30 August 2008
18 August 2008
Brötzmann/Portal/Bennink in Paris 1977



Continuing with the bass clarinet theme (after the previous posting of Michel Pilz), here are two in one go.
In particular, Michel Portal has made the bass clarinet his primary instrument, but here he picks up the sax and a bandoneon as well. Peter Brötzmann is mostly known for his tenor work, but here he switches to bass clarinet and a bunch of other instruments. And even Han Bennink dabbles on the clarinet in between hammering the kit and the bass drum.
So, all in all, about 40 minutes of anarchical merriment, recorded in a Paris studio in 1977, and broadcast on radio, though details are scanty. The announcer butts in at about the thirty minute mark to tell what's going on, but no titles to the piece.
Brötzmann and Bennink are mates of 40 years standing, but the presence of Portal adds another dimension to this set. I leave it to the listener to figure out who is who, but I find Portal adds a melodic touch to the fierceness of Brötzmann, but Portal can be as screechy as the other guys when the fancy takes him.
Basic info:
BRÖTZMANN / PORTAL / BENNINK
16-Jun 1977
unknown, Paris, France
source/lineage: FM
Peter Brötzmann: bassclarinet, clarinet, tenorsax, altosax, mouthpiece
Michel Portal: bassclarinet, clarinet, altosax, "double clarinet", contrabassclarinet, bandoneon, voice
Han Bennink: small drum set, "soft trumpet", clarinet, viola, xylophone, whistle, piano, various percussion, etc.
1. untitled improvisation 30:09
2. untitled improvisation 10:16 (at start with voice over by radio host)
Another Dime download ...
There'll be more bass clarinetists coming up shortly ...
17 August 2008
John Zorn, "Big" John Patton - Live Austria 1988
Looking back through the blog, I see that no Zorn recordings have been posted, which is surprising considering all the Masada and Bladerunner stuff that was upped at Church #9. I can't say that I like his more esoteric stuff, but this concert really swings.
Details:-
Special OlympiansSaalfelden Jazz Festival
Saalfelden, Austria
August 28, 1988
01 Unknown
02 Unknown
03 Unknown
04 Unknown
John Zorn - alto
John Patton - organ
James 'Blood' Ulmer - guitar
Bobby Previte - drums
Patton seems an unlikely partner for Zorn, being a veteran of numerous 60s and 70s Blue Note albums in the company of people like Grant Green. Ulmer was a member of Patton's trio in the 60s so maybe that's where the introduction to Zorn came about. However it happened it certainly was a worthwhile combination. Nothing too wild or adventurous about this, but it sure hits the right spot
Links in comments. Many thanks to moretoonz for seeding. Lineage uncertain, but excellent sound quality.
14 August 2008
Maarten Altena octet with Dagmar Krause (new movements in jazz, netherlands radio transcription lp BOX 87.073/076) disc 4

hey ,having some problems with volume 3 of this set so heres the final volume..possibly the most adventurous grouping in the set.
though Dagmar's vocals wont thrill everyone , ( me im an old Henry Cow/ art bears fan).
enjoy!!!
info- personnel
new movements in jazz
radio netherlands transcription service lp87.073/076
disc 4
Program 4
Maarten Altena Octet
Special guest Dagmar Krause (vocals)
George Lewis trombone
Wolter Wierbos trombone
Paul Termos altosaxophone
Peter van Bergen tenorsaxophone
Maartje ten Hoom violin
Guus Janssen piano
Maarten Altena double-bass/leader/composer
Michael Vatcher drums
Side A 23’02”
Schor (Husky) 8’22
Improvisation 7’45
Goody two-shoes 6’03
Side B 26’51
Improvisation and
Points Congealing 8’22
Haai (shark) 4’05
The Feathers and
Klaroen (Clarion) 9’13
Uncle Jimmy’s 4’05
All compositions by Maarten Altena
Recorded on September 27th 1985 at the Meervaart
In Amsterdam
Circle - Gathering
Recorded in the studio in NYC 17th March 1971. Chick Corea, piano, flute, percussion Anthony Braxton, alto, flute, sopranino, clarinet, contrabass-clarinet, percussion Dave Holland, bass, cello, guitar, percussion Barry Altschul, drums, kalimba, percussion. The second of two Circle releases which were inexplicably issued only in Japan, initially on vinyl and later on CD. As before, if anyone can throw some light on why this music was never issued in Europe or the US, the information would be very welcome. This rip is taken from the original Japanese vinyl, CBS Sony SOPL 20-XJ. The performance is a single two-sided composition credited to Corea alone, and if any listener can sense a line drawn between one man's composition and four men's improvisation, he's a better man than I. The piece opens with much of the heat and intensity associated with the free jazz of 1971, with Altschul especially taking few prisoners, before the quartet veers off into extended flute and percussion workouts, a certain amount of navel-gazing and a question-mark of an ending. Perhaps Corea's own words, from the liner notes, best sum the piece up: "Our music is a focal point, constantly created anew, with each playing. … It is our opinion that creativity will play an important role (maybe the important role) in lifting our consciousness about ourselves and others. … When we are alive in the fullest sense of the word, we are creating". Enjoy. glmlr 
9 August 2008
Circle - Live in German Concert
Recorded in Germany, 28th November 1970, location not specified. (The record is indeed grammatically mis-titled, as above). Chick Corea, piano Anthony Braxton, alto, flute, sopranino, percussion Dave Holland, bass, cello Barry Altschul, drums, percussion. The first of two Circle releases which were inexplicably issued only in Japan, initially on vinyl and much later on CD. Why this music was never issued in Europe or the US is a mystery to me. Can anyone throw some light on this? This rip is taken from the original Japanese vinyl, CBS Sony SOPL 19-XJ. By early September 1970, Corea and Holland had both left Miles' adventurously electric band, and quickly settled into acoustic free jazz territory. After a brief studio fling which month which produced "The Sun" LP (with Liebman, Grossman, DeJohnette and others), they cemented themselves with Braxton and Altschul, and Circle became the focus of their joint activities over the following 9 months. This concert features two side-long Circle staples: Dave Holland's "Toy Room - Q&A" and the standard "There is No Greater Love". Both pieces will be familiar to Circle fans but, as ever, these interpretations are intriguingly different. Classic Circle trademarks are all here in good form: Corea's propulsive piano, Braxton's Chicago-inflected blues, Holland's melodic hold on the roots and Altschul's meticulously tuned percussion. And there's a little "fly in the ointment" - on side B behind Braxton's alto solo, either Corea or Holland double up with him on … flute? oboe? musette? A teaser for your ears. Enjoy. glmlr 
5 August 2008
TTT featuring A.R. Penck "Aspects of the NY.NY.NY. Situation" (no info) FLAC & MP3-320
After a little interruption, here's the follow up to the Penck series. Double album this time. As usual, info via Rick Lopez's discography :
TTT featuring A.R. Penck: Aspects of the NY.NY.NY. Situation
A 0032 (2LP)Date ? / Venue ?
- Aspects of the NY.NY.NY. Situation
- 1 [:]
- 2 [:]
- 3 [:]
- 4 [:]
- 5 [:]
Butch Morris (cornet)
Frank Wollny (guitar-1,2,3; bass-4)
Heinz Wollny (bass-1,2,3; guitar-4,5)
A.R. Penck (piano-1,2,3,4; flute-4; drums-5)
Dennis (sic) "King" Charles (drums-1,3; percussion-2,3,5)
Coen Aalberts (drums-2,3; percussion-1,4,5)
P.
4 August 2008
Kahil El' Zabar Ritual Trio: Another Kind Of Groove

Kahil El' Zabar Ritual Trio: Another Kind Of Groove
Sound Aspects CD016
Recorded May 26th 1986 in Germany.
Billy Bang (violin, bells)
Malachi Favors (bass, percussion)
Kahil El'Zabar (drums, earth drum, bass bamboo flute, berimbau, sanza, ankle bells)
Here's a share from drhotte that he (?) posted in the comments of my last El' Zabar posting. I wouldn't want you to miss this one. No essay this time; but enjoy the music.
2 August 2008
Kahil El'Zabar with David Murray Golden Sea

Kahil El'Zabar with David Murray Golden Sea
Sound Aspects Records 027
Recorded January 28,1989 in Chicago
Kahil El'Zabar (traps, earth d, ashiko d, mbira, sanza, ankle bells, vc)
David Murray (ts, bcl)
1. Golden Sea (Kahil El'Zabar) 10:50
2. Dreams (Kahil El'Zabar) 5:55
3. Sunrise Serenade (Kahil El'Zabar) 7:55
4. Sweet Meat (Kahil El'Zabar) 7:40
5. All Blues (Miles Davis) 10:10
6. Song For A New South Africa (David Murray) 4:45
Kahil El'Zabar and David Murray seem to bring out something special in each other. They've been consistent collaborators: El'zabar has been in a couple of Murray's quartets (including the excellent, but hard to find, People's Choice) and a couple of Octets; while Murray's been on four duo albums under El'zabar's name. All the duo recordings are worth owning, but this (for me) is the strongest. It's also sadly the hardest to get hold of; and I'm not sure it even got a CD release.
El'Zabar and Murray share an interest in Afro-centric music and pan-African culture, and this is apparent in much of the music here. The very title of Murray's 'Song For A New South Africa' is an index of this. However, the orientation is surprisingly best achieved on their interpretation of Miles Davis' 'All Blues'. Murray is at his plaintive best on Bass Clarinet, while El'Zabar plays the Mbira or Sanza (which the LP lists as separate instruments, but which I've always understood them to be two names for the same Shona 'thumb piano' instrument). The track reaches its peak with Murray playing and El'Zabar singing. This is, perhaps, my favorite piece of Murray Bass Clarinet 'ballad' playing. He seems to take a perverse pleasure in playing a bass instrument beyond its usual highest frequencies, and draws upon the textures of gospel playing to create a sound I find deeply affecting. A haunting and beautifully realised cultural and musical fusion. 'Sunrise Serenade' features El'Zabar alone on Mbira/Sanza with ankle bells and a wordless vocal and rhythmic chants. It's one of the best tracks on the LP for me, though regular visitors to this blog may find it a step too far beyond jazz sensibilities.
Each track has a distinctive texture, achieved most often by El'Zabar's use of different percussion instruments (Murray has never made major changes to playing style across his whole career, let alone an LP). 'Dreams' features a hand drum (I'm guessing it's the Ashiko drum) and a more meditative and gentler start for Murray on tenor before his characteristic gospel-rich style kicks in. I'm also speculating when I say this sounds like a total improvisation from Murray; a notion backed up by the fact that none of the pieces credited to El'Zabar have strong melodies (a Murray characteristic). I think the balance (on this track and the whole LP) works very well overall, though, giving a sax and percussion duo album a lot of variety. For Sweet Meat El'Zabar plays conventional jazz traps with lots of cymbal ride and rhythmic work on the tuned drums while Murray's ecstatic tenor runs build in intensity. This is possibly the most conventional duo piece, but executed with panache. 'Song For A New South Africa' features a poly-rhythmic hand drum and ankle bells textual bed, and a fairly straight-forward rendering of the strong melody riff by Murray. They clearly liked this number because the duo repeated the piece on record three years later on A Sanctuary Within, and thirteen years later on Love Outside Of Dreams with very similar, if slightly more complex renderings.
1989 was a classic year for Murray, and his work made available in that twelve moths is remarkably wide. Albums released in that year included a James Brown-tribute funk project (Cold Sweat), a challenging piano-sax duo with Dave Burrell (Daybreak), an attempt at the jazz mainstream through the Columbia-released Ming's Samba, four other jazz quartet albums under different group names and for different labels (I Want To Talk About You, Last Of The Hipmen, Lucky Four, The Fo'tet), and a WSQ collection of soul covers (Rhythm & Blues). This one fits in the eclectic moment comfortably. I hope you enjoy it.
31 July 2008
Baikida Carroll The Spoken Word

Baikida Carroll The Spoken Word
Hat Hut M/N 1979
Hat Hut Records, Switzerland
Baikida Carroll Trumpet, Flugelhorn, Prepared Trumpet
Recorded Live at Mapenzi in Berkeley, CA
April 22,1977 & April 1, 1978.
Recorded by Cynthia Kanstein and Daryl Suzukawa
The Spoken Word I (Carroll) 17:05
The Spoken Word II (Carroll) 14:30
Third Image (Carroll) 15:15
Rites And Rituals (Carroll) 11:50
Double Rainbow Forest (Carroll) 10:25
Baikida Carroll’s made important contributions to some truly great recordings, and yet his own material seems to get far less a profile than it should. He was part of the Dogon A.D. band under Julius Hemphill’s leadership, part of David Murray’s big band Live on At Sweet Basil, and part of the Black Artists Group on In Paris, Aries, he’s on John Carter's Castles of Ghana, Oliver Lake's NTU, Muhal Richard Abrams' Blues Forever.
Given how readily he seems to work with others it’s quite a surprise to find how inventive he is out on his own. Here’s a double LP’s worth of some interesting and stimulating music, where he uses volume (and lack of it), messed-up instruments and even some strong playing to truly talk through his horn. Thanks again to Dale for passing this on to me.
30 July 2008
Charles Tyler at WKCR
Four tracks in all - total time 39:23
Track 1 recorded 12-8-74
Charles Tyler Alto Sax
Earl Cross Trumpet
Ken Hudson Bass
Steve Reid Drums
Tracks 2,3 recorded 3-14-77
Charles Tyler Baritone Sax, Alto Sax,Voice
Phillip Wilson Drums Voice
Track 4 interview at time of rebroadcast in 1983
The first track features the key players of Earl Cross and Steve Reid which in July of the same year recorded the wonderful "Voyage from Jericho" with Ronnie Boykins stepping in on bass and with Arthur Blythe making a guest appearance on a couple of tracks. Reid was also on next year's "Live in Europe", both rereleased on the Bleu Regard label out of France, but becoming very scarce these days, I believe. Both are very good, but the Jericho is essential. Also look out for the extensive "Saga of the Outlaws" on the Nessa label.
The second and third tracks are playful, improvisational duos (theatrics and dramatics) with Philip Wilson (who also made a very fine duo record with Lester Bowie at about this time, briefly mentioned in the interview snippet at the end of this collection).
Tyler would often alternate between alto and baritone. Personally I prefer his alto sax, which better brings out the sweet melancholy of his tone, but the gruffness of the baritone does not hide it completely.
This is another Dime download/seed, but, oddly enough, no takers, so I'm hoping for a little more responsiveness here. Tyler deserves it.
Miroslav Vitous Quartet - Live Hamburg 1980
Live at 'Onkel Pö' in Hamburg, Germany, 1980-01-31
LINEUP
Total Time: 51.57 min
27 July 2008
BUSCHI NIEBERGALL TRIO feat. MICHEL PILZ "MOERS 1978"

This one was somehow prompted by a discussion in the comment section of an earlier posting where one commentator professed his admiration for the work of Michel Pilz.
So when the opptunity came to download this concert from Dime, naturally I had to take it to find out. My inclination had been in the direction of people like Michel Portal and Rudi Mahall (and we shall have both in upcoming posts), but Pilz is certainly a worthwhile addition to the premier league. I find him distinctly different - more linear, flowing if these words make any sense - not unlike Brötzmann.
Listening to this 30-minute piece, I find Mr. Pilz overshadowed by Mr. Niebergall who has a physical attack which reminds me of the great South Africans Harry Miller and Johnny Mbizo Dyani. You get the feeling that once he's through, the whole damn thing can be sold off as scrapwood.
Niebergall was in the forefront of the first generation of German free jazzers, having played with virtually anybody on the scene, including Brötzmann himself.
This particular line-up with Pilz and Uwe Schmitt on drums appears only to be documented on a 1978 release "Celeste" on the Trion label. There's one to hunt for!
Niebergall ceased making records round about 1980 and reportedly lived in recluse in Frankfurt a.M. until his death in 1990.
A short radio intro and then "Tilip", recorded at the Moers New Jazz Festival on 15 may 1978.
What's on offer here is 30 minutes plus of dynamite. Dig in!
Michel Pilz, bass clarinet
Buschi Niebergall, bass
Uwe Schmitt, drums
1. speaker/broadcast 0:25
2. Tilip (Michel Pilz) 33:30
Recorded at New Jazz Festival, Moers on May 15, 1978.
25 July 2008
Athens Creative Media Encounter Festival brings jazz greats to Athens – First Day Third Concert
Athens Creative Media Encounter Festival brings jazz greats to Athens - First Day Second Concert
24 July 2008
Circle - Quartet Pieces Nos. 1, 2 & 3

Following on from the recent Hamburg Concert, and with special thanks to Boromir for posting the interim Bergamo piece, we continue with Circle.
"Quartet Pieces Nos. 1, 2 & 3".
Recorded in the studio - New York - 21st August 1970.
Chick Corea, piano, prepared piano, vibes, percussion, bass-marimba
Anthony Braxton, alto, sopranino, clarinet, contrabass-clarinet, percussion, voice
Dave Holland, bass, cello, acoustic guitar, percussion
Barry Altschul, drums, percussion, bass-marimba, vibes.
These three fascinating pieces are the earliest example of Circle's other side, their work in a lifeless studio, with no engrossed audience to offer inspiration, challenge or acceptance. All three pieces were issued only on a Blue Note 2LP set called "Circulus", under Corea's name, and have never appeared on CD, to my knowledge. This rip is taken from the original vinyl, with apologies for the occasional surface noise. The music is also the first recorded evidence of Braxton playing with what was until then Corea's trio.
In the opening minute or so, the musical aesthetic promptly reveals itself to be far closer to developments (in 1970) in European-style free improvisation and contemporary classical music, rather than the conventional notions of jazz. All three pieces are open improvisations, stark, spiky, a tad austere, with a disorienting use of space, unnerving deviations, terse twists and turns. A volcanic highlight appears on Piece No. 2 at the 5 minute mark, where Corea suddenly hits upon a single note, wrings the life out of it in seconds and sends the entire band careering off in a wholly unexpected (by them) direction. All the musicians use a wider-than-usual range of instruments, e.g. Holland on acoustic guitar, Corea on vibes and Braxton's vocal contribution at end of Piece No. 2 will surely raise an eyebrow or two.
The musical results show thrilling interplay, rich in detail, and no lack of careful listening among the players. What is more extraordinary is that just three days before these recordings were made, Corea and Holland, both on electric instruments, played an explosive set with Miles at Tanglewood on 18th August and followed it up a few days later with Miles' Isle of Wight Festival appearance on 29th August in front of a mere half-million people. In between the two, they tossed us these three acoustic gems.
glmlr
Athens [GA] Creative Media Encounter Festival April 1-5, 2004
23 July 2008
More pictures and some news (please read !)





As the last pictures post seemed to please a lot of you, here are a few 1970's covers from the French magazine Jazz Hot. Particularly nice pic of Braxton playing chess !
Credit is as follow : Lacy : Gérard Noël /Coleman & Braxton : Latapie-Trombert / Dixon : Latapie / Rivers & Holland : Alex Dutilh.
The news :
I've been working on an online database to store scanned material related to the kind of music we share here, and it is nearly operational (should be working in a few days). For the moment there is something like 70-80 articles - mostly interviews, not available elsewhere on the net - stored in it but that number could grow quickly if things go well, that is to say if people want to participate and upload their own material. In order to avoid legal problems linked to copyright issues the database will be private but anyone interested is welcome, whether you have things to share or not. To stay informed, please send an email to the address in the comments and I will answer with a detailed text on how to make things work and a password.
If things go well, this database could become a great tool for all of us making researches on free music so let's hope it will !
Pierre
PS : if one of our dear readers is a drummer and has 30 minutes to lose, I need your help so please get in touch :).
Sun Ra - Manchester 1982
Sun Ra and his Intergalactic Arkestra - Binghamton, NY
22 July 2008
Sun Ra Santa Cruz 1987
Kuumbwa Jazz Center, Santa Cruz, California. 5/10/87. Broadcast over KUSP-FM. 93 min. Not the complete show. Excellent sound. (Rebroadcast on WKCR Sun Ra memorial show, 6/8/93)
1st set:
unidentified improvisation (incl. Patrick, as; Wilson, ts; Allen or Gilmore, EVI)
unidentified improvisation (Ra, p; Davis, as)
East of the Sun (Bowman) (Gilmore, voc; Ra, p and syn)
[It's Only a] Paper Moon (Rose-Harburg-Arlen) (Jenkins, voc; several verses added by Jenkins)
Frisco Fog (Carr-Roberts)
unidentified title (Jenkins, falsetto wordless voc)
Queer Notions (Hawkins) (Ra, p; Gilmore, ts)
Beautiful Love (Young-Coots-Gillespie-Van Alstyne) (Ra, voc; Gilmore, ts)
Inside the Blues (Ra) (Ra, p)
Slumming on Park Avenue (Berlin) (Jacson and ens voc; Raand ens, voc)
When You See Danger / Now's the Time (Parker) / Straight No Chaser (Monk) (Jenkins, scat voc; prob. Thompson, bs)
We Travel the Spaceways (Ra) (Ra and ens voc; the original tune; marching)
Outer Spaceways Incorporated / Space Is the Place (Ra) (Ra, declamation; more marching; not the original tunes)
The Arkestra: Ra-p, syn, voc; Eddie Gale-tp; Marshall Allen-as, ob, fl, EVI, perc; Pat Patrick-as; Danny Davis-as; John Gilmore-ts, EVI, perc, voc; Ronald Wilson-ts; Eloe Omoe-as, bcl, contra-alto cl; James Jacson-bsn, Ancient Egyptian Infinity Drum, voc; prob. Danny Thompson-bs; unidentified-b; Buster Smith-d; unidentified-cga, perc; Art Jenkins-voc. (rlc)
An exceptional concert -- one of the few times Art Jenkins' bebop scatting was captured on tape. Eddie Gale confirms his presence on this tape.
Flac and MP3 forthcoming. No scans.
21 July 2008
A few more ...






A few more of those French ads from the 70's featuring free players. The most surrealistic being the last one, advertising the availabilty of Ayler, Shepp, Ra and Sanders records in all "Euromarchés", a French hypermarket chain !
P.
20 July 2008
Cecil Taylor Unit, The Power Center, University of Michigan, Ann Arbor, MI; 15th April, 1976

In April, sotise posted a stunning Cecil Taylor Unit concert from Berlin in November 1975. This concert is from six months later, and has moments that are equally powerful - the sheer force of Jimmy Lyons' alto in the first section, and his interplay with Cecil and David S Ware, is breathtaking. The recording is from an FM broadcast and is also very good. Many thanks to abbcccus for reseeding this recently on dime.
Anthony Braxton Diamond Curtain Wall Quartet - Besançon & Moscow - June 2008
Opéra Théatre de Besançon; 27th June,2008
DOM Cultural Center, Moscow; 29th June, 2008
Anthony Braxton - reeds and laptop
Taylor Ho Bynum - brass (trumpets, cornet, trombone)
Mary Halvorson - electric guitar
Katherine Young - bassoon
New Movements in jazz (Nederlands radio transcription service 87.073/076) disc 2, Ernst Glerum's -New Klookabilities ,FLAC and LAME


FROM THE LINER NOTES..
"Ernst Glerum (b.1955) is a bass player with one of the best Dutch orchestras: J. C TANS and THE ROCKETS, and also composes much of the band’s material. The quality of this and other work caused the NOS to invite his composition for the 1986 Festival. Glerum chose to write for an eleven piece orchestra, the members of which were brought together especially for the occasion. The resulting music was a wonderful combination of traditional music forms and playing techniques and contemporary improvised music. The band consisted of: 1 trumpet, 1 trombone, 1 tuba, 3 reeds, piano, electric guitar, bass and two drummers. Glerum added to these already manifold talents of composer, leader and basist, by playing a minature electric organ, the Philicorda, which had been marketed for home use some years before and which under the magic touch of Glerum emitted some splendidly silly sounds. To emphasize the traditional element within the music Glerum called the band New Klookabilities, a name derived from “KLOOK” the nickname of the late Kenny Clarke."
Michael Moore Clarinet/altosaxaphone
Sean Bergin altosaxaphone
Frank Nielander alto-/tenorsaxaphone
Horst Grabosch trumpet
Walter Wierbos trombone
Larry Fishkind tuba
Michiel Braam piano/celesta
Jorg Lehnardt guitar
Ernst Glerum bass/philicorda/leader/composer
Han Bennink drums/percussion
Peter Prommel percussion
Side AGirofonetica 28’14”
- Swolch 17’35”
- Fly-over 10’38”
Side BGyrodrome 7’05”
Do the Pip/
Mob the Mob 6’10”
Gyroscope 5’33”
All compositions by Ernst Glerum
Recorded on August 21st, 1986 at the Meervaart in Amsterdam
JOHN STEVENS - SPONTANEOUS MUSIC ENSEMBLE (aka ‘Oliv’) (MARMALADE, 1969)

A Friend ,who wants to remain anonymous has sent me this.
John Stevens – Spontaneous Music Ensemble (aka ‘Oliv’)
Kenny Wheeler (fh), Trevor Watts (as), Johnny Dyani (b), John Stevens (perc), Maggie Nicols (voc), Pepi Lemer (voc),
Carolann Nicholls (voc). Rec. by Eddie Offord at Advision Studio, London, February 7th, 1969.
Waiting for Giorgio 14’02 unissued
add Derek Bailey (g), Peter Lemer (p)
Waiting for Giorgio 22’50 –
Oliv I (Stevens/Nicols) 19’33 Marmalade 608008/Polydor 2384 009 (lp)
all out except Watts, Dyani, Stevens, Nicols
Oliv II (Stevens/Nicols) 16’02 Marmalade 608008/Polydor 2384 009 (lp)
This is almost folk like , very different to the pointilism derided as plink plonk scratch by detractors, which characterises most of their out put.
many thanks to the friend
enjoy!!
18 July 2008
E.Parker,J.Edwards, L.moholo-(in memoriam Paul Rutherford)TOTAL MUSIC MEETING BERLIN 01.-04.11.2007 FLAC and LAME
Heres another great concert originating from dime.
great sound ...as good as any official recordings by Parkers regular trios..many thanks to H, and the taper/seeder /traders!!
sound quality is superb.
TOTAL MUSIC MEETING 01.-04.11.2007
Berlinische Galerie, Alte Jakobstr. 124-128in Memoriam Paul Rutherford
Evan Parker.....ts John Edwards.....b Louis Moholo-Moholo.....dr
friday concert: 2007-11-02 (45:44)
1) 38:592) 6:42
saturday concert: 2007-11-03 (50:52)1) 44:102) 6:42
total: 96 min
as for recommending a favourite official release, its a tough call because they are invariably good.
one that i listen to a lot is emanem's live at the vortex emanem 4022
http://www.emanemdisc.com/E4022.html
17 July 2008
Circle - Nefertiti - Live Bergamo March 1971
This comes as a liberated track from a bootleg Chick Corea compilation LP, seeded by inamorata (many thanks to him for letting it out). The original lineage is not clear, probably an FM broadcast, good quality. I don't worship at Braxton's shrine, but I do like this.
Details:-
Circle
March 19, 1971
Third International Jazz Parade at Bergamo Teatro Donizetti, Bergamo (Italy)
Anthony Braxton, sss & as
Chick Corea, p
Dave Holland, b & cello
Barry Altschul, dr & perc
01 Nefertiti (Wayne Shorter) 17:42
I guess someone, somewhere has the remainder of this recorded concert. Anyway, it's a track to add to the Hamburg concert recently posted.
As it's only a short recording, I'm posting in Flac only, link in comments.
16 July 2008
How often do we see the image of free jazz musicians being used to sell something else than their own records ?

Vintage Selmer ads from the back covers of early 70's French jazz magazines. No music in this post, just those nice pictures from another time !
P.
TTT featuring A.R. Penck "TTT Live! Konzert Basel" (ca. 1984, not cat. number) FLAC & MP3-320
Next number is our Penck series, this one features Frank Lowe & Louis Moholo (side B only).
Info from Rick Lopez's discography :
TTT featuring A.R. Penck: TTT Live! Konzert Basel
no issue # (LP) (SW) --issue # of "A 0022" is given by some sources, but is not seen anywhere on the recording itself.ca. 1984 / Museum Für Gegenwartskunst, Basel, Switzerland
- First Gig Studio Fawe Street
- What about JAZZ today!
Heinz Wollny (bass)
Frank Wollny (guitar)
Frank Lowe (tenor sax)
Louis Moholo (drums)
* Penck is credited w/ drums on front cover, piano on back.
Enjoy,
Pierre
15 July 2008
Frank Wright - Run with the cowboys


Continuing the Frank Wright series and his 80s recordings, this is a private lp release that was recorded at Studio Fawe Street. London E14. No date is given for this recording.
The line-up is as follows:
Frank Wright - tenor sax, vocals
Frank Wollny - guitar
Peter Kowald - acoustic bass
Coen Alberts - drums
A.R. Penck - el-piano, flute, vocals
Tracks:
1) Run with the cowboys
2) Do you like it (part 1)
3) An other day
4) Do you like it (part 2)
The back sleeve reports only one track on side 2, but a closer inspection of the record reveals that there is indeed a second track, which turns out to be a continuation of "Do you like it". For sake of convenience, I've split side 2 into two separate tracks.
New to this record is that Heinz Wollny is recording, but not playing, and Peter Kowald has been brought in to take care of bass duties and Coen Alberts to man the drums which is all for the better, in my view.
There's much more of a consolidated group sound here centered on the Wright - Kowald - Alberts trio and Frank Wollny, the most accomplished of the TTT lot, falls in nicely with the "outside" trio. Mr. Penck dabbles on el-piano throughout and is more of a distraction than a genuine contributor, but if you manage to somehow abstract from his "contributions", the record is not at all bad, not the least due to the presence of Wright and Kowald.
Three longish pieces (one split in two) and quite free-wheeling, this is the best I've heard so far of the Wright-Penck collaborations and certainly much better than the Ulm gig, posted here earlier. That said, I haven't heard all yet ...
Don Cherry-John Tchicai - Live Nyon 1980

Details:
1980-May-30
Total Time: 38:37
14 July 2008
New Movements in Jazz disc 1 ,1987, ICP orchestra plays Herbie Nichols (radio nederlands transcription service, 87.073/076) FLAC and LAME
this is a particular favourite of mine ,as good as Nichols repertory gets, all of the arrangements are by mengelberg. By icp standards this may strike some as being too reverentially straight. I guess it hinges on just how much one likes nichols’s music . The info is not included in the files
Program 1: ICP Orchestra & Guest soloists
1/ Gig (Nichols, Mengelberg) 9:50
2/ Houseparty starting (Nichols, Mengelberg) 5:35
3/ Blue chopsticks (Nichols, Mengelberg)
3:38
4/ Change of seas on (Nichols, Mengelberg) 5:44
5/ Happenings (Nichols, Mengelberg) 5:26
6/ Hangover triangle (Nichols, Mengelberg) 9:13
7/ Step tempest (Nichols, Mengelberg) 4:38
8/ 12 bars (Nichols, Mengelberg) 6:45
Recorded at Meervaart, Amsterdam on August 13, 1983
George Lewis: trombone;
Steve Lacy: soprano; Kent Carter: bass; Misha Mengelberg: piano; Han Bennink: drums; Michael Moore: reeds; Sean Bergin: reeds; Paul Termos: reeds; Wolter Wierbos: trombone; Garret List: trombone; Larry Fishkind: tuba; Maurice Hortsthuis: viola; Ernst Reijseger: cello.
1987 (?) - Radio Netherlands Transcription Service, 87.073-6 (4xLP)
12 July 2008
Frank Wright in Ulm 1990
Following Pierre's posting and jumping ahead in time, this is in all likelihood the last extant recording of Frank Wright. He died on 17 May 1990 and according to the information I've got, this was recorded on 4 March.
It was made at the Galerie Holm in the South German town of Ulm on the occasion of an exhibition of A.R. Penck's graphical works. It's quite obviously an amateur recording, under less than ideal conditions and with quite a bit of chatter in between and during tracks.
Checking the Penck discography at http://www.bb10k.com/PENCK.html, it appears that there is a cd release of this date and the above cd covers are taken from that release. I haven't been able to trace that release on-line which presumably would have sounded much better.
At this point, the band was down to Wright on sax and vocals, Frank Wollny on el-bass and Mr. Penck himself on drums. I've never been a fan of Penck the drummer. I find his style cluttery and clattery, and Wollny does a fair enough job on bass. So this is really for Frank Wright completists, but who isn't?
Quite a reverby recording, no known tunes except track 4 which is "Jerry", somewhat of a Frank Wright staple. It first appeared in a trio format on "The Earth", his debut album for ESP back in the sixties and later in a quartet format with piano on "Shouting the Blues", an album released in France in the late seventies.
Not much point in doing a flac of this one, imho, so only high-quality mp3s in the comments section.
The next one will be better, I promise!
Saheb Sarbib Quartet UFO! On Tour

Saheb Sarbib Quartet UFO! Live On Tour
1981 Cadence Records
Recorded Live in 1979
Saheb Sarbib bass, piano and shenai (an Asian oboe-like instrument)
Mark Whitecage alto saxophone (right channel)
Daunik Lazro alto saxophone (left channel)
Martin Bues drums
1. One For Mo (dedicated to Muhammad Ali) (Sarbib)
2. Egypt (Sarbib)
3. UFO (Sarbib)
4. Between C&D (Sarbib)
This is a wonderful live recording, with the bass, drums and two saxes line-up that Sarbib seemed to prefer. This was a new recording to me, although I know his Soul Note releases from the same period. I'm again indebted to Dale, bits of whose collection I'm letting loose to those who'll give the material a listen. As I work through the records Dale's shared with me I am beginning to realise what a man of good judgment he is. Most of the LPs he's shared are new to me, but they all contain truly marvelous music. I've been playing them on tight rotation for several weeks. My comments are based upon these recent experiences.
Sarbib is a driving bass-player, who writes angular and abstract themes which the saxophonists obviously enjoy playing no end. The double alto front line is an interesting one, and works well, especially as the stereo allocations allow the listener to hear who's playing at any one time. Whitecage plays on one of the Soul Note releases, but it's long-term associate Lazro who really impresses especially on the opening track. Bues seems to understand every twist and turn that Sarbib makes, and I had a big grin on my face for most of the time I listened to the two of them tumble around. I'm a sucker for such playing.
The LP's cover contains the transcript of an interesting, and at times playfully combative, interview with Sarbib by Bob Rusch from Cadence Magazine. There's quite a bit to learn about the bassist here, even when he is being purposely illusive. The middle eastern sounds that come through the themes and the band's playing seem to be something to do with Sarbib's origins, and his fluency in fusing the tightness of bands in the jazz tradition with free playing, Asian and African influences owe a lot to being the son of a jazz musician and studying widely across the world's music. I'd certainly like to hear more from the man, whose music I only have a small sample of, and I'm completely ignorant about his European work and US-based big bands. The origins of 'One for Mo' are clear; 'Egypt' is the strongest articulation of the North African themes in his work; and 'UFO' describes the landing of a craft from another world. It's the most textual of all the tracks. 'Between C&D' isn't a musical reference as I first thought, but named for the Manhattan 10th Street loft of John Betch, whom Sarbib has played with. Whitecage has his strongest playing here, with twining, bluesy lines forming round mellow bass and percussion. When Lazro, solos the band go into overdrive, and then sit back and admire all that they have achieved, prod it some more, and then let Sarbib have pretty traditional solos, before a jolly ensemble out. The audience are strangely reserved, possibly not familiar with the music. I'm guessing it was recorded in Europe, possibly France.
It's a joy throughout.
Expect more goodies soon.











