25 July 2011

MISHA MENGELBERG KWARTET "DRIEKUSMAN TOTAL LOSS" (VARAJAZZ, 1964)





Here is another early recording from Misha Mengelberg and Han Bennink.
Joined for three tracks by Gary Peacock, who only five month earlier participated along Sunny Murray in the seminal sessions which produced Albert Ayler's "Spiritual Unity" .




MISHA MENGELBERG KWARTET "DRIEKUSMAN TOTAL LOSS"


Misha Mengelberg, piano
Piet Noordijk, alto saxophone
Gary Peacock, bass (1 - 3)
Rob Langereis, bass (4)
Han Bennink, drums


1. Driekusman Total Loss (M.Mengelberg) 10:08
2. Nature Boy (Eden Ahbez) 10:42
3. If I Had You (T.Shapiro/J.Campbell/R.Connelly) 11:38
4. Remember Herbie (M.Mengelberg) 08:32


Recorded in Hilversum on 4th December (track 1-3)
and 28th June (track 4), 1964.

VARAJAZZ 210 - ...and all that Jazz volume 10

(lp rip)

.

20 comments:

onxidlib said...
This comment has been removed by the author.
Wallofsound said...

Most interesting.

riccardo said...

@ onxi

congratulations, you've just published the post No.1000 on IS :
you have won a nice gadget kinabalu will be happy to send you straight home!
Joking apart, I think that Misha is perfect for this important aim.

p.s.
we still have to do something for A True Jazz Legend.

Daniel Cecil said...

Holy Moly! Gary Peacock too? I'm in heaven.

Anonymous said...

Thx a lot Bil Dixon. These early MMs are really appreciated. Hm, already then MM couldn't play without his fag. Must have leather lips by now
GG

Dr. Puck said...

Congrats on 1000.

Very rare and the real deal too.

Thanks

JD said...

I raise my glass to for this excellent post, onx, and to celebrate along with all the other folks the continuing high quality of your blog. Nice one!!!

SlimStew said...

Thanks for this! Peacock with these cats-what a treat.

Sami Pekkola said...

Thanks!! Really nice and interesting period before wilder years of free jazz. Mr. Peacock's gentle touch is just amazing.

Does anyone know are there any other known treasure's by Mr. Peacock outside Ayler's group from mid sixties?

Anonymous said...

Thanks very much for this! Much appreciated!

Anonymous said...

yes, big thanks, wow, Piet had completely absorbed Dolphy's bag and this already in 64. I had to double check that the first cut really wasn't an Eric track. Great solo.

red cloud

SANDRONE said...

nuovi link

tipregotipregotiprego

misha è il mio PIANISTA PREFERITO

quando lo ritrovo questo discoooooo

(grazie)

:D

SANDRONE said...

lo sto scaricando
spero tanto che tornino anche gli altri
grazie infinite !

onxidlib said...

1f
ZS1
ZS2

-Otto- said...

Thank you, onxidlib, for the re-up!

Bulkang U. Antibop said...

there are some who wonder how Free Jazz spread so fast across the Atlantic, or was it an independent happening...etc...
if i were an epidemiologist, i'd be looking at gary peacock as "patient zero" and wanting a look inside his suitcase for all the infectious materials he must've brought. cough, cough, sniffle. i bet he told these Dutch all the secrets!!
A wonderful session, this is! Great sound, too.

onxidlib said...

A bit background to Gary Peacock...his first known recordings were with Austrian musicians (or Hungarian in the case of Attila Zoller) made in Germany in 1957.
His second EP was with Max Brüel - a quite famous Danish architect who was also a formidable sax-player (especially on baritone) and Zoller also in March '57.
A few days (or very few weeks)later he had a tour with Albert Mangelsdorff, Zoller, Bud Shank and Bob Cooper. This was later issued on Lonehill Jazz.
In May the same year he had at least one concert with Hans Koller, Zoller and Shank - also on Lonehill Jazz.
His first offical recording under the leadership of an American musician (vocalist Gary Crosby) was also in May '57. It was released on Pacific but recorded in Remagen, Germany.
His first known recording in the States happened in Hollywood (March 1958) with Bud Shank > "Holiday in Brazil" a.s.o.
I shall post the rip of the Brüel EP soon....

Bulkang U. Antibop said...

Ahh! So, what you're suggesting is that this "Gerdy Peakoff" is actually...a DOUBLE AGENT!!!
No, that's great information, onxidlib. I'd love to read an autobiography from Mr. Peacock. From Idaho to Europe to California to New York to Japan... Off the radar many times but always working... I seem to remember a darling section in the classic Penguin guide where they assumed Gary had dropped out of music until "Tales of Another," but, lo, there he was steadily putting out in Japan.
Anyway, thanks again, onxidlib.

onxidlib said...

Double agent (double bass;-) - kind of I would say.
See f.e. his stint with Bill Evans which "culminated" in a recording on Dec. 18, 1963 and some months later the trio with Albert Ayler in July 10th, 1964... and more in this vein.
See also this interesting article for 50th anniversary of "Spiritual Unity" here
BTW - more early GP soon

Bulkang U. Antibop said...

Thank you for that article link. It fills out some of what I learned from PaulBley's book "Stopping Time." He really put Peacock on a pedestal and Scott LaFaro in a practice room. Swapping amphetamines for coffee! One can't separate life from music (this music, anyway), that's for sure!
Funny that he happens to quote Misha!
I've long felt that Bley's "Turning Point" from early '64 w/Peacock, Gilmore, Motian stands as a real "missing link" document where everybody, still so engrained in playing in the old ways, is audibly chopping and hacking, slapping and tripping over each other just to get OUT (Gilmore, as ever, gracefully skipping over top). Interesting, too, what Peacock says about having to experience Ayler live to know what he was truly about. I gather he was more personable than his recordings alone might suggest. But, then, I'm also reminded of something MilfordGraves said; that he saw, one night, Albert blow a hole through the wall of a club, just with the power of his sound. So, a further question for the history books... :-)