LLOYD McNEILL – WASHINGTON SUITE

Lloyd McNeill - Washington Suite - Asha Three (1970)

************************************************

Between 69 & 79 McNeill self produced and released 6 lp’s,
(3 on Asha & 3 on Baobab) all of which are worth owning!
However it is the Asha releases that are the most sort after,
Whilst his first album includes the brilliantly; dark & brooding

22 min Opening track “Asha”,

“Washington Suite” for me is his magnum opus.
A 5 star lp from start to finish!
But please do let me know what you think?

***********************************************

Lloyd McNeill Quartet: A1/A2/A3/B2.

Lloyd McNeill - Flute
Eugene Rush - Electric Piano
Marshall Hawkins - Bass
Eric Gravatt – Drums

Woodwind Quintet: B1

Lloyd McNeill - Flute
Andrew White - Oboe
Orrin Olson - French Horn
William Huntington - Clarinet
Kenith Pasmanick – Basson

Duo: B3

Lloyd McNeill - Flute
Eugene Rush - Piano

*******************

A1 - Home Rule
A2 - Just 71% Moor
A3 - 2504 Cliffbourne Place
B1 - Fountain In The Circle
B2 - City Tryptich; Sandra Is The City, The Black Mayor, Imani (Faith)
B3 - Fountain In The Circle


Vinyl rip @ 256kbps

http://rapidshare.com/files/33524107/LMWS.rar

**********************************************

N. Q LIVE AT RENNES -20 MAY 2OOO,

n:q live at rennes 20 may 2000
heres a great improv album, in the tradition of earlier amm, in fact it features keith rowe
if you like drifting ,improvised soundscapes,in and out of which drift sonic squalls of noise, and at times quite high pitched and semi industrial ,then perhaps youll like this.

this is as far removed from african american jazz roots, as free improvised music gets.


personnel
jean chevalier-live electronics, bass clarinet christophe havard- diverse objects, saxophones julian ottavi- electro acoustic devices, percussion, voice keith rowe- prepared guitar



fibbrr cd released 2001 OOP
for more info on fibrr , AND SOME GREAT FREE DOWNLOADS -GO HERE http://www.apo33.org/records/doku.php?id=cd_records&DokuWiki=c45ad876d


RIPPED AT 220KBS link
http://anonym.to/?http%3A%2F%2Frapidshare.com%2Ffiles%2F30377708%2Fnqlrnnes.zip

DON CHERRY TRIO-LIVE IN COPENHAGEN OCTOBER 3, 1970

hi
heres the next installment of don cherry in copenhagen 1970
this ones from the 3rd of october,the very next day
see our previous post of the concert from october the 2nd
here http://inconstantsol.blogspot.com/2007/04/don-cherry-trio-guests-live-in.html


this ones just the trio
cherry- cornet,perc, flute etc
johnny dyani-db
mikaya ntshoko- percussion

ripped at 256 kbs (i think)
part1) 95 mega bytes
http://rapidshare.com/files/31465123/cc_1970_1.rar
\
part 2) http://rapidshare.com/files/31572760/cc_1970_2.rar

part 2= 31 mega bytes.

please note there is some crossover in terms of material, with our previous post from october the 2nd, this ones possibly slightly scrapier too ,as far as sound quality.
enjoy

JOHN SURMAN 'MORNING GLORY' 1974

HI heres another slab, of intense 'incense fueled free jazz/rock fusion.
this was reissued by f.m.r records a few years ago.
but now seems to have slipped out of the catalog
there may be a few copies of the cd floating 'round the aether,


boromir'said '''Here's John Surman's "Morning Glory" from 1973

John Surman: soprano sax, bass clarinetJohn Taylor: keyboardsTerje Rypdal: guitarJohn Marshall: drumsChris Laurence: bassMalcolm Griffiths: trombone
Tracklist Cloudless Sky2 Iron ManSide 21 Norwegian Steel - Septimus2 Hinc Illae Lacrimae - For Us All (Hence Thes Tears) Viny ripped at 192 kbps

The group, which was short-lived (this their only recording together) went under the name of Morning Glory (which I think is a yellow flower that is short-lived and sheds it's petals by mid-day, but it does grow more flower the next day). So this is perhaps why they called themselves Morning Glory. I digress, but many, many years ago, before my time even, there was a music hall performer called Nosmo King, who apparently got the inspiration for his stage name from the No Smoking notices around the theatre.

Anyway, back to the record. We are all probably familiar with Surman, Taylor and Rypdal, all of whom are still enjoying illustrious careers, making records for ECM. John Marshall I believe is still drumming with a Soft Machine legacy band, and occasionally with John Surman. Sadly I have not heard of Malcolm Griffiths for many years. During the 70s, it seemed to be a case in British jazz, if you want a trombone - send for Malcolm. Chris Laurence is also still playing and recently released his first recording as leader at the age of 60.

just a brief coda to boromir's message- morning glory seeds ,have the reputation of being a hallucinogen.

heres the list of available f.m.r releases
http://www.efi.group.shef.ac.uk:80/labels/fmr/cfmr.html

BUY JOHN SURMANS RECORDINGS.
ALSO find the earlier classic surman,phillips and stu martins the trio here in the recesses of the archive with some refreshed links in the comments
http://inconstantsol.blogspot.com/2007/03/surman-phillipsmartin-trio-1970.html

charles lloyd- live in the ussr 1969

HI heres another of boromirs rips, a great one by charles lloyd, with perhaps more than a whiff of incense about it, this may well be disdained, by free jazz fans, true its not strictly free jazz, but its a hard swinging record flavored by near eastern, and indian influences.
a great band, with keith jarrett, on fire ,playing

as ive never heard him before, lots of cluster chording, and passages that evoke early cecil taylor.

the line up is

charles lloyd -tenor sax, flute

keith jarrett- piano

and the fantastically inventive ron mclure-db and jack dejohnette -drums

this has also been posted in the comments of the wonderful' huppes et hyalites' blog

which has a kick ass lloyd concert of more recent vintage.

enough to convince any but the most egotistical free jazz snob.

link (ripped at 220kbs )

http://rapidshare.com/files/29772949/CLloyd.rar.html

be sure to grab the live concert put up by H AND H here

http://huppeshyalites.blogspot.com/2007/05/coccinella.html

give it a go, its great stuff

GIANCARLO SCHIAFFINI-AS A BIRD 1994

HI heres one of the great charlie parker tributes , by one of the pioneers of the italian avant guard, a founding member of the pioneering quartetto 'free jazz ' di roma , and one of the great interpreters of, berio, nono, and scelsi's music for solo tuba, and trombone.

this was released on penta flowers in 1994 and according to various scources including their current catalog, is out of print.

for me this is up there with george lewises hommage to charles parker on black saint.

thoughtful,and palpably joyous freebop, though also very ecclectic

passages of non idiomatic free improv

and italian folk influenced bop tunes.

heres a bio from all music ,followed by a review of the album( a bland one by steven loewry)

Biography by Francesco Martinelli

Born in Rome, where he still lives, trombonist Giancarlo Schiaffini graduated with a degree in Physics, but left scientific research for music. He's been a key figure in both Italian new music and the European improvised music scenes, playing with Evan Parker, Maarten Altena, Barry Guy, and recording with Andrea Centazzo and Lol Coxhill (Situations, New Tone, 2000), among others. Self-taught on the instrument, Schiaffini studied and earned degrees at Darmstadt, operating in the academic avant-garde realm with the improvising group Nuova Consonanza, and playing solo compositions by Berio and Scelsi. He's also the designated soloist for Luigi Nono's Prometheus, and is a conservatory teacher. On the more experimental side of his work, Schiaffini makes creative use of electronics, as documented on Edula (Pentaphon) and The Missing Chainring (Imprint, 2001), as well as in his textbook on contemporary trombone techniques. Yet Schiaffini does not renounce his jazz roots, which is equally evident in his improvisations, in his teaching activities for the Siena Jazz Courses, as well as in his original tributes to the music of Charlie Parker and Thelonious Monk, As a Bird and About Monk (Pentaflowers). The SIC Trio, with percussionist Iannaccone and saxophonist Eugenio Colombo, recorded several LPs in the '70s and a live CD at the 1994 Controindicazioni Festival in Rome (Passemmezzo, Splasc(h), 1996). With Dubs (ART-PURecords), Schiaffini introduced strings, Silvia Schiavoni's voice, and the traditional Iranian percussion of Mohsen Kasirossafar; while a meeting with the Peter Fraize Trio led to the invigorating free bop of Deconstruction! recorded live in Washington (Pentaflowers, 2001) with tunes by Monk and Ellington, and originals inspired by the music of Cuba, where he taught. Co-founder of the Instabile Orchestra, Schiaffini writes articulate, witty suites for the band, like Litania Sibilante (Enja, 2001).

Review by Steve Loewy

A classic of avant-garde Italian jazz, As a Bird uses the life and work of Charlie Parker as inspiration and diving board to produce a splendid set of eleven tracks. Trombonist Schiaffini, one of the seminal figures of the Italian free scene, wrote all the compositions, and is joined by an all-star crew. His work on trombone is characteristically rough and wild, incorporating a range of influences from Dixie to hardcore bop to 1960s freedom. Alto saxophonist Sandro Satta splendidly takes off where Bird left us, with some adventurous skydiving, and Alberto Mandarini reaches into his Don Cherry derby for some amazing gymnastics. Schiaffini's humor abounds; the Spanish titles result from the leader's recent visit to Cuba. The CD successfully captures the spirit of Bird without copying him or fawning his style.

VISIT SCHIAFFINI'S WEBSITE HERE

http://www.giancarloschiaffini.com/

AND BY HIS RECORDS, THERE ARE SOME AVAILABLE ON SPLASCH, A ND GOOD ONES UNDER MARIO SCHIANOS NAME ON ATAVISTIC, AND SPLASCH

ALSO CHECK OUT THE ITALIAN INSTABILE ORCHESTRA RECORDS ON ENJA, AND LEO

part 1) http://rapidshare.com/files/30271092/asbd1.zip

part 2) http://rapidshare.com/files/30273666/asbd2.zip

enjoy!!

for some reason im having trouble paragraphing this post, sometimes it works some times not

a bug in bloggers programing?

ARTHUR DOYLE, TAKASHI MIZUTANI, SABU TOYOZUMI - LIVE IN JAPAN 1997

It had to be a special album, too follow the recent posts by Dipmong / Boromir.
I have been deliberating for days; before finally deciding on this seminal release from

Qbico Records, Italy

(a label with an exceptional catalogue of outstanding music).


Arthur Doyle - Tenor Sax, Flute, Voice
Takashi Mizutani - Electric Guitar
Sabu Toyozumi - Drums

Rec. live November 14, 1997 @ Manda-la2, Tokyo, Japan
Released in 2003 (Qbico 9-10).

Side A:
November 8th or 9th, I Can't Remember When

Side B:
Alabama and Mississippi Reunited

Side C:
I Pass, Then Resist
I'd Live In Her World, Then Without Her In Mine

Side D:
Love Heal
Joy


"As his revelatory performance at this year's Le Weekend festival in Stirling made clear, saxophonist, singer and pianist Arthur Doyle is at his most emotionally devastating when he's on his own and the pure flow of his spirit is unencumbered by any bullshit notions of musicianship. So the idea of hooking him up with a guitarist and drummer -- even if they are two of the most liberated players to come out of the ever-fertile Japanese underground -- is bound to raise pulses in well-stocked record rooms across Scotland. But the news is good. Although the three players rarely operate as an actual trio across the space of these two beautifully presented slabs of vinyl, the exchange of ideas is rapid and advanced and both Takashi Mizutani and Sabu Toyozumi peel back enough to give Doyle the kind of space he needs to really cut rug. A legendary recording, Live In Japan 1997, has been circulating as a cassette on the collector's scene for many moons. Doyle's visit to Japan that year brought many of his acolytes out of the woodwork and as well as the gig with Mizutani and Toyozumi, the saxophonist hooked up with both Japanese underground guitar god Keiji Haino and Boredoms guitarist Seiichi Yamamoto while he was there. Mizutani is a fantastic guitarist, although here he isn't quite as extended as he is with his own group, mythic psychedelic rockers Les Rallizes Denudes. Drummer Toyozumi puts in a particularly muscular performance, trading in the kind of spatial acrobatics and air-curdling techniques he used to temporally dislocate recordings by Peter Brotzmann and Masayuki Takayanagi in favour of a more stumpy, rock-based approach, a working method that more than compliments Doyle's spare folk melodies. As usual, Doyle weaves motifs from his major works throughout the set but it's that voice, so completely unguarded emotionally and so beautifully bent, that'll set your heart on end."
David Keenan, (Sunday Herald, Edinburgh, 01 June 2003)

Vinyl rip @ 192kbps.

If the mention of “Noah’s Black Ark, Alabama Feeling or Babi Music”

sets you off into drool mode.

THIS IS FOR YOU!!!!!

http://rapidshare.com/files/30893483/ADTMST.rar


///////////////

SONNY SIMMONS, ANCIENT RITUAL 1992 ( RELEASED 94)

hi all, heres a great one, by one of the chronically under appraised masters
of jazz saxaphone.

released on the warners sub lable quest in 1994, 2 years after its release, this alerted people (a younger generation) to the power of sonnys art.

sonny simmons first came to prominence in the mid 60's with great records for the contemporary lable, and 2 esp discs under his own name.

one of my personal favourites (,ive never heard a simmons disc which was in any way mediocre ,or less than inspired).
this disc has now been out of print for some years, and knowing the absolute lack of understanding of this music ,by major lables is likely to stay so ,probably for some time to come.

heres a review of this
for those interested.
though ,be aware its luke warm and considerably understates the case.

Review
by Scott Yanow
When this CD was released in 1994, it should have resulted in altoist Sonny Simmons getting a comeback of the year award. Playing in a sparse trio with bassist Charnett Moffett and his son Zarak Simmons on drums, the veteran saxophonist proved to not only be in prime form after many years off the scene, but just as fiery and adventurous as he had been in the 1960s. Simmons' eight originals (which include "Reincarnation," "Country Parson" and "Sundown In Egypt") have plenty of variety, but it is the frequently telepathic interplay between the three musicians during improvisations that makes this CD essential for open-minded listeners.

visit and buy sonny simmons records directly through him, at his home page, where you'll also find an extensive bio
http://www.sonnysimmons.org/index.html

you cant go wrong with sonny, all his records are good, he has a couple of cdr's for sale which are limited i have one and its good,the esp discs are back in print. fire birds and the cry are in print,
two of the best can be found at cadence, on the cimp lable.

anyone having 'ramasuma, it is revealed ,or other and there are many(see his website's discog)
please dont hesitate to share them, either here or elsewhere.

this is ripped to 256kbs mp3 , in 2 parts
part 1) http://rapidshare.com/files/30098406/anrit1.zip
part 2) http://rapidshare.com/files/30106644/anrit2.zip

enjoy
cheers

STEVE LACY THREADS (1977,HORO HZ 05)

hi , heres the next in our hopefuly ongoing series of sadly unavailable lacy recordings

this comes from the 'horo' single lp hz series.

some of which are now commanding exorbitant prices ,when indeed they come up, it seems criminaly negligent that some enterprising lable has not picked up the catalog in its entirety.

great albums by(apart from lacy)sam rivers ,lester bowie, sun ra, mischa mengleberg, lee konitz, roswell rudd, archie shepp,mev,gunter hampel,and many others.

to see the contents of the catalog go to the saturn web jazz discogs, then click on- horo records checklist

this is a great one though it may have limited appeal to the unconverted.

lacy was always a poly stylist allowing himself to be influenced as much by visual art , and poetry, avant guard music in the european art tradition,folk traditions,japanese culture ,as by jazz tradition.

this one features mev stalwarts and long time friends alvin curran and frederic rezewski.

'threads' tracklist

side one(track 1 in the file)

1)skirts- 11'47'

2)threads -10'40'

side 2(tracks 3to 5in the file)

3) rabbit -4'55''

4) broils -7'27''

5) shambles -6'55''

most of the disc is solo more or less, alvin curran plays flugelhorn, synthesizer, and small percussion on tracks 3-5 , fredic rzewski plays piano on track 3

this was recorded at mama dog studio in rome , may 19, 1977

ripped to 256kbs mp3

http://rapidshare.com/files/29764085/threads.zip

\

enjoy

'swami solus' this goes out to you thanks for your wonderful shares, you want more horo well c'mmon people lets bring it on,

ive got a lee konitz quartet and also the very 'free' konitz and solal double album 'duplicity' candidates for future posts.

anyone wanting more great lacy

go to jizz relics, and huppes et hyalites. as well as trawling the recesses of this archive if you havent already done so.

cheers

MY NAME IS ALBERT AYLER (REC 1963 (FONTANA 1966)

BOROMIR 'said.......''I've uploaded Albert Ayler - My Name is AA. This was his second recording I think. I've looked round on the net and I don't think it's available. It's probably not particularly rare, but there's bound to be be people who've never heard it. It's one of my favourite Ayler recordings, perhaps because it features familiar tunes. Anyhow, if you agree it's OOP, would you please post it sometime.

Link: http://rapidshare.com/files/29478807/Ayler.rar.html Scans attached. Vinyl ripped at 192 kbps.

this album, though briefly reissued on black lion in 1996,is out of print ,i havent seen a copy of this since selling mine years ago, i had a french semi bootleg 'musi disc'(aka america)

never a particular favourite ,of mine compared to later recordings (spirituals for example)of albert doing, more conventionaly harmonic material, still having been prompted to listen to this by 'boromirs email, i whipped out my tape ,and the thought occured that i foolishly sold it on an unfounded whim, a fascinating listen, better perhaps than the so called 1st recording.

for one thing ,the other players here seem far more upto the task,even if they dont understand quite where alberts coming from.

albert was to return to traditional ,more familiar changes based playing often,from this juncture.

its no surprised that a big toned tenor,like don byas with his own gospelly ecstatic sound expressed admiration,as did numerous earlier players.

im a big fan of sidney bechet, and the distance between them as evidenced here ,seems narrower than ever.

one wonders what arnette cob ,might have thought of this.

heres a review from jazz monthly of 1966

(From Jazz Monthly March, 1966.) - UK
MY NAME IS ALBERT AYLER:Albert Ayler (ten, sop-1); Niels Brønsted (p); Niels-Henning Orsted Pedersen (bs); Ronnie Gardiner (d) Copenhagen—January 14, 1963Bye, bye blackbird-1 : : Billie’s bounce : : Summertime : : On Green Dolphin Street : : C. T. -2-2 Brønsted not present on this track Fontana 688 603 ZL (33/1d.)(The above LP is an import and can only be obtained from specialist jazz dealers)
AYLER’S OWN YOUTHFUL voice introduces this album, a soft voice that contrasts with the rich pained tones of his tenor playing. It is not a typical nor I suppose a great album. But it is one that I have frequently enjoyed sampling over the last twelve months or so since it first penetrated to Charing Cross Road as an import. Despite the rather incongruous choice of material and worse, the inclusion of a rigidly academic post-bop pianist and a woefully immature drummer, the value of the session was by no means purely historical. Ayler had by this time almost reached maturity and the breadth of his talent is clearly apparent. Already a completely individual musician whose influences are almost beyond detection, he was evolving a style with implications leading out beyond the Coleman barrier. Ayler’s style has been described in some detail with regard to his more recent ESP albums and despite the conservative material most of its elements are here. A unique feature of the record though is his playing of the soprano—quite surprisingly individual with hardly a note from Coltrane’s formulation for the instrument. He creates basically the same grotesque and sinuous tension as on tenor, though the higher pitch and thinner timbre alters the climate a little. Bye bye proves an adequate vehicle but one hopes to hear more of the soprano in more current context. Two musical details that catch the ear are his use of a continuous (as far as it is possible) rather than a particulate (scalar) pitch, and the attempt to suggest numerous melodic lines by rapid alternation of extremes of pitch or intensity. Also worth noting is the fact that despite the apparently arhythmic atmospheric style, careful attention reveals a complex division of the beat and some of his cadences are as subtle as any yet played in jazz. Needless to say he reveals tremendous confidence and authority—where were the critics while such a player was forming his style? What I have said of the opening track applies elsewhere. Billie’s theme gets a rather brusque dismissal and the accompaniment who seems to think it knows how the piece should be played is at its worst. Ayler makes one step towards appeasement—he blows a High society quote (after Bird)—then continues with some catching blues fragments though never really evolving a unified structure. Green dolphin is similarly compromised by the clash of personality, but the contrast between the tenor’s distant but suggestive references to the progression and the pianist’s grim orthodoxy is illuminating. There’s an entirely acceptable arco bass contribution and Albert throws in an Ornette Coleman quote to round things off. One or two Coleman passages also crop up on C. T., an Ayler original, and the only nominally free performance included (one wonders if the pianist refused to play). The item is full of interest even though the drummer is completely out of his depth and makes a lot of noise drowning. Pedersen, who is a sensitive bassist and who acts throughout as if he is at least not openly against the main soloist, is understandably less than perfect here, drawing too heavily on flamenco cliche. Despite (perhaps because of) the ineptitude of the rhythm section which does all the hackneyed things, Summertime approaches the classic heights of ballad playing. Ayler’s completely and painfully sensitive lines move back and forth through dynamic space (revealing incidentally his phenomenal control of timbre and intensity) suggesting a continual emotional flux from anger to defeat. After falling to a mundane piano solo then gathering a little with Pedersen, Ayler caps the performance with a beautiful second solo, the finest individual passage on my review records this month. Few jazzmen have conveyed such a breadth of emotional expression on a ballad. Having said this I sincerely hope that I have deterred no one from hearing this last track for it is very easy to give the impression of overstating one’s case. For a number of reasons the album is more approachable than later more typical and doubtless better records, but the performance of Summertime for the tenor at least is as good as any I know. In summary all followers of the new jazz should consider this album despite its imperfections, and doubters could at least try a taste of one of the most original talents on the contemporary scene.
TERRY MARTIN

enjoy

and thanks to boromir ,once again for the great rip

cheers

PAUL BLEY,TOUCHING -(1965 fontana)

hi all

heres one of my very favourites,if youve never heard bley ,this is a great place to start.

this is boromirs rip of the original vinyl, i have the freedom double album reissue which also includes live 'blood' in amsterdam from the following year.

but this single disc version ,(now pretty rare) is absolutely essential.

at the time this was recorded ,the conventional pno.,db and drum

format ,had largely fallen out of favour with the avant guard.

weve searched hard to assertain its availability,without luck the reissue on black lion from 10 years or so ago is pretty much out of print.

i like this better than closer and barrage from the same period.

i cant find a review of this (even in the all music guide) no doubt about it though this is one of his BEST, from the period.

visit paul bley 's home page here http://www.improvart.com/bley/

boromir' said 'Here's the link for Touching:- http://rapidshare.com/files/29219501/PBley.rar.html

Vinyl ripped at

192 kbps.

Cover scans attached.

Cheers

we'll have more blet thats out of print to post, down the road, including live 'blood ,if it's not available , as well as the rare'mr joy' from 1968.

BUY PAUL BLEY'S RECORDS, THERE ARE CLOSE TO ONE HUNDRED TO CHOOSE FROM.

at the improvart webpage youcan get, both his and other artists records

including great ones by,j.guiffre, lester bowie, lee konitz , sam rivers ,sun ra and so on.

paul bley also appears on 2 rare previous posts

here http://inconstantsol.blogspot.com/2007/04/paul-bley-septet-live-in-hamburg-291065.html

and here

http://inconstantsol.blogspot.com/2007/03/jazz-composers-orchestra-communications.htmlhttp://inconstantsol.blogspot.com/2007/03/jazz-composers-orchestra-communications.html

both being incidently from the same period as 'touching'

cheers

DAVID.S.WARE- FLIGHT OF I ,1992

hi all,
heres one that a lot of people remember fondly ,as one of the milestones of the 1990's free jazz,revival.
one of the great tenor players of recent decades ,this one is a classic.

it has dissapeared from the catalog,first issued by columbia in 1992, it was (as has been the unfortunate fate of great ,free jazz records on major labels)promptly discarded after a short run.
picked up by d.i.w in 2002, several jazz references list this as being out of print.
the disc union web catalog,does not have this on its books at present, there are no copies on ebay.

it appears that the only place you can buy a secondhand copy is on amazon.
hopefully this will see reissue soon.
most of you will already have this, but those that dont will certainly want to hear it,a masterpiece, as is godspellized also sadly oop

i first heard ware on andrew cyrille's magnificent black saint records from the late 70's and early eighties, which are available and highly recommended.

go to david s wares website here http://www.davidsware.com/html/biography.htm

here is a review of this album by thom jurek
This is the final recording of the David S. Ware Quartet with drummer Marc Edwards, who would be replaced by Whit Dickey, who would be replaced later by Susie Ibarra. What is most notable about Flight of I is how Ware, completely oblivious to his critics, turned in his straightest ever recording, though no one could remotely call it "inside." The disc opens with one of Ware's compositions, "Aquarian Sound," which showcases the stunning complexity and beauty of Matthew Shipp's pianism. Opening with a series of vamps and augmented minor chords, he lays an opening ground for Ware to join the band. As bassist William Parker comes along the bottom floor of the beat, Ware enters with his five part ostinato before moving off into one of his high-wire broad-toned solos. The break is brief and ushers in Shipp's solo, which is the body and soul of the tune. Here Shipp builds one harmonic bridge after another, knotting them together with blocks of arpeggios that move along the perimeter of the empty intervals and stamps out territory within them. One of the other wonders of this album is Ware's employment of standards, here in the shape of the lovely "Yesterdays" by Jerome Kern and Harry Warren's "There Will Never Be Another You." Again, with Shipp as a foundation point and Parker's willingness to restructure the meter, Ware can take the melody to its highest point and split it like lightning down the middle without losing its vulnerability or tenderness. The title track is a model study in the vein of mid-period Coltrane with McCoy Tyner. A series of chords are placed along a line, an intervallic series sketched and the construction of harmonic and contrapuntal statements begins. Once the seams are reached, the entire universe blows apart in ribbons of sound. There is plenty of magic here, and more mystery (check out the riveting arabesques on the closer "Infi-Rythms #1"), to be discovered by anyone willing to take a chance on one of the most original tenor players in free jazz.

ripped at 256
part1 http://rapidshare.com/files/29060577/floi.zip
part2 http://rapidshare.com/files/29070238/flioi2.rar

ENJOY
BUY DAVID S WARE RECORDS

HENRI TEXIER-STRADA SEXTET,LIVE AT THE GATESHEAD FESTIVAL -2005

boromir said ' I've been away for a couple of weeks so just getting back to my computer. I see from your blog you're having problems with your computer - sorry to hear about that. They're OK when they're working, but a bugger when they go wrong. I've upped the other Henri Texier recording I have

, the Strada sextet live at the Gateshead festival 2005 (that's in the north east of England, near Newcastle).

Live Recording at the Gateshead Festival 2005, personnel is

Henri Texier - bass Francois Corneloup - soprano & baritone saxophone Sebastien Texier - alto sax, clarinets Guergui Karnazov - trombone Manu Codjia - guitar Christophe Marguet - drums Sadly it's only ripped at 128, but the sound quality is very good I think. There was some interest in this concert shown when you posted the trio concert. Link is:

http://rapidshare.com/files/28859194/HT2005.rar.html

yep you cant go wrong with this, for more info on texier go here ,to our previous post

http://inconstantsol.blogspot.com/2007/04/henri-texier-trio-live-in-london2002.html

the above image is from jazzmagazine.com

cheers and thanks 'boromir

BRAM DANTE(fidel brambila senior)sings and plays guitar,featuring the ,uni trio

hi heres an unusual,little slice of history courtesy of bobby N.

BOBBY SAID

-'I would like to contribute something to your site. It's an unfindable 45rpm single from 1968 or 69 "BramDante sings and plays guitar" featuring THE UNI TRIOwith Perry Robinson/clarinet, David Izenzon/bass, andRandy Kaye/drums.

One side is about JFK and the otherabout RFK. The problem is It's a corny record but very 60's NYCand presents the very rare UNI TRIO.''

its hard to imagine ole bram dante ,having had much of a career,he sounds somewhat more like an outsider /streetsinger,this is a self release.

perry robinson comes through loud and clear, though david izenzion ,is almost inaudible.

download it

http://rapidshare.com/files/28320128/bram_dante.zip

cheers

many thaks to bobby for this

bobby plays vibraphone, visit his site its in the links

CARLA BLEY-LIVE IN HAMBURG JAN 28TH 1972

Carla bley- live in hamburg jan 28 th 1972

Hi all,
heres one that’s been around ,for those that don’t have it depending on whether or not you like the deeply ironic brechtian cabaret, references,and sardonic black humour this could be essential.


Tracklist-
1)walking woman/ida lupino
2)nagaswaram/walking woman/water music
3)rawalpindi blues


personnel-
carla bley-vox,pno,organ,composer
karen krog-vox
Michael mantler-trpt,flg h
John tchicai-reeds
Peter warren-db
Pierre favre-drums
Possibly also –irene Schweitzer-pno


Great to hear tchicai, favre and warren, in this context.
visit carla bleys website
http://www.wattxtrawatt.com/


buy carla bleys records

Note, this is an old german broadcast, fidelity is good though at times a bit tinny
Ripped at 320kbs


Part 1) http://rapidshare.com/files/28818915/cbham1.zip

Part 2) http://rapidshare.com/files/28824863/cbham2.zip

Enjoy
cheers