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A Birth of Jazz

A YouTube History of Music

Modern Jazz 9

Musicians 1960 to 1970: International

Group & Last Name Index to Full History:


Tracks are listed in chronological order by year, then alphabetically.

Listings do not reflect proper order by month or day: later oft precedes earlier.

Not on this page? See history tree below.



Juhani Aaltonen     Monty Alexander    Maarten Altena    Arild Andersen
Han Bennink    Karl Berger    Dollar Brand    Willem Breuker    Peter Brötzmann
Carola    Ian Carr    Philip Catherine    Jon Christensen    Graham Collier    Jacques Coursil
Wolfgang Dauner    Amancio D'Silva    Urszula Dudziak
Jan Garbarek    Michael Garrick
Jan Hammer    Gunter Hampel    Terumasa Hino    Dave Holland
Abdullah Ibrahim
Sven-Åke Johansson
Masabumi Kikuchi    Eero Koivistoinen    Peter Kowald    Karin Krog    Fela Kuti
Ole Fessor Lindgreen
Mahavishnu Orchestra    Adam Makowicz    Michael Mantler    Chris McGregor    John McLaughlin    Airto Moreira    Dick Morrissey    George Mraz    Jim Mullen
Mike Osborne    Tony Oxley
Evan Parker    Niels-Henning Ørsted Pedersen    Esa Pethman    Jean-Luc Ponty    President of the Republic    Dudu Pukwana    Flora Purim
Enrico Rava    Aldo Romano    Terje Rypdal
Heikki Sarmanto    Alexander von Schlippenbach    Zbigniew Seifert    Shakti    Alan Silva    Alan Skidmore    Tomasz Stanko    Bobo Stenson    John Surman   
Tasavallan Presidentti   John Taylor    Keith Tippett
UMO Orchestra    Michał Urbaniak
Edward Vesala    Miroslav Vitouš
Eberhard Weber    Mike Westbrook    Norma Winstone
Yosuke Yamashita



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    Dollar Brand    Philip Catherine    Abdullah Ibrahim    Fela Kuti    Niels-Henning Ørsted Pedersen    Enrico Rava    Tomasz Stanko
1961 Monty Alexander    Dick Morrissey
1962 Ian Carr    Wolfgang Dauner    Chris McGregor    Dudu Pukwana    Michał Urbaniak
1963 Han Bennink    Carola    Jon Christensen    Michael Garrick    Jan Hammer    Masabumi Kikuchi   Karin Krog     Esa Pethman    Jean-Luc Ponty    Terje Rypdal    Heikki Sarmanto    Miroslav Vitouš
1964 Urszula Dudziak    Terumasa Hino    Flora Purim    Eberhard Weber
1965 Juhani Aaltonen     Gunter Hampel    Sven-Åke Johansson    Adam Makowicz    George Mraz    Enrico Rava    Alexander von Schlippenbach    Tomasz Stanko    Bobo Stenson
1966 Willem Breuker    Jacques Coursil    Jan Garbarek    Michael Mantler    John McLaughlin    Airto Moreira    Aldo Romano    Alan Silva   Alan Skidmore    John Surman
1967 Maarten Altena    Arild Andersen    Peter Brötzmann    Graham Collier    Dave Holland    Eero Koivistoinen    Peter Kowald    Mike Osborne    Tony Oxley    Edward Vesala    Mike Westbrook
1968 Ole Fessor Lindgreen    Evan Parker
1969 Amancio D'Silva    President of the Republic    Tasavallan Presidentti    Norma Winstone    Yosuke Yamashita
1970 Jim Mullen    Zbigniew Seifert    John Taylor    Keith Tippett
1971 Mahavishnu Orchestra
1976 Shakti    UMO Orchestra


  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 they're assembled regardless of their instrument, a couple vocalists ncluded. 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. 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.


  Born in 1935 in Heidelberg, Germany, Karl Berger 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. Two years later he gained employment with Don Cherry, based at the time in Paris. His debut session with Cherry consisted of his first recordings at vibes 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 released in 1966 as well. His third, 'Tune In', resulted of two sessions in the summer of 1969. In 1971 Berger and Ornette Coleman founded the Creative Music Studio in Woodstock, New York (its closure in 1984, three years after the celebration of its tenth anniversary at Woodstock.) Among the host of others on whose recordings Berger can be found among his well-above 100 sessions are John McLaughlin, Ingrid Sertso, Werner Hasler and Aki Takase. Issuing over twenty-five albums as a leader or co-leader, his most recent releases per this writing were 'Gently Unfamiliar' ('14), 'Moon' ('15 w Kirk Knuffke) and 'The Hitchhiker' ('16). The latter was a second duo with Ivo Perelman (tenor sax), their first having been 'Reverie' ('14). Berger currently directs the Creative Music Studio resurrected in 2013.

Karl Berger   1966

  From Now On Side A

      Debut album

  From Now On Side B

      Debut album

   Symphony For Improvisers   Part 1

     Symphony for Improvisers

     Symphony for Improvisers/Nu Creative Love

   Symphony For Improvisers   Part 2

      Symphony for Improvisers:

      What's Not Serious?/Infant Happiness

   Symphony For Improvisers   Part 3

      Manhattan Cry: Manhattan Cry/Lunatic

   Symphony For Improvisers   Part 4

      Manhattan Cry: Sparkle Plenty/Om Nu

Karl Berger   1971

  We Are You

      Album: 'We Are You'

Karl Berger   1979

  Woodstock Workshop Orchestra

      Live album

Karl Berger   1989

  Chimney Road

      Album: 'Transit'

      Bass: Dave Holland   Drums: Ed Blackwell

  Out There Alone

      Album: 'Transit'

      Bass: Dave Holland   Drums: Ed Blackwell

Karl Berger   1991


      Album: 'Around'

Karl Berger   1998

  True Blue

      Pete Namlook album: 'Polytime'

Karl Berger   2010

  Miniature 1

      Album: 'Strangely Familiar'

Karl Berger   2011

  Nameless Child

      Filmed live

     The Stone Workshop Orchestra


      Filmed live

     The Stone Workshop Orchestra

Karl Berger   2013

  Live at El Taller

      Concert filmed live


Birth of Modern Jazz: Karl Berger

Karl Berger

Source: Discogs
  Born Adolph Johannes Brand in 1934 in Capetown, South Africa, pianist, Abdullah Ibrahim, went by Dollar Brand before becoming Muslim in 1968. He'd picked up "Dollar" during World War II as a customer for used 78 rpm records from American soldiers. He began training at age seven to begin performing professionally at age fifteen with such as the Willie Max Big Band. He took up martial arts about that time due that he didn't perform in the friendliest neighborhoods. Lord's disco lists two sessions as early as October 1 of 1954 in Johannesburg with the Tuxedo Slickers Orchestra for 'Mbube', 'Mlamlankunzi', 'Isililo' and 'Za Jika'. Lord's would indicate those were issued by Trutone's Quality label per TJ14 and TJ3, but no confirmation of such is found, nor any other documentation concerning those vanished recordings. We thus place Ibrahim on this page rather than Modern Jazz Piano in an earlier period. Not until 1959 did Brand help form the Jazz Epistles with trumpeter, Hugh Masekela. Thought to be the first black ensemble to record jazz in South Africa, the album, 'Jazz Epistle - Verse 1', went down in Johannesburg on January 22, 1960, for issue that year. That was an especially remarkable occasion as apartheid had been the official policy of the National Party government (1948-94) of South Africa for twelve years, such that black talent of all kind found South Africa a better place to be from than at. 'Dollar Brand Plays Sphere Jazz' ensued on February 4, issued in South Africa in 1962. That was with a trio consisting of Johnny Gertze (bass) and Makaya Ntshoko (drums). Brand was member of the retinue of 'King Kong', a musical about the heavyweight boxer, when he first saw Europe on tour there, the show appearing in London in 1961. In 1962 Brand left for Europe for good with wife to be ('65), Sathima Bea Benjamin. In Zurich in 1963 Benjamin gained the audience of Duke Ellington for Brand's Trio, that resulting in two sessions on February 24: Lord's disco comments that the Enja date of February 23 for Benjamin's 'A Morning in Paris' is incorrect. That was with the same trio as above, with both Ellington and Billy Strayhorn (Ellington's composer) contributing to tracks minus Brand. Be as may, that wasn't issued until 1997 by Enja in Germany. Lord's indicates a second session on the 24th toward the 1965 release of 'Duke Ellington Presents The Dollar Brand Trio', again with Gertze and Ntshoko. Contradictions arise with Brand's Trio plus Benjamin for 'The Dream' issued in 1991. To simplify we go by Lord's which has that recorded live at the Antibes Jazz Festival in Juan Les Pins, France, on July 28, 1963. Lord's comments that the date of 1968 by JMY is incorrect. Lord's speculates that Brand recorded 'Ubu Suku' on the same date at the same venue, that included on 'I Giganti del Jazz 19' issued in 1984 [rateyourmusic]. On the 7th and 10th of January 1965 Brand was featured at the Jazzhus Montmartre in Copenhagen, Denmark, on Bent Jaedig's 'Easter Joy' ('Jubulani') and 'Waltz', those included on 'The Free Spirit: Recordings 1963-2003' in 2009. Come the Jazzhus Montmartre on January 30, 1965, for 'Anatomy of a South African Village' ('65). Titles were pulled from that session for a 1979 issue of 'The Dream', not the same as the later issue in '91 above, and with Brand's Trio only (Benjamin out). Come March 16 of 1965 for 'This Is Dollar Brand' ('73) in London. A visit to Europe that year by Ellington found Brand and Benjamin following him back to the States where Brand's Trio performed at the Newport Jazz Festival that year on July 4, a Sunday, the day after Ellington's performance on the 3rd. An ensuing tour of the States with Ellington was significant in that Brand led Ellington's orchestra on five occasions in early 1966, a heady promotion remarking Brand to be an especially high-caliber musician by that time. Remaining in the States, Brand then joined drummer, Elvin Jones, recording 'Midnight Walk' in March of 1966. A Rockefeller Foundation grant in 1967 found him studying at the Juilliard School of Music in NYC. It was a duo with tenor saxophonist, Gato Barbieri, in Milan for 'Hamba Khale!' on March 16, 1968. It was also '68 when he and wife, Benjamin, became Muslims, he then to exchange Dollar Brand for Abdullah Ibrahim. Though he continued professionally as Brand into the nineties we henceforth refer to him as Ibrahim. Ibrahim recorded three more albums in '69 and '70 on tours to Europe before 'Peace' and 'Dollar Brand + 3' in October of 1971, that per his first return to Johannesburg since having left in '62 nine years before. Skipping ahead to 1974, after a tour to Tokyo that year in February for 'African Breeze' he visited South Africa again, this time to put down ''Underground in Africa', about his seventeenth album. That was followed in June in Cape Town per 'Mannenberg' b/w 'The Pilgrim' released in 1974. 'Mannenberg' would become the theme song of anti-apartheid, and was a very early spearhead toward what would become known as Cape jazz in the nineties once South Africa lost the National Party and apartheid in 1994. Once the 46-year old presiding government of the National Party was offed by the election of Nelson Mandela in 1994 Ibrahim returned to Cape Town to reside. He has since toured internationally, working in various groups from trios to orchestras. In 1999 he founded the school of music, M7. Issuing well above fifty albums, his latest was 'The Song Is My Story' in 2014. Among others with whom Ibrahim has recorded was Buddy Tate in 1977 in a quartet with Cecil McBee (bass) and Roy Brooks (drums) for 'Buddy Tate Meets Dollar Brand'. Beyond music, Ibrahim has long since been a Black Belt in the martial arts, that engaged with zen philosophy. "Brand/Imbrahim" below reflects Brand's transitional dual billing as Abdullah Ibrahim until he dropped "Dollar Brand" altogether. Per 1960 below, all tracks are from the album, 'Jazz Epistle - Verse 1', including trumpeter, Hugh Masekela. Per 1965 all tracks are from the album, 'Duke Ellington Presents the Dollar Brand Trio'.

The Jazz Epistles   1960

   Sad Times, Bad Times/King Kong

   Scullery Department


Dollar Brand   1965

   Jumping Rope


   The Stride

Dollar Brand   1974


     Album: 'Mannenberg - 'Is Where It's Happening'


     Album: 'Underground In Africa'

Dollar Brand   1975


     Album: 'African Herbs'

   Soweto Is Where It's At

     Album: 'African Herbs'

Brand/Ibrahim   1977


     Album: 'The Journey'

Brand/Ibrahim   1980

   Whoza Mtwana

     Live at Montreux

Brand/Ibrahim   1988

   Ode to Duke

     Recorded 1973

     Album: 'Ode to Duke Ellington'

Dollar Brand   1993

   Duet Archie Shepp Dollar Brand


Abdullah Ibrahim   1998

   The Wedding

     Album: 'African Suite'

Abdullah Ibrahim   1999

   Cape Town Flower

     Filmed live at the Lugano Jazz Festival

Abdullah Ibrahim   2001

   Blue Bolero

     Album: 'African Magic'

Abdullah Ibrahim   2007

   Jacaranda Blue Suite

     Filmed live in Leverkusen, Germany

Abdullah Ibrahim   2010

   Calypso Minor

     Album: 'Sotho Blue'

Abdullah Ibrahim   2011

   Heineken Jazzaldia

     Filmed concert with Ekaya

Abdullah Ibrahim   2014

   Green Kalahari

     Filmed live


Birth of Modern Jazz: Dollar Brand

Dollar Brand

Source: All Music
  Born in 1942 in London, guitarist, Philip Catherine, was English on his mother's side, Belgian on his father's. His own website states his first recording to have been 'Nuages' (Django Reinhardt) in 1958 for Philips Records. That would have made him age fifteen. Other sources give 1959 or 1960. Catherine was supposedly age 17 (as of October 17, 1959), performing the tune at the finale of the Volkswagen Grand Prix de Belgique. The Grand Prix de Belgique is thought to have been held in June both in '58 and '60 (having been canceled in '59). The Lord's disco date of May 1960, the only date to be found, thus seems peculiar, though makes him seventeen years of age. When that got issued (Philips 14027) is indeterminable. We hazard 1960 for reason of timeliness only on proof that the record existed at all, even with Catherine's photo on the rear cover of 'Finale du Grand Prix de Belgique des Varietes'. At age eighteen Catherine toured Europe with Lou Bennett. In September of 1961 he recorded another discographical ball of wires with Bennett and Jack Sels per titles like 'On Stage', 'Black Velvet', 'African Dance' and 'Blues for a Blonde'. Discogs would appear to want those on Delahay EP 14028 (no date) prior to the 1966 issue of 'The Sexy Sax of Sels & Swinging Friends' including other titles from that session. Those were issued on LP again in 1967 as 'Sax Appeal' (Relax 30004) and 1976 as 'Jack Sels' by IBC (4C 054 97754). Not until titles with the Lou Bennett Quartet in October of 1961 do we arrive to a fairly certain first issue date, that in 1962 for RCA per 45cat: 'Last Night', 'Salut les Copains' and 'After Hours' ('Apres l'heure'). More titles with Sels with enigmatic issue dates continued to circa 1966 ('She's in the News' found on 'The Complete Jack Sels 2' per Vogel 102-AS in either 1978 or 1980). Some would be found on 'The Complete Jack Sels' (Vogel 101-AS) in 1973. Titles with Bennett had followed to October of 1966 in Prague, Czechoslovakia, for such as 'Guess What' and 'I Should Care'. In 1967 Catherine issued 'Slop' and 'Grelots' for NMC Records (two tracks by Les Dixieland Gamblers on the first side). Catherine issued his first LP in 1971, 'Stream', backed by pianist, Marc Moulin. By that time he was prepared to surface as a world-class jazz guitarist during the seventies. In December of 1971 Catherine recorded 'Open Strings' with Jean-Luc Ponty in Villingen, Germany, apparently issued that year. December of 1973 found them in Paris recording 'Ponty - Grappelli' with violinist, Stephane Grappelli. Accelerating his career in the early seventies was upright bassist, Niels-Henning Ørsted Pedersen (NHOP). They are thought to have first recorded together in Blaricum, Holland, in August of 1973 in Peter Herbolzheimer's Rhythm Combination & Brass toward 'Wide Open'. NHOP would be one of the most important of Catherine's comrades into the nineties, both backing other ensembles together and supporting each other. The first that Catherine backed NHOP was on September 9, 1975, for 'Jaywalkin'. NHOP contributed to Catherine's 'Spanish Nights' in May of 1989. In 1991 they recorded 'The Art of the Duo'. Several months after Catherine's first encounter with NHOP he joined pianist, Marc Moulin, in February for the latter's 'Placebo 1974'. That was followed by 'Sam' Suffy' in December. Catherine appeared on Moulin's 'Top Secret' in 2001. Another major figure in Catherine's career was pianist, Jasper Van't Hof. Their first occasion to record together was with another important figure, American saxophonist, Charlie Mariano, who had moved to Europe in 1971. That was for the latter's 'Cascade' in March of 1974. The next the three of them got together was May of '74 for Van't Hof's 'Transitory' with Pork Pie. Come Catherine's 'September Man' in August that year. Mariano, Van't Hof and Catherine worked numerously together into the nineties. The last all three of them got together is thought to have been in Belgium in 1996 with Pork Pie for 'Operanoia'. Another American musician who had moved to Europe was pianist, Kenny Drew, in 1961. Albums by Drew to which Catherine contributed were 'Morning' (1975), 'In Concert' (1977) and 'And Far Away' (1983). Drew gave Catherine a hand on the latter's 'Spanish Nights' in 1989. Another major figure in Catherine's career was guitarist, Larry Coryell. Coryell lived in the States but toured Europe often. He also hosted Catherine on the latter's tours to the States. They are thought to have first laid tracks in London as a duo in 1976 for 'Twin-House'. They bounced back and forth for a few years holding sessions with other ensembles when not working on Coryell's projects both in Europe and the United States. They performed together at the Newport Jazz Festival in '78. Among their last recordings together was for Stephane Grappelli's 'Young Django' in Stuttgart, Germany, in January of 1979, that with NHOP. Among other American musicians Catherine hosted on their tours to Europe was trumpeter, Chet Baker. On May 25, 1983, Catherine joined Baker's Trio with Michel Graillier (piano) and Riccardo Del Fra (bass) to record 'Father X-Mas' for Baker's album, 'Mr. B'. Ensuing tours resulted in numerous sessions with Baker's outfits to October 25 of 1985 for a duo issued as 'There'll Never Be Another You'. Baker would see Catherine again in Paris in February of 1988 for Jan Erik Vold's 'Blamann! Blamann!'. February of 1990 saw Catherine participating in the soundtrack for 'Daddy Nostalgie'. Among others with whom Catherine left titles were Chris Hinze, Toots Thielemans and Bjorn Thoroddsen. Catherine had long made Belgium his center of operations where he yet performs as of this writing. His most recent of 22 albums as a leader was 'The String Project' in 2015.

Philip Catherine   1971

  Give It Up Or Turn It Loose

      LP: 'Stream'


      LP: 'Stream'

Philip Catherine   1972

   How Would You Like

      Filmed with Jean Luc Ponty

Philip Catherine   1976



Philip Catherine   1981

 Cascais Jazz Festival

      Filmed with Chet Baker

Philip Catherine   1986

 How Deep is the Ocean

      Filmed with Chet Baker

Philip Catherine   1992

 Jazzfest Wien

      Filmed with NHOP

 Mingus In the Sky

      LP: 'Moods Vol II'

Philip Catherine   2000

 Jazzove Dni Bratislava

      Filmed concert

Philip Catherine   2005


      Filmed with Christophe Laurenceau

Philip Catherine   2011

 Brussels Jazz Marathon

      Filmed live

Philip Catherine   2014

 Live at L1 TV

      Television broadcast

Philip Catherine   2014

 Live at L1 TV


Philip Catherine   2015

 Jazz à Louviers

      Filmed live

 L' Eternel Desir

      LP: 'The String Project'


      Filmed live


Birth of Modern Jazz: Philip Catherine

Philip Catherine

Source: Focus Collection

  Born Olufela Olusegun Oludotun Ransome-Kuti in 1938 in Abeokuta, Nigeria, multi-instrumentalist, Fela Kuti, had grown up in a Nigeria of about 150 million people, Lagos its capital upon acquiring independence in 1960. The West African culture of Ransom-Kuti's youth included the palm-wine folk music of the Kru people in Liberia and Sierra Leone. Guitar, brought by sailors from Portugal and the homes of calypso, Tobago and Trinidad, was a prominent instrument in palm-wine. (Palm wine was, is, an alcoholic beverage.) The other musical climate was highlife, African music wedded to European influences, originating in Ghana (nationhood in 1957). The latter was the music of the upper classes, heard at official functions like funerals, weddings and holiday celebrations. Ransome-Kuti's father was a Reverend and school principle. His mother was a feminist activist. Ransom-Kuti headed for London to study medicine in 1958, but matriculated into Trinity College to pursue music instead, trumpet his preferred instrument. He married his first wife, Remilekun Taylor, in 1960. Among his first recordings were 'Fela's Special' and 'Aigana' in 1960. Both are thought to have been released, presumably that year. Ransom-Kuti was going by Fela Ransome - Kuti & the Highlife Rakers at that time. 'Fela's Special' can be found on 'Highlife on the Move: Selected Nigerian and Ghanaian Recordings from London and Lagos – 1954-66', released in 2015. Recordings by Ransom-Kuti from 1963 to 1969 can be found on 'Highlife-Jazz and Afro Soul (1963-1969)', released in 2005 and 'Koola Lobitos 64–68', issued in 2006. 'Koola Labitos' includes 'The '69 Los Angeles Sessions' first issued in 2001. 'Highlife' is virtually the same as the CD box set, 'Lagos Baby', released in 2008 by Vampi Soul. Ransom-Kuti formed his band, Africa '70 (previously Nigeria '70) to release the album, 'Fela Fela Fela', recorded in Nigeria for HMV (His Master's Voice, an EMI imprint as of 1931). It was also 1970 that He formed his commune/recording studio, the Kalakuta Republic. He would then run a couple of nightclubs, the Afro-Spot and Afrika Shrine. He would drop Ransome from his name due its slave origins about that time. Kuti released several albums in 1971, one with drummer, Ginger Baker, titled 'Live'. It was during the seventies that Kuti began posting political columns in newspapers such as The Daily Times and The Punch. He had learned of the Black Power movement while traveling to the States (there recording 'The '69 Los Angeles Sessions'). "Black Power" is a broad term for the civil rights movement that would include such as the Black Panther Party. His '77 album, 'Zombie', was in reference to the Nigerian military. That was a popular album, but with a price. The Nigerian government thought overwhelming force an appropriate reply and sent a battalion of a thousand soldiers to burn down his commune and recording studio, including the Shrine nightclub. He was nearly beaten to death in the process and hos mother thrown from a window, proving fatal. Kuti's response was to establish a residence at the Crossroads Hotel and marry 27 women in 1978, his retinue, basically. Kuti was a polygamist for reason of variety. He was to adopt a rotation system of twelve at a time. Kuti was also a Pan-African socialist. He formed his own party, Movement of the People (MOP), but his candidacy in 1979 for the Nigerian presidency was refused. He then formed the band, Egypt '80. In 1984 he was jailed for currency smuggling, a political maneuver by then President, Muhammadu Buhari. Kuti was released 20 months later by General Ibrahim Babangida, after which he divorced his twelve wives. Important in 1986 was Kuti's performance at the Giants Stadium in New Jersey at the Amnesty International concert, 'Conspiracy of Hope'. Kuti was a prolific composer, also releasing nearly seventy albums. Kuti's death of Kaposi's sarcoma, a tumor wrought by AIDS, was announced in August 1997. He was buried in Lagos, Nigeria. See Hugh Masekela for jazz vs South Africa and Víctor Jara for jazz vs Chile, both in the same general decades that Bossa Nova developed into the popular music of Brazil (MPB) counter to its government.

Fela Kuti   1960


Fela Kuti   1966

   Onifere No 2

Fela Kuti   1969

   The '69 Los Angeles Sessions

     Not released until 1993

   Fela Ransome Kuti and His Koola Lobitos

     Album recorded 1965

Fela Kuti   1971


     With Ginger Baker

Fela Kuti   1972


     Album: 'Shakara'

   Roforofo Fight


Fela Kuti   1973





Fela Kuti   1975

   Expensive Shit/Water No Get Enemy


   He Miss Road




Fela Kuti   1977

   Sorrow Tears and Blood




Fela Kuti   1978

   Live at Berliner Jazztage

     Concert filmed live   Africa '70

Fela Kuti   1987

   Live at Berliner Jazztage

     Arsenal TV3 Catalonia   Egypt '80


Birth of Modern Jazz: Fela Kuti

Fela Kuti

Source: FELA!
Birth of Modern Jazz: NHOP

Niels-Henning Ørsted Pedersen

Source: Wikimedia Commons
Born in 1945 in Osted, Denmark, on the island of Zealand, double bassist, Niels-Henning Ørsted Pedersen (NHOP) formed his first band at age 14, the Jazzkvintet 60. He also appeared on vinyl for the first time that year. If his first recordings were with Don Camilo and the Footwarmers in 1960 then those tracks would be 'Du Skal Lytte Til Dit Unge Hjerte' and 'Jeg Har En Ven, En Rigtig Sailor' released on a 7" EP. (The Footwarmers had released 'Ungarsk Rapsodi' and 'Auld Lang Syne' the previous year on a 7".) He'd have been hired by Count Basie at age 17 but that he was too young to obtain legal permission to travel to the States. He nevertheless worked at Copenhagen's Jazzhus Montmartre, a hub for touring jazz musicians where he performed with numerous big names, from Bill Evans to Ella Fitzgerald, on their way through Denmark. In January of 1963 he recorded tracks with saxophonist, Albert Ayler, in Copenhagen that surfaced on 'My Name Is Albert Ayler' in 1964. But his career picked up momentum with saxman, Dexter Gordon, releasing appearing on Gordon's 'One Flight Up' in 1965, the first of more than ten for Gordon. NHOP also worked with pianist, Kenny Drew, on that album, the first of more than fifty on which he and Drew would be paired. Big stuff came NHOP's direction again when recorded 'Great Connection' in 1971 with a trio consisting of pianist, Oscar Peterson and drummer, Louis Hayes. NHOP appeared on several albums by Peterson into the eighties. In 1973 he and Kenny Drew released 'Duo', the first of several into the eighties on which NHOP would back Drew. NHOP's first of numerous LPs as a leader was 'Jaywalkin' in 1976. An important association was begun with Chet Baker in June 1979, recording 'The Touch of Your Lips', the initial of several albums with Baker. Backing a host of musicians during his career, some of the more productive were Tete Montoliu, Jackie McLean, Martial Solal, Philip Catherine, Joe Pass and Niels Lan Doky. Altogether, NHOP performed on more than 800 alums. He died of heart failure in 2005 in Copenhagen.

NHOP   1963

   Bye Bye Blackbird

     Albert Ayler album: 'My Name Albert Ayler'

NHOP   1972

   Live in Hannover

     Filmed live

     Drums: Tony Inzalaco

     Piano: Oscar Peterson

     Sax: Ben Webster

NHOP   1973

   I skovens dybe stille ro

     'In Woodland Quiet Calm'

     Filmed live with Kenny Drew

NHOP   1976

   Double Bass

     Album of duets with Sam Jones

NHOP   1978

   Have You Met Miss Jones

     Guitar: Joe Pass


     Guitar: Joe Pass

NHOP   1990

   Hommage: Once Upon a Time

     Album by Palle Mikkelborg

   Live in Hungary

     Filmed live at Stefánia Palace

     Drums: Alvin Queen

     Piano: Gustav Csik

NHOP   1992


     Filmed live with Joe Pass

NHOP   1993

   Stella by Starlight

     Album: 'To a Brother'

NHOP   1994

   Samba Petit

     Solo filmed live

NHOP   1998

   This Is All I Ask


NHOP   2003

   Bye Bye Blackbird

     Filmed live with Christian McBride

NHOP   2007

   The Unforgettable NHOP Trio Live



Birth of Modern Jazz: Enrico Rava

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 Giulio 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. 'Rotella Variations' had gone down in 2002/03 with violinist, Emanuele Parrini (Sellani out). With well above two hundred sessions to his name, among the host with whom Rava's recorded are Jimmy Lyons, Archie Shepp, Aldo Romano, Dino Piana and Gianluca Petrella. Having recorded as a leader at a pace averaging nearly two albums per year for the last four decades, his latest per this writing was 'Wild Dance' gone down in Udine, Italy, in January 2015. Having toured internationally not a little, Rava has also won numerous awards, including top spots in 'Musica Jazz' and 'Down Beat' magazines.

Enrico Rava   1965

  Hammond Blues

      Soundtrack: 'Una Bella Grinta'

      With Gato Barbieri

  Una Bella Grinta

      Soundtrack: 'Una Bella Grinta'

      With Gato Barbieri

Enrico Rava   1966

  Live in San Remo

      Bass: Johnny Dijani

      Drums: Louis Moholo

      Soprano sax: Steve Lacy

Gas Mask   1970

  The I Ching Thing

      Album: 'Their First Album'

Enrico Rava   1973


      Album: 'Katcharpari'

Enrico Rava   1975


      Album: 'The Pilgrim and the Stars'

Enrico Rava   1976

  Il Giro Del Giorno in 80 Mondi


      Recorded 1972

  Live in Turin

      Filmed concert

Enrico Rava   1993

  Landes de Merveille

      Album: 'Nausicaa'

Enrico Rava   1999

  Suzie Wong I

      Album: 'Rava Plays Rava'

Enrico Rava   2002

  Dear Old Stockholm

      Album: 'Renaissance'

  It Ain't Necessarily So

      Album: 'Renaissance'

Enrico Rava   2003

  Nature Boy

      Album: 'Full of Life'

Enrico Rava   2004

  Jazz Baltica

      Filmed concert

Enrico Rava   2012

  I Just Can't.../Smooth Criminal

      Album: 'On the Dance Floor'

Enrico Rava   2014

  Heineken Jazzaldia

      Filmed concert

Enrico Rava   2015

  Jazz Baltica

      Filmed concert


  Born in 1944 in Kingston, Jamaica, Monty Alexander was among the premier jazz pianists of the latter twentieth century, and continues with towering stature into the 21st. Known for jazz-reggae fusion, he took up classical piano as a child, jazz beginning to percolate at about age fourteen. Soon working in clubs, he was a study for pianist, Aubrey Adams, in Clue J and his Blues Blasters. He supposedly recorded with that group. Though Clue J issued a number of titles on 45 during that period no personnel data seems available to indicate Alexander on just which. He was seventeen when he made his first issues on 45 as the leader of the Cyclones. The single, 'Lazy Lou', appeared on the flip side of the Mellow Cats' 'Rock 'A' Man Soul' for the All Star label in 1961. The Cyclones also released 'Dog It'/'Summertime' in 1961 for Teen Records. Also recorded in Jamaica was the '62 release of 'Organization' on a 7" for Island Records, the flip side of 'Come On' by Martin & Derrick. It was 1961 when Alexander immigrated to Miami with his family. He turned up in Las Vegas with the Art Mooney Orchestra in 1963, which soon found him crossing the States again to work at Jilly's in NYC where there would be occasion to back Frank Sinatra. 1965 saw the issue of Alexander's first LPs as a leader: 'Alexander the Great' was recorded at an after hours concert at the Esquire Theatre in Los Angeles in 1964. Studio sessions may have begun in '64 as well toward 'Spunky'. Among the more important of Alexander's associates were bassist, Ray Brown, and vibraphonist, Milt Jackson. It was at Shelly's Manne-Hole in Hollywood in August of 1969 that all three recorded Jackson's 'That's the Way It Is'. Brown and and Alexander would join one another numerously during intermittent periods into the new millennium, both supporting each other's projects and working in trios together. The incipient instance of such was either Alexander's 'Facets' ('91) in August of '79 on an unknown date with drummer, Jeff Hamilton, or the Ray Brown Trio featuring Ernestine Anderson the same month on an unknown date for 'Live at the Concord Jazz Festival 1979', also with Hamilton. Lord's disco has them on thirteen albums between them in various trios with Herb Ellis, Frank Gant, Shelly Manne, Sam Most and, lastly, Russell Malone, in March of 2002 for 'Ray Brown Monty Alexander Russell Malone'. As for Jackson, Alexander contributed to six more of his albums to 'Memories of Thelonious Sphere Monk' put down at Ronnie Scott's Club in London on April 28, 1982. Also owning a strong presence in Alexander's career was guitarist, Ernest Ranglin, who participated in Alexander's 'Rass!' in Kingston, Jamaica, in February of 1974. Between eight of Alexander's albums and three of Ranglin's that pair wrapped up eleven discs together to Ranglin's 'Order of Distinction' in 2007. We back up to May of 1976 for a couple more major figures in Alexander's career, those bassist, John Clayton, and drummer, Jeff Hamilton, they joining the Monty Alexander Trio on that date for 'The Way It Is'. Along with partnering in other ensembles together, such as Milt Jackson's or Barney Kessel's, Clayton was a part of Alexander's operation for nine albums to as late as 'Uplift 2: Higher' in 2012. Those included a couple more trios with Hamilton, as well as one with Ed Thigpen at drums in '85 for Alexander's 'The River'. That had been preceded by Alexander and Clayton's duo in Villingen, Germany, for 'The Duke Ellington Songbook' on March 29 of 1983. As for Hamilton, along with partnering in various other ensembles together, such as Jackson's or Kessel's, Jefferson was part of Alexander's crew on nine albums to 'Uplift 2: Higher' in 2012 with Clayton above. As mentioned, several of those were with trios with Clayton or Ray Brown, another with Charnett Moffett (bass) in October 1985 for Alexander's 'Estate'. In 1981 Alexander married jazz guitarist, Emily Remler, they divorcing four years later. During the nineties Alexander focused on reggae. Among the numerous on whose recordings he can found are Dizzy Gillespie ('77), Larry Alexander ('99) and Tony Bennett ('08). Alexander has issued well above seventy LPs during his career. Among his latest issues were 'Uplift' ('11), 'Harlem-Kingston Express Live!' ('11), 'Uplift 2' ('13) and 'Harlem-Kingston Express Vol 2: 'The River Rolls On' in 2014. Married to Italian vocalist, Catarina Zapponi, he yet records and tours heavily internationally.

Monty and the Cyclones   1961

  Dog It

  Lazy Lou



Monty Alexander   1965

  Jitterbug Waltz

      LP: 'Alexander the Great'


      LP: 'Spunky'

  Taggies Tune

      LP: 'Spunky'

Monty and the Cyclones   1971

  My Sweet Lord

Monty Alexander   1976

  Montreux Alexander Live!


Monty Alexander   2004

  Live at New Morning

      Concert filmed in Paris

Monty Alexander   2006

  Concrete Jungle


Monty Alexander   2011

  Jazz in Marciac

      Filmed concert

      Bass: John Clayton

      Drums: Jeff Hamilton

  Live in San Javier

      Concert filmed in Spain

  No Woman No Cry

      LP: 'Harlem-Kingston Express Live!'

Monty Alexander   2013

  Saint Émilion Jazz Festival

      Concert filmed in France

Monty Alexander   2014

  Live at Baloise Session

      Concert filmed in Basel, Switzerland

Monty Alexander   2015

  JNature Boy/Running Away

      Jazzwoche Burghausen Filmed concert

  Live at the Blue Note Milano

      Bass: Hassan Shakur

      Drums: Obed Calvaire


Birth of Modern Jazz: Monty Alexander

Monty Alexander

Source: Wikipedia
  Dick Morrissey was born in 1940 in Deal, Kent, 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 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. Per 1967 below, all tracks are from the album, 'Here and Now and Sounding Good!'. Per 1979, each track is by the Morrissey-Mullen partnership from the album, 'Cape Wrath'.

Dick Morrissey   1961


      LP: 'It’s Morrissey, Man!'

  St. Thomas

      LP: 'It’s Morrissey, Man!'

Dick Morrissey   1964

  The Goblin

      Album: 'Have You Heard'

Dick Morrissey   1964


      With the Michael Garrick Trio

      Not issued until 2011

      LP: 'The Girl with the Brown Hair'

      Limited edition: 500

Dick Morrissey   1967

  Little Miss Sadly

  Off the Wagon

  El Schtuck

  Sunday Lunch

Dick Morrissey   1979

  Bristol Boogie

   Lovely Day

   Return to Tooting Broadway

Dick Morrissey   1982

  Blade Runner: Love Theme

      Composition: Vangelis

Dick Morrissey   1983

   Running Out of Time

      Album: 'After Dark'

Dick Morrissey   1986


      Album: 'Souliloquy'

      Vocal: Lenny Zakate


      Album: 'Souliloquy'

Dick Morrissey   1993

   Jazzfestival Bern

      Filmed live

      Drum solo: Charly Antolini


Birth of Modern Jazz: Dick Morrissey

Dick Morrissey

Source: If Music
  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, 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'. They would reunite on August 14 of 2001 for 'Don Rendall 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. Per below, Carr performs with Don Rendell years 1965 to 1970 ('Kerkyra'). Per 1973, tracks are from the Nucleus LP, 'Labyrinth', with vocals by Norma Winstone.

Emcee Five   1962


      Album: 'Let's Take Five!'

   Stephenson's Rocket

      Album: 'Let's Take Five!'

Ian Carr   1965

   Blue Mosque

      Album: 'Shades of Blue'

Ian Carr   1966

   Dusk Fire

      Album: 'Dusk Fire'

Ian Carr   1968

   Black Marigolds

      Album: 'Phase III'


      Filmed live

Ian Carr   1970


      Album: 'Greek Variations'

Nucleus   1970

   Elastic Rock


Nucleus   1971

   Bedrock Deadlock

      Album: 'Solar Plexus'

   We'll Talk About It Later


Nucleus   1972


      Album: 'Belladonna'

Nucleus   1973


   Bull Dance


Nucleus   1974

   BBC Jazz Club

Nucleus   1977

   In Flagranti Delicto



Birth of Modern Jazz: Ian Carr

Ian Carr

Source: Harmonies
Birth of Modern Jazz: Wolfgang Dauner

Wolfgang Dauner   1971

Source: Different 868
Born in 1935 in Stuttgart, Germany, composer and keyboardist, Wolfgang Dauner, began performing in public at festivals. He involved himself with free jazz during his early career but soon began exploring other fascinating realms of his own. In 1962 he formed a trio with Gotz Wendlandt (bass) and Kurt Bong (bongos). That trio recorded 'Jazz Studio H.G.B.S. Number One' in January 1962 for the Saba label, a mono version of that album, shared with the Hans Koller Oktett, issued that year. The stereo version followed in 1965. July 16 of 1963 saw obscure titles with the Gotz Wendlandt Quintet per Lyodon 160763: ''Air Mail Special', 'Afro-Asiatic', 'Caravan' and 'Bit'. Lord's disco has Fred Braceful as the possible drummer on that, he to become among Dauner's major comrades into the seventies. It was a trio with Eberhard Weber (bass)on September 14, 1964, for 'Dream Talk'. Braceful joined Dauner on eight more albums, among other titles, through three by Dauner's Et Cetera, the last being 'Live' in May of 1973. Wendlandt above came saxophonist, Joki Freund's, 'Yogi Jazz' on November 20 of 1963. It was Freund, Eberhard Weber (bass) and Charly Antolini (drums) for Dauner's 'Piano X 4' on April 2 of 1964. Come 'Dream Talk' in with Weber and Braceful above in September. Dauner's initial session with Weber had been for Freund's 'Yogi Jazz' above. They would remain tight into the the latter eighties, Weber backing Dauner on numberless projects to include a couple more trios with Braceful as well as Dauner's United Jazz + Rock Ensemble. It was after the latter's 'Round Seven' in February of 1987 that Dauner and Weber finally went their separate ways. They reunited in a sextet in June 2000 for 'Old Friends'. Come March 2005 for their duet, 'Yesterdays' (Jerome Kern). That was included in 2007 on Weber's 'Stages of a Long Journey'. We back up to January 16, 1969, for another major presence in Dauner's career, that trombonist, Albert Mangelsdorff, for their obscure duet, 'My Kind of Beauty' issued thrice on unknown dates per Lord's disco, including MPS 15210 and Metro 68068 in Germany. Sometime that year they recorded 'Beobachtungen für Stimmen und Instrumente', that for 'Musica Sacra Nova II' in 1970, an album shared with organist, Reinhold Finkbeiner, 'Epiphanie für Sopran' on side B. Dauner's 'Fur' went down in April of 1969 with Mangelsdorff out about the same time as they joined the German All Stars for 'The German All Stars'. Dauner and Mangelsdorff paired up numerously off and on into the new millennium, both backing other operations, such as Rolf Kuhn's 'Devil in Paradise' in 1971, and each other. Mangelsdorff was a member of Dauner's fusion group, United Jazz + Rock Ensemble, from its inception in 1974 through no less than nine albums to 'X' in 1999. Dauner contributed to five of Mangelsdorff's albums from 'A Jazz Tune I Hope' in August of 1978 to 'Hut Ab!' in November of 1997. Among those was their duo, 'Two Is Company', spread along in December of 1982. On April 4 of 2000 they contributed a couple of live titles to 'Jazz im Gärtnerplatz 2000'. Lord's shows their last mutual session per 'Old Friends' in June that year with Manfred Schoof (trumpet/flugelhorn), Klaus Doldinger (sax), Eberhard Weber (bass) and Wolfgang Haffner (drums). We slip back to 1970 when Dauner formed Et Cetera for three albums to come: 'Et Cetera' put down in December 1970, 'Knirsch' in March 1972 and 'Live' in May 1973. He co-led 'Free Sound Super Brass' with Hans Koller in Vienna on October 4 of 1975. Dauner was chosen to lead the United Jazz + Rock Ensemble in 1974 by television producer, Werner Schretzmeier. That organization with its own label, Mood Records, recorded its debut LP, 'Live im Schutzenhaus', in January of 1977. allmusic comments that that would become Germany's best-selling jazz album. Some nine albums later United issued 'X' in 1999, to disband upon a final tour in 2002. Ten years after, Dauner reconfigured the group for 'Second Generation' in 2012. Having otherwise issued approximately twenty albums as a leader since 'Jazz Studio H.G.B.S. Number One' (above) in 1962, three of those were solos: 'Changes' in 1978, 'Solo Piano' in 1983 and 'Tribute to the Past' in October 2010. Among works composed for symphony orchestra were 'The Primal Scream' ('79), 'Trans Tanz' ('85) and 'When In Trouble Travel' ('92). Dauner has also composed f0r radio, television and film, per the latter such as 'Grandison' in 1979. Amidst numerous others on whose recordings he can be found are Robin Kenyatta, Don Sugarcane Harris, and Martin Kolbe.

Wolfgang Dauner   1967

   My Spanish Disguise

      Album: 'Free Action'

   Sketch Up and Downer

      Album: 'Free Action'

Wolfgang Dauner   1968

   Psalmus Spei


Wolfgang Dauner   1969

   The Oimels


Wolfgang Dauner   1970

   Rischka's Soul


Wolfgang Dauner   1971

   Et Cetera


Wolfgang Dauner   1972

   Frankfurt 1972

      Live at Deutsches Jazz Festival

Wolfgang Dauner   2004

   Hot Jazz Festival

      Filmed live with Albert Mangelsdorff

Wolfgang Dauner   2010

   Drachenburg für R

      Filmed live

   Dream Talk

      Album: 'Tribute to the Past'


Birth of Modern Jazz: Chris McGregor

Chris McGregor

Source: SEALS
Though born in Transkei, currently part of Eastern Cape, South Africa, in 1936, pianist, Chris McGregor, had a headmaster of the Church of Scotland for a father. He grew up in the environment of the Xhosa people, a subdivide of the greater Bantus. After school and a period in the merchant navy McGregor entered the South African College of Music in 1952. During that time he studied classical by day (Bartók, Schoenberg), listened to Duke Ellington and Thelonious Monk by night, and involved himself in the Cape nightclub scene. He is thought to have first appeared on vinyl in 1962, as a leader on two albums. The one was a theatrical production of 'Mr. Paljas'. (That album is apparently worth several hundred dollars these days.) The other was the album by various, 'Jazz 1962: Cold Castle National Festival Moroka-Jabavu'. It was 1962 when McGregor began putting together his band, the Blue Notes. That was followed the next year by his larger Castle Lager Big Band on the album, 'Jazz the African Sound'. McGregor's last recordings in South Africa were with his Blue Notes in 1964 for what would see issue much later as 'Legacy: Live in South Afrika 1964' ('95) and 'Township Bop' ('02). McGregor took the Blue Notes to France in 1964, the year Mandela was sentenced to life by South Africa's apartheid government. McGregor thus in exile, he remained in Europe, eventually to become a French resident in the early seventies. His first tracks in London had been in January of 1967 (Lord's disco) for 'Kwela' by Gwigwi's Band. In 1969 McGregor formed the big band, the Brotherhood of Breath, issuing several albums with various incarnations of that organization throughout the remainder of his career, beginning with 'Chris McGregor's Brotherhood Of Breath' on January 9, 1971 [Lord's disco]. Lord's disco shows the Brotherhood Of Breath last in action per McGregor's final recordings on March 18, 1989, for 'En Concert a Banlieues Bleues'. McGregor died on May 26, 1990, in France. December of 1993 saw a performance of McGregor's compositions by the Brotherhood Of Breath ghost band in London, getting issued as 'The Memorial Concert'. Among others on whose recordings he can be found are Harry Miller, Natural Music, Doudou Gouirand, Harry Beckett and Marilyn Mazur.

Chris McGregor   1962

   German Luger


   Ndiyeke Mra


Chris McGregor   1968

   Don't Stir The Beehive

      Album: 'Very Urgent'

Chris McGregor   1970

   The Bride

      Album: 'Chris McGregor's Brotherhood Of Breath'


     Album: 'Chris McGregor's Brotherhood Of Breath'

Chris McGregor   1971

   Live in Baden Baden

      With the Brotherhood of Breath

Chris McGregor   1971

   Country Cooking

      Album: 'Country Cooking'

      With the Brotherhood of Breath

   Grandmothers Teaching


      With the Brotherhood of Breath


Birth of Modern Jazz: Dudu Pukwana

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 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'. That got recorded in Johannesburg and issued in 1962. (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' in 2010. (Lord's disco lists those as Pukwana's first titles as a leader.) Come McGregor's 'Very Urgent' in December of 1967. McGregor would be a major figure in Pukwana's career into the latter seventies. Pukwana would be an original member of McGregor's Brotherhood of Breath, a larger band than the Blue Notes, formed in 1969, recording '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', again in April 1977 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 to a trio with Louis Moholo (percussion) on August 18, 1987, for 'Blue Notes for Johnny'. 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. He 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, also forming the band, Zila, with which he performed and recorded through the eighties. Lord's has Zila recording 'Sounds Zila' live on January 16, 1981. '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. Per 1973 below, all tracks are from the album, 'In the Townships' with Spear.

Dudu Pukwana   1962

   German Luger

      Piano: Chris McGregor

   Ndiyeke Mra

      Piano: Chris McGregor

Dudu Pukwana   1967


      Piano: Chris McGregor

      Composition: Dudu Pukwana

Dudu Pukwana   1969

   Kuthwasi Hlobo (Spring)

      Album: 'Dudu Pukwana and the Spears'

   Pezulu (Way Up)

      Album: 'Dudu Pukwana and the Spears'

Dudu Pukwana   1973

   Angel Nemali


   Sekela Khuluma



Dudu Pukwana   1975

   Diamond Express

      Album: 'Diamond Express'


      Album: 'Flute Music'

   Tete/Barbs In My Mind

      Album: 'Diamond Express'

   You Cheated Me

      Album: 'Flute Music'

Dudu Pukwana   1985

   Sondela (Come Closer)


Dudu Pukwana   1987

   Jazzwoche Burghausen

      Filmed live with Zila


Birth of Modern Jazz: Michal Urbaniak

Michal Urbaniak

Source: All Music
Born in 1943 in Warsaw, Poland, funk jazz violinist, Michal Urbaniak joins an array of Polish musicians who surfaced in the sixties to soon place Poland on the map of jazz despite its membership in the Communist Soviet Bloc from 1945 to 1989. One means of avoiding Soviet censorship was to move to the United States, which Urbaniak did in 1973 with his wife, vocalist, Urszula Dudziak. He first trained on both violin and saxophone, his first professional employment with a Dixieland band before joining Zbigniew Namyslowski's Jazz Rockers with whom he performed at the Jazz Jamboree in Warsaw in 1961. Lord's disco shows Urbaniak with Krzysztof Komeda sometime 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. His first trip to the States was a 1962 tour with Andrzej Trzaskowski's Wreckers. Upon returning to Poland he hooked up with Komeda again for 'Theatre Music', issued as Volume 8 of 'The Complete Recordings of Krzystof Komeda Vol 1-19' in 1999 by Polonia Records. Come October of 1962 at Philharmonic Hall in Warsaw for Namyslowski's Jazz Rockers' 'Holiday Moods' (Muza  0229) issued that year. More tracks ensued with both Komeda and Namyslowski in 1963. Among titles to come with Komeda was 'Pingwin' in 1964 (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. Urbaniak's first session with Komeda to result in timely issue was in October 1964 while on tour to Prague, Czechoslovakia, that 'Roman II', released in 1965 on the album by various, 'Jazz Greetings from The East' (Fontana 885 416 TY). Lord's disco sees Urbaniak's last sessions with Komeda in October and November of 1965 toward 'Muzyka Krzysztofa Komedy 1' issued in 1974. Komeda's accidental death followed a few years later on April 23, 1969. Urbaniak would record his tribute to Komeda in June of 1972 in Frankfurt with Tomasz Stanko at trumpet and piano: 'We'll Remember Komeda'. Stanko and Urbaniak had been comrades with Komeda from '61 to '65 and would reunite variously a few times in the seventies and eighties. As for Namyslowski, Lord's disco has them last recording in support of Fryderyka Elkana and future wife, Urszula Dudziak, on May 27, 1964, for 'Bei mir bist du schon' and 'Too close for comfort' (Muza 0317). Dudziak also appeared on what is thought Urbaniak's first album in 1968: 'Urbaniak's Orchestra', that recorded sometime in 1966. Among other titles, Lord's disco has Dudziak and Urbaniak recording about 24 albums between them from Urbaniak's 'Parahyphus B' in 1972 to 'Facts of Life' (w Larry Coryell) and 'Sorrow Is Not Forever... But Love Is' in 1983. As for Coryell, he would become a major presence in Urbaniak's career for several years upon Urbaniak moving to the United States in 1973 [per Urbaniak's website]. 'New York Baca' with Dudziak was likely his last track in Europe, recorded in Holland, before immigrating, that found on 'Solo's, Duo's and Trio's' in 1982. It was a scholarship to the Berklee College of Music in Rhode Island that had found Urbaniak traveling to the States. But rather than studying there he became involved in other projects such as the formation of the band, Fusion. Lord's has his first recordings upon arrival to the States in 1974: tracks toward Arif Mardin's 'Journey' (Atlantic ‎SD 1661) in February, his own 'Atma' in June, and a performance at Radio City Music Hall with Charles Mingus in July ('Mingus Midnight Jam' Wolfgang's Vault #50). Urbaniak also contributed to Czeslaw Niemen's 'Mourner's Rhapsody' sometime in '74. Come Urbaniak's 'Fusion III' in February 1975 with Coryell (guitar). Coryell also supported Urbaniak's 'Facts of Life' in 1983. Along the way Urbaniak participated in Coryell's 'The Lion and the Ram' in 1976, 'The Larry Coryell/Michal Urbaniak Duo' in 1982 and 'A Quiet Day in Spring' on November 11, 1983, in Copenhagen in a trio with Jesper Lundgaard (bass). Urbaniak spent the remainder of his career making his bed as one of the world's finest violinists of the 20th century, including sixteen film scores from 'Steps' in 1987 to 'Michal Urbaniak. Nowojorczyk z Wyboru' in 2009. Among other albums during his latter career were 'Urbanator Hip Bop' in 1994, 'Urbanator II Hip Bop' in '96 and 'Urbanator III Big Blue' in 2005. His most recent of well above forty albums as a leader or co-leader were 'Miles of Blue' (two CDs) in 2009 and 'SBB & Michał Urbaniak' in 2015. Amidst the host of others on whose albums he can be found are Oliver Nelson, Cam Newton, Billy Cobham, Just Friends and Alex Kolosov.

Michał Urbaniak   1973

  In Concert

      Album by Constellation

Michał Urbaniak   1974





Michał Urbaniak   1975

  China Town

      LP: 'Fusion III'


      LP: 'Fusion III'

Michał Urbaniak   1977



Michał Urbaniak   1995

  Live with the UrbSymphony

      Filmed live

Michał Urbaniak   1997

  Y Note

      CD: 'Code Blue'

Michał Urbaniak   2004


      LP: 'Decadence'

Michał Urbaniak   2009

  All Blue

      CD: 'Miles of Blue'

  Just a Funky Feeling

      CD: 'Miles of Blue'

Michał Urbaniak   2011

  The Cats

      Filmed at the Grand Theatre Warsaw

      With Don Blackman & Urbanator

  Funkin' for Don Blackman

      Filmed at the Grand Theatre Warsaw

      With Don Blackman & Urbanator


      Filmed at the Grand Theatre Warsaw

      With Don Blackman & Urbanator

Michał Urbaniak   Unknown

  Live Set

      Filmed live

      Production by Boiler Room

  Live with UrbFusion

      Filmed live


  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, 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, founded the ICP (Instant Composers Pool) label in 1967. 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. 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 worth 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). With well above three hundred sessions to his credit, 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. 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

   Live in Holland

      Eric Dolphy album: 'Last Date'

Han Bennink   1965

   Live in Holland

      Filmed live with Wes Montgomery

Han Bennink   1968

   Music for Han Bennink

      Peter Brötzmann LP: 'Machine Gun'

Han Bennink   1969

   An Old Woman

      Album: 'Derek Bailey/Han Bennink'

Han Bennink   1973

   Nerve Beats

      Album: 'Nerve Beats'

      Not released until 2001

Han Bennink   1978

   Midwoud 77


ICP Orchestra   1982

   Japan Japon Part 1


      Trumpet: Toshinori Kondo

   Japan Japon Part 2


      Trumpet: Toshinori Kondo

ICP Orchestra   1990

   The Mooche

      Album: 'Bospaadje Konijnehol'

      Composition: Duke Ellington

ICP Orchestra   1998

   Live at Moers Jazz Festival

      With The Ex

Han Bennink   2004

   Live in Ethiopia

      Filmed live with The Ex

Han Bennink   2006


      Albim: 'Spring Odyssey'

ICP Orchestra   2009

   Live at the Bimhuis

      Filmed live

Han Bennink   2012

   Drum Solo

      Filmed live in London

Han Bennink   2013

   Improvisation 1

      Filmed live with Mikko Innanen

   Improvisation 2

      Filmed live with Mikko Innanen

   Live in Napoli

      Piano: Misha Mengelberg

      Sax: Mario Schiano

Han Bennink   2014

   Anke hat Zeit (Anke Has Time)

      Filmed live with Uri Caine

   Live at Moers Festival

      Filmed live with Oscar Jan Hoogland

ICP Orchestra   2014

   East of the Sun

      Album: 'East of the Sun'

      Arrangement: Michael Moore


Birth of Modern Jazz: Han Bennink

Han Bennink

Source: persons-info
Birth of Modern Jazz: Carola


Source: Second Hand Songs
Carola was born Carola Christina Standertskjöld-Liemola in 1941 in Helsinki, Finland. As this page of the histories witnesses the bloom of Finnish jazz it's apt to note vocalist Carola Standertskjöld, the name by which she was known offstage. Singing in nine languages, she spoke five. After World War II her parents would take her Switzerland, she finishing out her teenage years in Spain. She performed chansons during her early public appearances at such as parties, sometimes with guitar. Carola liked it cold and returned to Finland where she hooked up with Esa Pethman to perform with his quartet in 1962, touring in Sweden, Poland and Czechoslovakia. The next year she released her first recordings, a couple of Jewish folk songs for RCA: 'Hava Nagila' and 'Telstar'. In '64 she toured Europe and appeared on television with the Swiss Hazy Osterwald Sextet. Her return to Finland in '65 saw the issue of 'Warum Willst Du Das Alles Vergessen'. She then recorded with The Boys, such as 'The End of the World', 'Jo Riittää!' ('The Last Time') and 'Hunajainen' ('A Taste of Honey'). She made her debut in film as an actress in '65 as well, appearing in 'The Cold Old Days'. Carola was accompanied by the Heikki Sarmanto Trio in April and June of '66 for 'Carola', issued in 2004. She continued similarly and was a world-class talent in the making when she decided on a career change in the seventies, working in her husband's grocery store. She thereafter performed on isolated occasions and recorded a few titles sporadically until receding into obscurity after the issue of 'Sydämeen Jäi Soimaan Blues' in 1985. In 1987 she was diagnosed with Alzheimer's disease, she dying ten years later in Kirkkonummi, Finland, in November of '97.

Carola   1965

   The Last Time (Jo riittää)

      With The Boys



   A Taste of Honey (Hunajainen)

      With The Boys

   Warum Willst Du Das Alles Vergessen


Carola   1966

   Förbjuden Lek


   Kielletyt Leikit


   My Favorite Things


Carola   1968


Carola   1969

   Chain of Fools



Carola   1970

   Seize the Time


  Sen pituinen se

Carola   1972

   Sen pituinen se



Birth of Modern Jazz: Jon Christensen

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'. Lord's disco follows him to the Yelena Eckemoff Quartet per above with Brunborg and Andersen in 2014. Among the host of others on whose recordings Christensen can be found along his path of at least 169 sessions are Jan Erik Vold, Ralph Towner and Miroslav Vitouš.

Jon Christensen   1968

   Lament/Once We Loved

      Album: 'Watch What Happens!'

      Bass: Palle Danielsson

      Piano: Steve Kuhn


      Album: 'Watch What Happens!'

      Bass: Palle Danielsson

      Piano: Steve Kuhn

Jon Christensen   1971

   Electric Sonata Parts I-III

      Album: 'The Essence of George Russell'

      Recorded 1966-67

   Live in Norway

      Filmed live

      Bass: Arild Andersen

      Piano: Bobo Stenson

      Sax: Sonny Rollins

   Now and Then

      Album: 'The Essence of George Russell'

      Recorded 1966-67

Jon Christensen   1994

   The Lyrical Drum Solo

      Filmed live at JazzBaltica

   Straight No Chaser

      Filmed live at JazzBaltica

      Bass: Arild Anderson

      Guitar: Mike Stern

      Saxophone: Peter Weniger

Jon Christensen   2011


      Filmed live


Birth of Modern Jazz: Michael Garrick

Michael Garrick    1964

Source: The Wire
Michael Garrick was a composer/pianist born in 1933 in Enfield, Middlesex. He graduated from University College in London in 1959 with a bachelor's in English literature. He had first recorded per nine tracks in 1958 at London University with Pater Shade at vibes: 'Angel Eyes', 'A Welter of Phenomena', 'Silhouette', 'I'll Never Be The Same', 'Get Out Of Town', 'Threesome', 'Willow Weep For Me' and 'I Saw Stars' and 'Mr. Paganini'. Those weren't commercially released until 2010 on 'Silhouette' by Gearbox Records in a limited edition of 500. The next year Garrick recorded 'Henry VIII's Favourite Laye', 'Vishnu', 'Barbara Allen' and 'White Moon' at London University, and 'Kronos' at an unknown location in London, Peter Shade at vibes. Those weren't issued until 1983 on the first side of an album titled 'Kronos'. Garrick's first commercially available titles were released for Columbia in 1963, recorded December 1962 with poet, Jeremy Robson: 'Blues for the Lonely' containing 'Cascades', 'Blues for the Lonely', 'Day of Atonement' and 'Sketches of Israel'. Those included alto saxophonist, Joe Harriott, and trumpeter, Shake Keane. In May of '63 Garrick recorded 'A Case of Jazz' for Keane containing the tracks: 'Fish Babies', 'Watershute', 'Sun Maiden' and 'Regrets'. Lord's disco would have Garrick's last session of 1963 with Harriott and Keane for a concert in London on June 10 with poets, Jeremy Robson, Danny Abse and Laura Lee. Titles from that saw issue by Argo in 1964 on Records One (DA 26) and Two (DA 27) of 'Poetry and Jazz'. Future titles by Robson with Harriott went down for Argo on May 28, 1965, for 'Before Night/Day' ('66). The easiest way to acquire the most complete sets of titles with Robson is Vocalion's 'Poetry and Jazz in Concert' issued in 2007. Sometime in 1964 it was the Michael Garrick Trio backing tenor saxophonist, Dick Morrissey, on 'The Girl with the Brown Hair', issued in 2011 in a limited edition of 500 discs. Titles with Keane and the Gordon Langford Orchestra were issued on EP for Airborne that year as well: 'Troubles' and 'Song of Romance'. Tracks for Garrick's 'Moonscape' went down in July, 'October Woman' in November, the latter with Keane. April 18 of 1965 with Harriott and Keane witnessed Garrick's 'Anthem' and 'Wedding Hymn', also included on 'Jazz Praises' issued in '68. Garrick's next session for "Promises' on May 27 of '65 included Harriott and trumpeter, Ian Carr. Carr was a part of the crew the next day for 'Before Night/Day' per above. Garrick's initial session with tenor saxophonist, Don Rendell, was also his first with the Rendell/Carr Quintet, that on November 10, 1965, for titles not to be issued until 2005 by Harkit Records as 'Live in London'. Both Carr and Rendell would play major roles in Garrick's career. With the exception of the choral jazz album, 'Jazz Praises', in 1968 at St. Paul's Cathedral in London with Rendell out, Garrick, Carr and Rendell supplied titles good for fourteen other albums, sooner or later, to Garrick's 'The Heart Is a Lotus' in January 1970 with vocalist, Norma Winstone. Garrick had also led 'Black Marigolds' w Harriott and poet, John Smith, on January 3, 1966. Garrick, Carr and Rendell had co-led 'Prelude to Heart Is a Lotus' for BBC Jazz in 1968. Nine albums with the Rendell/Carr Quintet resulted from 'Dusk Fire' in April 1966 to 'Change Is' and 'Live' in 1969, including Amancio D'Silva's 'Trad Dads, Dirty Boppers and Free Fusioneers' on January 1, 1969, that issued in 2012. Garrick, Carr and Rendell had also participated in Guy Warren's 'Afro Jazz' in November 1968. With the Rendell/Carr Quintet dissolved after 'Change Is and 'Live' above, Carr went his own way after 'The Heart Is a Lotus' in 1970. Garrick left that year for the United States to attend the Berklee College of Music in Boston. Upon returning to England Garrick hooked up with Rendell again, the latter contributing to four more of the Garrick's LPs from 'Mr. Smith's Apocalypse' in January 1971 w Winstone and poet, John Smith, to 'Troppo' in October of 1973 w Winstone. They would reunite in 1995 for Garrick's 'Parting Is Such' and August 6, 2001, for Rendell's 'Reunion'. As for Winstone, Garrick had employed her on five of his albums from 'The Heart Is a Lotus' in 1970 to 'Troppo' in '73. Garrick would support her again in 2005 for 'Children of Time', April 2006 for 'Yet Another Spring', and dates in 2008/09 for 'Lady of the Aurian Wood'. During the seventies and eighties Garrick concentrated less on recording than education. He would hold posts at the Royal Academy of Music, Trinity College of Music and the Guildhall School of Music, as well as implement programs to introduce children to jazz. In 1994 Garrick released 'Meteors Close at Hand' on his own label, Jazz Academy Records (JAR), with which he would publish all his titles to come including reissues of earlier titles. Garrick's last session in the 20th century was 'Down on Your Knees' in latter 1998. 'Genius' in 2000 featured titles with Joe Harriott from '61 and '63. Garrick's first session in the new millennium was for 'The New Quartet' in 2001 with Martin Hathaway (alto/clarinet), Paul Moylan (bass) and Alan Jackson (drums). That configuration saw action again in October 2006 for 'Inspirations'. Garrick's last three albums were 'Remembered Time' and 'Tone Poems' in 2010, and 'Home Thoughts' in September 2011. The three of those were with painter and vocalist, Nette Robinson. Garrick died on November 11, 2011.

Michael Garrick   1958

   I Saw Stars

      Vocal: Josephine Stahl

      Not released until 2010

Michael Garrick   1959


      Not released until 1983

Michael Garrick   1963


      Album: 'Poetry and Jazz in Concert'

Michael Garrick   1964

   Sketches of Israel

Michael Garrick   1965

   October Woman

      Album: 'October Woman'

   Second Coming

      Album: 'Promises'

Michael Garrick   1966


      Album: 'Black Marigolds'

Michael Garrick   1968

   Heart Is a Lotus

      Recorded 1968 for BBC

      Not released until 2013


      Television broadcast

      Don Rendell-Ian Carr Quintet

Michael Garrick   1969

   Jazz Praises

      Performance October 1968

      St. Paul's Cathedral   London

Michael Garrick   1970

   The Heart Is a Lotus

      Album: 'The Heart Is a Lotus'

      Vocal: Norma Winstone

Michael Garrick   1972

   Cold Mountain

      Album: 'Cold Mountain'

   Home Stretch Blues


      Vocals: Norma Winstone

Michael Garrick   2011?

   Live at MAP Studio Cafe

      Horn: Tony Woods

      Vocal: Nette Robinson


Birth of Modern Jazz: Jan Hammer

Jan Hammer

Source: Radio Praha
Born in 1948 in Prague, Czechoslovakia, jazz fusion keyboardist, Jan Hammer (pronounced "yawn"), had a singer for a mother and a doctor for a father who was also vibraphonist, Jan Hammer Sr. 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'). 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 vocalist, Vlasta Průchová, and Hammer Sr. contributing scat to 'Čtyři Bratři'. 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. 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. 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', in 2007. The next year 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). Lord's disco has Hammer emerging as recently as 2015 on Will Calhoun's 'Celebrating Elvin Jones'. Among the host of others on whose recordings Hammer can be found are Frank Foster, Billy Cobham, Steve Grossman and Lenny White. Per 1969 below, tracks are from 'Maliny Maliny', the later reissue of 'Malma Maliny' correctly titled. Per 1987 below, all tracks on 'Escape From Television' were for the 'Miami Vice' television series except 7, 10 and 13.

The Junior Trio   1964

   Čtyři Bratři

      With Vlasta Průchová & Jan Hammer Sr.

   The Man I Love

      With Vlasta Průchová

   Večerní hodinka

Jan Hammer   1968


      CD: 'Turtles'

      Recorded '68   Not issued until 2007

Jan Hammer   1969

   Make Love

   Maliny Maliny

   Waltz For Ivona

Jan Hammer   1974

   Like Children

      Album with Jerry Goodman

Jan Hammer   1977



   She's a Woman

      LP: 'Jeff Beck With the Jan Hammer Group Live'

Jan Hammer   1985

   Miami Vice


Jan Hammer   1987

   Escape From Television


Jan Hammer   1991

   Fusion at Montreal

      Filmed live with Tony Williams

Jan Hammer   1992

   Beyond the Mind's Eye



Birth of Modern Jazz: Masabumi Kikuchi

Masabumi Kikuchi

Photo: John Rogers

Source: Manafonistas
Born in Tokyo, Japan, in 1939, pianist, Masabumi Kikuchi studied music at the Tokyo Art College High School. Upon graduation he formed a trio, then performed with visiting Lionel Hampton. Kikuchi first emerged on vinyl in 1963 on Toshiko Akiyoshi's joint album with Charlie Mariano, 'East & West', appearing on one track: 'Stone Garden of Ryoan Temple'. (Akiyoshi and Mariano were married from 1959 to 1965.) Lord's disco picks up Kikuchi in November and December of 1966 for Sadao Watanabe's 'Jazz & Bossa', that with Eijiro Hagiwara (bass) and Masahiko Togashi (drums). Both Watanabe and Togashi would play major roles in Kikuchi's career. Kikuchi contributed to ten more of Watanabe's albums to 'Paysages' on June 22 of 1971. Several of those were jointly led by Watanabe and Charlie Mariano from 'Charlie Mariano & Sadao Watanabe' in June of 1967 to 'We Got a New Bag' on January 21, 1968. Watanabe had also supported Kikuchi's 'Collaboration' in latter 1970. As for Togashi, along with supporting other operations like those of Watanabe, Mariano and Gil Evans, he and Kikuchi collaborated on each other's projects. In the summer of 1971 it was a trio with American bassist, Gary Peacock, for 'Poesy: The Man Who Keeps Washing His Hands'. (Peacock had moved to Japan in 1969, returning to the States in 1972.) 1974 saw their duo, 'Song for Myself'. That was Kikuchi's last session in Japan before moving to New York City that year. Residing in the States thereafter, his first session in NYC was for trumpeter, Shunzo Ohno's, 'Something's Coming' in early 1975. Kikuchi and Togashi reunited in 1991 for their duo, 'Concerto'. 1994 saw a couple more trios with Peacock: 'Tennessee Waltz' and 'Begin the Beguine'. Working with Watanabe had meant Kikuchi and Togashi backing American vocalist, Helen Merrill, in March of 1967 for 'Bossa Nova in Tokyo'. Kikuchi would reunite with Merrill in June of 1996 for 'You and the Night and the Music'. Another of the major players in Kikuchi's career was trumpeter, Terumasa Hino, with whom he'd held his first mutual session on May 21, 1968, for '350 Trip' to be found on the album by various, 'Swing Journal All Stars '68'. Hino and Kikuchi led or co-led numerous projects together into the nineties. It was Hino's 'Feeling Good' in June of 1968, followed by 'Hino-Kikuchi Quintet' in August. Come August 5 of 1971 for 'In Concert' co-led by American tenor saxophonist, Joe Henderson. It was Kikuchi's 'East Wind' on July 3 of 1974. Come Kikuchi's 'Wishes/Kochi' in August of 1976. Kikuchi participated in 'La Hora Azul' on Hino's 'Daydream' in April 1980. Come Kikuchi's 'Susto' in November that year. Sessions from November of 1980 to January 1981 saw Kikuchi's 'One Way Traveller' ('82). Sessions in February and March of 1981 saw Hino's 'Double Rainbow'. A reunion in 1993 witnessed Hino's 'Triple Helix'. It was the Hino/Kikuchi Quintet in NYC in May of 1995 for 'Acoustic Boogie' and August 30 at the Blue Note in Tokyo for 'Moment'. June of 2007 saw another quintet for 'Counter Current'. During Kikuchi's early period with Watanabe he'd won a full scholarship to the Berklee College of Music in Boston. He thus first visited the United States in 1969 to there attend, but was soon back in Japan the same year. Kikuchi is thought to have recorded his first set as a leader on an unknown date possibly in early 1970 for 'Matrix', not released, however, until 1977. Issued in 1970 were 'Re-cofirmation', 'Poo-sun', and 'Collaboration'. 'In Concert' and 'Poesy: The Man Who Keeps Washing His Hands' saw release in 1971. Per above, that was with Gary Peacock on bass and Masahiko Togashi at drums. Kikuchi and Peacock had gonet back to February 5, 1970, when Kikuchi participated in 'Moor', issued on Peacock's 'Eastward'. It was Peacock's 'Voices' on April 5, 1971. Kikuchi's 'But Not for Me' went down in September of 1978. In 1990 Kikuchi and Peacock formed the trio, Tethered Moon, with drummer, Paul Motian. Their first tracks as such went down on October 20, 1990, toward the 1997 issue of 'First Meeting'. The same trio issued six more albums to as late as December 2002 for the 2004 issue of 'Experiencing Tosca'. [Tethered Moon catalogue.]Kikuchi otherwise appeared on six of Motian's albums from 'Trio 2000 + one' issued in '98 to 'Live at the Village Vanguard Vol III' released in 2010. It was a trio with Thomas Morgan on bass in September of 2009, issued as 'Sunrise'. Having issued more than twenty albums as a leader or co-leader, Kikuchi's first on synthesizer was 'Susto' in 1980 per above with Terumasa Hino. Several synthesizer solo titles went down from '84 to '88: 'Earth', 'Water', 'Fire', 'Wind', 'Air', 'Mind' and 'Aurora'. Seven of Kikuchi's issues were piano solos: 'Attached' in early '89, 'After Hours' and 'After Hours Vol 2' in July 1994, 'Love Song' in January 1995, 'Possessed' in June 1996, 'M' in June 1997 and 'Melancholy Gil' in '98. Kikuchi's last recordings were issued in May of 2015, 'Masabumi Kikuchi Ben Street Thomas Morgan Kresten Osgood', that two months before his death of subdural hematoma in Manhattan in July of 2015. Among numerous others on whose recordings Kikuchi can be found are Oliver Nelson, Al Foster and Greg Osby. Per 1963 below, 'Stone Garden of Ryoan Temple' was Kikuchi's debut recording, issued on the joint Mariano/Akiyoshi LP, 'East & West'. Per 1997 below, tracks are with Tethered Moon from the album, 'First Meeting', recorded 1990-91.

Masabumi Kikuchi   1963

   Stone Garden of Ryoan Temple

      Alto sax: Charlie Mariano

Masabumi Kikuchi   1970

   Dancing Mist

      LP: 'Poo-Sun'

   Sum Dum Fun

      LP: 'Poo-Sun'

Masabumi Kikuchi   1972

   Drizzling Rain

      LP: 'Masabumi Kikuchi + Gil Evans'

Masabumi Kikuchi   1973

   Little Abi

      LP with Elvin Jones: 'Hollow Out'

Masabumi Kikuchi   1974

   East Wind

      LP: 'East Wind'

   Green Dance

      LP: 'East Wind'

Masabumi Kikuchi   1977

   Black Orpheus

      LP: 'Matrix'

Masabumi Kikuchi   1978


      Album with Kochi

Masabumi Kikuchi   1989


      LP: 'Attached'

Masabumi Kikuchi   1992

   You're My Everything

      With Tethered Moon

      LP: 'Tethered Moon'

Masabumi Kikuchi   1994

   After Hours

      Album   Solo piano

Masabumi Kikuchi   1997

   First Meeting/Solar/Open Trio

   Tethered Moon

Masabumi Kikuchi   2004

   Live in Nishinohara

      Filmed concert


  Born in 1938 in Kuusankoski, Finland, saxophonist/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.

Esa Pethman   1964

   Elokuvasta Lauantaileikit


Esa Pethman   1965

   The Flame

      LP: 'Modern Sound of Finland'

Esa Pethman   1966

   The Flame

      LP: 'Carola ja Heikki Sarmanto Trio'

Esa Pethman   1986

   The Weeping Flute

      LP: 'Esa & Flutes'

Esa Pethman   1996

   Samba Facilitar

      LP: 'Esamba'


Birth of Modern Jazz: Esa Pethman

Esa Pethman

Source: Elvis Ry
Birth of Modern Jazz: Jean-Luc Ponty

Jean-Luc Ponty   1977

Source: All Music
Born in 1942 in Avranches, France, virtuoso violinist, Jean-Luc Ponty, had a violin teacher for a father and a piano teacher for a mother. At age sixteen he enrolled into the Conservatoire de Paris, graduating two years later with that institution's highest honor, the Premier Prix. He then joined the Orchestre Lamoureux for the next three years. His jazz career began upon visiting a nightclub one night after a performance with the Lamoureux, happening to have his violin with him. On November 1, 1961, he participated in unissued tracks for vibraphonist, Dany Doriz in Paris: 'Billie's Bounce' and 'Steeplechase'. Late '61 or early '62 found him featuring on a couple unissued airchecks along with the Jack Dieval Sextet: 'Soft Winds' and 'Almost Like Being in Love'. December 23, 1962, saw him contributing to pianist, Jef Gilson's, 'Enfin!' issued in 1963. January of 1963 witnessed titles as a leader for Gilson's label, Palm Records, #19. Those saw issue in 1975 as 'The Beginning of Jean-Luc Ponty' in a package of four LPs called 'Jeff Gilson: Anthology 1945/1975' including Palm #18 through #21. More titles for Gilson followed, including tracks toward 'Oeil Vision' ('64) in November 1963 [Lord's disco]. Ponty and Gilson would reunite in November 1968 for 'Concert a la M.J.C. Colombes' (Palm #2 '72). Ponty had recorded his debut album, 'Jazz Long Playing' in June 1964. Come the track, 'How High the Moon', with American violinist, Stuff Smith, in December 1965. (Smith had moved to Copenhagen in 1965, dying in Munich in 1967.) 'Finnegan's Wake News' went down in June of 1966 for Andre Hodeir's 'Anna Livia Plurabelle'. Come 'Violin Summit' in latter 1966 with violinists, Svend Asmussen, Stephane Grappelli and Stuff Smith. (Recorded for the German label, MPS Records, MPS has released numerous 'Summit' albums per various instruments as well as vocals.) Come Wolfgang Dauner's 'Free Action' in May 1967, George Gruntz' 'Noon in Tunisia' on June 2 and 3, and Ponty's 'Sunday Walk' on June 13. Titles toward 'Die Jazz-Werkstatt '67' will have gone down before Ponty's 'More Than Meets the Ear' on December 17, 1967. In 1968 Ponty formed the Trio HLP with Eddy Louiss (organ) and Daniel Humair (drums) to record 'As Trio HLP' and 'Last Set'. Lord's disco has him accompanying recitals in July of 1968 by Luise Martini and Gert Westphal for 'Lyrics Or the Baroque' (Electrola 74157). 'Lyrics Or the Baroque' is otherwise nowhere found. The same crew, tracks and issue number (EMI Electrola 74157) emerge, however, on 'Barock Sex & Jazz Sechs' recorded circa 1965 with a release year of 1966 per discogs. Ponty first visited the United States for the 1967 Monterey Jazz Festival, resulting in a contract with World Pacific (Pacific Jazz until 1957), a major label specializing in cool and West Coast jazz. Another trip to the States saw 'Electric Connection' recorded for World Pacific in March of 1969 followed by 'Live at Donte's' the same month. Those sessions were followed a couple days later by 'King King' ('70), composed by Frank Zappa, also his first tracks at electric violin. 'Hot Rats' ('70) came around in latter summer. Ponty would surface on several Zappa albums from 'Over-Nite Sensation' in '73 to the triple album, 'Shut Up 'n Play Yer Guitar' in 1981. We jump ahead from 'Hot Rats' in 1970 through numerous sessions in Los Angeles, Japan, Germany and Austria to what is thought Ponty's last set in Europe before emigrating to the United States, that at the Montreux Jazz Festival on June 19 of 1972. If Ponty moved to America with his wife and two baby daughters in 1973 as consensus would have it, then that was likely in January if he did so to tour with Zappa from February to August. Lord's disco has him back in Europe in Milan perhaps in both October and December of 1973 for 'Giorgio Gaslini Meets Jean-Luc Ponty'. He wrapped up 1973 in Paris in December for 'Ponty-Grappelli' ('76). March of 1974 found Ponty with John McLaughlin's Mahavishnu Orchestra in London for 'Apocalypse'. If to go by Lord's disco, Ponty's first recordings in the States since moving to America in '73 weren't until July 4 of 1974 at Avery Fisher Hall in NYC, that followed by 'Visions of the Emerald Beyond' with McLaughlin's Mahavishnu Orchestra in December in NYC. Ponty began 1975 with 'Upon the Wings of Music' in January and polished it with 'Aurora' in December. August of 1976 witnessed 'Imaginary Voyage' before Ponty's first session with keyboardist, Chick Corea, in October to result in 'My Spanish Heart' (1 track: 'Armando's Rhumba'). It was Ponty's 'Open Mind' in 1984, Corea's 'Forever' in 2009. Bassist, Stanley Clarke, had contributed to tracks apart from Ponty on Corea's 'My Spanish Heart'. They shared a few tracks on 'Forever'. Ponty's initial tracks for  Clarke had been in 1993 toward 'East River Drive'. Come 'The Rite of Strings' in a trio with guitarist, Al Di Meola, in April of 1995. It was 'D-Stringz' in a quartet with Bireli Lagrene (guitar) and Steve Shehan (percussion) as late as August 2014. While touring in Europe in 1988 Ponty encountered musicians from Africa which music aroused interest. He recorded 'Storytelling' in 1989 in Los Angeles, then moved back to Paris in 1990, there to reside the remainder of his career with another home base in New York. 'Tchokola' went down in 1990/91, an exploration of African rhythms which reached #5 on Billboard's Contemporary Jazz Albums chart. Sometime in 2003 Ponty participated in daughter, Clara Ponty's, 'Mirror of Truth'. Ponty also visited India for the first time in 2003, again in 2004 upon an international tour. 2005 saw him touring with Clarke and banjo virtuoso, Bela Fleck. The next year Ponty took his band around the world to South America, Europe, Russia, the Middle East and India. A reunion concert with Clarke and Di Meola was held in Paris in 2012 at the Chatelet Theatre. 2013 witnessed Jeff Lorber's 'Hacienda' in Los Angeles. Ponty has released an average of nigh one album per year through the decades, not a few of them worth a million copies. Among his latest issues was 'Better Late Than Never' with Yes vocalist, Jon Anderson, recorded in Aspen, Colorado, for release in August 2015. has the AndersonPonty Band performing to as late as May 2016. Others unmentioned with whom he has recorded include Quincy Jones, the European Jazz All Stars and Stan Getz. Per below, all titles are albums unless otherwise indicated.

Jean-Luc Ponty   1964

   Jazz Long Playing

Jean-Luc Ponty   1967

   Sketch Up & Down'er

      Filmed live in Hamburg

Jean-Luc Ponty   1975


Jean-Luc Ponty   1976

   Imaginary Voyage

Jean-Luc Ponty   1977

   Enigmatic Ocean

Jean-Luc Ponty   1978

   Cosmic Messenger

Jean-Luc Ponty   1979


Jean-Luc Ponty   1980

   Civilized Evil

Jean-Luc Ponty   1981

   Mirage/Egocentric Molecules

      Filmed in Brazil

Jean-Luc Ponty   1982

   Live in Montreal

      Filmed concert

   Mystical Adventures

Jean-Luc Ponty   1983

   Computer Incantations for World Peace

      LP: 'Individual Choice'

Jean-Luc Ponty   1988

   Once a Blue Planet

      Filmed in Chile

Jean-Luc Ponty   1989


Jean-Luc Ponty   1991


      LP: 'Tchokola'


      LP: 'Tchokola'

Jean-Luc Ponty   1993

   No Absolute Time

Jean-Luc Ponty   1995

   The Rite Of Strings

      LP with Stanley Clarke & Al Di Meola

Jean-Luc Ponty   1996

   Live at Chene Park

Jean-Luc Ponty   1997

   Live in Warsaw

      Audio of Jazz Jamboree

Jean-Luc Ponty   2001

   Life Enigma

Jean-Luc Ponty   2011


      Filmed live in Chile


  Born in 1947 in Oslo, Norway, composer and guitarist, Terje Rypdal, trained on piano and trumpet as a child, switching to guitar as a teenager. His was a wide range, from classical composition to jazz-rock fusion, with an Impressionistic lean. They might have done belly dances in the Middle East, but with Rypdal one wafts this vaporous existence. He joined a band called the Vanguards in 1961 or '62, that group beginning to issue records in 1963, their first being 'I See You Drafting Glugg' b/w 'Charmaine'. The Vanguards released the album, 'Hjemme Igjen' in 1966. ('Hjemme Igjen' means 'Back Home' or, a cover of 'Homeward Bound', composed by Simon & Garfunkel and issued earlier that year.) Rypdal would appear on several Vanguard releases, including 'Phnooole', issued in 1967. He also recorded with Dream in '67, the album, 'Get Dreamy', limited to 500 editions that year, though that album has seen much later releases. Rypdal's debut name release was 'Bleak House' in 1968. In addition to guitar he played flute and sang lead on all compositions by himself, the album also produced by him. Rypdal entered the studio in April 1969 with George Russell to record tracks for 'Electronic Sonata for Souls Loved by Nature', not released until 1980. In October 1969 Rypdal laid tracks on Jan Garbarek's 'Esoteric Circle', issued that year. Jan Erik Vold's 'Briskeby Blues' had also gone down in October. It was his 1971 album, 'Terje Rypdal', that made his name as a composer and guitarist beyond its eponymous title. Rypdal composed his 'Symphony No 1' in 1975, the year he released his double-sleeve LP, 'Odyssey'. The eighties found him forming the Chasers with bassist, Bjørn Kjellemyr, a trio including Audun Kleive on drums on the Chaser's debut album, 'Chaser'. Rypdal appeared on the first of several albums with Ketil Bjørnstad in 1993: 'Water Stories'. Rypdal also released his classical album, 'Q.E.D.', in 1993. Rypdal's latest release as of this writing is 'Melodic Warrior' in 2013. In addition to above thirty albums as a leader, the numerous others on whose recodrding he can be found include Palle Mikkelborg, Markus Stockhausen, Michael Galasso and Paolo Vinaccia. Rypdal currently resides in Tresfjord, Norway. Per 1968 below, all tracks are from the LP, 'Bleak House'.

Terje Rypdal   1963


      With the Vanguards

  Vanguard Special

      With the Vanguards

Terje Rypdal   1966

  Hjemme Igjen

      With the Vanguards

Terje Rypdal   1967

  Get Dreamy

      Album with Dream

Terje Rypdal   1968

  Bleak House

  Dead Man´s Tale

  A Feeling of Harmony



  Winter Serenade

Terje Rypdal   1973

  Live in France

      Television broadcast


Terje Rypdal   1974

  The Hunt

Terje Rypdal   1975

  Rolling Stone

      Album: 'Odyssey'

Terje Rypdal   1978

   Symphony No 2   Movement 1

      Bergen Philharmonic Orchestra

   Symphony No 2   Movement 4

      Bergen Philharmonic Orchestra

Terje Rypdal   1987

   The Curse

      Album: 'Blue'

   Kompet Gar

      Album: 'Blue'

Terje Rypdal   1995

   Live in Stuttgart

      Filmed live

      Double bass: Miroslav Vitous

      Drums: Trilok Gurtu

Terje Rypdal   2000

   Mystery Man

Terje Rypdal   2010


   Live in Garana

      Filmed live in Romania

   Live in Moscow

      Filmed live in Russia

Terje Rypdal   2014

   Jarasum Jazz Festival

      Filmed live   Piano: Ketil Bjørnstad


Birth of Modern Jazz: Terje Rypdal

Terje Rypdal

Photo: Roberto Masotti/ECM Records

Source: Notes o the Road
Birth of Modern Jazz: Heikki Sarmantot

Heikki Sarmanto

Source: Sarmanto
Born in 1939 in Helsinki, Finland, pianist, Heikki Sarmanto, was a unit of the great jazz awakening in Finland that emerged in the sixties to see its heydays in the seventies. Other nations in that region of the globe had something earlier or about the same time seen a burst of talents arise, to speak of Finland's Scandinavian partners to the west as well as Communist Poland several hundred miles south across the Baltic. Before Sarmanto ran his first big band he studied languages at Helsinki University. In the early sixties he attended the Sibelius Academy, also in Helsinki. He started leading bands in 1962. He also recorded a couple of tracks that year with Esa Pethman that would be released in 1963 on a 7" 45 EP (Scandia SEP 194): 'Al Secco' b/w 'Finnish Schnapps'. Continuing with Pethman, in '65 he surfaced on Pethman's 'The Modern Sound Of Finland'. He was with the Christian Schwindt Quintet in November 1965 for its issue of 'For Friends and Relatives' in '66. He then supported Carola's 'Carola' ('05) in 1966 with Pethman. Like other of his Finnish compatriots, Sarmanto attended the Berklee College of Music in Boston, Massachusetts, studying piano and composition from '68 to '71. His debut LP release, however, was recorded during that period in Jyvaskyla, Finland, in '69 with Pethman and Juhani Aaltonen supporting, for issue that year: 'Flowers In the Water'. That July also saw tracks with Pethman, Aaltonen and Art Farmer toward 'Many Moons - July '69' (Louhi LP 09001) released on an unknown date. It was Farmer again in Finland for 'The 1st Turku Jazz 1970' on April 21, 1970. Pethman and Aaltonen would also support Sarmanto's 'Everything Is It' in September 1972. Farmer and Sarmanto would reunite in 1987 in Helsinki for Aaltonen's, 'Deja Vu'. The same dates wrought vocalist, Taina Lehto's, 'Scene From a Trance'. As for Aaltonen, he and Sarmanto held a tight partnership into the new millennium. In addition to Aaltonen's support of numerous Sarmanto projects, including the UMO Orchestra, they both backed various other operations together through the decades. April 2009 saw their duo, 'Master Improvisers: Live at Steiner School Tampere', followed by 'Conversations' in January 2010. 2013 saw their issue of Sarmanto compositions on Aaltonen's 'Tomorrow Is You'. We back up to June 8, 1971, for Sarmanto's 'Counterbalance', that with a quintet consisting of Aaltonen, Lance Gunderson (guitar), Craig Herndon (drums) and brother, Pekka Sarmanto (bass). That was neither Sarmanto's first nor last with Gunderson or Herndon. As for Pekka, he supported Heikki numerously into the 21st century, including the UMO Orchestra, they also participating in other bands together. They were both members of the Serious Music Ensemble (w Gunderson, Herndon, et al) recording 'A Boston Date' ('08) in December 1970. Come 1971 for 'Like a Fragonard' ('71). 1971/72 witnessed Volumes 1-3 of 'The Helsinki Tapes' ('16). 'New Hope Jazz Mass' ('79) went down in September 1978 (a larger band w Gunderson and Herndon out). Heikki and Pekka later recorded their duo, 'Song for My Brother', in 1982. It had been 1976 that Sarmanto formed the UMO Orchestra (Uuden Musiikin Orkesteri: New Music Orchestra) with Esko Linnavalli conducting. Sarmanto ramrodded the UMO the remainder of his career. That outfit issued its first album in 1976: 'Our Latin Friends'. The UMO would release above forty albums, its latest in 2015: 'Mysterium Magnum'. Highly productive, Sarmanto appeared on above twenty more albums as a leader or collaborator. Among his latest issues was 'Moonflower' in 2008 in a quartet with Gunderson, Herndon and brother, Pekka.

Heikki Sarmanto   1966

   The Flame

      LP: 'Carola & Heikki Sarmanto Trio'

   Helsinki at Noon

      Christian Schwindt Quintet

      LP: 'For Friends and Relatives'

Heikki Sarmanto   1969

   Flowers In the Water

      LP: 'Flowers in the Water'

Heikki Sarmanto   1972

   Marat IV: The Game

      LP: 'Everything Is It'

Heikki Sarmanto   1976


      LP: 'Open Ear'

   The Land That Is Not

      LP: 'Open Ear'

   Shattered Mirrors

      LP: 'Open Ear'

Heikki Sarmanto   1979

   Duke and Trane

      LP: 'New Hope Jazz Mass'

Heikki Sarmanto   1980

   Magic Song

      Vocal: Jeannine Otis

      LP: 'Magic Song'

      Filmed presentation by Heikki Sarmanto

Heikki Sarmanto   2013

   Les Tuileries

      Album: 'Paris Impressions'



  Born in 1947 in Prague, Czechoslovakia, Miroslav Vitouš began to play violin at age six, added piano at age ten and double bass at fourteen. He studied music at Prague Conservatory. In 1962 he formed the Prague Junior Jazz Trio with brother, Andy Vitouš (drums) and keyboardist, Jan Hammer. That trio recorded 'The Evening Hour' 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 vocalist, Vlasta Průchová, and Jan Hammer Sr. contributing scat to 'Čtyři Bratři'. It was Hammer Jr. 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). He and brother, Andy, had also recorded in a trio with Yancy Korossy during that early period, such as 'Humoresque' gone down in 1965, for issue the next year on the album by various, 'International Jazz Festival Praha '65' (Supraphon 15732). In 1966 Hammer won first prize in a competition organized by pianist, Friedrich Gulda, which brought about a scholarship to the Berklee School of Music in Boston. Among his last titles in Europe before leaving for the United States were 'Last Minute Blues' and 'Closer' to be found on 'Internationaler Wettbewerb für Modernen Jazz: Wien 1966 Schlusskonzert Der Preisträger'. Attendance at Berklee found Vitouš present on Berklee's 'Jazz in the Classroom Vol 11' in 1966 and 'Jazz in the Classroom Vol 12' in 1967. Upon leaving Berklee Hammer worked with such as Clark Terry in Chicago and Miles Davis in NYC. His initial commercial recordings after leaving Berklee were in autumn of 1967 for titles toward Donald Byrd's 'The Creeper', that not issued by Blue Note until 1981. Come February of 1968 Vitouš joined Herbie Mann for 'Windows Opened', the first of several LPs for Mann. Keyboardist, Chick Corea, had been in on Byrd's 'The Creeper' above, leading to a trio with Roy Haynes (drums) in three March sessions in 1968 for 'Now He Sings, Now He Sobs', that issued the next December. Future trios with Corea and Haynes would go down in 1981 ('Trio Music'), 1982 ('The Trio: Live from the Country Club'), 1984 ('Trio Music: Live in Europe') and 2001 ('Matrix' included on Corea's 'Rendezvous in New York'). Corea contributed as well to Vitouš' 'Universal Syncopations' in 2003. Another strong presence in Vitouš' career was drummer, Jack DeJohnette, on whose 'The DeJohnette Complex' he participated in December of 1968. DeJohnette and Vitouš' would work together variously with such as Stan Getz, Wayne Shorter, Terje Rypdal and Corea. DeJohnette supported Vitouš debut album, 'Infinite Search', in October 1969 with keyboardist, Herbie Hancock. That album saw reissue in 1972 as 'Mountain in the Clouds' ('The Bass' in Germany) with 'Cérečka' included. DeJohnette and Hancock would also contribute to Vitouš' 'Magical Shepard' in 1976. DeJohnette and Vitouš would reunite as late as 2003 for the latter's 'Universal Syncopations' with Corea above. Highlighting Vitouš' career during the early seventies was the fusion ensemble, Weather Report, of which he was a founding member in 1970 with Joe Zawinul (piano) and Wayne Shorter (saxophone). That group issued its first album, 'Weather Report', in 1971. Vitous last appeared with Weather Report on 'Mysterious Traveller' in 1974, being replaced by Alphonso Johnson who played bass guitar on that album. Vitouš returned to Prague to concentrate on composing in 1988, though traveled back to the States for festivals. Having released more than fifteen albums as a leader, his latest was 'Ziljabu Nights: Live at Theater Gütersloh' in 2016. Among the host of others on whose recordings Vitouš can be found are Roy Ayers, Steve Marcus, Larry Coryell and Quatre.

The Junior Trio   1964

   Čtyři Bratři

      With Vlasta Průchová & Jan Hammer Sr.

   The Man I Love

      With Vlasta Průchová

   Večerní hodinka

Miroslav Vitouš   1968

  By the Time I Get to Phoenix

      Herbie Mann album: 'Windows Opened'


      Herbie Mann album: 'Windows Opened'

  If I Were a Carpenter

      Herbie Mann album: 'Windows Opened'


      Chick Corea album:

      'Now He Sings,Now He Sobs'

  Now He Sings,Now He Sobs

      Chick Corea album:

      'Now He Sings,Now He Sobs'

Miroslav Vitouš   1969

  Infinite Search


Miroslav Vitouš   1970


      Album: 'Purple'


      Album: 'Purple'

Miroslav Vitouš   1971

  NDR Jazz Workshop

      Filmed live

Miroslav Vitouš   1976

  Tiger in the Rain

      Album: 'Miroslav'

Miroslav Vitouš   1981

  The Creeper

      Donald Byrd LP: 'The Creeper'

      Recorded October 1967

  Woodstock Jazz Festival

      Filmed concert

Miroslav Vitouš   2013

  Jarasum Jazz Festival

      Filmed live

Miroslav Vitouš   2015

  Gone with Water

      Filmed live at the Mozaic Jazz Festival

     Piano: Emil Viklicky


      Filmed live at the Mozaic Jazz Festival

     Piano: Emil Viklicky


Birth of Modern Jazz: Miroslav Vitous

Miroslav Vitous

Source: Black Music Promotion
  Born in 1943 in Straconka, Poland, vocalist, Urszula Dudziak, was among a field of Polish jazz artists emerging in the sixties who would put Poland on the map of jazz as a notable producer of fine talent. Dudziak played piano as a child, but records by Ella Fitzgerald persuaded her to take up singing in the latter fifties. Add Fitzgerald's scat singing, Yoko Ono, Manhattan Transfer and Laurie Anderson's later electronic experiments to blends of jazz-rock fusion and one comes to a loose approximation of Dudziak's approach to music. Lord's disco estimates she recorded the song, 'Ulice Wielkich Miast', as early as 1963 with the Hybrydy (Hybryans, Hypbrids). The Hybrydy were the band of the Student Hybrid Club founded by attendees of Warsaw University. That is thought to have been the first student nightclub to manifest after World War II. An anthology of the Hybrid Club and the Hybryans was issued in 2002 on 4 CDs packaged as 'Hybrydy 1957-2002', 'Ulice Wielkich Miast' included. On May 27, 1964, Dudziak recorded a coupe duets with vocalist, Frederic Elkana, presumed issued that year on an EP per Muza N-0317: 'Bei mir bist du schon' and 'Too close for comfort'. Those are thought her first with future husband, violinist, Michał Urbaniak, in 1965. They performed in Scandinavia in Urbaniak's electric jazz bands, Dudziak later appearing on 'Urbaniak's Orchestra' in 1968, contributing voice. Dudziak performed percussion and/or vocals on six Urbaniak releases from 'Paratyphus B' to 'Super Constellation' before they left for the United States in September 1973. In the meantime Dudziak's first name album had appeared in 1972, a suite of duets with Adam Makowicz: 'Newborn Light'. Dudziak's first recordings upon arrival to New York City were on October 17 for Arif Mardin's 'Journey': 'A Sunday Afternoon Feeling' and 'Theme from Bang the Drum Slowly'. 'Strollin' and 'Forms' were added from sessions in May of 1974. From 'Atma' in June of 1974 to 'Milky Way' in 1987 Urbaniak employed Dudziak on no less than fourteen albums (including 'Smiles Ahead' in '12 compiled from titles in '76 and '77). Urbaniak supported Dudziak on titles from 1974 to 1982 toward six of her albums. First issued was 'Urszula' in 1975. The last was 'And Life Goes On...' in 2002, a Dudziak compilation. 1980 had witnessed them starring in the documentary film, 'Papaya: czyli skąd się biorą dziewczynki'. (Dudziak would appear in twelve more documentaries into the new millennium.) 1984 saw Dudziak with Urbaniak contributing titles to Randy Bermen's 'Music For Planets, People and Washing Machines'. July of 1988 found them participating in 'Tribute to Gil' with the Gil Evans ghost orchestra. Dudziak and Urbaniak divorced on an unknown date thought no later than 1989. She remarried in 1993 to one Captain Benght Dahllof. Two daughters had resulted of her wedding to Urbaniak: Mika, a (rap) singer, and Kasia, a sculptress. 'Życie Pisane Na Orkiestrę' ('01) was a tripartite enterprise between Dudziak, Urbaniak and Mika. Dudziak and Urbaniak also contributed to Wojtek Goral's 'Acid Duck' 2001. (Dudziak also participated in Goral's 'No Exit' in 2005, Urbaniak out.) Six of Urbaniak's compositions were used on Dudziak's 'Live: Super Band at Jazz Cafe' gone down in May of 2008, no less than three of those arranged by Jan Smoczyński. Urbaniak further appeared as late as 2013 on Dudziak's latest album, 'Wszystko Gra', session date unknown for 'Let's Have a Good Time'. Having led or co-led about twenty albums, among her most popular songs was 'Papaya' co-written with Urbaniak, renditions appearing on 'Urszula' ('75), 'Ulla' ('82), 'Magic Lady' ('89), 'Forever Green - Zawsze Zielona' ('08) and 'Live: Super Band at Jazz Cafe' ('09). 2009 saw Dudziak honored with Poland's Knight's Cross, Order of Polonia Restituta. March of 2011 saw the issue of her memoir, 'Wyśpiewam wam wszystko' ('I'll sing everything for you'). Others unmentioned with whom Dudziak recorded through the years include Larry Coryell, Bob Kindred, Walk Away, Chico Freeman, the Vienna Art Orchestra, Grazyna Auguscik and Christoph Spendel. Dudziak has otherwise done enormously well for herself over the years, success bringing ownership of apartment buildings in Manhattan, Sweden and Warsaw. Having been based in NYC most of her career, she currently continues her career in Warsaw since her return there by at least 2008.

Urszula Dudziak   1963

   Ulice wielkich miast

      Recorded 1963   Issued 2002

Urszula Dudziak   1972


      LP: 'Newborn Light'

      With Adam Makowicz

Urszula Dudziak   1975


      Also issued on 'Urszula'

Urszula Dudziak   1977

   Night In Tunesia

      LP: 'Midnight Rain'

Urszula Dudziak   1978

   Heritage   Side 1

      Album by Fusion (Michal Urbaniak)

   Heritage   Side 2

      Album by Fusion (Michal Urbaniak)

Urszula Dudziak   1991

   Warsaw Jamboree Jazz Festival

      Filmed live

Urszula Dudziak   1998

   Healer Joe

      Filmed live

Urszula Dudziak   2013

   Song for S

      LP: ' Wszystko Gra'

   Turkish Mazurka

      Filmed live

   Wookies Walk

      Music video

Urszula Dudziak   2014


      Filmed live

      With the Ula Dudziak Superband


Birth of Modern Jazz: Urszula Dudziak

Urszula Dudziak

Source: Kayax Music
  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. Though he left Japan to live in New York City in 1975 Hino continued performing in his homeland throughout his career. But a few among the numerous on whose recordings he can be found are Sadao Watanabe, Masabumi 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 latest those issued in 2011: 'After Shock' and the soundtrack, 'Hakuchuu No Shuugeki'. Lord's disco has him recording as recently as 2016 for pianist, Fumio Karashima's, 'My Favorite Things'.

Terumasa Hino   1967

  Alone, Alone and Alone

      LP: 'Alone, Alone and Alone'


      LP: 'Alone, Alone and Alone'

Terumasa Hino   1968

  Feelin' Good


Terumasa Hino   1973

  Be and Know

      LP: 'Live!'

Terumasa Hino   1979

  Hino's Reggae

      LP: 'City Connection'

  Send Me Your Feelings

      LP: 'City Connection'

Terumasa Hino   1980


      LP: 'Daydream'

  Going for Gold

      LP: 'Daydream'

  This Planet Is Ours

      LP: 'Hip Seagull'

Terumasa Hino   1989

  Sweet Love of Mine

      LP: 'Bluestruck'

Terumasa Hino   1992


      Filmed live

      Original composition: Miles Davis

Terumasa Hino   1999

  Round Midnight

      Filmed live

Terumasa Hino   2000

  Into Heaven

      LP: 'Into Heaven'

  I Remember Clifford

      LP: 'Transfusion'


Birth of Modern Jazz: Terusama Hino

Terusama Hino

Source: Smashing Mag
  Born in Rio de Janeiro, Brazil, in 1942, Jewish vocalist, Flora Purim, recorded the bossa nova album, 'Flora é M.P.M.', in 1964. She would leave Brazil with her husband, percussionist, Airto Moreira, in 1967. The pair had met in 1965 and, like not a few Brazilian musicians, found the military regime, resultant of the coup of '64, oppressive. Unlike other Brazilian musicians, they didn't return to Brazil except in concert. They had first headed to New York City, moving to Los Angeles the next year in 1968. Though Purim and Moreira both led their own careers they were largely a partnership such that to say the one was oft to include the other. Purim's initial recordings in the States were four titles with Stan Getz on February 12, 1969, to be included on 'Major Generals. It was pianist, Duke Pearson, on 'How Insensitive' per May of 1969, thought to be Moreira's first vinyl with her as well. On April 10 of 1970 she recorded tracks included on Pearson's 'It Could Only Happen With You' (Moreira out). She then toured Europe with Gil Evans and appeared on the 1970 releases of Hermeto Pascoal's 'Hermeto' and Moreira's 'Natural Feelings'. 1971 saw the birth of Purim's daughter, Diana Booker. She also recorded on unknown dates that year with Gil Evans ('Where Flamingos Fly' '81) and Moreira ('Seeds On the Ground - The Natural Sounds of Airto'). We skip ahead through sessions with Moreira and Chick Corea to Purim's participation in Cannonball Adderley's 'The Happy People', that with pianist, George Duke, among Purim's more important associates through the years. Duke would support Purim on nine albums from her second, 'Butterfly Dreams', laid out in December of 1973 to 'Midnight Sun' in 1988. Purim contributed to vocals on four Duke issues from 'Feel' in 1974 to 'If You Will' on Duke's 'Cool' in 2000. Returning to Adderley in 1972, we fly past Corea's 'Light As a Feather' and Moreira's 'Fingers' to Purim's 'Butterfly Dreams' again in 1973, Moreira participating. Between the two of them, Moreira and Purim 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 return to 1973 for Purim's appearance on Santana's 'Welcome', 1974 for Santana's 'Borboletta'. Carlos Santana also backed Purim on 'Silver Word', found on her album, 'Stories to Tell'. Purim spent latter '74 to early '76 in prison at Terminal Island, Los Angeles, for cocaine possession. 1981 saw her contributing to the soundtrack of 'Sharkey's Machine'. 1982/83 witnessed participation in 'Däfos' with Moreira and Grateful Dead drummer, Micky Hart. June of 1989 found Purim participating in 'Live at the Royal Festival Hall' with Dizzy Gillespie and the United Nation Orchestra. That won a Grammy. It was Gillespie's 'Rhythmstick' the same month back in New Jersey for CTI. Come Gillespie's 'Strangers in Paradise' in October 1990 in Belgrade, Yugoslavia. The next year she surfaced Micky Hart's 'Planet Drum' which also scored a Grammy. Purim has been four-time recipient of 'Down Beat' magazine's Best Female Jazz Vocalist, as well as the Brazilian Order of Rio Branco in 2002. A practitioner of the Bahá'í Faith (as was Gillespie), an interview with 'Americas' magazine in 2001 finds Purim commenting that her favorite albums were 'Miles Ahead' (Miles Davis/Gil Evans) and 'Blow by Blow' (Jeff Beck). Among Purim's most recent issues in the 21st century were 'Speak No Evil' in 2003 and 'Flora's Song' in 2005. Per above, Faye Miravite's 'La Brezza' followed as late as 2008 with Moreira. Others with whom Purim has recorded include Joe Sample, Patrice Fisher, Mark Egan, David Friesen‎, Ivo Perelman, Ricardo Silveira, Juan Martin and Gary Meek. Purim's career heavy with international dates, she yet actively tours as of this writing. Per below, all tracks are collaborations with Airto Moreira except for years 1964 and 1989. More Purim under Moreira.

Flora Purim   1964

   Flora é M.P.M.


Flora Purim   1976

   Open Your Eyes, You Can Fly


   That's What She Said


Flora Purim   1979

   Carry On Side A


   Carry On Side B


Flora Purim   1982


      Filmed live

Flora Purim   1986

   Live on Ohne Filter

      Television broadcast

   The Magicians


Flora Purim   1988

   Live In São Paulo

      Filmed concert

Flora Purim   1989

   Waiting For Angela

      Album: 'Rhythm Stick'

Flora Purim   2005

   Angel's Angels

      Album: 'Flora's Song'


Birth of Modern Jazz: Flora Purim

Flora Purim

Source: Discogs
  Born in 1940 in Stuttgart, Germany, double bassist, Eberhard Weber, was among the more remarkable musicians in the history of jazz, known for designing his own electric double bass. He began with cello at age six, moving onward to double bass at age sixteen. Lord's disco finds him recording with the Modern Jazz Crew in Stuttgart in 1963 per an occult Jazzpoint 1006, issue known: 'My Funny Valentine', 'Thilo's Theme', 'St. Tropez Waltz' and 'Passacaglia '63'. The Modern Jazz Crew recorded 'St. Tropez Waltz' in Dusselldorf in October 1963, issued that year on the album by various, '9. Deutsches Amateur-Jazz-Festival Düsseldorf 1963'. Come Joki Freund's 'Yogi Jazz' in November of '63 with keyboardist, Wolfgang Dauner. It was April 2, 1964, when Weber backed Dauner's 'Piano X 4' with Freund (also sax) and Charly Antolini (drums). Come Dauner's 'Dream Talk' in September 1964 in a trio w Fred Braceful (drums). We pass through several more sessions with Dauner to George Gruntz' 'Noon in Tunisia' in June of 1967 and Freund's 'Amerika (Europa ?) Ich Rede Dich An!' in Cologne in July. Come American pianist, Hampton Hawes', 'Hamp's Piano' in November. It was Brazilian guitarist, Baden Powell's, 'Poema on Guitar' three days later on the 11th. We skip ahead a bit to Weber's debut solo LP, 'The Colours of Chloë', gone down in December 1973. He then formed the quintet, Colours, with which he toured the States thrice in the seventies. That ensemble consisted of Charlie Mariano (soprano sax and flute) Rainer Bruninghaus (piano and synthesizer), Jon Christensen (drums) and John Marshall (drums and percussion). Among titles Colours documented were 'Yellow Fields' in September 1975, 'Silent Feet' in November 1977 and 'Little Movements' in July 1980, all compiled on 'Colours' in 2009. Mariano and Weber were also members of the United Jazz & Rock Ensemble, spreading six albums from 'Live Im Schutzenhaus' in January 1977 to 'Round Seven' in February 1987. Weber had also supported Mariano's 'Some Kind of Changes' in 1972. As for Bruninghaus, he and Weber had gone back to June 1, 1973, for guitarist, Volker Kriegel's, 'Spectrum', that found on the album by various, 'Heidelberger Jazz Tage '73 Live'. Bruninghaus and Weber will have partnered in multiple groups together, particularly those of Jan Garbarek, Bruninghaus also supporting future Weber projects to as late 'Stages of a Long Journey' in March 2005. Concerning Christensen, Lord's disco lists their fist mutual session in December 1974 for Ralph Towners 'Solstice'. Along with Towner they also participated in a few sessions for Garbarek from 'Photo With Blue Sky, White Clouds, Wires, Windows & a Red Roof' in December 1978 to 'Paths, Prints' in December 1981. Addressing John Marshall per above with Colours, he and Weber had gone back to March 1972 for Volker Kriegel's 'Inside: Missing Link', also Weber's first with Kriegel. Kriegel would a strong presence along Weber's path for the next fifteen years. Weber supported six more Kriegel albums from 'Lift' in March 1973 to 'Schone Aussichten' in summer 1983. Weber had also sided Kriegel's 'Electric Blue' on the album by various 'NDR Jazzworkshop '73'. Along their way they partnered in numerous other enterprises, particularly the United Jazz & Rock Ensemble with which they held their last mutual session together in 1985 for titles toward drummer, Jon Hiseman's, 'Ganz Schön Heiss, Man!'. We return to Towner's 'Solstice' per above with Christensen in December 1974, Garbarek contributing sax and flute to that quartet. Garbarek would be one of the more important figures in Weber's career into the new millennium. Following another session with Towner for 'Sound and Shadows' in February 1977, Weber contributed to ten Garbarek albums from 'Photo With Blue Sky, White Clouds, Wires, Windows & a Red Roof' in December 1978 to 'Rites' in March 1988. Along with other titles for Garbarek the latter participated in four albums by Weber from 'Chorus' in September 1984 to 'Stages of a Long Journey' in March 2005, 'Résumé' issued in 2012 and 'Hommage a Eberhard Weber' in January 2015. As for 'Résumé', Weber had endured a stroke in 2007 that left him unable to perform. Titles were originally bass solos recorded 1990-2007, later embellished by Garbarek and Michael DiPasqua (percussion). 'Hommage a Eberhard Weber' (75th birthday celebration) was created the same way (constructed around earlier bass solos) on a greater scale. Weber's 'Encore', issued in January 2015 four months before 'Hommage a Eberhard Weber' in April, had also been manufactured from bass solos earlier performed between 1990 and 2007, 'Encore' embellished by flugelhorn played by Ack van Rooyen ('Colours of Chloe'). During the early seventies Weber had had his electric double bass fitted with an additional string, followed by yet another in the late seventies. In 1982 he released the first of several albums with vocalist, Kate Bush, 'The Dreaming'. Due to Weber's stroke his last issue on which he concurrently performed had been 'Stages of a Long Journey' in 2007, recorded at the Theaterhaus in Stuttgart, Germany, in March 2005. Among the host of others on whose albums Weber can be found are Lucky Thompson, Horst Jankowski, Ernest Ranglin, the German Jazz Masters, Andreas Georgiou and Simone Guiducci. Per 1967 below, all tracks are from the Wolfgang Dauner album, 'Free Action', excepting 'Hamp's Blues'.

Eberhard Weber   1960


      Album 'Dream Talk'

      Drums: Fred Braceful

      Piano: Wolfgang Dauner

Eberhard Weber   1967


   Free Action Shot

   Hamp's Blues

      Piano: Hampton Hawes

   My Spanish Disguise

   Sketch Up and Downer

Eberhard Weber   1974

   The Colours of Chloë

      Album: 'The Colours of Chloë'

   No Motion Picture

      Album: 'The Colours of Chloë'

Eberhard Weber   1976

   The Following Morning

      Album: 'The Following Morning'

   T. on a White Horse

      Album: 'The Following Morning'


      Album: 'Yellow Fields'

Eberhard Weber   1977


      Gary Burton album 'Passengers'

Eberhard Weber   1978

   Silent Feet

      Album: 'Silent Feet'

Eberhard Weber   1979

   Live in San Francisco

      Great American Music Hall

  Quiet Departure

      Album: 'Fluid Rustle'

Eberhard Weber   1982

   Death in the Carwash

      Album: 'Later That Evening'


      Album: 'Later That Evening'

Eberhard Weber   1989


      Filmed live

      Theaterhaus, Stuttgart, Germany

Eberhard Weber   1993


      Album: 'Pendulum'

Eberhard Weber   2007

   Why Not Brazilian

      Solo fimed live in Budapest


Birth of Modern Jazz: Eberhard Weber 

Eberhard Weber

Source: Musica en Espiral
Birth of Modern Jazz: Juhani Aaltonen

Juhani Aaltonen

Source: Jazzrytmit
Born in 1935 in Kouvola, Finland, Juhani Aaltonen, 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. Along the way Sarmanto supported Aaltonen's 'Deja Vu' with trumpeter, Art Farmer, in latter 1987. 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 at least fifteen albums, Aaltonen's latest was in 2015 with Iro Haarla at piano and harp for 'Kirkastus'. 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).

Juhani Aaltonen   1971

   Beat Bolero

      With Paroni Paakkunainen

Juhani Aaltonen   1973

   After Pam-Pam

      Peter Brotzmann LP: 'Hot Lotta'


      Peter Brotzmann LP: 'Hot Lotta'

   Suite 19

      Eero Koivistoinen LP: 'Wahoo!'

Juhani Aaltonen   1974


      LP: 'Etiquette'

Juhani Aaltonen   1977


      LP: 'Springbird'

Juhani Aaltonen   1982

   Live at Groovy


   Round About Midnight

      Filmed with Dizzy Gillespie

Juhani Aaltonen   2003

   Nature Boy

      LP: 'Mother Tongue'


      LP: 'Mother Tongue'

Juhani Aaltonen   2009

   Shimmer of Fallen Stars

      LP: 'Conclusions'

Juhani Aaltonen   2015

   Live with Risto Vuolanne

      Filmed live


  Born in 1937 in Göttingen, Germany, 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'. His 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). Having issued well above fifty name albums, Hampel's latest per this writing was 'Evolution: After the Future' in 2015. Hampel is yet active and tours internationally. Per below, Hampel plays vibes and reeds such as bass clarinet and flute on the majority of tracks.

Gunter Hampel   1965


      Album: 'Heartplants'

   No Arrows

      Album: 'Heartplants'

   Without Me

      Album: 'Heartplants'

Gunter Hampel   1966


      Album: 'Music From Europe'

   Make Love Not War to Everybody

      Album: 'Music From Europe'

Gunter Hampel   1969

   The Capacity of This Room


     'Gunter Hampel Group + Jeanne Lee''

Gunter Hampel   1972


      Album   Side A

      With Anthony Braxton & Jeanne Lee


      Album   Side B

      With Anthony Braxton & Jeanne Lee

   Live in Berlin

      Filmed live

Gunter Hampel   1978

   And Then They Embraced

      Album: 'Reeds 'n Vibes'


      Album: 'Reeds 'n Vibes'

Gunter Hampel   1982


      Album: 'Cavana'

   Serenade for Marion Brown

      Album: 'Cavana'


Birth of Modern Jazz: Gunter Hampe

Gunter Hampel

Source: Bimhuis
Birth of Modern Jazz: Sven-Åke Johansson

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). Discogs has Johansson leading or co-leading perhaps fifty albums to as late as the 2017 issue of 'Neuköllner Modelle: Sektion 3-7' with Schlippenbach, Joel Grip (bass) and Bertrand Denzler (sax). Johansson has also published poetry and texts, and has exhibited as a painter. Biographical accounts of Johansson are brief but for discography. Documentary portraits, however, have been issued on DVD in 2013 and 2015 titled 'Film I' and 'Film II'.

Sven-Åke Johansson   1967

  For Adolphe Sax


      Peter Brötzmann Trio

Sven-Åke Johansson   1968

  Machine Gun

      Peter Brotzman album: 'Machine Gun'

      Percussion shared with Han Bennink

Sven-Åke Johansson   1974


      Original release date undetermined

Sven-Åke Johansson   2010

  MM Schäumend

      Filmed live in Berlin

Sven-Åke Johansson   2012

  Live in Berlin

      Piano: August Rosebaum

      Saxophone: Lars Greve 

        Filmed live

   Live in Berlin

      Duet with Burkhard Beins

      Filmed live

Sven-Åke Johansson   2014

  CTM Festival Berlin

      Solo filmed live


  Born in 1940 in Poland, composer/pianist, Adam Makowicz, is among those fine musicians who put Poland on the map of jazz in the sixties. Though he had no great audience in the States, he would become one of Europe's most highly regarded talents, easy to hear why. Makowicz was at a great disadvantage, however, as jazz was frowned upon in Poland, being a member of the Communist Soviet Bloc from 1945 to 1989. Makowicz studied at the Chopin Conservatory of Music in Kraków, then faced some lean years as a touring jazz performer. In 1962 he joined Tomasz Stanko's Jazz Darlings. The next year he began a decade with the Andrzej Kurylewicz's Kwartet. No earlier recordings are known by Makowicz than with the AM Trio (Adam Makowicz Trio) and the NOVI Singers in 1965 at the 15th International Amateur Jazz Festival in Zurich, Switzerland, for the Exlibris label, neither title(s) nor issue known. (NOVI = New Original Vocal Instruments.) That same year compositions by Bernard Kawka got issued on 'Christine' (Polskie Nagrania Muza N 0369) with the NOVI Singers, Zbigniew Namysłowski (alto sax) and Czesław Bartkowski (drums). Six sessions would be held with the NOVI Singers to 'Torpedo' in January '67 in Warsaw (per Makowicz). Come Lucky Thompson in October of 1969 for 'Body and Soul' (Muza 0563) before hooking up with Michał Urbaniak three days later on the 19th for 'Who Can I Turn To?' and 'Misty' (Muza 0579). Makowicz has him participating in seven more sessions for Urbaniak to May of 1973 at the Warsaw Philharmonic for 'Constellation in Concert'. In the meantime his duo with Urszula Dudziak (voice) had gone down on November 13, 1972 (per Lord's disco). His album, 'Unit', ensued in 1973. 'Live Embers' was strung in February 1975. 'Piano Vistas Unlimited' was taped in January of 1977, 'Winter Flowers' in February. Makiwicz then visited the United States on the first of multiple occasions in 1977, performing with various orchestras at various venues such as Carnegie Hall and the Kennedy Centre. While in the States he recorded the album, 'Adam' ('78), several later albums also sessioned in the States. Having worked as both a classical and jazz musician, Makowicz has issued nearly forty albums. Among his latest was 'Indigo Bliss' in 2007. Having settled in Toronto, Ontario, in the new millennium, Makowicz is yet active as of this writing. Among numerous others with whom he has recorded are Zbigniew Namyslowski, Mercer Ellington, Bob Kindred and James Morrison.

Adam Makowicz   1968

  Secret Life

      Novi Quartet LP: 'Novi In Wonderland'

Adam Makowicz   1972


      LP: 'Newborn Light'

      Vocal: Urszula Dudziak

Adam Makowicz   1973



Adam Makowicz   1976


      With Tomasz Stanko

Adam Makowicz   1977

  Zimní Kvety ('Winter Flowers')


Adam Makowicz   1982


      LP: 'Classic Jazz Duets'

      Bass: George Mraz

Adam Makowicz   1989

  Jazz Jamboree


Adam Makowicz   1994

  Round Midnight

      LP: 'The Solo Album: Adam in Stockholm'

Adam Makowicz   2010


      LP: 'A Tribute to Art Tatum'

  Jazz Jamboree

      Filmed live

Adam Makowicz   Unknown

  Just One of Those Things

      Filmed live


Birth of Modern Jazz: Adam Makowicz

Adam Makowicz

Source: Toronto Jazz
  Born in 1944 in Pisek in what is now the Czech Republic, double bassist, George Mraz (also Jiri), was one of the more important musicians to emerge out Czechoslovakia during the sixties. He began training at age seven on violin, shifted toward jazz in high school, then entered the Prague Conservatory in 1961 to study bass violin. While there a student, Mraz fell in with multi-instrumentalist, Karel Velebny, who ran the SHQ (Spejbl and Huvínek Quintet), what would become one of Czechoslovakia's more significant jazz ensembles. Mraz is thought to have been attending Prague Conservatory when he first recorded with Velebny in Pague in November of 1964: 'SHQ A Prátelé', also issued as '[S+H] Q + Friends' in 1965 by Supraphon. Those were uncredited tracks A2, A3, B2 and B3. April of 1966 in Prague found Mraz on titles for the All Stars per 'Československý Jazz 1966' issued the next year. May of '66 in Vienna found him contributing to 'Wrap Your Troubles In Dreams' found on 'Internationaler Wettbewerb Für Modernen Jazz: Wien 1966 Schlusskonzert Der Preisträger'. September of '66 saw him in Prague with Jazzoví Sólisté for the remainder of the tracks on 'Československý Jazz 1966' above. Having graduated from Prague Conservatory in 1966 Mraz worked in Germany for a time. He was in Hans Koller's Big Band for 'New York City' in Villingen on January 18, 1968. He was in Zurich on February 19, 1968, for Peirre Fauvre's 'Hinten' to later get included on 'Jazz in Switzerland 1930-1975' in 1997. A couple live sets went down in Munich at the Domicile in August of 1968. The first was on the 10th in the Jan Hammer Trio with Cees See (drums) for 'Malma Maliny'. 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.) Ten days later on the 20th Czechoslovakia was invaded per the Warsaw Pact (Soviet Union and allies, East Germany, Bulgaria, Hungary and Poland). Eleven days after that on the 31st it was the Jan Hammer Trio also featuring Olaf Kubler on sax for 'Turtles'.
Having won a scholarship to the Berklee College Of Music in Boston, Mraz then traveled to the United States that year. While at Berklee he participated in 'Jazz in the Classroom Volume 12 - Jazz Internationale', sheet music for which Berklee had copyrighted in 1970. He had apparently returned to the Domicile in September of 1969 to put down 'The Happy Life of Pony' with another Jan Hammer Trio, now supporting saxophonist, Pony Poindexter. While studying at Berklee, Mraz performed at Lennie's on the Turnpike and the Jazz Workshop, clubs where such as Clark Terry, Herbie Hancock, Joe Williams and Carmen McRae passed through. He would later record with both Terry and McRae. In 1969 he worked briefly with Dizzy Gillespie in New York City, with whom he would later record a few albums in the nineties. Come unissued titles with the Heikki Sarmanto Quintet in Boston on September 18, 1970. Mraz then toured with Oscar Peterson for a couple years. Sessions good for six albums went down from 'Walking the Line' and 'Another Day' in Villingen in November 1970 to 'In Concert' in Nice on July 22, 1971. Mraz would join the Oscar Peterson Trio again on February 14, 1973, for a few titles included on 'The History of an Artist' ('74). It was 'Zoot Sims & the Gershwin Brothers' on June 6, 1975, featuring compositions by George and Ira Gershwin. Rewinding to September 1, 1972, it was on that date that Mraz joined Thad Jones and Mel Lewis for a couple titles included on 'Suite for Pops' ('75). Mraz would perform with the Thad Jones/Mel Lewis Orchestra through five more albums to January 8 and 10, 1978, for 'New Life'. Along the way they had recorded 'You Made Me Love You' in Tokyo in a quartet with Gregory Herbert (tenor sax) on November 14, 1975. Mraz would join Jones again in a quintet for Kenny Drew's 'Lite Flite' on February 6, 1977. It was Bob Brookmeyer's quintet for 'Back Again' in May 1978. As for Lewis, along with the Thad Jones/Mel Lewis Orchestra they had partnered in other ensembles together, such as Stephane Grappelli's in September 1973 and Junko Mine's in November 1975. After 'Back Again' per above in 1978 Lewis and Mraz joined the Warne Marsh Quartet with Hank Jones (piano) in August 1982 for 'Star Highs'. It was the Jimmy Knepper Quntet in April 1986 for 'Dream Dancing'. It was titles toward Greg Marvin's 'I'll Get By' in March 1987. Having mentioned Jimmy Knepper, it's well to return to September 1, 1972, for 'Suite for Pops' with Jones and Lewis above, three others in that session to become major figures in Mraz' career, those being Knepper (trombone), Pepper Adams (clarinet) and Sir Roland Hanna (piano). Along with working with the Thad Jones/Mel Lewis Orchestra together Mraz provided bass on Knepper's 'Cunningbird' in November 1976, 'I Dream Too Much' in 1984 and 'Dream Dancing in April 1986. Along the way Knepper and Mraz had partnered on titles for Charles Mingus and Don Friedman. As for Adams, along with working together with the Thad Jones/Mel Lewis Orchestra Mraz supported five of Adams' albums from 'Ephemera' in September 1973 to 'Urban Dreams' in September 1981. Along the way they had partnered on titles for Frank Foster, Mingus and Friedman. As for Hanna, he and Mraz nigh cleared the same path through the Thad Jones/Mel Lewis Orchestra as well as multitudinous operations along the way and thereafter from such as Grappelli, Adams and Knepper to Benny Carter and Nancy Harrow. They also led or co-led some twelve albums together, the majority duos, form '1 X 1' in March 1974 to 'Milano, Paris, New York' in 2002 in a trio with Lewis Nash (drums). Mraz had also performed in Hanna's New York Jazz Quartet, five albums going down from 'Surge' in February 1977 to 'The New York Jazz Quartet in Chicago' in July 1981. We slide back to saxophonist, Zoot Sims, in 1973 for 'Zoot Suite'. Seven more albums for Sims followed from 'Zoot Sims & the Gershwin Brothers' in June 1975 to 'Suddenly It's Spring' in May 1983. In latter 1973 Mraz had held his first session with pianist, Hank Jones, that for Bobby Hackett and Vic Dickenson's 'At the Royal Box'. Jones and Mraz partnered on occasion through the years in support of various others, such as Chris Connor. Come the Great Jazz Trio in November 1991 with Roy Haynes (drums) for 'Flowers for Lady Day: Tribute to Billie Holiday'. Come a trio with Elvin Jones in February 1993 for 'Upon Reflection'. Five more albums ensued with Jones to 'Live from Prague Castle' in July 2009 with drummer, Willie Jones III. Slipping back to October 22, 1974, it was Stan Getz' 'Lover Man' in Milan, Italy. Mraz would contribute to nine more albums by Getz to 'Bossas and Ballads: The Lost Sessions' ('03) in Hollywood in March 1989. 'Lover Man' is thought to have been Mraz' initial session with drummer, Billy Hart. Mraz and Hart collaborated in numerous ensembles throughout the years from Derek Smith and Nick Brignola to Richie Beirach and the Vladimir Shafranov Trio. Along the way Mraz joined the Billy Hart Trio in 1978 with Walter Bishop Jr. Come Mraz' 'My Foolish Heart' and 'Jazz' in 1995, and 'Morava' in June 2000. Lord's disco has Hart and Mraz together to as late as May 2014 for Yelena Eckemoff's 'A Touch of Radiance'. We fall back to February 4, 1977, for Mraz first session with pianist, Tommy Flanagan, that a trio with Elvin Jones (drums) for 'Eclypso'. Along with supporting other enterprises through the years, such as Scott Hamilton's and Jon Hendricks', Mraz participated in nine more of Flanagan's albums from 'Plays the Music of Harold Arlen' in 1978 to 'Beyond The Bluebird' in April 1990. Lord's disco finds them together a last time in the Attila Zoller Trio on January 7, 1998, for a few titles issued in 2005 on 'The Last Recordings' (Enja Records 9349 2). We return to July 28, 1977, for Art Peppers 'Thursday Night at the Village Vanguard'. Three more albums followed to 'Live at Fat Tuesday's' in 1981. A couple titles in April 1982, 'Landslide' and 'Mambo Koyama', saw issue much later on 'The Art History Project: Unreleased Art Vol IV' in 2003. Mraz is thought to have held his first session with guitarist, John Abercrombie, in 1974 for Horace Arnold's 'Tales of the Exonerated Flea'. Mraz later contributed to six albums by Abercrombie from 'Arcade' ('79) to 'Farewell' ('93). Mraz appeared on six projects by Toshiko Akiyoshi from 'Time Stream' in 1984 to '50th Anniversary Concert in Japan' in November 2006. Tenor saxophonist, Joe Lovano, was a strong presence in Mraz' latter career. Mraz contributed to Lovano's 'Celebrating Sinatra' in June 1996, 'I'm All For You: Ballad Songbook' in June 2003 and 'Joyous Encounter' in September 2004. They had both contributed to 'Secret Ellington' ('02) and Jim Hall's 'Grand Slam' gone down in January 2000. 'Classic! Live at Newport' ('16) went down in 2005. Come 2007 for the PBS documentary soundtrack, 'Billy Strayhorn: Lush Life'. As for Mraz' own recordings, not counting titles as a co-leader with Sir Roland Hanna, Lord's disco has Mraz leading fourteen albums from 'Plucking & Bowing' in 1978 in a trio with Tom Garvin (piano) and Peter Donald (drums) to 'Together Again' in Munich in 2013, that a duo with Emil Viklicky (piano). Approaching 500 sessions during his career, among the host of others unmentioned with whom Mraz collaborated were Art Taylor (drums), Tete Montoliuu (piano), Jimmy Raney (guitar) and Allan Botschinsky (flugelhorn). Discogs shows Mraz' most recent recordings with Najponk (piano) and Matt Fishwick (drums) in Prague for 'Final Touch of Jazz' on June 1, 2014.

George Mraz   1970


      Oscar Peterson Trio

George Mraz   1976


      Piano: Roland Hanna

George Mraz   1982

  Live in Amsterdam

      NOS Radio broadcast

George Mraz   1994

  Recorda Me

      Filmed with the Joe Henderson Quartet

George Mraz   1995

  Cinema Paradiso (Love Theme)

      LP: 'Jazz'

  His Dreams

      Filmed live at the Spectrum Montreal

      Drums: Al Foster

      Tenor sax: Joe Lovano

  Hues Blues

      LP: 'Hues of Blues'

  My Foolish Heart


      LP: 'Hues of Blues'

George Mraz   2005

  Alone Together

      Drums: Billy Drummond

      Piano: David Hazeltine

George Mraz   2008

  Alone Together

      Ted Rosenthal Trio

George Mraz   2009

  Hamp's Blues

      Drums: Martin Šulc

      Piano: Najponk

George Mraz   2011

  Beautiful Love

      Filmed with the Libor Smoldas Quartet

George Mraz   2014

  A Delicate Balance

      Filmed live with Bill Charlap


      LP: 'Together Again'

      Piano: Emil Viklický


Birth of Modern Jazz: George Mraz

George Mraz

Photo: John Abbott

Source: All Music
  Born in 1938 in Berlin, composer, Alexander von Schlippenbach, began piano training at age eight. He was studying under Bernd Alois Zimmermann in Cologne when he there joined Gunter Hampel's outfit in 1963. His first vinyl is thought to have been with Hampel on the album, 'Heartplants', recorded in January of 1965 in Villingen. Schlippenbach is thought to have begun his tenure with Manfred Schoof in '64 while yet studying at the State College für Musik. In May of 1966 he participated in Schoof's quintet in Frankfurt toward 'Free at the German Jazz Festival 1966' ('16). His first issue with Schoof was 'Voices' ('66) recorded the next day. Schoof would be a principal figure throughout Schlippenbach's career into the new millennium. Among future Schoof titles to which Schlippenbach contributed were 'The Early Quintet' ('78) in Munich in December 1966 and 'European Echoes' ('69) in Bremen in June 1969. Schoof participated in Schlippenbach's first LP as a leader and conductor in Cologne in December 1966, that per 'Globe Unity'. Issued by the Saba label, that contained two tracks: 'Globe Unity' and 'Sun'. Schoof hung with Schlippenbach's Globe Unity Orchestra (GUO) to as late as January 1979 for 'Compositions'. They reunited in Cologne on May 27, 1997, for Gunter Hampel''s 'Legendary'. Lord's disco shows Schoof reuniting with Schlippenbach for 'Globe Unity 2002', 'Globe Unity - 40 Years' in 2006 and 'Blue Hawk' in 2010. Schlippenbach will have issued well above ten LPs with the Globe Unity Orchestra through the years. Another of the major figures in Schlippenbach's career was accordionist and drummer, Sven-Åke Johansson, who had been part of the crew for Schoof's 'The Early Quintet' ('78) in 1966 above. He then joined Schlippenbach's GUO for 'Globe Unity 67' found on 'Globe Unity 67 & 70' ('01). Johansson would be a member of numerous of Schlippenbach's smaller configurations, Schlippenbach also supporting projects by Johansson. Their initial duo was 'Live at the Latin Quarter' in Berlin on April 15, 1976. It was another duo for 'King Bore' in Stockholm in November 1976. 'Drive was a duo in November 1979. Come 'Kalfaktor A. Falke und Andere Lieder' in March 1982. ''Blind Aber Hungrig - Norddeutsche Gesänge'' was a duo as well in June 1984. Schlippenbach had contributed to Johansson's 'Idylle und Katastrophen' in Hamburg in November 1979. They also collaborated on 'Night and Day' in June 1984, '... Über Ursache Und Wirkung Der Meinungsverschiedenheiten Beim Turmbau Zu Babel' in November 1986 and 'Versuch der Rekonstruktion einer Vergangenen Zeit' in August 1990. Come May 1992 for 'Night and Day Plays Them All'. Johansson and Schlippenbach recorded together to as late as 'Smack Up Again' ('97) in May 1994. We return to April 24, 1969, in Cologne for Von Schlippenbach's 'The Living Music', that his first issue as a leader apart from the GUO. Schlippenbach strung his first suite of piano solos, 'Payan', in Munich on February 4, 1972. His next session in spring 1972 was his first of some twenty albums with the Alexander (Von) Schlippenbach Trio: 'First Recordings', that with Evan Parker (sax) and Paul Lovens (drums). Lovens and Schlippenbach may have gone back to Schoof's recording of 'Compositions' (Zimmermann) 'Bernd Alois Zimmermann: Die Befristeten / Improvisationen / Tratto' (Heliodor 2549 005). Discogs wants to dance with that, placing Jaki Liebezeit at drums instead. If Discogs is right, then Lovens' first session for Schlippenbach may not have been until a Schlippenbach trio sometime in 1970 with Michel Pilz (baritone clarinet) for 'Yarruk' issued on a compilation of various, 'Remembering '70' (JG 24/25), on an unidentified date. Lovens would be Schlippenbach's drummer at shotgun through ensembles small and orchestras larger (Globe Unity) into the 21st century. Above four decades later they performed their most recent of numerable issues on October 16, 2015, yet again with Parker: 'Warsaw Concert'. As for Parker, he had been in the crew for Manfred Schoof's 'European Echoes' above in 1969. Like Lovens, Parker collaborated with Schlippenbach through ensembles small and larger (Globe Unity) to 'Warsaw Concert' above in 2015. Another of Schlippenbach's more important associates was pianist, Aki Takase (also wife), they recording their first duet together in June of 1988 for 'Fictitious Paragon' to be found on the album by various, ''Int. JazzFestival Münster' ('90 per TUTU 888 110). Takase would participate in Schlippenbach's Berlin Contemporary Jazz Orchestra, they also partnering Monk's Casino in 2004 and Free Zone Appleby in 2006. Takase and Schlippenbach collaborated on six more albums together from 'Piano Duets - Live in Berlin 93/94' ('95) to Schlippenbach's latest studio endeavor in June 2014 for 'So Long, Eric!: Homage to Eric Dolphy'. Another important drummer to populate Schlippenbach's sphere was Paul Lytton, their initial session together thought to have been March 29, 1990, for 'Trend' on Mario Schiano's 'Unlike'. Their next session was for 'i2 X 3 = 5' on August 26, 1999, with Parker, Lovens and Barry Guy (bass). Lytton participated in several albums with both the GUO and trios with Parker to as late as 'Globe Unity - 40 Years'. Well to mention Schlippenbach's founding of the Berlin Contemporary Jazz Orchestra, conducting, performing piano and arranging. 'Berlin Contemporary Jazz Orchestra' was recorded in Berlin in May 1989. Come 'The Morlocks and Other Pieces' in July 1993. 'Live In Japan '96' went down in Tokyo in July and August. Into the new millennium, Schlippenbach contributed to 'Red Dahla Sextet' in September 19, 2011, and 'Intricacies' ('15) on February 24, 2014. Not counting 'Warsaaw Concert' with the Schlippenbach Trio, Schlippenbach's latest title, 'Jazz Now', went down live Gutersloh, Germany, on October 3, 2015. He yet tours Europe as of this writing.

Alexander von Schlippenbach   1965


      Gunter Hampel album: 'Heartplants'

  Without Me

      Gunter Hampel album: 'Heartplants'

Alexander von Schlippenbach   1966


      Album by Manfred Schoof

Alexander von Schlippenbach   1967

  Globe Unity


Alexander von Schlippenbach   1969


      Album: 'The Living Music'

Alexander von Schlippenbach   1970

  Drunken in the Morning Sunrise

      Globe Unity Orchestra

      Filmed live

  Live in Frankfurt

      Album: 'The Living Music'


      Globe Unity Orchestra

      Filmed live

Alexander von Schlippenbach   1972

  Pakistani Pomade

      Album: 'Pakistani Pomade'


      Album: 'Payan'

  Sun Luck Night Rain

      Album: 'Pakistani Pomade'

Alexander von Schlippenbach   1981

  Fra di Moi

      Album: 'Detto fra di noi'

Alexander von Schlippenbach   1996

  'Round about Midnight

      Album: 'Schlippenbach Plays Monk'

Alexander von Schlippenbach   1998

  Live in Atlanta

      Filmed live

Alexander von Schlippenbach   2005

  BemshaSwing/52nd Street Theme

      Album: 'Monk's Casino'


      Album: 'Monk's Casino'

Alexander von Schlippenbach   2006

  K 2

      Album: 'Twelve Tone Tales Vol 1'

Alexander von Schlippenbach   2007

  The Forge

      Album: 'Globe Unity - 40 Years'

  Live in Netherlands



Birth of Modern Jazz: Barre Phillips

Alexander von Schlippenbach

Source: Discogs
Birth of Modern Jazz: Tomasz Stanko

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, 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. Having released well above forty albums as a leader or co-leader, among his latest per this writing were 'Polin' in 2014 and 'December Avenue' in June 2016. 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. Per 2006 below, tracks are from the LP, 'Lontano'. Per 2009 below, tracks are from 'Dark Eyes'.

Tomasz Stanko   1966


      Album by Krzysztof Komeda

Tomasz Stanko   1970

  Music for K

      LP: 'Music for K'

Tomasz Stanko   1975



Tomasz Stanko   1976

  Live in Helsinki

      Filmed live

      Bass: Pekka Sarmanto

      Drums: Edward Vesala

      Sax: Tomasz Szukalski

Tomasz Stanko   1997




      LP: 'Litania'

Tomasz Stanko   2001



Tomasz Stanko   2004

  Suspended Variation II

      LP: 'Suspended Night'

Tomasz Stanko   2005

  Jazz Baltica

      Filmed live

Tomasz Stanko   2006


  Lontano III

  Song for Ania

Tomasz Stanko   2009

   Grand Central

   So Nice

   Terminal 7

Tomasz Stanko   2012

  Live at Club Jazz L'F

      Filmed in Dinant, Belgique


      Filmed in Gdansk, Poland


Birth of Modern Jazz: Bobo Stenson

Bobo Stenson

Photo: Heiko Purnhagen

Source: Alchetron
Born in 1944 in Västerås, Sweden, pianist, Bobo Stenson (Bo Gustaf Stenson) began performing professionally in Västerås before leaving for Stockholm in 1963, there to join both local jazz musicians and those passing through on tour from America and other parts of Europe. He's listed in a couple discographies with Van Alexander in Hollywood in the early sixties, which is either an error or a different Bobo Stenson. Lord's disco finds Stenson as early as April 3, 1964, for Borje Fredriksson's 'Blues for Ann-Katrin'. Come January 26, 1965, for 'Amandas Villa'. Those didn't see release until 'Fredriksson Special' (Dragon Records 167) in 1988. On April 22 of 1965 it was Gunnar Fors' 'Half and Half' getting issued on 'Watch Out!: Svensk Jazzhistoria Vol 10 - Swedish Jazz 1965 - 1969' in 2005 and 'Gone With The Wind' (Olof Bright ‎37-38) in 2015. Come May of '65 it was several titles toward Fredriksson's 'Progressive Movements' in 1996. Stenson then left the snow banks of Sweden for Paris, there to gig briefly in Montparnasse before joining German vibraphone player, Gunter Hampel, at the Paris Blue Note, and American saxophonist, Andrew White III, at the Chat Qui Pêche [see Laila och Charles Gavatins Stiftelse]. Not until touring Germany with Hampel and vocalist, Inge Brandenburg, did Stenson record to timely issue, that in early November 1965 in Berlin for Brandenburg's album, 'It's Alright with Me', thought released the same year. Also supporting Brandenburg had been Victor Kaihatu (bass) and Pierre Courbois (drums). Stenson continued with Fredriksson to as late as September 16, 1967, for titles toward 'Börje Fredriksson' ('69). Also included on that album were titles recorded with Palle Danielsson (drums) on August 31, 1966. Danielsson and Stenson would travel into the new millennium frequently seen in numerous operations from Jan Allan in 1969 through such as Opposite Corner, Rena Rama and Jan Garbarek to Ulf Adaker, they last listed in Lord's disco for the latter's 'Miles by Five' in summer of 2007. Along the way Stenson had supported Danielsson's 'Club Jazz 5' on April 6, 1971. Well to return to November 26, 1968, for Red Mitchell who had moved to Stockholm that year, they recording 'Pojken i grottan' on that date in a trio with Rune Carlsson (drums). That would see release on 'Watch Out!: Svensk Jazzhistoria Vol 10 - Swedish Jazz 1965 - 1969' in 2005. Stenson commenced 1969 on January 21 in Sundsvall, Sweden, for Gunnar Lindgren's 'Improvisationer Över Ett Tema Tillägnat Josef Suk', found on Watch Out!: Svensk Jazzhistoria Vol 10 - Swedish Jazz 1965 - 1969' in 2005. Stenson's first session in Paris arrived on February 21, 1969, with Mitchell in another trio with Carlsson for 'One Long String'. Come September of 1969 for Stenson's first mutual session with an another important drummer, Jon Christensen, that toward trumpeter, Jan Allan's, 'Jan Allan-70' (also issued on 'Jan Allan with Music by Nils Lindgren' in 1970). Christensen and Stenson partnered off and on into the nineties both supporting other bands, particularly those of Jan Garbarek and Lars Danielsson, and recording albums in trios, the first of which was Stenson's debut LP in Oslo, Norway, in May of 1971 with Arild Andersen (bass): 'Underwear'. Three more followed with Anders Jormin (bass) from 'Reflections' in May 1993 to 'War Orphans' in May 1997 to 'Serenity' in April 1999. Well to insert Jan Garbarek here, he and Stenson having supported various from Jan Erik Vold's 'Hav' in September 1970 through Popofoni, George Russell and Terje Rypdal to Vold again for 'Ingentings Bjeller' in  September 1977. Along the way Stenson contributed to Garbarek's 'Sart' in April 1971, 'Witchi-Tai-To' in November 1973 and 'Dansere' in November 1975 in a quartet with Palle Danielsson and Christensen. As indicated above, Stenson recorded his first name LP, 'Underwear', in his Trio in May 1971 with Andersen and Christensen. Come his suite of piano solos, 'The Sounds Around the House', in May 1983. 'Very Early' was a trio in December 1986 with Anders Jormin and Rune Carlsson. We skip back to the early seventies for Rena Rama, a quartet with Lennart Aberg (sax/flute) its other constant member, that group good for nine issues from 'Jazz I Sverige '73' gone down in March that year to 'Rena Rama with Marilyn Mazur' in January 1989. 'The Astonished Doormet' had gone down in December 1982 for issue on the album by various, 'Bratislava Jazz Days 1982', in 1984. The latter seventies saw Stenson's first session with trumpeter, Ulf Adaker, they supporting Lennart Aberg's 'Partial Solar Eclipse' in September 1977. Lord's disco discovers Stenson participating in five albums by Adaker from 'Chordeography' in March 1986 to 'Miles by Five' in May 2007. They had also contributed to Per Tjernberg's 'Inside Information' in September 2006. We swing back to May 1984 for double bassist, Anders Jormin's, 'Nordic Light'. Jormin would be a major presence in Stenson's career into the 21st century. Jormin was a member of Rena Rama, they also supporting numerous other groups together, such as Charles Lloyd's. Along the way arrived Jormin's 'Eight Pieces' in March 1988. They also recorded seven albums as a trio from 'Very Early' in December 1986 to 'Indicum' in latter 2011. As for Lloyd, Stenson performed on five of his albums from 'Fish Out of Water' in July 1989 to 'Canto' in December 1996. He contributed to four albums by trumpeter, Tomasz Stanko, from 'Bossanova and Other Ballads' in spring of 1993 to 'Litania: Music of Krzysztof Komeda' in 2007. Among Stenson's most recent recordings was for Azerbaijani saxophonist, Rain Sultanov's, 'Ache In My Soul', issued on 'Live' in 2013. Among the vast host of others Stenson supported through the years were Rebop Kwaku Baah, Bo Nilsson, Trine-Lise Vaering and Epilogue.

Bobo Stenson   1965


      Album: 'It's Alright with Me'

      With Inge Brandenburg

Bobo Stenson   1971

  Live in Norway

      Filmed live

      Bass: Arild Andersen

      Drums: Jon Christensen

      Sax: Sonny Rollins

  Song of Space

      Jan Garbarek album: 'Sart'

Bobo Stenson   1973


      Jan Garbarek album: 'Witchi-Tai-To'

Bobo Stenson   1987

  Moon and Sand

      Bass: Andres Jormin

      Drums: Rune Carlsson

Bobo Stenson   1992


      Album: 'Reflections'

      Bass: Anders Jormin

      Drums: Jon Christensen

Bobo Stenson   1997

  Oleo de Mujer con Sombrero

      'Oil of Woman with Hat''

      Album: 'War Orphans'

Bobo Stenson   2000

  The Long Way Home

      Album: 'Serenity'


      Album: 'Serenity'

Bobo Stenson   2005

  Song About Earth

      Bass: Anders Jormin

      Drums: Paul Motian

Bobo Stenson   2009

  Live in the Forest

      Swedish television Veckans Konsert

Bobo Stenson   2010

  Live In Madrid

      Bass: Anders Jormin

      Drums: Jon Fält


Birth of Modern Jazz: Jacques Coursil

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 isn't thought to have issued 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. He has since issued 'Clameurs' ('07), 'Trails of Tears' ('10) and 'FreeJazzArt' ('14), the latter with bassist, Alan Silva. Regardless of Coursil's small catalogue he is recognized as among the globe's top trumpeters, having placed greater emphasis upon perfecting his craft than recording.

Jacques Coursil   1966


      LP: 'Sunny Murray'

Jacques Coursil   1969

   Way Ahead


Jacques Coursil   2005

   Second Fanfare

      LP: 'Minimal Brass'

Jacques Coursil   2006

   L'un et le multiple

      Rocé LP: 'Identité En Crescendo'

Jacques Coursil   2011

   Glissant 2

      Filmed with Alan Sila (bass)

   The Removal   Act 1

      LP: 'Trails of Tears'

Jacques Coursil   2014

   Brooklyn Bridge, the Metal and the Wind 5

      LP: 'FreeJazzArt'


Birth of Modern Jazz: Jan Garbarek

Jan Garbarek

Source: tekstowo
Born in 1947 in Mysen, Norway, saxophonist, Jan Garbarek, 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. 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). In 1974 Garbarek and Jarrett co-led 'Belonging' and 'Luminessence'. 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. 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 quite active touring. Per 1979 below, the complete title of the album is 'Photo with Blue Sky, White Cloud, Wires, Windows and a Red Roof'.

Jan Garbarek   1966

   Dearly Beloved

      With Karin Krog

      Alt take   First release unknown

Jan Garbarek   1967

   Freedom Jazz Dance

      Album: 'Til Vigdis'

   Mr. J.C.

      Album: 'Til Vigdis'

   Til Vigdis

      Album: 'Til Vigdis'

Jan Garbarek   1970

   Afric Pepperbird

      Album: 'Afric Pepperbird'

Jan Garbarek   1971

   Song of Space

      Album: 'Sart'

Jan Garbarek   1973


      Album: 'Witchi-Tai-To'

Jan Garbarek   1977


      Album: 'Dis'

Jan Garbarek   1979

   Kiel 1979

      Ball Pompoes in Kiel, Germany

      NDR Jazz Workshop

      Released 2011?


      Album: 'Photo . . . Red Roof'

Jan Garbarek   1980


      Album by Charlie Haden

Jan Garbarek   1991

   Live in Hamburg

      Filmed concert

Jan Garbarek   1992

   Ragas and Sagas

      Album with Ustad Fateh Ali Khan

Jan Garbarek   1994



Jan Garbarek   1996

   Evening Land

      Album: 'Visible World'

      Vocal: Mari Boine

Jan Garbarek   2004


      Album: 'In Praise of Dreams'

   In Praise of Dreams

      Album: 'In Praise of Dreams'


Birth of Modern Jazz: Michael Mantler

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 1967 to 1992, 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. Mantler is yet active performing in Europe.

Michael Mantler   1966

  Communications No 5

      Album: 'Communication'

      The Jazz Composer's Orchestra

  Jazz Realities

      Album with Carla Bley

Michael Mantler   1968

  Communications No 9

      Album: 'The Jazz Composer's Orchestra'

  Communications No 11

      Album: 'The Jazz Composer's Orchestra'


      Album: 'The Jazz Composer's Orchestra'

Michael Mantler   1975


      Album: '13 & 3/4'

      Piano: Carla Bley

Michael Mantler   1976

  The Doubtful Guest

      Album: 'The Hapless Child'

  The Hapless Child

      Album: 'The Hapless Child'

Michael Mantler   1978




Birth of Modern Jazz: John McLaughlin

John McLaughlin

Source: Wikimedia Commons
Born in 1942 in Doncaster, West Riding of Yorkshire, John McLaughlin had a concert violinist for a mother. He studied violin and piano as a child, switching to guitar at age eleven. He left Yorkshire for London in the early sixties where he was soon performing with Alexis Korner and Georgie Fame. John McLaughlin first recorded in 1963 with the Graham Bond Organization consisting of Jack Bruce and Ginger Baker. Those tracks weren't released, though, until 1971 ('Solid Bond') and 2012 ('Wade in the Water'). He is thought to have recorded with the Rolling Stones in 1964, appearing on the Stones' album, 'Metamorphosis', in 1975. Meeting Duffy Power via Graham Bond, in 1965 and '66, McLaughlin laid numerous tracks with him. The first to appear on vinyl were on the album, 'Innovations', in 1971. Other '65 recordings with Power are found on 'Just Stay Blue' ('98), 'Leapers & Sleepers' ('02) and 'Vampers & Champers' ('02 'Innovations' + 'Little Girl'). McLaughlin's recording of 'Hound Dog' with Power in November of '66 saw release the next January. Also in '65 and '66 McLaughlin recorded with Herbie Goins & the Night-Timers. His debut appearance on vinyl is thought to have been with that band in July 1966, appearing on 'Cruisin', the B side of 'No.1 In Your Heart'. McLaughlin next saw issue in December of '66, appearing on 'Own Up', an album by the vocal duet, Twice As Much, consisting of Dave Skinner and Andrew Rose. Come a trio with Danny Thompson (bass) and Tony Roberts (sax/reeds) on February 13, 1967 for BBC, getting released in 1999 by What Disc? as 'Live 1967'. It was the BBC Jazz Club in London circa May 15, '67, for tracks with organist, Mike Carr, 'Bells Blues' to get released on the later compilation, 'Bebop from the East Coast 1960/1962' ('96) by Birdland. Gordon Beck's 'Experiments with Pops' went down on December 7 of '67 for issue in January 1968, McLaughlin appearing on several tracks. Others with whom McLaughlin recorded from '66 to '68 were Howie Blake, Pete Brown and Bob Cornford. 1968 found him participating in titles for Kenny Wheeler ('Windmill Tilter: The Story of Don Quixote'), Jack Bruce ('Things We Like'), Carla Bley ('Escalator Over the Hill')and Sandy Brown (''Hair' at it's hairiest'). It was January 18 of 1969 that McLaughlin recorded his debut album in London, 'Extrapolation', released in '69 in the UK, 1972 in the States. The next month on February 18 of 1969 he contributed to Miles Davis' 'In a Silent Way' in NYC, released in July of '69. McLaughlin had only just immigrated to the United States. Davis would be among the more important figures in McLaughlin's career into the seventies, reuniting in the eighties and nineties. McLaughlin would participate in at least ten more of Davis' albums to 'On the Corner in June of 1972. Reuniting in latter 1984, among resultant titles was Davis' 'Colors' in early 1985. A reunion in Paris in 1991 witnessed the unissued compositions, 'Katia' and 'Jean Pierre'. Working with Davis meant close associations with several figures of pronounced importance in McLaughlin's career. Such was true per the rest of the crew for 'In a Silent Way' above in 1969: Wayne Shorter (soprano sax), Chick Corea (electric piano), Herbie Hancock (electric piano), Joe Zawinul (organ), Dave Holland (bass) and Tony Williams (drums). McLaughlin and Corea; worked with Davis together through 'On the Corner' above in 1972. They also partnered in the support of other ensembles such Shorter's, Joe Farrell's, Stanley Clarke's and Miroslav Vitouš'. Come January of 1978 Corea participated in 'Do You Hear the Voices That You Left Behind?', that found on McLaughlin's 'Electric Guitarist'. Their duet, 'Beautiful Love', went down at the Montreux Jazz Festival in Switzerland in July 1982, getting issued in the box set of 5 CDs, 'Music Forever & Beyond: The Selected Works of Chick Corea 1964-1996'. Their reunion in 2008 for 'Five Peace Band Live' included Hancock who had also worked with Davis through 'On the Corner' above in 1972. Along the way they supported Miroslav Vitouš' 'Infinite Search' on October 8 of 1969. McLaughlin participated in Hancock's 'Round Midnight' in July 1985. They reunited for 'Turn Out the Stars' at Carnegie Hall on April 6, 1994. As for Holland, he and McLaughlin had held their first mutual session in March 1968 for Kenny Wheeler's 'Windmill Tilter' mentioned above. Holland and McLaughlin traveled through Davis together to June 4, 1970, for titles that would see issue as the fifth disc of 'The Complete Jack Johnson Sessions' issued in 2003. They also partnered on albums by Wayne Shorter and Joe Farrell. Titles with Davis in Paris in 1991 went unissued. As for Shorter, he traveled through Davis with McLaughlin to March 17, 1970, for two takes of 'Duran' to see issue on 'Directions' in '71. Along the way McLaughlin provided guitar on Shorter's 'Super Nova' on August 29, 1969. 'Moto Grosso Feio' followed on April 3, 1970. A reunion with Davis in Paris in 1991 went unissued. As for Tony Williams, McLaughlin was his guest on 'Emergency!' in May 1969, 'Turn It Over' and 'Tony Williams Lifetime' in 1970, and 'Lifetime' in 1972. In 1978 they formed a trio with Jack Bruce to spread 'Are You The One? Are You The One?', issued on McLaughlin's 'Electric Guitarist'. On March 3 of 1979 it was the Trio of Doom in Havana, Cuba, with bassist, Jaco Pastorius. Five days later it was the same trio for 'Havana Jam' in NYC. Lord's disco has McLaughlin and Williams together as late as April 1980 for 'Friendship' on Stanley Clarke's 'Fuse One'. Other important associates resultant of McLaughlin's early period with Davis were Jack DeJohnette (drums), Billy Cobham (drums) and Airto Moreira (percussion). DeJohnette had joined Davis in time for titles toward 'Bitches Brew' on August 19 of 1969. In addition to traveling through Davis together, DeJohnette and McLaughlin partnered in other ensembles, such as Miroslav Vitouš'. January of 1978 saw DeJohnette participating McLaughlin's 'Electric Guitarist'. Cobham had hooked up with Davis in time for 'Big Fun' on November 19 of 1969. Along with working with Davis together Cobham and McLaughlin partnered in other ensembles, like Larry Coryell's and Vitouš'. Cobham backed McLaughlin on numerous titles from March of 1971 for 'Peace 1' and 'Peace 2' included on McLaughlin's 'My Goal's Beyond' to 'Mahavishnu' in the second incarnation of McLaughlin's Mahavishnu Orchestra in 1984 with saxophonist, Bill Evans. Airto Moreira had also joined Davis in time for 'Big Fun' in 1969 above with Cobham. Along with working with Davis together Moreira had partnered with Cobham in 1971 for McLaughlin's 'Peace 1' and 'Peace 2' per above. In 1971 McLaughlin formed the Mahavishnu Orchestra, a jazz-rock fusion affair, with Cobham its original drummer. The first of several albums released by that operation was 'The Inner Mounting Flame' in 1971. Five followed (one live) to 'Inner Worlds' in France in 1975 before its disbanding. Two more albums of titles from 1973 with Cobham yet in the group saw issue in 1999 and 2003: 'The Lost Trident Sessions' and 'Unreleased Tracks from Between Nothingness & Eternity'. McLaughlin resurrected the Mahavishnu Orchestra in 1984 per above with Cobham and Evans, that to record 'Mahavishnu'. Cobham was replaced by Danny Gottlieb for 'Adventures in Radioland' issued in 1987. The same month as 'Inner Worlds' had been recorded per above, July 1975, McLaughlin held the first session by his new formation, Shakti, with Indian violinist, Lakshminarayana Shankar, and tabla player, Zakir Hussain. Three albums with that ensemble resulted: 'Shakti with John McLaughlin' ('76), 'A Handful of Beauty' ('76) and 'Natural Elements' ('77). Along the way McLaughlin had participated in Hussain's 'Making Music' in Oslo, Norway, in December 1976 with Hariprasad Chaurasia (flute) and Jan Garbarek (sax). Shankar also participated in McLaughlin's One Truth Band in 1978 for 'Electric Dreams'. Among future titles by McLaughlin to which Hussain contributed were 'The Promise' (session date unknown for 'The Wish'), 'Remember Shakti' in 1997, 'Remember Shakti: The Believer' in 1999, 'Remember Shakti: Saturday Night in Bombay' in 2000 and 'Industrial Zen' in 2005-06. The same year McLaughlin formed Shakti ('75) he had appeared on Stanley Clarke's 'Journey to Love'. It was Clarke's 'School Days' in 1976. 'Live' wasn't issued until 1991. In 1979 McLaughlin formed the Guitar Trio with Larry Coryell and flamenco guitarist, Paco de Lucía, 'Castro Marin' going down in 1980. Coryell was replaced by Al Di Meola on December 5, 1980, for 'Friday Night in San Francisco' at the Warfield Theatre. Live titles were also recorded on the 6th: 'Meeting of the Spirits' and 'Splendido Sundance'. Recorded later that month in Tokyo were 'Convite', 'Palenque' and 'Huida'. 'Passion, Grace and Fire' went down in 1982. 'El Ciego' of unknown session date was included on McLaughlin's 'The Promise' issued on December 21, 1995, per Wikipedia. 'Guitars' got strung by the same trio in the summer of 1996. De Lucía had also participated in McLaughlin's 'Belo Horizonte' in Paris in 1981. (As for Di Meola, the first sessions of his career weren't held until 1974, making him too late for the span of these histories.) McLaughlin formed another trio with Trilok Gurtu (percussion) and Kai Eckhardt (electric bass) for 'Live at the Royal Festival Hall' on September 27, 1989. Into the new millennium McLaughlin released 'Thieves and Poets' in 2003, a score for ballet. He's recorded and toured variously since then, yet active to this date. Lord's disco lists him as late as March 2015 for 'Black Light'. Among others unmentioned with whom McLaughlin had collaborated along a path well exceeding 210 sessions were Jimi Hendrix ('69), Santana, Gil Evans, Ithamara Koorax and Gary Husband.

John McLaughlin   1963

  The Grass Is Greener

      Graham Bond album: 'Solid Bond'

      Not released until 1971

  Untitled Abbey Road Blues

      Not released until 2012

      CD box set: 'Wade In The Water'

John McLaughlin   1964

  Heart Of Stone

      Rolling Stones album: 'Metamorphosis'

      Uncredited session player

       Regent Sound Studios

      Guitar: Jimmy Page

      Released 1975

   Some Things Just Stick In Your Mind

      Rolling Stones album: 'Metamorphosis'

      Uncredited session player

      Regent Sound Studios

      Released 1975

John McLaughlin   1966


      With Herbie Goins

John McLaughlin   1967


      With Duffy Powers

John McLaughlin   1968

  Up Up and Away

      Gordon Beck album: 'Experiments With Pops's

John McLaughlin   1969



  Title undetermined

      Probably released 1983

      Guitar: Jimi Hendrix

     Bass: Dave Holland   Drums: Buddy Miles

John McLaughlin   1973

  Birds of Fire


   Carlos Santana - John McLaughlin

      Live at the Chicago Ampitheatre

John McLaughlin   1975

  Visions of the Emerald Beyond


John McLaughlin   1976

  Shakti with John McLaughlin


John McLaughlin   1979

  Electric Dreams


John McLaughlin   1981

  Friday Night in San Francisco


      Trio with Paco de Lucia & Al Di Meola


      Filmed live

John McLaughlin   1992

  Jazzgipfel Stuttgart

      Filmed live

      Trio with Trilok Gurtu & Dominique Di Piazza


Birth of Modern Jazz: Airto Moreira

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. 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. Among the host of others on whose recordings Moreira can be found through well above 370 sessions are Johnny Hammond Smith, Al Di Meola and Silvana Malta. He is found on titles as recently as 2012 per Anne Sajdera's 'Azul'. 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. Moreira is yet active as ever, his base of operations long since in Los Angeles. 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

  Quarteto Novo

      Album by Quarteto Novo

Airto Moreira   1970

  Natural Feelings


Airto Moreira   1971

  Seeds On the Ground


Airto Moreira   1973



Airto Moreira   1974

  Virgin Land


Airto Moreira   1977

  The Happy People

      LP: 'I'm Fine, How Are You'

Airto Moreira   1979

  Partido Alto

      LP: 'Touching You...Touching Me'

Airto Moreira   1984

  Misa Espiritual

      Filmed live

Airto Moreira   1996

  Magic of Drums

      Filmed live

Airto Moreira   2003

  Modern Drummer Festival

      Filmed live

Airto Moreira   2009

  Black Sea Jazz Festival

      Filmed live

Airto Moreira   2014


      Filmed with Eyedentity & Diane Moreira


Birth of Modern Jazz: Aldo Romano

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 oeuvres 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. Amidst the host of others on whose albums Romano can be found are Steve Kuhn, Total Issue, Philip Catherine, Charlie Mariano and Susanna Bartilla. Yet active, Romano currently divides his time between France and Italy playing in a quartet.

Aldo Romano   1966


      Steve Lacy album: 'Disposibility'


      Movements 1 & 2   Togetherness One

      Album: 'Togetherness'

      With Gato Barbieri & Don Cherry


      Movement 5   Togetherness Two

      Album: 'Togetherness'

      With Gato Barbieri & Don Cherry

  Tune 2

      Steve Lacy album: 'Disposibility'

Aldo Romano   1979

  Il Camino

      Album: 'Il Piacere'

Aldo Romano   1993


      Album: 'Non Dimenticar'

  Resta Cu' Mme

      Album: 'Non Dimenticar'

Aldo Romano   1995


      Album: 'Carnet de Routes'

Aldo Romano   2000

  Soweto Sorrow

      INA Archive (France)

Aldo Romano   2014

  Live in Paris

      Filmed live with Darryl Hall

      Piano: Baptiste Trotignon

      Trumpet: Enrico Rava


  Born Alan Treadwell da Silva in 1939 in Bermuda, free jazz double bassist, Alan Silva, was taken to New York at age five where he was raised in Harlem. He studied with Donald Byrd in the fifties, also attending Columbia University. He had begun playing trumpet before switching to upright bass. Lord's disco has him as early as April 3, 1964, with the Free Form Improvisation Ensemble for 'Eat Eat'. ''Free Form Composition 1-3' followed in December at Judson Hall. All four above titles got issued in 1998 on 'The Free Form Improvisation Ensemble' (Cadence Jazz Records 1094). That ensemble had consisted of Jon Winter (flute), Gary William Friedman (alto sax), Burton Greene (piano) and Clarence Walker (percussion). During that period Silva joined Bill Dixon's October Revolution in Jazz in 1964 at the Cellar Cafe in Manhattan. Dixon had put together the October Revolution to promote free form jazz. Silva wrapped up 1964 on December 30 and 31 in Sun Ra's Arkestra for titles to get issued on Pharoah Sanders' 'In the Beginning 1963 - 1964' in 2012. Among those were four tracks that saw issue in 1976 on 'Sun Ra and His Arkestra: Featuring Pharoah Sanders / Featuring Black Harold' (El Saturn Records 165). Silva apparently made a couple private recordings in March of 1966 with Dixon and vocalist, Judith Dunn. Those were 'Motorcycle' and 'Groundspeed', never issued. He did surface that year, however, on Cecil Taylor's 'Unit Structures', recorded on May 19. His next session on July 23, 1966, was an important one insofar as it was for trumpeter, Sunny Murray, those titles eventually issued in 2004 (per allmusic) on 'Sunny Murray' (ESP-Disk 1032). Lord's disco has Silva providing rhythm on five more Murray issues from 'Big Chief' taped in Paris in January 1969 to 'Aigu-Grave' in Paris in April 1979. Along the way they were recorded at the Newport Jazz Fest on July 3, 1969 (Wolfgang's Vault 290). Murray and Silva also partnered in other bands, their last session of that period thought to have been at Fat Tuesday's in NYC in February 1980 for Cecil Taylor's 'It Is in the Brewing Luminous'. They reunited on May 12, 2001, for trumpeter, Itaru Oki's, 'Paris-Ohrai', that with Michel Pilz (bass clarinet). Come June 7, 2002, for tracks 6 and 7 of Murray's 'Perles Noires Vol I'. Lord's has them together a last time in May 2007 for 'The Removal (Act I)' on Jacques Coursil's 'Trails of Tears' ('05). We back up to October 1968 for Silva's 'Skillfulness' with Dave Burrell at piano and organ. Burrell and Silva were frequent partners for the next couple years. Along with supporting other operations (Archie Shepp's, Grachan Moncur III's) they participated in each other's projects. August 13 of 1969 saw Burrell's 'Echoes' go down. It was Burrell's 'After Love' in Paris in December 1970. Burrell contributed to Silva's 'Luna Surface' on August 17, 1969. Come 'Seasons' in December 1970. They reunited in 2004 with Murray per above for 'Perles Noires Vol I'. Another of the more important pianists along Silva's path was Bobby Few for whom we return to December 29, 1970, for Silva's 'Seasons' per above with Burrell. Together with supporting Frank Wright on multiple albums before Murray's ''Aigu-Grave' in 1979, they recorded Few's 'More Or Less Few' in November 1973 in a trio with Muhammad Ali (drums). Come 'Solos Duets' with Wright in 1975. It was another trio with Ali in June 1983 for 'Rhapsody in Few'. Few and Silva reunited in Switzerland in 2004 with Silva conducting his Celestrial Communication Orchestra for 'Treasure Box'. Another reunion was held in 2007 per Jacques Coursil's 'Trails of Tears' per above with Murray. Helping to complete the list of those whom Silva supported in the sixties was Albert Ayler in 1967 for eight tracks toward 'Albert Ayler Live in Greenwich Village: The Complete Impulse Recordings' ('98) and 'Love Cry' in 1968. In 1968 Silva surfaced on the second release by the Jazz Composer's Orchestra, 'The Jazz Composer's Orchestra', on both parts of 'Communications 11'. He contributed to Jimmy Lyons' 'Other Afternoon's in Paris on August 15 of 1969. Two days later 'Luna Surface' went down, that the debut of Siva's Celestrial Communication Orchestra (CCO) which had been conceived not long before in NYC. The CCO recorded five more albums: 'Seasons' in December 1970 (sfter a tour of Europe supporting Sun Ra to bear several albums), 'My Country' ('89) in January 1971, 'The Shout' in November 1978, 'Desert Mirage' in June 1982 and 'Treasure Box' ('03) in May 2001. 'My Country' may reflect Silva's move to Paris at an unknown time in the early seventies. Sometime in the eighties Silva founded the IACP (Institute for Artistic & Cultural Perception) in Paris, an autodidactic school for progressive jazz modeled after the classical conservatory which Silva ran around twenty years. Silva's first tracks on synthesizer are thought to have been in April 1993 for 'In the Tradition'. His last session in the 20th century was 'Transmissions' live on October 16,1999, at the Unitarian Meetinghouse in Amherst, MA. His latest recordings per this writing were ''FreeJazzArt' ('14) in November 2012, a string of duets with trumpeter, Jacques Coursil; 'No Goal' ('14) in January 2013, duets with tenor saxophonist, Abdelhaï Bennani; 'Free 'Form Improvisation Ensemble 2013' ('15) in March with Bennani and Burton Greene, et al, and 'Free Electric Band' ('16) in July 2014 with Ståle Liavik Solberg (drums) and Mette Rasmussen (alto saxophone), composed by the latter. The last three albums were with Silva at synthesizer rather than double bass. Among others unmentioned on whose projects Silva appeared through the years were Alexander von Schlippenbach, TTT (Triple Trip Touch), Marshall Allen, William Parker and Noah Rosen. Per 1966 below, Silva shares bass with Henry Grimes.

Alan Silva   1964

  Free Form Composition 1

      Recorded 1964   Not issued until 1998

  Free Form Composition 2

      Recorded 1964   Not issued until 1998

  Free Form Composition 3

      Recorded 1964   Not issued until 1998

Alan Silva   1966

  Unit Structures

      Album by Cecil Taylor

Alan Silva   1967

  Change Has Come

      LP: 'In Greenwich Village'

      Album by Albert Ayler

  For John Coltrane

      LP: 'In Greenwich Village'

      Album by Albert Ayler

Alan Silva   1968

  Communications #11

      LP: 'The Jazz Composer's Orchestra'

Alan Silva   1969

  Luna Surface

      LP with Celestrial Communication Orchestra

Alan Silva   1970


      LP with Celestrial Communication Orchestra

Alan Silva   1999

  A Hero's Welcome


  AS & the Sound Visions Orchestra


      Recorded at St. Nicholas of Myra Church NYC

Alan Silva   2011

  Glissant 2

      Filmed with Jacques Coursil

  Live at Le 106



Birth of Modern Jazz: Dr Lonnie Smith

Alan Silva

Source: Free the Music
  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 to November 1995 with Georgie Fame. 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.

Alan Skidmore   1965

  Blue Mink

      Alexis Korner LP: 'Blues Incorporated'

Alan Skidmore   1966

  Blue Mink

      LP: 'Blues Breakers'

Alan Skidmore   1970

  Jack Knife

      LP: 'TCB'

  Once Upon a Time



      LP: 'TCB'

Alan Skidmore   1977

  K and A Blues

      LP: 'El Skid'

  That's For Cha

      LP: 'El Skid'

Alan Skidmore   1979

  Trans Tanz

      Percussion: Peter Giger

      Piano: Wolfgang Dauner

Alan Skidmore   1991


      Vocal: Georgie Fame

Alan Skidmore   2012




Birth of Modern Jazz: Alan Skidmore

Alan Skidmore

Photo: Brian O'Connor

Source: All About Jazz
  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. April 1969 had seen titles for NDR Jazz Workshop #62 with Kenny Wheeler for 'Flashpoint' ('11). 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. 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. 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 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. Surman 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 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. He yet tours as of this writing.

John Surman   1966

  Local Colour

      Album   Peter Lemer Quintet

John Surman   1969

  How Many Clouds Can You See?


John Surman   1971

  Tales of the Algonquin


John Surman   1979


      Album: 'The Party Album'

      Alexis Korner & Friends

  Upon Reflection


John Surman   1987

  Not Love Perhaps

      Album: 'Private City'

  Portrait of a Romantic

      Album: 'Private City'

John Surman   1991

  Live in Vienna

      Filmed live with Karin Krog

John Surman   2000

  Live in Duisburg

John Surman   2008

  Live in Hamburg

      Filmed live

John Surman   2012


      Album: 'Saltash Bells'

  Whistman's Wood

      Album: 'Saltash Bells'

John Surman   2013

  Jazz Under the Apple Trees

      Filmed live


Birth of Modern Jazz: John Surman

John Surman

Source: Discogs
  Born in 1943 in Amsterdam, Netherlands, bassist/composer, Maarten Altena, was attending the Conservatorium van Amsterdam ('64-'68) when he may have participated in 'Woorden' (Dutch Omega 333.023 '68) as early as an unknown date in 1966. Altena less speculatively recorded 'Stairs!' in March of 1967 with Theo Loevendie (bass clarinet) and John Engels Jr (drums) to issue that year. Come June, July and August he joined Willem Breuker, Misha Mengelberg and Han Bennink, et al, for titles toward the compilation, 'Instant Composers Pool: ICP 1275-1' ('12). In December of 1967 he recorded 'Porto Novo' with Han Bennink (drums) and Marion Brown (alto sax). A 1975 reissue of that would contain additional tracks. Both Breuker and Bennink played major roles in Altena's career into the seventies. Bennink and Altena backed the projects of various on multiple occasions, such as Breuker's or Steve Lacy's 'Lumps' in 1974 (released '78). Lord's disco lists them together last for Derek Bailey's 'Company 6' in London in May of 1977. Altena provided rhythm on four or five of Breuker's issues from 'The Pirate' gone down in December of '79 to 'Baal Brecht Breuker' in 1974, both with Bennink. June of '74 found Altena participating in Breuker's 'Monk in Groningen', that getting issued in 1976 on 'Music for His Films: 1967-1978', a compilation of Breuker compositions for filmmaker, Johan van der Keuken. Lord's disco shows a last mutual session in De Volharding at the Stedelijk Museum in Amsterdam on September 25, 1974 for 'On Jimmy Yancey', 'Solidariteitslied', et al. Returning to Altena's graduation from the conservatory in '68, Altena performed with various classical and jazz ensembles, including the Dutch Ballet Orchestra. On December 6 he recorded 'The Machine' with a trio consisting of Nedly Elstak and Martin van Duynhoven. In 1969 he appeared on 'Live in Paradiso' with the group, Heavy Soul Inc. He also contributed to Loevendie's 'Mandela' in 1969. Altena released his first album in 1973: 'Handicaps', a suite of solo compositions performed with his left wrist broken, requiring a cast not only for his wrist but the neck of his instrument as well. His next LP was a suite of solos as well, 'Turning the Bass' spread along on May 5 of 1975. His third, 'Live Performances', was recorded at the Floz in Berlin in October 1976.  From 1980 to '85 Altena studied composition with classical composer, Robert Heppener. In the meantime he issued five or six albums by the Maarten Altena Quartet, its first in 1980: 'Op Stap'. He later formed the Maarten Altena Ensemble. That group issued 'Generations' in 2002 before disassembly in 2005. Altena has appeared on at least 56 albums over the years, including his own. He has recently been more involved in composing than performing or recording.

Maarten Altena   1967

   Lady Penelope II

      Theo Loevendie LP: 'Stairs!'

Maarten Altena   1968

   5 Machine Songs

      Nedly Elstak LP: 'The Machine'


      Marion Brown LP: 'Porto Novo'

   The Machine

      Nedly Elstak LP: 'The Machine'

   Porto Novo

      Marion Brown LP: 'Porto Novo'


      Marion Brown LP: 'Porto Novo'

Maarten Altena   1973

   Handicaps I & II

      LP: 'Handicaps'

Maarten Altena   1974

   Dat Gebeurt in Vietnam

      Orkest De Volharding


      LP: 'Baal Brecht Breuker'

   Lied Van Het Verdronken Meisje

      LP: 'Baal Brecht Breuker'

   Lied van de Macht van het Volk

      Orkest De Volharding


      Orkest De Volharding

Maarten Altena   1979


      LP: 'High, Low and Order'

      With Steve Lacy

Maarten Altena   1980

   Pisa String Duet

      LP: 'PISA 1980: Improvisors' Symposium'



      Percussion: Paul Lovens

      Trombone: Günter Christmann

Maarten Altena   1981



Maarten Altena   1985

   Zwei Walzer

      LP: 'Rondedans'

Maarten Altena   1990


      LP: 'Rif'

Maarten Altena   1991

   Code 1

      LP: 'Code'


      LP: 'Code'

Maarten Altena   1993

   Bandrecorder, Eenvoudig

      LP: 'City Music'

Maarten Altena   1996

   Symphonie Joyeuse

      LP: 'Working On Time'


Birth of Modern Jazz: Maarten Altena

Maarten Altena

Source: Last FM
Birth of Modern Jazz: Arild Andersen

Arild Andersen

Source: Last FM
Born in 1945 in Lillestrøm, Norway, Arild Andersen began to play guitar in the early sixties, switching to double bass in 1964. Joining the quartet of tenor saxophonist, Jan Garbarek, in 1967 in Oslo, he remained with Garbarek through several albums to 'Triptykon' on November 8 of 1972. Anderson had first recorded with Garbarek in 1967, appearing on both tracks of side B of the LP 'Til Vigdis': 'Freedom Jazz Dance' and 'Til Vigdis'. Lord's disco shows Anderson and Garbarek's last mutual session on March 21, 1973, for 'Trikkeskinner'/'Tre Sma Thing' issued on a 7" (Philips Norway 6084025). Those were co-led by Garbarek and poet, Jan Erik Vold. Anderson and Garbarek would reunite in November of 1981 for David Darling's 'Cycles'. Also appearing on 'Til Vigdis' above in '67 was drummer, Jon Christensen, an important comrade throughout Anderson's career into the new millennium. Supporting a variety of others, such as Karin Krog or George Russell (like Garbarek), Christensen and Anderson 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. Anderson's bond with Christensen extended well beyond Masqualero, keeping in touch through numerous sessions to as late as the Yelena Eckemoff Quartet w Tore Brunborg for 'Everblue' in September 2014. Anderson's initial LP with Yelena Eckemoff had been 'Glass Song' in March of 2012, followed by 'Lions' in March of 2013. Slipping back to the seventies, Anderson's initial album with Ketil Bjørnstad had been 'Åpning' in 1973. Wikipedia has six more following to as late as 'La Notte' ('13) in July of 2010. Anderson is thought to have held his first session as a leader at Congress Hall in Warsaw in October 1974, 'P.T.' to be found on 'Jazz Jamboree 74 Vol 1' ('75). His debut album, 'Clouds in My Head', was issued in 1975, that recorded in February. Moving forward into the nineties we arrive to percussionist and drummer, Paolo Vinaccia, who joined Anderson on that date for 'Arv'. Vinaccia was a part of Anderson's crew through several albums to as late as December of 2012 for 'Mira', that a trio with Tommy Smith. Along the way Anderson had participated in Vinaccia's live 'Mbara Boom' on March 27 in 1996. Anderson's first LP with Carsten Dahl arrived in 2002, 'The Sign'. Four more followed to 'Under the Rainbow' on April 15 of 2016. Anderson's latest of above thirty LPs as a leader or co-leader was 'The Rose Window' on April 15, 2016, in a trio with Helge Lien (piano) and Gard Nilssen (drums).

Arild Andersen   1967

   Freedom Jazz Dance

      Jan Garbarek album: 'Til Vigdis'

   Til Vigdis

      Jan Garbarek album: 'Til Vigdis'

Arild Andersen   1971

   Kongsberg Jazz Festival

      Filmed concert with Sonny Rollins

Arild Andersen   1975

   Song for a Sad Day

      Album: 'Clouds in My Head'

Arild Andersen   1977


      Album: 'Shimri'

Arild Andersen   1978

   Green Shading Into Blue

      Guitar: Terje Rypdal

Arild Andersen   1994


      Album: 'If You Look Far Enough'

Arild Andersen   2012


      Filmed live at Oslo Jazzfestival


      Album: 'Rheomusi'

Arild Andersen   2013


      Filmed live


      Filmed live

   Live at Queen's Hall

      Concert filmed in Edinburgh, Scotland

Arild Andersen   2014

   Live in Camerino

      Drums: Paolo Vinaccia

      Horn: Tommy Smith

   Mingus in Aulaen

      Filmed concert


  Born in 1941 in Remscheid, North Rhine-Westphalia, 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. Among numerous others on whose recordings Brotzmann can be found are the ICP Orchestra, Shoji Hano, Borah Bergman and Frode Gjerstad. Among his latest issues was 'Ears Are Filled with Wonder' ('16) with steel guitarist, Heather Leigh. Brotzman having led or co-led titles so numerously and variously, this discography by European Free Improvisation is a work in itself. rateyourmusic also presents a nice list. Beyond music, Brotzmann is a well-known abstract and conceptual artist. Paintings from as early as 1959 to silkscreens and woodcuts in 2015 at Brotzman's website gallery.

Peter Brötzmann   1964


      Not released until 2003

      CD: 'The Inexplicable Flyswatter'

Peter Brötzmann   1967

  For Adolphe Sax


Peter Brötzmann   1968

  Machine Gun


Peter Brötzmann   1969



Peter Brötzmann   1970

  Fuck de Boere

      Frankfurt Jazz Festival

      Album   Not released until 2001

Peter Brötzmann   1995

  Jazzfest Berlin

      Filmed live

      Bass: Willliam Parker

      Drums: Hamid Drake

      Trumpet: Toshinori Kondo

Peter Brötzmann   2004

  Europa Jazz du Mans

      Filmed live

Peter Brötzmann   2013

  Mouth On Moth

      Album: 'I Am Here Where Are You'

      Drums: Steve Noble

Peter Brötzmann   2015

  Live in Dublin

      Filmed live   Piano: Paul Smyth

  Live in France

      Filmed live   Drums: Steve Noble


Birth of Modern Jazz: Peter Brotzmann

Peter Brotzmann

Source: The Chapel
Birth of Modern Jazz: Graham Collier

Graham Collier

Source: Cuneiform Records
Born in 1937 in Tynemouth, Northumberland, bassist, Graham Collier, joined the British Army after graduating from school. He played in army bands, including three years in Hong Kong. In 1961 he won a 'Down Beat' magazine scholarship to the Berklee College of Music in Boston. While there he participated in the 1962 Berklee recording of 'Jazz in the Classroom Vol VII' issued in 1974. (Berklee Jazz In the Classroom Series.) While in the States Collier toured with the Jimmy Dorsey Orchestra (ghost version). Upon his return to the UK in '63/64 he formed his own ensemble, issuing his first album, 'Deep Dark Blue Centre', in 1967. Collier was also an author, publishing his first of seven books concerning jazz in 1973: 'Inside Jazz'. He began instructing at the Royal Academy of Music in London in 1987 and would become its artistic director until 1999. He lived the latter years of his life in Greece where he died on September 9, 2011, of heart failure. He had released some eighteen albums as a leader, his last, 'directing 14 Jackson Pollocks', in 2009, recorded in November of 2004. A couple posthumous compilations have ensued as well. Others on whose recordings Colier can be found are Harry Beckett, the National Youth Jazz Orchestra ('71) and Meltdown.

Graham Collier   1967

   Deep Dark Blue Centre


Graham Collier   1969

   Danish Blue

      LP: 'Down Another Road'

   Lullaby for a Lonely Child

      LP: 'Down Another Road'


      LP: 'Down Another Road'

Graham Collier   1970

   Song One (Seven-Four)

      LP: 'Songs for My Father'

   Song Three (Nine-Eight Blues)

      LP: 'Songs for My Father'

Graham Collier   1978

   The Day of the Dead

      Parts I & II

Graham Collier   1983

   Hoarded Dreams

      Part 6

      Not issued until 2007

Graham Collier   2002

   Lullaby for a Lonely Child

      Gilles Peterson LP: 'Impressed'

Graham Collier   2003

   The Hackney Five

      LP: 'Charles River Fragments'

Graham Collier   2009

   An Alternate Aberdeen Angus

      LP: 'directing 14 Jackson Pollocks'

   Between a Donkey and a Rolls Royce

      LP: 'directing 14 Jackson Pollocks'


Birth of Modern Jazz: Dave Holland

Dave Holland

Photo: Jos L. Knaepen

Source: Jazz Verbatim
Born in 1946 in Wolverhampton, Staffordshire, Dave Holland began playing ukulele at age four, moving onward to guitar, bass guitar, then double bass at age fifteen. He first taught himself the instrument by ear, spinning Ray Brown and Leroy Vinnegar albums. He later moved to London where he learned to read music, training with classical bassist, James Edward Merrett. By age 20 he was attending the Guildhall School of Music and Drama on a scholarship. While a student he began performing at Ronnie Scott's Jazz Club, a favorite haunt for touring American jazz musicians such as Coleman Hawkins, Joe Henderson and Ben Webster. Lord's disco first finds Holland supporting pianist, Roy Budd, on unknown dates in 1967 toward 'Pick Yourself Up!!!' (Pye 18177) and 'Is the Sound of Music' (Pye 18195) issued that year. On July 20 of 1967 he contributed to titles for Cuff Billet which would see issue by Jazzology Records in 2006 on 'Archie Semple Quintet/Cuff Billet/Bill Greenow Quintet'. An unknown date in January of 1968 brought two versions of 'Familie' with the Spontaneous Music Ensemble (SME), those included on 'Oliv & Familie' in 2014. 'Roy Budd at Newport' was recorded on January 9. Come February 18 for the Spontaneous Music Ensemble's 'Karyobin', reissued in 1993. Holland would see that operation again in early 1971 for 'So What Do You Think?'. Trumpeter, Kenny Wheeler, was part of the SME on both occasions, and among the more important of Holland's associates for decades to come. Along with supporting each other's projects they backed other operations, such as Anthony Braxton's in the seventies. Holland contributed rhythm to nine of Wheeler's albums from 'Windmill Tilter: The Story of Don Quixote' in March of 1968 to 'What Now?' in June 2004. The second had been 'Song for Someone' in January 1973, the third 'Gnu High' in June 1975. Wheeler had participated in Holland's 'Jumpin' In' in October 1983, 'Seeds of Time' in November 1984 and 'The Razor's Edge' in February 1987. It was for Wheeler's 'Windmill Tilter' in '68 that Holland had held his first mutual session with guitarist, John McLaughlin, with whom Holland would spend a valuable year with Miles Davis from the latter's 'In a Silent Way' in June of 1969 to 'The Complete Jack Johnson Sessions' ('03) in June of 1970. In the meantime Holland and McLaughlin had participated in 'Where Fortune Smiles' in May of 1970 with Karl Berger, Stu Martin and John Surman. As indicated, Miles Davis owned a strong presence in Holland's career. His first session for Davis was also his first in the United States, replacing Ron Carter in NYC on September 24, 1968, for 'Mademoiselle Mabry' and 'Frelon Brun', those included on 'Filles de Kilimanjaro' that year. Holland continued with Davis to as late as the August 1970 Isle of Wight Pop Festival in England. Along a path of ten some albums with Davis had been 'Bitches Brew Live' at the Newport Jazz Festival on July 5, 1969. They would reunite in Paris in 1991 for unissued tracks for Warner Brothers. Also in that session for 'Filles de Kilimanjaro' in '68 were Chick Corea (electric piano) replacing Herbie Hancock, Wayne Shorter (tenor sax) and Tony Williams (drums), all of whom would become familiar associates. Holland and Corea traveled through Davis together into August of 1970 at the Isle of Wight Fest per above. In the meantime Holland had backed Corea on the first of about nine albums, issued sooner or later, from 'Is' in May of 1969 to 'Gathering' on May 17, 1971. The latter was the last of five albums with Corea's avant garde ensemble, Circle. The first had gone down on August 13, 1970, toward 'Circling In' with Anthony Braxton (sax/reeds) and Barry Altschul (drums). Holland and Corea would reunite as late as December of 1997 for 'Like Minds' with Gary Burton (vibes), Pat Metheny (guitar) and Roy Haynes (drums). We back up to September of 1968 for Davis' 'Filles de Kilimanjaro' above with Wayne Shorter. Holland and Shorter worked together with Davis to March of 1970, their last such mutual session on the 17th for two takes of 'Duran' to be found on 'The Complete Jack Johnson Sessions' in 2003. On April 3 Holland provided rhythm to Shorter's 'Moto Grosso Feio'. Thirty-seven years later they reunited for Herbie Hancock's 'River: The Joni Letters' in 2007. Holland's initial session with Hancock had been on November 11, 1968, for titles toward Davis' 'Water Babies'. They worked with Davis to Hancock's last such session on June 4, 1970, one track from which got included on Davis' 'Live-Evil' ('71). The reunited twenty years later on June 23, 1990, for 'Parallel Realities Live...' ('93) with Pat Metheny (guitar) and Jack DeJohnette (drums). 1996 saw Hancock's 'The New Standard' as well as 'Cantaloupe Island', the latter performed at the Monterey Jazz Festival on September 22. Lord's disco has Holland with Hancock a last time in 2007 for 'River: The Joni Letters' above with Wayne Shorter. Well to return to November 27, 1968, for Holland's initial mutual session with drummer, Jack DeJohnette, that for titles toward Davis' 'The Complete In a Silent Way Sessions' in 2001. DeJohnette and Holland worked with Davis together to the Isle of Wight Festival on August 29, 1970, above. They thereafter partnered in numerous operations into the new millennium, including those of such as Joe Henderson and Stan Getz. June 16 of 1973 saw duets in Tokyo issued on 'Time & Space'. 1974 witnessed DeJohnette's 'Sorcery'. 'Triplicate' went down in March 1988 with Steve Coleman at alto sax. It was 'Parallel Realities Live...' per above in 1990 at the Mellon Jazz Festival in Philadelphia with Herbie Hancock and Pat Metheny. DeJohnette and Holland were also members of the trio, Gateway, with guitarist, John Abercrombie, they recording four albums: 'Gateway' in March 1975, 'Gateway 2' in July 1977, 'Homecoming' in December 1994 and 'In the Moment' in December 1994. Lord's disco has Holland and DeJohnette's last mutual session in January 2004 for pianist, Geri Allen's, 'The Life of a Song'. (Gateway's reunion on November 2 of 2012 at the Symphony Center in Chicago was either not recorded or not issued.) Another important figure in Holland's career was vibraphonist, Karl Berger, for whom we return to August 29, 1969, for 'Tune In'. At least five more Berger albums followed to 'Conversations' in 1994. One among those was their duo, 'All Kinds of Time', in 1976. Two had been trios with drummer, Ed Blackwell: 'Transit' in August 1986 and 'Crystal Fire' in April 1991. Berger and Holland had also shared sessions with John McLaughlin in 1970 and Anthony Braxton in 1976. Another strong presence in Holland's career was soprano saxophonist, Steve Grossman, whose initial mutual session with Holland had been for Miles Davis on November 28, 1969, for 'Trevere', 'The Big Green Serpent' and two takes of 'The Little Blue Frog'. One take of the latter got issued on a 7" 45 with 'Great Expectations' in 1970. The others were included on 'The Complete Bitches Brew Sessions' in 1998. Grossman and Holland worked together with Davis to August 2, 1970, at the CBS Records Convention in the Bahamas. The next month on September 14 they participated in Chick Corea's 'The Sun'. Another large figure in Holland's career was saxophonist, Anthony Braxton, who had joined Holland and Corea for 'Circling In' on August 13, 1970. That was with Corea's ensemble, Circle, including drummer, Barry Altschul. Braxton, Holland and Altschul recorded four more albums with Corea's Circle to 'Gathering' in May of 1971. In the meantime Holland had backed Braxton in February 1971 on titles toward 'The Complete Braxton' ('73), those with Altschul and trumpeter, Kenny Wheeler. Holland would see issue on at least twelve more Braxton albums in one manner or another to a performance in Berlin on November 4, 1976, for titles later issued on 'Live' ('87) and 'The Complete Arista Recordings of Anthony Braxton' ('08). In the meantime Braxton had contributed to Holland's 'Conference of the Birds' on November 30, 1972. Braxton and Holland would reunite in Switzerland on March 27 of 1988 for titles toward 'Zurich Concerts' ('88). We backtrack to January 1971 for Holland's debut name album, 'Improvisations for Cello and Guitar', a duo with Derek Bailey. It was a duo with Barre Phillips on February 15, 1971, for 'Music from Two Basses'. Holland's first album as a leader rather than co-leader was 'Conference of the Birds', that with a quartet employing Braxton (sax/reeds) Sam Rivers (sax/flute) and Barry Altschul (percussion). Rivers would be a major presence in Holland's career for several years to come. Their duo albums, 'Dave Holland/Sam Rivers' and 'Dave Holland/Sam Rivers Vol 2', went down on February 18, 1976. In the meantime Holland had backed Rivers on 'Sizzle' on December 9, 1975. Holland would join Rivers on six more of the latter's albums into the new millennium. Three of those were trios with Barry Altschul at drums: 'The Quest' in Milan in March 1976, 'Paragon' in Paris in April 1977 and 'Reunion' in NYC in May 2007. We rewind to March of 1974 for guitarist, John Abercrombie, they supporting titles toward Jack DeJohnette's 'Sorcery' that month. Per above, Abercrombie, DeJohnette and Holland formed the trio, Gateway, releasing four albums from 'Gateway' in 1976 to 'In the Moment' in 1996. Abercrombie and Holland had also partnered on titles for Collin Walcott ('Cloud Dance' '75), Kenny Wheeler, Don Thompson ('A Beautiful Friendship' '84) and Vassar Clements ('Once in a While' '87). Lord's disco has Abercrombie with Holland to as late as Charles Lloyd's 'Voice in the Night' in May of 1998. We slide back to early 1985 for another guitarist, Kevin Eubanks, they participating in Billy Hart's' 'Oshumare'. Along with backing projects by others, such as Robin Eubanks, Eubanks and Holland supported each other's endeavors. It was Holland's 'Extensions' in September 1989. Come Eubank's 'Turning Point' issued in 1992, 'Spirit Talk' in 1993 and 'Spirit Talk 2: Revelations' in 1995. 'World Trio' was also issued in 1995, that with Mino Cinelu at percussion. Come Holland's 'Prism' in 2012. Others of notable presence during Holland's career were Joe Henderson (tenor sax), John Scofield (guitar) and Al Foster (drums), all four together at once in a Henderson quartet in October 1992 for 'So Near, So Far'. Advancing into the new millennium, Holland co-founded the Overtone Quartet in 2009, titles recorded that year variously released per 'Live in London' ('13), 'Queen Elizabeth Hall, November 2009' ('13) and 'JazzFest Berlin, November 2009' ('15). Exceeding 320 sessions during his career, among the host of others on whose recordings Holland can be found are Eric Kloss, Steve Coleman, Dave Pietro, Tiger Okoshi and Didier Lockwood. Having released some twenty LPs as a co-leader, that many again as a leader, his latest per this writing was 'Aziza' issued in 2016. In 2005 Holland was recipient of the Miles Davis Reward at the Montreal Jazz Festival. He's the recipient of three honorary doctorates as well, and has taught at music schools and universities internationally. He currently holds a residency at the New England Conservatory.

Dave Holland   1968

   Frelon Brun

      Miles Davis album: 'Filles de Kilimanjaro'

  Karyobin   Part 1

      Spontaneous Music Ensemble

      Released 1993

  Karyobin   Part 5

      Spontaneous Music Ensemble

      Released 1993

   Mademoiselle Mabry   Part 1

      Miles Davis album 'Filles de Kilimanjaro'

   Mademoiselle Mabry   Part 2

      Miles Davis album 'Filles de Kilimanjaro'

Dave Holland   1973

   Conference of the Birds


Dave Holland   1976


      Album: 'Dave Holland/Sam Rivers'

      Soprano sax: Sam Rivers

Dave Holland   1990


      Album: 'Extensions'

Dave Holland   2002

   Newport Jazz Festival

      Filmed live

Dave Holland   2003


      Filmed live


      Album: 'Extended Play: Live at Birdland'

Dave Holland   2005

   Mental Images

      Album: 'Overtime'

Dave Holland   2010


      Album with guitarist Pepe Habichuela


      Filmed live with guitarist Pepe Habichuela

Dave Holland   2012

   Jazz à la Villette

      Piano: Kenny Barron


  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'. 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. Sarmanto provided rhythm to nine Koivistoinen albums from 'Odysseus' 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 1970 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. Amidst numerous others on whose recordings he can be found are Clark Terry, Ted Curson, Jeannine Otis, Esko Linnavalli, Heikki Sarmanto and Zone. Among the latest of above thirty LP releases was 'X-Ray' in 2006.

Eero Koivistoinen   1967



  Once More for the Road

      LP: 'Blues Section'

Eero Koivistoinen   1968

  Kerran Ei Ollut Valtakuntaa

      Eero Koivistoinen LP: 'Valtakunta'

Eero Koivistoinen   1969

  A Girl I Knew

      Music video with Wigwam


      LP: 'Odysseus'

  So Nice

      LP: 'Odysseus'

Eero Koivistoinen   1970

  Five Blue Tones

      LP: 'For Children'

  For Children II

      LP: 'For Children'

Eero Koivistoinen   1971

  The Original Sin

      LP: 'The Original Sin'

Eero Koivistoinen   1973

  3rd Version

      LP: '3rd Version'

   6 Down

      LP: 'Wahoo!'


      LP: 'Wahoo!'

  Hot C

      LP: 'Wahoo!'

  Suite 19

      LP: 'Wahoo!'

Eero Koivistoinen   1976

  The Front Is Breaking

      LP: 'The Front Is Breaking'

Eero Koivistoinen   1978


      Album: 'Jazz Jamboree '78'

Eero Koivistoinen   2013

  Hati Hati

      Filmed at Finnish Embassy Washington DC

  Net Island

      Filmed at Finnish Embassy Washington DC

Eero Koivistoinen   2015

  Live with Fusiotherapy

      Filmed live


Birth of Modern Jazz: Eero Koivistoinen

Eero Koivistoinen

Source: jazzrytmit
Birth of Modern Jazz: Peter Kowald

Peter Kowald   2001

Photo: Vanita & Joe Monk

Source: Monastery
Born in 1944 in Germany, Peter Kowald began playing the double bass in 1960. His first recordings were five years later (November 1965) in a quartet with free form composer, Peter Brötzmann (alto sax), Horst Prehn (alto sax) and Gerd Panzer (drums). Those tracks were 'Lila Eule No 1' and 'Lila Eule No 4', not released until 2003 with the book, 'Peter Brötzmann: The Inexplicable Flyswatter: Works on Paper 1959-1964', concerning Brötzmann's visual art. Kowald was recorded with Brötzmann again at the Frankfurt Jazz Festival in May of '66: 'Intensity' and 'Variability', those tracks made available in 2010 on an album titled 'Mayday'. In December of '66 Kowald participated in Alexander von Schlippenbach's 'Globe Unity' and 'Sun' for issue the next year. He would back Schlippenbach's Globe Unity on several albums, the last being 'Pearls' in 1977. In 1980 Kowald joined the London Jazz Composers' Orchestra for 'Stringer' and would work with that organization for five years. Visiting Italy, the United States and Japan on numerous occasions, he also lived in Greece for a time and toured to Russia, 'German Russian Project' gone down in Moscow in January 1992. Kowald's debut album, 'Peter Kowald Quintet', had gone down on January 19, 1972. It was 'Die Jungen: Random Generators' seven years later in March 1979. May 5 of 1981 brought 'If You Want the Kernels You Have to Break the Shells'. His first of several duos, 'Paintings', was recorded in October of '81 with bassist, Barry Guy. His solo album, 'Open Secrets', saw light in January 1988. His solo project, 'Was Da Ist', got strung in summer of 1988. The live version, 'Was Da Ist (Live)' was recorded in Berlin on November 3, 2000, issued posthumously in 2011. Kowald's last release during his lifetime had been a duo album with bassist, Damon Smith, gone down in spring of 2000: 'Mirrors - Broken But No Dust'. Kowald's solo work, 'Silence and Flies', followed in June 2000, issued in 2005. May 19 of 2002 witnessed his duo with William Parker at bass, 'The Victoriaville Tape', released in 2005. With about twenty albums as a leader to his credit, Kowald's last to be recorded was 'Aria' in Milan on September 15, 2002. He died of a heart attack ten days later n New York City on September 25. 'Global Village', recorded in 1999-01, saw posthumous issue in 2004.

Peter Kowald   1967

  Globe Unity

      Album by Schlippenbach

Peter Kowald   1973


      Brotzmann album: 'Hot Lotta'

      Not released until 2011

Peter Kowald   1990

  Subway Couple

      Vocal: Jeanne Lee

Peter Kowald   1991


      Album   4 movements

      Clarinet/flute: Floros Floridis

Peter Kowald   1992

  Live in Moscow

      Filmed live

Peter Kowald   1993


      Film by Salvo Cuccia

Peter Kowald   2000

  Bass Solo   Side A

      Not released until 2009

  Bass Solo   Side B

      Not released until 2009

  Chicago Improvisations

      Not released until 2007

  Live Solo with Transmission

      Filmed at the Eyedrum in Atlanta


Birth of Modern Jazz: Mike Osborne

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' 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. Apart from S.O.S he had recorded about ten albums as a leader or co-leader. Others on whose recordings he can be found are Friendship Next of Kin, Ric Colbeck, London Jazz Composers Orchestra and Kenny Wheeler. Per 1967 below, Osborne shares alto sax with Bernie Living on 'Dirge', the latter also on flute.

Mike Osborne   1966

  An Idea

      Recorded June 1966

      Not released until 2015

      Album: 'Dawn'

Mike Osborne   1967


      Mike Westbrook LP: 'Celebration'

Mike Osborne   1974

  Border Crossing


Mike Osborne   2008

  All Night Long


      Recorded 1975/76

Mike Osborne   2013

  Country Dance

      S.O.S. LP: 'Looking For the Next One'

      Recorded 1974/75


  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. 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. Per 1969 below, tracks are with the band, Soulset. 'Track B4' is one of an entirety of untitled tracks on the album: 'Yksi, Kaksi, Kolme, Neljä Soul Jumppaa'.

Edward Vesala   1967



Edward Vesala   1969

   Five Days Later

      Album: 'Nykysuomalaista'

   Track B4

      Album: 'Yksi . . . Jumppaa'

Edward Vesala   1970

   Alhambra Mood

      Album: 'Nana'


      Album: 'Nana'

Edward Vesala   1971


      Filmed live

Edward Vesala   1973


      With Peter Brötzmann

   Live at Parc Floral de Vincennes

      Filmed live

      Bass: Arild Andersen

      Sax: Jan Garbarek

Edward Vesala   1974

   Areous Vlor Ta

      LP: 'Nan Madol'

   The Way Of ...

      LP: 'Nan Madol'

Edward Vesala   1976

   First Song

      Filmed live

      Bass: Pekka Sarmanto

      Sax: Tomasz Szukalski

      Trumpet: Tomasz Stanko

Edward Vesala   1977


      Vocal: Irina Milan

      LP: 'Rodina'

Edward Vesala   1978


      With Tomasz Stanko

   Little, Beautiful, Dancing Girl

      With Tomasz Stanko

Edward Vesala   1982

   Live at Groovy

      Album by Juhani Aaltonen

Edward Vesala   1990

   Infinite Express

      LP: 'Ode to the Death of Jazz'


Birth of Modern Jazz: Edward Vesala

Edward Vesala

Photo: Paul Deker

Source: Jazz Pages
Birth of Modern Jazz: Kate Westbrook

Kate Westbrook

Source: Westbrook Jazz
Born in 1936 in High Wycombe, England, pianist, Mike Westbrook, was raised in Torquay. Westbrook was an artist studying painting in Plymouth when he began forming bands. In 1962 he moved to London where he oft performed at the Old Place, the Little Theatre Club and Ronnie Scott's Jazz Club. Westbrook began his recording career in 1965 and '66 with several unissued performances on television, in concert and BBC Radio. He also recorded unissued tracks with John Surman in those years. Westbrook first saw vinyl on his own LP, 'Celebration', in 1967, recorded in August that year with Surman supporting. 'Release' followed the next year, recorded in August of '68 also w Surman. Surman was also a member of Westbrook's Concert Band for titles in April 1969 resulting in Volumes 1 & 2 of 'Marching Song'. It was Westbrook's Concert Band pared down from an orchestra to ten instruments (Surman out) plus vocalist, Norma Winstone, in March and April of 1970 for 'Mike Westbrook's Love Songs'. Come the 1971 premier of 'Tyger', at the Royal National Theatre, a musical addressing William Blake on which Westbrook collaborated with Adrian Mitchell. It was 'Metropolis' in August of 1971. In 1972 Westbrook formed the group, Solid Gold Cadillac, recording the album by the same name. 'Brain Damage' followed in March 1973. In 1974 future wife and librettist, Katie Westbrook (Kate Bernard), joined the Mike Westbrook Brass Band. She played tenor horn and piccolo as yet Bernard [Lord's disco, she listed as Westbrook thereafter] on the Brass Band's 'Plays for the Record'' in October 1975. Thus commenced a long career to the present day of innumerable titles between them from trios to orchestras. Duos included 'The Human Abstract' in October 1982, 'Stage Set' in November 1995 and 'Love Or Infatuation: The Hollywood Songs of Friedrich Hollaender' in May 1997. Including duos, Lord's disco shows Kate and Mike recording 31 albums together, largely led by Mike, to as late as 'A Bigger Show' in July 2015. They had also laid out 'Un Aveugle Chante Pour Sa Ville' in 1994, found on the album by various, 'Sarajevo (Suite)'. Lord's misses Kate's 'The Nijinska Chamber' issued in 2006. Kate's single album without Mike was 'Cuff Clout' with John Winfield and the Skirmishers in November 2001. Backing up to the seventies, Westbrook's Brass Band merged with the progressive rock group, Henry Cow, to become the Orckestra in 1977 with vocalist, Frankie Armstrong, resulting in 'Henry Cow with Mike Westbrook Brass Band and Frankie Armstrong'. Westbrook was awarded a OBE (Order of the British Empire) in 1988. 1989 witnessed the issue of 'On Duke's Birthday' in honor of Duke Ellington. 1994 saw the premier of Westbrook's, 'Coming Through Slaughter' in London, an opera addressing Buddy Bolden. Since that time the Westbrooks have pursued an assortment of projects composing for jazz cabaret, jazz theatre and orchestras. The new millennium brought works honoring the painter, Caspar Wolf ('Art Wolf' '05), and Margery and John Styles ('Fine 'n Yellow' '09). Westbrook was awarded an honorary doctorate in music by the University of Plymouth in 2014. He has released above thirty albums, piano solos among which were 'Piano' in 1977 and his most recent release, 'Paris', recorded at a concert in France in July 2016. Westbrook remains active with wife, Katie, as of this writing.

Mike Westbrook   1967


      Album: 'Celebration'

Mike Westbrook   1969


      Album: 'Marching Song Vol 2'

  Waltz (For Joanna)

      Album: 'Marching Song Vol 1'

Mike Westbrook   1970

  Love Song No 1

      Album: 'Love Songs'

Mike Westbrook   1971



Mike Westbrook   1975

  Love and Understanding

      LP: 'Citadel / Room 315'

  Outgoing Song

      LP: 'Citadel / Room 315'

  Sleepwalker Awakening in Sunlight

      LP: 'Citadel / Room 315'

Mike Westbrook   2010

  Mama Chicago

      DVD: 'Mama Chicago'


Birth of Modern Jazz: Mike Westbrook

Mike Westbrook

Source: Westbrook Jazz
Birth of Modern Jazz: Dave Holland

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. 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. 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. With well above 400 sessions to his name, 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. 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. Discogs shows his last issue in 2017 per '14.11.16' with Otomo Yoshihide (guitar) and Hiroshi Yamazaki (percussion). Parker is touring Europe as of this writing. Per 2000 below, the full title is 'Which Shews That There Are More Ways to Kill a Dog Than Hanging'.

Evan Parker   1968

  Karyobin Part 1

      Album: 'Karyobin'

      Spontaneous Music Ensemble

  Machine Gun

      Album: 'Machine Gun'

      Peter Brötzmann Octet

  Han Bennink I

      Album: 'Machine Gun'

      Peter rötzmann Octet

Evan Parker   1970

  The Topography of the Lungs


Evan Parker   1975

  Aerobatic 4

      Album: 'Saxaphone Solos'

Evan Parker   1978

  Saxophone Special

      Jazz in der Kammer

      Duet with Willem Breuker

Evan Parker   1990


      Album: 'Atlanta'

Evan Parker   1993


      Album: 'Trio (London) 1993'

      Saxophones: Anthony Braxton

      Trombone: Paul Rutherford

Evan Parker   2000

  Dark Rags 1

      Album: 'Dark Rags'

  Perro Semihundido

      Album: 'Two Chapters and an Epilogue'

  Which Shews That ... Hanging

      Album: 'Two Chapters and an Epilogue'

Evan Parker   2005

  Shadow Play Part 1

      Album: 'The Eleventh Hour'

  Shadow Play Part 2

      Album: 'The Eleventh Hour'

Evan Parker   2011


      Filmed live

      Drums: Jim Schapperoew

      Piano: Charles Farrell


  Born in 1936 in Bombay, India, Amancio D'Silva, began guitar as a teenager, emulating what jazz guitarists he could hear on the radio such as Charlie Christian and Wes Montgomery. Electric guitars were hard to come by in India, especially with little money. His first was a gift, an electric bass guitar that he modified to sound like a regular electric guitar, using that to play professionally in restaurants and hotels. His second guitar, years later in '65, was a regular acoustic Gibson, purchased for him by his new Irish wife, Joyce, but still not an electric guitar. D'Silva had been working in Bollywood films when in 1967 he and Joyce took their son, Stephano, to London for medical treatment. (They would have two daughters as well.) He had to sell his Gibson to help make expenses. Nevertheless, while working a day job as a cleaner he performed at clubs by night. Lord's disco conceives his debut recordings to be in 1968 for his debut album, 'Integration: Introducing Amancio D’Silva', issued in '69. In November of 1968 he joined Guy Warren for the latter's 'Afro-Jazz' issued in 1969. In January of '69 he featured with the Don Rendel/Ian Carr Quintet on 'Joyce County', that found on the album by various, 'Trad Dads, Dirty Boppers and Free Fusioneers', in 2012. In February and March of that year he contributed to 'Hum Dono' for Joe Harriott. D'Silva released 'Reflections' in '71. On unknown dates in 1972 he recorded 'Dream Sequence' with Cosmic Eye and participated in 'The African Soundz of Guy Warren of Ghana'. 1972 also witnessed titles toward D'Silva's posthumous 'Konkan Dance' (2006). In 1974 D'Silva participated in Clem Alford's 'Mirror Image' issued on the album of the same title. The remainder of 'Konkan Dance' ('06) went down in 1974, after which the master ceased to record altogether. He continued, however, to play in London's clubs as he began customizing pickups (transducers which convert vibrations into electrical signals) for guitarists, and teaching at Jenako Arts, later at the Krishnamurti International School. A stroke in 1992 left D'Silva partially paralyzed, curtailing activities until the year of his death in 1996, July 17. Per 1969 below, 'Hum Dono' is a joint collaboration with Joe Harriott.

Amancio D'Silva   1969

  Hum Dono

      LP: 'Hum Dono'


      LP: 'Hum Dono'

  Joyce Country

      LP: 'Integration'


      LP: 'Integration'


      LP: 'Hum Dono'

  We Tell You This

      LP: 'Integration'

Amancio D'Silva   1971

  Raga Saga

      LP: 'Reflections'

Amancio D'Silva   1972

  Dream Sequence - Cosmic Eye


  A Street in Bombay

      LP: 'Konkan Dance'

      Not released until 2006


Birth of Modern Jazz: Amancio D'Silva

Amancio D'Silva   1972

Source: Amancio D'Silva
  President of the Republic is English for the Finnish band, Tasavallan Presidentti (TP). Though TP was a rock band it incorporated jazz elements. 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. Finnish musicians might as well have been yeti at the time so far as the United States was concerned. They were largely unknown, but in snowbound Finland TP joined an explosion of culture via various media that was distinctly different from conditions wrought by World War II. 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: 'Death Magnetic Man' ('Magneettimiehen Kuolema' '70), 'President of the Republic II' ('71), 'Lambert Land' ('72) and 'Milky Way Moses' ('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' ('01), 'Six Complete' ('06) and 'Pop-Liisa 1' ('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. Per 1974 below, the full title is 'Oh Lord Have Mercy On Military Oath' ('Oi armahda herra sotilas valasta').

Tasavallan Presidentti   1969

  Obsolete Machine

  Tasavallan Presidentti I


Tasavallan Presidentti   1970

  For All (Saat Kaiken)



  Struggling for Freedom


Tasavallan Presidentti   1971

  Tasavallan Presidentti II


Tasavallan Presidentti   1972

  Lambert Land


  Lambert Land

      Radio broadcast

Tasavallan Presidentti   1973/74


      'Old Grey Whistle Test'

Tasavallan Presidentti   1974


      LP: 'Milky Way Moses'

  Live in Stockholm

      Filmed live

   Milky Way Moses

      LP: 'Milky Way Moses'

  Oh Lord Have Mercy



Birth of Modern Jazz: Tasavallan Presidentti

Tasavallan Presidentti

Source: Day After the Sabbath
  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, with pianist, John Taylor. That ensemble 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, 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. 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, she's left behind titles as recently as March of 2016 with the University of Toronto Jazz Orchestra toward 'Sweet Ruby Suite'. Among numerous others for whom she's sang are Mike Gibbs, Lammas and Chris Laurence. Per 1969 below Winstone appears on 'Hum Dono' with guitarist, Amancio D'Silva, and saxophonist, Joe Harriott. Per 1977, she appears in the trio, Azimuth, with John Taylor (piano) and Kenny Wheeler (trumpet).

Norma Winstone   1969

  Ballad for Goa


  Stephano's Dance

Norma Winstone   1972

  Edge Of Time

      LP: 'Edge Of Time'

Norma Winstone   1977


      LP: 'Azimuth'

Norma Winstone   1987


      LP:'Somewhere Called Home'

Norma Winstone   2003

  Songs & Lullabies

      LP: 'Songs & Lullabies'

      Piano: Fred Hersch

Norma Winstone   2003

  Dance Without Answer




      London Vocal Project

      Trumpet: Kenny Wheeler


Birth of Modern Jazz: Norma Winston

Norma Winstone

Source: Norma Winstone
Birth of Modern Jazz: Yusuke Yamashita

Yusuke Yamashita

Source: Sync Music Japan
Born in 1942 in Tokyo, Japan, free jazz musician, Yosuke Yamashita, picked up violin at age nine, switching to piano as a teenager. Performing professionally in 1959, his first recording session is thought to have been on June 26, 1963, for 'Obstruction' to be found on 'Ginparis Session' in 1971 (Three Blind Mice 9). In 1969 Yamashita formed a trio (山下洋輔トリオ) with Seiichi Nakamura and Takeo Moriyama to record 'Dancing Kojiki' in July, released that year. Lord's disco has them next at Hibiya Yagai Ongakudo in Tokyo on August 30 for the obscure title, 'Mina's Second Theme'. Come live titles at Sankei Hall on September 21, 1969, issued that year on 'Concert in New Jazz'. The more familiar 'Mina's Second Theme' went down as an album on October 14, issued in '69. That trio with Nakamura then nailed 'Clay' in November 1971, that found on 'April Fool: Coming Muhammad Ali'. Nakamura and Yamashita would reunite variously in 1972, the eighties and, finally, in October 2011 for drummer, Shinnosuke Takahashi's, 'Blues 4 Us: Live at Pit Inn' with Atsushi Ikeda (alto sax). As for Moriyama, he and Yamashita formed another trio in 1973 with Akira Sakata (alto sax), recording another version of 'Clay' at the Shinjuku Art Theater on June 10 toward the album by various, 'Inspiration & Power 14 Free Jazz Festival 1'. That trio recorded to as late as June 12, 1975, for Manfred Schoof's 'Distant Thunder'. Sakata and Yamashita formed another trio in 1976 with Shota Koyama (drums), recording Montreux Afterglow' in Switzerland on July 9, 1976. That trio was good through several sessions to as late as October 1977 for 'Umbrella Dance' at Congress Hall in Warsaw issued on 'Jazz Jamboree 77 Vol 1'. Sakata and Yamashita would reunite a few times to as late as 1994. As for Koyama, he continued backing Yamashita numerously to as late as the latter's 'Dr. Kanzo' in 1998. Yamashita had performed his first piano burning in 1973 for graphic designer, Kiyoshi Awazu, documented on the short film, 'burning piano'. Another important ensemble was the New York Trio with drummer, Pheeroan akLaff. and bassist, Cecil McBee, setting up 'Cresendo' at the Sweet Basil in NYC in July 1988. Lord's disco shows sixteen albums by that trio to as late as 'Grandioso' in 2013. During the nineties Yamashita composed film scores and ran a big band combining swing with free jazz. In 2008 he performed his second piano burning, The burning piano ceremony began with the Royal Air Force between World Wars I and II as a ritual upon completion of pilot training, though reasons vary. One is that there were too few upper class candidates to train as pilots for World War II. Having to draw recruits from the general population, the RAF thought to add piano to training (culture, dexterity), which recruits didn't like and burned their piano to avoid it. Another is that an RAF pilot who had played the keyboard was downed, a piano burned in his honor, as if to say if not him, then no one. Howsoever, Chopin is fairly useless in times of war and the ceremony moved across the ocean to the United States Air Force. As for Yamashita, he has taught at colleges in Japan, including his alma mater, the Kunitachi College of Music, and published, concerning music, in print. He's won multiple awards and issued well above thirty albums as a leader or co-leader. Among his most recent was the big band LP, 'Bolero/Pictures at an Exhibition', in 2014.

Yosuke Yamashita   1972

   Ecstacy of the Angels

      Filmed live

   Tenshi no Kotosu


Yosuke Yamashita   1975


      LP: 'Distant Thunder'

   Up to Date


Yosuke Yamashita   1976


      LP: 'Montreux Afterglow'

Yosuke Yamashita   1978

   Usagi No Dance

      LP: 'Sunayama'

Yosuke Yamashita   1979

   First Time


Yosuke Yamashita   1982


      Recorded 1975

      LP: 'Chiasma'

Yosuke Yamashita   1985

   Live at Sweet Basil

      Filmed concert

Yosuke Yamashita   1990


      Recorded 1977

      LP: 'Ghosts by Albert Ayler'

Yosuke Yamashita   1992

   Kurdish Dance

      LP: 'Kurdish Dance'

      Bass: Cecil McBee

      Drums: Pheeroan akLaff

      Tenor sax: Joe Lovano

Yosuke Yamashita   1999

   Quest 1999

      Filmed concert

      Bass: Cecil McBee

      Drums: Pheeroan akLaff

Yosuke Yamashita   2008

   Burning Piano

      Filmed live


Birth of Modern Jazz: Jim Mullen

Jim Mullen

Source: CRBO
Jim Mullen was born in Glasgow, Scotland, in 1945. Beginning guitar at age eight, Mullen moved to London in 1969 where he hooked up with Pete Brown, joining Brown's rock band, Piblokto!. He thus surfaced on two of Brown's LPs in 1970: 'Things May Come and Things May Go But the Art School Dance Goes on Forever' and 'Thousands on a Raft'. He next joined Brian Auger's Oblivion Express, appearing on that group's first three LPs. In the meantime he had also participated in the Amazing Band's 'Roar' in spring of 1970. He was an original member of Kokomo, formed in May of '73. It was via the Average White Band that Mullen met Dick Morrissey, with whom he formed the Morrissey–Mullen operation that would include the Average White Band. Morrissey-Mullen issued its first album, 'Up', in 1976, good for six more until 'Happy Hour' in 1988. After Morrissey-Mullen 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'. Among the host of others with whom Mullen collaborated were The Atlantic Family, the Atlantic All Stars, Mike Carr, Jimmy Witherspoon, Paz, Dennis Hynes, Irene Reid, Gene Harris, Tony Barnard, Elaine Delmar, Ian Shaw, Mose Allison, Claire Martin, Terry Callier, Sandi Russell, Joe Stilgoe and Paul Moran. He and Morrissey reunited in 2000, only several months before Morrissey's death in November that year. During the new millennium Mullen recorded several albums as the Jim Mullen Organ Trio and the Jim Mullen Quartet. His latest with his trio was 'Catch My Drift' in 2014. Lord's disco has him as recently as 2016 for cellist, Nicole Farnon's, 'So Farnon - So Good'.

Jim Mullen   1970

  Things May Come and Things May Go

      Album by Pete Brown & Piblokto!

Jim Mullen   1971

  Live at the Roundhouse London

      Filmed with Brian Auger's Oblivion Express

Morrissey-Mullen   1979

  Bristol Boogie

      LP: 'Cape Wrath'

Morrissey-Mullen   1982

  Life On the Wire

      LP: 'Life On the Wire'

Morrissey-Mullen   1983

  Ounce of Bounce

      LP: 'It's About Time'

Morrissey-Mullen   1985

  Live at Waterman's Arts Centre

      Filmed live

  With You

      Vocal: Noel McCalla

      LP: 'This Must Be the Place'

Morrissey-Mullen   1998

  Gettin' High

      Filmed live with Claire Martin

Morrissey-Mullen   2008


      Filmed live

Morrissey-Mullen   2009

  Midnite Mile

      Filmed with Terry Callier


Birth of Modern Jazz: Zbigniew Seifert

Zbigniew Seifert

Source: Bibliotece Polskiej Piosenki
Zbigniew Seifert was among the field of important Polish musicians who began to emerge in the sixties to put Poland on the map of jazz in the seventies despite its membership in the Communist Soviet Bloc from 1945 to 1989. Born in 1946 in Kraków, Seifert began training on violin at age seven. He took up alto sax as a teenager, studied violin at the University of Krakow, began his professional career with sax, then finished it with violin. Seifert formed his own quartet in '64 and toured about places such as Hungary, performing at festivals. In October of 1969 he attended the Jazz Jamboree in Warsaw to tape 'Illusion' ('Złudzenie') and 'Dancing Hunchback' ('Taniec Garbusa') for issue on 'New Faces in Polish Jazz' (Muza 0579) in 1970. Other live tracks from that period would be released on 'Nora' in 2010. What put Seifert's career into gear was joining the Tomasz Stanko Quintet in '69, with which he remained into '73. His first release with that quintet was 'Music for K' in 1970. 'No Name Piece' went down in Altena, Germany, for issue in 1971 on the album by various: '2. Internationales New Jazz Meeting Auf Burg Altena'. 'Jazzmessage from Poland' followed in 1972. 'W Pałacu Prymasowskim' arrived sometime in 1973 for two unknown issue dates and one in 1983 (PolJazz PSJ 97). Tracks for 'Purple Sun' went down in Munchen in March of '73, though not released until 1999. During that period together Seifert and Stanko also supported Jan Ptaszyn Wroblewski, Michał Urbaniak, Jan Jarczyk and the Novi Singers. Seifert had also recorded with Bosko Petrovic, Jiri Stivin (Seifert's first tracks on violin per 'Five Hits in a Row' in February 1972), Laboratorium, Volker Kriegel and the Polish Jazz All Stars during the period of 1971 to October 197373. Some of Seifert's tracks with Stanko had been in Germany, to where he moved in latter 1973. Seifert commenced 1974 in January per Hans Koller's 'Kunstkopfindianer'. March 1974 witnessed 'McCoy's Nightmare' to get released in 1979 on 'We'll Remember Zbiggy'. Come sessions for Jasper van't Hof, Joachim Kuhn and Koller before reuniting with Stanko per Polish Jazz Summit in July of '74 for 'Improvisations' found on 'New Jazz Festival Balver Höhle' (2016 per B Free 6233-6243). Seifert was featured on his composition, 'No Title', in November of 1975 with the Jazz Live Trio, issued on an unknown date ('79 or later) per 'European Trends Vol 3'. His initial session in 1976 was in March for 'Spring on the Farm' followed in April by 'Laverne', both issued on 'We'll Remember Zbiggy' per above in 1979. April also saw Joachim Kuhn's 'Spring Fever', the same month he learned he had a tumor of the forearm, after which he recorded 'Solo Violin' in May for release in 1978 in Germany. Seifert continued as usual, delivering concerts and recording until his final three albums in November of 1978: Volumes 1 & 2 of 'Kilimanjaro' were recorded in Cracow, issued per discogs in 1978, per others in 1979. 'Passions' ('79), containing another version of 'Kilimanjaro', went down in NYC. Seifert put down his final title in December in New York City in 1978, 'Chromatic Blues', also found on 'We'll Remember Zbiggy' per above in 1979. He then entered the Cancer Hospital in Buffalo, New York, to have his tumor removed. It wasn't the tumor, however, that killed him at age 32 on February 15, 1979; it was a heart attack after two operations. Other of Seifert's LPs were 'Man of the Light' and 'Zbigniew Seifert', both issued in 1977. Others Seifert had supported during his brief career were Charlie Mariano (Germany), Oregon (NYC) and Glen Moore (NYC). Per 1978 below, tracks not otherwise noted are from Seifert's album, 'Solo Violin'.

Zbigniew Seifert   1969

  East of the Sun

      LP: 'Nora'

Zbigniew Seifert   1970

   Czatownik (The Ambusher)

     Tomasz Stanko LP: 'Music For K'

   Nieskonczenie Maly (Infinitely Small)

      Tomasz Stanko LP: 'Music For K'

Zbigniew Seifert   1974

   Live at Berliner Jazztage

     Filmed wth Hans Koller

Zbigniew Seifert   1977

   Man of the Light



     LP: 'Zbigniew Seifert'

Zbigniew Seifert   1978



  Evening Psalm

  Kind of Time

  Live at the Jaszczury Club Kracow

      Live in Kracow

Zbigniew Seifert   1979

  Kilimanjaro I


  Kilimanjaro II



      LP: 'Passion'

  Where Are You From

      LP: 'Passion'


Birth of Modern Jazz: John Taylor

John Taylor

Source: Jazz FM
John Taylor was born in Manchester, England, in 1942. He played piano in a dance band before moving to London in 1964. He was playing in bands run by John Surman and Alan Skidmore when he made his first recordings, thought in 1968 on an unknown date for 'Jazz In Britain '68-'69' issued in 1972. March 1969 saw Surman's 'How Many Clouds Can You See?' released in 1970. Surman would be one of the more important of Taylor's associates in the early seventies, reuniting in the eighties and nineties. He emerged on six more of Surman's albums from 'Way Back When' in October 1969 to 'Proverbs and Songs' at Salisbury Cathedral on June 1, 1996. Surman participated in Taylor's debut LP, 'Pause and Think Again', in February 1971. It was the duo, 'Ambleside Days', in Oslo, Norway, on July 15, 1992. Skidmore's was also a strong presence during Taylor's first few years as a recording artist. Taylor backed Skidmore's 'Once Upon a Time' in September 1969 and 'TCB' in October 1970. Come Skidmore's 'KLM' and 'And Think Again' in June 1971 to be found on the album by various, '2. Internationales New Jazz Meeting auf Burg Altena', issued that year. In addition to Surman, Skidmore and Taylor partnered on albums by Graham Collier ('Songs for My Father'), Harry Beckett, Mike Gibbs, Mike Westbrook, Norma Winstone and Volker Kriegel. It was Mike Gibbs' 'Just Ahead' at Ronnie Scott's jazz club in May and June of 1972, a reunion to follow in June 1975 for John Warren's 'Live'. They would partner again on September 4, 1991, for Colin Towns' 'Mask Orchestra. Also collaborating on 'Jazz In Britain '68-'69' per above had been Beckett (flugelhorn), Malcom Griffiths (trombone), Mike Osborne (alto sax), Kenny Wheeler (trumpet/flugelhorn), Harry Miller (bass) and drummers, Alan Jackson and Tony Oxley. Beckett, Griffiths, Osborne and Wheeler would become of particularly pronounced presence in Taylor's career. Beckett and Taylor would continue with Surman, then partner in support of Collier ('Songs for My Father'), Mike Gibbs, Westbrook and Gibbs again in 1972 ('Just Ahead'). Along the way Taylor participated in Beckett's debut LP, 'Flare Up', on July 15, 1970. Come Beckett's 'Warm Smiles' in summer of 1971 and 'Themes for Fega' on February 4, 1972. They reunited in June 1975 for John Warren's 'Live' with Skidmore above. As for Griffiths, he and Taylor continued with Surman to the latter's 'Morning Glory' in March of 1973. Along the way they partnered in the bands of Skidmore, Mike Gibbs, Westbrook, Winstone and Wheeler ('Song for Someone' '73). They reunited in June 1975 for John Warren's 'Live', again in March 1983 for Gil Evans' 'The British Orchestra'. As for Osborne, he and Taylor continued with Surman, also to become frequent partners through albums by Beckett, Skidmore, Westbrook and Winstone to Wheeler's 'Song for Someone' in January 1973. Addressing Wheeler, he and Taylor would leave much the same wake behind them into the new millennium. Continuing with Surman together, they steadily supported numerous operations over the decades including each other's. Wheeler contributed to Taylor's debut LP, 'Pause and Think Again', in February 1971. Come Taylor's 'Fragment' in January 1975, followed years later by 'Overnight' in latter 2001 in a trio with Riccardo Del Fra (bass). Taylor complemented Wheeler on no less than seventeen albums by the latter from 'Song for Someone' in January 1973 to 'The Long Waiting' in September 2011. Along the way they had formed Azimuth, a trio with Norma Winstone, to make five albums from 'Azimuth' in March 1977 to 'How It Was Then... Never Again' in April 1994. Well to mention Taylor's marriage to Winstone in 1972 (divorce unknown). Taylor had first backed her on 'Interlude' and 'Soft Winds' found on his debut LP, 'Pause and Think Again' in 1971. Come June of 1971 Taylor joined the Alan Skidmore Quintet to support her on 'KLM' and 'And Think Again', issued in '71 on the album by various, '2. Internationales New Jazz Meeting auf Burg Altena'. It was Mike Westbrooks' 'Metropolis' in August 1971 with Winstone providing voice. Come Winstone's debut LP, 'Edge of Time', in 1972. They would partner on four more albums from 'Live at Roccella Jonica' in Italy in 1984 to their duo, 'Like Song, Like Weather', in March 1996. Others featuring Winstone with Taylor supporting were such as Kenny Wheeler on 'Song for Someone' in January 1973 to the Maritime Jazz Orchestra in March 1998 for 'Now and Now Again'. Among the more important figures in Taylor's latter career was bassist, Palle Danielsson. Their first of four albums as a trio with Peter Erskine (drums) was 'You Never Know' in Oslo in July 1992. Come 'Time Being' in November 1993, 'As It Is' in September 1995 and 'Juni' in July 1997. Drummer, Martin France, replaced Erskine in October 2004 for 'Angel of the Presence', October 2005 for 'Whirlpool' and October 2006 for 'Giulia's Thursdays'. That configuration expanded into a quartet with Julian Arguelles (sax) in December 2008 for 'Requiem for a Dreamer'. Lord's disco follows Taylor through 18 albums as a leader to 'In Two Minds' ('14), a suite of solos gone down in November 2011. Recording more recently, his last was '2081', in 2015. He had earlier supported Hayden Chisholm's 'Breve' that year. Taylor died of heart attack while performing at the Saveurs Jazz Festival in France on July 17, 2015. Among the host of others on whose recordings he can be found are Don Sugarcane Harris, Frank Ricotti, Jon Eardley, Eric Vloeimans and Maria Pia De Vito. Per 1996 below, Taylor performs in a trio with Palle Danielsson (bass) and Peter Erskine (drums) on the LP, 'As It Is'.

John Taylor   1969

  Part 1

      John Surman LP: 'Way Back When'

      Not issued until 2005

John Taylor   1970

  Once Upon a Time

      Album by Alan Skidmore

  Rolly's Tune

      Harry Beckett LP: 'Flare Up'

  Song One (Seven-Four)

      Graham Collier LP: 'Songs For My Father'

John Taylor   1971

  Pause, and Think Again


John Taylor   1973

  Cipher/Wait For Me

      LP: 'Decipher'

  White Magic

      LP: 'Decipher'

John Taylor   1996


  The Lady in the Lake

John Taylor   2003

  Between Moons

      LP: 'Rosslyn'

  Ma Bel

      LP: 'Rosslyn'

John Taylor   2015

  3 Pieces from Ambleside Days

      Piano solo filmed live

  Between Moons

     Piano solo filmed live


  Keith Tippett (Keith Graham Tippetts) was born in Bristol, England, in 1947, the son of a cop. He formed his first band while yet in school, the KT7. Allmusic has Tippett composing 'Come On In' in 1965 with Jo Mapes for folk singer, Carolyn Hester. That would have been before he arrived in London in 1967. Being a piano player can be a problem without a piano. I recall some twenty years ago watching some musicians lifting a spinet to the third story of my apartment building with ropes. Tippett solved his problem of needing to practice by making notches in a table. Howsoever, Tippett formed a band in latter 1967 in London. On September 18, 1968, he recorded unreleased titles for Revolution Records such as 'Hail Conquering Hero' and 'Five After Dawn', et al. Two things that did come to issue, however, were Tippett's continued close relationships with Mark Charig (cornet) into the nineties and Elton Dean (sax) into the 21st century. Charig and Tippett partnered in numerous operations through the years, including Julie Tippetts', Keith's Centipede, the Command All Stars, Elton Dean and the Dedication Orchestra. Charig participated in six of Tippett's albums from 'You Are Here... I Am There' in January 1970 to 'Live at Le Mans' in May 1998. Tippett had contributed to Charig's 'Pipedream' in January 1977 with Ann Winter performing voice and bell. As for Dean, he complemented Tippett on five of the latter's albums from 'You Are Here... I Am There' in 1970 to 'Live at Le Mans' in 1998. Among numerous titles by Dean that Tippett supported were about eight albums from 'Live at The BBC' ('03) in May 1975 to 'Twos and Threes' in 1984 ('K.T.). Along the way Dean and Tippett partnered in numerous operations through the years, including Julie Tippetts', Keith's Centipede, the Command All Stars and the Dedication Orchestra. Lord's disco has them together a last time ion March 28, 2000, for Paul Dunmall's 'The Great Divide'. We back up to sometime in 1969 when Tippett supported Julie Driscoll (Julie Tippetts) for '1969' issued in '71. He may have recorded 'Album' ('70) with folk singer, Shelagh McDonald, as early as 1969 as well. (McDonald recorded a couple albums, then up and disappeared.) Tippett also put down his debut LP in January 1970: 'You Are Here... I Am There' ('70 Esoteric Recordings ‎2366). He also joined the rock band, King Crimson, in 1970, recording 'In the Wake of Poseidon' in May 1970. 'Lizard' saw release in December. 'Islands' followed in latter 1971. Tippett had married Driscoll in 1970, she to assume the name, Julie Tippetts (the plural of Tippett). Julie next contributed to Keith's 'Septober Energy' in June 1971 with his fifty-piece orchestra, Centipede. She then contributed to tracks on Keith's 'Blueprint' in 1972. Tippett then backed Julie on 'Sunset Glow' in 1975. Among their numerous recordings through the decades were about 21 more albums between the two of them. Their next was 'Ovary Lodge' in August 1975. Keith and Julie's most recent was her track, 'The Dance of Her Returning', in October 2014 on Keith's 'The Nine Dances of Patrick O'Gonogon'. Their duos, 'Couple In Spirit' and 'Couple In Spirit II' had arrived in 1988 and 1996. We slip back to Julie's 'Sunset Glow' in 1975 for drummer, Louis Moholo, who sided 'Oceans and Sky'. Tippett and Moholo partnered in multiple bands together, such as Elton Dean's, Harry Miller's and the Dedication Orchestra (Julie included on Miller's 'In Conference' in 1978 and both Dedication Orchestra albums). On January 4, 1978, Tippett contributed to Moholo's 'Spirits Rejoice'. Come 'Tern' in November of 1982, a trio with Larry Stabbins at sax. It was Moholo's 'Mpumi' in September 1995. Moholo had joined Tippett's Ark in May of '1978 for 'Frames: Music for an Imaginary Film' (including Julie). It was their duo, 'No Gossip', in March 1980. Come Tippett's 'Live at Le Mans' in France with his Tapestry Orchestra on May 3, 1998, and 'Viva La Black Live at Ruvo' on September 5, 2004 (both including Julie). As might be indicated, the Dedication Orchestra was a major affair, though issuing only two albums: 'Spirits Rejoice!' in '92 and 'Ixesha (Time)' in 94. In addition to releasing above twenty albums as a leader Tippett collaborated on a host of others. Piano solos among his issues were 'The Unlonely Raindancer' gone down in April 1979, 'Mujician' in October 1981, 'Mujician II' in June 1986, 'Mujician III' in June 1987 and 'Friday the 13th' ('00) in Japan in 1997. Among his latest releases was 'Mujician Solo IV (Live In Piacenza)', recorded in 2012, issued 2015. Having toured the globe, Tippett visited the United States only once, that in 1991 for two sets on one night at the Knitting Factory in NYC. Tippett has also taught at the University of Bristol. Among his more recent configurations has been the quartet, Software. His most recent collaboration was 'Murmuration' gone down in early 2016 for Blazing Flame with Steve Day, Julie, et al. Among the host of others on whose recordings Tippett can be found include Amalgam, Stan Tracey, Low Flying Aircraft, Howard Riley, Pianoforte and Giovanni Maier.      

Keith Tippett   1970

  Cadence and Cascade

      King Crimson LP: 'In the Wake of Poseidon'

  I Wish There Was a Nowhere

      LP: 'You Are Here...I Am There'


      LP: 'You Are Here...I Am There'

  Waiting For the Wind to Rise

      Shelagh McDonald LP: 'Album'

Keith Tippett   1971

  Septober Energy

      Album with Centipede

  Black Horse

      LP: 'Dedicated To You But . . . Listening'

  This Is What Happens

      LP: 'Dedicated To You But . . . Listening'

Keith Tippett   1972


      LP: 'Blueprint'

Keith Tippett   1978

  Frames (Music for an Imaginary Film)

      Side One

Keith Tippett   1986

  Jazz Cafe

      Filmed live

Keith Tippett   2008

  Septober Energy

      Filmed live

Keith Tippett   2011

  Live in Castel San Pietro Terme

      Part 4

      Filmed in Bologna with Louis Moholo

Keith Tippett   2013

  Live at Cafe OTO

      Filmed in London

  Live in Monopoli

      Filmed at the Conservatory Nino Rota


Birth of Modern Jazz: Keith Tippett

Keith Tippett

Photo: Pierangelo Sacchi

Source: Flickriver


We end this history of international modern jazz from 1960 to 1970 with British pianist, Keith Tippett.




Early Blues 1: Guitar

Early Blues 2: Vocal - Other Instruments

Modern Blues 1: Guitar

Modern Blues 2: Vocal - Other Instruments

Modern Blues 3: Black Gospel Appendix


Medieval - Renaissance


Galant - Classical

Romantic: Composers born 1770 to 1840

Romantic - Impressionist

Expressionist - Modern

Modern: Composers born 1900 to 1950




Country Western


Early Jazz 1: Ragtime - Bands - Horn

Early Jazz 2: Ragtime - Other Instrumentation

Early Jazz 3: Ragtime - Song - Hollywood

Swing Era 1: Big Bands

Swing Era 2: Song

Modern 1: Saxophone

Modern 2: Trumpet - Other Horn

Modern 3: Piano

Modern 4: Guitar - Other String

Modern 5: Percussion - Other Orchestration

Modern 6: Song

Modern 7: Latin Jazz - Latin Recording

Modern 8: United States 1960 - 1970

Modern 9: International 1960 - 1970

Rock & Roll

Early - Boogie Woogie - R&B - Soul - Disco

Doo Wop

The Big Bang - Fifties American Rock

UK Beat

British Invasion

Total War - Sixties American Rock

Other Musical Genres - Popular Music Appendix

Musician Indexes

Classical - Medieval to Renaissance

Classical - Baroque to Classical

Classical - Romantic to Modern

The Blues

Bluegrass - Folk

Country Western

Jazz Early - Ragtime - Swing Jazz

Jazz Modern - Horn

Jazz Modern - Piano - String

Jazz Modern - Percussion- Latin - Song - Other

Jazz Modern - 1960 to 1970

Boogie Woogie - Doo Wop - R&B - Rock & Roll - Soul - Disco

UK Beat - British Invasion

Sixties American Rock - Popular

Latin Recording - Europe

Latin Recording - The Caribbean - South America


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