitz! (1979) D (1972) Look Up! (1991) Play (1976)
Soloists and large ensemble (seven or more players) Statements II – Ex (1979)
Works for 2–6 Players Bubblets (1998) Buzz (1994) Eos X (1976) The Eye of Silence (1989) Four Miniatures (1969) Games (for All Ages) (1973) Mobile Herbarium (1992) Pfiff (1979) Redshift (1998) rondOH! (1985) String Quartet No.2 (1970) Un Coup de Dés (1994) Whistle and Flute (1985)
Solo works (excluding keyboard) Celebration (1994) Statements II (1972)
Solo voices and up to six players Remembered Earth (1992) The Road to Ruin (1986) String Quartet No.3 (1973) Waiata (1980) Eos (1978) Kingdom (1992) No Man's Land (1974) Video Life (1986)
Music for film or television Breaking the Surface (1986)
Electroacoustic works Hold Hands and Sing (1978)
These works are published by Chester Novello, UK, and further information may be found on their Barry Guy page.
Recordings Solo Statements V-XI for double bass and violone (1976), Incus 22 – Early solo playing Assist, Jazz & NOW 4 (1985) – Solos plus a long duo improvisation with Fred Van Hove Fizzles (1993), Maya MCD 9301 – Solo double bass and chamber bass Symmetries (2002), Maya MCD 0201 – Solo double bass Five Fizzles for Samuel Beckett (2014), NoBusiness NBEP 2 – Solo double bass Irvin's Comet (2020), NoBusiness NBLP 137 – Solo double bass
With John Stevens and Trevor Watts Withdrawal (1966–67), Emanem 4020 – as Spontaneous Music Ensemble Prayer for peace (1969), Transatlantic TRA 196/FMRCD96-V0402 – as Amalgam (Guy appears on one track only) No fear (1977), Spotlite SPJ 556/Hi 4 Head Records HFHCD001 Mining the Seam (1977), Spotlite SPJ 556/Hi 4 Head Records HFHCD003 Application, interaction, and... (1978), Spotlite SPJ 513/Hi 4 Head Records HFHCD002
With Howard Riley Discussions (1967), Opportunity CP2500 Angle (1968-69), CBS Realm 52669/Sony–Columbia 494433 – with Howard Riley Trio The Day Will Come (1970), CBS 64077//Sony–Columbia 494434 1970 – with Howard Riley Trio Flight (1971), Turtle TUR301 – with Howard Riley trio; re-released on FMR in 1995 Synopsis (1973), Incus 13 LP/Emanem 4044 CD – with Howard Riley trio Overground (1974-75), Emanem 4054 CD – with Howard Riley Trio Improvisations are forever now (1977) Vinyl VS 113 – with Riley & Wachsmann Improvisations are forever now (1977-79), Emanem 4070; re-issue of Vinyl LP with extra tracks from 1979 – with Riley & Wachsmann Endgame (1979), JAPO Records 60028 – with Riley, John Stevens and Trevor Watts Facets (1979), Impetus 38002 – with Riley and John Stevens Organic (1979), Jazzprint JPVP115 – with Riley and John Stevens
With Bob Downes Open Music Diversions (1969), Openian 001 Hell's angels (1970), BDOM 003
With Tony Oxley Die jazz werkstatt (1970), NDR – on "Saturnalia" by Tony Oxley Ichnos (1971), RCA Victor SF 8215 – with Tony Oxley Group Tony Oxley (1972), Incus 8 February Papers (1977), Incus 18 Tomorrow is here (1985), Dossier ST 7507 – with the Tony Oxley Celebration Orchestra Unreleased 1974–2016 (2022), Discus 129CD - recorded in 1974, 1981, and 2016
With Iskra 1903 Buzz Soundtrack (1970-71), Emanem – with Paul Rutherford and Derek Bailey Iskra 1903 (1972), Incus – with Rutherford and BaileyReissued as Chapter One 1970-1972 (Emanem, 2000) with additional material Goldsmiths (1972), Emanem – with Rutherford and Bailey Free improvisation (1973), Deutsche Grammophon 2740 105 – three-record set with one record devoted to Iskra 1903 Chapter Two 1981-3 (1981-3), Emanem – with Rutherford and Phil Wachsmann South on the Northern (1988-9), Emanem – with Rutherford and Wachsmann Frankfurt 1991 (1991), Emanem – with Rutherford and Wachsmann Iskra Nckpa 1903 (1992), Maya Recordings 9502 – with Rutherford and Wachsmann
With Iskra 1912 Sequences 72 & 73 (1972-4), Emanem 4018
With Barre Phillips Jazz workshop 71 (1971), NDR TV – on "Whoop" and "La Palette" by Barre Phillips For all it is (1971) – with Phillips, J.F.Jenny-Clarke, Danielson and Martin (Four basses & percussion) Bass duets (1981), FMP CD 102 – Peter Kowald duos with Barre Phillips, Barry Guy, Maarten Altena Arcus (1989), Maya MCD 9101 – double bass duets with Barre Phillips
With London Jazz Composers' Orchestra Ode (1972), Incus That Time (2020), Not Two MW1001-2 (recorded 1972 and 1980) Study II/Stringer (1980–91), Intakt CD095 Stringer (1984), SAJ–41 Zurich Concerts (1987–88), Intakt 005 - with Anthony Braxton Harmos (1989), Intakt CD013 Double Trouble (1990), Intakt CD019 Theoria (1991), Intakt CD024 - with Irène Schweizer Portraits (1993), Intakt CD 035 Three Pieces for Orchestra (1995), Intakt CD 045 - feat. Marilyn Crispell & Maggie Nicols Double Trouble Two (1998), Intakt CD 053 Radio Rondo/Schaffhausen Concert (2009), Intakt CD 158
With the Barry Guy New Orchestra Inscape–Tableaux (2000), Intakt CD 066 Oort–Entropy (2004), Intakt CD 101
With Evan Parker 4,4,4 (1980), View VS 0011/Konnex CD – with Parker, Paul Rutherford, and John Stevens Incision (1981), FMP SAJ-35 – Duo with Evan Parker Tracks (1983), Incus 42 – with Parker and Lytton Tai kyoku (1985), Jazz & NOW 3 – Duo with Parker To whom it may concern (1985), Allelopathy ALL-1 – Two quartets including Parker Hook, Drift and Shuffle (1985), Incus 45 LP/psi 07.07 CD – with Parker, George Lewis, and Paul Lytton Atlanta (1986), Impetus IMP 18617 – trio with Parker and Paul Lytton Supersession (1988), Matchless MR17 – with Parker, Keith Rowe, and Eddie Prévost Birmingham concert (1993), Rare Music RM026 – with Parker, Paul Dunmall, Tony Levin 50th Birthday Concert (1994), Leo Records CD LR 212/213 Imaginary Values (1994), Maya MCD 9401 – with Parker and Lytton Bush Fire (1995), Ogun OGCD 009 – with Parker, Louis Moholo, Pule Pheto, Gibo Pheto Breaths and Heartbeats (1995), Rastascan BRD 019 – with Parker and Lytton The Redwood Session (1995), CIMP 101 – with Parker and Lytton Obliquities (1995), Maya 9501 – Duo with Parker Natives and Aliens (1996), Leo CD LR 243 – Evan Parker trio with Marilyn Crispell Toward the Margins (1996), ECM New series 1612 – The Evan Parker Electro-Acoustic Ensemble At the Vortex (1996), Emanem 4022 – with Parker and Lytton Dividuality (1997), Maya MCD0101 – with Parker and Lawrence Casserley At Les Instants Chavirés (1997), psi 02.06 – with Parker and Lytton Drawn Inward (1998), ECM 1693 – The Evan Parker Electro-Acoustic Ensemble After Appleby (1999), Leo CD LR 283/284 – Evan Parker trio with Marilyn Crispell 2X3=5 (1999), Leo CD LR 305 – with Parker and Lytton, plus the Schlippenbach Trio