The One Ensemble

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A short film by 'Dummy Jim' film-maker Matt Hulse of The One Ensemble piece 'Khaki Knickers' from the Dummy Jim album....

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BUY STUFF AT www.danielpadden.bandcamp.com

Brainwashed review of DUMMY JIM: I haven’t seen Dummy Jim yet, but if this soundtrack is any indication, it must be a truly unconventional and memorable film. With the aid of bizarre instrument builder Sarah Kenchington, Daniel Padden and his cohorts have created a kaleidoscopic collision of traditional Anglo-folk, free jazz, drone, and deep-seated eccentricity that sounds like absolutely no one else. “Dummy Jim” was James Duthie, a deaf-mute Scotsman who embarked upon a 10,000 mile bicycle tour in 1951. A copy of Duthie’s rare published journal (I Cycled into the Arctic Circle) found its way into a used bookstore on the Isle of Iona. As it happens, director Matt Hulse’s mother worked there and she snapped it up and brought it home. Hulse was immediately struck by the strangeness and warmth of Duthie’s tale and Dummy Jim soon came into being. To Hulse’s great credit, he has enlisted some of the only musicians around that are idiosyncratic enough to befit the subject matter. Few directors would risk using music this attention-grabbing in a film.
The music here will probably not surprise anyone that is familiar with The One Ensemble’s previous work, but it is likely to be revelatory for those who haven’t. The album is made up 19 pieces of varying lengths, some of which are actual songs with vocals (usually by Aby Vulliamy) and some are more incidental in nature. The Ensemble’s aesthetic remains quite coherent throughout though: Dummy Jim is a very organic and abstractly folky album, built around haunting strings, wheezing horns, and sleepy woodwinds. Of course, Kenchington’s instrumental Frankensteins are far from traditional in appearance and performance, but they all basically still sound like brass or wooden instruments, so there are no jarring stylistic shifts.
The similarities to traditional folk music pretty much end at instrumentation and timbre, however (although some relatively straightforward melodies make intermittent appearances). The Ensemble’s odd lurching rhythms, creative layering, and shambling interplay combine to transform rather basic materials into something quite unique. These same characteristics are prominently displayed on the songs written by Kenchington too, as her mechanized sculptures often lock into odd, repeating loops of strange, disjointed sounds that slowly cohere and escalate in intensity (such as in “Cows”). Incidentally, the liner notes don’t make it entirely clear whether any collaboration occurred between Sarah and the Ensemble, aside from on just one track. I don’t think there was, though Kenchington and Padden have recorded together in the past. Regardless, the album fits seamlessly together anyway.
The whole album is generally compelling and is probably best when taken in its entirety, but there are three distinct types of songs (aside from the handful of rather brief Kenchington pieces). First, there are the dense, rippling drone pieces, such as “Universal Wonders” or “Lumberjacks,” which approximate the low drone of a bagpipe ensemble using bowed strings and sustained brass, while clattering improvised percussion skitters and crashes all around. Then there are some relatively straightforward soundtrack pieces, such as the quirky and propulsive “Better to Wear Out Shoes Than Sheets,” which sometimes feature some achingly beautiful intertwining strings. Even these pieces sound unique, as Padden and company imbue them with a ragged humanity and subtle avant-garde touches like prickly microtones. Finally, there are bizarre, cartoonishly stumbling pieces like “A Couple of Jumpers,” which undulate like inebriated caterpillars. As a consequence, the album follows a rather odd trajectory, rife with unexpected twists.
Notably, I have generally not been a big fan of Padden’s work in the past, as I could not get past his absurdist tendencies or manic forays into the Zornification of Jewish/Eastern European melodies. Those tendencies are largely minimized here, however, enabling me to finally appreciate The One Ensemble’s strange and beautiful vision without distraction (I guess I have some back catalog reevaluating to get started on). Obviously, music this fiercely individualistic is not for everybody, but if a deranged, but skillfully harnessed, mash-up of Ornette Coleman, Harry Partch, Dexy’s Midnight Runners, and Captain Beefheart sounds at all appealing, this is a pretty great place to start. Regardless, Dummy Jim is anything but boring.

'OTHER THUNDERS' is one of The Wire magazine's Top 15 avant-rock albums of 2009

The Wire review of 'Other Thunders': "An inspired blend of the ominous and the scuzzy, Daniel Padden’s One Ensemble goes from strength to strength. Here, in response to an invitation from Bristol’s now defunct Venn Festival, Padden has expanded his usual quartet to seven, adding bass clarinet and other low woodwinds to his regular cello/viola set-up. His own guitar and vocals occupy a modest seat somewhere near the back, and the overall sounds is dominated by sombre strings and winds, with a fine harmonium solo moment on the rather medieval ‘The Vapour’.
There’s certainly a smattering of folksy moments here – on ‘The Sun’ a sea shanty is heard below decks before arriving centre stage for a choral harmony session; but then it’s all swept away by some snappy, Stravinsky-style writing. Typically, Padden has three or four strong ideas in each of these eight pieces, and for all its looseness, his group are a delightfully non-uptight contemporary music ensemble, albeit one with a Lewis Carroll tinge. Bent on a unified ensemble sound, improvisatory, playful yet meditative at the same time – this is post-Cardew chamber music, as performed by the Walrus and the Carpenter. At the risk of appearing to take the whole thing over-seriously, its post-Howard Skempton: the long, slow lines, the insistence on melody, even the fondness for choral singing. At the same time there’s an earthy, surreal theatricality, shared with other fringe groups such as the more rock-driven Super Best Friends Club." Clive Bell, The Wire, June 2009

Boomkat review of 'Other Thunders':Blending ancient folk, avant-garde chamber music and occasional dalliances with the kind of melodies that might have been lifted from some 1940s film soundtrack, Daniel Padden's The One Ensemble return in an expanded format, now with added players and voices. It's a move that's clearly paid off, and this new record is a unique and enigmatic thing, with tracks like 'The Dig' ranking among the more adventurous takes on the sort of pseudo-classical sounds you'd hear from the likes of Clogs, Balmorhea or 7 Hertz. When vocals crop up they knit nicely into the mix as if they were just another instrument, sounding rather surreal in their strained falsetto on the already rather strange 'The Beam' and adding to the general air of Hermann Nitsch-meets-Sun Ra evident on 'The Sun'.

Brainwashed review of 'Other Thunders':"Instead of using the group as his solo vehicle outside Volcano the Bear, Padden has begun releasing albums under his own name and letting this group develop its own voice. This loosening of the reins over the last couple of albums has seen The One Ensemble mature as a group, going from being simply a great band to a great band that seems to have ideas about becoming even better. Padden’s stamp is still apparent; on “The Beacon” the melody is very much what would be expected of him. The eastern European and klezmer influences that run through The One Ensemble’s music are even stronger on Other Thunders with pieces like “The Vapour” sounding like they could belong on one of Tzadik Records’s Radical Jewish Culture releases.
Yet elsewhere his role as captain of this vessel seems to be nominal only as the other players push The One Ensemble into strange waters. “The Instructions” has more in common with Volcano the Bear than Padden’s solo work in terms of structure but the mood brings to mind the disturbing formlessness of Limpe Fuchs and her group Anima. This otherworldly feeling dissipates with the “The Sun” whose mostly vocal structure has a tribal and ritualistic vibe to it, the previously encountered alienation of “The Instructions” making these human voices all the more compelling.
This mix between Padden’s vision and group experimentation makes all the individual pieces on Other Thunders into superb miniatures but overall it stops the album coming together like the earliest One Ensemble albums. However, instead of fracturing under the weight of its variety, Other Thunders instead revels in its multiple personalities. So while it may not beat Live at VPRO as my favourite One Ensemble album, it comes close and judging by the direction the group are taking on the last two releases, it will not be long until I have a new favorite."

Alt.Vinyl review of The One Ensemble Orchestra 'Other Thunders': "Daniel Padden returns with this frankly awesome album. There's much less of the lilting melodic playfulness and much more of the droning wooden fervour that we love so much.... The shape and scope of this music has much more in common with Luciano Berio and Hermann Nitsch than with previous forays such as Nalle, or indeed much of the current "alt.folk" movement, in which Padden has played such a crucial role. Though the general timbre here is a rural, medieval one, look beneath the forest-covered surface and you'll find a startling piece of contemporary composition. Bloody magnificent!"

The Sound Projector review of 'Other Thunders': The One Ensemble Orchestra’s Other Thunders CD (NEU013) is a candidate for headscratcher of the week – not that this all-acoustic instrumental music is especially weird, but I can’t credit how good it is; there are such strong performances on here that remind one of a cross between the (early) Michael Nyman Band and the 1970s folk-rock ensembles of Ashley Hutchings. Daniel Padden appears to be the visionary leader and musical director of this exciting project. Again, like the LP above, there’s a splendid clarity in the recording and the playing that gets my pagan juices flowing faster than any murky acoustic drone-out stoned strummers from Lexington or Atlanta. What sumptuous mixed chords! I hope to find more time to spend with these warm clarinets, taut viola strings and rugged choir sections; this release may be further evidence of strange new modern folk forms emerging in the UK, and flowing in underground streams beneath our very feet. Recommended!

The One Ensemble Of Daniel Padden started life as a solo recording project, and 2 albums were released: a self-titled CD on Catsup Plate, and 'The Owl Of Fives' on Textile. After that the Ensemble became a live band and released 'Live At VPRO Radio' on Brainwashed. The band is now 'The One Ensemble', and released 'Wayward The Fourth' on the Secret Eye label in 2007. The One Ensemble Orchestra is a specifically-created 7-piece version of the band, and has just released 'Other Thunders' on the No-Fi label.

Secret Eye press release for 'Wayward The Fourth': "The heir apparent to Moondog and Zoltan Kodaly, The One Ensemble blend European folk, narrative, popular and chamber forms to create modern compositions that provide attention-grabbing hooks and thought-provoking challenges. At times formal and at others improvisational, it is difficult to pin down the One Ensemble sound. Influences range from the classic pop-psychedelia of Robert Wyatt to the deep experimental drone of Third Ear Band. Blissful free jazz, delicate acoustic out-folk, tape collages, Eastern raga and mystical modern minimalism all peacefully coexist in the One Ensemble's uniquely beautiful universe. "

Womblife blog review: The One Ensemble Wayward the Fourth (Secret Eye) "Had this one a while and been trying hard to summon the words to fully capture it's strange beauty. Daniel Padden is one fourth of the always fascinating Volcano the Bear. He's also released some delectable solo albums under the One Ensemble of Daniel Padden name for the last four years. What he did then was a kind of minimal free jazz/prog folk response to what folks like Robert Wyatt and Brian Eno were doing early in their careers with multi-tracks and instruments all performed by Padden. As with the recent Live at VPRO CD-R (Brainwashed), Wayward the Fourth is the work of a genuine ensemble, quartet to be exact, captured in a studio. The songs are gorgeous, twisted amalgams of European and American ethnic musics, free jazz, chamber music, minimalism and experimental plateaus rarely glimpsed in the western world, dispersed with just the right emotional -- ranging from giddy to somber -- intensity. There's vocals on a few tracks, a few bizarre deconstructions on some others, but what strikes me most about this is the sheer musicality, the deliberate attention to space, detail and compositional structure. One Ensemble albums have always sounded like this, but just as with Volcano the Bear's brilliant Classic Erasmus Fusion (Beta-Lactam Ring), the ensemble approach has reached new depths of cinematic, multi-hued brilliance. Easily one of the best '07 has coughed up so far."

Foxy Digitalis review: "At times turbulent and at others sombre: the music of Daniel Padden and his One Ensemble covers a lot of emotional ground. Formerly a solo venture, Padden – himself a key member of the hydra-headed Volcano the Bear – is now joined by Chris Hladowski, Peter Nicholson and Aby Vulliamy. Hladowski and Vulliamy, together with Hanna Tuulikki (who lends her voice to this recording) also release music under the moniker Nalle. Together, this topsy-turvy Glaswegian quartet put together tiny symphonies that incorporate elements of Eastern European folk, minimalist drone and string-laced chamber psych. The One Ensemble’s humbly haunted, multifarious tales look back to post-WWII Europe, following displaced settlers voyaging across the Atlantic towards the unknown. Cello, bouzouki, clarinet, guitar and piano all play a key role in reciting the woeful tale of humanity’s uncertain future. The most prominent and effective instrument however, is Padden’s plaintive wordless vocal, which at times evokes spirits formerly unearthed by Jeff Mangum. The intoxicating brew crafted by the deft hands of The One Ensemble is not difficult to swallow; its complex palette is cleverly disguised with beautiful melodies and a healthy dose of hopefulness. Padden and his band of minstrels have created a truly unique and engaging record, one that should be celebrated for the rare beauty contained within. Highly recommended!" 9/10 -- Bryon Hayes (3 April, 2007)

Daniel Padden is a member of Volcano The Bear. Aby Vulliamy and Chris Hladowski are members of Nalle. Peter Nicholson is a member of Glasgow Improvisers Orchestra and The Age Of Wire And String. Shane Connolly is a member of Tattie Toes.

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Member Since:

April 07, 2006

Members:

Christoph Hladowski, Peter Nicholson, Daniel Padden, Aby Vulliamy, Shane Connolly

Sounds Like:

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"If 'Wayward The Fourth' doesn't become a classic , it won't be for lack of wherewithal, a release so afield of norms that it treads mutant paths between farflung neoclassical prog and ECM's wilder days" Signal To Noise, Spring 2007.

"Dazzling interplay" (The Wire)

"The songs are gorgeous, twisted amalgams of European and American ethnic musics, free jazz, chamber music, minimalism and experimental plateaus rarely glimpsed in the western world, dispersed with just the right emotional -- ranging from giddy to somber -- intensity...Easily one of the best '07 has coughed up so far." (Womblife)

“I’ve been a fan of Daniel Padden’s skewed and intriguing songwriting for some time but the interplay between the 4 players on here lifts it onto a truly magical level…Influences include heavy doses of Eastern European folk music, music hall, 20th Century chamber music and Robert Wyatt but no-one else puts these elements together or sounds quite like The One Ensemble. One of the contenders for album of the year.” (Boa Melody Bar)

"Padden and his band of minstrels have created a truly unique and engaging record, one that should be celebrated for the rare beauty contained within. Highly recommended! 9/10" (Foxy Digitalis)

"The perfect soundtrack for a script yet to be written by Emir Kusturica's unkown cousin" (Mats Gustafsson, Ptolemaic Terrascope)

"Live at VPRO Radio sounds gloriously cohesive: a triumphant spontaneous creation of a wholly idiosyncratic style of folk music. " (JD, Brainwashed)

"The mixture of traditional and the spirit of exploration give the music a fire and a passion that doesnt seem to be boiling over in much modern music lately. Paddens rousing shouts and chants...add to the energy levels urging the band onwards toward almost anthemic heights. The musics complexity and the bands obvious vigour set a high benchmark for followers... VPRO have been lucky enough to catch one of those rare moments in time when a band are truly on fire." (Stylus)

"Live at VPRO Radio is a gorgeous and hypnotic work that joyously trips and tumbles through a dark, mediaeval wonderland that exists only on an astral plane; a collection of whimsical funeral dirges for a merry band of wandering monks intoxicated on bad liquor and thujone. It is a collection of hymns to wood sprites and elves; it is the soundtrack to suddenly noticing the glorious spectacle of an ant crawling up a tree trunk carrying a leaf. It is a magical conjuring act by a group of trickster alchemists wandering in a foreign land. It is often all of these things and sometimes none of them, but it is always unmistakably beautiful music." - Jonathan Dean, Brainwashed

"The only album I bought this year that I think may have a secret life all of its own when I am not watching." (Sean Witzman, Foxy Digitalis, review of The Owl Of Fives)

"An astonishing solo album...an epic voyage of beautifully composed experimental music...A god-like record." (Steve Hanson, Careless Talk Costs Lives / Ptolemaic Terrascope)

"Strikingly beautiful at times, Padden's music truly comes from another place. Wholly unique and lush with feeling, "The One Ensemble of Daniel Padden" is a rare and unclassifiable masterpiece." (Other Music)

"An album that is so distinctly unique in its sound that it's hard to think of any comparisons at all." Mats Gustafsson, Ptolemaic Terrascope (review of The One Ensemble Of Daniel Padden)

Record Label:

Secret Eye, Textile