Another rare NYC jazz reissue

[Stefan Wood]

In the mail as I type, can't wait!

Freestyle Band

[mjazzg]

the two samples sound very tempting.

The names involved are completey new to me so what's there to know? I'm intrigued

[Stefan Wood]

From Adam Lore's 50 Miles of Elbow Room email:

Right on time reissue of this great underground free jazz classic, complete with two previously unissued tracks totaling over 20 minutes (!) and liner notes by Ed Hazell. 50 Miles used to offer the original vinyl pressing, and that write-up is below:

“I watch the things all around me and I shy away, reject and go away, and sometimes it’s more successful.” – Earl Freeman, quoted in “Freeman Fighter,” written by Valerie Wilmer, published in Melody Maker, May 13, 1972.

Earl “Goggles” Freeman was an outcat’s outcat: musician, poet, visual artist, and all-around interesting fellow. Born in Oakland in 1937, Mr. Freeman was a noteworthy but somewhat enigmatic musician who was most active recording-wise when he was an expat on the ‘60s Paris free jazz scene. His discography includes dates by Archie Shepp, Sunny Murray, Kenneth Terroade, Noah Howard, Selwyn Lissack, Mike Osborne, and even Gong’s first record. A Korean War veteran, he often wore an aviator’s cap and goggles, hence his nickname. (He is also rumored to have worn a parachute onstage on at least one occasion.) In 1972, French state investigators hauled Freeman in for questioning and subsequently declared that he possessed a “Dangerous Political Image”. Under threat of imprisonment, he hightailed it to Amsterdam. He hung there for a while until some folks smashed his bass, signaling that it might be time for another move.

Freeman was living in New York City by the mid-’70s, where he would occasionally perform with The Music Ensemble. He also directed the Universal Jazz Symphonette, as heard on the elusive Soundcraft ‘75 album. While its fidelity leaves quite a bit to be desired, the LP is highly sought after because it features some of the earliest recorded work from William Parker, Daniel Carter, Raphe Malik, Billy Bang, and many other young players on the scene during that period, including Henry P. Warner and Philip Spigner, a.k.a. Adeyeme (incorrectly credited as Abe Yeme on the LP sleeve), who would later collaborate with Freeman in The Freestyle Band.

Henry P. Warner was born in New York City in 1940. Notable early entries in his discography include William Parker’s Through Acceptance of the Mystery Peace and New York Collage by Billy Bang’s Survival Ensemble. He was also the music director for Bang’s Outline No. 12 LP, and has performed with Sun Ra, Wilbur Ware, Earl Cross, Frank Lowe, Clarence “C” Sharpe, and many others. Today he leads his own bands, performs with groups such as the Vibrational Therapists, and takes part in jam sessions in a multitude of scenes in and around New York City. Warner believes in the importance of the role of the musician within the community, and is a teacher of long-standing at Mind-Builders Creative Arts Center in the Bronx. William Parker’s book Conversations includes an extensive interview with Mr. Warner.

Born in Manhattan in 1951, Philip B. Spigner has led a multifaceted life that could be considered somewhat characteristic of many subterranean artists. A member of the Black Panthers at 17 years old, he was later offered a full scholarship to New York University but instead pursued an occasionally illicit underground life. He subsequently adopted the African name Adeyeme (Yoruba for “the crown becomes me”) and became a hand-drummer on the NYC free jazz scene during the ‘70s and ‘80s. He also appeared at jazz festivals in France and Luxembourg. Soon afterward he relocated to Arkansas where he would play solo gigs in and around Little Rock at the YWCA, Senior Citizen’s Tea, and at junior high schools. Today he continues to play “freestyle” hand drums semi-formally in California.

Warner and Spigner performed together in a group called The Bakery before later joining forces with Earl Freeman in The Freestyle Band. They privately pressed 500 copies of this LP in 1984, their only commercially available document, and it is one of my favorite dispatches from the free jazz underground. Freeman’s bubbly electric bass and the steady patter of Spigner’s percolating hand drums create an ominously undulating backdrop upon which Warner’s clarinets (both b-flat and alto) flutter and fly.

Unfortunately, various circumstances resulted in making the record particularly obscure. A third party diverted overseas promoters who wanted to book the band, and eventually the group split up. A shame, as I’ve never heard anything else quite like this terrific album.

[JETman]

Check out the William Hooker/Thomas Chapin duo and Pascal Niggenkemper cd's from this label!

[brownie]

Caught Earl Freeman several times when he played in Paris in the early 70s.

There were a lot of outstanding musicians here at the time. Can't say I heard anything by Freeman then that would have me add his name to the list.

[Head Man]

The sound samples do sound intriguing.

Thanks for the heads-up, Stefan, I've put my order in.

[mjazzg]

From Adam Lore's 50 Miles of Elbow Room email:

Right on time reissue of this great underground free jazz classic, complete with two previously unissued tracks totaling over 20 minutes (!) and liner notes by Ed Hazell. 50 Miles used to offer the original vinyl pressing, and that write-up is below:

"I watch the things all around me and I shy away, reject and go away, and sometimes it's more successful." – Earl Freeman, quoted in "Freeman Fighter," written by Valerie Wilmer, published in Melody Maker, May 13, 1972.

Earl "Goggles" Freeman was an outcat's outcat: musician, poet, visual artist, and all-around interesting fellow. Born in Oakland in 1937, Mr. Freeman was a noteworthy but somewhat enigmatic musician who was most active recording-wise when he was an expat on the '60s Paris free jazz scene. His discography includes dates by Archie Shepp, Sunny Murray, Kenneth Terroade, Noah Howard, Selwyn Lissack, Mike Osborne, and even Gong's first record. A Korean War veteran, he often wore an aviator's cap and goggles, hence his nickname. (He is also rumored to have worn a parachute onstage on at least one occasion.) In 1972, French state investigators hauled Freeman in for questioning and subsequently declared that he possessed a "Dangerous Political Image". Under threat of imprisonment, he hightailed it to Amsterdam. He hung there for a while until some folks smashed his bass, signaling that it might be time for another move.

Freeman was living in New York City by the mid-'70s, where he would occasionally perform with The Music Ensemble. He also directed the Universal Jazz Symphonette, as heard on the elusive Soundcraft '75 album. While its fidelity leaves quite a bit to be desired, the LP is highly sought after because it features some of the earliest recorded work from William Parker, Daniel Carter, Raphe Malik, Billy Bang, and many other young players on the scene during that period, including Henry P. Warner and Philip Spigner, a.k.a. Adeyeme (incorrectly credited as Abe Yeme on the LP sleeve), who would later collaborate with Freeman in The Freestyle Band.

Henry P. Warner was born in New York City in 1940. Notable early entries in his discography include William Parker's Through Acceptance of the Mystery Peace and New York Collage by Billy Bang's Survival Ensemble. He was also the music director for Bang's Outline No. 12 LP, and has performed with Sun Ra, Wilbur Ware, Earl Cross, Frank Lowe, Clarence "C" Sharpe, and many others. Today he leads his own bands, performs with groups such as the Vibrational Therapists, and takes part in jam sessions in a multitude of scenes in and around New York City. Warner believes in the importance of the role of the musician within the community, and is a teacher of long-standing at Mind-Builders Creative Arts Center in the Bronx. William Parker's book Conversations includes an extensive interview with Mr. Warner.

Born in Manhattan in 1951, Philip B. Spigner has led a multifaceted life that could be considered somewhat characteristic of many subterranean artists. A member of the Black Panthers at 17 years old, he was later offered a full scholarship to New York University but instead pursued an occasionally illicit underground life. He subsequently adopted the African name Adeyeme (Yoruba for "the crown becomes me") and became a hand-drummer on the NYC free jazz scene during the '70s and '80s. He also appeared at jazz festivals in France and Luxembourg. Soon afterward he relocated to Arkansas where he would play solo gigs in and around Little Rock at the YWCA, Senior Citizen's Tea, and at junior high schools. Today he continues to play "freestyle" hand drums semi-formally in California.

Warner and Spigner performed together in a group called The Bakery before later joining forces with Earl Freeman in The Freestyle Band. They privately pressed 500 copies of this LP in 1984, their only commercially available document, and it is one of my favorite dispatches from the free jazz underground. Freeman's bubbly electric bass and the steady patter of Spigner's percolating hand drums create an ominously undulating backdrop upon which Warner's clarinets (both b-flat and alto) flutter and fly.

Unfortunately, various circumstances resulted in making the record particularly obscure. A third party diverted overseas promoters who wanted to book the band, and eventually the group split up. A shame, as I've never heard anything else quite like this terrific album.

thanks for this. Stefan