Have the LP since several years. Plus I got a rip from a friend years before I found the vinyl.
The sound of the rip seemed to be really OK. But it had a lot of nasty scratches which caused many clicks and some pops. Tried to remove as many as possible. (cover from the www)
Especially great to my recent listening experience is the bass of PK - but it is all along a classic.
All four musicians still young and at the beginning of their considerable musical achievements.
Pierre Favre, drums
Evan Parker, soprano & tenor saxophone
Irène Schweizer, piano
Peter Kowald, double bass
A. What Happened To The Old Cop Sets, Clancy? 19:18
B1. Lovers 3:35
B2. Dedication (For John C.) 15:56
Recorded: November 1969, Tonstudio Max Lussi, Basel.
While preparing this post I got confused a bit. Got this with a text file which states 11 items but my version has 12. The point of consideration are tracks 5 and 6. The list coming with the CD-r I've got years ago says there's only tr. 5 ( EP-HD-JL). But the folder contained also tr. 6 (EP-JL).
Maybe the performance of the trio was split into two separate tracks? And I cannot hear Hugh Davies on track 6. So it seems the way it is offered here might be accurate enough. Maybe someone can shed some light on this...Andy?
I left the short announcements which are obviously truncated - but better some meagre crumps of hopefully reliable information than none at all.
Interestingly this recording is not mentioned in Ben Watson's book on Derek Bailey, although it has a particular chapter on Company concerts and recordings.
There is an official Company recording from the I.C.A., London, 24-28 May 1983, which is also the only Company never reissued.
But the music is great and IMO that's what is important.
James Newton, flute Marty Ehrlich, alto & tenor saxophone, clarinet, bass clarinet Cindy Iverson, bassoon Shem Guibbory, violin Abdul Wadud, cello Anthony Davis, piano
1. Under the Double Moon: Wayang No. IV (A. Davis) 42:58 2. Whose Life? (A. Davis) 10:00 3. Still Waters No. IV (A. Davis) 33:25 4. A Walk Through the Shadow (A. Davis) 15:11
NDR Jazz Workshop No. 180; produced by Michael Naura.
Recorded on May 19, 1983 at Studio 10, Grosser Sendesaal des NDR Funkhauses, Hamburg.
A firend of mine recorded this - well - years ago. It was stashed away somewhere in the cellar - and several months ago he decided to get rid of all those cassette tapes.
I gladly offered my helping hand.
Conrad Bauer, trombone
Shelley Hirsch, voice
Jon Rose, violin(s)
1. Part I (25:00)
2. applause (0:15)
3. Part II (13:24)
4. applause (0:39)
5. Encore (4:08)
6. applause (0:34)
7. applause-encore_applause_audience_encore [or what?] (3:47)
8. audience-end-music & end-applause (0:35)
Recorded on July 15, 1989 at Jazzgalerie Nickelsdorf, Austria at Konfrontationen '89.
Here's what mvns about this LP: "Arranged and composed by Keitaro Miho (he didn't perform in this album),
this is a spiritual adventure to a world where traditional Japanese
music clashes and melts with contemporary jazz improvisations. The
result is a monster of an album, with soaring vocals, searing saxophone
and shakuhachi solos, mad electric piano action, uplifting koto
strummings, as well as grooves so hard it feels you got punched in the
gut."
[There is a CD version (out-of-print) which is a disaster, sound quality-wise - crude needle-drop. There's also a vinyl reissue but it's out-of-print as well]
Takeru Muraoka, soprano & tenor saxophone, indian flute
Takehisa Suzuki, trumpet
Minoru Muraoka, shakuhachi
Suma No Arashi (Hideakira Sakurai, Kazuo Kojima, Nozomu Nakatani), koto
Ryo Kawasaki, electric guitar
Masahiko Satoh, electric piano, harpsichord
Yasuo Arakawa, electric bass
Kikutada Katada, tsuzumi (japanese hour-glass shaped drum)
Akira Ishikawa, drums
Takeshi Inomata, drums
A1. Mizaru 6:33
A2. Kikazaru 4:38
A3. Iwazaru 6:59
B1. Kine 7:16
B2. Nomen 7:39
While I was checking the discography of Phalanx in preparation of this post I was surprised to learn that obviously this concert have been partially published by James « Blood » Ulmer himself on his own label: American Revelation Music Inc. The only reference about this can be found on discogs:
But there is no copy for sale on discogs and I searched on the others most famous places where music can be bought and this cd doesn’t even appears. To have searched years ago some references of American Revelation Music, I know that this label have no distribution except by James « Blod » himself, also everything he publish is in a very limited numbers. So if this cd have existed it might be gone for good and very hard to find now. This is the first reason why I have decided to do this post, the second reason is the fact that on the cd, only a part of the concert have been published and the order of the tracks has been changed, here we have the full concert with the correct track order.
01. Rough
02. Black Rock
03. House People
04. Recess
05. Where Did All The Girls go?
06. A Night Out
07. More Blood
08. Upside Down
09. I Belong In The USA
10. Nothing To Say
11. Pass Time
12. Love And Two Faces
13. Drum Solo
14. Church
15. Funky Lover
-James « Blood » Ulmer: guitar & vocals
-George Adams: tenor sax & vocals
-Amin Ali: electric bass
-Grant Calvin Weston: drums
Recorded live for radio Bremen on February 26, 1986
This is the first version of Phalanx, the second one who recorded for DIW have seen Amin Ali replaced by Sirone and G. Calvin Weston by Rashied Ali.
I grew up in an apartment building in East New York, Brooklyn.
I
remember my father coming home after a long day of manual labor,
putting records on the turntable, and creating enchantment. I remember
capturing a piece of a remembered song that we danced to, and singing it
in the reverberant hallways. I was fascinated by how the sound
transformed as I moved through different locations in the building and
out onto the street, recycling narratives while collecting sonic and
visual images along the way.
My work today, conjuring locations,
landscapes, personas, finding language, streaming consciousness, forming
stories—is an extension of these childhood investigations, which I
channel through my compositions, improvised vocal performances, staged
multimedia and site-specific pieces, narrative radio plays, and sound
installations. The work reverberates in real and imagined places inside
and outside of the body which is my recorder, and the storage house of
memory.
(Shelley Hirsch)
A1. HmmmHaaayHaaa 3:25
A2. Utanussa (For Uta) 4:20
A3. Caspian Diva 3:31
A4. Hand Ball 3:49
A5. In The Mercurius Wagon 6:10
B1. Rosenberg Sisters 2:04
B2. Crackerbrain 2:59
B3. Conference Call 2:58
B4. Oh Death! (Traditional) 4:04
B5. Occidental Dreams Of A Geisha 2:33
B6. Why Do You Go There? 3:21
A1, A3, B1, B2, B3, B5 recorded during an Artist-in-Residence grant at Studio P.A.S.S. in New York, early 1985.
A2 recorded live in concert at the Kunstverein in Stuttgart, West-Germany, December 1985.
A4, B6 recorded at The Institute for Audio Research, New York, July 1986.
A5 recorded at the Kammer Theatre in Stuttgart, October 1987 (Mercurius Wagon built by Horst Rickels, Holland).
B4 recorded live in concert at Het Apollohuis, Eindhoven, The Netherlands, January 1987.
Additional re-recording at Such A Sound Studio, Brooklyn, New York.
Apollo Records AR 118706 (Netherlands, 1987)
(vinyl rip)
This lp has been provided some years ago by Solomon in the contribution section. A very beautiful record in my opinion, more inside than outside but with nice compositions.
A1. Over And Over Again
A2. Conglomeration
A3. Vico
A4. Celona
B1. P’Tunia
B2. Simseop
B3. The Looser
B4. Celona II
B5. Remote Control
Martin van Duynhoven: Drums
Victor Kaihatu: electric bass
Nedly Elstak: piano, trumpet
Recorded at Coreco-Studios Amsterdam - Holland Febr. 24, 1978
Coreco lp 02 vinyl rip
Park Je Chun, drums, percussion
Masahiko Satoh, piano (1)
Kang Tae Hwan, alto saxophone (2, 4)
Wadada Leo Smith, trumpet, bamboo flute (3)
Gustavo Aguilar, percussion (4)
Richard Maurer Jr., percussion (4)
1. Song I 11:56
2. Song II 12:31
3. Song III 7:19
4. Song IV 10:34
5. Song V 9:21
Recorded live at Yeongang Hall, March 10, 1999 (1) and June 30, 1998 (5);
at Duo Mull Workshop Hall, February 14, 1998 (2);
at Jung Dong Art Hall, May 4, 1997 (3); and at Live I Hall, March 21, 1996 (4)
Here is some info by our donator mvns about this LP: "...It's part 10 of 11 educational LPs meant to accompany an elementary school-level music textbook. Side A contains a sidelong track composed by Masahiko Satoh that depicts a journey through the history of jazz. It features a lot of J-jazz heavyweights. Side B is an unsettling choral work by the renowned Tokyo Philharmonic Chorus about the nuclear bomb."
One for Wallofsound, this one, I would think. Following on from my earlier post of Sunny Murray at Studio Rivbea, this is from approximately two months later at a radio station in Philadelphia. The line-up retains the Murrays and Monnette Sudler from the earlier recording, but adds interestingly Khan Jamal on vibes and Sonny Johnson on bass.
Six tunes, all untitled according to the info file accompanying this set. Not really a free jam, as it is described, but rather well-structured tunes, imho. And quite melodic, too.
Tibetan Buddhist Monks of the Schechen Tennyid Dhargyeling Monastery:
Pema Thinley Phurba Tsewang
Instruments: Thung-Chen - long, deep-toned instrument similar to alpine horn Jya-Ling - double-reeded shenai Kangling - thigh bone trumpet Dun-Kar - conch shell trumpet Rollmo - small cymbals Sinyin - large cymbals Na - large double-headed bass drum Chanting
1. Who's Watching the Watcher I (Trowo) 2:14 2. Light Shower (Benzasattva) 8:33 3. Horn Of Plenty 8:33 4. Minder's Kindly Eye (Shiva) 5:40 5. A) An Essence Of Its Own (Du Sum Sange) B) Mountain Journey 7:13 6. Inner Voice 121 (Chin Bep) 5:04 7. A) Good Beat B) Skeleton Dance (Dördak) 2:03 8. Who's Watching the Watcher II (Trowo) 2:08
Here on side A we have monks chanting with Jazz. I know only one other project which mixes Jazz with Buddhist chanting: Bardo State Orchestra - Wheels within wheels.
1 Ein Hauch Von Ewigkeit (Touch Of Eternity) 2 Nat's Limp Dance 3 Alpöhis Erben (The Heirs Of Heidi's Grandfather) 4 Three Improvisations (Native Discourses) 5 Improvisation Four (Steel Elbows) 6 Improvisation Five (Concrete Edelweiss) 7 Time Unit A 8 Velvet Caves
-Jürg Solothurnmann: tenor, alto, soprano sax.
-Urs Brendle: guitar, guitar synth.
-Roland Schiltknecht: hackbrett.
-Gabriel Schiltknecht: drums, percussions.
The hackbrett is a table cithare with strings that are knocked with mallet, this instrument can be found in Germany, Austria, Switzerland and in Slovenia. It have a relation with the Santour.
Here we have music which contains traditional tunes and yodeling from Austria.
Not from professional musicians but from a landlady and her brother. Nowotny was a teacher who helped the siblings to find a record company and participated here with his singing on a few tracks.
Sometimes it sounds like it was recorded somwhere in Central Asia - at least a bit.
Kathi Hohla, vocals
Franz Biereder, vocals
Rudolf Nowotny, vocals (on a few tracks)
M. Königseder, zither
01. Innviertler Landler 2:49
02. Innviertler Trio-Weisen 2:57
03. Bei Mein Diandl Ihrn Fenster 2:34
04. Innviertler Gstanzln 3:21
05. Bua, Waunst Schiaßn Wüst 2:46
06. Heut Scheint Der Mond So Schen 2:54
07. Geh Is Her Über D'Alm 2:28
08. A Bleamal Und A Herz 3:02
09. Liebe Leidln, Hörts Mi Au 2:57
10. Die Zufriedenheit 2:58
11. Beim Gmoawirt Is Hochzeit 3:06
12. Erzherzog-Johann-Jodler 2:34
13. Innviertler Landler 2:26
14. Die Gamserl Schwarz Und Braun 2:54
15. Drunt' Im Unterland 2:31
16. Doppelt Doppelt 2:46
17. 's Roserl 2:39
18. Auf Bergen Is So Lieblich 3:05
19. Jägers Abschied 3:15
20. Das Schnupftabak-Doserl 3:06
21. Waun I In Woid Nei Geh 3:13
22. Jetzt Drahn Ma Amoi Zua 2:54
23. Ei, Du Liabe, Siaße Nachtigall 2:54
24. Mei Hoamat Hob I Im Zillertal Drin 3:00
Here we have another high quality rip by mvns - my thanks goes to him.
Kondo Masaomi is a well know Japanese actor who made this one-off LP in
1971. He raps away on 6 tracks about various plant species such as the
Mandragora, breathing out an endangered atmosphere that borders at times
on sheer anarchy and agitation.
Takeru Muraoka, soprano saxophone
Hiroshi Suzuki, trombone
Kiyoshi Sugimoto, guitar
Masahiko Satoh, piano, electric piano, music
Masaoki Terakawa, electric bass
Akira Ishikawa, drums
Masaomi Kondo, voice
Michio Yamagami, lyrics
Today I got offered the above LP (other sources say CD) from the Cyprian bootleg label Hi Hat.
The cover is obviously nonesense as it has nothing to do with the actual recordings.
Maybe again culled from this blog or another online source.
We've posted it here.
The release info shows the following line-up for the upcoming CD (most likely only on CD).
1. ANDALUSIAN PROVERB Jeanne Lee, vocals Albert Mangelsdorff, trombone Gunter Hampel, vibraphone Buschi Niebergall, bass Pierre Courbois, drums
2. CUBIS Marion Brown, alto saxophone Peter Kowald, bass; Sven-Åke Johansson, drums
3. JEPA Albert Mangelsdorff, trombone Evan Parker, soprano saxophone Peter Kowald, bass John Stevens, drums
4. RELATIONSHIP Don Cherry, trumpet Evan Parker, soprano saxophone Peter Kowald, bass Buschi Niebergall, bass John Stevens, drums
In 2012 Tete Mbambisa have published his first solo album that contains some of the compositions played here and others tracks. it is an absolutely great album for those who are interested in cape jazz, the sound is superbe and the music have a strong feeling, you can buy it here:
https://jisarecords.bandcamp.com/album/black-heroes
Sunny Murray’s Untouchable Factor
Studio Rivbea
New York City, NY
6.29.1975
01 Untitled Improvisation
Total time: 1:01:55
Byard Lancaster - bass clarinet & reeds
David Murray - tenor saxophone
Kazutoki Umezu - alto saxophone
Juma Sultan - electric bass
Monnette Sudler - electric guitar
Sunny Murray - drums
A few posts coming up on the masters who have passed away over the last year, starting with Sunny Murray. This is a 1975 tape of Sunny Murray's Untouchable Factor at the famed Studio Rivbea, run by Sam Rivers, probably derived from a radio broadcast, posted by carville on the Dime network and given a remaster upgrade by EN. With the post came a couple of paragraphs of "liner notes", from which I quote below:
"There will never be another Sunny Murray and this performance, a Loft Jazz history lesson in its own right straight from Sam Rivers' legendary Studio Rivbea at 24 Bond Street in Lower Manhattan at the peak of the era, illustrates several aspects of why. It's also somewhat unusual in that it has Juma Sultan -- who most notably played percussion with Jimi Hendrix at Woodstock and on Dick Cavett's talk show in the summer of 1969, but began his musical life as a bass player -- on electric bass, which leads the ensemble into a few ostinato passages along the way that start to sound less like a fiery Free Jazz freakout and more like Miles Davis' "Dark Magus," or even the noodlier, jazzier improvs of 1971/72 King Crimson.
Of course it does feature plenty of those maelstrom Out pyrotechnics, and we certainly know that Sunny created something unprecedented and of a very high energy in his 81 years at the forefront of improvisation, idiomatic and not-so-idiomatic. The whole Free thing may never have gotten anywhere had he not done so much to lend rhythmic guidance and a controlled, furious drive to its silent ebbs and hot-lava flows, so please never forget Sunny, without whom the trajectory of the music we love would surely not have been the same. Beyond that, R.I.P. to the Maestro and of course do enjoy this remaster of an unbelievable and historic concert, transmitted by galaxy-class explorers from the heart of a golden age in the endless annals of Jazz lore.--EN"
I don't have much to add to that fulsome praise, except to note that Monette Sudler is still active in the Philly area and that Kazutoki Umezu has ratched up an extensive discography, of which I've heard nothing so far. Pehaps the regular Japanese expertise on this board might fill in the blanks?
The CD says it's a traditional theme, but the music/theme sounds very closely to Mbambisa's 'Stay Cool' from the LP "Tete's Big Sound", released 1988. So I'm inclined to credit this song to him. This version seems to be previously unreleased. But I'm in no way an expert on Jazz from SA - so I could be wrong....
A1. Pezzo Con Ritegno (Scusa) 6:33
A2. Pezzuola 3:33
A3. Pezzo Tanto Per Dire 2:33
A4. Pezzo Per Finta 1:33
A5. Pezzoide 1:27
A6. Pezzo Ellittico 2:23
A7. Pezzo Ovale 3:02
B1. Pezzo Di Profilo 2:53
B2. Pezzo Sul Ramo 3:32
B3. Pezzettino 2:03
B4. Pezzo Di Genere Con Rovine 3:38
B5. Pezzariello 0:39
B6. Pezzutello D'uva 1:16
B7. Pezzo Sul Panchetto 3:35
Recorded at Barigozzi Studio in Milano, Italy on September 30, 1978.
Red Record VPA 137 (vinyl rip)
Following is the original text by sotise:
Here's the other record on Red by the Sic Trio, as LYM points out in his post these are essential documents of the Italian free scene in the late 70's.
Not quite as anarchic as either the German free scene as documented by FMP or the British and Dutch Scenes , it has its own distinctive identity and is as far from generic plink plonk caricature's as one could hope for.
I can't add all that much to LYM's review of Pezzo, the second album by the trio.
Except that these records have been richly rewarding over the years for me as a listener.
Giancarlo Schiaffini, it has to be said is one of the late 20th century masters both as a composer (of electronic, chamber and orchestral music), jazz player and free improvising trombonist..his technique and breadth of invention is the equal to any better known name...these records are breathtakingly stunning and deserve wider currency.
It's a little known fact that Red records were in the vanguard of Italian labels documenting 'free improvised music' in the late 70's.
However by the early eighties, clearly influenced by the 'neo classical' zeitgeist permeating through from the states, they more or less reversed their exploratory program to focus on music in a much more conventional hard bop mode... with a few exceptions most of their early catalog has not been reissued and seems unlikely to be, a real pity since they document an underrated, VERY under documented scene.
I've adopted this post by LYM. Here's so much information - thought it's better to "hijack" this early IS post than to create a new one with less info.
Recorded at Barigozzi Studio, Milano, Italy on September 29, 1978.
Red Record VPA 136 (vinyl rip from my copy)
And here follows the original text from July 2009 (minus the track-listing):
Here am I. This is my first front page post here.
The album I’ve chosen is a corner stone in free Italian improvised music. This is an almost rare recording, never re-issued on cd, played by one of the first and most important groups in free jazz and improvised music in Italy and perhaps in Europe. Schiaffini and Colombo are master players of their instrument, so this isn’t naive music, isn’t easy to play, technically and for the interplay that requires, music mostly improvised by “total musicians” equally at home with free improvisations, classical contemporary music and folklorical.
If I should find musical roots to this music I can quote: the AEOC, classical contempory music (Vinko Globokar with which Schiaffini studied is the player for which Luciano Berio wrote his Sequenza V for solo trombone, folklorical-mediterranean music.
Before this session Schiaffini had recorded only one album under his name (in 1973) and Colombo two others for the same Red Record this was their first collaboration with this amazing trio who produced two albums in two days at the end of September 1978.
Two annotations: as said in the cover notes irony plays an important role in this music (generally in Italian free-improvised music) so the titles are impossible to translate, being a refined game about the use of the Italian word “pezzo”.
Cover notes (translated from Italian)
Giancarlo Schiaffini is one of the better known in avant-garde and new music in Rome. His story is not so long to tell but it’s rich. Born in Rome in 1942, graduated in Physics in his hometown University; self-taught as a musician, he early devoted himself to jazz contributing, with the “Gruppo Romano Free Jazz”, to one of the first experience of free improvised music in Italy.
Lately he took an interest in European contemporary music; in 1970 he studied in Darmstadt with Karlheinz Stockausen, Gyorgy Ligety, and Vinko Globokar (the master trombone player) and in Rome with Evangelisti. In the same 1970 founded the chamber music group named “Nuove Forme Sonore” (“New Shapes Of Sound”). He plays trombone, and recently has become a member of the Giorgio Gaslini sextet, and has played in many concert dates. Today he teaches at the Pesaro conservatory.
His fellow musicians in this album had played with him many times and they too “have their papers in order”. Eugenio Colombo plays flute, alto sax, bass clarinet (in one track, as does Schiaffini, plays the zink, the ‘18thcentury “cornetto” similar to a recorder with the trumpet’s mouthpiece).
He has played in many avant-garde groups in Rome and has a particular knowledge of folklorical (mostly Mediterranean) music, drummer and percussionist Michele Iannaccone has combined classical musical studies with jazz and improvised experimental music All these experiences are the basis of the music here contained; this record don’t want to be a “jazz record” even if the approach of the players to their intstruments is a jazz one and the derivation from American free jazz is evident. We can better define this music as improvised music: the structures aren’t initially given, are the last result of a collective work in which “alea” plays an important role. The music is the result of a workshop or a collective searching work during many sessionsof improvisation, in this music the feeling and creativity of every single musician interacts with that of the others. The preliminary conditions for similar adventures in the world of sounds are the mutual experiences and similar musical directions of the musicians involved. This mutual experiences narrow the alea’s action field and allow the musicians to centre towards an acceptable and coherent musical result. The last goal of such a collective work is the expression, at a starting point, of the individual sensibility and creativity: to quote Joyce this is a musical “stream of consciousness”. For this reason you do wrong if you try to appreciate this music using musical parameters taken from one or another musical culture. Lookin’ for swing (mostly loved by jazzfans) in this music would be a nonsense, the jazz education of this musician is teared to shreds as the ruins of a disappeared civilitazion: Here we have: the sound, a broken phrasing by the trombone, airy percussions, the sounds (and noises) produced by the instruments played by Colombo, that’s all. The conception is different and so totally different are the results. To appreciate this music you need a great concentration, but first of all an intellectual agreement to the “modus operandi” of these musicians, a wide open and clear mind, free from taboos and preconceived ideas.
Simply read the title tracks: they are the antithtesis of what we normally mean for a “plan”. The title tracks, instead , are a declaration of war (with irony as only weapon) against every plan.
Arrigo Polillo
This choice is a "thanks" to sotise/sotisier who gave me the opportunity of posting in this marvellous place.
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