Miroslav Vitous - Infinite Search (1970)

Genre: Jazz | Total Time: 47:20 | Size: 126.73 MB | MP3 320 kbps
1 Freedom Jazz Dance .... 10:50
2 Mountain In The Clouds .... 1:49
3 When Face Gets Pale .... 6:48
4 Infinite Search .... 6:43
5 I Will Tell Him On You .... 10:56
6 Epilogue .... 6:57

Bass – Miroslav Vitous
Drums – Jack DeJohnette, Joe Chambers (tracks: 6)
Guitar – John McLaughlin
Piano – Herbie Hancock
Tenor Saxophone – Joe Henderson

With John McLaughlin, Herbie Hancock, Joe Henderson, and Jack DeJohnette, this group rivaled the best fusion bands of the day. It must have been an intimidating challenge for a young Czech bassist to lead such a group on his debut album as a frontman, especially since he composed five of the six tracks. Recorded in late 1969, roughly the same time as the historic Bitches Brew, and the year before Vitous began a stint with the innovative Weather Report, this was trend-setting fusion. It's produced by Herbie Mann, for whom Vitous played on such albums as Memphis Underground and Stone Flute.


Sten Sandell Trio - Oval (2007)

Genre: Jazz | Total Time: 49:53 | Size: 125.33 MB | MP3 320 kbps
1 Ovala Takter I .... 14:21
2 Ovala Takter II .... 17:39
3 Ovala Takter III .... 15:25
4 Ovala Ballad .... 2:28

Bass – Johan Berthling
Design [Graphic] – Jonas Schoder
Drums, Percussion – Paal Nilssen-Love
Executive-producer – Patrik Landolt
Liner Notes – Ken Vandermark
Mixed By, Mastered By – Göran Stegborn
Painting [Cover Painting] – Terry Nilssen-Love
Photography By – Francesca Pfeffer
Piano, Mixed By, Mastered By – Sten Sandell
Recorded By – Jeroen Visser

Intakt Records, Catalog#: Intakt CD 122
Country: Switzerland; 2007, (Avant-Garde, Free Improvisation, Contemporary Jazz, Free Jazz)
Design [Graphic] – Jonas Schoder, Painting [Cover Painting] – Terry Nilssen-Love, Photography By – Francesca Pfeffer, Executive-producer – Patrik Landolt, Liner Notes – Ken Vandermark, Mixed By, Mastered By – Göran Stegborn
Recorded on 4 June 2005 at Taktlos Festival, Rote Fabrik, Zürich. Mixed and mastered in Stockholm, May 2006.

Liner Notes:
“Sten Sandell ’ s playing may be connected to New Music and Improvised Music, and neither of these musical directions would be associated with what is typically considered as Jazz. However, both Paal Nilssen-Love and Johan Berthling have done considerable work with bands more connected to the history of that aesthetic (in Paal ’ s case, most notably with the quintet, ATOMIC; in Johan ’ s, perhaps the trio LSB). The combination of these sets of experience bring considerable force to the range of possibilities in the music played by this group and on this album. Having this music in the air provides important trace of what it means to be alive in our world that would otherwise be missing. I believe that this trio ’ s playing gives us one more reason to live on this planet with optimism for the future. — “ Why Music? ” A very good answer is provided here, through the sounds and ideas of Sten Sandell, Paal Nilssen-Love, and Johann Berthling working together on OVAL.”
— By Ken Vandermark

Busy Chicago multi-reed man Ken Vandermark suggests in his liner notes of Oval, the third release by the Sten Sandell Trio, that the Swedish pianist and composer may represent the future of the piano in contemporary and improvised music. Like other pianists of his generation, Sandell is influenced by the innovations of Cecil Taylor but brings many more ingredients to his music, such as the theories of John Cage and Morton Feldman, classical musical elements from India and Japan, folk music from Sweden, electronics, voice, and an idiosyncratic approach to the piano that often uses extended percussive timbral capabilities. Sandell often works with free improvising ensembles, most notably with the Swedish trio Gush, (reed player Mats Gustafsson and drummer Raymond Strid) whom he has recorded and performed with since 1988, as well as other notable European improvisers such as Evan Parker and Barry Guy.
Oval was recorded beautifully at the Taktlos Festival in Switzerland in June, 2005, and featured Sandell with fellow Swedish bassist Johan Berthling and Norwegian drummer Paal Nilssen-Love. All three musicians demonstrate the same exemplary high level of communication and creativity that characterized their earlier releases, Standing Wave (Sofa, 2000) and Flat Iron (Sofa, 2002). Throughout this live set they supply a convincing answer to Vandermark ’ s musing as to why one would choose to play non-commercial music in an inconsiderate climate. The trio explores so many fascinating sonic possibilities within this format that Vandermark ’ s question becomes redundant.
The velocity and density of Sandell’s playing at the beginning of the first piece, “Ovala Takter I”, is an obvious continuation of Taylor’s legacy, but Sandell navigates this trio into newer territories, using varied and complex methods such as sustain, concentrated attacks, or adding light vocals. He manages to turn aural textures into deep meditations about the possibilities of the piano, more in common with the ethereal and almost transparent playing of the British free improvisation group AMM ’ s John Tilbury, showing the imaginative interplay between members of the trio. The trio keeps a contemplative dynamic at the beginning of “Ovala Takter II,” trying to find common threads in its timbral explorations, and reconstructing its fragile interplay. At times, Sandell’s percussive piano triggers Nilssen- Love ’ s wise use of the cymbals, creating a resonate sound between the two instruments. Berthling ’ s low-end rumination on the bass opens “Ovala Takter III,” while Nilssen-Love and Sandell color his sound with abstract and slowly forming textures that linger in memory. The short and concluding piece, “Oval Ballad,” suggests a gentler example “I believe that this trio’s playing gives us one more reason to live on this planet with optimism for the future”, concludes Vandermark; and indeed Oval is a remarkable recording.
— By Eyal Hareuveni , All About Jazz, USA, Mai, 2007

Paul Dunmall Sun Quartet - Ancient and Future Airs (2009)

Genre: Jazz | Total Time: 59:01 | Size: 149.85 MB | MP3 320 kbps
1 Ancient Airs .... 49:43
2 Future Airs .... 9:19

Design – Travassos
Double Bass – Mark Helias
Drums, Vibraphone – Kevin Norton
Executive-producer – Trem Azul
Mastered By – Luís Delgado
Photography By – Hernani Faustino
Recorded By, Mixed By – Jon Rosenberg
Tenor Saxophone, Bagpipes, Producer – Paul Dunmall
Tenor Saxophone, Soprano Saxophone – Tony Malaby

Clean Feed – CF138CD
Format: CD, Album; Recording Date : 2009; Style: Free Improvisation
Barcode: 5 609063 001389
Design – Travassos, Executive-producer – Trem Azul, Mastered By – Luís Delgado, Photography By – Hernani Faustino, Recorded By, Mixed By – Jon Rosenberg
Recorded on 16 June 2008 at The Living Theatre, New York; (Mixed June 24th 2008)

As he has proved in other situations – most notably his two decades long membership in both the London Jazz Composers Orchestra and the collective quartet Mujician – saxophonist Paul Dunmall is the consummate group player.

With wide-ranging influences that take in Carnatic sounds, semi-folk material, so-called Ecstatic Jazz and free-form improv, the London-based musician is known for his tenor saxophone playing, but also tries out other members of the saxophone family – including the saxello – and has recently turned his attention to the border bagpipes.

Each of these ancillary horns makes an appearance on these notable quartet sessions. Recorded in the company of fellow British improvisers, the September Quartet features bassist Nick Stephen and drummer Tony Marsh, the trumpet of Jon Corbett and Dunmall ’ s tenor and saxello playing. Flash forward two years to 2008, when after an appearance at New York ’ s Vision Fest, Dunmall recorded the next day as part of the completely different Sun Quartet. Here his partners are all well-regarded Americans: bassist Mark Helias and Kevin Norton on drums and vibraphone, plus Tony Malaby playing soprano and tenor saxophones.

Dunmall not only showcases his tenor work, but his bagpipe style as well.
Of similar build and hirsuteness, both Malaby and Dunmall bring the same lung power to their tenor saxophone playing, using split tones, inflating diaphragm vibratos and altissimo cries to good advantage. Operating in double counterpoint and exploring individual sonic paths only feature distinguishing Malaby from Dunmall – and vice versa – is that one sax appears to be pitched higher than the other. One sky shrieks while the other favors moderato timbres. Exact identification only happens when Malaby switches to the soprano and Dunmall brings out his bagpipes.

During those sections of the extended improv, Malaby ’ s soprano wriggles in serpentine lines which expose nodes as well as notes and uses a grittier tone to goose the tempo. Far away from pipe band harmonies meanwhile, Dunmall ’ s pipes and bellows pump up the available air supply with widened and pressured tones leading to triple and quadruple multiphonics. As the pitch-sliding bagpipe drone redefines the overall sound, Malaby narrows his output with reed biting abrasive tones.

Helias ’ thick lope and Norton ’ s slaps, rebounds and accentuated drum strokes hold the performance together regardless of the reedists ’ oral gymnastics. However the metallic sparkles and slides instituted by Norton ’ s vibraphone in the tune ’ s slower sections create a unique transitional texture. At points either one or another of his percussion instruments foreshadows tempo and pitch changes, as when cymbal taping introduces internal split tones intensity from the saxophonists or when pin-pointed drum strokes and rim shots usher in a section of mellow and balladic reed runs.

Divided into four long sections, as opposed to the massive single track and short encore that make up the other CD, What Goes Around is another ad hoc set up. British expatriate trumpeter Jon Corbett arrived from his home in Germany to record with his homeboys, who besides Dunmall, include veteran bassist Nick Stephens, who has recorded with everyone from Norwegian saxophonist Frode Gjerstad to American Norton, and drummer Tony Marsh, a frequent Stephens associate.

Unlike Norton, Marsh confines his work to the drum set and the drummer ’ s traditional time- keeping role, only figuratively stepping forward a few times to take sharp and restrained solos. In this different configuration, there ’ s less good-natured challenging from Dunmall – although his work with Malaby could scarcely be termed a saxophone battle – and more tone intermingling. Still, it ’ s the tenor man who, more often than not, steps outside the comfort zone with measured split tones, while Corbett specializes in andante trumpet flourishes, gentling grace notes and muted obbligatos.

At the same time, the brass man does reveal short, frenetic sound bites or hummingbird-quick tube explorations, as he does on “ Follow Me Follow ” . There, his gentling trumpet obbligato precedes soprano saxophone sluices and cymbal vibrations. Abutting one another, the horns ’ output separate lines as Stephens ’bass walks and Marsh’ s drums rebound. With the horns ’ irregular vibrato sweetened with oral splays and growls, the track ends with a conclusive double bass pluck.

Fittingly the four climax with “ All ’ s Well that End ’ s Well ” , with Dunmall back on tenor, Corbett playing chromatic lines, and the rhythm section creating a rolling wave of string- thwacked thunder plus skittering drum beats and rim shots respectively. As the saxophonist introduces squat split tones and slurs to break up the time, he ’ s aided by the bassist ’ s supple cross strokes and half stops. Eventually the trumpeter and reedist stutter tremolo tones at one another: with one man ’ s timbres echoing the first ’ s almost immediately after initial creation. Finally sul ponticello string work, clattering drum beats, brass flutter-tonguing and reed tongue-stops coalesce architecturally, until the sounds gradually diminishing into a warm flurry of grace notes from both horns.

Whichever part of this mixed Anglo-American program you prefer, each CD shows off Dunmall ’ s inventiveness in a context with equally impressive cohorts.

by Ken Waxman (Jazzword review on July 6, 2009)

Max Roach and Cecil Taylor - Historic Concerts 1979 (2CD-1984)

Genre: Jazz | Total Time: 1:46:39 | Size: 227.50 MB | MP3 320 kbps
CD 1
1-1 Presentation .... 1:06
1-2 Drums Solo .... 5:02
1-3 Piano Solo .... 5:04
1-4 Duets - Part I .... 40:04
CD 2
2-1 Duets - Part II .... 38:32
2-2 Interviews Part I ....9:36
2-3 Interviews Part II .... 7:14

Percussion – Max Roach (tracks: 1-2, 1-4, 2-1)
Piano – Cecil Taylor (tracks: 1-3 to 2-1)

Interviewee – Cecil Taylor (tracks: 2-2, 2-3), Max Roach (tracks: 2-2, 2-3)

Label: Soul Note – 121100/1-2
Format: 2 × CD, Album; Country: Italy - Released: 1984
Style: Free Improvisation, Free Jazz
Recorded at Mc Millin Theatre Columbia U., New York, December 15, 1979
Executive-producer – Giovanni Bonandrini
Photography By – Collins H. Davis Jr.
Re-Design (inside and page 4) By  – ART&JAZZ Studio, By VITKO
Producer – Max Roach
Producer [Concert] – Bill Goldberg
Recorded By – Peter Khun

You won’t hear Cecil Taylor on commercial radio these days although back in the sixties I could catch him on WYLD AM&FM, Saturdays 4-7pm on the “ This Is Jazz ” program hosted by Larry McKinley, a popular New Orleans-based DJ (I believe Larry was originally from Chicago). Larry was renown for his weekday morning programs, The Larry and Frank show.

Larry was the straight man and Frank F. Frank was… well, what would you expect with a name like Frank F. Frank. Imagine Langston Hughes’ Jess B. Semple but with an ignant (short for an aggressive but lovable ignorant) New Orleans hipster inclination. Larry used to pinch his nose to do the voice of Frank. The routines were off the chain, including a hilarious pre-taped one-liner that would be inserted at appropriate times when Larry and Frank were discussing something either reprehensible or ridiculous in which some New Orleans citizen was engaged. All of sudden out of nowhere would come a shouting feminine voice: “you just like your old black pa!”

Can you imagine how that sounded on commercial radio? If Larry could get away with that on the weekdays, then Cecil Taylor on the weekends was no surprise. I’d be walking the picket lines with a little portable radio, engaged in our boycott of Canal Street, the main shopping area of that era. We were demanding jobs and equal access to public accommodations in the establishments where our people spent our money.

We were out there for weeks, months, stretching to over a year. Kept at it, and eventually the segregationist barriers fell but it was a long and sometimes wearying trek. Jazz helped sustain me.

Even though I didn’t fully understand Cecil’s music, his thundering crescendos, wild harmonies, and broken-field melodies not only kept my mind occupied, they also ripped open my imagination.

Cecil Taylor helped me think in new ways, especially his trio double-LP with alto saxophonist Jimmy Lyons and drummer Sunny Murray. Nefertiti Beautiful One Has Come was recorded in Copenhagen in 1962.

Murray’s drumming was just as unorthodox as was Cecil’s approach to the piano and could be equally as assaultive. Listening to them together you felt like you were being bombarded by percussion but without a regular beat. They could make you run for cover. Critics often referred to Murray as the perfect percussionist to ride shotgun on Cecil’s sonic explorations. The thought was you needed someone with a non-swing approach to offer the appropriate accompaniment but then in 1979 along comes this historic encounter: Max Roach & Cecil Taylor.

Now, Max Roach is in my estimation the dean of bebop drummers and certainly the greatest exponent of hard bop drumming—in that style, nothing surpasses the Clifford Brown/Max Roach collaborations. But Max was more than a swinger, as a drummer Max was the most complete improviser in the jazz idiom. No other drummer could completely cover so many bases with such deft and adroit instrumentation as Max Roach.

Whether totally solo with just Max and some drums, or in his M ’ Boom all percussion ensemble, or jazz combos, or whatever (especially when that whatever was work with vocalist Abbey Lincoln), not to mention his smoking symphonic orchestra work, Max Roach was the pinnacle of jazz percussion.

But prior to the recording I never would have thunk that Max would be the best drummer to work with Cecil Taylor.

In most cases a drummer working with Cecil was often an attractive but non essential ornament—some glitter or light bulbs but not the tree. On this recording, no matter what Cecil does, Max is right there almost as if Max had a map of Cecil’s imagination and knew what the pianist was going to do a milli-second or so before Cecil hammered out a phrase.

What is really instructive is the reality that Max and Cecil not only had never played together before this recording, even more astounding there was no rehearsal, nothing but mutual respect. They might as well have been from different countries, different languages with only two things in common. First, was their mutual love for improvised music. Second, and most important, was the left/right combination of technical proficiency and open-mindedness.

The recorded concerts was actually two different performances on one night, hence the plural designation. The first concert opened with a short drum solo, followed by a short piano solo, and then a forty-minute duet. The second show was a 38-minute duet that de facto had three movements. On the Mixtape I have included the two short solos and the second duet.

The 2CD recording also includes two interviews with Max and Cecil that have snippets of the concert inserted. Sounds like they could be ten minute radio promotion pieces for college radio, which was back in the late sixties the main broadcast venue for this music.

I’m not going to even try to describe this music. Whatever words I might choose will fail to convey the gigantic, oceanic intensity of this music. I suggest the best way to listen to it is alone with the lights off, no distractions.

I have a bunch of Cecil Taylor recordings including a handful of duets with drummers. This recording is the gold standard. Period. There is no other Taylor with drummer recording that I know of that can match the orgasmic climax of the second concert, nor for that matter the opening of Max punctuating the proceedings with hand percussion of various types. The opening is as fascinating as a Rubik’s cube, different permutations of sound. The closing is a Molotov cocktail of nuclear proportions. This music is the sonic equivalent of smashing atoms, of nuclear fusion.

Nobody can think and execute music that fast. Thinking goes out the window. You have to be, focus on flowing in concert with the interior pulse, except you’re approaching the speed of light, which is why you have to be a technician of the highest order to hang with this shit. Just listening to it is exhausting.

This music is a cosmic gift. Journey with the sounds to the outer zones of your imagination. You will be changed by what you discover.

— Story By K. S.

Lotte Anker | Craig Taborn | Gerald Cleaver - Floating Islands (2009)

Genre: Jazz | Total Time: 54:23 | Size: 124.36 MB | MP3 320 kbps
1 Floating .... 9:34
2 Ritual .... 16:22
3 Transitory Blossom .... 4:50
4 Backwards River .... 17:52
5 Even Today I Am Still Arriving .... 5:46

Cover [Art] – Mark Solborg
Drums – Gerald Cleaver
Mixed By, Mastered By – John Fomsgaard, Lotte Anker
Music By – Craig Taborn, Gerald Cleaver, Lotte Anker
Photography By [Band] – Hans Reitzema
Piano – Craig Taborn
Recorded By – John Fomsgaard
Soprano Saxophone, Alto Saxophone, Tenor Saxophone – Lotte Anker

Label: ILK Music; Catalog#: ILK 162CD; Denmark, 2009
Live concert recording, Concert Hall, Copenhagen Jazz Festival (07/2008)
(Jazz Style: avant-garde, free improvisation, Contemporary Jazz, Free Jazz)

One great album in a decade is an achievement, two great albums in one year is exceptional, yet this trio with saxophonist Lotte Anker, pianist Craig Taborn and drummer Gerald Cleaver does it. After “Live At The Loft”, published earlier this year, also on Ilk, the trio is back with a new studio album. Anker also figures on the excellent “Mokuto” album. Cleaver participated in the equally great “Farmers By Nature” with Craig Taborn, and on Miroslav Vitous “Remembering Weather Report” .

This is the third album by the trio, and they get better with each release.

Larry Stabbins • Howard Riley • Tony Wren • Mark Sanders - Four At St. Cyprians (2006)

Genre: Jazz | Total Time: 1:19:49 | Size: 156.56 MB | MP3 320 kbps
01-Quartet 1 .... 14:42
02-Quartet 2 .... 17:53
03-Duo TW/MS .... 4:58
04-Quartet 3 .... 20:05
05-Quartet 4 .... 17:11
06-Quartet 5 .... 4:51

Double Bass - Tony Wren
Drums - Mark Sansers
Piano - Howard Riley
Saxophone - Larry Stabbins

Label: FMR Records (2) – FMRCD196-i0506
Barcode: 6 49849 98263 6
Format: CD, Album, Digipak; Country: UK – Released: 2006; Jazz Style: Free Jazz, Free Improvisation; ReDesign by ART&JAZZ Studio
Recorded live at St. Cyprian ’ s, United Kingdom, 2002-02-09
Live version of the album “ Four In The Afternoon ”

A jazz saxophonist with a bent toward progressive jazz, avant-garde music and soul, Larry Stabbins was born in Bristol, England, in 1949. He began playing saxophone at age 11 and by his teens had already begun performing in various R&B-influenced bands including working with pianist Keith Tippett with whom he has remained a creative partner over the years. In the ’ 70s, Stabbins worked with a variety of musicians including drummer John Stevens (in whose Ealing improvisation workshop he was a member), drummer ’ s Roy Ashbury and Tony Oxley and others. In the ’ 80s, Stabbins was a member of saxophonist Peter Brotzman ’ s Alarm Orchestra and Marz Combo as well as saxophonist Trevor Watt ’ s Moire Music. He was also a member of the indie-pop ensemble Weekend alongside guitarist Simon Booth with whom he later formed the eclectic Latin/soul/dance-influenced group Working Week. An artist with wide-ranging interests, Stabbins spent some time away from performing while studying philosophy at Kings College London. He returned to music in the late ’ 90s, once again with Tippett and his Tapestry ensemble as well as a re-formed Working Week. He released the album “ Four in the Afternoon ” in 2002 with pianist Howard Riley, bassist Tony Wren, drummer Mark Sanders. Stabbins followed that album up with the solo effort Mondiac in 2003.
By Matt Collar (AMG)

“Four In The Afternoon”

This new quartet is a departure from Quatuor Accorde, the other quartet that Tony Wren currently convenes. Whereas that is an all-strings affair, this one has the line-up of a conventional jazz quartet—sax, piano, bass and drums. But both play completely improvised music. And it is only the line-up here that is conventional. For example, when this quartet played a recent concert in St Cyprian ’ s Church, to promote this album, at one point Mark Sanders memorably strolled around playing on the pews and furniture—great showmanship and playing combined!
Although this is a new quartet—the album date was only their fourth meeting—there are ties between its members going back years, Wren and Larry Stabbins to the 70s, Howard Riley and Stabbins also to the 70s, Riley and Mark Sanders to the 80s. Such roots can be important in improvisation of this kind, and so it proves here. The music achieves that most dubious compliment for improv—at times it sounds pre-arranged. That is an indication of how good the four musicians are individually and how well they react and respond to each other.
Individually, Riley and Stabbins particularly stand out. Throughout, Riley is in inspired form, his playing underpinning ensemble passages and his solos often being astounding rapid-fire flurries (no surprise to those of you familiar with Riley). Stabbins has a long jazz and improv pedigree, but may be the least known member of this quartet, despite his time with soul-pop band Working Week that brought his fifteen minutes of fame. Be that as it may, his playing here is varied and, yes, beautiful. His slow, controlled tenor sax at the beginning of “ Blue Dark ” is very atmospheric, and carefully structured. (It also makes me think of Ben Webster—not a common experience with improv sax!)
Collectively, every play of this CD reveals new details to admire and enjoy. This will be music to return to time and again.
By JOHN EYLES, Published: March 1, 2002, (AAJ)

John Stevens - Application Interaction And... (1978)

Genre: Jazz | Total Time: 46:40 | Size: 109.37 MB | MP3 320 kbps
1 Application .... 24:38
2 Interaction .... 19:02
3 And... .... 2:53

Alto Saxophone, Soprano Saxophone – Trevor Watts
Bass – Barry Guy
Drums – John Stevens (2)
Music By [All Tracks] – Barry Guy, John Stevens (2), Trevor Watts
Photography By [Original Photographs] – Valerie Wilmer
Producer [Original Production] – Tony Williams (13)
Reissue Producer – Nick Dart

Label: Hi 4 Head Records; Catalog#: HFHCD002; UK – 2002
Recorded on 31 August 1978 at Sound Suite Studios, London
Originally released on Spotlite Records
Style: avant-garde, free improvisation, Contemporary Jazz, Free Jazz
Music By [All Tracks] – Barry Guy, John Stevens (2), Trevor Watts; Photography By [Original Photographs] – Valerie Wilmer; Design – Malcolm Walker; RE-Design by ART&JAZZ Studio SALVARICA; Producer [Original Production] – Tony Williams; Reissue Producer – Nick Dart

The trio of drummer John Stevens, bassist Barry Guy and saxophonist Trevor Watts was one of Stevens ’ s hottest small groups and the two records they cut for Spotlite in the late 70s are Atlantic straddling classics that reconcile the emotive supernatural force of the late Albert Ayler with the exacting microdetail of the post SME set. Application Interaction And… was the second of these discs, the first, No Fear, having already been made available on CD by Hi 4 Head. At points the fidelity is pretty murky, with Stevens sounding like he ’ s playing his kit with boxing gloves and Guy ’ s bass almost overloading the speakers but all of that bottom end works as a delicious contrast to the upper register blasts that Watts peels from the ceiling. Guy is on inspired form and Watts ’ evocative, bluesy cries bring out the Charlie Haden in him, dropping yo-yoing notes right into the bell of Watts ’ s horn and plunging across register. The arco passage that caps the first piece sounds like more like a tiny rainbow of electronics than mere hairs on wire and Watts falls into step with a slow marching motif that feels more channelled than improvised. Stevens is better served by the second track, where his subtle time inversions and emphatic punctuation throw up countless phantom goalposts for Guy and Watts to make for. An excellent restoration of a great set.

John Lindberg Ensemble - A Tree Frog Tonality (2000)

Genre: Jazz | Total Time: 1:02:05 | Size: 140.57 MB | MP3 320 kbps
1 I. At Home .... 5:29
2 II. Mellow T. .... 7:26
3 III. Dreaming At .... 5:40
4 Four Fathers .... 9:41
5 Drifter .... 5:47
6 A Tree Frog Tonality .... 12:34
7 Good To Go .... 4:49
8 Little m And Big M .... 10:41

Double Bass – John Lindberg
Drums – Andrew Cyrille
Sopranino Saxophone, Tenor Saxophone – Larry Ochs
Trumpet – Wadada Leo Smith

Label: Between The Lines – BTL 008, EFA – EFA 10178-2
Format: CD, Album; Country: Germany; Released: 2000; Style: Free Jazz, Contemporary Jazz
Re Design by ART&JAZZ Studio – 2010
Recorded at Studio der Musikuniversität Graz, March 27th and 28th, 2000
Published: November 1, 2000

With A Tree Frog Tonality, it becomes easily discernible that we are listening to a union of seasoned modern jazz experts who demonstrate their respective crafts with cunning artistry and inspiring resolve. Bassist John Lindberg is arguably one of the finest acoustic bassists on this modern jazz globe as his credits and resume reads like an unending shopping list. On this new release, Lindberg performs with his peers under the moniker of the “ John Lindberg Ensemble ” for a radiant set emanating from studio sessions recorded in March 2000 during a European tour.

The proceedings commence with the three-part “ Thanksgiving Suite ” , where Lindberg and Larry Ochs, here performing on sopranino sax, pursue dainty choruses atop staid undercurrents, whereas the duo also initiates a bit of melodrama in concert with invigorating spurts of emotion. Essentially the “ Thanksgiving Suite ” is a strong vehicle for the proverbial, let ’ s-introduce-the-band sequence yet it is quite evident that this strategy is not implemented or perhaps implied as a means for parody or traditionalism. Drummer Andrew Cyrille and Lindberg set poetry in motion on Part II – Mellow T, while Part III – Dreaming At, establishes the presence of trumpeter Wadada Leo Smith as the quartet launches into a lightly swinging yet circuitous path on the piece titled, Four Fathers. Here, Lindberg steers the flow with pronounced ostinatos and springy walking bass lines as Cyrille demonstrates his mastery of understatement by providing the rhythmic nuance with such control and precision, you ’ d think he was tapping his sticks on eggshells.

The band intimates a cool, sleek vibe with a hybrid Bop/Swing motif on Good To Go, as the musicians emit an air of suspense or bewilderment due to their shrewd implementation of multihued tonalities to coincide with a fruitful harmonic relationship.

Ultimately, The “ John Lindberg Ensemble ” provides the necessary ingredients for a mantra that befits many years of combined professionalism, savvy and superb musicianship yet it ’ s all about distinctive stylists converging for an ingenious meeting of the musical minds. Highly recommended!

* * * * * (out of * * * * *)

Eddie Prevost Quartet - Continuum (1999)

Genre: Jazz | Total Time: 1:18:13 | Size: 178.33 MB | MP3 320 kbps
Part1 - Bracknell Jazz Festival 3rd July 1983
1 Continuum .... 39:33
Part2 - Studio Sessions 27th/28th March 1985
2 I'm In The Mood For A Semantic Theory .... 6:57
3 Unpredictable Paths .... 11:28
4 Pair Of Braces .... 7:59
5 Convection .... 12:02

Artwork [Front Cover] – Simon Picard
Double Bass – Marcio Mattos
Drums – Eddie Prévost
Engineer – Ted Taylor(2) (tracks: 2 to 5)
Liner Notes – Alan Durant
Piano – Veryan Weston
Tenor Saxophone, Soprano Saxophone – Larry Stabbins

Matchless Recordings – MRCD07
Format: CD, Album; Country: UK Released: 1999
Continuum - recorded at Bracknell Jazz Festival, 3rd July 1983. Previously released as an LP in 1985. Tracks 2-5 recorded at Porcupine Studios London, 27th/28th March 1985.
Artwork [Front Cover] – Simon Picard
Engineer – Ted Taylor (2) (tracks: 2 to 5)
Liner Notes – Alan Durant

“A tumble of tom-toms and cymblas sets it in motiuon: Larry Stabbins ’ muscular tenor streaks wide arcs of colour around the edge of this tornado, coasting around the driving force of piano and bass which purrs like a revving engine. Prévost ’ s thrumb of sticks-on-skin decorate and expands it further into an insistant pulse. A degree more turbulent, and then it ’ s airbourne. ‘ Continuum ’ charts the whole 39 miuntes of a very fine set delivered at Bracknell Festival in 1983 by the Eddie Prévost Quartet. A procession of solo staements ushers along the development of the improvisation: Stabbins cutting out to leave Veryan Weston ’ s piano, the most startling ingredient of this stylish free jazz troupe, in the foreground. What develops is a rush of carefully collected detail: shades of Monk and Cecil Taylor contrasting with pitter-patter treble runs which sound like they are straight out of a ‘ Tom and Jerry ’ soundtrack. Ckusters of dark, echo-lined bass keys, and then Marcio Mattos ’ sometimes rhythmical, other times reflective string bass work. Not only Prévost ’ s finest free jazz group, but perhaps the finest free jazz record in years.”
— David Ilic ‘City Limits’ 1985 ( review of original LP version)
“ The original release of Prévost ’ s 1983 Bracknell appearance represents one of the few ‘ must haves ’ of British free jazz. This re-issue with studio material from 1985 confirms and enhances its status. The new material has an altogether more thoughtful air than the intoxicating intensity of the festival recording. The gergeous ‘ I ’ m in the Mood for a Semantic Theory ’ is an almost totally unexpected straight(ish) ballad, and Larry Stabbins ’ saxophone reminds one forcefully of Archie Shepp in Ben Webster mode. There is a clarity to the studio material which proves the rythm section, (Weston, Mattos and Prévost) to be one of the music ’ s most versatile and imaginative. Prévost, in particular, is revealed as one of the most impressive free-jazz drummers; a role he inhabits far too rarely. ”
Bruce Coates ‘Rubberneck’ December 1999


La Monte Young / Marian Zazeela - The Black Album (LP-1969)

Genre: Electronic, Classical | Total Time: 43 :06 | Size: 351.79 MB | FLAC
A1 - 31 VII 69 10:26 - 10:49 PM ....................................................... 23:00
B1 - 23 VIII 64 2:50:45 - 3:11 AM The Volga Delta ........................... 20:15

La Monte Young – voice, electronics [sine wave drone], gong [bowed]
Marian Zazeela – voice, gong [bowed]

Label: Edition X – 1079
Format: Vinyl, LP, Album, Limited Edition / Number of this copy – 395
Country: Germany / Released: 1969
Style: Drone, Contemporary, Minimal
Artwork [Cover, Labels, Design, Calligraphy] – Marian Zazeela
Composed By, Producer, Liner Notes – La Monte Young
Matrix / Runout (Side A - "1079" etched, "-A" stamped): 1079-A
Matrix / Runout (Side B - "1079" etched, "-B" stamped): 1079-B

 Eponymous untitled album popularly known as "The Black Record" or "The Black Album"
The cover is black gloss print on matt black and very hard to read.
Numbered edition limited to 2800 copies of which numbers 1-98 are dated and signed by the artists.
Side A: This work was recorded at the date and time indicated in the title, at Galerie Heiner Friedrich, München 31 VII 69 10:26-10:49 PM - is a section of the longer work: Map Of 49's Dream The Two Systems Of Eleven Sets Of Galactic Intervals Ornamental Lightyears Tracery. Play this side at 33 1/3 rpm only.
Side B: We recorded this gong duet in our studio in New York City on the date and time indicated in the title. It is a section of a larger work: Studies In The Bowed Disc begun in September 1968. To listen to the live performance, playback at 33 1/3 rpm. However, this side may be played back at any slower constant speed down to 8 1/3 rpm, i.e., 16 2/3 rpm which is available on some turntables.

La Monte Young is one of the founding members of the genre of musick called Minimalism (a term which he despises). He is one of the greatest innovators of 20th century composition. His influence is everywhere in the world of modern musick. Unfortunately he is for the most part unheard & unknown outside a small circle of musickians & musick lovers.
Young & Zazeela recorded their first full length album in Munich for Heiner Friedrich's Edition X label, released as a limited edition. Side one is a section of “Map of 49's Dream”, performed by Young with sinewave drone & voice, with vocal accompaniment by Zazeela. Side two is an extract from “Study for the Bowed Disc” featuring the duo bowing a gong given to them by sculptor Robert Morris. Morris had made it for his dance piece “War” & asked Young to play it for the performance. Afterwards Morris presented the gong to Young, who began experimenting on it with double bass bows. Young recommended the listener turn the musick up (PLAY FUCKING LOUD), the resulting low drone being a spiritual tool. For the album artwork, Marian Zazeela embedded her calligraphic lettering & designs in black. The point is to focus on her artwork while concentrating on the vocal/sinewave drones of Young's dream music.

 Marian Zazeela (she was born 1940) and La Monte Young (born 1935) are an artist couple from the United States who live and work together since 1962 and have ever since taken part in a multitude of projects too numerous to mention. It is far more than music both create as their repertoire also features installation art and paintings. But since our main focus is the music, we concentrate on their just reissued album named 'The Black Record' from 1969 with two lengthy minimal drones that create the ultimate mind expanding atmosphere by hypnotizing the listener and putting him into a state of physical and spiritual trance afterwards. We hear several layers of voices on a deep dark drone as the first track and I could imagine that this drone is in fact the echo of Mrs. Zazeela's chanting voice but it might also be a harmonium or an organ. It sounds too natural and warm for a synthesizer. Whatever it is, it works as a solid base for the wordless chants of both artists. This piece is in fact a selection from a much longer soundscape recorded in an art gallery in Munich in 1969. The minimalistic structure and meandering voice melodies generate a hypnotic and utterly spiritual atmosphere just as if you would witness an Indian meditation ritual. Turn the vinyl around and you will be swallowed by a black hole of sounds. This piece has been recorded in 1968 in the home studio of Young and Zazeela and it predates the cosmic music and proto industrial sounds of early TANGERINE DREAM or CLUSTER by a few years. This album is certainly made for a small audience of people who can put themselves in a state where leaving the body for a spiritual journey is only the next step. Both pieces are far from regular popular music but that makes them even more captivating and intriguing. A challenge for each listener in case he's not used to TANGERINE DREAM's 'Zeit' album yet. Who dares to join us on this strange trip?

La Monte Young / Marian Zazeela - Dream House 78'17'' (LP-1974)

Genre: Electronic, Classical | Total Time: 1:18:30 | Size: 607.89 MB | FLAC
A1 - 13 I 73 5:35-6:14:03 PM NYC .... 39:03
trombone – Garrett List
trumpet – Jon Hassell
voice – Marian Zazeela
voice, Electronics [Sine Waves] – La Monte Young
B1 - Drift Study 14 VII 73 9:27:27-10:06:41 PM NYC .... 39:14
electronics [sine waves] – La Monte Young

Label: Shandar – 83 510
Format: Vinyl, LP, Album / Country: France / Released: 1974
Style: Modern Classical, Drone, Minimal
Cover [Label, Design, Calligraphy] – Marian Zazeela
Photography By [Cover Photo] – Robert Adler
Liner Notes – Julian Cowley, La Monte Young
Matrix / Runout (A): 83 510 A
Matrix / Runout (B): 83 510 B

 Side A - 13 I 73 5:35 - 6:14:03 PM NYC is a sub-section of Map Of 49's Dream The Two Systems Of Eleven Sets Of Galactic Intervals Ornamental Lightyears Tracery, begun in 1966 as a section of the even longer work: The Tortoise, His Dreams And Journeys which was begun in 1964 with The Theatre Of Eternal Music. Performed 17 January 1973 at La Monte Young's private studio.
Side B - Drift Study 14 VII 73 9:27:27 - 10:06:41 PM NYC Three sine waves. Frequencies and voltages of the sine waves determined and tuned by La Monte Young using oscillators custom designed by Rober Adler to generate specific frequencies and voltages of great stability. Performed 14 July 1973 at La Monte Young's private studio.

For the maximum fidelity on Side 2, reduce the treble controls on your pre-amplifier to minimum. Since the sine waves have no harmonic content, and all are below 202.5 Hertz, this will reduce the surface noise which is normal on most discs. Note: Be sure to keep the treble controls normal on Side 1.

Sleeve Notes:
“Frequencies and voltages of the sine waves generators were determined and tuned by La Monte Young using oscillators custom-designed by sound technician Robert Adler to generate specific frequencies and voltages of great stability. The sine waves produced are such that they interfere with each other, creating changes of volume both in time and space that can be experienced either walking within the room or staying put. If one chooses to walk, he will change the sound experience of other people in the room by moving the molecules of air.”

 Dream House 78’17” was originally released by Shandar in 1974. I touch on the label’s history in my piece on Steve Reich’s Four Organs / Phase Patterns. Of all the releases in the label’s catalog, Young’s is the most sought after. It contains two single-sided works. 13 I 73 5:35 – 6:14:03 PM NYC is a sub-section of Map Of 49’s Dream The Two Systems Of Eleven Sets Of Galactic Intervals Ornamental Lightyears Tracery, which extended from the iconic The Tortoise, His Dreams And Journeys. The recording features a later incarnation of The Theatre Of Eternal Music, with Garrett List on trombone, Jon Hassell on trumpet, Marian Zazeela singing, and La Monte Young singing and playing electronics. It’s pretty mind bending – with Young and Zazeela’s vocals droning away over the sustained electronics and horns. The tonal relationships between the five elements are hypnotic and totally engrossing. One of the first things you’ll notice about the piece is that it stretches a shocking 39:03 – almost double the standard length of an LP side  – but, they are managed the impossible.

The second side finds the third issue of Young’s Drift Study – in this case 14 VII 73 9:27:27 – 10:06:41 PM NYC. Two shorter versions were released during the late 60’s in Aspen, and S.M.S. This is its definite rendering – stretching to 39:14. Drift Study is built from three sine waves which are precision tuned and run through oscillators. If you’ve ever been to the Dream House in NY, this is the same technology (though in the record features a higher frequency). It can be incredibly dislocating. My first few hours in the space (of countless hundreds) were spent trying to work out how the sounds were fluctuating and changing. It messed me up. It’s the closest auditory equivalent to Brion Gysin’s hallucination-inducing Dream Machine. The tonal shifts are created by altering your physical proximity to the waves – thus where in their path or reflection you encounter them. I’ve spent untold hours moving around the Dream House like a turtle, trying to grasp its totality. The recording goes a long way to recreate this experience at home, making Dream House 78’17”.
(Review by Bradford Bailey)

La Monte Young and The Forever Bad Blues Band - Just Stompin' (Live At The Kitchen) - 2CD Gramavision (1993)

Genre: Electronic / Avantgarde | Total Time: 2:02:17 | Size: 702.91 MB | FLAC
CD-1 - Young's Dorian Blues In G (Part 1) .... 61:54
CD-2 - Young's Dorian Blues In G (Part 2) .... 60:23

Composed By – La Monte Young

LA MONTE YOUNG – Korg Synthesizer in just Intonation
JAN CATLER – Just Intonation and Fretless Guitar
BRAD CATLER – Just Intonation and Fretless Bass

Label: Gramavision – R2 79487
Format: 2×CD, Album, Gallery edition / Country: US / Released: 1993
Style: Experimental, Avantgarde, Blues, Minimal
Cover, Typography [Calligraphy], Design – Marian Zazeela
Lighting Director – Marian Zazeela
Liner Notes – La Monte Young, Robert Palmer
Product Manager [Design] – Marika Blossfeldt
Mastered By – Chris Muth
Photography By, Cover – Jim Conti
Recorded By, Mixed By – Bob Bielecki
Matrix / Runout (Disc 1): 3 R2 79487-2.1 SRC#01 M1S1
Matrix / Runout (Disc 2): 3 R2 79487-2.2 SRC#01 M1S1

American premiere performance series, The Kitchen, New York, January 14, 1993.

"Just Stompin' " was released as a two-CD set from Gramavision Records. It consists of just one piece--"Young's Dorian Blues in G"--recorded live at the January premiere of the piece at the Kitchen in New York.
An album of instrumental, roadhouse blues may seem something of a departure for Young, a revered original, the seminal influence on both minimalism and the Fluxus movement and creator of a highly personal body of work. It makes, however, a clear, relatively compact and accessible expression of his obsessions with extended durations and just intonation, the acoustically pure tuning based on the natural harmonic series. It is also music with a long gestation period, going back to his student days in Los Angeles.

Young has played alto saxophone since he was 7, with his father as his first teacher. He went to John Marshall High School here, studied with William Green and then went on to Los Angeles City College, where everybody told him he should play in the dance band. The first-saxophone chair there was already tied up, but he auditioned and beat out Eric Dolphy for the second-chair position.
He and Dolphy became friends, and both played clarinet in the orchestra, where Dolphy was first chair. Other jazz musicians Young performed with in clubs and sessions at that time included Billy Higgins, Don Cherry, Ornette Coleman and Don Friedman.

At the same time, he was studying with Schoenberg disciple Leonard Stein at Los Angeles City College and became extremely inspired by Webern. From the terse, pared-down creations of Webern to Young's own long-spanned music seems quite a reach, but he finds a credible evolution there, where his early music became "like Webern in augmentation."
Augmented indeed. He usually takes five to six hours to perform his solo piano piece "The Well-Tuned Piano," and he confined "Young's Blues" to two hours only because that was the length of the DAT tape available then.

"I think, in addition to my unique piano style, the just intonation and the Dorian mode, ("Young's Blues") is different because it is a very long, complex, evolved form--really very compositional in structure, not just song forms," the composer says. "I'm totally disinterested in short song forms. I'm interested in evolved structures in extended time formats."
"There is no doubt a short work can be profound and very strong," he says, "but a long work has the potential in the end to be much, much more."

Young learned the importance of silence from both Webern and the contrast between the clarity of the rural sonic environment he knew as a child in Idaho and the noise of the big city he discovered when his family moved to Los Angeles. It figures in his idea of "eternal music," but not so much anymore in actual performances.

"I have these enormous silences between performances," Young says ruefully, "so when I get a chance to play, I seem to want to fill it up with sound."

Young is willing to play pieces such as "The Well-Tuned Piano" only under very special and expensive circumstances. He insists on three months on location, one month exploring the acoustical environment and tuning, followed by two months giving weekly performances. With his Theater of Eternal Music Big Band, he had 23 rehearsals before the first concert.

"This is the way I really want to perform, but very few people can afford to present it," Young concedes. "The blues band is a way I can perform without compromising my principals and still fit into the one-night format.

"This blues setting, with these young musicians, is a way I can show off my compositional skills and improvising, in a way that's more affordable for more concert presenters." (The Forever Bad Blues Band consists of Jon Catler on fretless and just-intonation electric guitars, Brad Catler on similar basses and Jonathan Kane on drums, with Young himself playing a synthesizer in just intonation.)

"I consider much of my music... to be blues-based," claims La Monte Young, the acknowledged father of minimalism. This might not seem so bizarre considering his early collaborations with jazz musicians and the undoubted minimal qualities of blues pioneers like Howlin' Wolf and Muddy Waters. Like many of his works, Young has been developing the piece here, "Young's Dorian Blues in G," since its inception in 1960, including his work with his Theatre of Eternal Music ensemble with John Cale and Tony Conrad. Here the piece is presented as a two-hour live performance which he did at the Kitchen in New York in 1993 with a guitar/bass/drums line-up headed by Young's synthesizer in his "just intonation" tuning. Beginning with an elegiac opening, the piece soon evolves into a rollicking, driving, gradually-evolving epic featuring Jon Catler's searing guitar runs and Young's keyboard mimicking a barrelhouse piano -- because the two of them trade solo spots so effectively, this never gets tedious or drawn-out. With its extensive liner notes, Just Stompin' serves an excellent introduction to the work of one of the most important composers of the 20th century, especially for anyone interested in Young's work but frightened off by the scope of the 5-LP The Well-Tuned Piano.

Kaoru Abe - Mort À Crédit (2LP-1976- ALM Records-AL-8 / AL-9)

Genre: Jazz / Free Jazz | Total Time: 1:40:24 | Size: 903.88 MB | FLAC
A1 - Alto Improvisation No.1 .... 26:00
B1 - Alto Improvisation No.2 .... 11:20
B2 - Alto Improvisation No.3 .... 12:30
A1 - Sopranino Improvisation No.1 .... 6:17
A2 - Alto Improvisation No.4 Part 1 .... 20:14
B1 - Alto Improvisation No.4 Part 2 .... 18:50
B2 - Sopranino Improvisation No.2 .... 7:00

KAORU ABE – alto saxophone, sopranino saxophone

Label: ALM Records – AL-8 / AL-9
Format: 2 × Vinyl, LP, Album / Country: Japan / Released: 1976
Style: Free Jazz, Free Improvisation
Subtitled "Saxophone Solo Improvisations" / Gatefold sleeve
A-1, B-2 recorded live at Aoyama Tower Hall, October 18, 1975.
B-1 and C-1 to D-2 recorded at Iruma Shimin Kaikan, October 16, 1975.
Design [Designed By] – Nobukage Torii
Photography By [Photo] – Masahiro Imai
Includes liner notes in Japanese by Aquirax Aida
Producer – Aquirax Aida, Hangesha, Yukio Kojima
Recorded By – Yukio Kojima

After the Partitas double album (recorded 1973, released 1981), Mort A Credit was to become the last Abe album to be released in his lifetime.

Mort A Credit was the title given to Céline's novel Death On The Installment Plan in its French translation, not a coincidence and an analogy that makes at least a little bit of sense - Abe was reportedly a major Céline fan, and his solo disks on PSF have Japanese translations of Céline text attached to the songtitles in the CD inserts. It consists of two alto improvs from a show on October 18, 1975, and five more (three on alto, two on sopranino) from another performance a couple of days earlier. Released by Kojima on 2LP in 1976 (the reissue does not appear to contain any unreleased material), it can be said to mark a significant change in Abe's style. Abe is here a little soften from his usual urgency - this can perhaps be in part attributed to the passage of time - and become more interested in spacing and the exact rhythms of phrasing. While never entirely ignorant of these concerns, by now they had come very much to the fore, as is illustrated by the two recordings from the earlier show here, in which roughly cut-off notes are spaced so regularly that their rhythms are like watching a slowed-down strobelight. With run after run of harsh, crude and almost bawdy staccato honking, Abe speedily races through the octaves in ascending and descending anti-order cadence. He breaks regularly into very shrill squeaks and squeals (and the occasional bold wail-melody) and references non-existent simplistic and just about jokey tunes. The eventuall effect is like having someone tapdance on stilletoes on your temple. Some passages are about 50% clearer than others, and at more than one point the fidelity swings sharply, moving from distant, muffled high-pitch screeching tones to furoious forehead-centre blowing gusts in virtual machine-gun arc.

Of the three alto tracks from the October 16 performance, the first is the most impressive. Again beginning with twisting, dancing note clusters that somersault forth from the speakers, Abe soon moves into the increasingly familiar technique of aching, wrenching bursts of heavy shrieking alto, separated by stopwatched periods of silence. Dwelling almost exclusively in the upper register, Abe sets upon the sounds lying within a limited tonal range and squeezes hard, eking an incredibly broad range of textures from an ostensibly small palette. He continues to work thus in the following two pieces, nodding throughout to the temperately expressionistic style he would employ so effectively on the Nord duo with Yoshizawa, and further impressing the change that had by now come about in his playing. Though at this point still slightly unfocused in parts, these recordings offer a significant development of his earlier playing that's simultaneously evolved and honed down/devolved, and are crucial from a historical perspective, showing Abe to be almost out on his own at this point (and also helping to contextualise the efforts of present-day practitioners like Masayoshi Urabe and Tamio Shiraishi). The two sopranino cuts hint at more history to be dug up, like Abe's pieces on bass clarinet showing him to adapt to the instrument rather than forcing the instrument to adapt to him. The first in particular (though at the time of the show possibly intended as introductory in nature) sends lovely, moving and sustained melodies flowering forth, one after another; the second ups the pace, with Abe improvising in light, feathery strokes - a painfully abbreviated look at another potential big gun in Abe's arsenal, the only other available glimpse being the Graves record, and who knows how often Abe actually employed the instrument in the live setting.

Mort A Credit shows Abe in a fascinating period of transition, moving forth to something complexly and identifiably new, yet intransigently rooted in what had come before. Alan Cummings reports that the general consensus in circles there within which Abe's work is known and appreciated is that he was at his best ca. 1970-1973/74, a view I don't think I could ever really significantly disagree with. But for me the period summarised by Mort A Credit is also highly salient. While his earlier recordings focused on energy and an almost self-conscious encompassing of the saxophone's entire range and sonic potential (like some deliberately comprehensive inventory of Sounds You Can Make With An Alto), the material here shows Abe audaciously experimenting with a smaller range of sounds - those inherent in the instrument's upper limits - and pushing them further, narrowing his scope and coming up with improvisations which, in what they attempt to achieve, are arguably even further 'out'.


Walter Zuber Armstrong & Steve Lacy - Duet (LP-1979)

Genre: Jazz | Total Time: 50:28 | Size: 174.70 MB | FLAC
A1 - Alter Ego .... 25:53
B1 - Alter Ego .... 23:37

Walter Zuber Armstrong – contrabass, bass clarinet
Steve Lacy – soprano saxophone

Label: World Artists – LP WA 1004
Format: Vinyl, LP / Country: Canada / Released: 1979
Style: Free Improvisation, Free Jazz
Recorded live at the BIM-house, October 13, 1979, Amsterdam, Holland.
Produced by – Walter Zuber Armstrong Production
Photography by  – Tom Strappers
Cover Design – Sheila Miller
Engineer – Sjaak Willemse
Composed By – Walter Zuber Armstrong

Recorded in 1979 in Holland, this intriguing duet album between multi-reedist Walter Zuber Armstrong and soprano saxophonist Steve Lacy is endearing and charming for its radical approach to the intimacy of what focused instrumentalists can attain when approaching the same goal from different directions and learning from the other's process on the way. There are two takes of the title track, clocking in with an average time of 24 minutes.

Here Armstrong plays bass clarinet to Lacy's soprano. What becomes startling immediately is how both men look to establish from their corners melodic invention and a lyrical sensibility for their tonal explorations. Tonal journeying is a big part of what these two long compositions are all about, meeting in the middle of extremes and dovetailing one another with a timbral elegance that offers the listener the gentler side of each instrument without either player backing off of his exploratory nature. There is little drama that plays out here in an hour, but there doesn't need to be, because what is happening here is of the aural reception variety, deep listening music made by two masters of both hearing and speaking. What is left unsaid here is almost as important as what is, and the poetry of that knowing, that will to silence and economy, is what shapes this recording and gives it its considerable depth and dimension.

Walter Zuber Armstrong & Steve Lacy - Call Notes (LP-1980)

Genre: Jazz | Total Time: 30:54 | Size: 153.09 MB | FLAC
Call Notes
A1 - Cut 1 12:18
A2 - Cut 2 3:14
Walter Zuber Armstrong – flute, Bolivian wooden flute
Steve Lacy – soprano saxophone
Lost Lagoon
B1 - Cut 1 13:52
B2 - Cut 2 1:26
Walter Zuber Armstrong – bass clarinet, soprano flute

Label: World Artists – WA 1005
Format: Vinyl, LP / Country: US / Released: 1980
Style: Free Jazz, Free Improvisation
Recorded live at the BIM-house, October 13, 1979, Amsterdam, Holland.
Produced by – Sheila Miller, Walter Zuber Armstrong
Photography by  – Tom Strappers
Cover Design – Sheila Miller
Engineer – Sjaak Willemse
Composed By – Walter Zuber Armstrong

A West Coast reed player with a haunting tone and an armload of self-published albums, Walter Zuber Armstrong was highly influenced by free jazz legends Eric Dolphy and Anthony Braxton. Like them, he was drawn to the idea of multi-instrumental textural dexterity. Zuber Armstrong chose the bass clarinet and flute to cover opposite extremes, a pair of instruments Eric Dolphy had used as an exotic sideline to his alto sax.

Then Zuber Armstrong pretty much set aside the entire jazz content of Dolphy's music to concentrate on more spaced-out ideas. From Braxton he adopted the idea of solo reed performances, although unlike his model he was not particularly into shrieking displays of intensity. Zuber Armstrong was based out of the sleepy border town of Bellingham, WA, for most of his career, meaning that one of his main performing possibilities was nearby Vancouver, British Columbia. The bustling jazz scene in this city led to collaborations with Canadian performers such as pianist Paul Plimley and drummer Greg Simpson. Zuber Armstrong cannot be said to have toured excessively during his career, yet he did leave behind collaborations with multi-instrumentalist Milo Fine taped in Minnesota as well as duos with Steve Lacy recorded in Amsterdam. The latter session is considered by many free jazz fans to be Zuber Armstrong's finest recordings.

Despite snippy comments made by some players and critics about his technique, Zuber Armstrong was a classically trained musician who studied at the New York College of Music, the Julliard School, and Toronto's Royal Conservatory of Music. He largely supported himself by teaching contemporary music at Western University in Bellingham and Fairhaven College in the town of the same name. He performed two of his final concerts in the late '90s at Bellingham events in honor of Martin Luther King Jr. and Black History Month. His recordings with Lacy were done in 1979, and were released on two different albums. In the early '80s, he performed at the Walker Art Center in Minneapolis, teaming up for part of the show with the reclusive and fussy improviser Milo Fine. The earliest of Zuber Armstrong's releases on his own World Artists label dates from 1973 (Alpha And Omega, WA 1001).
_written by Eugene Chadbourne

Tom Waits - Nighthawks At The Diner (2LP-1975)

Genre: Jazz | Total Time: 1:14:08 | Size: 761.29 MB | FLAC
A1- (Opening Intro) 2:59
A2 - Emotional Weather Report 3:44
A3 - (Intro) 2:14
A4 - On A Foggy Night 3:52
A5 - (Intro) 1:54
A6 - Eggs And Sausage (In A Cadillac With Susan Michelson) 4:16
B1 - (Intro) 3:14
B2 - Better Off Without A Wife 4:00
B3 - Nighthawk Postcards (From Easy Street) 11:31
C1 - (Intro) 0:56
C2 - Warm Beer And Cold Women 5:21
C3 - (Intro) 0:47
C4 - Putnam County 7:35
C5 - Spare Parts I (A Nocturnal Emission) 6:25
Written-By – Chuck E. Weiss
D1 - Nobody 2:51
D2 - (Intro) 0:38
D3 - Big Joe And Phantom 309 6:33
Written-By – Tommy Faile
D4 - Spare Parts II And Closing 5:18

All songs written-by – Tom Waits, except C5 and D3.

Tom Waits – vocals, guitar, piano(tracks: A6, B2, C2, C4, D1)
Pete Christlieb – tenor saxophone
Mike Melvoin – piano, electric piano
Jim Hughart – upright bass
Bill Goodwin – drums, percussion

Label: Asylum Records – 7E-2008
Format: 2 × Vinyl, LP, Album, Gatefold
Country: Canada/US / Released: 1975
Style: Jazz, Blues, Cabaret
Recorded live at the Record Plant and Wally Heider Recording, Hollywood on 30 and 31 July, 1975.
Design – Cal Schenkel
Engineer [Assistant], Recorded By [Assistant] – Kelly Kotera, "Big Norm" Dlugatch, Rick Smith, Ron Marks, Steve Smith
Engineer, Producer – Bones Howe
Mastered By – Terry Dunavan
Other [Instance] – Herb Cohen
Photography By [Back Cover] – Matt Kramer
Photography By [Cover, Liner] – Norman Seeff
Recorded By – Bones Howe

The title was inspired by Edward Hopper's 1942 painting Nighthawks. The album's working title had been "Nighthawk Postcards from Easy Street," but was shortened to Nighthawks at the Diner, which is the opening line to "Eggs and Sausage (In a Cadillac with Susan Michelson)". The cover, designed by Cal Schenkel, is also inspired by the painting.

Nighthawks at the Diner is the first live album by Tom Waits and his third overall. It was released on Asylum Records in October 1975. It was recorded live in the Los Angeles Record Plant Studios on July 30 and 31, 1975, in front of a small invited audience. Waits opens the album by calling the venue Raphael's Silver Cloud Lounge...

 Bones Howe, the album's producer, on the recording of the album:
We did it as a live recording, which was unusual for an artist so new. Herb Cohen and I both had a sense that we needed to bring out the jazz in Waits more clearly. Tom was a great performer on stage, so we started talking about where we could do an album that would have a live feel to it. We thought about clubs, but the well-known ones like The Troubadour were toilets in those days. Then I remembered that Barbra Streisand had made a record at the old Record Plant Studios, when they were on 3rd Street near Cahuenga Boulevard. There was a room there that she got an entire orchestra into. Back in those days they would just roll the consoles around to where they needed them. So Herb and I said let's see if we can put tables and chairs in there and get an audience in and record a show.

Howe was mostly responsible for organizing the band for the "live show", and creating the right atmosphere for the record:
I got Michael Melvoin on piano, and he was one of the greatest jazz arrangers ever; I had Jim Hughart on bass, Bill Goodwin on drums and Pete Christlieb on sax. It was a totally jazz rhythm section. Herb gave out tickets to all his friends, we set up a bar, put potato chips on the tables and we had a sell-out, two nights, two shows a night, July 30 and 31, 1975. I remember that the opening act was a stripper. Her name was Dewana and her husband was a taxi driver. So for her the band played bump-and-grind music - and there's no jazz player who has never played a strip joint, so they knew exactly what to do. But it put the room in exactly the right mood. Then Waits came out and sang "Emotional Weather Report." Then he turned around to face the band and read the classified section of the paper while they played. It was like Allen Ginsberg with a really, really good band.

Dewana was an old-time burlesque queen whom Tom had met on one of his jaunts to the Hollywood underworld.

Jim Hughart, who played upright bass on the recordings recalled the experience of preparing for and recording the album:
Preparing for this thing, we had to memorize all this stuff, 'cause Waits had nothing on paper. So ultimately, we spent four or five days in a rehearsal studio going over this stuff. And that was drudgery. But when we did actually get it all prepared and go and record, that was the fastest two days of recording I've ever spent in my life. It was so fun. Some of the tunes were not what you'd call jazz tunes, but for the most part that was like a jazz record. This was a jazz band. Bill Goodwin was a drummer who was associated with Phil Woods for years. Pete Christlieb is one of the best jazz tenor players who ever lived. And my old friend, Mike Melvoin, played piano. There's a good reason why it was accepted as a jazz record.

_1.     For his third album, Nighthawks at the Diner, Tom Waits set up a nightclub in the studio, invited an audience, and cut a 70-minute, two-LP set of new songs. It's an appropriate format for compositions that deal even more graphically and, for the first time, humorously with Waits' late-night world of bars and diners. The love lyrics of his debut album had long since given way to a comic lonely-guy stance glimpsed in "Emotional Weather Report" and "Better Off Without a Wife." But what really matters is the elaborate scene-setting of songs like the six-and-a-half-minute "Spare Parts," the seven-and-a-half-minute "Putnam County," and especially the 11-and-a-half-minute "Nighthawk Postcards" that are essentially poetry recitations with jazz backing. Waits is a colorful tour guide of midnight L.A., raving over a swinging rhythm section of Jim Hughart (bass) and Bill Goodwin (drums), with Pete Christlieb wailing away on tenor sax between paragraphs and Mike Melvoin trading off with Waits on piano runs. You could call it overdone, but then, this kind of material made its impact through an accumulation of miscellaneous detail, and who's to say how much is too much?

 _2.     In 1975 Tom Waits was still fairly unknown, and there was a mutual feeling that a live album would capture the personality of the beatnik stageman. This plan was executed in the best way – a concert was recorded in a New York studio. A large room in the back of Record Plant Studios was set up with a stage and tables, drinks on the house. The best of four performances are mixed together on Nighthawks at the Diner, and create a world of smoky nightclubs on late foggy nights.

This kind of control allows for fantastic sound. Engineers could manipulate the environment to their liking, and the natural balance of audience to band is perfect. Tom's voice permeates the mix just enough to ensure his words are heard clearly.

Nighthawks At The Diner finds Waits backed by a quartet of seasoned jazz cats.
The band is spot-on, playing tight, dynamic, and smooth jazz. Tenor sax, piano, upright bass, and a kit create a combo well equipped for the job. These guys were on Heart of Saturday Night too, and their chops hold true on this live effort.

Tom greets the crowd:
Well, an inebriated good evening to you all.
Welcome to Rapheal's Silver Cloud Lounge.
Slip me a little crimson Jimson, give me the low down Brown,
I want some scoop Betty Boop. I'm on my way into town...

Playing the role of the Hollywood hobo to the hilt, Waits performs every song elegantly, daubing each sepia-toned number with canny one-liners and well-paced asides. Throughout, a jive-talking Waits works blue ("I'm so goddamn horny the crack of dawn better be careful around me"), banters of "coffee not strong enough to defend itself" and uses bebop jargon to construct some memorable and deeply profound poetry, with discussions of "pincushion skies" and "Velveeta-yellow cabs" and "the impending squint of first light" and such. Theatrical piano bar signifiers abound: Waits introduces the band and drops names of familiar Los Angeles locales and eating establishments, to the delight of the game and agreeable crowd, perhaps laying the tracks for some of Todd Snider's endless, stoned preambles. Waits occasionally gets serious, as on the saccharine "Nobody" and the uncharacteristically grave reading of Red Sovine's trucker ghost story "Big Joe and Phantom 309," as well the fantastic "Putnam County," a number that blends Waits' post-Beat patter ("And the Stratocasters slung over the burgermeister beer guts / swizzle stick legs jackknifed over Naugahyde stools") with a piano melody worthy of Bill Evans...

The 360 Degree Music Experience - In-Sanity (2LP-1976)

Genre: Jazz | Total Time: 1:14:05 | Size: 429.38 MB | FLAC
A1 - Tradewinds ....6:31
A2 - In:Sanity Suite Part 1: Skull Job ....6:42
A3 - In:Sanity Suite Part 2: Tm's Top ....4:25
B1 - In:Sanity Suite Part 3: Complete Operation ....18:42
C1 - Open ....21:30
D1 - Full, Deep And Mellow ....6:31
D2 - Sahara ....9:15

Beaver Harris — drums, percussion
Dave Burrell — organ, piano, celesta
Azar Lawrence — tenor sax
Keith Marks — flute
Hamiet Bluiett — clarinet, flute, baritone sax
Sunil Garg — sitar
Cecil McBee — bass
Francis Haynes — drums (steel)
Titos Sompa — congas

Steel Ensemble:
Francis Haynes — soprano sax
Roger Sardinha — soprano sax
Coleridge Barbour — alto sax
Alston Jack — tenor sax
Michael Sorzano — tenor sax
Steve Sardinha — bass
Lawrence McCarthy — iron

Label: Black Saint – BSR 0006/7
Format: 2 × Vinyl, LP / Country: Italy / Released: 1976
Style: Contemporary Jazz, Free Jazz
Recorded at Generation Sound Studios in New York City on March 8 & 9, 1976.
Producer By – Giacomo Pellicciotti
Engineer By – Tony May
Photography By – Nina Melis
Cover Art By – Marlo Convertino
Distributor – Northcountry Distributors

360 Degree Music Experience: The name of this group says a lot and means that with him, it will be primarily to experiment, and do not impose limits around. And especially not those invited to turn its back on tradition, that on which it was necessary to insist at the time emerged this training, so the idea of inherent struggle to Black Power (then almost always associated with free jazz ) had come to prevail in favor of single cry - anger, revolt - as the only possible aesthetic - no vanguard without a break with the old, it was thought hastily in the public fervent had eventually win free jazz.

On drums, Beaver Harris was first spotted alongside Albert Ayler, as part of a tour set up by the promoter George Wein. At the same poster, black and white, classical musicians and avant-garde: Ayler therefore, Sonny Rollins, Max Roach; but Dave Brubeck, Stan Getz & Gary Burton; or Sarah Vaughan and Willie "The Lion" Smith. Somehow a complete panorama of jazz then, 360 degrees.

A battery, in the 1970s, it was used to hearing in the company of Beaver Harris Archie Shepp. But at the time, Archie Shepp, labeled activist in the sixties, had become the target of former admirers reproaching him for having watered down its message - or at least what they had seen fit to hear behind his game During the previous decade. In the heart of fans of the New Thing, music and politics had eventually merge, sometimes generating debates heavily biased.

What reminds Beaver Harris, and this from the first LP of this self-produced group whose title almost manifesto figure (From Ragtime To No Time) is that free jazz did not emerge from nowhere, and that its pillars were of course able to play "old", and thus to return if necessary - a real guarantee of freedom-won. At Gerard Rouy and Thierry Trombert in Jazz Magazine, Beaver Harris confided: "What is needed is to show young people that the tempo is as important as the vanguard, as important as the off-beat. This ties that said Archie Shepp: Scott Joplin was first avant-garde, as his music seemed strange when you heard it for the first time. This was true for Willie "The Lion" Smith and Duke Ellington. "Later in the same interview, Beaver Harris strikes a strongly worded metaphor:" You can not pick apples or oranges before a seed has been planted and have it left to develop. "This explains that Doc Cheatham and Maxine Sullivan may have been invited by the 360 Degree Music Experience. For indeed, without the first, no Lester Bowie. And in the absence of the second, no Abbey Lincoln.

Originally, the 360 Degree Music Experience was conceived as a cooperative of which were part Dave Burrell, Cecil McBee, Jimmy Garrison, Cameron Brown, Howard Johnson, Hamiet Bluiett, Keith Marks, Bill Willingham and two singular musicians: Francis Haynes (steel drum) and Titos Sompa (congas). One like the other, and the sitar player Sunil Garg, brought unprecedented brilliant colors In:Sanity where the importance of the steel drum is crucial, as rhythmically as melodically speaking. Just listen to "Trademings" to be convinced, beautiful theme signed by Dave Burrell, whose saxophone emerges particularly inspired Azar Lawrence.

In fact, all along, In:Sanity never avoids complex arrangements, nor does would ignore in some long passages free (two whole faces reality), the urgency to play. Because anyway, here, everyone knows decompose rejoice cleverly arranged architectures like coming back - when necessary - to party like original proceedings.

Inaugurating and terminating this double-album, sides A and D are among the most delicately completed free jazz (Beaver Harris was also the Trickles Steve Lacy who possesses these qualities). While the faces B and C, in contrast, are only disproportion to broaden the osmosis between rhythm and harmony, until he dislocated offer wonderfully echoes.

Terumasa Hino - Hogiuta (LP-1976)

Genre: Jazz | Total Time: 41:44 | Size: 219.77 MB | FLAC
A1 - Gyohkoh . . . 4:17
A2 - Hohjoh . . . 5:11
A3 - Yuhwa . . . 4:13
A4 - Hogiuta . . . 4:23
A5 - Yuhkyu . . . 1:40
B1 - The Good People . . . 15:08
B2 - Conclusion . . . 6:46

TERUMASA HINO – Trumpet, Fluegelhorn, Percussion, Composer, Voices
CECIL McBEE – Bass (Acoustic), Voice
MOTOHIKO HINO – Drums, Percussion, Voices
MTUME – Percussion, Conga, Voices

Label: East Wind – EW-8041
Format: Vinyl, LP, Album; Country: Japan - Released: 1976
Style: Free Improvisation, Fusion
Studio recording, Japanese Original & East Wind, 1976
Promotional Director By – Yukio Morisaki
Photography By – Tadayuki Naitoh
Producer By – Yasohachi "88" Itoh
Engineers By – Yoshiro Suzuki, David Baker
Executive Producer By – Toshinari Koinuma

Note: Japanese Original & East Wind JPN Spiritual Jazz!

A fine trumpeter influenced by Freddie Hubbard and Miles Davis, Terumasa Hino has long been one of Japan's best jazz musicians. A professional since 1955, Hino has mostly become known to Americans since the 1970s due to his Enja recordings, although some of his albums were made available domestically by Catalyst, Inner City, and Blue Note. He moved to the U.S. in 1975, where he worked with Gil Evans, Jackie McLean, Dave Liebman, and Elvin Jones. Hino spent more of his time in Japan after the early '80s, and recorded in several different styles ranging from straight-ahead to fusion.

Very rare album and exceptionally beautiful recording.

Sam Rivers - The Live Trio Sessions (2LP-1978)

Genre: Jazz | Total Time: 1:13:05 | Size: 456.07 MB | FLAC
A1 - Hues Of Melanin - Part One (Soprano Saxophone Section) 15:30
B1 - Hues Of Melanin - Part Two (Flute And Vocal Section) 18:47
C1 - Hues Of Melanin - Part Three (Ivory Black - The Piano Section) 4:13
C2 - Hues Of Melanin - Part Four (Violet - The Tenor Saxophone Section) 5:38
C3 - Encore 3:05
C4 - Mauve 4:17
C5 - Indigo 1:28
D1 - Suite For Molde - Part One 8:06
a. Onyx - The Soprano Saxophone Section
b. Topaz - The Flute Section
D2 - Suite For Molde - Part Two (The Tenor Saxophone Section) 11:27

Tracks A-C2 recorded live on November 10, 1973 at the Battel Chapel, Yale University, New Haven, Connecticut.
Track C3 recorded live on July 6, 1973 at The Montreux Jazz Festival, Switzerland.
Tracks C4, C5 recorded live on October 27, 1972 at Oakland University, Rochester, Michigan.
Tracks D1-D2 recorded live on August 3, 1973, at the Molde Jazz Festival, Molde, Norway.

Sam Rivers – tenor saxophone, soprano saxophone, flute, piano, vocals
Cecil McBee (tracks: A1 to C3) – bass
Richard Davis (tracks: C4, C5) – bass
Arild Andersen (tracks: D1, D2) – bass
Barry Altschul (tracks: A1 to C2, D1, D2) – drums, percussion
Norman Connors (tracks: C3) – drums, percussion
Warren Smith (tracks: C4, C5) – drums, percussion

Label: Impulse! – IA-9352/2
Series: The Dedication Series – Vol. XII
Format: 2 × Vinyl, LP / Country: US / Released: 1978
Style: Free Jazz, Free Improvisation
Liner Notes – Robert Palmer
Mixed By – Al Schmitt Jr. (tracks: A, B), Baker Bigsby (tracks: C1 to D2), Ed Michel (tracks: C1 to D2), Michael Cuscuna (tracks: A, B)
Producer – Ed Michel
Design by – Vartan/Rod Dyer Inc.
Photography by – Charles Stewaet

Recorded live at concerts in Molde, Norway, Yale University, the 1973 Montreux Jazz Festival and at Rochester, Michigan, this long-out-of-print double LP has all of Sam Rivers' recordings from the 1972-73 period. The music "Hues of Melanin" (here divided into four parts) lasts 47 minutes. In addition to three much briefer pieces, the two-part "Suite for Molde" is over 19 minutes long. On these numbers Rivers is joined by either Cecil McBee, Richard Davis or Arlid Anderson on bass and Barry Altschul, Norman Connors or Warren Smith on drums. There is surprisingly little tenor playing from Rivers during the performances (including just 51 minutes of "Hues of Melanin"); he does stretch out more on soprano, flute, piano and even a little eccentric vocalizing. The passionate music is quite adventurous and outside, as close as Rivers came to free jazz. Excellent, but definitely not for all tastes.

 ...this is a part of the ambitious program Backer and Michel effected during their Impulse tenure. The exceptions are „Onyx“ and „Topaz“, recorded at the Molde Festival in Norway; and „Ivory Black“ and „Violet“, recorded at Yale. These performances were included in „Hues“, an Impulse album of short excerpts from long trio performances, while most of the rest of the present album was scattered over „The Saxophone, Impulse! Artists on Tour, No Energy Crisis“ and „The Drums“. Michael Cuscuna has gone back and restored the integrity of the original sessions, so that the remarkable „Hues of Melanin“ from Yale, with the rhythm section of Cecil McBee and Barry Altschul that Rivers prefers today, and the „Suite for Molde“ are heard complete for the first time.
Rivers may have begun the Yale and Molde performances with an empty stage, but the stage did not remain empty for long, for these are remarkably rich and cohesive examples of group improvisation. Like any discipline that is practiced long enough, Rivers's trio performances have developed their own conventions–the uptempo and midtempo swing sections, the vaguely Eastern sounding drone sections, and so on–but it's remarkable how little convention and how many new sound and new ideas are present here. One could point to the overwhelming momentum of the Yale concert or to the alchemy that occurs between Rivers's flute and Arild Andersen's bowed bass on the second part of „Suite for Molde“ as particular highlights, but in fact, everything here is exceptional. And since Rivers has really recorded very little of his free-form trio music–most of his later trio dates, such as the brilliant „The Quest“ with Holland and Altschul, bring compositional elements into play–the addition of this album to his discography is particulary welcome...

 ...Rivers's feelings about this music make the album doubly welcome. „Trio performances are the only thing I like to leave completely free“, he said in 1974. „That's really my style of playing, and I've been doing it long enough to be very conscious of developing forms. I start to build into some kind of form and set it up so that there's a rise and fall throughout. I didn't really feel that „Streams“ was one of my best trio performances. I flew over to make the gig in Montreux, and it was kind of hectic. The selections which they put on „No Energy Crisis“ and „Impulse! Artists on Tour“ [these were excerpts from the Yale and Molde concerts] „were better performances; they showed more emotion than „Streams“.“
That should tell you something about the way Rivers evaluates his own music. „Streams“ is a marvel of inventiveness and stamina but it is, perhaps, a little icy. Rivers at his best, as he was at Yale and Molde, is warm and expressive as well as technically formidable. In the end, both these attributes are equally important. „You can't survive in his business on just your intuitive thing“, he said when I interviewed him again in1978. „You can come out here and be an intuitive musician and be really happening, but your dreams and visions won't last forever. If you don't get into the books and get this technical thing together while your intuitive thing is happening, it's over.“ Rivers's great strength is that he has so much of both, the technical and the intuitive. He isn't in the music for one short, apocalyptic instant, he's in it for the long haul. His work, which he considers American classical music, is intended to last, and it's fortunate that these performances, restored to their original length, are going to last along with the rest of his recordings.