Archie Shepp - Black Gipsy (1969)

Black Gipsy is an interesting album, not just because it's one of the very few dates where Archie Shepp plays soprano exclusively, but because the album also features a harmonica player, Leroy Jenkins on viola, and a vocalist named Chicago Beauchamp (aka Chicago Beau), who also performed with the Art Ensemble of Chicago and Jimmy Dawkins. This is in addition to Clifford Thornton, Noah Howard, Sunny Murray, and the great Dave Burrell on piano. On "Black Gipsy," after an intro by Jenkins, Murray and bassist Earl Freeman set up a powerful martial groove, pushed by Burrell's lowend piano work. The horns and harmonica use this as a launching point, while Chicago Beauchamp sporadically spouts his street poetry. "Epitaph of a Small Winner" is something of a travelogue suite, starting in Rio de Janeiro with a light, upbeat melody. Casablanca is next, where the proceedings become a bit mellower and mysterious, then it's on to a near bluesy romp for the last stop in Chicago. This music gets intense, but melody is always at its core: this is not just a free blowing session. The rhythm section keeps things well grounded, aided greatly by Burrell's marvelous comping while the horns and harmonica take the melodies and run with them. Good stuff. ~ Extract by Sean Westergaard, AMG.

America Records, 30 AM 6099, 1970

Prestige Records, PRST 10034, 1972

Recorded 9^th November, 1969 At Decca Studios, Paris, France

Personnel:

Archie Shepp - Soprano Saxophone

Clifford Thornton - Trumpet

Noah Howard - Alto Saxophone

Julio Finn - Harmonica

Dave Burrell - Piano

Leroy Jenkins - Viola

Earl Freeman - Double Bass

Sonny Murray - Drums

Chicago Beauchamp - Vocals

Tracks:

A. Black Gipsy {Augustus Arnold, Chicago Beauchamp} (25:37)

Epitaph Of A Small Winner {Chicago Beauchamp, Julio Finn} (22:34)

B1. Rio De Janeiro

B2. Casablanca

B3. Chicago

Total Time: 48:11

Credits:

Producer - Pierre Berjot

Photography - Gilbert Moreau

Liner Notes - Chicago Beauchamp, Julio Finn

Dewey Redman - Coincide (1974) [true flac]

A beautiful and spiritual record by Dewey – and one that features very stripped down playing, mostly in a trio or quartet format. The players differ from track to track – and they include Sirone on bass, Eddie Moore on drums, Leroy Jenkins on violin, and Ted Daniel on trumpet. Two tracks feature Redman playing zither, which sounds strange, but very nice. Another features clarinet, and the remainder feature Dewey on his traditional tenor. Titles include "QOW", "Somnifacient", "Seeds & Deeds", "Funcitydues", and "Phadan-Sers". © Dusty Groove, Inc.

Impulse! Records, ASD-9300, 1975

Recorded 9^th (#A1,A2) & 10th (#A3-B4) September, 1974 at Generation Sound Studios, New York City

Musicians:

Dewey Redman - Tenor Sax (#A1,B1,B2,B4), Clarinet (#A2), Zither (#A3,B3)

Ted Daniel - Trumpet (#A1,A2)

Leroy Jenkins - Violin (#A1,A2)

Sirone - Bass (#A1-B2,B4)

Eddie Moore - Drums (#A1,B1,B2,B4), Tympani (#A2), Cymbals (#A2), Bowed And Struck Idiophone (#A3)

Tracks:

A1. Seeds And Deeds (4:51)

A2. Somnifacient (7:14)

A3. Meditation Submission Purification (8:12)

B1. Joie De Vivre (3:20)

B2. Funcitydues (3:15)

B3. Phadan-Sers (3:38)

B4. Qow (10:17)

All Compositions by Dewey Redman

Credits:

Producer - Ed Michel

Engineer - Tony May

Mixing - Baker Bigsby

Mastering - Kendun Recorders

Design - Tim Bryant

Photography - Philip Melnick

Liner Notes - Robert Palmer

Total Time: 40:47

Dewey Redman is featured in a few different settings on this intriguing and generally successful album. The best cuts are the originals that match Redman's tenor with bassist Sirone and drummer Eddie Moore. In addition, he is heard on zither on two cuts (one of which is unaccompanied), and his trio adds trumpeter Ted Daniel and violinist Leroy Jenkins for two complex originals; Redman switches to clarinet on "Somnifacient." Although it is interesting to hear Redman on clarinet and zither, his tenor playing is clearly his strong point and the main reason to search for this LP. His ten-minute workout on "Qow" is outstanding. ~ by Scott Yanow, AMG.

Joe Bonner - Angel Eyes (1976) [re-rip]

"Angel Eyes" contains a magical mix of both solo, trio and group tunes. On the title track "Angel Eyes" and "I Do" Bonner plays solo and both are very soul-searching and captivating. "Love Dance" is a blend of both solo and an added rhythm section. Yet, what makes this LP magnificent is the addition of the avant-garde violinist Leroy Jenkins and tenor saxophonist Billy Harper. Both musicians are found on "Variations On The Little Chocolate Boy" and "Celebration", which also includes the superb vocalist Linda Sharrock. The late Jenkins' violin stretches the other players to do more. In this instance Harper clearly showcases his ability to pick up the harmony and run with it. Overall Bonner's playing is incredibly evocative. The album’s highlight is Sharrock’s singing, starting out with a pervasive dark tone that later launches into a wailing mode and then returns anchored by the fusion of the groove being conveyed by the rest of the group. In a lot of ways these two tracks are very bold verging on the avant-garde. The listener cannot but desire more of the same in a follow up album. In the end Bonner concludes this work with a simple but eloquent bamboo flute solo invoking quite a rounding off and spiritual tone to the whole session.

Muse Records, MR 5114, 1976

Recorded October, 1974 and January 1976

Musicians:

Joe Bonner - Piano, Bells (#A1), Bamboo Flute (#B3)

Billy Harper - Tenor Saxophone (#B1,B2)

Leroy Jenkins - Violin (#B1,B2)

Juni Booth - Bass (#A3,B1,B2)

Jimmy Hopps - Drums (#A3,B1,B2)

Linda Sharrock - Vocal (#B2)

Tracks:

A1. Angel Eyes {Matt Dennis} (5:42) *

A2. Love Dance {Joe Bonner} (4:39)

A3. I Do {Joe Bonner} (6:05) *

B1. Variations On The Little Chocolate Boy {Joe Bonner} (5:33)

B2. Celebration {Joe Bonner} (9:26)

B3. Interlude {Joe Bonner} (3:12) #

* Solo Piano

# Solo Flute

Credits:

Producer - Joe Bonner, Michael Cuscuna

Album Design - Joe Bonner, Ron Warwell

Liner Notes - Alan Goodman

Celebration [Lyrics]

It's a sad game, it's a sad game, if you care to play.

It's a sad game, it's a sad game, if you care to play.

I want to be someplace that's good for me.

I want to be someplace that's good for me.

It's a sad game.

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

Joe Bonner - RIP [Muse Albums - Re-Post]

Joe Bonner - The Lifesaver (1975)

Label: Muse Records

Catalog#: MR 5065

On this LP Joe Bonner is fully engaged in creating some marvellous and lyrical excursions into a variety of self-penned tunes. Apart from his evocative piano work he intelligently turns his hand to an assortment of instruments including harmonica and flute creating an intriguing percussive complement to his acoustic piano sounds. A highlight is to hear an original take on his emotive "Little Chocolate Boy". In all, it is a bold solo album that manages to entertain from the start to the finish.

Personnel:

Joe Bonner - Piano, Miscellaneous Instruments, Percussion

Track Listing:

A1. Bonner's Bounce (5:29)

A2. Tatoo (7:42)

A3. Little Chocolate Boy (5:36)

B1. The Lifesaver (4:26)

B2. Native Son (5:40)

B3. The Observer (7:43)

__________________________

Joe Bonner - Angel Eyes (1976)

Label: Muse Records

Catalog#: MR 5134

"Angel Eyes" contains a magical mix of both solo, trio and group tunes. On the title track "Angel Eyes" and "I Do" Bonner plays solo and both are very soul-searching and captivating. "Love Dance" is a blend of both solo and an added rhythm section. Yet, what makes this LP magnificent is the addition of the avant-garde violinist Leroy Jenkins and tenor saxophonist Billy Harper. Both musicians are found on "Variations On The Little Chocolate Boy" and "Celebration", which also includes the superb vocalist Linda Sharrock. The late Jenkins' violin stretches the other players to do more. In this instance Harper clearly showcases his ability to pick up the harmony and run with it. Overall Bonner's playing is incredibly evocative. The album’s highlight is Sharrock’s singing, starting out with a pervasive dark tone that later launches into a wailing mode and then returns anchored by the fusion of the groove being conveyed by the rest of the group. In a lot of ways these two tracks are very bold verging on the avant-garde. The listener cannot but desire more of the same in a follow up album. In the end Bonner concludes this work with a simple but eloquent bamboo flute solo invoking quite a rounding off and spiritual tone to the whole session.

Personnel:

Joe Bonner - Piano, Bells (#A1), Bamboo Flute (#B3)

Billy Harper - Tenor Saxophone (#B1, B2)

Leroy Jenkins - Violin (#B1, B2)

Juni Booth - Bass

Jimmy Hopps - Drums

Linda Sharrock - Vocal {#B2}

Track Listing:

A1. Angel Eyes (5:41)

A2. Love Dance (4:39)

A3. I Do (6:04)

B1. Variations On The Little Chocolate Boy (5:32)

B2. Celebration {Featuring Linda Sharrock} (9:26)

B3. Interlude (3:12)