BRÖTZMANN / BENNINK "ATSUGI CONCERT" (GUA BUNGUE, 1980)

Pierre has very kindly donated this great post. I'm sure there will be much interest in this around here. Many thanks to him.

SOS (Surman, Osborne, Skidmore) - FM Broadcast 1975

This British saxophone trio was highly-acclaimed, but quite short-lived. It was formed by arguably the three greatest UK reedsmen of the time. They'd all played together for several years in different formats like Mike Gibbs band and John Surman's own big band.

The image above is the cover from their only commercial release, which was reissued on CD a couple of years ago by Ogun records and is still available direct from them.

The music is a curious blend of free improvisation, reels and jigs and post bebop. It makes use of Surman's pre-recorded synthesizer loops, which I'm not keen on, but which was probably quite revolutionary in jazz in those days. Certainly Surman went on to use these techniques in solo recordings on the ECM label. For me, though, the highlights of their music is the alto playing of Mike Osborne, who's career was tragically greatly shortened by mental illness, up to his death last year.

This recording is comprised of two radio broadcasts transmitted by the BBC in 1975.

Details
SOS BBC Sessions
Jazz in Britain
Broadcast 29-1-1975

John Surman bs, ss, bcl, synthesizer, e-piano
Mike Osborne as
Alan Skidmore ts, ss, ,dr

1. Announcer 1.17
2. Looking for the Next One 14.28
3. announcer 0.52
4. Rashied 9.00
5. announcer 0.50
6. News 3.04
7. announcer 0.28

Jazz Club
Broadcast 14.9.1975

as above, plus Tony Levin dr

8. Country Dance7.49
9. announcer 0.54
10. QE Hall 14.23
11. announcer 0.18
12. The Irish 4.49

Link in comments.

STEVE LACY "WORDLESS" (FUTURA, 1971)

In 1971 steve lacy was hitting a real peak of sorts incorporating , what was happening musically in the the jazz laboratory that paris happened to be for those half a dozen years from 67-73. .
Lacy describes the fertility of the era and location( in his notes to the 3 disc set ‘dreams scratching the seventies’ on the savarrah lable, with amazement).

Braxton and members of the art ensemble of Chicago lived near by ( lacy reffers to them as the best free improvisors of the day), and lacy was also performing with experimental rock musicians, and electronic composers/ fluxus members such as alvin lucier and Fredrick rzweski who were both along with lacy rotating members of the pioneering electro acoustic improvising ensemble MEV.

All this seems to have informed the bold synthesis of total free improvisation and his distinctive monk influenced , deceptively simple compositional style.

That synthesis was only beginning to take shape by 1971.
This is album is fairly unique in being one of the few lacy albums one might consider ‘free jazz’ a very tough listen .. this is edge of the precipice stuff, lacy spins out of his classic tunes some of the most sonically aggressive improvisations of his career.

This one features the expat African American Ambrose Jackson , a mysterious presence (on trumpet) who appeared exclusively on a few albums recorded in paris, then disappeared again (from recording at least).
It would be interesting to know what happened to him, although he is a bit of a bystander on this album, he had a fulsome tone that showed promise and a degree of originality.


I think this is a fantastic album which deserves consideration for a full remastered reissue.
I’d certainly buy it.
Could be though that the master tape is lost or damaged gerard terrones who runs the marge/futura label has not seen fit to re release it.
Indeed this was my 1st ever upload in the comments of the ch#9 blog almost a year ago now!!

1/ Existence (Lacy) 5:55
2/ The Way (Lacy) 3:35
3/ Bone (Lacy) 7:30
4/ Name (Lacy) 8:30
5/ The Breath (Lacy) 9:00
6/ Prologue A Life On Its Way (Lacy) 5:30

Recorded Au Theatre de l'Epee de Bois, Paris on January 4, 1971
Produced by Gerard Terrones

Steve Lacy: soprano; Ambrose Jackson: trumpet; Irene Aebi: cello; Kent
Carter: bass; Jerome Cooper: drums.

1971 - Futura (France), GER 22 (LP)
???? - Musica Records (France), MUS 2006 (LP)
(this post from the OOP CD)

thanks to Dale for the original futura cover!!

Nels Cline/Jeff Parker/Nate McBride/Frank Rosaly - turning point, live at the empty bottle chicago dec 2005-lame 320

our friend brent, brings us a reupload of a great concert, featuring a performance of the entirety of paul bley's great improvart album "turning point".

brent had originally uploaded this elsewhere at 160kbs, i think he was at this concert , or one by this group elsewhere although he did not record it.


if this is an aud it certainly sounds great!

brent says.... "The link will lead you to a 320 kbps rip of the Nels Cline/Jeff Parker/Nate McBride/Frank Rosaly rendition of Paul Bley's *Turning Point,* performed at Chicago's Empty Bottle in December of 2005. (The accompanying photo, courtesy Michelle Harris & Pitchfork, is from a performance of the same pieces the following summer in Chicago's Union Park.) So far as I know this is the only recording of Cline & Parker playing together. I spoke to Parker a month ago about this session and he said that unfortunately there were no plans for the group to do a studio recording. Given the quality of Cline's other tribute records (*Interstellar Space*, *New Monastery*), it's a real shame they weren't able to put anything together.
recorded live at the empty bottle dec 2005
tracklist
1) Calls -2) Turning point -3) King Korn-4) Ictus04 - 5) Mr. Joy05 -6) Kid Dynamite06 - 7) Ida Lupino

nels cline- e,g
jeff parker-e g
nate mcbride- db, frank rosaly- drums

thanks brent

http://www.megaupload.com/?d=DW4E30XV


visit nels clines home page
http://www.nelscline.com/

jeff parkers myspace site
http://www.myspace.com/peffjarker

more live jan garbarek 1969-71

our friend 'intempestif', brings us a couple more great concerts by jan garbarek's classic early 70's quartet.

this is the group that recorded the ecm classics, sart and afric pepperbird.
great stuff THANKS...intempestif!!!





here they are in chronological order

Jan Garbarek Quartet
Studentby Sogn, NorwayJuly 8, 1969

Jan Garbarek (ts, cl, bss, fl, p)Terje Rypdal (g)Arild Anderson (b)Jon Christensen (d)
Track 1:Karin's Mode (J.Garbarek)Daydream (B. Strayhorn)
Track 2:Upper Egypt and Lower Egypt (P.Sanders)Capricorn Rising (P.Sanders)
Track 3:SmŒtt (J.Garbarek)SAS 644 (J.Garbarek)

jan Garbarek Quartet
Stadt TheaterBremerhaven, GermanySeptember 26, 1971
Jan Garbarek (ts, bss, fl)Terje Rypdal (g)Arild Anderson (b)Jon Christensen (d)
Track 1 [31:08]Song Of Space (J.Garbarek)..............12:02Afric Pepperbird (J.Garbarek)...........11:58Fountain Of Tears (J.Garbarek)...........7:08
Track 2 [23:57]Vips (J.Garbarek).......................11:47Rainbow (T.Rypdal).......................3:39At Det Var (J.Garbarek)..................8:31

these are wonderful and give us a rare glimpse of this group, playing other peoples tunes- the pharoah sanders medley is definately worth hearing!

intempestif said... 'Here are the links:
Jan Garbarek Quartet - Bremerhaven 1971http://www.divshare.com/download/3584964-5b2
Jan Garbarek Quartet - Sogn 1969http://www.divshare.com/download/3584963-858 '

Garbarek at Moers 1973

Following Boromir's fine posting of Garbarek from Bremen in 1974, I thought I'd back up one year and put up this concert from 1973 at Moers.

This was the line-up featured on the "Triptykon" album on ECM. Arild Andersen was the bassist in the original quartet (with Terje Rypdal and Jon Christensen), but on the album and on this concert, Edward Vesala features on drums. Vesala went on to record a series of albums under his name for ECM and the "Nan Madol" and "Satu" are specially recommended. In the eighties he formed his Sound and Fury band which provided a spring board for budding guitarist Raoul Björkenheim. Vesala has collaborated for many years with veteran saxophonist Juhani Aaltonen. Andersen went on to record many albums under his own name for ECM, including with the Mesqualero group. Andersen is still active; Vesala died in the late 90s.

What's here is a long medley, basically, of about 45 minutes, followed by two encores, one of which is a take on Bob Dylan's "My Back Pages". I really enjoy this set; long, flowing, loose, featuring some of Garbarek's most "freeish" playing, but the two others add considerably to the ambience as Garbarek is never one to insist on grabbing the spotlight all the time. The trio format also allows for more space for each player.

I always thought this trio was woefully under-recorded, so quite happy to grab this concert on Dime. Originally seeded by rudolff and re-seeded by jaype who added the artwork seen above. Thanks to both for their generosity (and good taste).


Players:

Jan Garbarek (ss, ts, bss, fl)
Arild Andersen (b)
Edward Vesala (d)


Tracks:

01. Rim (Garbarek - Andersen - Vesala) 17:36
A.I.R. (C. Bley) 16:48
Selje (Garbarek - Andersen - Vesala) 5:00
J.E.V. (Garbarek - Andersen - Vesala) 5:44
Bruremarsj (Norwegian Folk Song) 3:45

02. Encore 1 (My Back Pages)

03. Encore 2 (Unknown Title)

Chico Freeman Quintet - Live Amsterdam 1982

This recording is of uncertain lineage, I suspect it's a very good audience recording.

For those people not familiar with Freeman's work, he is the son of Von Freeman, 1940's bebopper. Chico's style embraces all forms of jazz from mainstream to free. He has played with just about every big name in the business, from Dizzie Gillespie to Lester Bowie, and led his own bands for the past 25 years or so. Interestingly, I saw that he did a performance at the 2006 Brecon Jazz Festival in a sextet led by British altoist Pete King, and included Alan Skidmore, in
an Elvin Jones tribute concert (that would have been worth seeing !). For non-Brits, the Brecon festival takes place each October in one of the most beautiful parts of Wales, and is one of the key events on the British jazz calendar. I suspect participants turn the gig into a bit of a holiday.

On this outing, he is accompanied by a trumpeter, Wallace Roney who featured in Tony Williams's band during the 1980s and has since led a number of his own bands. Jay Hoggard is a name I didn't know, but likewise has recorded with lots of other people, including a duo with Anthony Braxton.

This posting consists of just over half of the total concert. As this on it's own is over an hours playtime, I thought it sufficient to digest at once. I have the remainder of the concert, which I will upload at a later date if there is enough interest.

Details:
Chico Freeman Quintet
Amsterdam
Meerwaart 1982.11.14

Chico Freeman ts,ss, fl
Jay Hoggard vibes
Wallace Roney tp
Cecil McBee b
Ronnie Burrage dr

1) 19:20 Each One, Teach One (Ch. Freeman)
2) 25:15 Wilpan´s Walk (C. McBee)
3) 22:45 My One And Only Love

VBR link in comments. I have a flac version which I will post if there is interest.

Jan Garbarek and Bobo Stenson Trio - Live Bremen 1974 (FM broadcast)

Personally, I'm not a fan of Garbarek's later ECM work, where he seems to have jumped all sorts on band wagons (and made himself very successful). I did like the stuff he did in the 70s with Keith Jarrett. This recording comes from the same era.
Details:

Jan Garbarek.....ts
Bobo Stenson.....p
Palle Danielsson.....b
Jon Christensen.....dr
0) (intro RB) 1:33
1) Desireless (Don Cherry) 30:28
2a+2b) Nr.8 (Jan Garbarek) 14:36 + 2:35 (aud.cass.flip)
3) Witchi-Tai-To (Jim Pepper) 26:50
4) Passion Dance (McCoy Tyner) 10:55
5) (extro RB) 0:25
total: 87:27

location: lila eule, bremen
rec. date: 1974-04-09
source: radio broadcast RB
broadcast date: 1995-08-27

Good though Garbarek is on this recording, the stars of the show for me are the members of the rhythm section. Desireless gives more than a nod towards Coltrane. Initially I thought that Stenson was merely doing a Tyler soundalike routine, but he develops the piece into much more (though at over 30 mins, the track is a little long, Danielsson must have had the stamina of an olympic athlete to sustain the relentless pace).

Links (flac and high quality VBR) in comments. Thanks go to owombat for seeding, and to unknown taper.

JUST A WORD ABOUT ETTIQUETTE.
The majority of you are not observing the basic rules of polite behaviour. Did your parents not teach you that it is ill-mannered to take without so much as a word of thanks? My last posting was downloaded by nearly 100 people. Only 3 of you had the courtesy to leave a comment. I know sometimes it's easy to forget to leave a note once in a while, but my guess is that many of you never leave a comment. Frankly I'm not willing to carry on posting material to be met with dumb silence.

David Murray Quartet Last of The Hipman (flac and lame)

Red Records VPA129

David Murray Tenor Saxophone
Lawrence ‘Butch’ Morris Trumpet
Johnny Dyani (spelt Dyiani on record sleeve) Bass
George Brown Drums, percussion

Monk’s Notice (James Newton) (21, 41)
Patricia (David Murray) (13, 17)
Last Of The Hipmen (David Murray) (10, 34)

Recorded in concert in Rouen on January 30th 1978

Produced by Alberto Alberti and Sergio Veschi

Mixed at Studio 67 Bologna March 1978

This is another very early recording from Murray, this time with a full quartet. It’s one of a number released on European labels, and recorded in France or Italy during 1978. Five LPs were produced out of two concerts: one on the 30th January at Rouen University, and one over two nights on 6th and 7th February at the Theatre Mouffetard, Paris. There’s some evidence that Murray’s manager at the time, Kunle Mwanga, arranged for the recordings, and then sold tapes to different independent jazz labels. The 30th January date resulted in Let The Music Take You (released on [and still available from] Marge Records in France) and this record, released on Red Record based in Milan and currently not available commercially. The February solo performances were released on three vinyl LPs on different labels and I’ll post the two that are currently unavailable over the next few weeks.

The record gets its title from one of the tracks, although the track’s called 'Last of the Hipmen', the album sold as Last of the Hipman. As the album title doesn’t seem to make much sense (it certainly wasn’t the last that we heard of Murray), and only appears on the album sleeve, I’ve always wondered if it was a typo. They mis-spelt Dyani anyway.

Although my copy is visually perfect, you’ll get the full vinyl experience as I haven’t tried to remove the low volume crackles.

During this time there was no real stability to Murray's bands. Butch Morris was clearly in Europe with Murray at this time because he appears on the February Milan Stuio recording that was released by Black Saint as Interboogieology and an August live recording in London (released as The London Concert). Expatriate South African Johnny Dyani was heavily involved in the London new jazz scene at the time, and he appears on this date, The London Conference and the recording for 3D Family on September 3, 1978 live in concert at Willisau Jazz Festival (available on hatArt). Dyani seems to have made a big impression on Murray, and he dedicated recordings to him over the years using Dyani’s African name of M’Bizo. I know nothing about George Brown, and it seems unlikely from his playing here that he was the same G Brown who played Bop drums in the 1960s in the US.

As I noted in an earlier post 'Monk’s Notice' is a James Newton composition also recorded for Solomon's Sons almost exactly a year before, and the two Murray compositions were often featured in other recordings ('Hipmen' in 1981 and 1987; 'Patricia' in 1977, and 1986). You can find out more about Murray’s work during this time at my own blog http://wallofsound.wordpress.com/2007/09/11/david-murray-the-making-of-a-progressive-jazz-musician-part-two/)

The record company is also worthy of some note. Red Record was (and still is) run by Sergio Veschi in Milan, and started recording and / or releasing free jazz as part of the Italian left cultural movement. It's likely that the red in question was therfore the symbol of left-wing politics in Europe. Better known today for musicians like Bobby Watson, the label is a key institution of Italian and European jazz, and supporter of the American avant-garde (more details at www.ijm.it/wp/whos-who/sergio-veschi).

I rate this as one of Murray’s most interesting records of the 1970s. I hope you enjoy it. I just don’t know why it didn’t get a re-release.

company- fables (1980- incus 36) - flac

this too, was a lucky introduction to free improvised music.

bought on the same day as the previously posted fictions .. and the bailey/holland improvised duets on ecm(which i no longer own) this one was a real revelation and remains one of my favourite incus sets.

a very luminous album ..that hopefully may one day see the light of day once more.

the incus back catalog in disarray now that derek's gone

who knows..

fables incus 36- 1980

derek bailey -guitar

evan parker -soprano and tenor saxes

george lewis- trombone

dave holland -bass

side 1-

atg 4

atg 6

atg 3

side 2-

atg 13

atg 2

atg 9

if by any chance someone has the bailey/holland duets they could upload in either flac or 320 mp3 that would be wonderful!!

mal waldron with the steve lacy quartet- journey without end ,1971 - Victor (Japan), SMJX-10134 reupload ,flac

heres a reupload of something posted
febuary last year.. an upgrade for friends..



its a pretty rare album.. lord knows why ..a wonderfully bleak but funky waldron..always was the perfect foil to lacy's dry ice precision.



JOURNEY WITHOUT END: Mal Waldron, Steve Lacy
1/ The Fire Now (Waldron) 9:05 2/ Journey Without End (Waldron) 12:30 3/ I Feel A Draft (Lacy) 7:54 4/ Bone (Lacy) 6:50 5/ Mar (Lacy) 9:15
Recorded at Studios Europa Sonor, Paris on November 30, 1971
Mal Waldron: piano; Steve Lacy: soprano; Kent Carter: bass; Noel McGhee: drums.
1971 - Victor (Japan), SMJX-10134 (LP), SMJ-6239 (LP), BER-6001 (LP) ???? - JVC (Japan), 101 J4 (LP)


the mp3 link is still active as far as i know here (192 kbs)
http://inconstantsol.blogspot.com/2007/03/mal-waldron-and-steve-lacy-journey.html

for the flacs ..see comments

Two oldie-goldies from the Human Arts Ensemble

I thought I'd do a bit more of recycling from the now defunct C#9 blog. These posts were initially put in the comments section in response to Flux'us posting of the Black Arts Ensemble so I thought they deserve front-page status here.

Both ensembles were basically made up of a small core of musicians, centered around the drummer Charles "Bobo" Shaw. This was a St. Louis-based outfit which would invite guest musicians, including the Bowie (Lester, Joseph) brothers and Oliver Lake. They would later shift to New York where Shaw made more records under the "Human Arts Ensemble" umbrella and Joseph Bowie founded Defunkt, a well-known 80s jazz-funk band.

The HAE records were mostly side-long jams with collective improvisation from the regular band members and guests. As such, they drew upon the dixieland tradition rather than the standard one of serial improvisation with one soloist at a time.

These four sides have all their different characters. The two pieces on Under the Sun are obviously inspired by folk music of the Middle East and further beyond. The title piece on
Whisper of Dharma invokes the serenity of the Asian jungles with its assortment of small instruments and quiet moods, not unlike the early Art Ensemble of Chicago, another ensemble from another city , but with Lester Bowie as the human link. Some similarity may also be found with the early quartet pieces of Anthony Braxton. The other side of Whisper, on the other hand, expresses the hustle-bustle of the North American urban reality.


Tracks:

Under the Sun

side 1: A Lover's Desire
side 2: Hazrat, the Sufi

Whisper of Dharma

side 1: Whisper of Dharma
side 2: A World New

The cast of characters is a bit too long to reproduce here, but the full line-up can be found in the attached scans.

Both these records were initially privately released and fetch huge sums of money for original copies. These rips, however, are from the Arista Freedom rereleases from the mid-70s, but I dont think anyone will notice any difference, audio-wise.

Joe Harriott - Southern Horizons

Following up the Harriott posting a couple of weeks back, here, as promised, is the earlier Southern Horizons, originally out on the Jazzland label, and inexplicably, never reissued.

This is Harriott on the verge of the free form/abstract period, but here, still anchored in the hard bop mode. This is stylish, elegant, tight, swinging; whatever label of appreciation you want to attach to it, this is still fresh music, close to fifty years after its creation. In content, it reflects his earlier 50s output as documented on recent compilations such as Killer Joe. He was to step into uncharted waters on his next release, Free Form, and to earn a name as an innovator and to draw perhaps unwarranted comparisons with the Ornette Coleman Quartet. For those looking for experimentation, better consult Free Form than this one. For those apprecating late 50s mainstream bop mode, look no further. If there was a poll of British contributions to jazz history, Harriott would be high on the list, even though he hailed from the Caribbean. He was later to innovate in a different direction by his collaboration with John Mayer on the indo-jazz fusions. However, by the end of the 60s his style was out of fashion and he ended his life as a pauper with very possessions apart from his alto sax.

This record sticks to the quintet line-up of sax, trumpet, piano, bass and drums (as on Movement), but with the added pizzazz of a superb bongos player on a couple of tracks, just to heighten the sense of hepness to the proceedings.

Partly original compositions, partly covers (including a dynamic take on Caravan), this was Harriott's first long-playing record as a leader.

Tracks:

(side 1)

1. Still Goofin'

2. Count Twelve

3. Senor Blues

4. Southern Horizons

5. Jumpin' with Joe


(side 2)

6. Liggin'

7. Caravan

8. You Go To My Head

9. Tuesday Morning Swing


Line-up:


Joe Harriott - alto sax

Hank Shaw - trumpet (on 1, 2, 3 and 5)

Shake Keane - trumpet, flugelhorn (on 4, 6, 7, 8
and 9)

Coleridge Goode - bass

Bobby Orr - drums

Frank Holder - bongos (on 4, 6, 7, 8 and 9)


Recorded on London, England, May 5, 1959 (tracks 1, 2, 3 and 5) and April 8 and 21, 1960 (tracks 4, 6, 7, 8 and 9)

Released as Jazzland JLP 37.

Interesting piece of trivia: Among the record engineers was a certain Joe Meek who would later go on to fame and fortune in his own right. Anybody recall "Telstar"?


Please note that another rip of this record can be found and downloaded at this site: http://shimanchu-devil.blogspot.com/2007/08/
joe-harriott-southern-horizons-1960.html

DAUNIK LAZRO "SWEET ZEE" (hatART, 1983/84)

Here’s something I like by Daunik Lazro who's own contributions don’t quite match those on his stellar recent records.
Still Kondo, Lewis and Joelle Leandre have plenty to contribute.
That alone should be recommendation enough.



Hat 2010 (2 lp’s)
Disc 1- ‘sweet zee ‘
Daunik Lazro - alto sax
Toshinori Kondo - trumpet and voice
Jean Jacques Avenel - db

Disc 2 side 1 ‘empire’
(dedicated to jac berrocal)

Daunik Lazro - alto sax,
Raymond Boni - guitar
Carlos Zingaro - violin

Disc 2 side 2  ‘enfances’
Daunik Lazro - alto sax
George Lewis - trb, toys
Joelle Leandre - db, voice


All tracks collectively improvised
Sweet Zee: recorded live at Jazzfestival Willisau on August 27, 1983.
Empire: recorded live at 3rd Sens Music Meeting, France on May 28, 1983.
Enfances: recorded at Dunois, Paris on January 8, 1984. ----

Again a post by sotise which I dare to take over. The above text is by primarely by sotise.
I would like to add that for the re-up the two tracks of  'Sweet Zee' (side A and side B of the double LP) were reinstalled as a continous performance. (This is a new rip not the previous one altered)

And not at least I want to point out that the concert released on the fourth side of this LP was released as CD in 2016. Actually the CD has the complete concert from this day. Available through the label Fou Records .

daunik lazro @ discogs

http://www.discogs.com/artist/Daunik+Lazro

Jimmy Lyons, Oliver Lake, Henry Threadgill - Live Nickelsdorf 1980.

This is somewhat of a curiosity. The 3 great altoists improvising together, without rhythm section. I know nothing about this concert apart from basic details:-

1980-August-16
Nickelsdorf, Austria,
Konfrontationen 1980

Oliver Lake,as
Jimmy Lyons,as
Henry Threadgill,as

It is just a single piece of about 30 minutes. Thanks go to jazzrita for seeding. I'm not sure whether it is an FM broadcast or an audience boot, but the sound quality is very good. If anyone knows anything at all about this trio (was it a one-off gig ?) then I'd be pleased to hear from them. See if you can distinguish which player is which. I can make out Lyons's distinctive style, but can't tell between the other two.

I've put up an mp3 link. I have it in flac, which I'll upload if there is enough interest.

Link in comments.

FLAC VERSION NOW AVAILABLE - SEE NEW COMMENT

James Newton and David Murray Solomon’s Sons, flac and lame

Circle Records RK 16177/5
Circle Records, Aachener Str 60/62, 5000 Koln, Germany

Dedicated to Martin Luther King

I’m honoured to be invited to join the contributors to one of the most interesting blogs around. I’ve just managed to get hold of a copy of James Newton and David Murray’s Solomon’s Sons , so I thought I’d start off with this one. It’s one of the final records I needed to complete my David Murray collection. (I’m still missing Live at Peace Church and Sur-Real Saxophone, if anyone has copies they want to sell at a reasonable price). If you’ve read any of my blog entries on Murray, you’ll know I like the detail. Hope there’s not too much here.

James Newton Flute
David Murray Alto and Tenor Saxophone

Monk’s Notice (James Newton) duo 13:29
The Dean (James Newton) flute solo 6:47
Theme For The Kidd (David Murray) duo 9:05
3D Family (David Murray) sax solo 7:09
Solomon’s Sons (James Newton) duo 9:05

Recorded in live at the Smudge Pot, Claremont, California on January 16th 1977

Recorded by Bruce Bidlack
Produced by Rudolf Kreis

Recordings of three duo performances and a solo each for two reunited musicians back where they started playing: Claremont, California. By this point Murray had become the darling of the loft jazz scene in New York, as well as a regular feature on the European festival circuit. Murray tended to work in a quartet setting in the late 1970s, and so along with a couple of solo recordings, it’s interesting to hear Murray work in such a challenging context.

The album is credited to Newton and Murray, and the inverse alphabetical order suggests Newton had the key role here. Nevertheless Murray plays an equal role in the playing and composition stakes. Murray worked with Newton on three further recordings that I am aware of: a 1995 release of recordings made under Jon Jang’s leadership (Two Flowers on Stem); a jointly led quintet CD released in 1996; and a1998 work with Guadeloupian musicians (Creole)

Two note-worthy asides of interest to Murray fans. First, the album credits suggest he plays both alto and tenor on this recording. Although I think I’ll need a couple more listens to spot where he uses the smaller horn, the back cover photo shows both in evidence. Second, although not noted on the cover, Newton’s 'The Dean' is dedicated in the live announcement to Stanley Crouch. It’s certainly possible to draw the conclusion that ‘The Dean’ was a the affectionate name for Crouch who, as a staff member at Pomona College (where Murray studied), became a mentor for many black musicians involved in the local black arts movement.

The associations of this recording with Murray’s past and future resonate particularly strongly in one track. This was also the first time '3D Family' was recorded; although he returned to the theme on three further occasions in 1978, ‘81 and ‘90. The importance of the composition to Murray is apparent in the 1978 release where he makes it the title track and dedicates it to (I think) his father Walter P Murray. When Murray Jnr moved to Paris he took the title as the name for his production company. Murray also recorded Newton’s 'Monk’s Notice' almost exactly a year later on Last of the Hipman.

Elvin Jones Trio (with Joe Farrell and Jimmy Garrison) - Live Berlin 1968

Hope you are all fully recovered from the excesses of Christmas (though I guess there are always some who go carry on non-stop into early January, may their livers stand up to the punishment!).

This post is a radio recording from 1968, probably an old mono AM broadcast, predating FM. Certainly there are a few crackles and pops on it, but hopefully not enough to spoil your enjoyment. my thanks to ricola for seeding.

Details:

Live at Jazztage Berlin,
Philharmonie Berlin, Germany, 1968-11-08
LINEUP:
Joe Farrell ts, ss,
Jimmy Garrison b,
Elvin Jones dr.
TRACKS:
1. Reza 17:05
2. Gingerbread Boy 3:58
3. Softly as in the morning sunrise 14:37
4. Sweet Little Maia (inc) 3:40

Some excellent soloing from all three artists, though sadly, the 40 year recording quality does not quite do justify to Garrison's flamenco-style solo. Judging by the brevity of the concert, I guess this was only one set from the whole concert, chosen by the radio station.

This post is dedicated to gimir, a good friend to this blog, who once pee'd alongside the great man.

Wishing you all a Happy New Year.

Links in comments as usual.

berne ,sclavis, akchote

Lee Konitz/Paul Bley Trio - Live Cambridge Ma 2002

Details:

Lee Konitz Trio w/ Paul Bley and Larry Grenadier

Regatta Bar, Cambridge, MA

April 12, 2002

Lee Konitz - alto

Paul Bley - piano

Larry Grenadier - bass

First set

01 intro 0.55

02 sweet and lovely 18.13

03 long ago and far away 14.33

04 i can't get started 11.06

05 star eyes 9.18

Second set

01 intro 01.13

02 ??? 6.08

03 all the things you are 11.50

04 body and soul 12.48

05 star eyes 9.27

Audience recording, but the sound quality is very good.

It's great to hear these two legends still performing so well. I see from his discography that Konitz made his first recording the year I was born, and I'm not exactly in the first blush of youth. He has played and recorded with Bley many times, so I guess they know each other's music very well. I don't know why they decided to include a bass player, I think he's sometimes a little intrusive at times during the more delicate interplay.

This is definitlely one to savour over the Christmas holiday, so send the wife and kids out shopping with the mother-in-law, fill your glass, put another log on the fire and enjoy.

New visitors to this blog should search back to find the fantastic post that sotise put up a while ago - "Duplicity", which features Konitz in a duo with another great pianist, Martial Solal

.
Links are in the comments (mp3 and flac). My thanks to gchrisnick for seeding.

Steve Lacy Quintet - Live Paris 1976 FM broadcast

DSteve Lacy Quintet
Studio 104
Maison De Radio France
Paris, France

October 17, 1976

Steve Lacy - ss
Derek Bailey - g
Irene Aebi - cello,v,voc
Kent Carter - b,cello,harp
Noel McGhie - dr

This quintet seems to be Lacy's usual pals, with the addition of Bailey. Good news for many, but not for me, I can't say I'm a fan of his. I know this is sacreligious in these parts, and not wising to speak ill of the departed, but I never could see where he was coming from. Somewhat spoils this concert for me. However, I'm sure that many of you will have different opinions than me and enjoy it.

As it's an FM recording, sound quality is excellent. Thanks to "qchrisnick" for seeding. Links in comments. Please let me know if you actually like this. Personally I'd rather listen to Lacy in Monk rendition style.


1. The Crust (Lacy) 2. Micro Worlds (Lacy) 3. The Throes (Lacy) 4. Flakes (Lacy)

lysis with kenny wheeler- lysis plus 1979 (mosaic gcm 791) lame 320

here's one, by roger deans group lysis, with a guest appearance ( he plays throughout)by Kenny wheeler.

roger dean is not only a great pianist in a jazz/improv tradition, hes a true renaissance man who plays double bass in the context of contemporary chamber music, and has performed pieces by Scelsi and Xenakis among others.

having moved out here to Australia in the mid 80's this group with changed personnel still performs and records regularly under the name australysis.

i ve seen them live a few times in either context.

this one seems to me a minor classic somewhat reminiscent of very early sme albums like karyobin, and also successfully eclectic and ambitious composed pieces such as Barry guy's ode.

as an attempt at fusing advanced late 20th century compositional procedures and jazz it works rather well and seems more memorable than most similar attempts.

Kenny wheeler plays his challenging parts with aplomb, at times stealing the show.

amazing stuff.

this is a vinyl rip that is a little bit crackly(taken from the mosaic LP), its very listenable though far from mint, so I've ripped it to 320 lame only

still well worth checking out.

the music was composed with Kenny wheeler exclusively in mind.

one piece -destructures six , spans the entire lp.

personnel

roger dean- piano, db, vibes, xylophone

Ashley brown- percussion

Marc Meggido- db, Geoff warren- flute and saxes

John Wallace -tpt, Kenny wheeler- tpt, flg hrn

enjoy

Joe Harriott Quintet - Movement

Originally released in 1963 on Columbia, Movement was a follow-up to the earlier, fairly straight-laced Southern Horizons as well as to the experimental Free Form and Abstract. Movement draws upon both styles, the hard bop of the former (with Count Twelve reappearing on this album) and the daring explorations into time, harmony, melody and rhythm of the latter two. The album is roughly evenly divided between the two.

As innovative as the original Coleman quartet, but far less known and appreciated, Harriott was an innovator whose contribution to jazz is still criminally underrecognised. Though, rereleases keep seeping out, so there may be hope still ...

To me, this is as good as it gets. I'm an unreserved Harriott fan and this is another opportunity to pay tribute not only to the South African influence on British and European jazz (of which there will be more on this blog), but also to the Caribbean influence of Harriott and Keane (and others).

Taken off a cdr copy of a vinyl rip, acquired from a seller in the UK. The actual album is long gone.

Tracks

(side 1)
1. Movement
2. Beams
3. Count Twelve
4. Face In The Crowd
5. Revival

(side 2)
6. Blues On Blues
7. Spaces
8. Spiritual Blues
9. Movement

All Harriott originals, except (4) and (6) by (Michael) Garrick.

Line-up:

Joe Harriott - alto sax
Shake Keane - trumpet and fluegelhorn
Pat Smythe - piano
Bobby Orr - drums
Coleridge Goode - bass

Recorded in London 1963, originally released as (Columbia 33SX1627).

Both Free Form and Abstract should be obtainable on CD. The Horizons is long, long out of print (but I do have all three on vinyl, just in case).

AIR- LIVE IN SALZBURG AUSTRIA, (2nd april 1982) FLAC and LAME

more, great live ..Air..
a stunning show in decent sound ( for an audience tape)
for centrifuge, ghostrancedance neeroonoo1
and other air lovers.

Last track is a jimmy garrison dedication, which the great fred hopkins ...lord bless him takes solo.

AirSalzburg (Austria)Jazz im Theater – Elisabethbühne

Henry Threadgill as, ts, fl,
Fred Hopkins db
Steve McCall dr
1) 08:50 Subtraction2) 11:29 R.B.3) 29:374) 09:235) 05:58

enjoy

ENRICO RAVA- ROSWELL RUDD QUARTET LIVE IN BREMEN (feb 13 1978) ,lame vbr

here's a superb broadcast in good sound, of Enrico rava's great 1978 quartet.

the band that made one of the great albums in the ecm catalog (self titled 1978).

both Rava and Rudd in playfully good form, and with jf, jenny-Clark and Aldo Romano ,who provide a propulsive constantly shifting textural backdrop, things couldn't possibly be any better.

i don't have the flac's for this.

thanks to the original trader, taper , seeders

only one track is carried over from the ecm (studio album)'Lavori Gasalinghi '

Enrico Rava Quartet-Bremen,Römer1978/02/13
Enrico Rava tpt Roswell Rudd tb J.F. Jenny-Clark db Aldo Romano dr

1) medley (suite) 53:58

King in Yellow / Lavori Gasalinghi / Out of Nowhere/Maranjao

company- fictions 1977 incus.. flac and lame

An early improv purchase , thats long out of print and hasn’t seen cd reissue.
This is an often misunderstood album.. almost universally panned by critics who tend to miss the pervasive whimsy and obvious self parody.
In part it stems from the fact that each of the group read from Derek baileys book ‘improvisation its nature and practice in music’ as the music unfolds.
Nothing portentious or even remotely self important here though at times they appear to be hamming serious pretense..

Mengelbergs solo and interaction with coxhill( in particular) on side 2 where he builds an incredible solo which incorporates quotes and dissections of several Beethoven sontas,(including the’ hammerklavier’) seemingly tossing them all in a rhythmic blender.

Beautiful stuff.



Great to hear bailey, mengleberg,and coxhill together, I hadn’t listened to this in years .. what a joy !!!



Info
Side 1
Consisting of-
1) theology
2) ontology
3)speak up lad

side 2
1) so few
2) so many
3) so so
4) so what
5) so long



Derek bailey- guitar, voice
Lol coxhill- soprano sax , voice
Steven Beresford- piano ,toys, voice
Mischa mengelberg- piano, celeste, voice
Ian croall- voice

Recorded in London, august 1977

Joe McPhee, Ken Vandermark, Kent Kessler - Live Chicago 2002

Ken vandermark / Kent Kessler / Joe McPhee

June 15, 2002

Gallery 37

Storefront TheaterChicago, IL
June 15, 2002

1...09.58

2...14.41

3...09.18

4...04.51

5...06.14

Ken Vandermark - reeds

Joe McPhee - reeds/tp

Kent Kessler - bass

I think this is a killer recording. Not quite up to the historical uniqueness of the previous posting from sotise, but nevertheless, a farely rare combination of artists. Kessler has long been associated with KV in his bands, particularly Vandermark 5. This trio has in fact made a recording together, in 1996, still available on OKKA records.

There's some great trumpet work (or is it cornet ?) from McPhee, particularly on the first track (which is my favourite of the set).

I think the recording is an audience boot, but very good quality (I've heard far worse commercial recordings). Thanks to "guitars" for seeding.

Links in comments.

FRANK WRIGHT WITH THE BLUENOTES- eidhoven june 21 1978 FLAC AND LAME

Hi all
Heres an electrifying gig by ecstatic honker frank wright with one of the greatest European based groups, the blue notes.
There is apparently some doubt that its wright playing tenor here, the first few bars dispel those.
This is a great concert one of the best ive heard in a long time.
Wrights at his most searingly lyrical, the bands pulsating fractured kwela and afro beat rythms suite wright ,amazingly well.
Im not a totally unreserved wright fanatic, but he and the bluenotes are fucking on fire here,and its positively joyous ive been somewhat depressed lately and this has really helped I felt salved after listening to it.

The level of wrights invention and mastery here is staggering.

louis moholo on this wow the way christian vander always wanted to play!! but couldnt.

The sound is about as good as a good 70’s jazz boot.
Which is to say pretty midrangy even quite flat at times, but the music’s incendiary.
Probably a broadcast , on a few occasions there are hints of oxide flake even tape erasure but they are brief.
Brothers and sisters prepare to be posessed by the holy ghost hope and redemption itself.


Ive ripped this 2 disc set to both low quality vbr, and flac so you can try it out and give it a listen before you balk at the big download.

enjoy

The Blue NotesEindhoven, NetherlandsJune 21, 1979

AUD > ? > CDR > EAC > FLAC(8)

Chris McGregor - pianoFrank Wright(?) - tenor saxDudu Pukwana - alto saxJohnny Dyani - bassLouis Moholo - drums
Disc 11. (42:13)
Disc 21. (45:34)

jacques coursil- black suite 1969 , 320 lame

brent , has ripped this to 320

and says'just thought i'd also send along a 320 rip of coursil's black suite.you can post if you like, or if you think what was posted at the church is fine then that's cool as well.'

sorry its taken me so long brent

i hadnt checked my hotmail address in a while.

this is a favourite of mine, but my vinyl is pretty scuffed

so i appreciate your upgrading to 320... thanks

the standout performer on this for me is braxton on contra bass clarinet, he sets a mysterious slightly ominous tone nice.

here's a review by dr Eugene chadbourne.. who is'nt all that kind to the rythym section which i think are great!

'This amazing trumpeter led two album sessions for BYG, both highly respected projects. This might be the one to take off to the desert island, as the presence of Anthony Braxton as part of the band really makes for an intoxicating brew, if abstract free jazz is the cup of tea on order. Braxton is just fantastic in a collaboratory role, cutting loose with even more of an edge than when leading the band and adding texture with his contrabass clarinet that brings to mind the fog rolling into the forest right before the scene where the villagers storm the evil castle. Arthur Jones cuts loose on alto sax in the manner that makes all his appearances on this label so delightful — fiery, full of spirit, always an exciting presence. As kind of the lost voice of the trumpet in modern jazz, Coursil is not only a great discovery for the modern jazz fan, but a fine creative vintage that holds up to repeat visits over the years. His control of the difficult horn and totally original melodic thinking really makes his playing stand out among the admittedly thin ranks of avant-garde trumpet players. None of the players who have Coursil's technical mastery play with as much heart and soul. He also proves himself a great bandleader, passing some of the key tests of this distinction with the music featured on this album. One composition after which the record has been titled takes up the entire slab of vinyl, clocking in at a bit over a half-an-hour. Only a good bandleader can pull off an epic of this sort, and only a good bandleader can pull together a rhythm section that on paper promises the excitement of the local newsboys sitting in. The French bassist and drummer featured here were this label's Grade Z rhythm section, and sound better playing quietly than they do when hitting loudly. That's because of the recording, which distorts the drums and bass after a certain level of attack. On the other hand, the quiet sections are not picked up as well by the microphones — assuming there were microphones — and, as a result, the horns have even more room to maneuver. Let's allow the artist to serve as his own critic in the case of pianist burton greene, who would later publicly dismiss all of his playing from this era as being claptrap. Like another much more famous and prolific modern jazz trumpeter and bandleader, Coursil takes even questionable music contributions, such as the entire existence of this rhythm section, and turns it into a highly useful musical function. Jazz scholars who feel rhythm sections are unimportant can, of course, gloat over the musical success of this particular album. At any rate, it is one of the best examples of just how beautiful modern jazz can be.

JC, trumpet; Anthony Braxton, contrabass clarinet, soprano sax; Arthur Jones, alto sax; Burton Greene, piano; Beb Guerin, bass; Claude Delcloo, drums, percussion

thanks brent

derek bailey and han bennink- icpoo4 1969, LAME 320

heres a christmas present from brent who says 'Ok Mr. Fancypants-high-bitrate, here is icp004 at 320: '

this is the very first of many collaborations between derek bailey and han bennink.

and its a true marvel.

unfortunately this will probably not ever be reissued because the tapes of early icp albums have regretably been lost, (i dont know the full story of how that tradgedy happened, but merely read a referance to the fact some 15 years ago).

many thanks to brent for this contribution.

han bennink at his advancing age is still making high energy music, and recording at an alarming rate... check it out... and his art(he designed the covers)

here

http://www.hanbennink.com/

details of this session are

icp 4 1969han bennink –drDerek bailey- g

An old woman is shelling beans…..

Chonki chonki..

gachi= long thin African trumpet

Good morning, Derek

1Kst,kst

Suki

Tsk,tsk

link in comments at 320

The Leaders - Live Paris 2007

the leaders
jvc jazz festival
new morning paris, france18.10.2007

Personnel:

chico freeman – ts, ss
bobby watson – as
eddie henderson – tr, flh
fred harris – p
buster williams – b
michael baker – dr

01. unknown title 22:44
02. unknown title 32:29
03. intro chico freeman 04:46
04. the ascended one 16:25

The muti-instrumentalist reedsman, Chico Freeman formed the first version of the band he called The Leaders in the 1980s. The other horn players were Lester Bowie and Arthur Blythe. They made several recordings, one of which, "Slipping and Sliding" is still available for download on fredito's excellent blog site http://huppeshyalites.blogspot.com/ (you'll have to search for it).

The Leaders have recently been reformed with the lineup on this concert, recorded in Paris (one of a grand tour of Europe in October and November). I'm not familiar with Bobby Watson, I gather he started his career with Art Blakey and later formed a band called Horizon (which I know nothing about). Eddie Henderson played with Herbie Hancock's band for many years, and has since played with just about everybody around. Of the rhythm section, I guess the best known is Buster Williams, having played with Miles Davis, Chick Corea, Elvin Jones and a whole bunch of other greats, as well as leading his own bands.

The music on this recording is really red hot. Stylistically, I guess you'd call it hard bob (or post bebop). I don't really know what these labels mean.

The recording is taken from a satellite broadcast, courtesy of seeder "unclewolfi".
I have posted links for both flac and mp3 VBR 0. Links in comments.

Elvin Jones/Jimmy Garrison Sextet - Illumination (1963)

If you'd bought this LP when it was released, you'd be a bit pissed-off when you got it home and found out that it contains only about 30 minutes music and that it didn't represent value for money. If you'd hung on to it though, your patience would have been rewarded, as good copies now go for about 150 USD.



Sadly this is not my vinyl rip. It came from "Orgy In Rhythm" blog I think quite a while ago (my thanks to them). Following the interest of my recent Jones post, "Live At The Lighthouse", I thought there may be interest in this, which I think may be Elvin's first recording as leader.


Though, perhaps lacking the exitement of his later recording, Elvin is pretty solid throughout, but the main reason why fans should download this is for the terrific line-up:-



Elvin Jones: drums
Jimmy Garrison: bass
McCoy Tyner: piano
Charles Davis: baritone saxophone
Prince Lasha: clarinet & flute
Sonny Simmons: horn & alto saxophone

As far as I know this was the only occasion on which Simmons and Lasha recorded with Elvin.
Links in comments (click post title).
The vinyl has been ripped at a modest 160 kbps. If anyone has a copy at higher bitrate thay would be prepared to post, then I for one would be very grateful.

Burton Greene - Aquariana

Since there is a recent Burton Greene posting on this blog, I thought I'd recycle one of my old postings for the C#9 blog. This one did not make it to the front page, so it's quite possible it might have passed unnoticed by many.

Not one of the more significant releases in the Byg Actuel series in my view. I haven't quite made up my mind about this one. Very free-wheeling and blow-outish as was the style at the time. I believe I've read somewhere that Greene disowns his earliest recordings. Be that as it may, but here it is for others to have the opportunity to make up their minds about it.

Tracks:

1. Aquarius Suite
2. Out of Bartok
3. Two One-Two Vibrations

Full line-up for each track can be found in the attached scans of front, back and inner covers.

Recorded in June 1969 in the Saravah Studios, Paris.

Dudu Pukwana & Spear - Flute Music

Here's my first "official" contribution to the blog (and thanks to Sotise for inviting me).

I have a long-lasting fascination with the whole South-African expat scene that started back in the mid-60s when the members of the Blue Notes came to the realisation that it was no longer possible for a racially mixed band to play in South Africa. They came to Europe and with the sole exception of Louis Moholo-Moholo, none of them survived to see and experience liberation.

Spear was one of the many groups or combinations started by members of the Blue Notes, in this case Dudu Pukwana & Mongezi Feza. All in all, they released three albums, "In the Townships", "Diamond Express (reissued as "Ubagile") and this one, which has never been rereleased. Origninally out on the Caroline label in 1975, a subsidiary of Virgin (yep, that's right!) I dunno whether the first one is easily available anymore, but if there's an interest, I can always put it up here.

This is off a cdr version acquired in NY last year (which conveniently saves me the time and effort of ripping my own slightly worn vinyl copy). This is Dudu and Mongesi in an afro-funk-jazz mode, music as appealing to the heart and feet as to the head. And this particular release has the added interest of featuring John Stevens on the drums, in a very different style from what he's normally associated with (the SME etc.) Funk 'em, John!

Tracks:

1. Flute Music (Mongezi Feza)
2. Shekele (Dudu Pukwana)
3. Ko-didi (Victor Williams)
4. Sondela (Mongezi Feza)
5. Freeze (Dudu Pukwana)
6. You Cheated Me (Mongezi Feza)
7. Flute Music (Mongezi Feza)

Line-up:

Dudu Pukwana - alto, piano, percussion, voice
Mongezi Feza - trumpet, flute, congas, percussion, voice
Victor Williams - piano, electric piano, voice
Pete Cowling - bass guitar
John Stevens - drums
"Bob" - congas
"The Princess" - vocals

If this one catches on, I can promise more Dudu afro-funk-jazz kindathing from the 80s (when he had his Zila band and his own label, too). And of course. much more Blue Notes and BN-derived items, too!


Enjoy - heads and feet!

the dead C- language recordings volumes 1 and 2 (2000) ogg

Away from jazz based modes of improvisation for just an instant..

Heres an epic slab of prime narco fueled free post industrial improvised nowave neo psych madness.
This ones been out of circulation for a while ,and those familiar with dead c’s post siltbreeze releases on the bada bing, and starlight furniture labels
http://www.forcedexposure.com/bin/search.pl?search_string=dead+c&searchfield=artist

may need some priming in preparation for the unpleasant frisson generated by a post apocalyptic headfuck,.
Dead c developed in bored reaction to the morbund state of flying nun style orthodox new Zealand style guitar jangle pop.
Take the best improvised bits out of early sonic youth, remove the mostly boring lyrics, the pop hooks too then cross that with xenakis pieces kraanerg and persepolis, and you get an idea of the density of the sonic territory.
That doesn’t quite prepare you for the primal rhythmic, grunt punctuated by shimmer cymbal
Accents worthy of…
Its ironic that one of their best releases should be so inaccessible, 2nd hand copies of this are fetching quite some bucks on ebay.

Dead C- language recordings vols 1 and 2
Vol-1
Accelerate
Dec, pussyfooting
Speederbat, all channels open

Vol-2
One night
Realisation con slider
Fake electronics, tuba is funny (slight return)
Drill bit, high original, tidewater

Recorded between the 12th dec 1995 and the 22nd of august 1999

BURTON GREENE, ALAN SILVA- 'THE ONGOING STRINGS' 1980 FLAC and LAME

the post has dissapeared

blogger is screwing up.

BLOGGER SUCKS

I DID NOT DELETE MY POST

fucked if im going to write out the info again

heres the basic info on this session

Greene Burton / Silva Alan - "The Ongoing Strings"
Rec. live at the Bim Huis in Amsterdam 14 February 1980
Hat Hut Fifteen 2R15 - 2LP

Greene Burton, piano, prepared piano, percussion, voice on first setSilva Alan, bass, cello, percussion, voice on second set.

CD1 = LP1
1. Side A first set2. Side B first setCD2 = LP21. Side A second set2. Side B second set

No track titles given.

raphe malik quartet- live in unna germany october 1979

the great Raphe malik
trumpet player first heard in cecil taylors stunning combo’s of the mid 70’s- early eighties, died last year leaving a gaping hole in the hearts of many admirers.
Read about malik’s life and the circumstances surrounding his death here.
http://www.allaboutjazz.com/php/news.php?id=9159

here is a great concert from 1979, featuring 2 of malik’s most simpatico musical collaborators masters in their own right glenn spearman and jay oliver both also now sadly departed and very much missed.
The drummer on this date is steve mcraven .
This concert was originally on dime ,and may perhaps still be there in flac format.
This is a 256 rip , which I got in a trade with a friend.

Many thanks to the original trader/taper ,seeder


details

raphe Malik Quartet
Unna ,germany

19791016
Raphe Malik tp
Glenn Spearman ts
Jay Oliver b
Steve McCraven dr

1) 52:05 SUITE: Life Without Lloyd


total time 52:21

buy raphe malik discs

check out his many great releases on ermite, fmp etc

david murray solo saxophone VOL'S 1and2, FLAC AND LAME

Continuing on with the series of early david murray recordings.
Here is murrays biggest challenge up to that point, 2 lps of solo saxophone made for cecma(another great Italian label).
For me this is the crest of a peak which includes sweet and lovely and interboogieology, and culminates with the great early octet recordings ming and home.

These 2 solo lp’s have been out of circulation since being released together on a now out of print cd in 1990.

I had only ever heard(through a friend) vol -2 which includes a great version of body and soul.
Vol 1 features 2 of murrays best early compositions in intense and very vivid versions ‘sweet and lovely’ and ‘flowers for albert’.

Murray David - "Solo - Live - Volume 1"
Cecma 1001 LP
Rec. 30 May 1980 - live in Nyon, Switzerland

Murray David, tenor, bass-clarinet.

(1) (A1) Both feet on the ground(2) (A2) B. C. (3) (B1) Rag Tag(4) (B2) Sweet Lovely(5) (B3) Flowers For Albert


Murray David - "Solo - Volume 2"
Cecma 1002 LP
CD Tracks 6,7,8 or Side A of this LP, recorded NYC August 1980.
CD tracks 9, 10 or Side B of this LP recorded 30.5.1980
live in Nyon, Switzerland, as per LP vol. one above.

Murray David, tenor.

(6) (A1) Body and soul(7) (A2) We see(8) (A3) untitled(9) (B1) Solo # 1(10) (B2) Solo # 2

both of the albums are included in one split archive (though in separate folders)
in both vbr and flac

many thanks to glmlr – for the original rip from clean vinyl, and for the opportunity to finally hear vol 1 , and have a hard copy of both these marvelous records!