George Lewis - George Lewis (1978) [vinyl>flac]

This is the 2nd album of George Lewis on Black Saint. As intelligent musician, together with friends of AACM, he expands the experimental world in music wider and deeper. Every title has different combination players and instruments. Muscial pointillism, which Roscoe Mitchell was questing in one time, becomes strong and apparent. ~ freethemusic-olatunji

George Lewis recorded one of his first albums, Shadowgraph, in 1977. It was released on Black Saint in 1978. Now I suspect that everything that could be said has been said about this album. Nonetheless my blogs are in part an odyssey of my listening experiences in time, and if I do not address some of that there will be an imbalance, a lack of representative things I do listen to that perhaps nobody seems to send to me in the form of promo copies. So. . .

I am not sure why or how I missed this release when it first came out, except to say that 1978 began a long and somewhat distracting (to the music) journey I took in educational enlightenment and, later, protracted wage slavedom, which wasn't so bad because I managed to eat every day and pay the rent.

So there we are. Shadowgraph has an impressive lineup of musicians: Lewis, Douglas Ewart, Leroy Jenkins, Abdul Wadud, Anthony Davis, Muhal Richard Abrams, Roscoe Mitchell...many of them prime AACM cats, all of them important Afro-American improvisers and most of them also important composers of the music.

The four pieces put down onto tape and assembled for the album are in the free-form chamber improvisation-jazz mode. Lewis introduces electronics in addition to his trombone and tuba, and everyone contributes. It is wonderfully subtle music. It sounds to me like one of the gems of that year, certainly. The sound color sculpting on this one is just superb, as is the very intelligent utilization of space by everyone involved.

Now if someone tells you that the '70s were a bust for "Jazz," play them this one and then send them packing. The fact is that the '70s were incredibly important years for the music. And George Lewis was right there in a central position. He's a fabulous trombonist, sure, but a composer-conceptualist of the very highest sort as well.

Perhaps my quick take on Shadowgraph will not satisfy those looking for detailed musical description. Well that's been done. This posting serves mostly as a reminder that one should not miss this recording if one has serious designs on understanding improvisation and its development in our era. ~ by Grego Applegate Edwards.

Black Saint, BSR 0016, 1978

Recorded at Generation Sound Studios, New York City in 1977

Track Listing:

A1. Monads (13:24)

George Lewis - Alto & Tenor Trombones

Roscoe Mitchell - Soprano Saxophone

Douglas Ewart - Bass Clarinet

Anthony Davis - Piano

Leroy Jenkins - Violin

Abdul Wadud - Cello

                  

A2. Triple Slow Mix (8:48)

George Lewis - Sousaphone

Muhal Richard Abrams - Piano [Left Channel]

Anthony Davis - Piano [Right Channel]

                  

B1. Cycle (6:32)

George Lewis - Synthesizer [Moog], Trombone [Tenor], Tuba [Wagner]

Douglas Ewart - Clarinet, Bassoon, Sopranino Saxophone, Percussion

B2. Shadowgraph, 5 [Sextet] (11:44)

George Lewis - Trombone [Tenor], Tuba [Wagner], Sousaphone, Other [Sound-Tube]

Douglas Ewart - Flute, Flute [Ewart Bamboo], other [Cassette Recorder/Recitation], Percussion

Muhal Richard Abrams - Piano

Leroy Jenkins - Viola

Abdul Wadud - Cello

Credits:

Producer - Giacomo Pelliciotti

Producer [Assistant] - Timothy Marquand

Engineer - Tony May

Written-By - George E. Lewis

Artwork - Bruno Milano

Photography By, Artwork - Giuseppe Pino

George Lewis In Japan Vol. 1

Of the 4 Lewis sides I have shared, this is my personal favorite.  You'll notice that only Joe Watkins is present from GL's usual line up.  This is because Lewis took the Preservation Hall members with him for this tour.  It was actually billed as The George Lewis Preservation Hall Jazz Band. 

As you can see from the cover image, the Japanese were clamouring for the real thing in jazz, so when Lewis rolled into town it was hailed as an event.  Much like any large rock act, the band were greeted at the airport by fans and media alike.  Their popularity was so huge that they were able to play for 3 months in Japan - each gig a success.  The liner notes have lots of great info about his time there, I encourage you to read them.

Almost as entertaining as the band is the poor MC who was tasked with introducing each member of the band by name.  Once that awkward intro is done the band take off and never look back.

Ultra tight and just killin every tune, GL and co. showed the Japanese what it means to be a New Orleanian jazz musician.  A real big nod to Emanuel Sayles who just tears it up on the banjo, a real joy to listen to.  For anyone enjoyin the Snowden sides, Sayles will be a treat.

This is the first of three volumes, but I don't have the other two.  I will be actively seeking them out.  Ripped at 24/44.1 wav and dithered to 16/44.1 FLAC... enjoy!!
GBH Records GBH-14
Recorded in Osaka, Japan 1963

George Lewis At Club Hangover Vol. 3

It's a shame that I don't have Vol. 2 of this series, but I will keep an eye out.  Vol. 3 brings us more from this great engagement, with all the players firing on all cylinders.

Ripped at 24/44.1 wav and dithered to 16/44.1 FLAC... enjoy!!!

Storyville SLP-4055
Club Hangover, San Francisco, CA  (11/07/1953-12/27/1953)

George Lewis (clarinet); Laurence Marrero (vocals, banjo); Avery Howard (vocals, trumpet); Joe Watkins (vocals, drums); Lizzie Miles (vocals); Jim Robinson (trombone); Alton Purnell (piano)

George Lewis At Club Hangover Vol. 1

In 1953, George Lewis took his band west for an extended engagement at San Fransisco's Club Hangover.  It was an 8 week run and an incredible success.  As the west coasts' most popular Dixieland venue, Lewis and co. packed the joint nightly.

Of course, the local radio station were on hand for recording.  Most of it was done off-the-air, but none the less their diligence paid off as a record of this outstanding band during this stay.

The album is MC'd by club stalwart Bob Gurner and he can be heard introducing several tracks.  Lewis himself, ever the polite southern gentleman, also can be heard introducing the songs.  Both G.L. and Kid Howard provide wonderful vocals for roughly half the album.

Once the band start, the vibe never diminishes.  Superb uptempo jazz, all wildly loose and soulful, is the order of the day.  Despite the fact that these standards are old hat for many of us, this band really give 'em the treatment resulting in an exciting and sometimes surprising tune.

Overall the album is a relatively quick listen.  It was infact issued on CD, but here for you is a vinyl transfer (of course!!!!).  As I listen while I write, I am realising that I forgot to edit with click repair.  It's not too much of a travesty - track 3 has a few clicks which you may want to deal with yourself.  Apologies, but it's certainly nothing which takes away from the listening experience.

Ripped at 24/44.1 wav and dithered to 16/44.1 FLAC, this is for my old school Cryptheads...enjoy!!!

Storyville SLP-4055
Club Hangover, San Francisco, CA  (11/07/1953-12/27/1953)

George Lewis (clarinet); Laurence Marrero (vocals, banjo); Avery Howard (vocals, trumpet); Joe Watkins (vocals, drums); Lizzie Miles (vocals); Jim Robinson (trombone); Alton Purnell (piano)

___________________________________________________________________________

                                                          

Club Hangover

Owner ”Doc” Dougherty

Edmond Hall w/ Ralph Sutton c. 50's

Street Sign

Club Hangover, which opened in the late 1940's, was the premier traditional jazz venue in San Francisco during the 1950's. The club at 729 Bush Street, close to Powell Street,  was run by Doc Dougherty. During the 1950's there were many radio broadcasts of concerts at Club Hangover. Subsequently a number of these have been released on CD, particularly on the Storyville label.  (Taken From http://www.fellers.se/Kid/1950s_Club_Hangover.html)

George Lewis And His Ragtime Band In Concert

The Crypt will be doing a mini feature on the legendary clarinetist George Lewis...

George Lewis - one of New Orleans favorite and most beloved sons.  A legend of jazz and the clarinet, he dedicated his life to N'awlins music, never leaving or selling out his hometown.  His hardened belief in the music paid off during the revivalist movement, and kept on reaping rewards globally as the world discovered his incredible band.

During the 50's and 60's, Lewis' band enjoyed great success overseas in Europe and Japan.  They knew he was the real deal and couldn't get enough.  One great thing about G.L. was his dedication and loyalty.  He stayed a resident of New Orleans while most of his contemporaries were headed to Chicago and New York.  The other impressive point was his use of the same musicians to form his group.  Of course, some members would come and go occasionaly, but even the stand ins were from the same pool of players.  At the core and present for virtually all of his recordings and gigs were Avery 'Kid' Howard, Alcide 'Slow Drag' Pauageau and Jim Robinson.

This group helped to keep the small group torch lit, while big bands ruled the day.  They also kept the original New Orleans music alive and well, inspiring younger players and tastemakers of the day.  Everyone is on point and delivers that real N'awlins vibe.  The real deal my friends... an album recorded for radio.  The group are at the heights of their powers and play their asses off!!

Excellent fidelity, taken from a sealed copy.  Ripped at 24/44.1 wav and dithered to 16/44.1 FLAC... enjoy!!

Storyville SLP-4022
1960

Recorded in Springfield, CA May 28, 1954

George Lewis - cl;  Kid Howard - tp, voc;  Jim Robinson - tb;  Alton Purnell - p;  Lawrence Marrero - bjo;
Slow Drag Pauageau - b;  Joe Watkins - d