Group & Last Name Index to Full History:
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
Tracks are listed in chronological order by year, then alphabetically.
Listings do not reflect proper order by month or day: later oft precedes earlier.
Find on Page = F3. Not on this page? See history tree below.
Featured on this page loosely in order of first recording if not record release (as possible).
Names are alphabetical, not chronological, per year:
| 1960 | Karl Berger Enrico Rava |
| 1961 | Dick Morrissey Dudu Pukwana |
| 1962 | Ian Carr |
| 1963 | Han Bennink Carola Jon Christensen Jan Hammer Karin Krog Esa Pethman |
| 1964 | Urszula Dudziak Terumasa Hino |
| 1965 | Juhani Aaltonen Gunter Hampel Sven-Åke Johansson Tomasz Stanko |
| 1966 | Willem Breuker Jacques Coursil Jan Garbarek Michael Mantler Airto Moreira Aldo Romano Alan Skidmore John Surman Edward Vesala |
| 1967 | Peter Brötzmann Eero Koivistoinen Mike Osborne Tony Oxley |
| 1968 | Ole Fessor Lindgreen Evan Parker |
| 1969 | President of the Republic Tasavallan Presidentti Norma Winstone |
| 1976 | Kate Westbrook |
|
Caveats in the employment of this page: 1. It descends in chronological
order by the year the artist or band is first found on a commercial record
issue (ideally) by year only, alphabetical thereat. One musician above
another doesn't necessarily translate to earlier issue unless the year
changed. 2. Though release dates are the aim with links to YouTube, some are
recording dates and may not be everywhere clearly distinguished. 3. Reissues
are used to represent originals without much discussion. |
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| This page concerns international jazz
musicians whose careers began in the sixties with their first appearance on
issued vinyl. Prior to 1960 musicians born without the United States are
included with US musicians according to their instrument. On this page
who began recording in the sixties are assembled per instruments other than strings like sax, trumpet and
drums. Such as piano, violin, guitar and double bass are at
Strings. Vocalists at
Modern Jazz Song. A good number on this page were well-known
in the United States, making their careers there, but are on this page if
they were born elsewhere. The more, however, weren't generally known in the
States. Even so, this page gathers together some of the more
prominent jazz musicians from about the globe. Great Britain is strongly
represented, as elsewhere throughout these histories, the British having
formed a strong jazz culture ever since the
Original Dixieland Jazz
Band first toured there in 1919. See also the British
jazz timeline at
henrybebop. Europe follows, particularly Germany
(on this page). Also strongly represented are musicians emerging from Africa,
Eastern Europe and Scandinavia. Musicians born in the Caribbean dot this
page somewhat as well. Though most Latin musicians are found at
Latin Jazz, several from Brazil or Italy are
included on this page. Others from as far apart as Canada, India and Japan
find a place on this page as well. Sessions data this page per
Lord's Disco.
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Born in 1935 in Heidelberg, Germany, though
Karl Berger
began his career as a pianist and performed at piano throughout his life, he
was principally a vibraphonist. He
began piano studies at
age ten. Among his first gigs was at the Club 54 in Heidelberg, a favorite
place to jam for musicians visiting from America.
Jazzrealities has Berger
on piano in Antibes, France, with
Hans Koller in the latter's Quartet with Fred
Dutton (bass) and Klaus Hagl (drums) on July 7, 1960, for 'All the Things
You Are' issued that year per Barclay 84081. It was that configuration
minus
Koller in 1962 to back
Helen Merrill on 'The Thrill Is
Gone', ''S Wonderful' and 'There Will Never Be Another You'. Along the way to
completing a Ph.D. in music in 1963 he took up the vibraphone. His next
session, however, was yet at piano for 'Jazz Da Camera' on July 3, 1963, for
issue the next year, that his debut on record as a leader. Two years
later in 1965 Berger moved to Paris w vocalist, Ingrid Sertso [1,
2,
3], where they
married that year, Berger also gaining employment with
Don Cherry, based at the time in Paris.
His debut session with
Cherry
consisted of his first recordings at vibes [in Lord] on April 22, 1965, coming to
'Togetherness'. Come January of 1966 Berger supported tenor saxophonist,
Barney Wilen's, 'Zodiac'. Upon
Cherry's return to the States in
1966 Berger followed, then to record 'Symphony for Improvisers'. Berger's
second album as a leader, 'From Now On', was recorded in December of 1966. His
third, 'Tune In', resulted of two sessions in the summer of 1969. In 1971
Berger,
Ornette Coleman and Ingrid
Sertso founded the Creative Music
Studio [1,
2,
3,
4,
5]
in Woodstock, New York. That project which toured internationally celebrated its tenth anniversary at Woodstock
in September of 1981. Berger toured
internationally in 1985-86 before his 1987 issue of 'Transit' w
Ed Blackwell (drums),
Dave Holland (bass) and
himself on vibes. It was vibes again on 9 and 10 of May 1990 in New Jersey toward
'Around'
w Paul Shigihara (guitar), Santi Debriano (bass) and Leroy Williams (drums).
Into the new millennium Berger contributed vibes on 26 March 2000 in Ann
Arbor, Michigan, to 'Jallaludin' and 'Thought Forms' toward Ed Sarath's 'Timescape'.
Berger joined double bassist, John Lindberg, in Rhinebeck, NY, on 27 Nov of
2004 toward 'John Lindberg - Karl Berger: Duets 1' [1,
2,
3]. Found on about forty albums as a leader or
co-leader, deeper into the 21st century
'Gently Unfamiliar' arrived in 2014, consisting of 7 Movements composed by
Berger for piano trio, the latter filled by Joe Fonda (bass) and Harvey Sorgen (drums). He contributed composition and vibes to Kirk Knuffke's
'Moon' in 2015. It was composition and vibes w tenor saxophonist, Ive
Perlman, on 'The Hitchhiker'
in 2016. The latter was a second duo with Perelman, their
first having been 'Reverie' in 2014. A few more albums down the road witnessed
the release of 'In a Moment' in 2018, the same year Berger joined
trumpeter, Chris Pasin' in March on the latter's 'Ornettiquette' in 2018,
that w Adam Siegel (as), Michael Bisio (bass), Harvey Sorgen (drums) and
Ingrid Sertso (vocals). The issue of 'Live in Köln 23.2.1975' in 2019 had
gone down on 23 Feb 1975 w
Cherry
and Terry Riley. Berger currently directs the Creative Music Studio resurrected in
2013. Among a host of others unmentioned on whose recordings Berger can be
found are
John McLaughlin, Werner Hasler and Aki Takase. References:
1,
2.
Discos:
1,
2,
3,
4,
5,
Lord (leading 34 of 113 sessions). Documentaries: 'Music Mind' directed by
Julian Benedikt 2018:
1,
2.
Interviews w Ted Panken: 2008
1,
2;
2011.
Further reading: Berger
blog,
Berger
website;
Shaun Brady.
Other profiles
*. Karl Berger 1966 From 'Symphony for Improvisers' Don Cherry LP recorded 19 Sep '66 Symphony for Improvisers: Symphony for Improvisers/Nu Creative Love Symphony for Improvisers: What's Not Serious?/Infant Happiness Manhattan Cry: Manhattan Cry/Lunatic Manhattan Cry: Sparkle Plenty/Om Nu Karl Berger 1967 From 'From Now On' Debut album recorded 8 Dec '66 Karl Berger 1972 Music: Berger Lyrics: G. Malerba/Berger Album Side A: 'We Are You' [See Japan] Karl Berger 1980 Live album Recorded Ocy 1979 Donaueschingen Karl Berger 1987 From 'Transit' Willow, New York Bass: Dave Holland Drums: Ed Blackwell Karl Berger 1991 Composition: Berger Album: 'Around' Karl Berger 1998 Composition: Berger Pete Namlook album: 'Polytime' Karl Berger 2010 Album: 'Strangely Familiar' Piano: Bergere All composition: Berger Karl Berger 2011 With the Stone Workshop Orchestra Filmed live Composition: Berger Composition: Berger Karl Berger 2013 Concert filmed live Improvisors Orchestra w Ingrid Sertso Karl Berger 2017 Concert filmed live Ingrid Sertso Quintet
|
 Karl Berger Source: Discogs |
|
 Enrico Rava Photo: Claudio Casanova Source: Jazz in Europe |
Born in Trieste, Italy, in 1939,
Enrico Rava
first played trombone, exchanging that for trumpet before going
professional. Having played that instrument only a couple years, his initial recording session per Lord's disco was
in Turin on March 30,
1960, with Maurizio Lama (piano), Filippo Faguttin (bass) and Franco Mondini
(drums) for three titles toward 'Jazz in Italy N. 2' assumed issued that
year (Cetra EPD 37). (More about that rare 7" EP: Enrico Rava Fan Club and Jazz From Italy.) It
was 1961 in Milan for 'Jazz '61' (Cetra EPD 55), confirmable at
discogs. Rava's professional career was more effectively begun upon joining a quintet led by
Gato Barbieri in 1962. A few
years later he would emerge with
Barbieri on two titles of the soundtrack to 'Una
Bella Grinta' ('65): 'Una Bella Grinta' and 'Hammond Blues'. Those were made
available on disc in 1990 on
Barbieri's 'Two Pictures Years 1965-1968'. The next year
he participated in Giorgio Gaslini's 'Nuovi Sentimenti' on February 4,
Steve Lacy at soprano sax part of
the crew. Three days later it was Lacy's 'Sortie'.
March 10 of '66 saw unissued titles with
Lacy in London such as 'Ticklish'
and 'Jungular Vein'. It was
Lacy's 'The Forest and the Zoo' (ESP
1060) in Buenos Aires, Argentina, on October 8, 1966. It isn't known if
titles toward 'La Musica di Maurizio Lama' (thought issued in '70 posthumous
to Lama's death in March 1968) went down in Milan before or after Rava moved
to the United States in 1967. Consensus shows him immigrating that year, to
work with such as Gas Mask and
Roswell Rudd. Lord's has him
back in Europe with
Lacy in February of '68 in Hamburg for
tracks toward 'The Sun' (Emanem 5022 in '12). Come Rava and
Lacy's participation in Giovanni
Tommaso's 'Bluesy Europa' in Rome in June of 1968, released free on 'I've
Been Around' in 2003 (Musica Jazz 1154) with an issue of 'Musica Jazz'
magazine. On June 27 he contributed to Giorgio Azzolini's 'Crucial Moment'
in Milan. Come another trip to Rome in October of 1968, now with
Lee Konitz, for 'Stereo Konitz'.
Carla Bley's 'Escalator Over the
Hill' ('71) required several sessions in New York City from November 1968 to
June 1971. Rava supported several titles on unknown dates. During that
period he returned to Europe to record Manfred Schoof's 'European Echoes' in
Bremen in June. Steve Lacy's 'Roba' was taped the same month in Rome. Rava
appeared on Gas Mask's
'Their First Album', in 1970. His first name album recorded as leader was 'Il Giro Del Giorno in 80 Mondi'
[*],
taped in Torino in February of '72, issued in
1976. His first such LP to be issued was 'Katcharpari' [*] in 1973, gone down in
January in Villingen. 'Pupa o Crisalide' ('75) and 'Quotation Marks' ('76)
followed in December in NYC. 1973 also witnessed Rava supporting albums by
Giorgio Gaslini ('Message'), Robin Kenyatta ('Terra Nove'),
Roswell Rudd ('Numatik Swing
Band') and
Dollar Brand ('African
Space Program'). He reunited with
Lacy in NYC in March 1976 for 'Blown
Bone' ('79). They both participated in 'Laboratorio Della Quercia' in Rome
in July 1978. They were both members of
Alexander von Schlippenbach's
Globe Unity Orchestra in Ludwigsburg in January 1979 for 'Compositions'.
They joined pianist,
Mal Waldron, in a trio in Paris in
August 1981 for 'Let's Call This'. It was
Lacy, Rava and
Mal Waldron with Gi"ulio Visibelli
(flute) in Milan in 1988 for Tiziana Simona's 'Flakes'. Lord's disco shows
Rava's last session with
Waldron on August 1, 1989, in a trio
with vocalist, Tiziana Ghiglioni for 'I'll Be Around'. Lord's shows
Lacy and Rava sharing last sets
together in Milan in 1992 for Tiziana Ghiglioni's 'SONB - Something old
Something new Something borrowed Something blue'. Ghiglioni and Rava would
reunite for eight more albums together, all but one with pianist, Renato
Sellani from 'Ciao Kramer' in March 2002 to 'A Love Affair' March 2007. Tom
Lord finds Rava w trombonist, Gianluca Petrella, for the first time on 20
May 1998 to record 'Tango for Vasquez y Pepita' as Enrico Rava & Friends,
that released on the compilation of various, 'The Bras and the Art of
Arranging' [*].
Petrella became a major partner into the new millennium, appearing on
numerous of Rava's recordings over the years. Petrella aside just now, 'Rotella
Variations' had gone down in 2002/03 with violinist, Emanuele Parrini. Jumping ahead
several albums on which Rava and Petrella had worked, they recorded 'The Words and the Days' [1,
2,
3,
4] in
December of 2005 toward issue in 2007, joined on that by Andrea Pozza (piano), Rosario Bonaccorso (bass) and
Roberto Gatto (drums). Petrella backed Rava again on 'Tribe' [1,
2]
loaded w compositions by Rava recorded in Oct 2010 in Udine. Rava supported
Petrella's 'Il Bidone' [1,
2]
in 2013. 'Wild Dance'
[*]
went down in
Udine in January 2015, again w Petrella and strung w comps by Rava. Discogs tracks
Rava leading or co-leading at least 70 albums, his latest as of this writing
w Joe Lovano at tenor saxophone on 'Roma' in 2019. Joining them on that were
Giovanni Guidi (piano), Dezron Douglas (bass) and Gerald Cleaver (drums). Among
the host of others with whom Rava has recorded are Jimmy Lyons,
Archie Shepp,
Aldo Romano and Dino Piana. Having recorded
at a pace averaging nearly two albums per year for the last four decades, Rava has also toured internationally not a little. Rava has won numerous awards, including top spots in
'Musica Jazz' and 'Down Beat' magazines. References: 1,
2,
3.
Discos: 1,
2,
3,
4,
5,
6, Lord (leading 62 of 203).
IMDb.
Interviews: Christopher Porter 2006,
NPR 2006,
Ted Panken 2011.
Facebook.
YouTube. Enrico Rava 1965 From the soundtrack 'Una Bella Grinta' Tenor sax: Gato Barbieri All composition: Piero Umiliani All arrangement: Piero Umiliani Organ: Franco D'Andrea Vibes: Possibly Umiliani Enrico Rava 1966 Bass: Johnny Dijani Drums: Louis Moholo Soprano sax: Steve Lacy Gas Mask 1970 Composition: David Gross Album: 'Their First Album' Enrico Rava 1973 Album: 'Katcharpari' Most comps by RavaEnrico Rava 1975 Album: 'The Pilgrim and the Stars' Most comps by RavaEnrico Rava 1976 Il Giro Del Giorno in 80 Mondi Album Most comps by Rava Recorded 1972 Filmed concert Enrico Rava 1993 Composition: Enrico Pieranunzi Album: 'Nausicaa' Recorded 30 March 1993 Teatro Communale di Todi Piano: Enrico Pieranunzi Enrico Rava 1999 Album: 'Rava Plays Rava' Recorded 23 June 1999 Livorno All compositions Rava Enrico Rava 2002 From 'Renaissance' Piano: Stefano Bollani Double Bass: Rosario Bonaccorso Drums: Roberto Gatto This composition: 1, 2Composition: Gershwin Brothers 1935 For the opera 'Porgy and Bess' Enrico Rava 2003 Album: 'Full of Life' Enrico Rava 2004 Filmed concert Enrico Rava 2012 I Just Can't.../Smooth Criminal Compositions: Michael Jackson Album: 'On the Dance Floor' Enrico Rava 2014 Filmed concert Album: 'The Monash Sessions' Recorded 14 & 15 Dec 2013 All compositions Rava Enrico Rava 2015 Filmed concert Enrico Rava 2019 Composition: Rava Tenor sax: Joe Lovano
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Dick Morrissey was born in 1940 in
Horley, Surrey,, to take up the sax at age sixteen. Appearing regularly to play
bop at the Marquee Club in London in 1960, he recorded his first album at
tenor sax on
April 27 of 1961 as the Dick Morrissey Quartet with Stan Jones (piano)
Malcolm Cecil (bass) and Colin Barnes (drums): 'It’s Morrissey, Man!'. It
was another quartet in summer of 1963 composed of Harry South (piano) Phil
Bates (bass) and Jackie Dougan (drums) for 'Have You Heard?'. Latter
1963 saw
Johnny Dankworth's 'What the Dickens!' before Morrissey's third album, 'The Girl with the Brown Hair'. He led quartets on tenor sax through several more albums in the sixties
until forming If in 1969 with guitarist, Terry Smith. If's debut album was 'If'
(aka 'If 1') in 1970, the first of four. The core members of that group remained
constant through the release of 'Waterfall' in late '72: JW Hodkinson
(percussion/vocals), Jim Richardson (bass), Dennis Elliott (drums), John
Mealing (organ/piano) and Dave Quincy (sax). New configurations of If issued
a few more albums into 1975. Upon the disbanding of If, Morrissey toured
Germany with
Alexis Korner, then the United States
with the Scottish group, the Average White Band. He next formed
Morrissey-Mullen (M&M) with guitarist,
Jim Mullen, which partnership yielded
several LPs from 'Up' in 1976 through 'Happy Hour' in 1988. They reunited in
the Mike Carr Quartet in April 1989 for 'The Lady From Savannah', July 1989
for 'Tippin' the Scales' by Perfect Pitch, again with Mike Carr in March
1993 for 'Good Times & the Blues'. Another
important association had been guitarist/vocalist, Gary Numan, with whom
Morrissey started releasing albums per 'Warriors' in latter 1983. Morrissey
contributed sax on 'Dream Killer', found on Numan's thirteenth studio
release in 1991: 'Outland'. His repertoire spanning jazz, pop and rock,
Morrisey was in great demand as a sideman. Among others whose recordings he
had supported were
Brother Jack McDuff, the
Atlantic All Stars, Peter King and National Youth Jazz Orchestra. Unfortunately he was also
afflicted with spinal cancer. His last recordings were in the early
nineties (Charly Antolini's 'Right On' '93), after which he performed during his last years in a wheelchair, often
at the Alma pub in Deal, Kent. His last performance was an M&M reunion with
Mullen at the Astor Theatre in Deal in August of 2000, he to die the next
November on the 8th in Deal, Kent [obits 1,
2,
3].
References: Wikipedia,
All Music,
Sax on the Web.
Sessions:1 (select)
(alt), Lord (84 sessions).
Discos: 1,
2,
3,
4.
Compilations: 'On the Spot: The Complete Recordings 1961-63' by
Acrobat 2014.
IMDb.
Other profiles: 1,
2,
3. Dick Morrissey 1961 From 'It’s Morrissey, Man!' Recorded 27 April 1961 Piano: Stan Jones Bass: Malcolm Cecil Drums: Colin Barnes Composition: Coleman Hawkins Composition: Sonny Rollins Dick Morrissey 1964 Album: 'Have You Heard' Recorded July & Aug 1963 Piano: Harry South Bass: Phil Bates Drums: Jackie Dougan Dick Morrissey 1964 With the Michael Garrick Trio Composition: Morrissey/Garrick Green/Barnes LP: 'The Girl with the Brown Hair' Not issued until 2011 Limited edition: 500 Piano: Michael Garrick Bass: Dave Green Drums: Colin Barnes Dick Morrissey 1966 From 'Here and Now and Sounding Good!' Recorded 23 & 25 Sep 1966 Piano: Harry South Bass: Phil Bates Drums: Bill Eyden Composition: Stan Tracey Composition: Tubby Hayes Composition: Harry South Composition: Morrisey Dick Morrissey 1979 From 'Cape Wrath' Lead guitar: Jim Mullen Second guitar: Robert Ahwai Composition: Jim Mullen Composition: Bill Withers Composition: Morrisey Dick Morrissey 1982 Composition: Vangelis Dick Morrissey 1983 Composition: Morrisey Album: 'After Dark' Dick Morrissey 1986 From 'Souliloquy' Vocal: Lenny Zakate Composition: Bob Weston Composition: Max Middleton Dick Morrissey 1993 Filmed live Drum solo: Charly Antolini
|
 Dick Morrissey Source: If Music |
|
 Dudu Pukwana Source: Discogs |
Born in Port Elizabeth, South Africa, in 1938, composer,
Dudu Pukwana,
was raised at piano but switched to alto sax in 1956. He possibly recorded
and issued a couple of obscure records as early as 1961: 'Cape Town
Dudu'/'One-Two-Three (Meteor Records JZ 24) and 'Size Ten'/'Allright Dudu' (Meritone
Big Beat BT 354). Those tracks not listed by Lord nor given dates at
Discogs, see Flat International [Discos 4], Wall of Sound [Discos 5] and
'Jazz and Totalitarianism' by Bruce Johnson. Pukwana was working with
Chris McGregor (also
born in South Africa) at the Labia Theatre in Cape Town when Stanley
Glasser composed the musical, 'Mr. Paljas', w lyrics by Beryl Bloom. That got recorded in
Johannesburg in Jan 1962, issued the same year. (Glasser would also compose for the musical
about the boxer, 'King King', before moving to England in '63. 'King Kong'
would be the ticket away from apartheid in South Africa for multiple black
performers when the show was taken to Europe, they not returning.) Come
'Jazz: the African Sound' ('63) with
McGregor's Castle Lager Big Band in
Johannesburg in September of 1963. It was
McGregor's Blue Notes in Cape Town
circa early 1964 for 'Township Bop' ('02), and in Durban sometime in '64 for
'Legacy - Live in South Afrika 1964' ('95). An exile from
apartheid himself, Pukwana left South Africa for London with
McGregor's Blue Notes in 1964. In
January of 1967 he participated in 'Kwela' by Gwigwi's Band headed by alto
saxophonist, Gwigwi Mrwebi. Pukwana joined the Bob Stuckey Trio in 1967
(Stuckey on Hammond organ, John Marshall on drums). That trio soon became a
quartet with the addition of Phil Lee on guitar. That quartet recorded live
at
Ronnie Scott's Old Place jazz
club in '67 and '68, getting issued on tracks 1-9 of 'Night Time Is the
Right Time' [1,
2] in 2010.
Lord's Dsco lists those as Pukwana's first titles as
a leader rather than 1961 (above). Come McGregor's
'Very Urgent' in December of 1967. McGregor would
be a major figure in Pukwana's career into the latter seventies, as Pukwana
was an original member of McGregor's
Brotherhood of Breath, a larger band than the Blue Notes. Formed in 1969,
the BOB recorded 'Chris McGregor's Brotherhood Of Breath' in January 1971. Pukwana
would contribute to five more albums with that outfit to another rendition
of McGregor's 'The Serpent's
Kindly Eye' in February 1975 toward 'Bremen to Bridgwater' ('04), that
followed by further tracks in November toward the same. It was
McGregor's Blue Notes in
December 1975 for 'Blue Notes for Mongezi', the original quintet reduced to
a quartet upon the death of original member, Mongezi Feza, on 14 Dec of '75.
A performance in April 1977 went toward 'Blue
Notes in Concert Vol 1'. May 10 of 1977 saw
McGregor's Brotherhood Of
Breath for 'Live Toulouse' in France. Come the Blue Notes again on July 1,
1979, for 'Before the Wind Changes'.
McGregor and Pukwana reunited
in 1986 with the former's South African Exiles for 'Thunderbolt'. The Blue
Notes were pared down to a trio of Pukwana,
McGregor and Moholo on August 18,
1987, for 'Blue Notes for Johnny' following the death of original member,
Johnny Dyani, on 24 October 1986. We back up to
McGregor's 'Very Urgent' in
1967, above, to fast forward through various sessions to Pukwana's formation
of the Spears early enough for the 1969 release of the album, 'Dudu Pukwana
and the Spears'. Pukwana recorded 'Assagai' with his band by the same
name in 1971. Discogs has Assagai's 'Zimbabwe' issued by Vertigo that year
as well. Pukwana also recorded 'Church Mouse' with Spear (no longer the
Spears) around the same time to eventually get issued in 2006 on the album
by various, 'White Bicycles: Making Music in the 1960s'. Also included on
that was McGregor's 'Andromeda'
in which Pukwana had participated on January 9, 1971 [Lord's disco]. Discogs
shows Spear releasing 'In the Townships' in '74 and 'Flute Music' in '75.
Discogs has Assagai's 'Zimbabwe' released in 1971, reissued in 1975 as 'Afrorock'. In 1978 Pukwana founded Jika
Records. September 2 of 1978 saw him recording 'Yi Yole' [1,
2,
3]
in a trio w Misha Mengelberg on piano and
Han Bennink at drums,
clarinet, viola and trombone. Pukwan's first sessions w his band, Zila, were
held live on January 16, 1981, toward 'Sounds Zila'. 'Live in Bracknell & Willisau' ensued in 1983, 'Zila '86'
in January that year and 'Cosmics Chapter 90' on November 2, 1989. Pukwana died of liver failure
on June 30, 1990. Others on whose recordings he can be found include Tunji
Oyelana, Jonas Gwangwa, Natural Music, Centipede,
Hugh Masekela, Johnny Mbizo
Dyani, Witchdoctor's Son, Human Chain and Fast Colour. References for
Pukwana: 1,
2.
Sessions: J-Disc; Lord (leading 12 of 50).
Discos: 1,
2,
3,
4,
5.
IMDb.
Reviews.
Other profiles: 1,
2,
3.
See also Cape jazz: 1,
2,
3.
References
for
McGregor's Blue Notes: 1,
2,
3.
Discos: 1,
2,
3.
References
for
McGregor's Brotherhood of Breath: 1,
2,
3,
4,
5;
African quarterly journal 'Two Tone' 1992:
Part 1
(alt),
Part 2
(
alt).
Discos: 1,
2,
3.
Reviews: 1,
2.
Discos for Pukwana's Spear: 1,
2.
References for Assagai: 1,
2.
Discos: 1,
2. Dudu Pukwana 1962 Piano: Chris McGregor Composition: Pukwana Piano: Chris McGregor Composition: Pukwana Dudu Pukwana 1967 Piano: Chris McGregor Composition: Pukwana Dudu Pukwana 1969 From 'Dudu Pukwana and the Spears' Composition: Pukwana Composition: Pukwana Dudu Pukwana 1974 From 'In the Townships' w Spear Recorded Aug & Nov 1973 Composition: Pukwana Composition: Pukwana Composition: Pukwana Composition: Mongezi Feza Composition: Pukwana Dudu Pukwana 1975 From 'Flute Music' Recorded Oct & Nov 1974 London All compositions Pukwana From 'Diamond Express' Recorded 1975 London Composition: Pukwana Composition: Pukwana/Tete Mbambisa Note: Sources vary widely on issue dates of Arista AF 1041 and Freedom TKCB 70336 from 1975 to 1978. Dudu Pukwana 1985 Live Composition: Mongezi Feza Dudu Pukwana 1987 Filmed live with Zila
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|
|
Born in Dumfries, Scotland, in 1933, trumpet and flugelhorn player,
Ian Carr, was older
brother to keyboardist, Mike Carr. He studied English literature at King's
College (now Newcastle University) and graduated with a license to educate.
He'd been playing trumpet since age seventeen and upon graduation he headed
for London to join his brother's band, the Emcee Five [1,
2], with which he
performed from '60 to '62. His first recordings were with Mike and the Emcee
Five in June of 1961 in Newcastle, ten noncommercial unreleased tracks:
'Theme', 'Blowin' the Blues Away', 'John O'Groats', 'Downbeat After Dark',
'The One that Got Away', 'Blue Sue', 'Lefty's Tune', 'Dobson's Choice', 'The
Bridge' and 'Blues for Monk'. The Emcee Five made their initial commercial
release in 1962, that session in December of 1961 yielding: 'The One That
Got Away', 'Stephenson's Rocket' and 'Preludes'. Those were issued on the 7"
45rpm, 'Let's Take Five!'. A session in October of 1962 resulted in
'Northumberland Air'/'John O'Groats'. Carr put in a session with the Clive Burrows Orchestra for Pye in January 14
of 1964 for unissued titles like 'Sack o' Woe', 'I Remember Clifford',
'Killer Joe', et al. In the meantime he'd made the major move of joining
Don Rendell's ensemble in 1963,
with which he remained until '69. It was
Rendell's Quartet/Quintet for studio
titles on January 22, 1964, compiled with live titles at the Antibes Jazz
Festival on February 23 of 1968 that got issued in 2007 as 'Don Rendell-Ian
Carr Quintet'. Rendell's operation would become the
Don Rendell-Ian Carr Quintet in latter 1964,
manifested on 'Shades of Blue' that October. Several more albums followed to
'Change Is' in April 1969. That June they partnered in support of
Michael Garrick at Queen
Elizabeth Hall, then joined Neil Ardley in October to record 'Greek
Variations'
(Universal reissue 2014). They would reunite on August 14 of 2001 for 'Don Rendell
Reunion'. (That release included a prior session featuring
Michael Garrick at piano on
August 6 in which Carr had no part.)
Garrick had played a large
role in Carr's career in the latter sixties. Carr had joined
Garrick's operation in 1965
in time to put down 'Promises' on May 27. While also working with the
Rendell-Carr operation through 'Change Is' in 1969
Garrick availed himself of
Carr's assistance on 'Black Marigolds' in January 1966, 'Prelude to Heart Is
a Lotus' in 1968 and 'Jazz Praises at St. Paul' in 1968. An obscure set for
the Argot label went down at Queen Elizabeth Hall on June 22, 1969, for
'Children's Chorus', 'Ophelia's Lay', et al. Come 'The Heart Is a Lotus' in
January of 1970 with vocalist,
Norma Winstone. Carr is best known for his group, Nucleus,
which debut LP was 'Elastic Rock' in 1970. Carr led Nucleus to its demise
two decades later in '89, sessions along the way supplying some twenty
albums, issued sooner or later, to 'Live at the Theaterhaus' recorded in
Stuttgart on April 6, 1985. Another important affair was the United Jazz +
Rock Ensemble with which he first held session in January of 1977 toward
'Live Im Schutzenhaus'. Carr participated in a minimum of thirteen more
albums by that enterprise to 'X' in January of 1999.
Wolfgang Dauner handled
keyboards for that group. Among Carr's numerous albums was a suite of duets
titled 'Sounds & Sweet Airs' in May of 1992 with organist,
John Taylor. Other
conglomerates with which Carr had recorded along his path were New Jazz
Orchestra, the Chitinous Ensemble and Centipede. Carr led a double career as an academician as well.
Along with album sleeve notes for other musicians he wrote a column for 'BBC
Music Magazine', scratched biographies of
Keith Jarrett and Miles
Davis, and coauthored 'The Rough Guide to Jazz' (its first of four editions in 1988
titled, 'Jazz, The Essential Companion'). Carr became associate professor at
the Guildhall School of Music and Drama in London in 1987. He passed away on
February 25, 2009, having endured Alzheimer's disease
[obits: 1,
2
3].
He is survived by daughter, Selena, born in 1967 to Carr's first wife,
Margaret Bell, who died in childbirth. Carr then married Sandy Major,
divorcing sometime later in the eighties. References for Carr: 1,
2,
3;
sessions: henrybebop
(select)
(alt), Lord (101 sessions);
discos: 1,
2,
3,
4; compilations: 'Torrid Zone: The Vertigo Recordings 1970 - 1975' per Esoteric ECLEC 62663:
1,
2,
3,
4.
Books authored by Carr: 'Music Outside' (Devils in the Detail Ltd 1973 -
Oxford UK), 'Miles Davis: A Critical Biography" (Quartet Books 1982)
(Oxford, United Kingdom), 'Keith Jarrett: The Man and His Music' (Da Capo
Press 1992); contributing: 'Jazz: The Essential Companion' (1987), 'The
Rough Guide to Jazz' (3rd ed 2004). Biblio: 'Out of the Long Dark' by Alyn Shipton (Equinox Publishing Ltd 2006).
References for the
Don Rendell-Ian Carr Quintet:
Newman; discos: 1,
2; compilations:
'The Complete Lansdowne Recordings 1965-1969' by Jazzman 2018.
References for Nucleus: 1,
2;
discos:
1,
2; further reading: iancarrsnucleus,
John Kelman.
Per below, Carr performs
with
Rendell years 1965 to 1970 ('Kerkyra').
Per 1973, tracks are from the Nucleus LP, 'Labyrinth', with vocals by
Norma Winstone. Emcee Five 1962 From 'Let's Take Five!' Tenor Sax: Garry (Gary) Cox Trumpet/flugelhorn: Ian Carr Piano/vibes: Mike Carr (brother) Bass: Spike Heatley Drums: Ronnie Stephenson Composition: Garry Cox Composition: Mike Carr Ian Carr 1965 Composition: Neil Ardley Album: 'Shades of Blue' Ian Carr 1966 Composition: Michael Garrick Album: 'Dusk Fire' Ian Carr 1968 Composition: Michael Garrick Album: 'Phase III' Filmed live Composition: Ian Carr/Trevor Tomkins Ian Carr 1970 Composition: Neil Ardley Album: 'Greek Variations' Nucleus 1970 Album Nucleus 1971 Album: 'Solar Plexus' All compositions: Ian Carr Album Nucleus 1972 Composition: Ian Carr Album: 'Belladonna' Nucleus 1973 From 'Labyrinth' Vocals: Norma Winstone Composition: Ian & Sandy Carr Composition: Ian Carr Composition: Ian Carr Nucleus 1974 Nucleus 1977 Album
|
 Ian Carr Source: Harmonies |
|
|
Born in 1942 in Zaandam, Netherlands, drummer and free jazz
improvisationist,
Han Bennink,
had a classical percussionist for a father. The earliest recording of which
we know by him was an EP with the Tony Vos Trio in January of 1963 in
Amsterdam with Arend Nijenhuis on bass. That contained the tracks:
'Undecided', 'Lover Man' and 'Comin' Home Baby'. Bennink formed a
quartet in 1963 with pianist, Misha Mengelberg [1,
2,
3,
4], among the most important of
his comrades throughout his career. In June of '64
Eric Dolphy was in Netherlands where he
was playing 'Epistrophy' in a set with Bennink and Mengelberg at De Poort
van Kleef in Eindhoven when a fan recorded it. Bennink ended up with the
tape and
released it on vinyl in January of '75 on his Instant Composers Pool label (founded
1967) with another short tune titled 'Instant Composition'. 'Epistrophy' was
recorded again the next day in Hilversum with six additional tracks,
released on
Dolphy's 'Last Date', posthumously, in
1964. (Dolphy would record again in
Paris that June, before dying in Berlin the same month of diabetic shock,
collapsing on stage.) The Bennink-Mengelberg team proved to be a fruitful
one, they performing at the Newport Jazz Festival in 1966. Bennink,
Mengelberg and saxophonist, Willem Breuker [1,
2,
3,
4,
5], founded the ICP (Instant
Composers Pool) label in 1967. The label's initial issue was a duo in 1967 w
Breuker called 'New Acoustic Swing Duo' [*]. Breuker left their triad in 1974 to form the
Collective, as well as his own label. Bennink and Mengelberg would form the ICP
Orchestra in 1979, leading that enterprise into the new millennium. All in all, from Mengelberg's
'Driekusman Total Loss' in 1964 through such as 'Instant Composers Pool' in
March of 1977 to Mengelberg's 'Four in One' in 2006 Bennink and Menglelberg
either co-led or supported each other on no less than seventeen albums.
Lord's disco has them performing on recordings together to as late as September 4, 2009, for 'Wake Up
Call', 'Hamami', et al, those to become available in December of 2012 in a
package titled 'Instant Composers Pool ICP 1275-1'. The ICP label has been
good for 55 issues from 'New Acoustic Duo' (ICP 001) by Bennink and Breuker
in '67 to 'Restless in Pieces' (ICP 054) issued in 2016. The latter featured
compositions by Mengelberg and Michael Moore, with only Bennink and Moore
performing with the rest of the band. That was followed by several more ICP
productions to 'Picatrix' as late as 2019, an album by Greetje Bijma, Mary
Oliver and Nora Mulder. The first issue by the ICP Orchestra
had been in 1979 per 'Live Soncino' (ICP 022) with Bennink and Mengelberg at
helm. The last was 'ICP Live at the Vortex' (ICP 052) in 2015 (recorded
February 2013). That was complemented by 'Misha Enzovoort' (ICP 053), a
documentary DVD filmed by Cherry Duyns. We back up to December
27, 1966, when Bennink contributed to one of Willem Breuker's compositions
for film, 'For You, Women, Spanish Song', that to be found on 'Music for His
Films: 1967-1978'. Sessions for Breuker would help supply a minimum of seven
Breuker albums sooner or later, their last session together as late as spring of
1994 for 'On Animal Locomotion', that eventually issued in 2016 amidst the
huge compilation, 'Out of the Box'. Another of the larger figures in Bennink's career was
Peter Brötzmann, whom he supported on ten albums from
'Machine Gun' in '68 to 'Amherst' in 2006. It was
Brötzmann's 'Nipples' on April 18 of 1969 for which Bennink
is thought to have held his first session with guitarist, Derek Bailey.
Together with backing other operations, such as the Globe Unity Orchestra
for 'Hamburg 1974', Bailey and Bennink left behind several duo projects
beginning with 'Glue' in July of 1969. Five more followed from 'At Verity's
Place' in June 1972 to 'Air Mail Special' in 1999. We backup to October 1980 when
Bennink and saxophonist, Michael Moore, joined Ernst Reijseger for 'Taiming'
on the latter's album of the same title. Both Moore and Reijseger would
own a strong presence in Bennink's career. Along with performing on numerous
ICP projects Moore and Reijseger formed a trio with Bennink called the
Clusone 3 which recorded nine albums from 'Clusone 3' (also issued as 'Trio
Clusone') in Geneva in 1990 to 'An Hour With ...' in Stockholm on March
21, 1998. The latter is thought Bennink's last with Reijseger, he and
Moore remaining tight to this day. Among numerous highlights along
Bennink's path was 'Improvisie' with
Paul Bley and Annette Peacock gone down
in March of 1971. The eighties saw such as
Kenny Millions' 'Bootleg' at
the Paradox in Tilberg, Holland, on September 9, 1987. The nineties
witnessed the Dutch band,
The Ex, issuing 'Instant' in October 1995. Bennink had also issued four
albums of solos including drums: 'Solo' ('70), 'Nerve Beats' ('73),
'Solo West/East' ('79) and 'Tempo Comodo' ('82). Bennink's 'Serpentine' was
a duo with trumpeter, Dave Douglas, put down on January 30, 1996. Come
'Amplified Trio' on January 21 of 2006 with Ashley Wales (electronics) and
John Coxon (guitar). Bennink's most recent issue as of this writing was
'Icarus' [1,
2,
3]
in 2018 w Joris Roelofs at clarinet. Bennink also contributed clarinet to
that along with drums and piano. Among the host of others on whose recordings Bennink can be found are Don Cherry,
Lawrence Butch Morris, Sean Bergin, Steve Beresford, Spring Heel Jack,
Wolter Wierbos, Paul van Kemenade, the Whammies and Irene Schweizer. Beyond music, Bennink was, is, a graphic artist and sculptor,
designing album sleeves as well as exhibiting. Bennink is yet active and touring
Europe. References Bennink: 1,
2,
3,
4.
Discos: AllMusic,
Discogs,
FMP,
MusicBrainz,
RYM, Lord (leading 38 of 318 sessions).
IMDb.
IA.
Reviews.
Interviews: 'Fresh Air' NPR 2012.
Art: 1,
2,
3,
4.
Further reading: Patrick Jarenwattananon;
Eric McDowell;
Ben Ratliff.
Other profiles *.
References Instant Composers Pool: 1,
2.
Record label: 1,
2.
Orchestra: 1,
2.
Videography.
Reviews.
Analysis: Floris Schuiling.
Compilations:
'Instant Composers Pool' 1967-2009 on Instant Composers Pool ICP 1275-1 in 2012.
Per 1964 below, only one track of
Dolphy's posthumous 'Last Date' is
listed. Others on which Bennink participated are indexed under
Dolphy. Han Bennink 1964 Composition: Thelonious Monk Eric Dolphy album: 'Last Date' Flute/bass clarinet/alto sax: Dolphy Bass: Jacques Schols Note: Recorded 2 June 1964 in Hilversum, Holland, 27 days before Dolphy's death in Berlin on 29 June of diabetic shock. Han Bennink 1965 Filmed w Wes Montgomery Han Bennink 1968 Composition: Willem Breuker Peter Brötzmann album: 'Machine Gun' Han Bennink 1969 Album: 'Derek Bailey/Han Bennink' All compositions: Bailey/Bennink Han Bennink 1973 Solo album: 'Nerve Beats' Recorded 27 Sep 1973 for Radio Bremen Issued 2000 or 2001 [Discogs/MusicBrainz] Han Bennink 1978 Piano: Misha Mengelberg Han Bennink 1979 Piano: Misha Mengelberg Sax: Mario Schiano ICP Orchestra 1982 Live in Tokyo Trumpet: Toshinori Kondo Session on 5/8/1982 unconfirmed - no data found Issue unknown ICP Orchestra 1992 From 'The Mooche' by Duke Ellington Recorded 16 Nov 1990 Rotterdam Album: 'Bospaadje Konijnehol' 'Recorded 1986-1991 ICP Orchestra 1998 With The Ex Han Bennink 2004 Filmed live with The Ex Han Bennink 2006 Composition: Bennink/Sooäär/Innanen Album: 'Spring Odyssey' Sax/bagpipes: Mikko Innanen Guitar/synthesizer: Jaak Sooäär ICP Orchestra 2009 Filmed live Han Bennink 2012 Filmed live in London Han Bennink 2013 Filmed live with Mikko Innanen Filmed live with Mikko Innanen Han Bennink 2014 Composition: Brooks Bowman Arrangement: Michael Moore Album: 'East of the Sun' Recorded 18-20 March 2014 Amsterdam Filmed live with Oscar Jan Hoogland 6 June 2014 Filmed live with Uri Caine 15 Nov 2014 [*] Han Bennink 2018 Composition: Bennink/Joris Roelofs Album: 'Icarus' Drums/clarinet/piano: Bennink Clarinets: Joris Roelofs
|
 Han Bennink Source: persons-info |
|
 Jon Christensen Photo: Terje Mosnes Source: Dagbladet |
Born in 1943 in Oslo, Norway, drummer,
Jon Christensen
may have begun his recording career in the
Kenny Dorham Quartet in Oslo in January of 1960. Those titles saw
issue in 1992 per 'Kenny Dorham New York 1953-1956 Oslo 1960' (Landscape
LS2-918). Lord's disco has Christensen with tenor saxophonist, Bjarne Nerem,
in January of 1963 for titles issued on 'Portrait of a Norwegian Jazz
Artist' in 2001 (Gemini GMOJCD 9508). On November 14 of 1963 Christensen
backed vocalist, Karin Krog, on 'My Favorite Things' and 'Lover Man'.
Discogs has the former title issued, not impossibly, the same year on the
album by various, 'Metropol Jazz'. A session with Krog in March of 1964
resulted in 'Nightime'/'Moonshine Lullaby' (Philips 353.247) that year.
Sessions in July came to Krog's album, 'By Myself', in 1964 as well.
Christensen would come along numerous occasions to support Krog to as late
as the latter eighties. Lord's disco has him on obscure titles for vocalist,
Olav Wernersen, per Harmoni HEP 13 on February 26, 1965: 'Bluesette',
'Autumn Nocturne' and 'Smoke Gets in Your Eyes'. His next session was his
debut recorrding for pianist,
George Russell, 'Waltz from Outer
Space', that for a Sveriges Radio broadcast from Stockholm on April 22,
1966. That eventually saw release by Caprice in 2007 on a compilation of
various called 'Svensk Jazzhistoria Vol 10 - Swedish Jazz 1965-1969 - Watch
Out!'. That was an important session in that
Russell (who had moved to
Scandinavia from the United States in 1964) would be a major figure in
Christensen's career for another five years. His next session with
Russell on September 16, 1966, came
to 'Now and Then'. That would get combined with titles on April 28, 1969,
for issue in
1971 as 'The Essence of George Russell'. Sessions good for no less than five
more
Russell issues, sooner or later,
followed to 'Listen to the Silence' on June 26 of 1971. Among those were a
couple of
Russell's multiple versions of his
composition, 'Electronic Sonata for Souls Loved by Nature', including the
first on April 28, 1969, released on the LP by the same name in 1971 per
Flying Dutchman 10124. Christensen's debut with
Russell above in 1966 was also
significant in that it is thought his first with tenor saxophonist,
Jan Garbarek, with whom he manned nigh the same boat into the
eighties. Along with backing multiple operations together, such as
Russell's,
Terje Rypdal's or
Keith Jarrett's, Christensen supported
Garbarek on titles good for about ten albums, sooner or later,
from 'Til Vigdis' in 1967 to 'Paths, Prints' in December 1981. It was a
September session toward 'Til Vigdis' that Christensen first recorded with
bassist,
Arild Andersen, the latter among his most important comrades
into the new millennium.
Andersen and Christensen provided rhythm for numerous
enterprises from
Garbarek's and
Russell's to Karin Krog's and
Carsten Dahl's. They were also core members of a quartet with Nils Petter Molvaer (trumpet) and Tore Brunborg (sax) called Masqualero. Along
with touring to the States Masqualero recorded as a quintet with revolving
fifth members from 'Masqualero' in July of '83 with pianist, Jon Balke, to 'Nesten
Senere' w
Terje Rypdal (guitar) on May 29
of '88, that found on the album by various, 'Nattjazz 20 År' ('92).
'Re-Enter' was a quartet with yet all four original members in December of
1990. Lord's disco has
Andersen and Christensen together to as late as September
2014 for Yelena Eckemoff's 'Everblue' in a quartet with Tore Brunborg (sax).
Another bassist of major importance in Christensen's career was Palle
Danielsson, for whom we return to June of 1968 for 'Alto Summit', that with
pianist,
Steve Kuhn, to back alto
saxophonists,
Lee Konitz, Pony Poindexter,
Phil Woods and
Leo Wright. Christensen and Danielsson
supplied rhythm for numerous figures from such as
Jan Garbarek to
Enrico Rava to
Keith Jarrett into the new millennium. Their last mutual
session per Lord's disco was in 2002 for Rita Marcotulli's 'Koine'. We slip
back to October of 1968 for another major figure, that guitarist,
Terje Rypdal, whose 'Bleak House' went down that month. Lord's
disco shows Christenen contributing to seven more of
Rypdal's projects to as late as April 12 of 2003 for
'Vossabrygg'. Along the way they partnered in numerous operations from
Garbarek's to
George Russell's to Ketil
Bjornstad's.
Rypdal had also performed on 'Nesten Senere' with
Christensen's Masqualero in 1988 per above. Since we're down here in the
deep we swing back on the Octopus ride to September of 1969 for titles
toward trumpeter, Jan Allan's, 'Jan Allan-70'. That included Danielsson,
Lennart Aberg (sax) and
Bobo Stenson (piano). Stenson's would be a significant
presence along Christensen's path into the latter nineties. Collaborating
with a variety of others, particularly
Garbarek or Lars Danielsson, Christensen also recorded several
trios with
Stenson, the first with
Arild Andersen at bass in May of 1971 for 'Underwear'. Three
to follow were with Anders Jormin on the upright for 'Reeflections' in May
of 1993, 'War Ophans' in May 1997 and 'Serenity' in April 1999.
Christensen's first appearance on several albums for Ketil Bjørnstad was 'Åpning', issued in 1973. The next
year he released the first of several with
Keith Jarrett: 'Belonging'. 1977
saw the issue of Christensen's album, 'No Time for Time' co-led with
Rypdal,
Andersen and Pal Thowsen. Among
Christensen's latest releases was 'Space Is the Place' in 2012 with
Arild Andersen and pianist, Carsten Dahl. It was a trio with
Andersen for Carston Dahl's 'Under the Rainbow' in April
2013. November 2013 witnessed a trio with Jakob Bro (guitar) and Thomas
Morgan (bass)for the former's 'Gefion'. It was the
Yelena Eckemoff Quartet per above with Brunborg and
Andersen in 2014. Lord's disco traces him to as late as July
2016 in Oslo squaring away guitarist, Jacob Bro's, 'Returnings' [1,
2,
3,
4] w Palle
Mikkelborg at trumpet and Thomas Morgan on bass. Among the host of others on whose
recordings Christensen can be found are Jan Erik Vold,
Ralph Towner and
Miroslav Vitouš.
References: 1,
2,
3.
Discos: AllMusic,
Discogs,
ECM,
RYM, Lord (170 sessions).
Interviews: Carl Stormer 1985.
Further reading: Patrick Boyle.
Other profiles DrummerWorld.
Jon Christensen 1968 From 'Watch What Happens!' Album by Steve Kuhn Piano: Steve Kuhn Bass: Palle Danielsson Composition: JJ Johnson/Gary McFarland Composition: Steve Kuhn Jon Christensen 1971 Album: 'The Essence of George Russell' Recorded 1966-1967 Piano/conductor: George Russell All composition George Russell End 'The Essence of George Russell' Kongsberg Jazz Festival Filmed live 25 June '71 Bass: Arild Andersen Piano: Bobo Stenson Sax: Sonny Rollins Jon Christensen 1994 Filmed live at JazzBaltica Filmed live at JazzBaltica Bass: Arild Anderson Guitar: Mike Stern Saxophone: Peter Weniger Composition: Thelonious Monk Jon Christensen 2011 Filmed live 4 Feb 2011 Oslo Jon Christensen 2016 Composition: Jacob Bro Album by Jakob Bro: 'Returnings' Recorded July 2016 Trumpet/flugelhoen: Palle Mikkelborg Guitar: Jakob Bro Bass: Thomas Morgan Filmed live February 2018 The Village Studio Copenhagen Flugelhorn: Palle Mikkelborg Guitar: Jakob Bro Bass: Thomas Morgan Composition: Jakob Bro/Palle Mikkelborg
|
|
 Jan Hammer Source: Radio Praha |
Born in 1948 in Prague, Czechoslovakia, film composer and jazz fusion keyboardist,
Jan Hammer
(pronounced "yaun"), had a jazz singer for a mother, Vlasta Pruchova
[1,
2,
3;
listed at Lord's Disco as Vera, Vlasta and Vlasty Pruchova, all of whom are
identified as Vliasta at 45 Cat]. Jan had a doctor for a father who was also
vibraphonist, Jan Hammer Sr. [*; Lord 9 sessions] who had begun his recording career
the same year and month as Junior's birth, thought with Rytmus 48 in April
1948 (Ultraphone 15119: 'It Began With Rhythm'/'The Man I Love'; Ultraphone
15120: 'Sero'/'Jarni Prochazka'). Though Hammer played acoustic piano as a
youth and began his recording career w that instrument, it's electric
keyboards and synthesizers to which he applied the majority of his professional career. Upon
starting high school in 1962 Hammer Jr. formed a trio with the brothers Alan Vitouš (drums) and
Miroslav Vitouš (bass) with which he recorded 'The Evening
Hour' as the Prague Junior Jazz Trio at Lucerne Hall in Prague on October 15
of 1962. Rateyourmusic has that issued in 1963 on the album by various,
'Jazz in Czechoslovakia 4' (Supraphon 15584). The Junior Trio recorded 'Večerní
Hodinka' on April 27 of 1963 for issue in 1964 on the album by various,
'Jazz Na Koncertním Pódiu' (Supraphon 10142). Come March 5 of 1964 for 'Die
Alte Muhle' issued that year on the album by various, 'Österreichisches
Amateurjazzfestival' (Philips 14 426). The same configuration taped 'Čtyři
Bratři'/'The Man I Love' on November 17, 1964, with hammer's mother, Vlasta
Průchová, and Hammer Sr. contributing scat to 'Čtyři Bratři'. Those saw
issue on Supraphon 013805 in '64. It was Hammer
and the Vitouš brothers again for 'Ballada' on December 5, issued on the
album by various, 'Ceskolovensky Jazz 64' (Supraphon 10176).
October 18 of 1965 found them in Prague yet again to support visiting
American trumpeter,
Ted Curson, on 'Caravan' and 'Marjo',
issued on 'Ozvěny Jazzového Festivalu Praha 1965' (Supraphon 10195) that
year. Lord's disco lists last tracks by the Junior Trio on April 7 of 1966,
for 'Ej, vyletel ftak' and 'U Dunaja U Prespurka' issued on the album by
various, 'Československý Jazz 1965' (Supraphon 10213). The remainder of
1966 found Hammer contributing to titles by pianist, Friedrich Gulda, und
sein Euro Jazz Orchester, and the Sextett der Preistrager, both in Vienna.
In October in Warsaw it was American violinist, Stuff Smith,
who had moved to Copenhagen in 1965. Sometime in 1967 Hammer formed a trio
with Luboš Nývlt (bass) and Michal Vrbovec (drums) to record 'Zodpovědnost'
('Responsibility') and 'Autumn Leaves', those issued in 1968 on the albums
by various 'Jazzové Piano' (Supraphon 1 15 0405, Gramofonový Klub 1 15
0405) and 'Piano Jazz in Czechoslovakia' (Supraphon Mono 15991, Stereo
55991). Sometime n 1968 Hammer composed
the soundtrack for the Czech film, 'Šíleně smutná princezna' ('The Sad
Princess'). Upon the invasion of
Czechoslovakia per the Warsaw Pact on August 20, 1968, Hammer moved to Munich, Germany,
where he recorded his debut LP, 'Malma Maliny', at the Domicile on August 30
(August 10 per Lord's disco, 10 days prior to invasion). The intended title
was 'Maliny Maliny' ('Love Love'), getting issued as 'Malma Maliny' ('Make
Love') by virtue of misinterpreted handwriting. (That got corrected on a
later reissue in 2009.) August 31 saw 'Turtles'
recorded at the Domicile featuring Olaf Kubler on sax with Hammer's Trio
consisting of
George Mraz (bass) with Michael
Dennert and Cees See (drums). Lord's disco has Hammer's Trio of
Mraz and Dennert with Pony
Poindexter at the Domicile in September of 1969 for 'The Happy Life of Pony'
before moving to the United States to attend the Berklee
College of Music on scholarship. He next spent a year touring with
Sarah Vaughan, also supporting
Jeremy Steig's 'Fusion' in 1970. In 1971 Hammer contributed to the first of a few albums by
John McLaughlin's Mahavishnu
Orchestra: 'The Inner Mounting Flame'. In December of 1971 he
recorded his first tracks with
Elvin Jones, those for 'Merry-Go-Round'
released the next year. Hammer issued his second LP, 'The First Seven Days', in
1975. He appeared on the first of several albums with
Jeff Beck in 1976: 'Wired' (platinum).
'Jeff Beck With the Jan Hammer Group Live' per 1977 would go gold. The
latter seventies also found Hammer on his first LP with Al di Meola, 'Elegant
Gypsy', in 1977, recorded on dates in '76 and '77. Come 'Melodies' [*]
in '77 as well w Hammer backed at synthesizer by Steve Kindler (violin),
Fernando Saunders (bass) and Tony Smith (drums). 1983 saw Hammer participating with
Beck in nine ARMS (Action Research into
Multiple Sclerosis) benefit concerts which impetus was British bass
guitarist,
Ronnie Lane, and girlfriend, Boo Oldfield. Hammer began composing
for the television series, 'Miami Vice', in latter 1984. The 'Miami Vice'
soundtrack not only went platinum the next year, but four times over, as it
would sell more than four million copes. It also won Hammer a couple of
Grammy awards in 1986, as well as his second award by 'Keyboard' magazine.
Hammer stepped away from his position at 'Miami Vice' in 1988, releasing
'Snapshots' the next year. Come 'Drive' [1,
2] in 1994
w
Michael Brecker
(tenor sax), Stan Harrison (soprano sax) and
Jeff Beck at guitar. The nineties saw Hammer composing heavily for
film and television, including TV Nova from 1996 to 2000. TV Nova had been
established in 1994 in the Czech Republic as the first such
commercial enterprise in Eastern Europe. The 21st century saw Hammer yet
composing scores, one such, 'Cocaine Cowboys', premiering in 2006. 2008 saw
the issue of 'Live in New York' on DVD, recorded on October 17, 1975 with
Steve Kindler (violin), Fernando Saunders (bass) and Tony Smith (drums).
Hammer emerged in 2015 on Will Calhoun's
'Celebrating Elvin Jones'. Not having issued a solo album since 'Drive' in '94,
busy w soundtracks into the new millennium, Hammer conjured 'Seasons, Pt. 1' [1,
2,
3] in
2018. Among the host of others on whose recordings
Hammer can be found are
Frank Foster,
Billy Cobham,
Steve Grossman and
Lenny White. He is the
father of musician, Paul Hammer [*].
References: 1,
2,
3,
4.
Discos: Jan Hammer: 1,
2,
3,
4,
5,
6, Lord (leading 9 of 139 sessions);
Jan Hammer Group: 1,
2.
Film & television: 1,
2.
Compilations: 'Miami Vice: The Complete Collection' 2002
*;
audio.
Reviews: 1,
2.
YouTube.
Archives: articles;
internet.
Facebook.
Twitter.
Interviews: Sound On Sound Sep 2004
(alt);
Synthtopia Oct 2004;
Radio Prague 2005;
Ed Tracey 2011
(alt);
Rolling Stone 2014;
Jerry Kovarsky 2018;
various.
Electronic equipment.
Other profiles: *.
The Junior Trio 1964 With mother & father: Vlasta Průchová & Jan Hammer Sr. Composition: Jimmy Giuffré With Vlasta Průchová (mother) Composition: Gershwin Brothers Composition: Hammer Jan Hammer 1968 Album: 'Turtles' Recorded 31 Aug '68 Live at The Domicile Munich Not issued until 2007 Jan Hammer 1969 Note: Tracks above are from 'Maliny Maliny', the later reissue of 'Malma Maliny' correctly titled. With George Mraz at bass and Cees See on drums, all compositions are by Hammer at organ and piano. Jan Hammer 1974 Album with Jerry Goodman Jan Hammer 1977 Recorded unknown date 1977 New York Composition: Lennon/McCartney 'Jeff Beck With the Jan Hammer Group Live' Recorded unknown date 1977 London Session possibly preceded 'Melodies' above Jan Hammer 1985 Soundtrack Composition: Hammer Jan Hammer 1987 Note: All tracks on 'Escape from Television' are from the 'Miami Vice' television series except 7, 10 and 13. Jan Hammer 1991 Filmed live with Tony Williams Jan Hammer 1992 Jan Hammer 2018 Album: 'Seasons Pt. 1' All compositions Hammer
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Born in 1938 in Kuusankoski, Finland, saxophonist and flautist,
Esa Pethman
[*],
began studies at the Sibelius Academy in Helsinki in 1952, meanwhile
performing in the bands of Erkki Melakoski and Laila Kinnunen. He afterward
toured Finland, Czechoslovakia and Poland with his brother, Anssi
(drums/sax), playing with a number of orchestras as well. 1963 saw the
release of his 45 rpm 'Al Secco' b/w 'Finnish Schnapps' recorded sometime in
1962 in Helsinki. February of 1964 saw the taping of 'Paimenlaulu', 'The
Flame' and 'Bluesette'. Pethman's debut LP
was 'Modern Sound of Finland' in 1965. The next year he emerged on 'Carola ja Heikki Sarmanto Trio'. In 1985 Pethman released the LP, 'Unten Soitto -
Song Of Slumber'. 1986 saw the issues of 'Esa & Flutes' and 'Light
Mäyränkolosta'. He contributed to
Heikki Sarmanto's 'Many
Moons' and 'Flowers in the Water' in 1969, 'Everything Is It' in 1972. In 1996 he released 'Esamba'. Pethman also involved himself
with classical composition, such as opera, and worked in film. Though
issuing only several albums through the years, Pethman has backed numerous
others: the Finnish Radio Big Band, Vesa-Matti Loiri ('4 + 20' in 1971),
Archie Always ('Putket Hehkuu' in 1997). He has arranged for countless more, including in the popular genre. His career largely concentrated
on delivering concerts, Pethman currently resides with his wife in
Hämeenlinna, Finland, yet active touring. Discographies: 1,
2,
3.
IMDb. Esa Pethman 1964 Film Esa Pethman 1965 Composition: Pethman Arrangement: Erkki Melakoski Album: 'Modern Sound of Finland' Esa Pethman 1966 Composition: Pethman LP: 'Carola ja Heikki Sarmanto Trio' Esa Pethman 1984 Composition: Oskar Merikanto Album: 'Esa & Flutes' Esa Pethman 1996 Album: 'Esamba' Compositions: Pethman Arrangements: Pethman
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 Esa Pethman Source: Elvis Ry |
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Born in 1942 in Tokyo, Japan, trumpeter,
Terumasa Hino,
played cornet and flugelhorn as well. He began tap dancing at age four,
taking up trumpet at age nine. Lord's disco lists Hino's first certain
recording date as of July 16, 1964, toward 'Toshiko Mariano and her Big
Band: Recorded in Tokyo'. Mike Callahan's Both Sides Now figures that to
have been issued the same year. Popsike and rateyournusic have Hino featured
on the album,
'Trumpet in Bluejeans', sometime in 1965. His next emergence on vinyl
appears to have been with the Hideo Shiraki Quintet for 'Sakura Sakura',
recorded in Berlin on November 1, 1965, issued that year per discogs. Hino issued 'Alone, Alone and Alone' in 1967.
1968 saw the release of 'Feelin' Good', 'La chanson d'Orphée' and
'Hino–Kikuchi Quintet'. In 1969 Hino issued 'Hi-Nology' and 'Swing Journal
Jazz Workshop 1 - Terumasa Hino Concert'. Upon recordings released in 1970
Hino began to tour internationally, Germany in particular. He had squared
away 'Alone Together' [1,
2]
on 6 and 7 of April 1970 in New York w
Steve Grossman (tenor/ soprano sax),
Harold Mabern (pianos),
Richard Davis (basses) and brother, Motohiko Hino,
on drums. Though he left
Japan to live in New York City in 1975 Hino continued performing in his
homeland throughout his career. It was in New York that 'Double Rainbow' went
down in early 1981. It was New York again in April of '92 toward 'Blue
Smiles' issued by Somethin' Else, released as 'Unforgettable' by Blue
Note.Joining him on that were
Cedar Walton (piano), David Williams
(bass) and Michael Carvin (drums). A trip to Tokyo in March of 1994 wrought
'Spark'.
Back in New York 'Acoustic Boogie' went down on 2 and 3 of May 1995 w Greg
Osby (alto sax),
Masabumi Kikuchi
(piano), James Genus (bass) and Billy Kilson (drums). But a few among the numerous on whose
recordings he can be found are Sadao Watanabe,
Kikuchi and Saori
Yano. While taking his talents throughout the
world Hino has issued well above fifty studio and live albums over the
years. Among his later arrived 'After Shock' in 2011. His
soundtrack, 'Hakuchuu No Shuugeki', was issued in 2011. Lord's Disco traces
Hino to as
recently as 2016 for pianist, Fumio Karashima's, 'My Favorite Things'. References: 1,
2.
Discos: 1,
2,
3,
4,
5, Lord (leading 89 of 167 sessions).
IMDb.
Current gigs.
Discussion.
Other profiles *. Terumasa Hino 1967 From 'Alone, Alone and Alone' Composition: Terumasa Hino Composition: Terumasa Hino Terumasa Hino 1968 All arrangements Terumasa Hino Terumasa Hino 1970 Album: 'Into The Heaven' All compositions Terumasa Hino Terumasa Hino 1973 Composition: Terumasa Hino Album: 'Live!' Terumasa Hino 1978 Composition: Harry Whitaker Album: 'Hip Seagull' Recorded Aug & Dec 1977 Tokyo & NYC Terumasa Hino 1979 From 'City Connection' Composition: Harry Whitaker Composition: Harry Whitaker Terumasa Hino 1980 From 'Daydream' Composition: Janice & Leon Pendarvis Composition: Leon Pendarvis Terumasa Hino 1989 Composition: Woody Shaw Album: 'Bluestruck' Terumasa Hino 1992 Filmed live Composition: Miles Davis Terumasa Hino 1999 Filmed live Composition: Thelonious Monk 1944 Terumasa Hino 2000 Composition: Benny Golson 1957 First recording: Donald Byrd 1957 Hino album: 'Transfusion'
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 Terumasa Hino Source: Smashing Mag |
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 Juhani Aaltonen Source: Jazzrytmit | Born in 1935 in Kouvola, Finland,
Juhani Aaltonen
(also Junnu),
didn't take up the sax until age 18 ('53). Among his important activities in
the fifties was his membership in the Heikki Rosendahl Sextet. A few years
later he entered the Sibelius Academy in Helsinki to study flute. That was
followed by a time at the Berklee College of Music in Boston, Massachusetts.
1965 saw Aaltonen playing flute on 'The Modern Sound Of Finland' (RCA
Victor) with
Esa Pethman. Those tracks were 'Blues for Duke' and 'Blues
Fantasie'. Among Aaltonen's more important associates was drummer,
Edward Vesala, with whom he is thought to have first held
session on May 8 of 1968 for 'Junnu's Mood' in a quartet with Seppo Paroni
Paakkunainen (sax) and Kari Hynninen (bass). A session with Henrik Otto
Donner's Hair Treatment followed on July 24 for 'Och det gar, det gar'. Both
those titles saw issue in 2001 by Siboney on 'Julkaisemattomat Unreleased
Sessions Vol 8 1966-69'. Aaltonen would contribute to about nine albums by
Vesala from 'Nykysuomalaista - Contemporary Finnish' in 1969
with
Vesala's band, Soulset, to 'Bad Luck Good Luck' in December
of '83 with the UMO Big Band.
Vesala's 'Kullervo' followed in 1985. Along the way
Vesala supported Aaltonen's debut LP, 'Etiquette', in 1974,
'Springboard' in 1978 and 'Prana Live at Groovy' in 1981, the last a trio
with Reggie Workman (bass). They had also partnered in other operations on
occasion, such as Paroni Paakkunainen's in 1971. Lord's disco reveals them
together to as late as October of 2012 for 'And It Happened...' by Henrik
Otto Donner with TUMO. Another major figure in Aaltonen's career was
pianist,
Heikki Sarmanto, with whom
he recorded titles in July of '69 to be found on 'Flowers in the Water'
('69) and 'Many Moons - July ´69' ('09). Those comprised two of a minimum of
seventeen
Sarmanto albums in which
Aaltonen participated to 'Moonflower' in 2007. Among those was 'Tales of
Max: An Odyssey in Jazz' [1,
2]
in 1991. Also along the way
Sarmanto supported
Aaltonen's 'Deja Vu' [1,
2] with trumpeter, Art Farmer,
in latter 1987, that eventually issued in 2000. Come their duo, 'Master Improvisers: Live at Steiner School
Tampere', on April 23, 2009. It was another duo, 'Conversations', in January
of 2010. They had also backed other enterprises together, such as vocalists,
Jeannine Otis ('80), Maija Hapuoja ('80),
Helen Merrill ('96) and Pamela ('06).
Another major figure along Aaltonen's path was saxophonist,
Eero Koivistoinen, whom
he supported in October of '69 for 'Odysseus'. Three more LPs followed to
'Sea Suite' in March of '83. They were common members of the UMO Orchestra
in the eighties as well. Lord's disco shows their last session together with
that operation in November of '86 for 'Kalevala Fantasy', that with pianist,
Sarmanto, also conducting.
Returning to 1969, Aaltonen had that year appeared on the debut album ('Tasavallan
Presidentti') of the fusion rock band,
Tasavallan Presidentti.
He was replaced the next year by Pekka Pöyry. Pöyry's suicide in 1980
witnessed Aaltonen returning to the band in 1983 to remain into the new
millennium, including albums to 'Six Complete' in 2006. Aaltonen had bobbed up in
'73 on
Peter Brötzmann's 'Hot Lotta'.
He recorded 'UMO' with
Mel Lewis and
Thad Jones when the latter visited
Helsinki in December of '77, that released in '78. At some time in the eighties the
Finnish government awarded him a grant that kept him in business for the
next fifteen years. The nineties saw Aaltonen shifting from jazz-fusion
toward such as spiritual themes. In 2003 his album, 'Mother Tomgue', won
Finland's Emma Award. Having issued above twenty albums, one among them
arrived in January of 2015 with Iro Haarla at piano and harp called 'Kirkastus'
[1,
2,
3,
4]. Haarla and Weber went back to the latter seventies. They had recorded
together numerously and were common members of
Edward Vesala's outfit into the eighties, also performing in
the UMO Orchestra together. Duos with
Sarmanto went down in
2009 and 2010 toward issue on 'Master Improvisers: Live at Steiner School
Tampere' and 'Conversations'. Haarla supported Weber's 'To Future
Memories' [1,
2,
3,
4,
5]
in Nov of 2010. Aaltonen's most recent release as of this writing was 'Saarnaaja:
The Preacher' [1,
2]
in 2018, laid out on 22 and 23 Oct of 2016 with the Sointi Jazz Orchestra. Among the
numerous on whose recordings Aaltonen can be found are the Finnish Big Band
('74), Ilpo Saastamoinen,
Wadada Leo Smith and Nordic
Trinity, the latter a trio with Mikko Iivanainen (guitar) and Klaus
Suonsaari (drums). References: 1,
2,
3.
Discos: 1,
2,
3,
4.
IMDb. Juhani Aaltonen 1971 Composition: Paroni Paakkunainen Paakkunainen album: 'Plastic Maailma' Flute/saxophones/arrangements: Paroni Paakkunainen Saxophone/flute: Junnu (Juhani) Aaltonen Juhani Aaltonen 1973 Eero Koivistoinen album 'Wahoo!' Recorded Dec 1972 Electric soprano sax: Koivistoinen All compositions: Koivistoinen From Peter Brotzmann's 'Hot Lotta' Recorded April 1973 Composition: Edward Vesala Composition: Peter Brotzmann Juhani Aaltonen 1974 Composition: Aaltonen Album: 'Etiquette' Juhani Aaltonen 1979 Album: 'Springbird' Recorded spring 1978 [Lord] Piano: Edward Vesala Bass: Teppo Hauta-aho Percussion: Tero Sarikoski Juhani Aaltonen 1982 Recorded 2 Aug 1981 Helsinki Tenor sax/flute: Aaltonen Bass: Reggie Workman Drums: Edward Vesala Filmed on unidentified date in Finland Trumpet: Dizzy Gillespie Trombone: Juhani Aalto Composition: Thelonious Monk 1944 Juhani Aaltonen 2003 From 'Mother Tongue' Composition: Eden Ahbez Composition: Aaltonen Juhani Aaltonen 2009 Composition: Iro Haarla Album: 'Conclusions' Recorded 18-20 Aug 2008 Porvoo, Finland Tenor sax: Aaltonen Piano/harp: Iro Haarla Bass: Ulf Krokfors Drums: Reino Laine Juhani Aaltonen 2015 Filmed live 17 May 2015 Meilahti Church Helsinki Double bass: Risto Vuolanne Note: Full title: 'Vanha Virsi Taalainmaan Karjamajoilta', a Swedish folk song originating sometime in the 19th century. Juhani Aaltonen 2019 Filmed live 26 March 2019 Multi-neck guitar: Raoul Björkenheim
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Born in 1937 in Göttingen, Germany, free jazz multi-instrumentalist,
Gunter Hampel,
is said to have begun playing piano and reeds at age four. He picked up the
vibraphone at age seventeen. Drafted into the German Army in 1957, he served
briefly, then studied architecture at the University in Braunschweig from
'58 to '62. The early sixties saw Hampel performing about Europe, with
occasion in 1964 to befriend
Eric Dolphy on tour with accommodations in
Paris. Hampel is thought to have entered the studio for the first time on
January 30 of 1965 to record his debut album, 'Heartplants'. Hampel helped
form the
Globe Unity Orchestra in 1966 alongside
Alexander von Schlippenbach,
Peter Brötzmann and
Manfred Schoof, that organization's first issue, 'Globe Unity', going down
on 6 and 7 Dec that year in Cologne. Hampel's
first of numerous collaborations with vocalist,
Jeanne Lee, whom he
eventually wedded, is thought to have been 'Gunter Hampel Group + Jeanne
Lee', recorded in April of 1968 for issue in 1969. Hampel also founded Birth Records in 1969,
embarking on the 8th of
July that year to record 'The 8th of July', also featuring
Lee.
Hampel formed the Galaxie Dream Band in 1972, recording Part 1 & 2 of
'Angel' in June that year, also featuring
Lee. Hampel and
Lee collaborated to as late as 1985, reuniting in the early
nineties, their last track together thought to have been 'Journey to
Edaneres' for
Lee's 'Natural Affinities' issued in 1992. Among Hampel's other more important
comrades through the years were Manfred Schoof (trumpet),
Alexander von Schlippenbach (piano),
Steve McCall (drums) and
Marion Brown (saxophone). Into the 21st century Hampel formed
both his European-New York Quintet and the Dance Improvisation Company in
2000. The latter is exampled on the 2015 release of 'Evolution: After the
Future'. Having issued well above fifty name
albums, Hampel's latest as of this writing was 'Bounce: Live at Theater
Gütersloh' [1,
2,
3] gone down on 17 June 2017. Hampel is yet active and tours
internationally. References: 1,
2.
Website.
Discos: 1,
2,
3,
4,
5, Lord (leading 66 of 87 sessions).
IMDb.
Select videography.
Sheet music.
Interviews.
Further reading: My Gunter Life;
Verbal Inroduction.
Per below, Hampel plays vibes, bass clarinet or flute on the majority of tracks. Gunter Hampel 1965 From 'Heartplants' Composition: Alexander von Schlippenbach Composition: Buschi Niebergall Composition: Hampel Gunter Hampel 1967 From 'Music from Europe' Recorded 21 Dec 1966 Baarn, Holland All compositions Hampel Make Love Not War to Everybody Gunter Hampel 1969 Composition: Arjen Gorter/Hampel Jeanne Lee/Pierre Courbois 'Gunter Hampel Group + Jeanne Lee'' Gunter Hampel 1972 'Familie' With Anthony Braxton & Jeanne Lee Recorded 1 April 1972 Theatre du Mouffetard Paris Composition: Hampel/Braxton/Lee Filmed live 4 Nov 1972 Berlin Gunter Hampel 1978 From 'Reeds 'n Vibes' Joint LP w Marion Brown Composition: Hampel Composition: Brown/Hampel Gunter Hampel 1982 From 'Cavana' All compositions Hampel
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 Gunter Hampel Source: Bimhuis |
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 Sven-Åke Johansson Source: FMP | Born in 1943 in Mariestad, Sweden, free jazz drummer and
avant-garde percussionist,
Sven-Åke Johansson,
began his career playing in dance bands, eventually making his way to the
Continent. His first vinyl is thought to have been recorded in Germany in 1963, the
album, 'Erste Duisburger Messe', released in 1965. Lord's disco picks him up
on April 22, 1965, in Stockholm for 'Half and Half' with the Gunnar Fors
Kvintett. Come
Peter Brötzmann (sax) and
Peter Kowald (bass) in June
and August of 1967 for 'For Adolphe Sax' ('67) and 'Peter Brotzman Trio'
('03). September 1967 witnessed Johansson's first session for Manfred Schoof,
taping 'Turn Fourteen' and 'On W.T.' in Munich. Those got included on 'The
Early Quintet' in 1978. October 21 of 1967 found him participating in
Alexander von Schlippenbach's 'Globe Unity 67',
that eventually released on 'Globe Unity 67 & 70' in 2001. Johansson wrapped
up his recording career in 1967 in December with titles toward 'Manfred
Schoof Sextett' ('67 per discogs). One of those compositions was 'Glockenbar'
in which
Schlippenbach
had participated.
Schlippenbach
would be one of the more important figures in Johansson's career. Johansson
supported
Schlippenbach's 'Live at the Quartier Latin' in
April of 1976. They spread along their live duo, 'Kung Bore', in November
1977. 'Idylle und Katastrophen' went down in November 1979. Come their duo,
'Kalfaktor A. Falke und Andere Lieder', in March 1982. It was 'Night and
Day' in June of 1984 with Rudiger Carl (tenor sax) and Jay Oliver (bass).
Three days later on the 18th it was their duo, 'Blind Aber Hungrig -
NordDeutsche Gesange'. Come November 1986 for their participation in the
theatrical, 'über Ursache und Wirkung der Meinungsverschiedenheiten beim
Turmbau zu Babel' ('On the cause and effect of differences of opinion in the
construction of the Tower of Babel'). 'Versuch der Rekonstruktion einer
vergangenen Zeit' was recorded live in August of 1990. It was 'Night and Day
- plays them all' in May of 1992, again with Rudiger Carl (tenor
sax/clarinet) and Jay Oliver (bass). Johansson had settled in Berlin in 1968, there
to reside the rest of his life. Lord's disco identifies Johansson's first
name album as 'Moderne Nordeuropäische Dorfmusik' recorded in Berlin in 1969
with Norbert Eisbrenner and Werner Goetz. He recorded the solo album, 'Schlingerland
/ Dynamische Schwingungen', in October 1972. April 1979 saw titles toward
'Sven-Åke Johansson Mit Dem NMUI Im SO 36 '79' ('87). Among Johansson's
numerous ensembles was his Sven-Åke Johanssons Quartett from 1986 to '89 w
Wolfgang Fuchs (sopranino/ bass clarinet), Günter Christmann (trombone) and
Tristan Honsinger (cello) [*]. Leading or co-leading more than fifty albums, among his more recent
in the new millennium went
down in 2015 in Berlin with the quartet, Neuköllner Modelle, toward the 2017 issue of 'Sektion 3-7' with
Schlippenbach, Joel Grip (bass) and Bertrand
Denzler (sax) [*]. On 7 June 2017 Johansson recorded four percussion solos to
see issue on 'Grau-Grün|Welk-Satt'
in 2018 [1,
2].
It was Neuköllner Modelle again in Nov of 2017, now a trio w
Schlippenbach out, for 'Zyklus 1' released in
2019 [1,
2,
3,
4].
Johansson
has also published poetry and texts, exhibited as a painter and illustrated
numerous of his album covers.
References: 1,
2.
Discos: 1,
2,
3,
4,
5, Lord (leading 22 of 58 sessions).
Filmography.
Radio.
Exhibitions.
Other projects: past;
current.
Compositions: 1,
2.
Documentaries: 'Filme I' 'by Teresa Iten 2013 *;
'Filme II' 'by Teresa Iten 2015 *;
'Blue for a Moment' by Antoine Prum 2018: 1,
2.
Select videography.
Compilations: 'Blue for a Moment' 1978-2015 by SAJ 2017: 1,
2,
3;
'Jazzbox' 2002-2011 by SAJ 2013: 1,
2,
3;
'More Compositions' 1992-2013 by SAJ 2014: 1,
2,
3.
Archives: internet;
texts. Biblio: 'Automatismus der Rotation' by Stefan Fricke, Theresa Iten, et al (Kehrer Verlag 2004)
*. Sven-Åke Johansson 1967 Peter Brötzmann Trio Bass: Peter Kowald Compositions Brotzmann Sven-Åke Johansson 1968 Composition: Brotzmann Peter Brotzman album: 'Machine Gun' Percussion shared with Han Bennink Sven-Åke Johansson 1974 Recorded Nov 1974 Germany Issued 2011 on '1974-2004' Trumpet/accordion/drums/voice: Johansson Piano: Per Henrik Wallin Sven-Åke Johansson 2010 Filmed live in Berlin Composition: Johansson Sven-Åke Johansson 2012 Piano: August Rosebaum Saxophone: Lars Greve Filmed live Duet with Burkhard Beins Filmed live Sven-Åke Johansson 2014 Solo filmed live
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 Tomasz Stanko Source: Jazz-Square | Born in 1942 in Rzeszów, Poland,
Tomasz Stanko
was an avant-garde trumpeter who would contribute to the emergence of Poland as a
producer of top jazz talent in the sixties. Growing up in Communist Poland, Stanko first heard jazz on 'Voice of America' radio broadcasts.
Per Lord's Disco he joined the Qunitet of
Krzysztof Komeda in
1959, age seventeen, for the soundtrack to 'Innocent Sorcerers' released in
December 1960 in Poland. We're cheating a bit to substitute that for first
appearance on disc, since that doesn't seem to have seen issue as such until
2014 on 'Jazz in Polish Cinema: Out of the Underground 1958-1967' (Jazz on
Film Records 002). Lord's shows Stanko with
Komeda again in 1961 for 'Roman
Two' released in 1998, also included on a compilation called 'Knife in the
Water: Music from the Roman Polanski Film' in 2012. It was 1962 that Stanko formed the Jazz Darins with painist,
Adam Makowicz. Lord's disco finds him with
Komeda next circa
1962 for 'Theatre Music' issued as Volume 8 of 'The Complete Recordings of
Krzystof Komeda Vol 1-19' in 1999 by Polonia Records. January 1963 saw 'Noz w
Wodzie' ('Knife in the Water', not to be confused with the film released in
1962), getting issued in 1974 on 'Muzyka Krzysztofa Komedy 4' (Polskie
Nagrania Muza SXL 0561). On an unknown date in '63 Stanko supported
Komeda on
'Kraksa 1-6', not thought to have seen issue until 1999 per Volume 7 of 'The
Complete Recordings of Krzystof Komeda Vol 1-19' by Polonia, also 'Jazz in
Polish Cinema: Out of the Underground 1958-1967' in 2014. Come a concert at
the Filharmonia in Warsaw in October 28, 1963, getting issued in 1993 on 'Live
at Jazz Jamboree Festival'. Come an unknown date in 1964 for 'Pingwin' (film:
1965), later finding release on Volume 11 of 'The Complete Recordings of
Krzystof Komeda Vol 1-19' issued in 1999 and CD 2 of 'Jazz in Polish Cinema:
Out of the Underground 1958-1967' issued in 2014. Not until October 1964 in
Prague, Czechoslovakia, did a session with
Komeda result in Stanko's debut
release on disc, that 'Roman II' released on the album by various, 'Jazz
Greetings from The East' in 1965 (Fontana 885 416 TY). Stanko continued with
Komeda through such as 'Astigmatic' and 'Kattoma' in December 1965 to as late
as November 1967 for titles toward
Komeda's 'Muzyka Krzysztofa Komedy 3' in
1974 (SXL 0560). That had been preceded on an unidentified date in '67 in
Baden-Baden [discogs] for 'Meine Süsse Europäische Heimat: Dichtung und Jazz
aus Polen'. Some eleven albums had gone down with
Komeda whose accidental
death followed not long after on April 23, 1969. We return to
Komeda's 'Kraksa 1-6' in '63 above for tenor
saxophonist, Jan Wroblewski, with whom Stanko remained tight into the
seventies. Stanko contributed to Wroblewski's 'Jazz Studio Orchestra of the
Polish Radio' in October 1969 and 'Sprzedawcy Glonow' in '71 and '73. They
joined one another in mutual support of multiple others, such as Wlodzimierz Nahorny or the Grand Standard Orchestra, to a few tracks on
Czeslaw Bartkowski's 'Drums Dream' (SX 1419) in 1976. Stanko held his first
sessions as a leader in January 1970 for 'Music for K' ('70). Lord's disco
estimates another date in 1970, unknown, for 'Fish Face' ('73). Stanko formed
numerous chamber ensembles throughout his career, generally preferring
smaller configurations from trios upward. A trip to India in early 1980
witnessed 'Music from the Taj Mahal and Karla Caves' bearing two suites of
trumpet solos. 'Korozje' was a string of duets in February 1983 with Andrzej
Kurylewicz (piano). It was another duo in October 1991 w Janusz Skowron
(synthesizer) for 'Tales for a Girl, 12'. Backing up to the
early seventies finds Stanko working for
Alexander von Schlippenbach ('Globe unity 70'), Krysztof Penderecki and Don Cherry.
Come April 1974 for Stanko's first session with drummer,
Edward Vesala, that for Stanko's 'Twet'. Vesela also
provided rhythm on Stanko's 'Balladyna' in December 1975, 'Live at Remont'
in October of '76 and 'Almost Green' in 1978. Stanko contributed to
Vesala's
'Rodina' in May 1976, 'Satu' in October 1976, 'Neitsytmatka (Maiden Voyage)'
in November 1979, 'Heavy Life' in May 1980 and 'Good Luck Bad Luck' in
December 1983. The eighties brought titles for avant-garde
pianist, Cecil
Taylor: 'Winged Serpent (Sliding Quadrants)' in December '84 and 'Alms /
Tiergarten (Spree)' on July 2, 1988. The nineties saw Stanko in a trio with
Arild Andersen and
Jon Christensen for 'Bluish' on October 1991. Pianist,
Bobo Stenson, first joined Stanko in early 1993 for 'Bosonossa
and Other Ballads'. Drummer, Michal Miskiewicz, first joined him for
'Balladyna' in April 1994. Into the new millennium Stanko was in
Avignon, France, in Nov of 2005 to record 'Lontano' [1,
2]
w Marcin Wasilewski (piano), Slawomir Kurkiewicz (bass) and Michal
Miskiewicz (drums). The Tomasz Stanko Quintet wrapped 'Dark Eyes' [1,
2]
on 9 October of 2009. In 2014 Literary published Stanko's memoir,
'Desperado' [1,
2],
the same year he recorded 'Polin' w Ravi Coltrane (sax), David Virelles
(piano), Dezron Douglas (bass) and Kush Abadey (drums). Stanko's 'December
Avenue' arrived in France in June 2016 with his New York Quartet filled by
David Virelles (piano), Reuben Rogers (bass) and Gerald Cleaver (drums). Nov
4 of 2016 saw Stanko reuniting after more than forty years with
Alexander von Schlippenbach in Berlin for another round with the Globe Unity
Orchestra issued as 'Globe Unity · 50 Years' in 2018. A few months after its
release Stanko died in Warsaw on 29 July 2018
[obits: 1,
2,
3,
4]. Having
issued well above forty albums as a leader or co-leader, among the
host of others on whose recordings Stanko can be found are
Adam Makowicz,
Andrzej Trzaskowski,
Gary Peacock, the NDR Big Band, Vlatko Kucan, Sigi Finkel,
Nicolas Simion and Nils Landgren. References: 1,
2.
Sessions: JDP; Lord (leading 46 of 131).
Discos: 1,
2,
3,
4,
5.
IMDb.
IA.
Interviews Oct 2006: Nate Chinen;
NPR.
Facebook.
Further reading: Derk Richardson;
Thirteen.
Other profiles *. Tomasz Stanko 1966 Album by Krzysztof Komeda All compositions Komeda Tomasz Stanko 1970 Album: 'Music for K' All compositions Stanko Tomasz Stanko 1974 Tenor/soprano sax/bass clarinet: Tomasz Szukalski Bass: Peter Warren Drums: Edvard Vesala All compositions: Vesala/Warren/Stańko/Szukalski Tomasz Stanko 1976 Filmed live Sax: Tomasz Szukalski Bass: Pekka Sarmanto Drums: Edward Vesala Tomasz Stanko 1997 Piano: Bobo Stenson Bass: Anders Jormin Drums: Tony Oxley Album: 'Litania: Music of Krzysztof Komeda' All compositions Komeda Tomasz Stanko 2001 Soundtrack Composition: Stanko Tomasz Stanko 2004 Composition: Stanko Album: 'Suspended Night' Piano: Marcin Wasilewski Bass: Slawomir Kurkiewicz Drums: Michal Miskiewicz Tomasz Stanko 2005 Filmed live Tomasz Stanko 2006 From 'Lontano' Piano: Marcin Wasilewski Bass: Slawomir Kurkiewicz Drums: Michal Miskiewicz Composition: Stanko Composition: Miskiewicz/Stanko Wasilewski/Kurkiewicz Composition: Stanko Tomasz Stanko 2009 From 'Dark Eyes' Comps below by Stanko Tomasz Stanko 2012 Filmed in Dinant, BelgiqueFilmed in Gdansk, Poland Composition: Stanko Tomasz Stanko 2016 Filmed in Stockholm
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 Jacques Coursil Source: Metisse Music |
Born in 1938 in Paris, trumpeter,
Jacques Coursil,
had parents from Martinique (West Indies). In 1958 he ventured to West
Africa, finding himself in Dakar upon Senegal's independence from France in
1960. Returning to France in '61, he studied music and taught literature. In
1965 he immigrated to the United States. The next year he supported 'Sunny
Murray'. Unissued tracks of his own were taped in 1967 in
NYC. He made records with
Frank Wright,
Bill Dixon and
Burton Greene before
recording his first two albums in July of 1969: "Way Ahead' and 'Black
Suite' for issue in '69 and '70. Coursil didn't issue another album until 2005
('Minimal Brass' *), the reason being his pursuit of literature and
theoretical linguistics as a PHD. He taught in France, at Cornell in Ithaca,
NY, and the University of California. One example of the work he did in his
field is 'The Function of Language Muette', published in 2000. The decades
he'd spent as a professor in academic fields other than music were
interwoven w a lone perfecting of his craft involving a unique avoidance of
the frivolous. Since 'Minimal Brass', Coursil has issued 'Clameurs' ('07), 'Trails of Tears' ('10) and 'FreeJazzArt' ('14),
the latter with bassist,
Alan Silva. Despite Coursil's
brief catalogue he is recognized as among the globe's top trumpeters. References: 1,
2,
3,
4.
Discos: 1,
2,
3,
4,
Lord (leading 8 of 11).
IA.
Interviews: Afrik 2007;
Bomb 2010.
Authorship.
Further reading: Shaun Brady.
Other profiles: 1,
2. Jacques Coursil 1966 Composition: Sunny Murray Album: 'Sunny Murray' Jacques Coursil 1969 Jacques Coursil 2005 Album: 'Minimal Brass' All composition Coursil Jacques Coursil 2006 Composition: Raqal Le Requin/Rocé Rocé album 'Identité En Crescendo' Jacques Coursil 2010 Album: 'Trails of Tears' Recorded May 2007-Feb 2009 All compositions Coursil Jacques Coursil 2011 Filmed 7 May 2011 Paris Double bass: Alan Silva Jacques Coursil 2014 Brooklyn Bridge, the Metal and the Wind 5 Album: 'FreeJazzArt' Double bass: Alan Silva All composition Coursil
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 Jan Garbarek Source: tekstowo | Born in 1947 in Mysen, Norway, saxophonist,
Jan Garbarek
[pronounced "yaun"], was raised in Oslo. He presumably remains the father of singer, Anja
Garbarek. We pick up Garbarek's professional career per his first
performance at the Molde Jazz Festival in Norway (first held 1961) in 1964. He
would perform at the Molde Fext 24 times to 1994. It was at the Molde in 1965
that he first met pianists,
Kenny Drew and
George Russell. Come April 22, 1966,
in Stockholm, Sweden, for
Russell's 'Waltz from Outer Space'. That eventually
got issued in 2007 by Caprice in a package of 4 CDs titled 'Watch out!:
Swedish jazz 1965-1969'. On September 16 of 1966 he participated in
Russell's 'Now and Then', that included on 'The Essence of George Russell'
in 1971. Come
October 14, 1966, for 'Walking' with bassist, Kurt Lindgren, issued that year
on the LP by various, 'Jazz Jamboree 66 Vol 1'. On the same date he
participated in a couple titles on 'Jazz
Moments', backing vocalist and Buddyprisen winner ('65), Karin Krog. That
was with
Jon Christensen (drums),
Niels-Henning Ørsted Pedersen (bass) and
Kenny Drew. Garbarek released his debut album, 'Til Vigdis', the
next year ('67) with assistance by Peter Lorberg (bass),
Arild Andersen (bass),
Jon Christensen (drums) and Frank Phipps (valve trombone).
Garbarek participated in four more of
Russell's LPs from 'Othello Ballet
Suite' in 1967 to 'Listen to the Silence' in 1971. In 1968, age 21, he
married one Vigdis [*] who gave birth to a daughter, the singer, Anja
Garbarek [1,
2]. Along the way Garbarek'
recorded his second LP, 'The Esoteric Circle' in 1969 with
Andersen, Christensen and
Terje Rypdal (guitar). Garbarek's last session in 1969
was in October for Jan Erik Vold's 'Briskeby Blues'. However, before
leaving the sixties it would be well to comment on a few of those mentioned
above due their strong presence in Garbarek's early career, those being
Christensen, Andersen and
Rypdal. Garbarek had first gotten mixed with
Christensen for
Russells 'Waltz from Outer Space'
above in April 1966. Including 'Til Vigdis' above in 1967,
Christensen provided rhythm on nine of Garbarek's LPs to
'Paths, Prints' in December of 1981. Along the way they had supported
multiple operations such as those of
Russell, Jan Erik Vold,
Ralph Towner
and
Keith Jarrett. Garbarek's first session with Andersen had been for
Russell's 'Now and Then' above in
September 1966. They also backed multiple enterprises like
Russell's,
Jan Erik Vold's and
Jarrett's to as late as David Darling's
'Cycles' in November 1981. Andersen supplied double bass to five of Garbarek's LPs from 'Til Vigdi' above to 'Triptykon on November 8,
1972, the latter in a trio with
Edward Vesala (percussion). As for
Terje Rypdal, Garbarek's initial session with him had been for
'Bleak House' in October of 1968, followed by titles toward 'Terge Rypdal'
in August of 1971. Per above, Garberek's 'The Esoteric Circle' had slipped between
with Rypdal's collaboration in 1969. Along the way they participated in the projects of multiple
others such as
Russell and Jan Erik Vold. Among the more important of
Garbarek's associates to arrive in the seventies were keyboardist,
Keith Jarrett, and bassist,
Eberhard Weber. Garbarek's first session with
Jarrett is
thought to have been per NDR Jazz Workshop #100 in Hannover, Germany, for
'The Windup', issued per 'NDR Jazzworkshp '74' (NDR 666 516). That same
April Garbarek and
Jarrett co-led 'Belonging'
in Oslo and 'Luminessence' in Ludwigsburg. Garbarek then
joined
Jarrett for the latter's 'Arbour Zena' in '75, 'My Song' in latter
'77, both 'Personal Mountains' and 'Sleeper' in Tokyo in April 1979, and
'Nude Ants' at the Village Vanguard in NYC in May 1979. As for
Weber, Garbarek's initial mutual session with him is thought
to have been in December of 1974 for
Ralph Towner's 'Solstice'.
Towner's
'Sound and Shadows' followed in February 1977. Among Garbarek's titles for
which
Weber provided bass were nine albums from 'Photo with Blue Sky, White
Clouds, Wires, Windows & a Red Roof' in December of 1978 to 'Rites' in March
of 1998. Garbarek had assisted
Weber's 'Chorus' in September 1984 and
'Stages of a Long Journey' in March 2005. Garbarek also appears on titles
per the 2012
Weber compilation, 'Résumé'. It was 'Hommage to Eberhard Weber'
in 2015. Slipping back to the nineties, in autumn of 1991 Jan supported his
daughter, Anja's, debut album, 'Velkommen Inn', issued in '92. He
contributed to his wife, Vigdis', audiobook, 'Stemmer', in 1992. Among numerous others on whose recordings Garbarek can be found are
Earl Wilson,
Kenny Wheeler, Gary Peacock,
Charlie Haden, Shankar, Marilyn
Mazur and
Miroslav Vitouš. Having led or co-led above thirty albums
Garbarek's last studio project as of this writing was 'Officium Novum' released in
2010. Garbarek is yet active touring.
References: 1,
2.
Sessions: JDP; Lord (leading 36 of 96).
Discos: 1,
2,
3,
4,
5,
6,
7,
8.
IMDb.
Facebook tribute.
Further listening: NPR.
Other profiles: 1,
2. Jan Garbarek 1966 With Karin Krog Alt take First release unknown Composition: Jerome Kern/Johnny Mercer Jan Garbarek 1967 Debut LP: 'Til Vigdis' Recorded 1 April & 24 Sep 1967 Composition: Eddie Harris Composition: John Coltrane Composition: Jan Garbarek Jan Garbarek 1970 Afric Pepperbird Composition: Jan Garbarek Album: 'Afric Pepperbird' Jan Garbarek 1971 Song of Space Composition: Jan Garbarek Album: 'Sart' Jan Garbarek 1973 Desireless Composition: Don Cherry Album: 'Witchi-Tai-To' Tenor/soprano sax: Garbarek Piano: Bobo Stenson Bass: Palle Danielsson Drums: Jon Christensen Jan Garbarek 1977 Album: 'Dis' Guitar: Ralph Towner All compositions Jan Garbarek Jan Garbarek 1979 Album: 'Photo . . . Red Roof' Recorded 20 Dec 1978 All compositions Jan Garbarek Note: Full title: 'Photo with Blue Sky, White Cloud, Wires, Windows and a Red Roof'. Kiel 1979 Ball Pompoes in Kiel, Germany NDR Jazz Workshop Recorded 10 July 1979 Issue unknown Jan Garbarek 1980 Piano/guitar: Egberto Gismonti Bass: Charlie Haden Jan Garbarek 1991 Filmed concert Jan Garbarek 1992 Album with Ustad Fateh Ali Khan Jan Garbarek 1994 Recorded Aug 1992 : Anouar BrahemTabla: Ustad Shaukat Hussain Jan Garbarek 1996 Composition: Jan Garbarek Album: 'Visible World' Jan Garbarek 2004 Album: 'In Praise of Dreams' Viola: Kim Kashkashian Percussion: Manu Katché All compositions Jan Garbarek Iceburn
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 Michael Mantler Source: Opus Klassiek | Born in 1943 in Vienna, Austria, trumpeter,
Michael Mantler
studied at the Academy of Music and Vienna University before traveling to
Boston to enroll at the Berlkee School of Music in 1962. While there he
participated in the tribute to Oliver Nelson, 'Jazz in the Classroom Vol
IX'. Issue date is undetermined though MOBIUS and WorldCat have the master
published in 1974. He worked with
Cecil Taylor a bit before forming the Jazz Composer's Orchestra in 1964 with
pianist, Carla Bley. 'Communication' was
the album that resulted in 1966 with compositions by Mantler and
Carla,
piano by Paul Bley.
Carla played piano on Mantler's
next vinyl in '66, 'Jazz Realities', together with
Steve Lacy, a member of the Jazz
Composer's Orchestra, on soprano sax. Married to
Carla from 1965 or '67 to 1991, they parented, musician,
Karen Mantler [1,
2,
3,
4],
born in 1966. Mantler would support
Carla on titles into the eighties amounting, sooner or later,
to about fourteen albums. Among them was 'Jazz Composer's Orchestra' in 1968
and
Carla's 'Escalator over the Hill' in 1971.
Carla contributed to Mantler's 'No Answer' in 1973, 'The
Hapless Child and Other Inscrutable Stories' in 1975-76, '13 for Piano and
Two Orchestras' in 1975, 'Silence' in 1976, 'Movies' in 1977, 'More Movies'
in 1979-80 and 'Something There' in 1982. Lord's disco has their last title
together on March 14, 1984, for
Carla's 'Ups and Downs', that to be found on the album by
various, 'For Taylor Storer' ('88).
Carla and Mantler reunited as late as summer of 1990 for 'Karen
Mantler and Her Cat Arnold Get the Flu'. Mantler formed the Chamber Music
and Songs Ensemble in 1993 to record 'Songs'. His opera, 'The School of
Understanding', premiered in Copenhagen in 1996. 'One Symphony' premiered in
1998 in Frankfurt. ('Songs and One Symphony' was issued in 2000.) Mantler's
'Concerto for Marimba and Vibraphone' also premiered in Frankfurt, in 2005. Mantler has released well above twenty albums, his latest in
2014: 'Jazz Composer's Orchestra Update'. Among others on whose recordings
he can be found are
Gary Burton, John Greaves and
Charlie Haden. Among his more
important musical associates have been
Jack Bruce, Robert Wyatt,
Nick Mason, Rick Fenn, Don Preston, Mona
Larsen, Bjarne Roupé and Samuel Beckett. Mantler is yet active performing
in Europe as of this writing. Further references: 1,
2,
3.
Sessions: 1973-2016: JDP; Lord.
Scores.
Discographies: 1,
2,
3.
Interviews: Mark Tucker 2005.
Further reading: Mantler 1974-88: Mark Tucker;
Jazz Composer's Orchestra: Robert Christgau;
Don Heckman.
Synopsis. Michael Mantler 1966 Composition: Michael Mantler Album: 'Communication' The Jazz Composer's Orchestra Album with Carla Bley Michael Mantler 1968 From 'The Jazz Composer's Orchestra' Compositions: Michael Mantler Michael Mantler 1975 Composition: Michael Mantler Album: '13 & 3/4' Piano: Carla Bley Michael Mantler 1976 From 'The Hapless Child' Compositions: Michael Mantler Michael Mantler 1978 Album
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 Airto Moreira Source: Jake Feinberg Show |
Born in 1941 in Itaiópolis, Brazil, percussionist,
Airto Moreira,
met Flora Purim in 1965, whom he
married two years later. In the meantime he had recorded 'Octeto De Cesar
Camargo Mariano' in Rio de Janeiro in 1966, thought to have been issued that
year (Som Maior 5516 Brazil). He also participated in 'Quarteto Novo' in
Sao Paulo in 1966 with the samba group by the same name, released in '67. Like many Brazilian
musicians who found the military regime in Brazil oppressive, Moreira and
Purim left for NYC in 1967, not to return but on concert tours. Though
Moreira and Purim worked together closely their entire careers, to say the
one to oft to include the other, they each pursued independent projects as well. Moreira's
first recordings in the US were in latter 1968 either toward
Paul Desmond's
'Summertime' or JJ Johnson's
'Betwixt and Between'. Milton Nascimento's 'Courage' in 1968-69, is thought
his first mutual session with flautist,
Hubert Laws.
Laws and Moreira partnered in
numerous bands together into the seventies, such as
Antônio Carlos Jobim's
or the CTI All Stars. Moriera also provided beat to
Laws' 'Afro-Classic' in December
1970, 'The Rite of Spring' in June 1971, 'Yoruba' in January 1972 on
Laws' 'Wild Flower' and 'In the
Beginning' in February 1974. They contributed to Michael White's 'Let Love
Be Your Magic Carpet' in 1978. Come
McCoy Tyner's '13th House' in
1980. They reunited in 1994 to support vocalist, Dianne Reeves, on 'When
Morning Comes'. In 2006 it was
Chick Corea's 'The Ultimate
Adventure'. Laws and Moreira have
partnered together to as late as the 2015 issue of 'A Jazz Moment in Time'
by Stix Hooper Enterprises. As commented above, Flora Purim
was a major figure to grace both Moreira's life and musical career, they thought to
have held their first mutual session on May 5 of 1969, that for pianist,
Duke Pearson, on such as 'Tears' and 'Lamento',
found on
Pearson's 'How Insensative'.
That commenced countless recordings together into the new millennium.
Moreira joined numerous others on whose albums
Purim would be found:
Gil Evans,
Chick Corea,
Joe Farrell, Dizzy
Gillespie and Gary Meek among the lot. 1971 found
Purim guesting on Moreira's 'Seeds On the Ground'. December 3 of 1973
saw Moreira supporting Purim's
second album, 'Butterfly Dreams'. Between the two of them they led and co-led
some 22 more albums together to as late as
Purim's 'Speak No Evil' in 2003 with their daughter, Diana Booker. Among
those were with their ensemble, Fourth World, formed in England in 1992 with
guitarist and vocalist, Jose Neto. Latter 1992 saw 'Recorded Live at Ronnie
Scott's Club' with daughter, Diana, prior to her marriage to Krishna Booker.
'Fourth World' ensued shortly thereafter that year. 'Encounters of the
Fourth World' went down in 1996 and 'Last Journey' in 1999 ('Return Journey'
a remix). Lord's disco has Moreira and
Purim together as late as 2008 for 'La Brezza: The Music of Faye
Miravite'. We need back up to November 19, 1969, for the major figure
that was Miles
Davis with whom Moreira participated in 'Big Fun' ('74) on that date.
Moreira would appear on several of Davis' LPs,
including 'Bitches Brew', to 'Get Up With It' in 1975 ('Honky Tonk' recorded
in 1970). His last session of a brief though intent period with
Davis had been live at Fillmore West in San Francisco on May 7, 1971.
Two months later in August he found himself backing
Cannonball Adderley's 'The
Black Messiah' with pianist,
George Duke.
Duke and Moreira worked
together frequently into the early eighties, particularly with
Adderley and
Purim. Moreira brought percussion to several of
Duke's albums including
'A Brazilian Love Affair' in 1979.
Duke had contributed to Moreira's 'Virgin
Land' in Feb 1974. Lord's Disco traces them together to as late as
1980 toward the Brecker Brothers' 'Detente' w
Michael at tenor
sax and
Randy at trumpet. Another
important figure in Moreira's career was
Grateful Dead drummer, Micky Hart,
with whom he issued several albums from 'The Apocalypse Now Sessions' in
1980 (a Rhythm Devils release containing tracks to the film, 'Apocalypse
Now') to 'Supralingua' in 1998. Moreira has also composed and recorded for television
and film scores ('Last Tango in Paris' 1972), as well as taught at UCLA. Moreira put 'Down Beat'
magazine's Critics Poll in his bag seven years consecutively between '75 and
'82, again in '93. He got a bigger bag in 2002 to accommodate Brazil's Order of Rio Branco per President Cardoso.
Later into the new millennium Moreira made an appearance in 2009 on the
Maogani Quartet's 'Álbum da Califórnia', not issued until 2019. That was a
guitar ensemble filled by Carlos Chaves, Marcos Alves, Paulo Aragão and
Maurício Marques. In 2012 he appeared on Anne Sajdera's 'Azul'. Lord's disco
estimates Katerina Brown's 'Mirror' going down sometime in 2018 for release
on Mellowtone 1016. Moreira contributed as recently as May of 2018 to John
Finbury's 'Sorte!' issued by Green Flash Music. Among the host of others on whose recordings
Moreira can be found are
Johnny Hammond Smith, Al
Di Meola and Silvana Malta. Moreira is yet active as ever, his base of
operations long since in Los Angeles.
References: 1,
2,
3,
4,
5,
6,
7,
8.
Discos: 1,
2,
3,
4,
5,
6, Lord (leading 2 of 375 sessions).
IMDb.
Select videographies: 1,
2.
IA.
Interviews: Jake Feinberg 1983;
MELT Music 1993; Alessio Berto 2006?;
Chris Cooke 2007;
Frosty 2017.
Biblio: 'Tradition and Innovation in the Drumming of Airto
Moreira' John McDermitt (Elder Conservatorium of Music 1997) *.
Other profiles: 1,
2. Per below,
Flora Purim appears on
albums 1970 through 1974. She contributes backing vocals on
'The Happy People' per 1977. More Moreira under
Purim. Airto Moreira 1967 Flute: Hermeto Pascoal Viola caipira/guitar: Heraldo do Monte Bass/guitar: Theo de Barros Airto Moreira 1970 Guitar: Sivuca Bass: Ron Carter Vocals: Flora Purim Airto Moreira 1971 Airto Moreira 1973 Airto Moreira 1974 Airto Moreira 1977 Composition: Moreira Album 'I'm Fine, How Are You' Airto Moreira 1979 Composition: Jose Bertrame/Alex Malheiros From 'Touching You...Touching Me': 1, 2 Airto Moreira 1984 Filmed live Composition: Moreira Airto Moreira 1996 Filmed live Airto Moreira 2003 Filmed live Airto Moreira 2009 Filmed live Airto Moreira 2014 Filmed with Eyedentity & Diane Moreira Composition: Hugo Fattoruso/Ruben Rada Airto Moreira 2019 Filmed 26 Jan 2019
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 Aldo Romano Photo: Daniel Shen Source: Wikipedia | Born in 1941 in Belluno, Italy,
drummer,
Aldo Romano,
was raised in Paris, a prime location to launch a jazz career, Paris the
European hub of jazz convenient to all other destinations by American and
European musicians on tour. He first worked with trumpeter, Don Cherry, in 1963. In the
spring and summer of 1965 in Paris he recorded 'Togetherness One' and 'Togetherness
Two' with Cherry and saxophonist, Gato Barbieri, in Italy for release the next year. The following December he
strung tracks in Rome in a trio with Steve Lacy
(soprano sax) and Kent Carter (bass) for release on the album, 'Disposability'.
It was Carter, Lacy,
Carla Bley (piano) and
Michael Mantler (trumpet) for
'Jazz Realities' in January 1966 in Baarn, Holland. Carter, Barbieri and Lacy, et al, joined Romano for Giorgio Gaslini's
'Nuovi Sentimenti' in Milan on February 4. Come
Lacy's 'Sortie' with Carter and
Enrico Rava (trumpet). Several more sessions followed that year with
Barbieri, et al, for
Cherry in Copenhagen and Hilversum, Netherlands. Romano
would later back Barbieri's 'Obsession' in 1967 in a trio with Jean-Francois
Jenny-Clark (bass). The majority of Romano's workss were recorded in Paris,
Germany and Italy, he travelling abroad relatively little as musicians go
during his career. His first trip to the States in 1967 resulted in
'Impressions of New York' with Rolf Kuhn (clarinet), Joachim Kuhn (piano)
and
Jimmy Garrison (bass). Lord's disco has him in NYC once more in 1991 for
Michel Petrucciani's 'Playground' (their last of four beginning in 1980 with
'Flash' at Saint Martin de Castillon). In March 1992 Romano took a quartet
filled with Paolo Fresu (trumpet), Franco D'Andrea (piano) and Furio Di
Castri (bass) to Tokyo for 'Canzoni'. Lord's has him across the Channel in
London only once in fall of 1995 for Vaughan Hawthorne-Nelson's 'Emergence'.
Romano visited Morocco in May 2004 in a trio with Nico Morelli (piano) and
Michel Benita (bass) for the former's 'Live in Morocco'. Romano hadn't
issued an album as a leader until 'Il Piacere' in 1979, gone down in
December '78 in Paris. 'Night Diary' followed in 1980. Come his third, 'Alma
Latina', in January 1983. Lord's disco has him leading 23 more albums from
'Ritual' in February 1988 to 'New Blood Plays The Connection' ('13), the
latter a quartet composed of Baptiste Herbin (alto sax), Alessandro Lanzoni
(piano) and Michel Benita (bass). 'Complete Communion' in February 2010 had
been a tribute to Don Cherry, to include
Cherry's composition, 'Complete
Communion' (to versions of which Romano had contributed in 1966 in
Copenhagen, after its debut with 'Elephantasy' in December 1965 with
Gato Barbieri). That quartet per 2010 above, consisting of Fabrizio Bosso
(trumpet), Geraldine Laurent (alto sax) and Henri Texier (bass), recorded
'Desireless' the next month in May. Another quartet with which Romano had
worked was Palatino consisting of Paolo Fresu (trumpet), Glenn Ferris
(trombone) and Michel Benita (bass). Palatino had recorded four albums:
'Palatino' in June 1995, 'Tempo' in 1997/98, 'Chapter 3' in December 2000
and 'Back in Town' in May 2012. Other projects into the new millennium
included 'The Jazzpar Prize' in Copenhagen in April of 2004.
'Melodies en Noir et Blanc' went down as recently as May of 2017 at Le
Triton in Les Lilas, France, with a trio filled by Dino Rubino (piano) and
Michel Benita (bass). Come 'La Belle Vie' in 2018 w Emmanuel Bex (organ) and
Philip Catherine
(guitar). Amidst the host of others on whose albums
Romano can be found are
Steve Kuhn, Total Issue,
Charlie Mariano and Susanna Bartilla. Yet active, Romano
has divided his time between
France and Italy. References: 1,
2.
Discos: 1,
2,
3, Lord (leading 33 of 156 sessions). Aldo Romano 1966 From 'Togetherness' LP by Gato Barbieri & Don Cherry Recorded 22 April 1965 Paris Composition: Cherry Movements 1 & 2 Togetherness One Movement 5 Togetherness Two From Steve Lacy's 'Disposibility' Recorded 21/22 Dec 1965 Rome Soprano sax: Steve Lacy Bass: Kent Carter Composition: Thelonious Monk Composition: Cecil Taylor Aldo Romano 1979 Composition: Romano Album: 'Il Piacere' Aldo Romano 1993 From 'Non Dimenticar' Composition: Lucio Dalla Composition: Domenico Modugno/Dino Verde Aldo Romano 1995 Composition: Romano : 'Carnet de Routes'Aldo Romano 2000 Composition: Romano INA Archive (France) Aldo Romano 2014 Filmed live with Darryl Hall Piano: Baptiste Trotignon Trumpet: Enrico Rava Aldo Romano 2017 Composition: Romano Album: 'Melodies en Noir et Blanc' Aldo Romano 2018 Album: 'La Belle Vie' Recorded sometime 2018 [Lord] Issued 2019 Guitar: Philip Catherine Organ: Emmanuel Bex Filmed 28 Dec 2018 Same trio as 'La Belle Vie' above
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Born in 1942 in London, tenor saxophonist,
Alan Skidmore,
was the son of saxophonist, Jimmy Skidmore. He was working professionally at
sixteen and toured with both comedian, Tony Hancock and vocalist, Matt
Monroe. He was employed in the house band at Talk of the Town in
London about that time, there to keep about five years. He began appearing
on BBC Radio's 'Jazz Club' in 1961. In 1963
Skidmore replaced his father, Jimmy, in the band of
Eric Delaney. He is said
to have begun associations with
Alexis Korner and
John Mayall in 1964. He is thought to
have begun gigging at
Ronnie Scott's jazz club in Soho, London, the next
year, a venue where he would record on multiple occasions from August 1969
with
Tubby Hayes (televised) to November 1995 with
Georgie Fame ('Walking
Wounded'). On an unknown date in April 1965
Skidmore contributed to
Sonny Boy Williamson II's
'Don't Send Me No Flowers' with
Jimmy Page at guitar, issued in 1968. Allmusic has
Korner's Blues Incorporated
recording 'Sky High' ('66) from April 1965 to June 1965, the dates of
Skidmore's presence on several tracks unidentified. Lord's disco has him
with the John Stevens Seven in late 1965 for 'Number Three', found on the CD
compilation of various, 'Trad Dads, Dirty Boppers and Free Fusioneers' in
2012. Consequential to trumpeter,
Kenny Wheeler's, participation
on flugelhorn was Skidmore and
Wheeler's future partnership in bands of
those from
Mike Westbrook in 1969 to
John Surman, Mike Gibbs,
Norma Winstone, Alan Cohen
and Gibbs again in 1975. Along the way
Wheeler contributed to Skidmore's
debut LP, 'Once Upon a Time', in September 1969. The eighties found them
with the Jazz Live Trio and Third Eye. They both participated in the
Dedication Orchestra's 'Spirits Rejoice' in January 1992, but not on
identical tracks. We back up to 'The Ronnie Scott Quintet Featuring Alan Skidmore' for BBC
Radio's 'Jazz Club' ('13) in March of 1966. The next month found him
contributing to
Mayall's 'Bluesbreakers with Eric
Clapton' ('66). He also appeared on several tracks of the Bluesbreakers' 'A
Hard Road' ('67) gone down in October and November of '66. Skidmore is
variously listed as recording as early as 1967 with 'NDR Jazz Workshop' per
NDR LP 0654 96351, concerning which neither session nor issue is known. 'NDR
Jazz Workshop' was a radio program conceived and based in Hamburg, Germany, in 1958, later expanding to television
(NDR = NordDeutsche Rundfunk = Northern German Radio).
No known discography lists Skidmore recording for 'NDR Jazz Workshop' until
April 1969 for Workshop #62 with John
Surman and
Wheeler for 'Flashpoint'
('11). [See the
discography of NDR Workshops by Michael Frohne at the Peter Losin
website.] Frohne has Skidmore with 'NDR Jazz Workshop' on several more
identifiable dates to as late as #110 in 1975. One of those had been
with
Weather Report in September 1971 (#73). The date for #116 is
undetermined. Several years later Skidmore would join the NDR Big Band on
December 12, 1980, with
George Gruntz arranging for 'Totally Bemonked
Suite', found on a package of ten
Gruntz CDs called 'Radio Days' (#156 TCB
27802). Lord's disco finds Skidmore with the NDR Big Band again on March 1, 1991,
with
Stan Tracey arranging 'Blue Monk', found on 'Bravissimo: 50 Years NDR
Big Band' (ACT 9232-2) in 1996. Come April 2010 for 'John Lennon - In My Own
Write' with Colin Towne arranging. In 1972 'Jazz In Britain '68-'69' (Decca
Eclipse 2114) was issued, presenting a convenient way to mention several of
the more important figures in Skidmore's career. Being variously present on
that album were
Wheeler,
Mike Osborne (sax),
John Surman (baristone sax),
Harry Miller (bass guitar/bass),
John Taylor (piano), Malcolm
Griffiths (trombone), Tony Oxley (drums) and Alan Jackson (drums).
Osborne and Skidmore partnered
in various bands together from
Surman's to those of
Chris McGregor,
Mike Westbrook,
Harry Beckett and
Norma Winstone. Along the way
Osborne participated in
Skidmore's 'TCB' on October 21, 1970. June 26, 1971, saw them recording
'KLM' and 'And Think Again' to be found on the album by various, '2.
Internationales New Jazz Meeting auf Burg Altena', the same year. 1972
brought
Osborne's 'Shapes' ('95). In
April 1973
Osborne formed the trio, S.O.S.,
with
Surman, that ensemble to tape 'Looking for the Next One' at the Balver
Hoehle Jazz Festival in Balve, Germany on July 27, 1974, not issued until
2013 with titles added from sessions in latter '74 and September 14, 1975. 'S.O.S.'
went down in January and February of 1975 with a more timely release that
year. As for
Surman, Skidmore supported him on numerous titles from 'How
Many Clouds Can You See?' in March 1969 to 'Tales of the Algonquin' in 1971.
Along the way
Surman participated in Skidmore's 'TCB' in 1970 per above with
Osborne. Skidmore and
Surman
also partnered in others bands from that of
Westbrook in April 1969 to
Mike Gibbs, Beckett, Rolf Kuhn,
McGregor,
Weather Report,
Winstone,
Osborne and
Colin Towns in 1991. They had also recorded in the trio, S.O.S., with
Osborne per above in 1974/75.
As for Harry Miller, he and Skidmore cleared a path through numerous
sessions from
Surman's 'How Many Clouds Can You See?' in March of 1969
through
Westbrook,
McGregor, Centipede and
Osborne to Elton Dean in June
1981 ('Ninesense Suite'). Early along the way Miller had backed Skidmore's
debut LP, 'Once Upon a Time' in September 1969. As for Malcolm Griffiths, he
and Skidmore traveled through numerous sessions from
Surman's 'How Many
Clouds Can You See?' in 1969 to
Westbrook, Mike Gibbs,
McGregor,
Winstone, Alan Cohen, John
Warren, the Dedication Orchestra and
Stan Tracey at Queen Elizabeth Hall in
November 1993. Griffiths also contributed trombone to Skidmore's 'TCB' in
1970. June 26, 1971, had seen them recording 'KLM' and 'And Think Again' to
be found on the album by various, '2. Internationales New Jazz Meeting auf
Burg Altena'. Addressing Tony Oxley, he and Skidmore supported numerous from
Surman's 'Premonition' ('How Many Clouds Can You See?') in 1969 through Mike
Gibbs, Rolf Kuhn and Wlodzimierz Nahorny to Jiri Stivin in Prague in March
1979. Oxley and Skidmore were also members of S.O.H., a trio with Ali Haurand (bass). That mix spread 'S.O.H.' in February 1979, 'S.O.H.
Live' in April 1981 and 'Live in London' at the
Roundhouse in 1983. Finally arriving to
John Taylor per 'Jazz In Britain
'68-'69' above, he and Skidmore partnered in numerous sessions throughout
the years from
Surman's 'How Many Clouds Can You See?' in
March 1969 through,
Graham Collier,
Harry Beckett, Mike Gibbs,
Norma Winstone, Volker Kriegel and Colin Towns' 'Mask Orchestra' in 1991.
Taylor
also contributed to Skidmore's 'Once Upon a Time' in '69 and 'TCB' in '70. June 1971 found them recording 'KLM' and 'And Think Again' to be found
on the album by various, '2. Internationales New Jazz Meeting auf
Burg Altena' (JG 027/028). Another important pianist in Skidmore's career
was Stan Tracey, Sessions for
Tracey would be good for five albums from 'The
Seven Ages of Man' in October 1969 to 'Live at the QEH' on November 30, 1993.
Tracey had supported Skidmore's 'East to West' in Hong Kong in October 1989
with a quartet composed of Roy Babbington (bass) and Clark Tracey (drums).
They'd also partnered in the bands of
Charlie Watts ('86), Danny Thompson
('90) and the NDR Big Band ('Blue Monk' '91). Well to mention another
important drummer along Skidmore's path, that Louis Moholo, their initial
session together thought to have been on January 9, 1971, for 'Chris
McGregor's Brotherhood Of Breath'. Continuing with
McGregor, they also supported
Mike Osborne, Elton Dean, Jiri Stivin and 'Woza' on the Dedication
Orchestra's 'Spirits Rejoice' in January 1992. Skidmore was also a
member of the European Jazz Quintet, recording 'Live at Moers Festival' in
Germany on May 9, 1977. Come November 1978 for 'European Jazz Quintet' and
'III' in February 1982. That quintet consisted of Leszek Zadlo (sax),
Gerd Dudek (sax) Ali Haurand (bass) and Pierre Courbois (drums). Come the
European Jazz Consensus in June 1977 for 'Four for Slavia'. 'Morning Rise'
went down in September 1977. Consensus members were Gerd Dudek (sax),
Adelhard Roidinger (bass) and Branislav Kovacev (drums). As mentioned,
Skidmore had filled spots in the big bands of
George Gruntz. Another
important orchestra leader was Colin Towns, Skidmore participating in seven
of Towns' albums from 'Mask Orchestra' in September 1991 to 'Drama' issued
in 2015. Towns had also contributed to arrangements on Skidmore's 'After the
Rain: A Collection of Ballads' in Hannover in 1998. He provided keyboards
and percussion on Skidmore's '50 Journeys' in 2008 with the latter's band,
Ubizo. Ubizo had come about via Skidmore's explorations of
African rhythms with the South African band, Amampondo, he traveling to Cape
Town twice to record 'The Call' in January 1999 and 'Ubizo' in October 2002.
Skidmore had also participated in the European Jazz Ensemble's '25th Anniversary Tour' on
February 9, 2001. Come '30th Anniversary Tour 2006' on March 21
that year and '35th Anniversary Tour 2011' in October that year. Other
unmentioned albums by Skidmore had been tributes to
John Coltrane: 'Tribute
to Trane' in February 1988 and 'Impressions of John Coltrane' in December
2005. Others unmentioned whom Skidmore had supported through the years
include Leon Francioli,
Soft Machine, The
Band, the Mike Barone/Victor Burghardt
Orchestra, Family of Percussion, Eje Thelin,
Airto Moreira, Ben Crosland,
Van Morrison, Peter Fessler, Estelle Kokot, Trudy Kerr and
Peter King. Skidmore remains professionally active as of this writing.
References: 1,
2,
3.
'Discos: 1,
2,
3, Lord (leading 14 of 153 sessions).
Interviews.
Other profiles *. Alan Skidmore 1965 Alexis Korner album: 'Blues Incorporated' Alan Skidmore 1966 Blues Breakers with Eric Clapton Album by John Mayall Alan Skidmore 1970 Recorded 17/19 Sep 1969 London From 'TCB' Recorded 21 Oct 1970 London Composition: John Surman Composition: Skidmore Alan Skidmore 1977 From 'El Skid' Recorded 25/26 Feb 1977 London Tenor sax: Skidmore Alto sax: Elton Dean Bass: Chris Laurence Drums: John Marshall Composition: Skidmore Composition: Elton Dean Alan Skidmore 1979 Percussion: Peter Giger Piano: Wolfgang Dauner Composition: Wolfgang Dauner Alan Skidmore 1991 Vocal: Georgie Fame Composition: Van MorrisonAlan Skidmore 2012 Tenor sax: Skidmore Tenor sax: Skidmore Alto sax: Benjamin Herman Piano: Rein de Graaff Bass: Marius Beets Drums: Eric Ineke Composition: John Coltrane Alan Skidmore 2019 Peter Lemer Quintet Composition: John Surman Lamar Quintet album: 'Son of Local Colour' Recorded 20 Feb 2018
|
 Alan Skidmore Photo: Brian O'Connor Source: All About Jazz |
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Born in 1944 in Tavistock, Devon, England,
John Surman
played saxophone, bass clarinet and synthesizer. He is thought to have first
laid tracks in London with Peter Lemer in May 22, 1966, for the album, 'Local Colour'.
June 9 saw titles toward alto saxophonist,
Mike Osborne's, 'Dawn' in 2015.
Osborne would be a major presence in Surman's career. Along with backing
other bands together, such as Mike Westbrook's, they supported each other's projects.
Lord's disco has
Osborne supporting no less than seven more Surman sessions
from 'Jazz in Britain '68-'69' ('72) to 'Tales of the Algonquin' in
1971. Come February 1972 for
Osborne's 'Shapes'.
Osborne and Surman were also members of the trio, S.O.S., with tenor saxophonist,
Alan Skidmore. That ensemble's
first titles went down at the Balver Hoehle Jazz Festival in Germany on July 27, 1974, toward
issue in 2013 on 'Looking for the Next One'. 'S.O.S.' went down the next
year. S.O.S. recorded its last tracks in London on September 14, 1975, also
getting issued in 2013 on 'Looking for the Next One'. That occasion on June
9 of '66 above for 'Dawn' was Surman's first with bassist, Harry Miller, a
frequent comrade into the seventies, backing Westbrook and
Chris McGregor along the way.
Miller was a part of the gang on Surman's debut LP, 'John Surman', in
August of 1968. Miller also contributed to Surman's 'Jazz in Britain
'68-'69' on an unknown date, 'How Many Clouds Can You See?' in March 1969
and 'Tales of the Algonquin' in 1971. On Sep 4 and 5 of 1968 Surman filled
a spot in the
Kenny Clarke-Francy Boland Big Band in Cologne to back
vocalist, Gitte, toward 'My Kind of World'. Boland (piano) and Surman
visited again in Berlin on 10 and 11 Nov 1969 toward 'Open Space'
w
Albert Mangelsdorff (trombone),
Ørsted Pedersen (bass), Daniel Humair (drums) and
Karin Krog at vocals. In 1970 Boland and Surman headed for Japan with the
same bunch joined by Eddy Louiss (organ) and Jean-Luc Ponty (violin) as the
European Jazz All Stars for a concert at the Expo Theater in Osaka on 18
and 19 of August toward 'Jazz Festival '70' issued by Toshiba. April 1969 had seen titles for NDR
Jazz Workshop #62 with
Kenny Wheeler for 'Flashpoint'
[1,
2,
3,
4] issued in 2011. They also paired up on 'Background' for NDR, released on 'Die Jazz-Werkstatt
'69' (NordDeutscher Rundfunk 654 057) that year. Lord's disco has Miller
and Surman sharing a last session for
Mike Osborne's 'Shapes' in
February of 1972. Returning to summer
of 1967 finds Surman performing on
Mike Westbrook's 'Celebration', August of '68 on
Westbrook's 'Release'.
Surman also participated in both volumes of
Westbrook's 'Marching Song' in
April 1969 and 'Citadel / Room 315' in March 1975.
Alan Skidmore had
joined Surman on unknown dates toward 'Jazz in Britain '68-'69' per
above with
Osborne.
Skidmore's tenor was oft complemented by Surman's
baritone for another twenty years backing several operations from both
volumes of
Westbrook's 'Marching Song' in April 1969, and NDR Jazz
Workshops the same month, to Mike
Osborne's 'Shapes' in February 1972.
Skidmore had participated in Surman's 'How Many Clouds Can You See?' in
March 1969, 'Conflagration ('71) and 'Tales of the Algonquin' ('71).
Skidmore also contributed to
Surman's 'Dee Tune', issued on an unknown date on 'Remembering '70' (JG
24/25). On October 21 that year Surman participated in
Skidmore's 'TCB'. As mentioned
above, Skidmore was also a
member of the trio, S.O.S., with Osborne
in 1974-75. Skidmore and Surman
reunited as late as September 1991 for
Colin Towns' 'Mask Orchestra'. Well to back up to 'Jazz in Britain '68-'69'
with
Osborne and
Skidmore per above for pianist,
John Taylor, a major figure in
Surman's career into the nineties. He would participate in seven more
Surman albums from 'How Many Clouds Can You See?' in March 1969 to
'Proverbs and Songs' on June 1, 1996. Along the way arrived 'Way Back When'
[1,
2,
3] on 7 Oct of '69 in London w Osborne,
Brian Odgers (bass) and John Marshall (drums). Surman contributed to
Taylor's debut LP, 'Pause and
Think Again' in February 1971 and 'Ambleside Days' in Oslo, Norway, on July
15, 1992. They meanwhile complemented one another in numerous projects by
others from
Harry Beckett's 'Flare Up' in
July 1970 to those of Skidmore,
Mike Gibbs,
Norma Winstone,
Miroslav Vitouš and
Gil Evans to Colin Towns' 'Mask
Orchestra' on September 4, 1991. We return to August 1968 for unknown
titles by
Chris McGregor gone unissued
by Witchseason Productions. That is thought to have been Surman's first
session with bassist,
Barre Phillips, one of Surman's more important comrades
through the years. Their first issued session together was either for
Surman's 'How Many Clouds Can You See?' in March 1969 or
McGregor's 'Up to Earth' on
an unknown date the same year. Phillips and Surman supported numerous projects together
from Volumes 1 & 2 of Westbrook's 'Marching Song' in April 1969 through
such as Cecil Taylor to the Mumps' 'A Matter of Taste' in March 1977.
Phillips also backed Surman's 'Dee Tune' per 'Remembering
'70' (JG 24/25), release unknown.
Phillips was also a member of Surman's trio with Stu Martin,
below, in 1970-71. In the meantime
Phillips participated in Surman's 'Tales of the Algonquin'
in '71. Surman contributed to Phillips' 'Mountainscapes' in March 1976. Come 'Journal
Violone II' consisting of Parts 1-6 in June 1979 for ECM Records. That was
followed by Parts 1-4 again in March 1980 to be found on the compilation of
varius, 'Jazzwerkstatt Peitz 50', in 2013. May 1980 found them recording
'Music By ...'. Phillips and Surman reunited on an unknown date circa 1991
in Tim Brady's Bodyworks for 'Invention XI' on the latter's 'Inventions'
('91). We slide back to October 1968 for live sets with
Ronnie Scott on tenor sax for
'Live at Ronnie Scott's'. Drumming on that were Kenny Clare and Tony Oxley.
Surman and Oxley got mixed on multiple occasions in various groups to as
late as December 1970 for Rolf Kohn's 'Going to the Rainbow' in Cologne,
Germany. Along the way Oxley provided beat for Surman's 'How Many Clouds
Can You See?' in March 1969, that containing Surman's composition, 'Galata
Bridge'. They reunited in September 1991 in Oslo,
Norway, in a quartet with
Paul Bley (piano) and
Gary Peacock (bass) to bear
Bley's 'In the Evenings Out There'
and Surman's 'Adventure Playground'. We swing back to November of 1969 for
Rolf Kuhn's 'Monday Morning' with drummer, Stu Martin, part of the crew.
Martin and Surman partnered in the support of numerous enterprises in the
next several years, such as Cecil
Taylor's, to as late as vocalist, Karin Krog's, 'Cloud Line Blue' released
in 1979. Martin supported Surman's 'Dee Tune' per above with
Skidmore and
Barre Phillips (bass), issued on 'Remembering '70' (JG
24/25), date unknown. His next session for Surman was in the latter's
Trio with
Phillips for 'Live in Altena' on January 10, 1970. That trio
documented four more albums from 'The Trio Featuring John Surman' in March
1970 to 'By Contact' in April 1971. In addition, June of 1970 saw a
nameless title go down toward 'Internationales New Jazz Meeting auf Burg
Altena' ('72 Decca Eclipse 2114). June 1971 witnessed that trio recording
'Oh Dear' to be released on the album by various, 'Ossiach Live', that
year. Martin had also provided rhythm on Surman's 'Tales of the Algonquin'
in '71. Come their duo LP, 'Live at Woodstock Town Hall', issued in 1975. Slipping
back to November of 1969 we find Surman's first sessions supporting
vocalist, Karin Krog, such as 'Maiden Voyage' and 'Hello Thursday' found on
'Open Space: The Down Beat Poll Winners in Europe'. They next sessioned
live in Osaka, Japan, for titles toward 'Jazz Festival '70' in August that
year. Come their album, 'Cloud Line Blue', issued in 1979. Along with other
titles, no less than thirteen albums went down between them to 'Infinite
Paths' on October 26, 2014. The year after Surman's first encounter with
Krog he appeared with Alexis Korner's Blues
Incorporated on 'Both Sides' in 1970. He also emerged on
Korner's 'Bootleg Him!' in 1972,
'The Party' in 1980 and 'Alexis Korner and Friends' in '82. Surman's first
session with double bassist,
Miroslav Vitouš, had been with
Weather Report for titles
('Umbrellas' and 'Sunrise') toward the album by various, 'NDR Jazz-Workshop
'71' ('71). Several years later in May 1979 Surman contributed to
Vitouš' 'First Meeting' in a quartet with Kenny Kirkland
(piano) and
Jon Christensen (drums). It
was 'Miroslav Vitous Group' with the same quartet in July 1980 and
'Journey's End' in July 1982 with John Taylor
replacing Kirkland. It was with a welling anticipation that Surman
purchased a synthesizer in 1972. Discogs goes against the tide, crediting
his first recordings with that instrument per 'Morning Glory' gone down in
March 1973. No one else finds synthesizer on that. Lord's disco shows him
on synthesizer at the Balver Hoehle Jazz Festival in Germany on July 27,
1974 with his trio, S.O.S., toward 'Looking for the Next One' ('13). His
first issue on synthesizer appears to have gone down in early 1975 for 'S.O.S'
(Ogun 400) issued that year. Lord's Disco has Surman first recording w
drummer,
Jack DeJohnette, in
Oslo in Nov of 1978 in a quartet w Mick Goodrick (guitar) and Eddie Gomez
(bass) toward Goodrick's 'In Pas(si)ng'.
DeJohnette and Surman
recorded their duo album, 'The Amazing Adventures of Simon Simon', in Oslo
in Jan of 1981. The first of several reunions in the new millennium
resulted in their duo album, 'Invisible Nature', recorded in Europe in
2000 toward issue in 2002. Their album, 'Brewster's Rooster'
[1,
2,
3] went down in
Sep of 2007 in New York w a quartet filled by
John Abercrombie
(guitar) and Drew Gress (bass) for issue in 2009. Surman had also recorded in quartets with pianist,
Paul Bley. The first with Bill Frisell
(guitar) and
Paul Motian (drums) yielded
'Fragments' ('86) and 'The Paul Bley Quartet' ('87). The second with
Gary Peacock (bass) and Tony
Oxley (drums) in 1991 came to 'In the Evenings Out There' ('93) and
'Adventure Playground' ('92). Advancing into Surman's latter career, he
joined tenor vocalist, John Potter, on 'In Darkness Let Me Dwell' ('99),
'Care-Charming Sleep' (03), 'Romaria' ('06) and 'Night Sessions' ('13). Surman has left behind a prolific number of
works, about fifty albums as a leader. Seven of those were multitracked
solos on multiple instruments from 'Westering Home' in 1972 to 'Saltash
Bells' in Oslo in June 2009. He recorded numerous duos from 1974 with Stu Martin to Tony
Levin, Karin Krog,
Jack DeJohnette, Ben Surman
and Howard Moody in 2006 ('House of Rain'). Among the host of others
unmentioned on whose recordings Surman surfaces are Michel Portal,
Friedrich Gulda and Maurizio Brunod. He is the recipient of two Norwegian
Spellman Awards as of 2004 and 2006. Yet touring as of this writing, Surman
issued 'Invisible Threads' as recently as 2018 to extensive reviews
including 1,
2,
3,
4,
5,
6,
7,
8,
9,
10,
11.
References: 1,
2,
3.
Sessions: Galatabridge;
Dan Kurdilla: 1,
2; Lord (leading 46 of 161).
Discos: 1,
2,
3,
4,
5,
6,
7,
8,
9,
10.
IMDb.
Interviews: Duncan Heining 2007;
Bill Shoemaker 2009;
NPR 2003;
Tom Erdmann ?.
Further reading: Paul Morley.
Other profiles: 1,
2,
3,
4,
5. John Surman 1966 Album Peter Lemer Quintet Recorded 22 May 1966 London John Surman 1969 Recorded 20-24 March 1969 London John Surman 1971 John Surman 1979 With Alexis Korner & Friends Composition: Willie Dixon Album: 'The Party Album' Recorded April 1978 Suite of solo compositions by Surman Recorded May 1979 John Surman 1987 From 'Private City' Suite of solo compositions by Surman John Surman 1991 Filmed live with Karin Krog John Surman 2000 John Surman 2008 Filmed live John Surman 2012 From 'Saltash Bells' Suite of solo compositions by Surman Recorded 2009 John Surman 2013 'Jazz Sous les Pommiers' Filmed live
|
 John Surman Source: Discogs |
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Edward Vesala
was born in 1945 in Mäntyharju, Finland. He began playing drums in dance
bands and attended the Sibelius Academy in Helsinki to study classical
percussion from 1965 to '67. The Dan Kurdilla sessionography finds Vesala
recording as early as August 1966 toward the issue of M.A.
Numminen's 'Laulaa Jälleen' that year. Not cited in Lord's Disco which lists
jazz-relevant recordings only, Discogs identifies those titles as 'Naiseni
Kanssa Eduskuntatalon Puistossa' and 'Rakastuneessa Ihmisessä' released on
Eteenpäin! NG-99 [see also 45Cat]. In 1967 Vesala was a member of a trio with Pekka Sarmanto (bass) and
Eero Koivistoinen (alto
sax), recording the album, 'Jappa' (JATP 1) in January. That contained the tracks: 'Jappa',
'OK Song' and 'Spanish Lady & Lovable Miss P'. He then performed with the
bands, Blues Section and Apollo. May 8, 1968, found him recording 'Junnu's
Mood' in Helsinki with
Juhani Aaltonen (flute/sax), Seppo Paroni
Paakkunainen (sax) and Kari Hynninen (bass), that issued by Siboney in 2001
on a compilation of various called 'Julkaisemattomat: Unreleased Sessions
Vol 8 1966–69'. Vesala surfaced on
a private test pressing in 1969 called '1-2-3-4 Soul Jumppa'. That contained
untitled tracks of Vesala delivering solo dance instructions on the first side,
untitled tracks on the other by a
group called Soulset of which he was a member. That got issued
that year as 'Yksi, Kaksi, Kolme, Neljä Soul Jumppaa' by Gross (GRLP-27 w a
current collectors' price tag of $585.00). Vesala also appeared on 'Nykysuomalaista
- Contemporary Finnish' in 1969, side A on five tracks with Soulset ('She
Was Fifty-Four', 'Merry Gull', 'Ain’t a Bit of Happiness Anymore', 'I Feel
Lonely' and 'Five Days Later'), Side B on four tracks with the Edward Vesala
Jazz Band ('Very Sorry', 'Spring', 'Draw!' and 'The Joke'). Well to comment
as to a few of the more important figures with whom Vesala had collaborated
up to that point: Paroni Paakkunainen, Pekka Sarmanto and
Juhani Aaltonen:
Paakkunainen had been a member of Soulset, above. Continuing with Vesala
into 1969, he formed his own band to include Vesala to put up 'Plastic Maailma' in January 1971. It was Paakkunainen's 'Nunnu' in September that
year. Come April 1972 for Tuohi Klang's 'Pennselmann Hits Vol 2765'.
Vesela's composition, 'M & M', went down in January 1973 toward 'The
Winners: Pori Jazz Festival Composition Contest'. April of 1974 found
Paakkunainen contributing to Vesala's 'Nan Modal'. As for Sarmanto, per
above he was with
Koivistoinen and Vesala in January 1967 for 'Jappa'. He
also played bass in Vesala's Jazz Band per above in '69, participated on
Paakkunainen's albums above, and backed Vesala on 'M & M' above. Come
Pekka's brother,
Heikki Sarmanto's, 'Onnen
Aika (Time of Happiness)' in August 1973. It was titles toward
Juhani Aaltonen's 'Etiquette on September 17, 1974. Come Ilpo Saastamoinen's 'Joutsenen Juju' in 1975 before four more
albums by Vesala: 'Rodian' in May 1976, 'Bad Luck Good Luck' in December
1983, 'Invisible Storm' in spring of 1991 and 'Nordic Gallery' released in
1994. As for
Aaltonen, after 'Junnu's Mood' in 1968 above,
he joined Vesela's Jazz Band toward 'Nykysuomalaista - Contemporary Finnish'
per above in '69. August 20 of 1970 found him collaborating on Vesala's 'Nana'
in a trio with
Arild Andersen (bass). They both partnered on
Paakkunainen's pair of albums above in 1971,
Eero Koivistoinen's 'Wahoo!' in December 1972 and
Vesela's 'M & M' per above in January 1973. Come Vesala's 'Hot Lotta' in
April 1973, 'Non Modal' in April 1974, 'Rodina in May 1976, 'Satu' in
October 1976, 'Neitsytmatka (Maiden Voyage)' in November 1979, 'Mau Mau' in
1982, 'Bad Luck Good Luck' in 1983 and 'Kullervo' issued in 1985. Along the
way Vesala participated in
Aaltonen's 'Etiquette' per above in 1974, 'Springbird'
in 1978 and 'Prana Live at Groovy' in August 1981. Vesala had also
contributed to albums by
Jan Garbarek, Teppo Hauta-aho and Esa Helasvuo in
the early seventies before his first session with trumpeter,
Tomasz Stanko, in April 1974
for the latter's 'Twet'. Come
Stanko's 'Balladnya' in December 1975, 'Live
at Remont' in October 1976 and 'Almost Green' in 1978.
Stanko had
contributed to Vesala's 'Rodina' in May 1976, 'Satu' in October 1976, 'Neitsytmatka
(Maiden Voyage)' in November 1979, 'Heavy Life' in May 1980 and 'Bad Luck
Good Luck' in December 1983. Vesala
founded his own label, Leo, in 1978, issuing several titles into the
eighties. Vesala formed the band, Sound & Fury, in 1984, consisting of
students from his workshop by the same name. The same taped 'Lumi' ('Snow')
in June 1986, 'Ode to the Death of Jazz' in spring of '89, 'Invisible Storm'
in 1991 and 'Nordic Gallery' issued in 1994, the latter his last last
session as a leader. That was followed by Pepa Paivinen's 'Saxigon' in 1997
and Sonny Heinilä's 'Lill'Lisa' in September 1999, those thought his last
recordings, as Vesala died on December 4 of '99 at yet the fairly young age of 54 of congestive heart failure.
Sound & Fury reorganized in 2013 to lay down a string of Vesela's
compositions issued as 'Pulsacion'. Amidst the host of others on whose
recordings Vesala can be found are Toto Blanke, Gerd Dudek,
Kenny Wheeler,
Charlie Mariano and Jimi Sumen.
References: 1,
2.
Sessions: Dan Kurdilla; Lord (leading 31 of 71).
Discos: 1,
2,
3,
4.
IMDb.
Reviews.
Documentaries: '12 Sessiota Edward Vesalan kanssa' by Markus Viljanen for Noema Film 1999
*.
IA. Edward Vesala 1967 Debut by Eero Koivistoinen All compositions Koivistoinen Edward Vesala 1969 With Soulset Composition by Soulset Album: 'Nykysuomalaista' With Soulset Composition: Paroni Paakkunainen Arrangement: Paroni Paakkunainen Album: Soul Jumppaa' Edward Vesala 1970 From 'Nana' Edward Vesala Trio Tenor/soprano sax: Juhani Aaltonen Bass: Arild Andersen Arrangements by the Trio Comps below by Aaltonen Edward Vesala 1971 Filmed live Composition: Heikki Sarmanto Edward Vesala 1973 Composition: Peter Brötzmann Brötzmann album: 'Hot Lotta' Recorded 19 April 19 1973 Helsinki Live at Parc Floral de Vincennes Filmed live date estimated/unknown Bass: Arild Andersen Sax: Jan Garbarek Note: Unknown date of the above performance is estimated. The trio above recorded 'Triptykon' in Oslo on 8 Nov 1972, issued 1973. Edward Vesala 1974 From 'Nan Madol' All compositions Vesala Edward Vesala 1976 Filmed live Bass: Pekka Sarmanto Sax: Tomasz Szukalski Trumpet: Tomasz Stanko Composition: Peter Brötzmann Note: Unknown date of the above performance is estimated. The quartet above recorded Stanko's 'Balladyna' in Ludwigsburg in Dec 1975. Edward Vesala 1977 Vocal: Irina Milan Piano/arrangement: Esa Helasvuo Music: Vesala Lyrics: A. Isku (Harri Saksala) Album: 'Rodina' Edward Vesala 1978 From 'Live at Remont' Edward Vesala Quartet Trumpet: Tomasz Stanko Soprano/tenor sax: Tomasz Szukalski Bass: Antti Hytti Comps below by Vesala Little, Beautiful, Dancing Girl Edward Vesala 1982 Album by Juhani Aaltonen Recorded 2 Aug 1981 Helsinki Edward Vesala 1990 Album: 'Ode to the Death of Jazz' Recorded April/May 1969 Helsinki All compositions Vesala
|
 Edward Vesala Photo: Paul Deker Source: Jazz Pages |
|
| Born in 1941 in Remscheid, North Rhine-Westphalia,
free jazz reeds performer,
Peter Brötzmann
studied painting in Wuppertal, Germany, becoming involved with Fluxus, an
international network of artists with its origins in Neo-Dada.
Fluxus was conceived in 1962 by George Maciunas but died out upon Maciunas'
death in 1978. Brotzmann had begun to teach himself clarinet as an
adolescent, advancing to saxophone in the early sixties. Tracks exist of him recording
on alto sax as early as 1963, a
performance at the Hypokriterion Theater. That and other early recordings
into 1965 can be found on a set of three CDs titled, 'The Inexplicable
Flyswatter: Works On Paper 1959-1964', issued in 2003. A couple
titles per May 1, 1966, can be found on the CD, 'Mayday', released in 2010:
'Intensity' and 'Variability'. Those were with his trio consisting of
Peter Kowald (bass) and Pierre
Courbois (drums).
Kowald would be an important figure in Brotzmann's
career into
the eighties. Including 'Usable Past' ('02) gone down in August of 1967,
Kowald contributed to four of Brotzmann's albums to 'Machine Gun' in May of
1968. They worked together in
Alexander von Schlippenbach's
Globe Unity Orchestra into the latter seventies, supporting other
enterprises as well, such as Manfred Schoof's 'European Echoes' ('69), the
Wuppertal Workshop Ensemble and the London Jazz Composers Orchestra. On
March 9 of 1986 they recorded the duet, 'Trollymog', found on
Kowald's
posthumous 'Duos: Europa · America · Japan' in 2003. Lord's disco has their
last mutual session per Cecil
Taylor's 'Alms / Tiergarten (Spree)' gone down on July 2, 1988. We back up
to December of 1966
for an important session with Brotzmann as an original member of
Alexander von Schlippenbach's
Globe Unity Orchestra (GUO) for 'Globe Unity' ('67). The GUO was a major vehicle
for Brotzman, he contributing to some 14 albums by that operation including
its last reunion in 2002 for 'Globe Unity 2002'. Along the way
Schlippenbach
participated in Brotzmann's 'up and down the lion-revised' in September of
'79 and 'Alarm' in November of 1981. Lord's disco has their last mutual
session in May of 2003 for
Evan Parker's 'The Bishop's Move'. Also present
on that date in December 1966 above was saxophonist, Gerd Dudek, with whom he
worked in
Schlippenbach's
GUO into the latter seventies. Dudek contributed to Brotzmann's first
version of 'Machine Gun' on 'Fuck De Boere' ('01) recorded at the Frankfurt Jazz
Festival on March 24, 1968. They later partnered on titles for both Manfred Schoof ('European Echoes' '69) and Don Cherry
('Actions' '71). Lord's disco shows their last mutual session per GUO's
'Improvisations' in September of 1977. We return to
June of 1967 when Brotzmann recorded his debut LP,
'For Adolphe Sax', for his own label, Brö. 'Usable Past' ('02) ensued in
August of 1967. The first version of 'Machine Gun' was recorded live on
March 24, 1968, not released until 2001 on 'Fuck De Boere (Dedicated to
Johnny Dyani)'. Brotzman's second album issue was 'Machine
Gun', gone down in May of 1968. 'Nipples' ensued in 1969. Among well above
100 issues as a leader of co-coleader, solos include 'Solo' in May of 1976,
'Right as Rain' in 2000 and 'Solo at Dobialab' ('12) in August 2010. Above
fifteen others were with his Chicago Tentet starting with live tracks in
September of 1969, though those not issued until 1998 on 'The Chicago
Octet/Tentet'. Lord's disco has Brotzmann leading that Tentet to as late as
November 6, 2011, for 'Concert for Fukushima Wels 2011'. We back up to
March 24, 1968, to a few of the more important figures in Brotzman's
career, those drummer,
Han Bennink, pianist, Fred Van
Hove, and tenor saxophonist,
Evan Parker, they joining Brotzmann on that date for the latter's 'Machine Gun' on 'Fuck De Boere'
('01).
Bennink and Brotzmann were a tight combination recording countless titles
into the new millennium including trios and duos.
Bennink's next session for
Brotzman was for the latter's studio album, 'Machine Gun' in May of 1968.
Their initial of nine albums as a trio with Van Hove was 'Balls' on August
17, 1970. Three of those were expanded into quartets with the addition of
Albert Mangelsdorff at trombone for 'Elements' in August of '71 and 'Outspan
1' plus 'Outspan 2' in April and May of 1974. That trio had also featured
Mangelsdorff on 'Things and Stuff' in March of 1972, found on the LP by
various in 1978, 'For Example: Workshop Freie Musik 1969-1978'. Their last
title as a trio was 'Tschus' in September of 1975. Five albums worth of duos
with
Bennink commenced in March of 1977 for 'Ein Halber Hund Kann Nicht
Pinkeln'. Their last is thought to have been 'In Amherst' 2006'. As for Van
Hove, in addition to trios with
Bennink he had participated in several of
Brotzman's other projects. Following 'Tschus' in 1975 they reunited five
years later in September of 1980 for 'The Family' by the Wuppertal Workshop
Ensemble. As for
Parker, other Brotzman titles to which
he contributed were 'Nipples' in
1969 and another version of 'Fuck De Boere' in March of 1970, that found on
the album by various, 'Born Free'. Brotzman and
Parker would pair up
frequently in numerous operations into the latter eighties, such as the GUO
(above), Derek Bailey and Cecil
Taylor. They would reunite for 'Global Unity
2002', then hold their last mutual session on May 19, 2003, for
Parker's 'The Bishop's Move'. From
'Koln' on February 12 of 1986 to 'Headfirst Into the Flames' in 1989
Brotzmann participated in six LPs by the quartet, Last Exit, consisting of
Sonny Sharrock (guitar), Bill Laswell (electric bass) and Ronald Shannon
Jackson (drums/ vocals). Come February 3 of 1990 for 'Sprawl', that
found on the album by various, 'Live at The Knitting Factory Vol 4'. Come
six albums with the Die Like a Dog
Quartet from
'Die Like a Dog: Fragments of Music, Life and Death of Albert Ayler' on
August 19, 1993, to 'Aoyama Crows' on November 3 of 1999. Die Like a Dog
consisted of Toshinori Kondo (trumpet/electronics), William Parker (bass)
and Hamid Drake (drums). The first of six with The Wild Mans Band had gone
down in fall of '97: 'The Wild Mans Band'. The Wild Mans Band was a trio
consisting of Peter Friis Nielsen (bass) and Peter Ole Jorgensen (drums)
with a rotating fourth featured artist, they also issuing 'Three Rocks and a Pine'
('00), 'The Darkest River' ('01), 'Flower Head' ('07), 'Fredensborg' ('15)
and 'Live København 2009' ('15), the last with their trio only. 'No
One Ever Works Alone' ('04) was the first of Brotzmann's four albums with the trio, Sonore, in 2004.
Sonore consisted of Ken Vandermark and Mats Gustafsson, each at sax and
reeds variously. That trio also issued 'Only the Devil Has No Dreams' ('07),
'Call Before You Dig' ('09) and 'Cafe Oto/London' ('11). In 2006 Brotzmann
appeared on the first of five albums with the trio, Full Blast: 'Full Blast'.
Consisting of Marino Pliakas (electric bass) and Michael Wertmuller (drums),
that trio's latest, 'Risc', was issued in 2016. Wolke Verlagsges published
Brotzmann's 'We Thought We Could Change the World' in 2014, consisting of
conversations w Gerard Rouy [*;
other books by Brotzmann *]. Among
Brotzmann's later issues was 'Ears Are Filled
with Wonder' gone down at the Alchemia Club in Krakow, Poland, on 8 Nov 2015 with steel guitarist, Heather Leigh
[Lord]. That saw release by Not Two Records and Trost in 2016. Come 'Sparrow
Nights' [1,
2,
3,
4,
5] w Leigh at steel guitar again in May of 2017 in Vienna [Gebers].
Brotzmann was in Bremen on 26 May of 2018 w
Alexander von Schlippenbach
(piano) and
Han Bennink (drums) toward
'Fifty Years After'. Among recordings in 2019 was the Red Hook Concert on 20
May in New York again w Leigh toward 'South Moon Under'. Among numerous others on
whose records Brotzmann can be found are the ICP Orchestra, Shoji Hano, Borah
Bergman and Frode Gjerstad. Beyond music, Brotzmann is a
well-known abstract and conceptual artist, his work featured on numerous of
his album covers. Paintings from as early as 1959
to silkscreens and woodcuts in 2015 at Brotzman's website gallery.
References: 1,
2,
3.
Discos: 1,
2,
3,
4,
5,
6,
7, Lord (leading 167 of 245 sessions).
Documentaries: 'Soldier of the Road' directed by Bernard Josse 2011
*.
Interviews:
Gérard Rouy 2001;
David Dacks 2007;
Hanna Bacher 2018;
Andrew Jones 2018.
IA.
Biblio: 'Peter Brötzmann Discography' by Kouichi Ohshima (Improvised Company
1997) *;
art exhibition catalogues: 1,
2,
3.
Other profiles *.
Peter Brötzmann 1964 Recorded 1964 Issued 2003: Peter Brötzmann 1967 Peter Brötzmann 1968 Peter Brötzmann 1969 Peter Brötzmann 1970 Frankfurt Jazz Festival Composition: Brotzmann Recorded 22 March 1970 Issued 2001: Peter Brötzmann 1995 Filmed live Bass: Willliam Parker Drums: Hamid Drake Trumpet: Toshinori Kondo Peter Brötzmann 2004 Filmed live Peter Brötzmann 2013 From 'I Am Here Where Are You' Drums: Steve Noble All compositions Brotzmann/Noble Peter Brötzmann 2015 Filmed live Piano: Paul Smyth Filmed live Drums: Steve Noble Peter Brötzmann 2018 Steel guitar: Heather Leigh Peter Brötzmann 2019 London Steel guitar: Heather Leigh
|
 Peter Brotzmann Source: The Chapel |
|
| Born in 1946 in Helsinki, Finland,
Eero Koivistoinen
was removed even more remotely, by distance and circumstance, from Europe's
jazz hubs, much less NYC in the States, than Sweden or Communist Poland. But
just as the sixties witnessed major talent hailing from Scandinavia and
emerging from Poland, so would Finland quickly be at the heels of its
less Russian Scandinavian partners to the west. As a child Koivistoinen
studied classical violin. He also took up saxophone and studied at the
Sibelius Academy in Helsinki. He would also study at the Berklee College of
Music in Boston in the seventies ('Jazz in the Classroom Vol XIV' '75). Before that, however, he had played
with his first group in the sixties, a trio with Pekka Sarmanto (bass)
and
Edward Vesala (drums). That
trio recorded 'Jappa' in January of '67, a 7" EP (JATP 1) containing
'Jappa', 'OK Song' and 'Spanish Lady & Lovable Miss P'. Pekka Sarmanto
(brother to
Heikki Sarmanto) would
be one of Koivistoinen's more important associates over the years, they
backing each other on numerous projects as well as performing in the UMO
Orchestra together into the nineties, they founding members of that in 1975
along w
Heikki and Esko Linnavalli. Sarmanto provided rhythm to ten Koivistoinen
albums from 'Valtakunta' [1,
2]
in Dec of 1968 through 'Odysseus' [1,
2] in October 1969 to 'Sea Suite' in March 1983. October
of 1978 had seen them recording 'Koipaus' at Congress Hall in Warsaw, that
to be found on the album by various, 'Jazz Jamboree '78' (Polskie Nagrania
Muza SX 1611). Lord's disco follows them both with the UMO Jazz Orchestra
from its inception in 1975 through 13 albums to 1998 for Koivistoinen, 25
albums to 2005 for Sarmanto. (The UMO would hold sessions for several more
years.) The UMO catalogue began in Helsinki in December of 1975 for 'Our
Latin Friends'. The participation of Koivistoinen and Sarmanto was mutual
off and on to 'Day Dreamin': The Music of Billy Strayhorn' in April of 1998.
We abruptly back up to 1967 above with Sarmanto and
Vesala. Following 'Jappa' Koivistoinen joined Blues Section, appearing on that group's first album in 1967, 'Blues
Section'. As Koivistoinen kept with that ensemble until 1968 he likely
appeared on other recordings by that group during that period with Love
Records. In 1968 Koivistoinen surfaced on his debut album, 'Valtakunta'.
That was followed by a concert recorded at the Newport Fest on July 5, 1969. 'Odysseus'
went down in October of '69. Per above, Koivistoinen made numerous
appearances with the UMO Jazz Orchestra from 1975 to 1998, he its Artistic
Director since '96. His latter career brought an interest in African
rhythms into the 21st century, those of Senegal in particular ('Eero Koivistoinen & Senegalese
Drums' 2000). Koivistoinen toured in Mozambique and South
Africa as well. Koivistoinen has also arranged and composed in classical and
orchestral settings, and written film scores. Among Koivistoinen's later of
above thirty albums were 'Arctic Blues'
[1,
2] recorded in Helsinki on 6 Oct 2005
and later in Jan and Feb of 2016. 'X-Ray' saw release ten years
earlier in 2006, recorded that year. 'Hati Hati' went down in 2012 w the Koivistoinen
Quartet. Joining Koivistoinen at tenor sax were Aleksi Tuomarila (piano),
Jori Huhtala (bass) and Jussi Lehtonen (drums). That same bunch presented
tracks in Oct of 2012 and Nov of 2015 toward 'Illusion' in 2017. Lord's
Disco traces Koivistoinen to as late as 2018 contributing sax to 'E71' and 'Casa de
Ferro' on Timo Lassy's album, 'Moves'. RYM has him issuing 'Alma' as
recently as 2019 in a trio w Tuomarila and tango vocalist, Martin Alvarado. Amidst numerous others on
whose recordings he can be found are Clark
Terry,
Ted Curson, Jeannine Otis, Esko
Linnavalli,
Heikki Sarmanto and Zone.
References: 1,
2.
Résumé.
Discos: 1,
2,
3,
4.
IMDb.
Select videography.
IA.
Authorship: 'African Heartbeats': 1,
2.
Other profiles: 1,
2. Eero Koivistoinen 1967 Album recorded Jan 1967 Lyrics: Hasse Walli/Jim Pembroke Album: 'Blues Section' Eero Koivistoinen 1968 Vocal: Koivistoinen Lyrics: Tuomas Anhava Album: 'Valtakunta' All music by Koivistoinen Eero Koivistoinen 1969 Music video with Wigwam Vocal: Seija Simola From 'Odysseus' All compositions Koivistoinen All arrangements Koivistoinen Eero Koivistoinen 1970 From 'For Children' All compositions Koivistoinen All arrangements Koivistoinen Eero Koivistoinen 1971 Composition: Koivistoinen Album: 'The Original Sin' Eero Koivistoinen 1973 From 'Wahoo!' Recorded Dec 1972 All compositions Koivistoinen End 'Wahoo!' Album: '3rd Version' Recorded autumn 1973 Eero Koivistoinen 1976 Album: 'The Front Is Breaking' All compositions Koivistoinen All arrangements Koivistoinen Eero Koivistoinen 1978 Album by various: 'Jazz Jamboree '78' Eero Koivistoinen 1992 Recorded 25/26 Sep 1991 Eero Koivistoinen 2013 Filmed at Finnish Embassy Washington DC Piano: Alexi Tuomarila Bass: Jori Huhtala Drums: Jussi Lehtonen Composition: Koivistoinen Eero Koivistoinen 2015 Filmed live Eero Koivistoinen 2019
|
 Eero Koivistoinen Source: jazzrytmit |
|
 Mike Osborne Source: All Music |
Born in 1941 in Hereford, England, alto saxophonist,
Mike Osborne,
attended Wycliffe College in Gloucestershire and the Guildhall School of
Music. He is thought to have begun gigging with
Mike Westbrook in 1962. His
first recording session was
John Surman's second on June 9,
1966, leading a quartet for titles toward 'Dawn' [1,
2,
3,
4,
5] issued in 2015: 'Seven by
Seven', 'An Idea', etc.. That quartet was filled by Alan Jackson (drums) and
Harry Miller (bass). Like
Surman, Jackson and Miller would
be major players in Osborne's career into the seventies. Both partnered with
Osborne on his second session in the summer of 1967 in the
Mike Westbrook Concert Band
for 'Celebration'. Continuing with
Westbrook, Jackson, Miller
and Osborn also supported several titles by
Surman from 1968 to 'Tales of
the Algonquin' in 1971. Lords disco lists Osborne's last mutual session with
Jackson per
Westbrook's 'Metropolis' in
August 1971. Osborne and Miller continued onward with
Chris McGregor through
multiple albums to as late as the latter's 'Live Toulouse' in May 1977.
Their first had been 'Chris McGregor's Brotherhood Of Breath' in January
1971. Miller and Osborne also supported each other's projects. Lord's has
Miller on seven Osborne issues from Osborne's debut, 'Outback', in 1970 to
'Marcel's Muse' on May 31, 1977. Osborne contributed to what would amount to
five Miller issues from 'Different Times Different Places' in June 1973 to
'Family Affair' in 1977. As for
Surman, he had also partnered
with Osborne per above in the summer of 1967 with the
Mike Westbrook Concert Band
for 'Celebration', 'Release' following in the summer of 1968. Osborne
participated in
Surman of Surman's projects from
'John Surman' in the summer of '68 to 'Tales of the Algonquin' in 1971. The
next year in February
Surman contributed to Osborne's
'Shapes' with
Alan Skidmore.
Skidmore had joined
Surman for 'Jazz in Britain
'68-'69'. Osborne,
Skidmore and
Surman partnered on albums by
Mike Gibbs,
Harry Beckett,
Chris McGregor and
Norma Winstone before forming
S.O.S. (Surman/Osborne/Skidmore) in 1974. That group's first titles went
down at the Balver Hoehle Jazz Festival in Germany on July 27, 1974, toward
issue in 2013 on 'Looking for the Next One'. 'S.O.S.' went down the next
year. S.O.S. recorded its last tracks in London on September 14, 1975, also
getting issued in 2013 on 'Looking for the Next One'. Osborne and
Surman had also participated in
Skidmore's 'TCB' on October
21, 1970. June 26 of 1971 saw
Skidmore's 'KLM' and 'And
Think Again', those included on the 1971 album by various, '2.
Internationales New Jazz Meeting Auf Burg Altena'. We back up to August 1968
and unidentified titles for
Chris McGregor for
Witchseason Productions, those with Louis Moholo on drums. Both
McGregor and Moholo would
have a strong presence in Osborne's career to 1977. Both participated in
Osborne's debut LP, 'Outback', in 1970. Moholo and Osborne contributed to
seven issues by
McGregor from 'Chris
McGregor's Brotherhood Of Breath' in January 1971 to 'Live Toulouse' in May
1977 per above with Harry Miller. We slip back to
John Surman's 'Jazz in Britain
'68-'69' per above with
Skidmore for
Harry Beckett at flugelhorn.
Beckett and Osborne were tight
into the latter seventies, backing both
Surman and
McGregor. Also supporting
each other's titles,
Beckett performed on Osborne's
debut 'Outback' in 1970. Osborne provided sax on
Beckett's 'Flare Up' in July
1970, 'Warm Smiles' in 1971 and 'Themes for Fega' on February 4, 1972. Their
last mutual session is thought to have been for
McGregor's 'Live Toulouse' in
May 1977. Also significant in the early seventies had been guitarist, Mike
Cooper, Osborne surfacing on 'Your Lovely Ways' ('70), 'Too Late Now' ('71)
and 'Life and Death in Paradise' ('74). Osborne had begun showing alarming
symptoms of paranoid schizophrenia after touring in Germany in latter 1972,
that finding him in a mental hospital for the first time for seven weeks.
After a residency with S.O.S. at the Paris Opera in early 1974 he was again
hospitalized. By that time his use of amphetamines, cocaine and alcohol was
also getting problematic, he moving with
his wife to Norfolk to make acquisition more difficult. He continued
performing as adventures in schizophrenia gradually increased. Lord's disco
shows him recording only one title in 1978, 'Pure', not issued until 2008 on
the CD by various, 'The Wire Tapper 20'. In
1979 he recorded one session with Australian vocalist, John Stevens, 'Live at the
Plough' in London, not issued until 2003. His last known recordings were in
October 1980 in Cologne and April 1981 in London,
found on 'Force of Nature' released in 2008. Osborne spent the remainder of
his life in and out of institutions. Eventually succumbing to cancer, he
died on September 19, 2007 [obits: 1,
2]. Apart from S.O.S. he had recorded about ten
albums as a leader or co-leader. Others on whose records he can be found
are Friendship Next of Kin, Ric Colbeck, London Jazz Composers Orchestra and
Kenny Wheeler.
References: 1,
2.
Sessions: Andrey Henkin
(alt); Tom Lord (leading 16 of 73).
Discos: 1,
2,
3.
Discussion. Per 1967 below, Osborne shares
alto sax with Bernie Living on 'Dirge', the latter also on flute. Mike Osborne 1966 Composition: Mike Osborne Recorded June 1966 Not released until 2015 Album: 'Dawn' Mike Osborne 1967 Composition: John Surman Mike Westbrook LP: Mike Osborne 1974 Recorded 28 Sep 1974 Mike Osborne 1975 Recorded 14 Sep 1975 London Issued 2013 S.O.S. CD: 'Looking for the Next One' Alto sax/percussion: Osborne Tenor/soprano sax/drums: Alan Skidmore John Surman: Baritone/soprano sax/bass clarinet Keyboards/synthesizer Mike Osborne 1976
|
|
 Evan Parker Source: All About Jazz |
Born in 1944 in Bristol, England,
Evan Parker
picked saxophone at age fourteen, beginning with alto, later switching to
tenor and soprano. His early influences had been
Paul Desmond and
John Coltrane. He was at Birmingham University with intentions to become
a botanist when a trip to New York wrought a change of mind upon hearing
free jazz pianist, Cecil
Taylor, with whom he would later record a few tracks in the latter eighties
and early nineties. Parker left Birmingham for London in '66. Frequenting the clubs led
to joining the Spontaneous Music Ensemble (SME) with which he made his debut
recordings. The SME had been formed in 1966 around John Stevens (sax) and
Trevor Watts (drums), beginning a residency at the Little Theatre Club in
London in January. The group recorded its first album, 'Challenge', in
March of 1966. Evans joined the operation in time for titles in September of
1966 and March 1967 toward the issue of 'Withdrawal' three decades later in
1997, that w
Kenny Wheeler at trumpet, Paul
Rutherford on trombone and Barry Guy at bass and piano. April of 1967 saw 'Distant Little Soul', that included on a reissue of
'Challenge' in 2001. Tracks were taped in August and September of 1967 for
'Summer 1967' issued in 1995. Two takes of 'Familie' went down in January of
1968, included on 'Oliv & Familie' in 2014. Not until titles for 'Karyobin'
on February 18 of '68 did Parker first see timely issue that year with SME.
Parker also contributed to Parts 1 and 2 of SME's 'Eighty-five Minutes'
('86) in February 1974 and 'SME + = SMO' ('75) on January 25, 1975. Both
Stevens and Watts would be frequent partners in decades to come. Osborne and
Stevens recorded both volumes of their duo album, 'The Longest Night', in
December of 1976. 'Live at the Plough' ('03) went down on March 30, 1979,
that a trio with bassist, Paul Rogers. It was 'Freebop: Live Tracks' ('88)
with Bobby Bradford on cornet, et al, on July 5, 1986. They were quartets
with Paul Rutherford (trombone) and Barry Guy (bass) August 1978 and January
1992 toward 'One Four and Two Twos' ('12). It was the John Stevens Ensemble
on May 19, 1993, for 'Blue' (That's Jazz CP 2008). Come their duo, 'Corner
to Corner', on June 8, 1993. Stevens and Parker had also supported
Rolling Stones drummer,
Charlie Watts, in 1986 and Fast Colour in '88. As for Trevor Watts, after Parker's
last session with the SME per above in 1975, they next recorded together on
March 26, 1980, in the London Jazz Composers Orchestra for 'Stringer'. They
partnered on numerous sessions by the LJCO to 'Double Trouble Two' in Zurich,
Switzerland, on December 19, 1995. They reunited in 2008 for a resurrection
of the LJCO for 'Radio Rondo', that issued in '09 on 'Radio Rondo / Schaffhausen
Concert'. Come Barry Guy's 'Mad Dogs' in 2010 and 'Mad Dogs On the Loose' in
2012. We back up to the SME in
September, 1966, to Parker's first recording session, that with three other
important figures in the crew: Barry Guy, Paul Rutherford and
Kenny Wheeler.
Guy and Parker supported multiple operations together through the years,
such as Tony Oxley and, especially, the London Jazz Composers Orchestra with
Guy at helm. They also backed one another when not co-leading projects.
Their first such of nigh forty albums together was '4,4,4' on August 31,
1978, in a quartet with Rutherford and John Stevens. Their latest was 'Amphi
· Radio Rondo' on March 10 of 2013. A number of those between were duos and
trios, the latter with Paul Lytton in particular at percussion.
Duos were 'Incision' in March 1981, 'Obliquities' in December 1994 and
'Birds and Blades' in September 2001. As for Rutherford, he and Parker
supported numerous operations through the years, especially Tony Oxley, the
Globe Unity Orchestra, the
London Jazz Composers Orchestra and the London
Improvisers Orchestra. In 1972/73 Parker contributed to Rutherford's
'Sequences 72 & 73' ('97). November 1976 and April 1985 found Rutherford
with Parker on tracks toward 'The Ericle of Dolphi' ('89). It had been
'4,4,4' in August of 1978. It was 'Dark Interior' in August 1985, released
on 'Waterloo 1985' in 1999. Their latest session together per Lord's disco had been November
2006 for 'Globe Unity - 40 Years'. As for
Wheeler, they would support a
number of operations through the years including Tony Oxley, the Globe Unity
Orchestra and the London Jazz Composers Orchestra. Parker participated in
Wheeler's 'Song for Someone' in January 1973, 'Around 6' in August '79 and
'Music for Large & Small Ensembles' in January 1990. Their last session in
the nineties was with the Dedication Orchestra in January 1994 for 'Ixesha
(Time)'. They reunited sometime in 2003 for Spring Hill Jack's
'Amassed', then 'Free Zone Appleby 2003' and 'Free Zone Appleby 2005'. We
back up to March 1967 for guitarist, Derek Bailey's, participation in the
SME's 'Withdrawal' per above. Bailey and Parker partnered with a number of
other bands as well, such Tony Oxley's and the Globe Unity Orchestra. Come
July 1970 for a trio with
Han Bennink at percussion: 'The Topography of the
Lungs'. It was their duo, 'The London Concert', in February 1975. It was
another duo, 'Arch Duo', in October 1980 and 'Compatibles' in 1985. In
between, Parker had participated in Bailey's 'Company 1' and 'Company 2' in
1976, 'Company 5' in May 1977, 'Fables' in May 1980 and 'Trios' in May 1983. We
slip back to August 1, 1967, for Peter Kowald
(bass), he joining the SME on that date for a couple titles toward 'Summer
1967' ('95). Kowald
and Parker partnered with multiple operations through
the years, such as Peter Brötzmann's
and the Globe Unity Orchestra. August 16 of 1987 found them recording
'Straight Angle Suite' and 'Straight Angle Suite II'. The first saw issue in
2003 on 'Duos: Europa America Japan' (FMP CD 21). The second had been issued
on 'Duos Europa' in 1991. Kowald's 'Cuts' went down in 1995. We slide back
to March 24, 1968, for
Han Bennink (drums), they
supporting Peter Brötzmann's 'Machine Gun'
on 'Fuck de Boere' on that date with Kowald.
All three then participated in Brötzmann's
'Machine Gun' on the album, 'Machine Gun', in May.
Bennink and Parker
partnered with a number of bands through the years to as late as 'The Bear'
on October 21, 1991, that issued on 'October Meeting 1991 - 3 Quartets' in
1997. That quartet was filled by Steve Beresford (piano) and Arjen Gorter
(bass).
Bennink and Parker reunited on March 16, 2000, for their duo, 'The
Grass Is Greener'. Brötzmann's 'Machine Gun'
above in 1968 was Parker's first with whom would be an important comrade
into the nineties. After the album, 'Machine Gun', Parker next contributed
to Brötzmann's 'Nipples' in April
1969, and 'Finally' in July, that found on the album by various,
'International Holy Hill Jazz Meeting 1969'. Come 'Fuck de Boere' in March
1970, issued on 'Born Free'. Brötzmann
and Parker also supported multiple other bands together, most notably
Alexander von Schlippenbach's
Globe Unity Orchestra. Lord's disco shows their last session per 'The
Bishop's Move' in 2003, that with
Schlippenbach, et al. We return to unidentified titles gone unissued by
pianist,
Chris McGregor, in August
1968. Parker supported five of
McGregor's albums from
'Up to Earth' in 1969 to 'Live Toulouse' in France on May 10, 1977. We
return to January 23, 1969, for drummer, Tony Oxley's, 'The Baptised
Traveller'. Parker also contributed to Oxley's 'Four Compositions for
Sextet' in February 1970, 'Ichnos' in 1971 and 'Tony Oxley' in 1971/72. They
had also recorded 'Saturnalian' for an NDR (NordDeutscher Rundfunk: Northern
German Radio) Workshop, issued on 'Die Jazz-Werkstatt '70' (NDR 0654 094) in
1970. Oxley and Parker had also worked together in other bands, especially
the London Jazz Composers Orchestra from 1972 to 1988. Lord's disco has them
together a last time on September 30, 1990, for Cecil
Taylor's 'Melancholy'. One of the more prominent figures in Parker's career
was pianist,
Alexander von Schlippenbach,
for whom we return to June 1969 for Manfred Schoof's 'European Echoes'.
Parker's first titles for Schlippenbach
were with the latter's Globe Unity Orchestra (GUO) in 1970. The first issue
by that organization had been recorded in December of 1966 for issue in '67
as 'Globe Unity' (SABA 15109). 'Globe Unity 67' went down before Parker
joined the operation for 'Globe Unity 70', those found on 'Globe Unity 67 &
70' in 2001. Parker participated in fourteen more sessions with the GUO [per
Lord's] to 'Globe Unity- 40 Years' in November 2006. Parker and Schlippenbach also
collaborated on numerous albums apart from the GUO, either co-led or largely
led by Schlippenbach. Their
first such titles were in
Schlippenbach's Trio with Paul Lovens at drums in March and
April of 1972 for 'With Forks and Hope' and 'Then, Silence', issued on 'For
Example - Workshop Freie Musik 1969-1978' in 1979. Lovens would be an
important associate, having been Schlippenbach's
principle drummer from 1970 to the present day. After
'For Example' above, the same trio put down 'First Recordings' in April 1972
and 'Pakistani Pomade' in November. It was the
Von Schlippenbach Quartet with
Peter Kowald
in 1974/75 for 'Three Nails Left'. Altogether, Lord's disco
shows a total of 25 sessions with Schlippenbach to as late as
October 16, 2015, for 'Warsaw Concert', another trio with Paul Lovens. We slip back to July 26, 1971, for Parker's duo with percussionist, Paul Lytton, 'Three Other Stories'. Lytton and Parker shared countless sessions
together into the new millennium. Along with supporting other bands,
especially the London Jazz Composers Orchestra, Lord's disco has Parker
leading or co-leading 39 sessions with Lytton. Several more among those were
duos. Their first of eleven sessions in trios with Barry Guy at bass was for
'Tracks' in 1983, their last for 'Live at Maya Recordings Festival' in 2011.
Lord's disco shows their last mutual session with Guy's New Orchestra for 'Amphi
· Radio Rondo' on March 10 of 2013. As implied, the London Jazz
Composers Orchestra (LJCO), largely run by Barry Guy, was a major
vehicle to Parker, his first session with that outfit also its debut on
April 22, 1972, for 'Ode'. Lord's has Parker in ten more sessions with the
LJCO to as late as December 19, 1995, for 'Double Trouble Two'. We rewind to
December 19, 1974, for Parker's first sessions with sax player,
Steve Lacy,, at Wigmore Hall in London
for 'Saxophone Special'. Parker also performed on
Lacy's 'Chirps' in July 1985 and 'Three
Blokes' in September 1992. Lacy
and Parker also partnered with the Globe Unity Orchestra, Derek Bailey and
Laboratorio Della Quercia. Well to mention
Anthony Braxton,, returning
to November 1975 upon his joining the Globe Unity Orchestra for 'Pearls' in
Baden-Baden, Germany.
Braxton and Parker also
partnered for Derek Bailey and the London Jazz Composers Orchestra. Come
Braxton's 'Ensemble
(Victoriaville) 1988' in Quebec in October 1988. It was 'Trio (London) 1993'
in May '93 with Paul Rutherford (trombone). The next day on the 23rd it was
their 'Duo (London) 1993'. 'Chicago Solo 11' on Parker's ''Chicago Solo' in
November 1995 was dedicated to
Braxton. Parker
formed his ElectroAcoustic Ensemble in 1990 to examine real time signal
processing [1,
2,
3,
4,
5,
6,
7,
8,
9]
in an improvisational context. In May of 1996 that operation recorded
'Toward the Margins'
as a sextet in Surrey. Other albums followed into the new millennium
including 'Hasselt' in Belgium in 2010, the ElectroAcoustic an
eighteen-piece chamber orchestra for that. Parker pared it down to a septet
for 'Seven' in 2014 in Victoriaville, Quebec. Backing up to June of 1996, it
was a trio of Parker and comrades ever, Barry Guy (bass) and Paul Lytton
(percussion) for 'At the Vortex (1996)' [1,
2]. The
Vortex in London would be Parker's favorite hangout, when not touring, for
the remainder of his career. Another band of
major presence in Parker's career was the London Improvisers Orchestra (LIO)
with which he held his first session on February 7, 1999, for 'Introduction
to the Orchestra', that issued in 2002 on the Lol Coxhill compilation,
'Spectral Soprano'. The LIO's first album was 'Proceedings' in 2002. Lord's
has Parker in eight more sessions with the LIO to May 6 of 2007 for
'Separately & Together' ('08). The new millennium saw Parker founding his CD
label, psi, in 2001. He also recorded several LPs
with the ensemble Spring Heel Jack (named after the Victorian era bogeyman
or devil): 'Masses' in 2001, 'Amassed' in 2003, 'Live' in 2003 and The
Sweetness of the Water' in 2004. Well to mention the Glasgow
Improvisers Orchestra (GIO) formed in Scotland in 2002 by saxophonist,
Raymond MacDonald, to work with Parker at the Free RadiCCAls Fest at the CCA
(Centre for Contemporary Arts). The GIO recorded 'Munich and Glasgow' on 13
Sep 2003. Come London & Glasgow Improvisers Orchestras on 6 May 2007 for
'Separately & Together'. Parker has issued well above sixty albums since his first, 'The
Topography of the Lungs', in 1970 with Derek Bailey (guitar) and
Han Bennink (percussion). Above
ten of those were solos from 'Saxophone Solos' in June 1975 to 'Whitstable
Solo' in July 2008. More recent issues in the new millennium include 'PEN' [1,
2,
3]
gone down on 24 Jan 2015 in Antwerp w John Edwards (bass) and Steve Noble
(percussion). '14.11.16' arrived w Otomo Yoshihide (guitar) and Hiroshi Yamazaki (percussion)
at the Cafe OTO in London on 14 Nov 2016. Come 'Uncharted Territories' in
Catskill, New York, on 2 and 3 May of 2017 w Craig Taborn (keyboards),
Dave Holland
(bass) and Ches Smith (percussion). Parker was in Austria w Matthew Wright
on 22 July 2017 toward 'Crepuscule in Nickelsdorf' [1,
2]. 'Concert in Vilnius' had been performed at the Russian Drama Theater in
Vilnius, Lithuania, on 15 October 2017 again w Barry Guy and Paul Lytton.
Parker contributed to several tracks on 'The Balderin Sali Variations' [1,
2] as
recently as 8/9 September 2018 in Helsinki. Parker
yet tours as of this writing when not hiding out at the Vortex jazz club at
11 Gillett Square in
London. Among the host of others on whose recordings Parker can be found are Andrea Centazzo,
Francine Luce, Robert Wyatt, John Wolf Brennan and Sylvie Courvoisier. References: 1,
2
(alt),
3,
4.
Discos: 1,
2
(alt),
3,
4,
5,
6,
7,
8, Lord (leading 141 of 434 sessions).
Facebook.
Interviews: Philippe Renaud & Patrick Gentet 1994;
Martin Davidson 1997;
Dan Warburton 2010;
Stewart Smith 2013;
multiple.
Concert itinerary 2008-present: 1,
2.
Authorship: 'Coltrane';
'De Motu'.
Further reading: 'Improvvisazioni' by Martinelli;
'Why a Discography' by Martinelli. Biblio: 'Evan Parker discography: 1968-1983' by Gustave Cerutti-Riccardo Bergerone (Sierre: Jazz 360 1983 Switzerland);
'Evan Parker Discography' by Francesco Martinelli (Pontedera 1994). Other profiles: *. Evan Parker 1968 Improvisation Album: 'Karyobin' Spontaneous Music Ensemble Recorded 18 Feb 1968 Composition: Peter Brötzmann Album: 'Machine Gun' Recorded May 1968 Peter Brötzmann Octet Evan Parker 1970 Guitar: Derek Bailey Percussion: Han Bennink Compositions: Bailey/Bennink/Parker Evan Parker 1975 Album: 'Saxaphone Solos' Compositions Parker Evan Parker 1978 Jazz in der Kammer Duet with Willem Breuker Evan Parker 1990 Composition: Barry Guy/Parker/Paul Lytton Album: 'Atlan'ta' Evan Parker 1993 Album: 'Trio (London) 1993' Saxophones: Anthony Braxton Trombone: Paul Rutherford Compositions: Braxton/Parker/Rutherford Evan Parker 2000 From 'Two Chapters and an Epilogue' Recorded 3 Aug 1998 Piano: John Tilbury Compositions: Tilbury/Parker Note: Full title: 'Which Shews That There Are More Ways to Kill a Dog Than Hanging'. End 'Two Chapters and an Epilogue' Album: 'Dark Rags' Recorded 31 Dec 1999/1 Jan 2000 Guitar: Keith Rowe Compositions: Rowe/Parker Evan Parker 2005 From 'The Eleventh Hour' Evan Parker 2011 Filmed 17 Sep 2011 Massachusetts Piano: Charles Farrell Drums: Jim Schapperoew
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President of the Republic
is English for the Finnish band,
Tasavallan Presidentti
(TP). Though TP was a rock band a number of jazz musicians passed through
its various configurations and it incorporated jazz elements sufficiently to
gain the band mention in relevance to jazz fusion. It would be amiss to not note
the group as this page witnesses the emergence of Finland as a
major producer of fine jazz talent upon the heels of Norway and Sweden where
climate and distance from musical hubs in Europe had also been isolating
factors.
Finnish musicians may as well have been reindeer hauling for Santa Claus at the time so far as the United States was
concerned. Though largely unknown to the rest of the world, in snowbound
Finland where there were bells on sleighs TP joined an explosion of culture via various media that was distinctly
different from conditions wrought by World War II which had also assisted in
the relatively late emergence of both Nordic and Soviet Bloc musicians onto
the international sphere. TP was formed in 1969 by
Vesa Aaltonen (drums) and Jukka Tolonen (guitar).
Other original personnel, which began shifting in '72, were Måns Groundstroem
(bass),
Juhani Aaltonen (flute and sax)
and vocalist at organ, Frank Robson. TP issued 'President of the Republic I'
('Tasavallan Presidentti I') in 1969, followed by four more for a total of
five LPs including 'Death Magnetic Man' ('Magneettimiehen Kuolema' '70) and 'President
of the Republic II' ('71). 'Lambertland' [1,
2]
went down in Helsinki and Stockholm in April and May of 1972, 'Milky Way Moses'
following in '74. TP disbanded after 'Milky Way Moses', though later configurations and
reunions would occur in the new millennium. Discogs has three albums of
original material issued by the newer operation: 'Live: Still Struggling for
Freedom' [1,
2]
was recorded in Helsinki in Dec 2000 and May 2001. 'Six Complete' saw issue
in '06, 'Pop-Liisa 1' in '16. Original
member, Måns Groundstroem, had been present in '01.
Juhani Aaltonen and Frank
Robson were present to '06. Vesa Aaltonen and Jukka Tolonen were present
through the latest in '16. Of particular note to this history was Groundstroem who had
early
been a member of a couple important Finnish rock bands, namely Blues Section
[1,
2] in 1967 and
Wigwam [1,
2] from 1974 to 2003.
References for TP: Wikipedia;
members;
chronology/ gig itinerary/ radio/ bibliography: *.
Discos: 1,
2,
3,
4,
5.
Visual media: 1,
2. Tasavallan Presidentti 1969 Composition: Tasavallan Presidentti Tasavallan Presidentti 1970 Telecast Composition: Composition: Tasavallan Presidentti Kirka Babitzin Composition: Jukka Tolonen/Frank Robson Telecast Composition: Jukka Tolonen Frank Robson Måns Groundstroem Tasavallan Presidentti 1971 Tasavallan Presidentti 1972 Radio broadcast Composition: Jukka Tolonen/Mats Huldén Tasavallan Presidentti 1973/74 'Old Grey Whistle Test' Tasavallan Presidentti 1974 From 'Milky Way Moses' Composition: Eero Raittinen/Heikki Virtanen Jukka Tolonen/Pekka Pöyry/Vesa Aaltonen Music: Jukka Tolonen Lyrics: Jim Pembroke End 'Milky Way Moses' Filmed live Oh Pardon Mister Soldier of the Whale ('Oi armahda herra sotilas valasta') Film Composition: Seppo Paroni Paakkunainen
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 Tasavallan Presidentti Source: Day After the Sabbath |
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Born Norma Short in 1941 in London,
Norma Winstone
is one of the few vocalists on this page largely dominated by musicians who
played instruments. She began her career in the early sixties, eventually working with
pianist,
Michael Garrick, in 1968. She is
thought to have first recorded in January of 1968 with the Spontaneous Music
Ensemble (SME) for two alt takes of 'Familie' gone unissued until 2014 on 'Oliv
& Familie'. The next July SME recorded 'Familie Sequence', that itself gone
unissued until 2007 on 'Frameworks'. She would join that outfit again in
1971 for 'Live', though more consequential to her career was the presence of trumpeter,
Kenny Wheeler, on
'Familie Sequence'.
Wheeler and Winstone were a combination on numerous
albums into the 21st century.
Wheeler supported Winstone's debut LP, 'Edge
of Time', in 1972. She sang on
Wheeler's 'Song for Someone' in January 1973,
'Music for Large & Small Ensembles' in 1990 and 'Siren's Song' in 1996. 'Live
At Roccella Jonica' had gone down in summer of '84 in Italy, 'Mirrors' in
summer of 2012.
Wheeler and Winstone also partnered in numerous bands not
their own, such as the Maritime Jazz Orchestra in 1998 ('Now and Now
Again') and the UMO Orchestra in 2000 ('One More Time'). They had also been
members of the trio, Azimuth [1,
2], with pianist,
John Taylor. That ensemble
(not to be confused w Azymuth) was
responsible for five albums from 'Azimuth' in March 1977 to 'How It Was
Then... Never Again' in April 1994. We slip back to early 1969 to alto saxophonist,
Joe Harriott, for three tracks ('Ballad
for Goa', 'Stephano's Dance' and 'Jaipur') on 'Hum-Dono' issued in 1969. Come
Michael Garrick's 'The Heart Is a
Lotus' in January 1970 with Coleridge Goode (bass). Four more
Garrick LPs ensued to 'Troppo' in
October 1973. They reunited in 2005 for
Garrick's 'Children of Time'. Come
Garrick's 'Yet Another Spring' in
April 2006 and 'Lady of the Aurian Wood' released in 2009. We slide
back to February 1971 to what are thought Winstone's debut tracks with Taylor (to
become her husband in 1972), those a medley of 'Interlude and 'Soft Winds'
found on Taylor's 'Pause and Think
Again'. Taylor and Winstone
recorded with numerous operations, such as
Alan Skidmore's and
Mike Westbrook's, to as late
as the Maritime Jazz Orchestra's 'Now and Again' in March 1998. Along the
way Taylor contributed to
Winstone's debut LP, 'Edge of Time', in 1972. It was 'Live at Roccella
Jonica' in summer 1984, 'Somewhere Called Home' in July 1986, their duo, 'In
Concert', in August 1988, and another duo, 'Like Song, Like Weather' in
March 1996. Per above, Taylor and
Winstone were also members of the trio, Azimuth [1,
2], with
Kenny Wheeler, creating five
albums from 1977 to 1994. Among the more important figures in Winstone's
latter career was pianist, Glauco
Venier, with whom her first of several sessions to come was for Roberto
Dani's 'Images' in 1998. They were then joined in a trio by Klaus Gesing
(sax/clarinet) for 'Chamber Music' in 2002, 'Distances' in April 2007,
'Stories Yet to Tell' in April 2009 and 'Dance Without Answer' in December
2012. Other recordings as the new millennium moved in included 'Songs &
Lullabies' [*] with
American pianist, Fred Hersch, in July of 2002 in Stamford,
Connecticut,
Gary Burton contributing
vibes to a few titles. Winstone has been recipient of
multiple awards, such as becoming an MBE in the Queen’s Birthday Honours
List in 2007, and appointment as an Honorary Member of the Royal Academy of
Music in 2013. She recorded 'Westerly' with the Printmakers in November that
year. Good for above thirty albums during her career, among her more recent
went down in March of 2016 with the University of Toronto Jazz
Orchestra toward 'Sweet Ruby Suite'. Later that November she contributed
vocals to 'Hard Rubber Orchestra: Kenny Wheeler: Suite for Hard Rubber
Orchestra'. Winstone recorded 'Descansado: Songs for Films' in Udine, Italy,
as recently as March 2017 w Klaus Gesing (soprano sax/ bass clarinet),
Glauco Venier (piano), Mario Brunello (cello) and Helge Andreas Norbakken
(percussion). Among numerous others for whom she's sang are Mike Gibbs,
Lammas and Chris Laurence. Winstone is yet active
touring as of this update in Dec 2019. References: 1,
2,
3.
Discos: 1,
2,
3,
4,
5,
6, Lord (leading 16 of 98 sessions).
IMDb.
IA.
Interviews: NPR 2008;
Jazz Views 2014;
John Ephland 2018.
Further reading: Jazz Profiles.
Other profiles: 1,
2,
3,
4,
5. Per 1969 below, Winstone appears
on 'Hum Dono' with guitarist,
Amancio D'Silva, and
saxophonist,
Joe Harriott.
Per 1977 Winstone appears in the trio, Azimuth [1,
2], with
John Taylor (piano) and
Kenny Wheeler (trumpet). Norma Winstone 1969 From 'Hum Dono' Sax: Joe Harriott Guitar: Amancio D'Silva Comps below by D'Silva Norma Winstone 1972 Composition: John Taylor/Winstone Album: 'Edge of Time' Norma Winstone 1977 Album: 'Azimuth' Trumpet: Kenny Wheeler Piano: John Taylor All compositions: Taylor/Winstone Norma Winstone 1987 Composition: Egberto Gismonti/Norma Winstone Album: 'Somewhere Called Home' Tenor sax/clarinet: Tony Coe Piano: John Taylor Norma Winstone 2003 Album: 'Songs & Lullabies' Piano: Fred Hersch All music: Fred Hersch All lyrics: Winstone Norma Winstone 2003 Album Album London Vocal Project Trumpet: Kenny Wheeler Norma Winstone 2003 Music: Armando Trovajoli Lyrics: Winstone Arrangement: Glauco Venier Album: 'Descansado' Soprano sax/bass clarinet: Klaus Gesing Piano: Glauco Venier Cello: Mario Brunello Percussion: Helge Andreas Norbakken
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 Norma Winstone Source: Norma Winstone |
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We pause this history of international modern jazz from 1960 to 1970 with Norma Winstone. |
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Early Blues 2: Vocal - Other Instruments
Modern Blues 2: Vocal - Other Instruments
Romantic: Composers born 1770 to 1840
Modern: Composers born 1900 to 1950
Folk
Early Jazz 1: Ragtime - Bands - Horn
Early Jazz 2: Ragtime - Other Instrumentation
Modern 4: Guitar - Other String
Modern 5: Percussion - Other Orchestration
Modern 7: Latin Jazz - Latin Recording
Modern 8: United States 1960 - 1970
Modern 9: International 1960 - 1970
Latin
Latin Recording 2: The Caribbean
Latin Recording 3: South America
Total War - Sixties American Rock
Classical - Medieval to Renaissance
Classical - Baroque to Classical
Classical - Romantic to Modern
Jazz Early - Ragtime - Swing Jazz
Jazz Modern- Percussion - Latin - Song - Other
Boogie Woogie - Doo Wop - R&B - Rock & Roll - Soul - Disco
Sixties American Rock - Popular
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