clifford_thornton

Samara Lubelski - In the Valley - (Eclipse) Solo violin and electronics from a very interesting and somewhat chameleonic musician.

The "One" in the title of Tension was in reference to the new-jazz series produced by Horst Lippmann. Also in this series were titles by Joki Freund, Wolfgang Dauner and Manfred Schoof.

HBRT! (Just a little late to the party)...

Joe Giardullo - Gravity - (Breeze Records) Interesting octet recordings from 1979 by this soprano saxophonist, now usually heard solo!

Goldmine is wrong? Say it isn't so!. I bought "Tauhid" as a new release, and it is on the orange label. Btw, "Karma" was the first record I saw with the new black label w/ red border. Not saying it was the very first, but it was among the first. Yeah, my Tauhid is an orange-label Stereo also. I have seen an orange-label Karma, I could swear.

Yeah, he's great. I don't have that one.

Professor Truth Allen Large (using my real last name) isn't so bad, either...

Reverend Thornton Tickle or... Master Fly Clifford Sweetness

I'm not always the biggest KW fan, but indeed he shines on this date.

FYI , Bish's wife Valerie drops in here on occasion . I hope she sees your post . As a Coral Keys owner let me just say that that was a hell of a magnanimous gesture on your part . Yeah, that's pretty hip. Although it also might be why I don't get records signed!

Brandon Burke (wherever he now roams) had the best one I've ever seen, though it hasn't made it to circulation: WWMD - What Would Mingus Do?

HBOC!

Didn't know that about PR. In a similar vein, I always find it remarkable to hear Phil Minton's stuff with Westbrook! Yeah, and Rutherford was also in the Charlie Watts big band and played some rock gigs, though it's not what I usually associate with him. But sure, he was open - they all were. I guess my point was, though, that free music and Britjazz (regardless of cross-pollination) do have different aesthetic places of reference. Cross-pollination and bridge-building are hugely important things. You can't have a music without them.

Most of the solo Oxley material I have is vintage, and I like it. It's definitely a subtler beast than somebody like Bennink or Graves, but there is quite a range of tonal colors and dynamics he gets from the amplified kit. I have a concert recording of the Oxley sextet with Howard Riley from '74 (I think) that has a particularly staggering solo percussion intro. The piece is called "Nephritic Tool." Guy, Parker, Rutherfuord and Wheeler are also on the gig. If Ichnos were reissued, the world would be a better place. I was spinning it the other day and its masterpiece status was reaffirmed...

I used to know the words to "Lawrence from Oblivion" or whatever it was called... Great record. "Lawrence of Euphoria" Oar is one of the handful of rock records (tho it's not a "rock" record at all) from the 60's that I still listen to these days. Right, right, thanks. Been a while. "Vivian from Oblivion" is the line I was thinking of...

The mid-60s Mangelsdorff stuff is very good, and pertinent to this discussion. Also the 1st Gunter Hampel on Saba, the Manfred Schoof on CBS... steps in the "right" direction, for sure. The amount of radio tapes (esp. NDR and WDR) circulating these days is staggering, and many of these sessions are even superior to what was released commercially. With the access that Corbett has, it's surprising that stuff like that isn't being reissued, though a marginal (albeit good) FMP like Tern is in digital circulation. Red, point taken. I guess I was differentiating the Surman/Beckett/Taylor camp and the Bailey/Parker/Rutherford, perhaps unfairly. 'Course, Oxley, Stevens and Howard Riley straddled the hell out of that early on...

Ric Colbeck - The Sun Is Coming Up - (Fontana UK orig) Now: Theo Loevendie Three - Stairs! - (Artone orig) Great trio with Maarten Altena and Johnny Engels (where the young Bennink got his sound, I think). Supposedly the first "proper" Dutch free jazz record, from '67.

Your first point above I can't really get with. To an extent, life experience will differ if you're from the Chicago ghetto or a working-class German suburb a/o attended the conservatory. That said, I tend to listen to this music with the mindset that it's "Just Music" (to reference Alfred Harth's group). I differentiate more between players and their approaches than whether the cat is a brother or from near the Arctic Circle. You take "Britjazz" for one. Sure, it came into its own in the late '60s, so to speak, but "coming into its own" was a result of combining the influences of American and South African jazz and English classical music (not talking British free improv here, btw) - and then adding a healthy dose of personality in each separate case. Finding the "voice" is not always so much about getting away from influence as finding oneself, however many different strains that may take (or take from). Re: Hampel vis. Brown: Yes and no. If you can't get with "You Did It," try "The Capacity of This Room..." Edit to say: even better, "Chicken With Its Head Cut Off." Yikes...

I used to know the words to "Lawrence from Oblivion" or whatever it was called... Great record.

The New York Contemporary Five, the Cecil Taylor trio and the Albert Ayler quartet all arrived on the Scandinavian scene earlier than Ornette. Ayler's music was particularly influential on Danish and Swedish musicians like Hugh Steinmetz, Bernt Rosengren and Frippe Nordstrom. Archie Shepp came back with his two-trombones group in 1967, visiting Holland, Germany, the UK and France. They carried a particularly strong influence in Holland, apparent in Hans Dulfer's Heavy Soul quartet with Willem van Manen, Maarten Altena and Han Bennink (Jazz in Paradiso, HSM 1501, 1969). More thoughts later...

I think every country has something interesting to offer in terms of free jazz. There hasn't been a ton of scholarship from English-language writers on European improvisation after 1965; Heffley's book Northern Sun Southern Moon is a start, but contains a lot of errors and missed connections. The early Gunter Hampel records are pretty great. Lots of stuff to dig on, though...

Agreed on all counts. However, the Sunny LPs that I return to most are the Pathe and the Shandar.

What Chalupa found is correct.

An excellent album by an excellent band. To that I say: LFTR PLLR