Reggio Emilia - 13th October, 2007

This is an audience recording of the Cecil Taylor, Anthony Braxton, William Parker and Tony Oxley concert given in Reggio Emilia, Italy, on 31st October, 2007. The sound is good, not great, but the quality of the music comes through very strongly. It reminds me strongly of the London concert in July that I attended, but the quartet's music in particular seems to have evolved further since then - particularly Cecil Taylor's piano, which is much more lyrical, and Braxton's reeds, which are bitingly incisive. All the more strange that this concert ended abruptly.

Cecil Taylor, Anthony Braxton, William Parker, Tony Oxley
Tetro Valli, Reggio Emilia; 13th October, 2007

1. Cecil Taylor & Tony Oxley Duo
2. William Parker Solo
3. Anthony Braxton Solo
4. Cecil Taylor Solo
5. Quartet
6. Quartet

Cecil Taylor (piano, voice)
Anthony Braxton (alto, soprano,sopranino saxes, contrabass clarinet)
William Parker (bass, flute)
Tony Oxley (drums)

Many thanks to the original taper!

pharoah sanders- live shows

a friend treibstoff, from other realms has posted some great sanders concerts elsewhere and gives us permission to share them here.

they are all pretty much mp3's at 320 kbs, and mostly great shows.

i'm particularly fond of the vienna show from 2002, and the 1992 show from frankfurt.

treibstoff says....

"..this is something else.....believe me....
one of his greates concerts!!!
Pharoah Sanders Wiesen '99 at Festival WIESEN (CH) 07/10/99
William Henderson Alex Blake Adam Rudolph
Code:http://sharebee.com/e4ae35bf

http://sharebee.com/2411e7bf

http://sharebee.com/d630ae56

Here we are.......
first of three parts at Oakland '99 including two night over there....
PHAROAH SANDERS w/ William. Henderson - piano Alex Blake - bass Babatunde Lea - percussion Yoran Israel - drums Oakland '99
http://sharebee.com/ba7265dd

http://sharebee.com/c64c1b6d

http://sharebee.com/fd2c44a0

here we are again........
Sanders at Oakland '99 Part II
forgot if this is the first or second show......
but "save our children" (the last tracck) on this night got Pharoah smooth singing the ballad....
PHAROAH SANDERS w/ William. Henderson - piano Alex Blake - bass Babatunde Lea - percussion Yoran Israel - drums Oakland '99

http://sharebee.com/2ae69d90

http://sharebee.com/7b06510c

http://sharebee.com/8d02706e

http://sharebee.com/bbe2e108

and once again........
Sanders at Oakland '99 Part III
forgot if this is the first or second show......
PHAROAH SANDERS w/ William. Henderson - piano Alex Blake - bass Babatunde Lea - percussion Yoran Israel - drums Oakland '99
the last two tracks of that night you got with my first post !!!
http://sharebee.com/68dbf5d0

http://sharebee.com/ed76ddcb

http://sharebee.com/d18d8501

Pharoah Sanders at Chateauvallon 1977
17.08 1977 Chateauvallon Pharoah Sanders reeds, voc Kenneth Moss (Khalid) p Hayes Burnett b Clifford Jarvis dr
Thembi (18.16)
lame mp3 320kbs
I just got this 20 minutes from that show.... If anybody else got the other tracks from that show.......????
http://sharebee.com/9f2ea912

Pharoah Sanders, Calhoun, Bourelly, Garison Fri 11/01/02 - Wien, Austria @ WUK
Pharaoh Sanders - Sax Will Calhoun - Drums, African Percussion, loops Jean-Paul Bourelly - Guitars Matt Garison - Basses
~35 minutes lame / 320kbs
http://sharebee.com/2c3e1108

Pharoah Sanders Quintet
27.06.1999 Warsaw Summer Jazz Days, Sala Kongresowa, Warszawa, Poland
Pharoah Sanders ts, voc William Henderson p Jean Paul Bourelly g Trilok Gurtu perc, dr, voc Alex Blake b
a great concert - and a great version of Óle !!!
lame mp3 320 kbs
http://sharebee.com/794650c2

http://sharebee.com/89fbfdcf

http://sharebee.com/0a92d39c
pass: sanders

Sonny Sharrock/Pharoah Sanders at Frankfurt Jazzfestival November 1st 1992 (Germany)
Sonny Sharrock g Pharoah Sanders ts Charnett Moffett b Pheeroan AkLaff dr
1.Little Rock (Sharrock) 25:41 2.Japan (Sanders) into Upper Egypt & Lower Egypt (Sanders) 20:31
FM recording lame 320 kbs (good sound!)
http://sharebee.com/f029cd54 http://sharebee.com/34c39127
pass: sanders "

many thanks to treibstoff!!!

Istanbul

This is where Braxton starts to get really interesting for me - where a distinct voice emerges as something quite extraordinary. More to come, to be sure, but this a watershed to slake most thirsts.

Sextet at the Akbank Jazz Festival, Istanbul; 14th October, 1995

Anthony Braxton - flute, clarinet, contrabass clarinet, e-flat sopranino and alto saxophones
Roland Dahinden - tenor and alto trombones
Jason Hwang - violin
Ted Reichman - accordion
Joe Fonda - bass
Kevin Norton - drums, vibraphone, glockenspiel, marimba, percussion

Francois Tusques - Free Jazz

Continuing with the Francois Tusques postings and backing up a couple of years, this was recorded on 26 October 1965 at the Comedie de Champs Elysee in Paris and issued on the small Moloudji label the year after. The pic above is clipped from an Ebay auction and the disc ended up above my price range, to say the least. So we're settling for a cd reissue on the In Situ label from 1991 (at a considerably nicer price). I believe the cd is by and large out of print, though I imagine it's possible to pick up copies in France still. This came from Japan, btw.

This was at the birth of French free jazz and involved a number of musicians who were to put their distinct footprint on the scene in years to come. Francois Tusques has been partially documented here already and Michel Portal, Bernard Vitet and Bernard (Beb) Guerin were to play together in Michel Portal Unit in the 70s (we'll get to that in due course) and they were to play hosts and partners to many arriving from the other side of the Atlantic later on.

This is a very mature and cohesive outfit for a first record I find. I've no idea whether they had played toghether before or for how long, but it sounds like they know each other pretty well. The music veers from arranged to improvised passages in a very smooth manner and it's hard to know what is what. There are hardly any extended solo sections on this record, time signatures change rapidly, pieces of melody are picked up, tossed around and disappear again. Instruments intertwine throughout the entire record and everybody is on tiptoe and on the alert to what's going on around them. Decidedly "free", yet retaining melody, structure, rhythm, but never for too long before somebody comes up with another idea. Remarkable, innovatory! This was at the birth of European free jazz, yet of a different kind from that emerging on the west side of the Atlantic. But one can imagine someone like Dolphy fitting into this company (and maybe Joe Harriott, too).

Tracks:

1. Description automatique d'un paysage désolé 1
2. La tour Saint Jacques
3. Description automatique d'un paysage désolé 2
4. Souvenir de l'oiseau 1
5. Souvenir de l'oiseau 2
6. Souvenir de l'oiseau 3

The cd adds tracks 5 and 6 to the original lp version.

Line-up

Bernard Vitet - trumpet
Francois Jeanneau - saxophone and flute
Michel Portal - bass clarinet
Charles Saudrais - percussion
Bernard Guérin - bass
Francois Tusques - piano

Interesting piece of trivia - Colette Magny was artistic director for the initial release on Moloudji.

In coming posts, we shall get to the birth of the German free jazz scene as well (and some Scandinavian excursions), but later for that ...

Disregard the mp3s in the first comment - working mp3s here:

http://rapidshare.com/files/94088781/Francois_Tusques_-_Free_Jazz_mp3_.rar

Charlie Watts Tentet - Live Tokyo 2001

As a contrast to the free jazz postings we've had recently, here's something a little more melodic. Charlie may not be the greatest drummer in the world, but his contribution to British jazz is unquestionable. He's been putting togther big bands, and smaller combos for around 20 years in between his day job with the Stones.

This gig, part of a tour which brought together some of the best of British jazz musicians, reunited Charlie with guys he's almost grown up with. I've no idea of the finances involved in putting a project like this together, but I guess Charlie could pay the entire band out of his own pocket and not notice it.

Interesting to see Evan Parker playing bebop alongside that great veteran altoist Pete King. The performances may not be as polished as an Ellington or a Baisie band, but this band can't be beaten for enthusiasm and excitement. Played in front of a polite Japanese audience who applaud everything, the pleasure that the band have in playing together is obvious. This a very good quality audience recording (taper unknown). The tracks featured on this post are the first set (plus the A train thrown in from a later set). I have the entire concert, but it's much to long to upload in one go. If there's enough interest I'll post the rest another time.

Details:

Charlie Watts & His Tentet
Date : November 3, 2001
Venue: Blue Note TokyoCity : Tokyo, Japan

Charlie Watts - drums
Dave Green - bass
Luis Jardin - percussion
Brian Lemon - piano
Anthony Kerr - vibraphone
Mark Nightingale - trombone
Gerard Presencer - trumpet, flugelhorn
Henry Lowther - trumpet, flugelhorn
Peter King - alto & soprano saxophone
Evan Parker - tenor & soprano saxophone
Julian Arguelles - baritone saxophone

1: Main Stem
2: Anthony's Dice
3: Satisfaction
4: Roll'em Charlie
5: Body and Soul
6: Take The A Train

MP3 and Flac links in comments. My thanks to whoever seeded this at dime

Evan Parker & Greg Goodman "Abracadabra" (1978, Beak Doctor 2) + Evan Parker "Live at the Finger Palace" (1978, Beak Doctor 3) FLAC & MP3-320

The AMG review of "Live at the Finger Palace" by Eugene Chadbourne speaks better than I would do so here it is :
"Figuring out which is the best Evan Parker solo recording is a quest that could either result in a highly enjoyable lifestyle or having commitment papers served. In either case this particular recording might turn out to be crucial, it presents Parker on one of his early trips to the United States playing before a small group of fans whose commitment to his style of improvising underscores the logical connection between "fan" and "fanatic." With Parker arriving on the west coast with a status somewhere between Gandhi and Crusader Rabbit, the atmosphere was ripe for a totally confident and impressive display of his innovative concepts and playing style. This is what exactly what Parker delivers here, in a venue that was basically somebody's livingroom, that somebody being pianist Greg Goodman, who also originally put the performance out on vinyl. At the Finger Palace acquired legendary status as the ultimate Evan Parker performance, and while research continues on that subject suffice to say there is enough evidence to rank the man as the ultimate soprano saxophone soloist."

And the following lines opening the presentation of the record on the Beak Doctor site : "Some say their lives were changed, others say their ears were cleaned beyond recognition; some began practicing their instruments, others gave them up completely." should give those still hesitating to grab this one a good reason to do it.

The other disc, recorded at the same time but in duo with Greg Goodman on "unprepared piano" has Parker playing tenor and the approach is of course very different. For a review from the Bells magazine check this link :
http://bells.free-jazz.net/bells-slleb/greg-goodman-evan-parker/
Goodman is a musician I know pratically nothing about but the Lytton comparison in the review is interesting.

"Live at the Finger Palace" is for me really an incredible recording, standing out amongst the mass of also incredible material issued by Mr. Parker. This is why it is here again on Inconstant Sol, in a fresh rip with quality scans. Flac and MP3 are included but be warned that my vinyl is not is the best shape.
The artwork by Jean de Bosschère used on the two discs also deserves a special note ... please take the time to look at it!

Enjoy,
Pierre

http://thebeakdoctor.com/bd2history.htm
http://thebeakdoctor.com/bd3history.htm

Cecil Taylor - Garden

There was a request for this one a little while ago, so I thought I'd dip into my Cecil Taylor archives to see if I could find it. Sure enough, there it was.

I haven't had a chance to listen through it all carefully, so for an assessment, here is the entry in the All Music guide:

Recorded in 1981, the original double-LP release of Garden provided non-European followers of Cecil Taylor their first glimpse at two very distinct changes. Given that he was using a Bösendorfer grand piano, the sound quality of his recordings improved greatly; it was finally possible to hear the fickle sonances and subtle timbres his lightning clusters produced. Secondly, his deeply percussive style was opening to other influences. The first volume opened — as do all of his solo performances now — with vocal extemporization and poetry, and on into the slowly evolving gradually revealing performance itself. On the second disc there is nothing but meat. Taylor is in full heat, flailing, banging, slashing out chords and high register trills with studied abandon and a careful attention to detail. Here is where Taylor shows his secret persona: the dancer. Rooted in blues and barrelhouse in some spots and in gagaku and kabuki theater in others, while in still others the classical ballet, Taylor's playing style opens itself to embrace all of the above and spit them back out as part of his own musical iconography. Because whether it's the Jelly Roll Morton blues stomp in the secret heart of "Stepping on Stars," traversed by Merce Cunningham's defiance of gravity or Min Tanaka's influenced movement of rearranging space and time, or in the Ellingtonin transmuted swing of "Driver Says," where Baryshnikov's movements through Balanchine (literally) informs the stride work along the middle register, it's all clearly part of Taylor's idiomatic manner of creating language from the air. And that language — if you've ever seen him play — includes physical movement. That he can translate it so effortlessly here — as its freshness and newness envelope him — is a profound change, if not in direction (since his restlessness is legendary), then in approach. This is a new music by Cecil Taylor, one that invites listeners in and gives them room to move around. This mature phase of Taylor's music is still blooming almost 20 years later, and continues to influence, inspire, and provoke. Garden Pt. 1 and Pt. 2 is the post-'70s Cecil solo date to have.

Both the album and cd appear to be out of print as far as I can see.

Bill Laswell, Derek Bailey, Jack DeJohnette, DJ Disk - Live Frankfurt 1998

I'm one of the few around here who does not appreciate Derek Bailey's fine qualities, so I'm not the ideal person to present this. Perhaps some afficionado can add some more qualified opinion after listening. I was intrigued by his cohorts on this recording when I came across it. Jack DeJohnette is one of my all-time favourite drummers, but I've never heard him playing the sort of music you'd normally expect Bailey to play. Bill Laswell I only know from his projects with John Zorn, but if you look at his career, he's played in countless rock and fusion bands. I won't comment on Mr Disk !

I must admit I haven't heard this in it's entireity, but from bits that I've listened to, Bailey almosts seems to play in time with the rhythm section a la John McLaughlin, but then there are other parts where he seems to ignore them.

I'm posting this in flac. Could somebody please do the honours and upload an mp3 version.

Concert details:
Transmutation 1998-6-7


Bill Laswell - bass
Derek Bailey - guitar
Jack DeJohnette - drums
DJ Disk - turntable

June 7, 1998
Frankfurt, Germany

Lineage is unknown, but possible a soundboard recording. Thanks to malleable for seeding.

David S Ware Quartet

Here is another recording from Radio 3 - it's a strong studio session by the David S Ware Quartet recorded in New York on March 31st 1999
.


David S Ware - tenor saxophone

Matthew Shipp - piano

William Parker - bass

Guillermo E Brown - drums



1. Sentient Compassion
2. Autumn Leaves
3. Yesterdays
4. Gospelized

B-Xo/ N-O-1-47A

We went to Paris because it made no sense to stay in Chicago after 1969. We were dying. And I had been reading about Europe for years. I thought there was a possibility people would be more interested in the music. I went on ahead of Leo and Leroy. I took a plane to Paris; I had a one-way ticket and fifty dollars in my pocket.

- from Graham Lock: Forces In Motion: The Music and Thoughts of Anthony Braxton

'Given that the methods used in contemporary art have changed (to say the least) I want to discuss the empirical aspects of that which we have realised, hopefully, that one who understands us will help a part of society that has normally (in contempt) moved up to reject its hatred towards our music. Since Ornette Coleman, the actual music, by the experience of 'jazz', broke the western chains (by extension) which had victimized it and we can now perceive the appearance of a new art that has a lot of promise.'


The snippet from Graham Lock's book, and the excerpt from the liner notes clearly show part of Braxton's motivation to be in Paris at this time. Equally, Braxton's composition 6G, or B-Xo/ N-O-1-47A, with performers being given balloons to do with as they see fit, shows a response to some of the ideas that had come from John Cage. Braxton's notes above are careful to put this in the context of what he sees as a much deeper musical tradition, although I think this is optimistic on his part - it would probably be truer to say that he was trying to understand what this approach could offer him and equally he was being scrutinised for what he might bring. There is an element of self-consciousness in this piece, and others from this period, which changes its character later (e.g. in some of the duos with Derek Bailey), and eventually disappears.

This was recorded on 10th September, 1969 for BYG Actuel, at the Saravah Studios in Paris.
Leo Smith (trumpet, flugelhorn, logs, siren etc.)
Anthony Braxton (alto sax, soprano sax, clarinet, contrabass clarinet, flute, sound machine, chimes etc.)
Leroy Jenkins (violin, viola, flute. mouth organ, hohner organ, harmonica, etc.)
Steve McCall (drums, darbouka, percussion, etc.)

1. The Light on the Dalta (Leo Smith)
2. Simple Like (Leroy Jenkins)
3. B-Xo/ N-O-1-47A (Anthony Braxton)

Harry Miller's Isipingo live at the 100 Club 20 December 1976

Isipingo was one of the many bands evolving out of the South-African expat scene in the UK in the 70s. Led by bassist Harry Miller, it existed in an on and off stage through most of the 70s. Isipingo only made one record during its lifetime, "Family Affair" released on the Ogun label in 1977. Fortunately, a concert in Bremen in 1975 was recorded by Radio Bremen and the Cuneiform label put out a cd of these tapes in 2006. This is to my knowledge the third recording of the band (and let's hope there's more out there).

This is a pretty rough audience recording from the 100 Club in London, but even if the sound leaves something to be desired, the music dosn't. What's here is a very lively one hour at the club, accompanied by chatter and the occasional tinkling of glasses. Three long pieces, basically, the last unfortunately cut off after eight minutes or so.

I've yet to figure out the title(s) of the first half-hour piece. It's a medley of sorts, starting off with what sounds like Clifford Thornton's work with the Jazz Composers Orchestra on "Gardens of Harlem" and then segues into (at about the 14-minute mark) a tune very much in the township style of the Blue Notes and other SA spin-offs. The second piece is "Eli's Song" which can be found on both of the official Isipingo records and the last (truncated) piece is "Family Affair", again on both of the records.

Tracks:

1. Medley - unknown/to be determined

2. Eli's Song

3. Family Affair

The line-up for this gig is:

Harry Miller - bass

Mike Osborne - alto sax

Malcolm Griffiths - trombone

Mark Charig - trumpet

Keith Tippett - piano

Louis Moholo - drums

By this time, Malcolm Griffiths had replaced Nick Evans on trombone and Mark Charig the deceased Mongezi Feza.

This is a fairly tight outfit and not as raucous and anarchic as the Brotherhood of Breath could be in full flight. While the South African influence is there, this band also has the full breadth and depth of the mainstream jazz tradition well down. Disciplined, yet free and explosive. Miller and Dyani as well has that particular rooted bass sound, "he plays that sort of bass that is felt in the pulses, throat, temples, wrists, he plays you (Brian Case from the liner notes to "Family Affair"). Rooted, yet high-flying.

Thanks to "Bernard" for seeding this one at Dime. It was posted as a tribute to Mike Osborne. And so it is, too.

Jimmy Giuffre Trio (with Paul Bley, Steve Swallow) - Live Austria 1961 (Radio broadcast)

Giuffre's first trio comprised himself, guitarist Jim Hall and a number of different bass players. The bass was subsequently replaced by valve trombonist Bob Brookmeyer.

The second trio, of which this recording is an example, was formed in 1961. It has often been described as chamber jazz. Listening to it you can easily imagine that Anthony Braxton might have taken some inspiration from Giuffre's playing. Commercially, they weren't successful. They recorded the excellent album "Free Fall", but disbanded in 1963 after, it is said, that they made only 35 cents each from one gig. They were playing stuff that was year's ahead of what the US audience would listening to. Perhaps if they'd upped sticks and moved to Europe they may have been part of the free jazz scene that developed there in the 60s.

I guess that they each went there separate ways, Guiffre largely to teaching and writing music. The trio reformed briefly in the 1990s and did a European tour, but Parkinson's disease forced Giuffre into retirement.

Jimmy Giuffre/Steve Swallow/Paul Bley
Live at Großer Saal der Arbeiterkammer, Graz/A, October 27,1961

Lineup:
Jimmy Giuffre -cl
Paul Bley -p
Steve Swallow -b

Tracks:
01 ICTUS 3.13
02 RIEF HESITATION 4.56
03 THE GAMUT 5.39
04 STRETCHING OUT 12.33 [aka Suite for Germany]
05 TRANCE 7.28
06 CRY, WANT 10.34
07 CARLA 7.24
08 WHIRRRR 5.47
09 TEMPORARILY 5.41
10 SCOOTIN' ABOUT 7.19
11 THAT'S TRUE, THAT'S TRUE 8.08

Flac and MP3 links in comments. Sound quality is reasonable for a nigh on fifty year old recording. My thanks to seeder.

Colette Magny "Feu et rythme" & "Répression" (1970, Le Chant du Monde LDX 74444 & 1972, Le Chant du Monde LDX 74476) MP3-256

Two more records from the 1970's French underground, a little different from what is usually seen here. Reading the last Wallofsound post inspired me to try writing something a little longer than I would usually do but I'm experiencing difficulties ! So probably later, in the comments.

No .flac rip this time as my vinyls were not in the best shape and while out of print, the music has been reissued on cd so it don't make much sense to try getting the best of amateur transfers. High quality - time consuming! - cover scans in the .zip files.

My recommendation would be to listen to "Feu et rythme" first, as it is my favourite of the two.

Enjoy,
Pierre

David Murray (Solo) Sur-Real Saxophone (flac and lame)

HORO HZ09
HORO Records, Via Asiago 2, 000195 Rome

David Murray tenor saxophone

Invocation To Past Souls (David Murray) 1:58 [actually 1:36]
The Cats (David Murray) 8:09 [actually 8:27]
Plastic/Drastic (David Murray) 6:04 [actually 8:48]
Noteworthy Lady (Stanley Crouch) 6:42 [actually 6:48]

Low Class Conspiracy (David Murray) 11:01 [actually 11:20]
After All This (David Murray) 7:21 [actually 7:36].　

Recorded live at the Theatre Mouffetard, Paris on 6th February 1978

Recorded by Jef Gilson
Produced by Aldo Sinesio

This is one of three LPs which were created out of Murray solo performances in Paris in early 1978. This is the point in Murray’s career that his reputation in the New York jazz lofts was extended to the European concert and festival circuit, and then to recordings available in Europe. The concert was recorded by Jef Gilson and part of it was released by him on his Palm record label as Organic Saxophone. This segment was most likely sold to the Italian HORO label. Certainly the remaining third was sold to British record company owner John Jack, and released as Conceptual Saxophone on Jack’s Cadillac label (see my interview with Jack at wallofsound.wordpress). Interestingly, for students of record company economics for this release the Italian publishing rights of all the compositions bar ‘Low Class Conspiracy’ were also ascribed to FLY records.

I’ve included the timings listed on the LP sleeve, although in some cases they have no relationship to the actual length of the tracks, and I’ve added my reckoning of the timings.

‘The Cats’ is a suitably titled dedication to Ellington saxophonists Carney, Hodges and Gonsalves. The title reveals Murray’s interest in the history of jazz saxophone playing (he originally came to New York from California in 1975 to research a college assignment on the subject) and the playing an interesting exploration of the saxophone as a musical machine and the styles of playing it. Low Class Conspiracy was a popular term in the early Murray titling vocabulary he used it to name an LP and a track in 1976, and he again played the latter on the 1977 Peace Church live recording and here. In 1977 he also took it for the name of his then current band featuring future notables Lawrence "Butch" Morris, Don Pullen and Fred Hopkins, as well as Stanley Crouch on drums. I love 'Plastic / Drastic' which reveals something of Murray’s love of music’s theatrics. It’s nearly three minutes longer than the cover detail suggests, and features Murray alternating between vocal poetic declarations, frantic explorations of the extremes of the tenor, and swinging echoes of the saxophones ability to tell a story. The audience lap it up. Murray was no stuffed shirt avant-ist.

His debt to Crouch is signalled at another level by the inclusion of one of the drummer-cum-journalist’s themes 'Noteworthy Lady'. ‘After All This’ was possibly a staple of Murray’s work at this time as it is reprised from the 1976 recordings of Flowers For Albert (India Navigation 1026). The short ‘Invocation’ that starts the record feels like a mainly improvised piece, and this is supported by the fact that (unlike most of his pieces from this time) it does not appeared on another Murray recording.

William Parker Quartet, with Hamid Drake

This is a recording of the William Parker Quartet, at the Festival Jazz Onze +, on 27th October, 2006. I particularly like the latter stages of this concert, and feel that they are just beginning to get in their stride - it would have been good to have heard another 30 minutes.

William Parker (b)
Lewis Barnes (tp)
Rob Brown (as)  


Hamid Drake (dm)

Little Bird (William Parker)
Wood Song Flute (William Parker)
Malachi's Mode (William Parker)
Hopi Spirits - Higgins (William Parker)

(recorded from RSR Espace 2)

Francois Tusques - Le Nouveau Jazz (flac)

An upgrade of this was requested by jazz-nekko. If an mp3 version is required, I'm sure someone will oblige through the comments.

Links
http://rapidshare.com/files/90133589/NouveauJazz_flac.part1.rar

http://rapidshare.com/files/90147786/NouveauJazz_flac.part2.rar

ALEXANDER VON SCHLIPPENBACH QUINTET "FRANKFURT, 1972"

Heres one of many ,great german radio broadcasts documenting the European free jazz scene between 1966-74.
Which have appeared on dime lately.
This ones particularly enjoyable, an invaluable document of a stunning group at the peak of a creative era.
I love everything ive ever heard of schlippenbach.
The sound is very good for an fm broadcast of this vintage.
Many thanks to the person/persons seeding these and the original taper.Thanks also to boromir,and glmlr for finding this.


Alexander von Schlippenbach, piano
Evan Parker, tenor & soprano saxophone
Günter Christmann, trombone
Buschi Niebergall, bass
Paul Lovens, percussion


1. Announcement
2. Village
3. Deals
4. Tales Of Waste

Toral Time 36:20 (one track!)

Recorded during the 13th German Jazz Festival, Frankfurt on March 26, 1972.

Xenakis - Architect in Sound

I'm hoping that people coming to this blog who are interested in free music may also be interested in Xenakis - a freedom fighter exiled from his homeland, his musical language is unique; at once raw, austere and ashen, and at the same time complex, lyrical and honeyed. He found a similar inspiration and awakening in Paris as African-American musicians did almost 15 years later

A weekend festival, 'Xenakis, Architect of Sound' was held in October 2005 in London, and all of the concerts, bar one, were subsequently broadcast by Radio 3 in four programmes, details of which (and links) are available in the comments.

The programme included a wide range of Xenakis' compositions, ranging from piano (Hermas and Evryali), to the amazing pieces for string quartet (Tetras and Tetora), piano quintet (Akea), trios and duos (Ikhoor and Dikhthas), to orchestral pieces such as Shaar, and Eonta, an extraordinary piece for brass and piano. There are also pieces by Varese, Stravinsky, Morton Feldman and Messiaen. Some of the performances are very good - especially the Arditti Quartet, and Nicolas Hodges in Eonta. The broadcasts didn't follow the order of the concerts, but have some interesting commentary so I've left them as is. Here also are some links to reviews of the concerts;

http://tinyurl.com/2kqr2u
http://tinyurl.com/2vw6em

FRANK WRIGHT QUARTET "LIVE IN NEW YORK CITY SUMMER 1973"

a very well recorded frank wright broadcast from 1973.

This features silva, few and Harold e smith , who must have been a fill in for muhammed ali.
I only know smith through his association with joe mcphee’s cjr output.

This concert truly is incredible, divided into two lenghthy improvised tracks.
Its certainly as fine as anything officially released by wright silva and few.

Many thanks to the original taper/traders/seeders/boromir and glmlr

Enjoy


REVEREND FRANK WRIGHT QUARTET

live aud recording total 83 min
New York Musicians Festival, summer 1973

frank wright......tenor sax, voice
bobby few.........piano, voice
alan silva........bass, voice
harold e. smith...drums, voice

track 1 - improvisation part one 40:37
track 2 - improvisation part two 42:30

Masayuki Takayanagi & Kaoru Abe "Mass Projection" & "Gradually Projection" (1970, DIW-424/425) FLAC

Here are two of Abe's earliest recordings, dating from 1970. Takayanagi plays electric guitar and Abe alto sax, a Japanese flute called shakuhachi (used here with a reed) and on the second disc bass clarinet and harmonica (!) are added. Note that in order to recreate the original schedule of the concert, the Gradually Projection disc should be played between the two pieces of the Mass Projection disc.
Anyway, I'd recommend to listen first to Gradually Projection as it is the less agressive of the two (with particularly beautiful bass clarinet work) ... Mass Projection can be filed under the "very hardcore" etiquette so be prepared. Take a look at this screenshot of the disc's two tracks opened in Sound Forge which should give you a good idea [http://i29.tinypic.com/i6au02.jpg]. Hehe.

To conclude, here's a link to informative reviews of Abe records written in the Opprobrium magazine, with a piece on Mass Projection [http://tinyurl.com/2omz36] and a link to a discography [http://tinyurl.com/3xvubx].

Enjoy,
Pierre

PS : I am looking for the "Live at Gaya" box set, so please get in touch if you can help !

Globe Unity Orchestra- compositions (1979- japo lp 60027) flac and lame

Heres an old favourite, brought to us by glmlr… a pristine rip of one of the GUO’S Great albums.
the version of lacy’s worms dedicated to ezra pound is extraordinarily vivid and definitive.
Comparatively speaking this is one of the best recorded ,most structured and less turbulent efforts.
That may make it uncharacteristic, but for me no less essential.
I owned this until it was lost to me in 1997, being a favourite I’d missed this a lot .. ..so thanks glmlr for stepping in.



GLOBE UNITY ORCH- ‘COMPOSITIONS’ JAPO LP60027
Tracklisting:
A1 Nodagoo (6:59)
A2 Boa (5:43)
A3 Trom-Bone-It (5:03)
A4 Flat Fleet (7:48)
B1 Reflections (8:46)
B2 Worms (dedicated to Ezra Pound) (10:25)
B3 The Forge (5:22)

Bass - Buschi Niebergall
Bass Clarinet - Michel Pilz
Drums, Percussion, Etc. - Paul Lovens
Piano - Alexander von Schlippenbach
Producer - Steve Lake (2) , Thomas Stöwsand
Soprano Saxophone, Piano - Steve Lacy
Tenor Saxophone, Soprano Saxophone - Evan Parker
Tenor Saxophone, Soprano Saxophone, Flute - Gerd Dudek
Trombone - Albert Mangelsdorff , Günter Christmann
Trombone, Euphonium - Paul Rutherford (2)
Trumpet - Enrico Rava
Trumpet, Flugelhorn - Kenny Wheeler , Manfred Schoof
Tuba - Bob Stewart
Notes: Recorded January 1979 at Tonstudio Bauer, Ludwigsburg

LINKS IN COMMENTS

ps/

thanks to sambec for the recently added covers.

note half the old japo catalogue was briefly available to japanese collectors , for about 6 minutes!!

SUNNY MURRAY- Self Titled (SHANDAR, 1968)

pierre , brings us the little known selftitled sunny murray lp on shandar.
Sunny MurrayShandar 10.008 F rec Paris, Studio 104 de la Maison de la Radio O.R.T.F. 12/8/68

Ambrose Jackson-tp Sunny Murray-d Michel Portal-bcl,taragot Beb Guerin-b Francois Tusques-p Hart Leroy Bibbs-poem Bernard Vitet-tp Ken Terroade-ts
many thanks for sharing this and intercommunications .
see comments for links

Joe Harriott - Amancio d'Silva Quartet - Hum Dono

Continuing with the Harriott postings, and moving up to 1969, this was a collaboration of Joe Harriott with the Goa, India - born Amancio d'Silva. This came after the recordings with John Mayer wherein Harriott would move into "world music", long before that phrase was coined and develop his own brand of East-West fusion, using Western as well as Eastern instruments.

Here the fusion continues in perhaps a slightly more subtle fashion. D'Silva draws upon the jazz guitar tradition of Django Reinhardt, Charlie Christian and Wes Montgomery, but sneaks in aspects of the Indian vocal tradition on the title track and Norma Winstone's vocals on the opening slide effortlessly from Indian popular song styles to snatches of "My Favourite Things".

On the opening, there are Latin rhythmic inflections, on "Ballad for Goa" shades of Portuguese fado and on the closing track, what to these ears sound like a precursor of the fusion music that was to become immensely popular in the 1970s.

This is an exquisite, beautiful record. It's all very tastefully done and it swings like hell in passages. This is Harriott in yet another setting and yet again pointing ahead to what was to come. You will dig it (or else ...)

Tracks:

1. Stephano's Dance (D'Silva)
2. Spring Low, Sweet Harriott (Spring, Harriott)
3. Ballad for Goa (D'Silva)
4. N.N.N.T. (D'Silva)
5. Hum-Dono (D'Silva)
6. Jaipur (D'Silva)

Line-up:

Joe Harriott - alto sax
Amancio D'Silva - guitar
Dave Green - bass
Bryan Spring - drums
Norma Winstone - vocals on 1,3,6
Ian Carr - flugelhorn on 1,6

Originally released on EMI Landsdowne in 1969 and never reissued since then.

Thanks to good pals in the US/Canada for this hidden treasure.

Archie Shepp Trio, with Woody Shaw - Live Hamburg 1977

Archie Shepp was one of the first jazz artists I listened to when I became interested nearly 40 years ago. He still remains one of my favourites, though some of his more recent recordings upon which he seems to do just about anything but play the saxophone are not to my taste.

This recording finds Shepp in prime form, along with probably the best rhythm section he ever worked with, and alongside one of the great trumpeters of the day.

Scores of artists have recorded "In A Sentimental Mood", but to my mind, none better the Shepp. It seems to be a favourite tune of his as he's included it on several recordings (or perhaps his fans demanded it). Anyway, there's a great version of it here.

Details:

Archie Shepp Trio +Special Guest: Woody Shaw
1976-May-21
Hamburg, Germany
Fabrik, 2. Jazzfestival 1977

Woody Shaw,tp
Archie Shepp,ts
Cameron Brown,b
Beaver Harris,dr

This is an audience recording I think, though the quality's very good for the day. Shepp seems to fade a little at times as he moves around the stage whilst playing.

Links in comments. Thanks to seeder for upload. Sorry I don't have a flac version.