Group & Last Name Index to Full History:
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
Tracks are listed in chronological order by year, then alphabetically.
Listings do not reflect proper order by month or day: later oft precedes earlier.
Find on Page = F3. Not on this page? See history tree below.
Featured on this page loosely in order of first recording if not record release (as possible).
Names are alphabetical, not chronological, per year:
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Caveats in the employment of this page: 1. It descends in chronological
order by the year the artist or band is first found on a commercial record
issue (ideally) by year only, alphabetical thereat. One musician above
another doesn't necessarily translate to earlier issue unless the year
changed. 2. Though release dates are the aim with links to YouTube, some are
recording dates and may not be everywhere clearly distinguished. 3. Reissues
are used to represent originals without much discussion. |
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| This page concerns international jazz
musicians whose careers began in the sixties with their first appearance on
issued vinyl. Prior to 1960 musicians born without the United States are
included with US musicians according to their instrument. On this page
they're assembled per string musicians including piano, violin, guitar and
upright bass. Who began recording in the sixeies on instruments such as sax,
trumpet, drums and vibes are in
Various.
Vocalists in Modern Jazz Song. A good number on this page were well-known
in the United States, making their careers there, but are on this page if
they were born elsewhere. The more, however, weren't generally known in the
States. Even so, this page gathers together some of the more
prominent jazz musicians from about the globe. Great Britain is strongly
represented, as elsewhere throughout these histories, the British having
formed a strong jazz culture ever since the
Original Dixieland Jazz
Band first toured there in 1919. See also the British jazz
timeline at
henrybebop. Europe follows, particularly Germany
(on this page). Also strongly represented are musicians emerging from Africa,
Eastern Europe and Scandinavia. Musicians born in the Caribbean dot this
page somewhat as well. Though most Latin musicians are found at
Latin Jazz, several from Brazil or Italy are
included on this page. Others from as far apart as Canada, India and Japan
find a place on this page as well. Sessions data this page per
Lord's Disco.
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Born in 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 when he performed
Reinhardt's 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, corroborating with
AmourduRocknRoll,
makes him seventeen years of age. That got issued on Philips 14027 in 1960
as 'Finale du Grand Prix de Belgique des Varietes' [Discogs]. 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 1968 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'. Catherine commenced the 21st century w 'Triangular'
gone down on 19 & 29 February of 2000 in Barchem, Holland. He followed that
on 13 & 15 June with titles toward 'Blue Prince' assisted by trumpeter Bert
Joris, bassist, Hein van de Geyn and drummer, Hans Van Oosterhout. Deeper
into the new millennium Catherine produced 'The String Project' in 2015, a
live album recorded in Flagey, Brussels, on 13 Jan that year. Catherine's most recent of
above twenty albums as a
leader was 'Manoir de Mes Rêves' [1,
2]
in 2019 w Paulo Morello and Sven Faller. Among others with whom Catherine
has 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. References: 1,
2,
3,
4.
Discos: 1,
2,
3,
4,
5,
6, Lord (leading 38 of 181 sessions).
Visual media:
IMDb;
soundtracks;
YouTube.
Interviews: Jim LaDiana 2002. Further reading:
HMR Project,
JazzTimes,
Mark Small. Philip Catherine 1971 From 'Stream' Composition: Charles Bobbit Composition: Catherine Philip Catherine 1972 How Would You Like to Have a Head Like That Filmed with Jean Luc Ponty Composition: Jean Luc Ponty Philip Catherine 1976 Compilation 1974-75 Philip Catherine 1981 Filmed with Chet Baker Philip Catherine 1986 Filmed with Chet Baker Composition: Irving Berlin 1932 Philip Catherine 1992 Filmed with NHOP Philip Catherine 2000 Filmed concert Philip Catherine 2005 Filmed with Christophe Laurenceau Composition: Catherine Philip Catherine 2011 Filmed live Philip Catherine 2014 Television broadcast Philip Catherine 2015 Filmed live Album: 'The String Project' Most comps by Catherine Filmed live Composition: Catherine Philip Catherine 2019
|
 Philip Catherine Source: Focus Collection |
|
 Niels-Henning Ørsted Pedersen Source: Wikimedia Commons |
Born in 1945 in Osted, Denmark, on the island of Zealand,
double bassist,
Niels-Henning Ørsted Pedersen
is generally referred to as Ørsted Pedersen or NHOP. He 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 26 albums w
Gordon [Wikipedia]. 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
nine albums w Peterson into the eighties [Wikipedia]. In 1973 he and
Kenny Drew released 'Duo', the first of
eight albums into the eighties on which NHOP would perform w
Drew [Wikipedia]. 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 5
albums with Baker into the eighties
[Wikipedia]. Pedersen issued
'Just the Way You Are' in 1980 w guitarist, Rune Gustafsson, prior to
winning the DownBeat Critics' Poll in 1981 for Best Bass Player. He won the
Nordic Council Music Prize in 1991 before issuing such as 'To a Brother' in
93, 'Friends Forever: In Memory of Kenny Drew' in '97 (recorded August '95) and 'This is All I Ask' in '98
(recorded '97). 'In the Name of
Music' also saw issue in '98 w the Trio Rococo. 'The Unforgettable NHØP
Trio Live' went down on dates in March of '99 and March 2005 toward
posthumous issue by ACT in 2007. Backing a host of
musicians during his career, some of the more productive were w
Warne Marsh,
Tete Montoliu,
Jackie McLean,
Martial Solal,
Philip Catherine,
Joe Pass and Niels Lan Doky. Altogether,
NHOP performed on more than 800 albums, leading or co-leading forty per RYM
[Discos 4]. He died of heart failure on 19 April of 2005 in
Copenhagen [obits: 1,
2,
3,
4].
References: 1,
2.
Discos: 1,
2,
3,
4,
5.
Compilations: 'Friends Forever' 2005.
IMDb.
Archive.
Analysis: Craig Butterfield.
Further reading: Erik Chrstensen.
Other profiles: 1,
2,
3. NHOP 1963 Composition: Mort Dixon/Ray Henderson 1926 Album: 'My Name Albert Ayler' NHOP 1972 Filmed live Drums: Tony Inzalaco Piano: Oscar Peterson Sax: Ben Webster NHOP 1973 'In Woodland Quiet Calm' Danish traditional Filmed live with Kenny Drew See also 'Duo' NHOP 1976 Album of duets with Sam Jones NHOP 1978 From 'Chops' Guitar: Joe Pass Music: Richard Rodgers 1937 Lyrics: Lorenz Hart Composition: Sonny Rollins 1954 NHOP 1990 Album w Palle Mikkelborg Filmed live at Stefánia Palace Drums: Alvin Queen Piano: Gustav Csik NHOP 1992 Filmed live w Joe Pass Composition: Sonny Rollins 1954 NHOP 1993 Composition: Victor Young Album: 'To a Brother' NHOP 1994 Oscar Peterson Quartet filmed live Includes solo by Pedersen NHOP 1998 NHOP 2003 Filmed live with Christian McBride Composition: Mort Dixon/Ray Henderson 1926 NHOP 2007 The Unforgettable NHOP Trio Live Recorded 1999/2005 Issued posthumously
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Born in 1944 in Kingston, Jamaica,
Monty Alexander
was among the premiere 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.
Jumping a good distance into the new millennium, Alexander played melodica
as well as piano on the 2006 release of 'Concrete Jungle' [1,
2]
dedicated to music performed by
Bob Marley. Alexander inaugurated the
first Monty Alexander Jazz Festival [1,
2] in
2010, a Labor Day event held annually to this date at the Avalon Theatre in
Easton, Maryland. With well above seventy LPs to his name, among more recent issues
were 'Uplift' ('11), 'Harlem-Kingston Express Live!' ('11), 'Uplift 2' ('13)
and 'Harlem-Kingston Express Vol 2: 'The River Rolls On' in 2014. His most
recent release as of this writing was 'Wareika Hill: Rastamonk Vibrations' in 2019 [1,
2,
3,
4]. Among the numerous
others on whose recordings he can found are Dizzy
Gillespie ('77), Larry Alexander ('99) and
Tony Bennett ('08). Married to Italian
vocalist, Catarina Zapponi, he yet records and tours heavily, recently
appearing at venues like the Keystone in Baltimore, and the Birdland and
Blue Note in NYC. References: 1,
2,
3,
4.
Discos: 1,
2,
3,
4,
5,
6, Lord (leading 83 of 141
sessions).
IMDb.
Select videography.
IA.
Facebook.
Interviews: NPR 2009/16;
Matt Preira 2012;
Charles Benoit: 2014,
2019; JHD ?.
Further reading: Jazz Profiles;
Jazz Times.
Other profiles *. Monty and the Cyclones 1961 Composition: Alexander Composition: Alexander Music: George Gershwin 1935 Lyrics: DuBose Heyward/Ira Gershwin For the opera "Porgy and Bess' Monty Alexander 1965 Composition: Fats Waller Album: 'Alexander the Great' From 'Spunky' Composition: Alexander Composition: Junior Mance Monty and the Cyclones 1971 Composition: George Harrison Monty Alexander 1976 Album issued in '77 Monty Alexander 2004 Concert filmed in Paris Monty Alexander 2006 Monty Alexander 2011 Filmed concert Bass: John Clayton Drums: Jeff Hamilton Concert filmed in Spain Composition: Bob Marley Album: 'Harlem-Kingston Express Live!' Monty Alexander 2013 Concert filmed in France Monty Alexander 2014 Concert filmed in Basel, Switzerland Monty Alexander 2015 Filmed 20 March 2015 'Nature Boy' (Eden Ahbez) 'Running Away' (Bob Marley) Filmed Aug 26 2015 Bass: Hassan Shakur Drums: Obed Calvaire Monty Alexander 2019 Album: 'Wareika Hill: Rastamonk Vibrations'
|
 Monty Alexander Source: Wikipedia |
|
 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/ cello) on September 14, 1964, for 'Dream
Talk' [1,
2]. Braceful joined Dauner on eight more albums among other titles
including three by Dauner's group, Et Cetera [1,
2],
from 1970 to 1973: 'Et Cetera',
'Knirsch' and
'Live'. Following Wendlandt (above) came saxophonist,
Joki Freund's, 'Yogi Jazz' on November
20 of 1963. It was
Freund,
Weber and Charly Antolini (drums) for
Dauner's 'Piano X 4' on April 2 of 1964. Come 'Dream Talk' with Weber and Braceful in September. Dauner's initial session
with Weber had been for
Freund's 'Yogi Jazz' above. They would
remain tight into the latter eighties,
Weber backing Dauner on numberless projects to include a
couple more trios with Braceful as well as 'Free Action' [1,
2,
3,
4]
in 1967 w Braceful. Weber appeared on Et Cetera's
first album in 1970, 'Et Cetera'. He was also a member of Dauner's United
Jazz + Rock Ensemble [1,
2,
3,
4]
formed in 1975, appearing on that group's first issue, 'Live im
Schützenhaus', in 1977. It was after that group'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 Weber (bass), Manfred Schoof (trumpet/flugelhorn), Klaus Doldinger
(sax) and Wolfgang Haffner (drums). We slip back to 1970
when Dauner formed Et Cetera [1,
2] 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 [1,
2,
3,
4] in 1975 by
television producer, Werner Schretzmeier. That organization with its own
label, Mood Records, recorded its debut LP, 'Live im Schutzenhaus', in
January of 1977. Steve Huey at AllMusic comments that that would become Germany's
overall
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
Dauner
can be found are Robin Kenyatta,
Don Sugarcane Harris,
and Martin Kolbe. Discos Dauner: 1,
2,
3,
4, Lord (leading 28 of 94
sessions).
Discos United Jazz + Rock Ensemble: 1,
2,
3.
IMDb.
IA.
Other profiles *. Wolfgang Dauner 1967 From 'Free Action' Tenor sax/clarinet: Gerd Dudek Violin: Jean-Luc Ponty Bass: Jürgen Karg Cello: Eberhard Weber Drums: Fred Braceful Percussion: Mani Neumeier All compositions Dauner Wolfgang Dauner 1968 Recorded 10 Nov 1968 Berlin Jazz Festival First issued by MPS Records 1968 Wolfgang Dauner 1969 Wolfgang Dauner 1970 Also issued as 'Dietrich's Soul': Dietrich Privat-Produktion 1970 Wolfgang Dauner 1971 Album by Et Cetera Wolfgang Dauner 1972 Live at Deutsches Jazz Festival Wolfgang Dauner 2004 Filmed live with Albert Mangelsdorff Wolfgang Dauner 2010 Filmed live Composition: Dauner Composition: Dauner Album: 'Tribute to the Past' Recorded Nov 2009/March 2010
|
|
 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' gone down in January of '62. That album, apparently worth
several hundred dollars these days, witnessed McGregor's first tracks w alto
saxophonist,
Dudu Pukwana, the latter
to remain one of McGregor's most important musical associates into the
latter eighties, last recording together as the Blue Notes in 1987 toward
'Blue Notes for Johnny'. The other album on which McGregor appeared in '62 was by various: 'Jazz
1962: Cold Castle National Festival Moroka-Jabavu' w titles by McGregor
recorded in October of 1962 w a septet of which
Pukwana was a member. It was 1962
when McGregor began putting together the band that was to become the Blue Notes.
It was sometime in 1963 when he met his wife, Maxine McGregor, in
Johannesburg. She a journalist, what had been an interview for a newspaper
became management of the developing Blue Notes, she to ramrod the remainder
of McGregor's career. In September of 1963 McGregor's Castle Lager Big Band
recorded the album, 'Jazz/The
African Sound' [1,
2,
3,
4].
The Blue Notes were officially formed as a quintet in 1964 from out of that
band. McGregor's last recordings in South Africa were with his
Blue Notes in 1964. 'Legacy: Live in
South Afrika 1964' went down in Durban on an unknown date toward issue in '95.
Tom Lord has 'Township Bop' recorded in Cape Town in February or March
toward issue in '02. See Post Daily for audio of a
concert that the band
gave in June of 1964 in Cape Town. Along w Chris at piano were Nick Moyake (tenor sax),
Pukwana (alto sax), Mongezi Feza (trumpet), Johnny Dyani (bass) and Louis Moholo
at drums. The Blue Notes were reduced to a quartet filled by
Pukwana, Dyani and Moholo for the later
recording of 'Blue Notes for Mongezi' in London in Dec of 1975, Feza having
died on 14 Dec of '75. The
Blue Notes were pared down to a trio for the August 1987 recording of 'Blue Notes for
Johnny' in London, Dyani having died on 24 October 1986. McGregor had taken 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 traced by Lord had been in January of 1967 for
'Kwela' by Gwigwi's Band. The Chris McGregor Group released 'Very Urgent' in
1968. In 1969 McGregor formed the big band, the
Brotherhood Of Breath. He composed the music for the Nigerian film, 'Kongi's
Harvest', that premiered in Sweden in 1970. McGregor's initial of several albums
by various incarnations of the Brotherhood Of Breath was
'Chris McGregor's Brotherhood Of Breath' [1,
2]
gone down on January 9, 1971, in London. Others include 'Eclipse at
Dawn' [1,
2,
3,
4,
5,
6] recorded on 4 November 1971 toward issue in 2013. 'Procession' [1,
2,
3]
was recorded in 1977 toward issue in '78.
Come 'Yes Please' [1,
2] on 1 and 2 June 1981
for release that year. 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
of cancer 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 McGregor can be
found are Harry Miller, Natural Music, Doudou Gouirand,
Harry Beckett and Marilyn Mazur.
References McGregor: 1,
2,
3.
Sessions: J-Disc; Lord (leading 26 of 47).
Discos: 1,
2,
3,
4. Biblio: 'The Brotherhood of Breath' by Maxine McGregor (Bamberger Books 1995):
1,
2.
Further reading: Shamin Chibba;
Bill Shoemaker.
Other profiles: 1,
2,
3.
See also Cape jazz: 1,
2,
3.
References the Blue Notes: 1,
2,
3.
Discos: 1,
2,
3.
References the
Brotherhood of Breath: 1,
2,
3,
4,
5;
African quarterly journal 'Two Tone' 1992:
Part 1
(alt),
Part 2
(
alt).
Discos: 1,
2,
3.
Reviews: 1,
2.
Chris McGregor 1962 Album: 'Mr. Paljas' Recorded Jan 1962 Johannesburg Music: Stanley Glasser Lyrics: Beryl Bloom With the Blue Notes Recorded c '62 for issue c '62 Compositions: Dudu Pukwana Chris McGregor 1968 South African traditional Album: 'Very Urgent' Chris McGregor 1970 From: 'Chris McGregor's Brotherhood Of Breath' Composition: Dudu Pukwana Composition: Dudu Pukwana Chris McGregor 1971 With the Brotherhood of Breath Chris McGregor 1988 With the Brotherhood of Breath Recorded 19 Aug 1987 Germany With the Brotherhood Of Breath Composition: Chris McGregor Album: 'Country Cooking' Recorded Jan 1988 London
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 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.
Urbaniak had recorded 'Super Constellation' in West Germany in June 1973. It was a
scholarship to the Berklee College of Music in Rhode Island that found Urbaniak
immigrating to the States that year with
Dudziak. But rather than studying there he became
involved in the project of forming the touring band, Fusion, whence 'Super
Constellation' of '73 got retitled to 'Fusion' for reissue in '74. Lord's
Disco
has his first recordings upon arrival to the States in 1974 per 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'
[1,
2,
3] 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 was 'Urbanator Hip Bop' [1,
2]
produced by Urbaniak in 1994. Gone down in Hell's Kitchen, New York, that
year, along w Urbaniak on violin and sax were Jon Dryden (keyboards), Al
McDowell (bass) and
Lenny White (percussion).
Recent years have seen Urbaniak working w symphony orchestra, his
UrbSymphony premiering in 1995. 'Urbanator
II Hip Bop' [1,
2]
saw release w Urbanator accompanied by a larger band in '96. Urbaniak
released 'UrbSymphony' in 2003 or '04 on his own label, Ubx Records
[1,
2,
3]. Come 'Urbanator III Big Blue'
[*] in 2005.
Urbaniak's most recent
of above sixty albums as a leader or co-leader were
'Miles of Blue' (two CDs) in 2009 and 'SBB & Michał Urbaniak' in
2015. His oeuvre including above 25 film scores, amidst the host of others on whose albums he can be found are
Oliver Nelson, Cam Newton,
Billy Cobham, Just Friends and
Alex Kolosov. References: 1,
2,
3,
4.
Discos: 1,
2,
3,
4, Lord (leading 44 of 128 sessions).
Film: 1,
2,
3.
YouTube.
IA.
Scores.
Instruction.
Internet hub.
Further reading: Eliza Anna Falk. Michał Urbaniak 1973 Album by Constellation All music by Urbaniak Michał Urbaniak 1974 Note: 'Fusion' is a 1974 reissue of 'Super Constellation' recorded in Germany and issued in Europe in 1973. It was retitled 'Fusion' upon Urbaniak's move to the US in 1973 to form his touring band, Fusion. Recorded June 1974 Columbia Studios New York All compositions Urbaniak Michał Urbaniak 1975 From 'Fusion III' All compositions Urbaniak Michał Urbaniak 1977 Michał Urbaniak 1982 Vocals: Urszula Dudziak Recorded 1982 [Lord] Issued on the album by various: 'Solo's, Duo's and Trio's' 1982 Note: Lord has Dudziak and Urbaniak recording an earlier version of 'New York Baca' in 1974, identified as Warsaw with a question mark. That saw issue by Dreadlock in 2002 on 'And Life Goes On...' [1, 2]. Michał Urbaniak 1990 Composition: Stephen Fox/Urbaniak Album 'Code Blue' Reissued 1997 Michał Urbaniak 1995 Filmed live Michał Urbaniak 1998 Filmed live Music by Urbaniak Michał Urbaniak 2004 Album: 'Decadence' All composition Urbaniak Michał Urbaniak 2009 From 'Miles of Blue' Composition: Miles Davis Composition: Calvin Brown Michał Urbaniak 2011 Filmed live at the Grand Theatre Warsaw With Urbanator & Don Blackman Composition: Krzysztof Komeda Note: Compare 'The Cats' above to earlier versions credited to Komeda by Urszula Dudziak on 'Future Talk' in '79 [*] and 'Cats' on Urbaniak's 'Urbanator' of '94 [*]. Composition: UrbaniakMichał Urbaniak 2015 Filmed live in Warsaw
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 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' [1,
2,
3,
4,
5] 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'
[1,
2] 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 [obits: 1,
2,
3,
4].
References: 1,
2.
Discos: 1,
2,
3,
4,
Lord (leading 45 of 67 sessions).
IMDb.
Further reading: ABPress. Other profiles *. Michael Garrick 1958 Vocal: Josephine Stahl Composition: Al Goodhart/Al Hoffman/Maurice Sigler Not released until 2010 Michael Garrick 1959 Composition: Garrick Not released until 1983 Michael Garrick 1964 Recorded 10 June 1963 London Composition: Garrick Album: 'Poetry and Jazz in Concert Record Two' Compilation: 'Poetry and Jazz in Concert' 2006 Michael Garrick 1964 Album: 'Moonscape' All compositions Garrick Michael Garrick 1965 Album: 'October Woman' Recorded 9/10 Nov 1964 London All compositions Garrick Composition: Garrick Album: 'Promises' Recorded 27 May 1965 London Michael Garrick 1966 Album: 'Black Marigolds' All compositions Garrick Michael Garrick 1968 Album: 'Prelude to Heart Is a Lotus' Recorded 1968 for BBC Not released until 2013 All compositions Garrick Television broadcast Don Rendell-Ian Carr Quintet Composition: Gabriel Fauré 1887 Michael Garrick 1969 Filmed live October 1968 St. Paul's Cathedral London Organ: Garrick Composition: Garrick Michael Garrick 1970 Album: 'The Heart Is a Lotus' Vocals: Norma Winstone All compositions Garrick Michael Garrick 1972 Album: 'Cold Mountain' Recorded 6/7 April '72 London Michael Garrick Trio Michael Garrick Trio Bass: Dave Green Drums: Trevor Tomkins All compositions Garrick Recorded 7 April '72 London Michael Garrick Band Vocals: Norma Winstone All compositions Garrick Michael Garrick 2011? Horn: Tony Woods Vocal: Nette Robinson
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 Masabumi Kikuchi Photo: John Rogers Source: Manafonistas | Born in Tokyo, Japan, in 1939, pianist,
Masabumi Kikuchi
(aka Poo Sun)
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' [ 1,
2,
3,
4,
audio],
that an application of free improvisation to
Giacomo Puccini's
opera, 'Tosca', that premiered on 14 January 1900 at the Teatro Costanzi in
Rome. 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' [reviews: 1,
2,
3,
4,
5,
6,
7]. 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 and
'Black Orpheus'
in 2012 [reviews:
1,
2,
3,
4,
5,
6,
7].
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.
References: 1,
2.
Discos: Kikuchi: 1,
2,
3, Lord (leading 43 of 125 sessions);
Tethered Moon: 1,
2,
3, Lord (7 sessions).
Documentaries: 'Out of Bounds' 2010.
Interviews: Ethan Iverson 2012.
Internet Archive. Per 1963 below, 'Stone Garden of Ryoan Temple' was Kikuchi's debut
issued
recording on the joint
Mariano-Akiyoshi
LP, 'East and West'. Per 1997 below, tracks are with Tethered Moon from
the album, 'First Meeting', recorded 1990-91. Masabumi Kikuchi 1963 Composition: Charlie Mariano Album by Akiyoshi & Mariano: 'East and West' Alto sax: Charlie Mariano Piano: Toshiko Akiyoshi Bass: Gene Cherico Drums: Albert Heath Masabumi Kikuchi 1970 From debut LP 'Poo-Sun' All compositions Kikuchi Masabumi Kikuchi 1972 Composition: Kikuchi Album: 'Masabumi Kikuchi + Gil Evans' Masabumi Kikuchi 1973 Album w Elvin Jones: 'Hollow Out' Bass: Gene Perla All compositions Kikuchi Masabumi Kikuchi 1974 From 'East Wind' Both compositions Kikuchi Masabumi Kikuchi 1978 Album with Kochi Masabumi Kikuchi 1989 Composition: Ornette Coleman Album: 'Attached' Note: Presumably issued in Japan in 1989 on Pan Music A29C-1024 [Lord]. Reissue 2019.Masabumi Kikuchi 1992 With the trio Tethered Moon Bass: Gary PeacockDrums: Paul Motian Recorded 16-18 Nov 1991 Power Station NYC Composition: Harry Warren/Joe Young/Mort Dixon Album: 'Tethered Moon' Recorded 16-18 Nov 1991 Power Station NYC Masabumi Kikuchi 1994 Album Solo piano Masabumi Kikuchi 2004 Filmed concert
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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 Film Esa Pethman 1965 LP: 'Modern Sound of Finland' Esa Pethman 1966 LP: 'Carola ja Heikki Sarmanto Trio' Esa Pethman 1986 LP: 'Esa & Flutes' Esa Pethman 1996 LP: 'Esamba'
|
 Esa Pethman Source: Elvis Ry |
|
 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 premiere 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 Hollywood on 3 and 4 March of 1969
w the
Gerald Wilson Big Band filled
by such as
Bud Shank at also sax and
George Duke at piano.
That was followed
by 'Live at Donte's' in North Hollywood on 11 and 12 March w
Duke, John Heard (bass)
and Al Cecchi (drums). Those sessions were followed a couple
days later on March 14 and 15 by 'King King' ('70), composed by
Frank Zappa, also Ponty's first tracks
in Lord's Disco at
electric violin. The March date is per AllMusic and Lord. All other sources
lend October, Discogs Oct 6-8. Come 'The Jean-Luc Ponty Experience with the
George Duke Trio' on 22 or 24 Sep 1969 w
Duke, Heard and Dick Berk on drums
[22 Sep Wikipedia; 24 Sep RYM, Rock Areheology; see Zappateers]. 'King King'
and 'The Jean-Luc Ponty Experience' saw reissue in 1976 on Ponty's double
LP, 'Cantaloupe Island' [1,
2,
3: Oct dates
for 'King Kong' at Discogs are March in Lord's Disco]. In the meantime
Zappa's 'Hot Rats' ('70) had gone down
in July of 1969 [JamBase, Rolling Stone, Zappa website]. 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. Setlist.fm has the Anderson-Ponty Band
performing to as late as May 2016 in Canada. Continuing to tour as of this
writing, Ponty visited Tchaikovsky Philharmonia Hall in Moscow on 24 Jan
2018. Others unmentioned with whom he has
recorded include
Quincy Jones, the European Jazz
All Stars and
Stan Getz.
References: 1,
2,
3.
Discos: 1,
2,
3,
4,
5,
6,
7,
8, Lord (leading 49 of 98 sessions).
IMDb.
Select videography.
Compilations: 'The Very Best of Jean-Luc Ponty' 1975-85 by Rhino 2000 *;
'Le Voyage: The Jean-Luc Ponty Anthology' 1975-93 by Rhino 1996 *.
Archive.
Interviews: Thierry Quénum 2008;
Nikola Savic 2010;
Thomas Mangano 2016.
gear (violins, et al).
Biblio: 'Jean-Luc Ponty Collection: Lead Sheets for 22 Compositions' (Hal Leonard 2004).
Other profiles: *. Jean-Luc Ponty 1964 Debut album Jean-Luc Ponty 1967 Filmed live in Hamburg Composition: Wolfgang Dauner Jean-Luc Ponty 1975 All compositions Ponty Jean-Luc Ponty 1976 All compositions Ponty Jean-Luc Ponty 1977 All compositions Ponty Jean-Luc Ponty 1978 All compositions Ponty Jean-Luc Ponty 1979 Recorded Dec 1978 All compositions Ponty Jean-Luc Ponty 1980 All compositions Ponty Jean-Luc Ponty 1981 Filmed in Brazil Compositions: Ponty Jean-Luc Ponty 1982 Album Recorded Aug-Sep 1981Filmed concert July 1982 Jean-Luc Ponty 1983 Computer Incantations for World Peace Album: 'Individual Choice' All compositions Ponty Jean-Luc Ponty 1988 Filmed in Chile Compositions: Ponty Jean-Luc Ponty 1989 Jean-Luc Ponty 1991 From 'Tchokola' Composition: Abdou M'Boup/Willy N'For/PontyComposition: Brice Wassy Jean-Luc Ponty 1993 All compositions Ponty Jean-Luc Ponty 1995 Guitar: Al Di Meola Double bass: Stanley Clarke Jean-Luc Ponty 1996 Album Recorded 29 June 1996Chene Park Detroit
All compositions Ponty
Jean-Luc Ponty 1999 Jazz Jamboree 23 Oct 1999
Sala Kongresowa
Warsaw Jean-Luc Ponty 2001 All compositions Ponty Jean-Luc Ponty 2011 Filmed live in Chile Composition: Ponty Jean-Luc Ponty 2018 France 6 Nov
2018 Composition: Ponty Jean-Luc Ponty 2019 France 19 July 2019 |
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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' [1,
2,
3], limited to 500 editions that year, though
that album has seen much later releases. Rypdal's debut name release was
'Bleak House' in 1968 [1,
2,
3].
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 had issued his initial classical album, 'Eternal Circulation'
(Op 1), in 1970, followed by 'String Quartet (Op 2) the same year.
'Capriccio' (Op 3) arrived in '71. Rypdal composed his 'Symphony No. 1' (Op
6) in 1975, the year he released his
double-sleeve LP, 'Odyssey'. 'Symphony No. 7' (Op 100) arrived in 2011. See
Johann Haidenbauer's chronology of Rypdal's classical compositions to 2014
at DarwinMonkey [Discos 4 below]. The eighties found Rypdal forming the the
Terje Rypdal Trio with
bassist, Bjørn Kjellemyr, and Audun Kleive on drums. Recording the album, 'Chaser',
in Oslo in May of 1985, the same ensemble sessioned 'Blue' in Oslo in Nov
1986 as the Chasers. 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 recording he can be found include
Palle Mikkelborg, Markus Stockhausen, Michael Galasso and Paolo Vinaccia. Rypdal currently resides in Tresfjord, Norway.
References: 1,
2.
Sessions: JDP; Lord (leading 33 of 80
relevant to jazz only).
Discos: 1,
2,
3,
4,
5,
6,
7,
8.
IMDb.
IA.
Interviews: R.J. DeLuke 2006;
Gideon Egger & Ying Zhu 2012.
Further reading:
Jeff Gower;
Ivar Orvedal.
Other profiles: 1,
2,
3,
4. Terje Rypdal 1963 With the Vanguards NorDisc NOR 82 Composition: Nat Simon/Buddy Bernier Composition: Rypdal Johnny Sareussen/Martin Gulliksen Knut Mikaelsen/Hans Helander Terje Rypdal 1966 Album by the Vanguards Also issued on 7" Triola TN 449 Note: 'Hjemme Igjen' is credited to P. Simon/Ryen/Diesen on the label of Triola TN 449 [45Cat: Vanguards]. It is credited to Simon-Ward on the label of the album (Triola TNLP 13). Terje Rypdal 1967 Album with Dream Terje Rypdal 1968 From 'Bleak House' All compositions Rypdal but as noted Credited to "xxx" on label Terje Rypdal 1973 Television broadcast Composition: Rypdal Terje Rypdal 1975 Album: 'Odyssey' All compositions Rypdal Terje Rypdal 1978 Symphony No. 2 'The New Era' (Op 11) Bergen Philharmonic Orchestra Composition: Rypdal Terje Rypdal 1987 From 'Blue' by the Chasers Bass: Bjørn Kjellemyr Drums: Audun Kleive Composition: Rypdal Composition: Kjellemyr/Kleive/Rypdal Terje Rypdal 1995 Filmed live Double bass: Miroslav Vitous Drums: Trilok Gurtu Terje Rypdal 2000 Composition: Rypdal Terje Rypdal 2009 20 Nov 2009 Russia Terje Rypdal 2010 21 June 2010 Romania 3 Nov 2010 Baden-Baden Trumpet: Palle Mikkelborg With Zeitkratzer Piano: Reinhold Friedl Terje Rypdal 2014 3 Oct 2014 South Korea Filmed live Piano: Ketil Bjørnstad
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 Terje Rypdal Photo: Roberto Masotti/ECM Records Source: Notes on the Road |
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 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.
Brazil's
Carnival was by that time
among the world's hippest destinations in the world, but Cariocas had no
reindeer pulling sleighs like frigid Lapland did. As can be seen in the
photo to the left, Laplanders simply grab brunch from right out of the sea,
though they apparently had a hot dog stand by 2018. 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. In May and June of 1966 Sarmanto's Trio
filled by Tapani Tamminen (bass) and Reino Laine (drums) backed vocalist,
Carola, toward the 2004 issue of 'Carola
& Heikki Sarmanto Trio' [1,
2]. 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
[1,
2],
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 an unknown date in Dec 1970 for 'A Boston Date', the
first album by Sarmanto's Serious Music Ensemble (SME *) consisting of
Aaltonen, Lance
Gunderson (guitar),
George Mraz
(bass) and Craig Herndon (drums). June 8, 1971, saw Sarmanto's 'Counterbalance'
go down with
a quintet consisting of
Aaltonen, Gunderson, Herndon and brother, Pekka
Sarmanto (bass). The SME laid out tracks in Helsinki on 14 Sep of '71 w
vocalist, Maija Hapuoja, toward 'Like a Fragonard'. The same bunch w
Aaltonen out were
recorded at the N-Club in Helsinki for what saw issue in 2016 as 'The
Helsinki Tapes: Live at N-Club 1971-1972' on Vol 1-3. Eero Koivistoinen
performs sax on Vol 2-3. As for Pekka,
he supported Heikki numerously into the 21st century, including the UMO
Orchestra, they also participating in other bands together. 'New Hope Jazz Mass' ('79) went down in September 1978. 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 including 'Mysterium Magnum' in 2015. That outfit issued 'My Name Is
Nicole Willis' as recently as 2017 w vocalist and producer, Nicole Willis. Highly
productive, Sarmanto appeared on above twenty more albums as a leader or
collaborator. Among his later issues in the new millennium was 'Moonflower' [1,
2] in 2008 in a quartet
with Gunderson, Herndon and brother, Pekka. He recorded suites for solo
piano in 2011 and '12 toward 'Open Skies' released in 2017. More piano solos
followed in 2014 toward 'Solo' released on Artie Music AMCD 1044. References: 1,
2.
Discos: 1,
2,
3,
4,
5, Lord (leading 32 of 61 sessions).
IMDb.
IA.
Other profiles *.
UMO Orchestra discos: 1,
2,
3,
4. Heikki Sarmanto 1966 Composition: Sarmanto Recorded 9 Nov 1965 Christian Schwindt Quintet Album: 'For Friends and Relatives'Recorded 9/12 Nov 1965 Helsinki Composition: Nat Adderley/Oscar Brown Jr. Recorded 5 June 1966 Issued 2014: 'Carola & Heikki Sarmanto Trio' Heikki Sarmanto 1969 Composition: Sarmanto Album: 'Flowers in the Water' Heikki Sarmanto 1972 LP: 'Everything Is It': 1, 2, 3 Music: Sarmanto Text: Diana Glass Heikki Sarmanto 1976 From 'Open Ear' Music/arrangements: Sarmanto Lyrics: Edith Södergran Translation: Rika Lesser Lyrics: Edith Södergran Translation: Rika Lesser Heikki Sarmanto 1979 Album: 'New Hope Jazz Mass' All compositions Sarmanto Heikki Sarmanto 1980 Vocal: Jeannine OtisFilmed presentation by Heikki Sarmanto Album: 'Magic Song' Music: Sarmanto Lyrics: Aina Cutler Heikki Sarmanto 1987 UMO Orchestra Album: 'Passions of a Man All compositions Sarmanto Note: The above album saw reissue in 1992 on 'Kalevala Fantasy' w the addition of an eleventh title leading off, 'Dance of Temptations'.Heikki Sarmanto 2000 Composition: Juhani Aaltonen Flute: Juhani Aaltonen Album: 'Rise' Recorded 19 Feb 1997 Heikki Sarmanto 2013 Solo piano: Ilmari Raikkonen Album: 'Paris Impressions'Note: Sarmanto does not perform on the above solo album by Raikkonen. He otherwise composed all titles. Heikki Sarmanto 2015 With Juhani Aaltonen
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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'
[1,
2]
issued in 2003 w
John McLaughlin at guitar.
Later dates saw to 'Universal Syncopations II'
[1,
2,
2]
in 2007 with a different crew. 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.
References: 1,
2.
Sessions: Andrey Henkin
(1964-74); Tom Lord (leading 33 of 160). Discos: 1,
2,
3,
4.
Interviews: AAJ 2003,
Ted Panken 2003,
BassPlayer 2009,
BassPlayer 2016,
HitChannel 2016. The Junior Trio 1964 With Vlasta Průchová & Jan Hammer Sr. Composition: Jimmy Giuffré With Vlasta Průchová Composition: Gershwin Brothers Composition: Jan Hammer Jr. Miroslav Vitouš 1968 Composition: Jimmy Webb Herbie Mann album: 'Windows Opened' Composition: Wayne Shorter Herbie Mann album: 'Windows Opened' Composition: Tim Hardin Herbie Mann album: 'Windows Opened' Chick Corea album: 'Now He Sings, Now He Sobs' Chick Corea album: 'Now He Sings, Now He Sobs' Miroslav Vitouš 1969 Album Miroslav Vitouš 1970 From 'Purple': Composition: Ron Carter Composition: Miroslav Vitous Miroslav Vitouš 1971 Filmed live Miroslav Vitouš 1976 Composition: Miroslav Vitous Album: 'Miroslav' Miroslav Vitouš 1981 Composition: Sonny Red Donald Byrd LP: 'The Creeper' Recorded October 1967 Filmed concert Miroslav Vitouš 2013 Filmed live Miroslav Vitouš 2015 Filmed live at the Mozaic Jazz Festival Piano: Emil Viklicky Composition: Moravian Folk Song Filmed live at the Mozaic Jazz Festival Piano: Emil Viklicky
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 Miroslav Vitous Source: Black Music Promotion |
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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'
[1,
2,
3,
4],
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 be 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. 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', backing her regularly into the new millennium.
The early 21st century brought about 'Endless Days' [1,
2,
3,
4,
5,
6]
in a quartet with major compatriot, Bruninghaus (above),
Paul McCandless
on
reeds and English horn, and Michael DiPasqua at percussion. Both
McCandless
and DiPasqua had first recorded with Weber back in 1982 toward Weber's
'Later That Evening'. They would both record variously with Weber again on
several occasions.
McCandless
contributed to the later 'Hommage à Eberhard
Weber' in 2015. DiPasquae would participate in Weber's 'Résumé' in 2012. Due to Weber's stroke his last issue on which he
performed had been 'Stages of a Long Journey' in 2007,
recorded at the Theaterhaus in Stuttgart, Germany, in March 2005. Albeit a
stroke in 2007 ended Weber's performing career he continued issuing new
material via prerecorded tapes out of which he created fresh compositions
with the addition of other instruments.
'Résumé' in 2012 [1,
2,
3],
all comps by Weber, was culled from live solo performances stretching from 1990
to 2007 w titles embellished by
Garbarek at sax and flute, and
Michael Di Pasqua at percussion. Ditto 'Encore' released in Jan of 2015 [1,
2,
3]
excepting tracks embellished by flugelhorn played by Ack van Rooyen
('Colours of Chloe'). Bass on 'Hommage à Eberhard' issued in September of
2015 [1,
2,
3,
4]
had been recorded in the latter eighties when Weber was w
Garbarek. The concerts themselves went down on 23 and 24 Jan of
2015 after Weber's 75th birthday on the 22nd. Weber was in the audience to
witness Pat Metheny's construction of old videotapes on screen above
performers such as Metheny (guitars),
Garbarek (soprano sax) and
Gary Burton at vibes. 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.
References: 1,
2,
3.
Sessions: JDP;
Dan Kurdilla 1,
2; Lord (leading 23 of 128).
Discos: 1,
2,
3,
4,
5.
IMDb.
Compilations: 'Colours': 2009 reissue of albums recorded in 1975 ('Yellow
Fields'), 1977 ('Silent Feet') and 1980 ('Little Movements'): 1,
2;
'Selected Recordings' 1978-2000 by ECM 2004: 1,
2,
3. Interviews: Anil Prasad 2001.
Further reading: 1,
2,
3.
Other profiles: 1,
2. Per 1967 below,
Weber backs
Wolfgang Dauner's album, 'Free Action'. Eberhard Weber 1964 Composition: Wolfgang Dauner Album 'Dream Talk' Wolfgang Dauner Trio Drums: Fred Braceful Piano: Wolfgang Dauner Eberhard Weber 1967 From Wolfgang Dauner's 'Free Action' All compositions Dusner Review Eberhard Weber 1974 From 'The Colours of Chloë' All compositions Weber Eberhard Weber 1976 Album: 'Yellow Fields' Recorded 25 September 1975 Ludwigsburg, Germany All compositions Weber From 'The Following Morning' Recorded August 1976 Oslo, Norway All compositions Weber Eberhard Weber 1977 Composition: Pat Metheny Gary Burton album 'Passengers' Eberhard Weber 1978 Album: 'Silent Feet' All compositions WeberEberhard Weber 1979 Album: 'Fluid Rustle' Recorded Jan 1979 Ludwigsburg, Germany Guitar/balalaika: Bill FrisellVibes/marimba: Gary Burton Vocals: Bonnie Herman Vocals: Norma Winstone All compositions Weber Great American Music Hall 14 Oct 1979 Eberhard Weber 1982 From 'Later That Evening' Recorded March 1982Ludwigsburg, Germany All compositions Weber Eberhard Weber 1989 Filmed live Theaterhaus Stuttgart, Germany Eberhard Weber 1993 Solo album: 'Pendulum' All compositions Weber Eberhard Weber 2007 Solo filmed live in Budapest With Enrico Rava & Reto Weber Eberhard Weber 2015 Conccert excerpt Compositions by Weber
|
 Eberhard Weber Source: Musica en Espiral |
|
|
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 by Makowicz are known 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. 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). Lord 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. His album, 'Unit', ensued in
1973. Joining Makowicz at piano and electric bass was Czeslaw Bartkowski at
percussion. 'Live Embers' was a suite of piano solos strung in February 1975
in Warsaw. 'Piano Vistas Unlimited'
was taped in January of 1977 in Warsaw, that another collection of piano
solos. 'Zimní Květy' ('Winter Flowers'), also a suite of piano solos,
arrived in February in Prague. Makowicz 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). Other albums sessioned in the States
included 'Classic Jazz Duets' w
George Mraz
(bass)
live at Bechet's Jazz Club in New York in July 1981. Fast forwarding into
the 90s, another suite of piano solos arrived in New York in Sep of '91
titled 'Plays Irving Berlin'. After another string of piano solos at the
Maybeck Recital Hall in Berkeley in July of '92 arrived a trio w
Mraz
and
Alan Dawson (drums) in New York
in September toward 'The Music of Jerome Kern'. The same trio recorded 'My
Favorite Things - The Music Of Richard Rodgers' in New York in Sep of '93.
Into the new millennium Makowicz came to settle in Toronto, Ontario. Having
worked as both a jazz and classical musician, his more recent of nearly
forty albums was 'Indigo Bliss' gone down in Toronto in 2006 toward issue in
2007 [*; Timely Manor CD PM 117-02
per Lord; TM 117-02 per Makowitz' website]. 'Makowicz & Orkiestra Filharmonii Czestochowskiej'
saw issue in 2008
[*],
recorded in Poland in Oct and Nov of 2007. Come 'Brillante: The Adam
Makowicz Chopin Project' in 2010, recorded in Toronto. Makowicz is yet active as of this
writing, most recently with the MMD Jazz Ensemble based in New York with
Krzysztof Medyna (sax) and Jeff Dingler (bass). Among numerous others with whom he has recorded are
Zbigniew Namyslowski, Mercer
Ellington, Bob Kindred and James Morrison.
References: 1,
2,
3,
4
(alt).
Discos: 1,
2,
3,
4,
5,
6, Lord (leading 34 of 55
jazz-relevant sessions).
Select videography.
Awards.
IA.
Other profiles: 1,
2,
3,
4,
5. Adam Makowicz 1968 Composition: Bernard Kawka Arrangement: Bernard Kawka Novi Quartet album: 'Novi in Wonderland' Adam Makowicz 1972 Composition: Urszula Dudziak Album: 'Newborn Light' Vocal: Urszula Dudziak Adam Makowicz 1973 Fender piano/Fender bass: Makowicz Percussion: Czesław Bartkowski Adam Makowicz 1976 Composition: Erroll Garner Unit album w Tomasz Stanko Trumpet: Tomasz Stanko Fender piano/Fender bass: Makowicz Bass: Paweł Jastrzębski Percussion: Czesław Bartkowski Adam Makowicz 1977 Zimní Kvety ('Winter Flowers') Piano solos Album Adam Makowicz 1982 Composition: David Gates (Bread) Album: 'Classic Jazz Duets' Bass: George Mraz Adam Makowicz 1989 Adam Makowicz 1994 Composition: Thelonious Monk 1944 First recording: Cootie Williams 1944 'The Solo Album: Adam in Stockholm' Adam Makowicz 2010 Composition: Antonin Dvorák Op 101 1894 Album: 'A Tribute to Art Tatum' Filmed live 28 Nov Warszawa Adam Makowicz Unknown Filmed live Composition: Cole Porter 1935 For the musical 'Jubilee'
|
 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, from '1 X 1' in March
1974 to 'Milano, Paris, New York' in 2002 in a trio with Lewis Nash (drums).
In between had arrived duo sessions in April of '78 toward 'Play for Monk'. 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' [1,
2] in Munich in 2013, that a duo with Emil Viklicky (piano). In between arrived 'Unison' in May of 2012, a row of duets
with pianist, Zoe Rahan. Mraz formed the Mraz Trio w
wife and pianist, Camilla Mraz [*], and drummer, Anthony Pinciotti
[*],
in 2013.
That ensemble engaged itself in spontaneous soundtrack creation w a project
called Return to Forever. Example of such was a Nov 2014 improvisational
concert performance of ''Dancing of the Blue Angels'' w a screening of Steve Lichtag's 2004 film, 'Dance of the Blue Angels'.
Prior to that, on 1 June of 2014 Mraz had been in Prague, Czech Republic,
for 'Final Touch of Jazz' w Najponk on piano and Matt Fishwick at drums. In July of 2016 Mraz endured a heart attack that cooled his engines for a
time, recovered sufficiently by July of 2017 to commence a European tour w a
concert in NYC [AAJ]. Among the host of others unmentioned with whom Mraz
collaborated were
Art Taylor (drums),
Tete Montoliu (piano),
Jimmy Raney
(guitar) and Allan Botschinsky (flugelhorn).
References: 1,
2,
3.
Sessions: J-Disc;
JDP, Lord (leading 15 of 491).
Discos: 1,
2,
3,
4,
5.
Select videography.
Equipment (Mraz' Charton bass).
Facebook.
Other profiles: 1,
2. George Mraz 1970 Oscar Peterson Trio George Mraz 1976 Piano: Roland Hanna Music: George Gershwin 1934 Lyrics: DuBose Heyward/Ira Gershwin George Mraz 1982 NOS Radio broadcast George Mraz 1994 Filmed with the Joe Henderson Quartet Sax/composition: Joe Henderson George Mraz 1995 From 'Hues of Blues' Recorded 18/19 May 1995 Composition: Walter Norris Composition: Leroy Anderson/Mitchell Parish End 'Hues of Blues' Recorded June 1995 Piano: Richie Beirach Drums: Billy Hart Music: Victor Young 1939 Lyrics: Ned Washington Filmed live 30 June 1995 Spectrum de Montreal Tenor sax: Joe Lovano Drums: Al Foster Composition: Joe Lovano George Mraz 1996 Composition: Andrea & Ennio Morricone Album: 'Jazz' Recorded Sep/Oct 1995 NYC George Mraz 2005 Piano: David Hazeltine Drums: Billy Drummond Drums: Billy Drummond Music: Arthur Schwartz Lyrics: Howard Dietz First recording: Leo Reisman 6 Sep 1932 George Mraz 2008 Ted Rosenthal Trio George Mraz 2009 Drums: Martin Šulc Piano: Najponk Composition: Hampton Hawes George Mraz 2011 Filmed with the Libor Smoldas Quartet Composition: Victor Young George Mraz 2014 Composition: Zdenko Fibich Arrangement: Emil Viklický Album: 'Together Again' Recorded 16/17 January 2013 Piano: Emil Viklický Composition: Marian McPartland Filmed 20 March 2014 Piano: Bill Charlap Note: March 20 of 2014 would have been McPartland's 96th birthday, she having died on 20 August the year before. Improvisation Filmed 24 Sep 2014 Piano: Camilla Mraz Percussion: Anthony Pinciotti Note: Spontaneous soundtrack to Steve Lichtag's 2004 'Dance of the Blue Angels'.
|
 George Mraz Photo: John Abbott Source: All Music |
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|
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' [1,
2,
3] in 2006, 'Blue Hawk' in 2010
and 'Globe Unity - 50 Years' [1,
2,
3,
4]
in Nov 2016. 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) [1,
2,
3,
4,
5]. 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 shotgun at drums through ensembles
small and orchestras larger (Globe Unity) into the 21st century. After 'First Recordings'
w
Parker on April 2nd 1972
in Berlin [1,
2,
3,
4,
5], above four
decades of numerous issues followed to 'Warsaw Concert' on October 16, 2015,
then 'Globe Unity - 50 Years' in Nov 2016 [1,
2,
3,
4]. 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' in 2015 followed by 'Globe Unity - 50
Years' in 2016 [1,
2,
3,
4]. Another of Schlippenbach's more important associates was pianist
and wife,
Aki Takase [1,
2,
3,
4], 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 [1,
2,
3], 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'. They
collaborated on 'Signals' in 2016. Schlippenbach performed piano on 'Bach
Factory' as late as June 2018 in Berlin for inclusion on Takase's 'Hokusai:
Piano Solo' released in 2019. 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 through 'Globe
Unity - 40 Years' [1,
2,
3]
in 2006 to as late as 'Globe Unity - 50 Years' [1,
2,
3,
4]
in Nov 2016. Well to mention Schlippenbach's founding of the Berlin Contemporary Jazz
Orchestra in 1988 [1,
2,
3], conducting, performing piano and arranging. 'Berlin
Contemporary Jazz Orchestra' was recorded in Berlin in May 1989 [1,
2]. 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. Schlippenbach's 'Jazz Now' went down live in Gutersloh,
Germany, on October 3, 2015. October 18th saw him in Poland recording
'Warsaw Concert' w
Parker and Lovens. Come
'Interweaving' in Berlin on 21 July 2016 w drummer, Dag Magnus Narvesen.
October 17 of 2016 witnessed 'Abstract Window' go down in Berlin w
clarinetist, Rudi Mahall, and drummer, Kasper Tom Christiansen. It was a duo
w Mahall on 31 July 2017 toward 'So Far'. In 2018 Schlippenbach formed a
trio with
Peter Brötzmann
at reeds and
Han Bennink on drums for
the 26 May recording of 'Fifty Years After' in Bremen. Continuing in
partnership with Takase, Schlippenbach yet tours
Europe as of this writing. References for Schlippenbach:
1,
2,
3
(alt),
4,
5.
Discos: 1,
2,
3
(alt),
4,
5,
6, Lord (leading 54 of 129 sessions).
Interviews: Bill Shoemaker 2005.
IA.
References for Globe Unity Orchestra: 1,
2,
3.
Discos: 1,
2,
3,
4,
5.
Further reading: Bill Shoemaker: 1,
2.
Alexander von Schlippenbach 1965 From Gunter Hampel's 'Heartplants' Vibes/flute: Hampel Composition: Schlippenbach Composition: Gunter Hampel Alexander von Schlippenbach 1966 Album by Manfred Schoof Alexander von Schlippenbach 1967 Alexander von Schlippenbach 1969 Composition: Manfred Schoof Album: 'The Living Music' Alexander von Schlippenbach 1970 Recorded 22 March 1970 Schlippenbach Trio Bass clarinet/flute: Michel Pilz Percussion: Paul Lovens Berlin Jazz Festivel Globe Unity Orchestra Kongresshalle 7 Nov 1970 Drunken in the Morning Sunrise Composition: Peter Brötzmann Composition: Schlippenbach Note: The above performance of 'Globe Unity 70' was issued on 'Globe Unity 67 & 70' by Atavistic in 2001. Alexander von Schlippenbach 1972 Album: 'Payan' Recorded 4 Feb 1972 All compositions Schlippenbach From 'Pakistani Pomade' Recorded Nov 1972 Bremen Tenor/soprano sax: Evan Parker Drums: Paul Lovens All compositions: Schlippenbach/Parker/Lovens Alexander von Schlippenbach 1982 Album: 'Detto fra di noi' Recorded 21 June 1981 Alexander von Schlippenbach 1997 Composition: Thelonious Monk Pub 1944 Album recorded Oct 1996: 'Light Blue: Schlippenbach Plays Monk' All compositions Monk Alexander von Schlippenbach 1998 Filmed live Alexander von Schlippenbach 2005 From 'Monk's Casino' Recorded June 2003/Feb 2004 Berlin All compositions Thelonious Monk Alexander von Schlippenbach 2006 Composition: Schlippenbach Album: 'Twelve Tone Tales Vol 1' Recorded 14-16 June 2005 Baden-Baden Alexander von Schlippenbach 2007 Composition: Schlippenbach Album: 'Globe Unity - 40 Years' Recorded 2006
|
 Alexander von Schlippenbach Source: Discogs |
|
 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 [1,
2], 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. 'Goodbye' [1,
2]
had gone down in April 2004 w
Paul Motian at drums. 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
more recent recordings was for Azerbaijani saxophonist, Rain Sultanov's,
'Ache In My Soul', issued on 'Live' in 2013. His latest issue as of this
writing was a trio w Jormin and Jon Falt at drums in Lugano, Switzerland, in
May of 2017 toward 'Contra la Indecisión' [1,
2]. Among the vast host of others
Stenson supported through the years were Rebop Kwaku Baah, Bo Nilsson,
Trine-Lise Vaering and Epilogue. Stenson continues touring as of this update
in Dec 2019. References: 1,
2,
3,
4.
Discos: 1,
2,
3,
4,
5,
6,
7,
8, Lord (leading 13 of 148 sessions).
Reviews.
Archives: internet;
press. Bobo Stenson 1965 Vocal: Inge Brandenburg Music: George Gershwin 1935 Lyrics: DuBose Heyward/Ira Gershwin For the opera 'Porgy and Bess' Brandenburg album 'It's Alright with Me' Bobo Stenson 1971 Composition: Jan Garbarek Jan Garbarek album 'Sart' Recorded 14/15 April 1971 Filmed live 25 June 1971 Kongsberg Jazz Fest Norway Bass: Arild Andersen Drums: Jon Christensen Sax: Sonny Rollins Bobo Stenson 1973 Composition: Don Cherry Jan Garbarek album 'Witchi-Tai-To' Bobo Stenson 1987 Composition: Alec Wilder Album: 'Very Early' Bass: Andres Jormin Drums: Rune Carlsson Bobo Stenson 1996 Composition: Stenson Album: 'Reflections' Recorded May 1993 Bass: Anders Jormin Drums: Jon Christensen Bobo Stenson 1998 'Oil of Woman with Hat'' Composition: Silvio Rodríguez Album: 'War Orphans' Recorded May 1997 Bass: Anders Jormin Drums: Jon Christensen Bobo Stenson 2009 Swedish television Veckans Konsert Bobo Stenson 2010 Bass: Anders Jormin Drums: Jon Fält Bobo Stenson 2017 Composition: Silvio Rodríguez Album: 'Contra La Indecisión' Bass: Anders Jormin Drums: Jon Fält Bobo Stenson 2018 Recorded 10 April 2018 Bass: Anders Jormin Drums: Jon Fält
|
|
 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 Stonesin 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.
In Feb and April of 1970 they supported Miles Davis' toward 'A Tribute to
Jack Johnson' [1,
2,
3,
4,
5,
6],
a documentary about the boxer premiering in 1971.
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
(MO), a jazz-rock
fusion affair, with
Cobham its original drummer
along with
Jan Hammer (keyboards),
Jerry Goodman (violin) and bassist, Rick Laird. The MO would see the
participation of several master musicians such as
Jean-Luc Ponty
who signed up in '74 and pianist, Bill Evans, in 1984. 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
[1,
2], 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.)
In the summer of 1982 McLaughlin put together a quintet toward 'Music Spoken
Here' [1,
2,
3],
that group filled by Katia Labeque (keyboards/ synthesizer), Francois
Couturier (keyboards, synthesizer), Jean-Paul Celea (bass) and Tommy
Campbell (drums). McLaughlin formed another trio with Trilok Gurtu (percussion) and Kai
Eckhardt (electric bass) for 'Live at the Royal Festival Hall' on September
27, 1989. Among highlights in the nineties was his recording of 'Time
Remembered: John McLaughlin Plays Bill Evans' [1,
2,
3]
w double bassist, Yan Maresz, and three others on acoustic guitar: Alexandre
Delfa, Pascal Rabatti and François Szonyi. Into the new millennium McLaughlin released 'Thieves and Poets' in
2003, a
score for ballet. McLaughlin's first album w his group, 4th Dimension, went
down in Nov and Dec of 2009 toward issue in 2010 as 'To the One' [1,
2,
3].
Joining McLaughlin were Gary Husband (keyboards), Etienne Mbappe (bass) and
drummer, Ranjit Barot. It was 'Now Here This' [1,
2,
3,
4,
5,
6]
gone down in Antibes, France, in December of 2011 w the same crew. Come 'The
Boston Record' [1,
2,
3,
4,
5]
on 22 June of 2013 for issue the next year. The 4th Dimension squared away
'Black Light' [1,
2,
3]
as recently as March of 2015 in London. Among
others unmentioned with whom McLaughlin had collaborated along his path were
Jimi Hendrix (1969),
Santana,
Gil Evans and Ithamara Koorax.
References for John McLaughlin: 1,
2,
3,
4,
5.
Chronologies: 1,
2.
Discos: 1,
2,
3,
4,
5,
6,
7;
Haidenbauer;
compiled from Haidenbauer and Sheppard: 1,
2;
Lord (leading 120 of 214 sessions).
IMDb.
Select videography.
Audio: MIDI
(downloads);
MP3;
RM
(downloads);
Wolfgang's.
Reviews: 1,
2,
3.
Scores.
Internet hub.
Interviews: Adam Tanner 2007,
Walter Kolosky 2008,
Graham Reid 2009,
Geoffrey Himes 2010,
Darryl Smyers 2010,
Jason Shadrick 2011,
Από thodoris 2011,
Barry Cleveland 2014,
unknown.
Touring: itinerary 2000-17;
current.
Instruction.
Guitars: 1,
2,
3,
4,
5,
6.
Archives: articles: 1,
2,
3;
internet.
Further reading:
Michaek Muckian. Biblio: 'Power, Passion and Beauty: The Story of The Legendary Mahavishnu Orchestra' by Walter Kolosky (Abstract Logix 2005)
*.
References for Mahavishnu Orchestra: 1,
2.
Members.
Gigs 1971-73.
Discos: 1,
2,
3,
4,
5,
6,
7.
IMDb.
Compilations: 'The Complete Columbia Albums Collection' 1971-73 issued in 2011:
1,
2,
3,
4,
5,
6.
IA.
Further reading: Russell Perry,
Hank Shteamer,
Steve Smith,
Mick Wall. John McLaughlin 1963 Recorded 16 May 1963 London Composition: Graham Bond CD box set: 'Wade in the Water' Recorded July 1963 London Composition: Graham Bond/McLaughlin Graham Bond album: 'Solid Bond' Recorded 1963/66 Issued 1970 John McLaughlin 1964 From the Rolling Stones' 'Metamorphosis' Issued 1975 McLaughlin is uncredited session player Some Things Just Stick in Your Mind Recorded 13 Feb 1964 Composition: Mick Jagger/Keith Richards Recorded July 1964 Guitar: Jimmy Page Drums: Clem Cattini Composition: Mick Jagger/Keith Richards John McLaughlin 1966 With Herbie Goins Composition: McLaughlin John McLaughlin 1967 With Duffy Powers Composition: Jerry Leiber/Mike Stoller John McLaughlin 1968 Composition: Jimmy Webb Gordon Beck album: 'Experiments with Pops' John McLaughlin 1969 Recorded 18 January 1969 Baritone/soprano sax: John Surman Bass: Brian Odgers Drums: Tony Oxley All compositions McLaughlin Recorded 25 March 1969 Guitar: Jimi Hendrix Bass: Dave Holland Drums: Buddy Miles John McLaughlin 1973 All compositions McLaughlin John McLaughlin 1975 John McLaughlin 1976 John McLaughlin 1979 John McLaughlin 1981 Album recorded 5 Dec 1980 Live at the Warfield Trio with Paco de Lucia & Al Di Meola Solo filmed 30 Aug 1981 St. Goarshausen, Germany John McLaughlin 1982 John McLaughlin 1992 Filmed live Trio with Trilok Gurtu & Dominique Di Piazza John McLaughlin 2011 Filmed in Montreux w Carlos Santana Composition: McLaughlin
|
|
| 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, in Paris as a member of Silva's
young Celestial Communication Orchestra (CCO: Discogs). Come 'Seasons' in December 1970
again w the CCO.
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'. Lord first pairs Silva w
bassist, William Parker, on 6 March of 1998 for 'A Hero's Welcome'
[1,
2] issued
on Eremite MTE017 w Silva at acoustic and electric keyboards. Parker and
Silva were joined by Kidd Jordan on tenor sax on 29 May of '99 in NYC toward
Silva's 'Emancipation Suite #1'. Silva performed on synthesizer again to
back Parker's 'Fractured Dimensions' in Berlin on 7 Nov of '99. Silva's last session in the 20th
century in Lord's disco went toward 'Transmissions' recorded live on October 16,1999, at the Unitarian
Meetinghouse in Amherst, MA, w Oluyemi Thomas at clarinet, flute and
percussion. Both Parker and Thomas were with Silva's Celestial Communication
Orchestra in May of 2001 at the Uncool Festival in Poschiavo, Switzerland,
toward 'Treasure Box'. It was Parker's bass quartet on 31 May 2004 toward
'Requiem' w
Henry Grimes and Norris Jones (Sirone)
also at bass accompanied by Charles Gayle on alto sax. Later recordings in the new millennium included ''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 and Noah Rosen. References: 1,
2.
Sessions: J-Disc; Lord (leading 18 of 91);
Scala.
Discos: 1,
2,
3,
4.
IMDb.
Dan Warburton interviews 2002.
Further reading:
'The Phoenix'.
Per 1966 below, Silva
shares bass with
Henry Grimes on Cecil
Taylor's 'Unit Structures'. Alan Silva 1964 From 'The Free Form Improvisation Ensemble' Recorded 30 Dec '64 NYC Issued 1998: Cadence Jazz CJR 1094 Comps below by Silva Alan Silva 1966 Cecil Taylor LP Piano: Cecil Taylor Also double bass: Henry Grimes All comps by Taylor Alan Silva 1967 From 'In Greenwich Village' Albert Ayler LP Sax: Albert Ayler Comps below by Ayler Alan Silva 1968 Composition: Michael Mantler LP: 'The Jazz Composer's Orchestra' Alan Silva 1969 Composition: Silva LP with Celestrial Communication Orchestra Alan Silva 1970 Composition: Silva LP with Celestrial Communication Orchestra Alan Silva 1999 Album Duet suite Keyboards: Silva Double bass: William Parker AS & the Sound Visions Orchestra Recorded 31 May '99 St. Nicholas of Myra Church NYC Text: Steve Dalachinsky Alan Silva 2011 Filmed with Jacques Coursil Text: Edouard Glissant Film
|
 Alan Silva Source: Free the Music |
|
| 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'. That same year he formed the Maarten Altena Ensemble
[*].
That organization issued severally to 'Generations' in 2002 before disassembly in 2005.
Double bass on that had been filled by Pieter Smithuijsen since by that time Altena was too busy working as a composer in other capacities such as 'Five
Little Pieces for Clarinet Solo' released on 'David Kweksilber | Ludwig
Olshansky' in 2004 (Basta 30-9127-2) and 'Album III' released in 2004 on
Wiek Hijmans' 'Classic Electric' (X-OR CD 018).
Also composing for films, one such had been the 1988 documentary, 'No More
Boomerang', directed by Tom d'Angremond and produced by Suzanne van Voorst. Altena
has appeared on at least 56 albums over the years, including his own. He has
been more involved in composing than performing or recording in latter
years. References: 1,
2.
Discos: 1,
2,
3,
4,
5, Lord (leading 33 of 96
sessions).
Filmography.
Compositions.
Authorship.
Reviews.
Interviews.
Further reading. articles;
Altena's favorite music.
Other profiles: 1,
2. Maarten Altena 1967 Composition: Theo Lovendie' Theo Loevendie LP: 'Stairs!' Maarten Altena 1968 From Nedly Elstak's 'The Machine' Recorded 8 Dec 1968 Holland All compositions Elstak Maarten Altena 1969 From Marion Brown's 'Porto Novo' Recorded 14 Dec 1967 Holland All compositions Brown Maarten Altena 1973 Album: 'Handicaps' Maarten Altena 1974 From 'Baal Brecht Breuker' Album by Willem Breuker Recorded 15-23 Oct 1973 Baarn, Holland Music by Bertold Brecht From Brecht's play 'Baal' Lied Van Het Verdronken Meisje From 'De Volharding' EP by Orkest de Volharding Composition: Louis Andriesse Lied van de Macht van het Volk Composition: Luis Advis Composition: Hans Eisler Maarten Altena 1979 Composition: Altena/Steve Lacy Album by Steve Lacy: 'High, Low and Order' Maarten Altena 1980 Recorded Dec 1979/June 1980 Percussion: Paul Lovens Trombone: Günter Christmann Guitar: Derek Bailey 'PISA 1980: Improvisors' Symposium' Recorded 26-28 June 1980 Maarten Altena 1981 Filmed mime w Teo Joling Maarten Altena 1985 Composition: Altena Album: 'Rondedans' Maarten Altena 1990 Composition: Altena Album: 'Rif' Maarten Altena 1991 From 'Code' Composition: Altena Composition: Altena Maarten Altena 1993 Composition: Altena/Remco Campert Album: 'City Music' Maarten Altena 1996 Composition: Gilius Van Bergeijk Album: 'Working on Time'
|
 Maarten Altena Source: Last FM |
|
 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. Among 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). 'Tales of Hackney' [*]
went down as recently as 25 Sep 2917 in London w a trio filled by Mark
Wastell at percussion and Clive Bell at multiple instruments.
References: 1,
2,
3,
4,
5.
Sessions: JDP; Lord (leading 32 of 117).
Discos: 1,
2,
3,
4.
IMDb.
Select videography.
IA.
Reviews: concerts;
records.
Interviews.
Blog.
Other profiles: 1,
2. Arild Andersen 1967 From Jan Garbarek's 'Til Vigdis' Composition: Eddie Harriss Composition: Jan Garbarek Arild Andersen 1971 Filmed concert with Sonny Rollins Arild Andersen 1975 Album: 'Clouds in My Head' Tenor/soprano sax/flute: Knut Riisnæs Piano: Jon Balke Drums: Pål Thowsen All compositions Andersen Arild Andersen 1977 Composition: Andersen Album: 'Shimri' Arild Andersen 1978 Composition: Andersen Album: 'Green Shading into Blue' Guitar: Terje Rypdal Arild Andersen 1993 Composition: Andersen Album: 'If You Look Far Enough' Arild Andersen 2012 Filmed live at Oslo Jazzfestival Arild Andersen 2013 Filmed live Filmed live Concert filmed in Edinburgh, Scotland Arild Andersen 2014 Drums: Paolo Vinaccia Horn: Tommy Smith Filmed concert
|
|
 Graham Collier Source: Cuneiform Records | Born in 1937 in Tynemouth, Northumberland, bassist
and composer,
Graham Collier
[not to be confused w the author],
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
[obits: 1,
2,
3].
He had released some eighteen albums as a leader including 'Workpoints' in
2005, that documenting performances back in March of '68 in Southampton and
August 1975 in Middelheim, Belgium. His release of 'Hoarded Dreams' in 2007
had been recorded in July 1983. His last issue, 'directing 14 Jackson Pollocks'
[*], in 2009,
had been recorded in London in Nov of 1997 and Nov of 2004. A couple posthumous compilations have ensued
as well. Others on whose recordings Collier can be found are
Harry Beckett, the National
Youth Jazz Orchestra ('71) and Meltdown.
References: 1,
2.
Discos: 1,
2,
3,
4,
5, Lord (leading 31 of 35 sessions).
Reviews.
Interviews.
Biblio: 'Mosaics: The Life and Works of Graham Collier' by Duncan Heining (Equinox 2018):
1,
2,
3,
4. Graham Collier 1967 Album All compositions Collier Graham Collier 1969 From 'Down Another Road' Composition: Collier Composition: Karl Jenkins Composition: Collier Graham Collier 1970 From 'Songs for My Father' All compositions Collier Graham Collier 1978 Parts I & II of 'Day of the Dead' Music: Collier Text; Malcom Lowrey Graham Collier 1983 Part 6 of ''Hoarded Dreams' Recorded July 1983 Bracknell Jazz Festival Not issued until 2007 All composition Collier Graham Collier 1994 Album: 'Charles River Fragments' Recorded May 1994 Bracknell Jazz Festival Not issued until 2003 Composed & directed by Collier Bass: Dudley Phillips Graham Collier 2009 From 'directing 14 Jackson Pollocks' Recorded live in London Nov '97 & Nov '04 Composed & directed by Collier Bass '97: Andrew Cleyndert Bass '04: Jeff Clyne Between a Donkey and a Rolls Royce
|
|
 Dave Holland Photo: Jos L. Knaepen Source: Jazz Verbatim |
Born in 1946 in Wolverhampton, Staffordshire,
Dave Holland
[not to be confused w the Judas Priest drummer]
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 1972 when Holland formed LoJac Music [1,
2] to publish
transcriptions of his compositions. In March of 1974 he joined guitarist,
John Abercrombie, on titles toward
Jack DeJohnette's 'Sorcery'. 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
squared away 'Critical Mass' [1,
2,
3,
4,
5]
in NYC in Dec 2005 w Chris Potter(tenor/ soprano sax), Robin Eubanks
(trombone), Steve Nelson (vibes/ percussion) and Nate Smith at drums.
January of 2009 found him at the Birdland in NYC w the same crew in addition
to Antonio Hart (alto sax/ flute), Gary Smulyan (baritone sax) and Alex
Sipiagin (trumpet)toward 'Pathways' [1,
2,
3,
4,
5,
6]. 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). After releasing 'Aziza' in
2016, recorded Oct 2015 w Potter, Lionel Loueke (guitar) and Eric Harland
(drums), Holland was in Catskill, New York, in May 2017 toward 'Uncharted
Territories' w
Evan Parker (tenor sax),
Craig Taborn (keyboards) and Ches Smith (percussion). Having released some twenty LPs as a
co-leader, that many
again as a leader, his latest as of this writing was 'Good Hope' recorded in
Sep of 2018 w Potter at sax and Zakir Hussain handling percussion. Among the host of others on whose recordings Holland can
be found are
Eric Kloss, Steve Coleman, Dave
Pietro, Tiger Okoshi and Didier Lockwood. 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.
Having recently held a residency at the New England
Conservatory, Holland yet performs internationally.
References: 1,
2,
3,
4.
Sessions: JDP; Lord (leading 27 of 329). Discos: Holland: 1,
2,
3,
4,
5;
Holland Quintet: 1,
2.
IMDb.
Select videography.
Reviews.
Interviews: Bob Blumenthall 2000.
Facebook.
Twitter.
Transcriptions.
Other profiles: 1,
2. Dave Holland 1968 From 'Karyōbin' Spontaneous Music Ensemble Recorded 18 Feb 1968 Improvisations Issued 1968 Issued 1993 From Miles Davis' 'Filles de Kilimanjaro' Recorded June/Sep 1968 All compositions Davis Dave Holland 1973 Album All compositions Holland Dave Holland 1976 Soprano sax: Sam Rivers Composition: Sam Rivers Album: 'Dave Holland | Sam Rivers' Soprano sax: Sam Rivers Dave Holland 1990 Composition: Holland Album: 'Extensions' Alto sax: Steve Coleman Guitar: Kevin Eubanks Drums: Marvin Smith Dave Holland 2002 Filmed live Dave Holland 2003 Album: 'Extended Play: Live at Birdland' Recorded 21-24 Nov 2001 Filmed 4 July 2003 Salzau, Germany Dave Holland 2005 Album: 'Overtime' Dave Holland 2006 Composition: Holland Album: 'Critical Mass' Recorded Dec 2005 Dave Holland 2010 Album with guitarist Pepe Habichuela Recorded Recorded 7-11 Jan 2009 Live at the Birdland NYC Album with guitarist Pepe Habichuela Recorded 16-20 March 2009 Madrid Filmed July 4 2010 Salzau, Germany Guitar: Pepe Habichuela Dave Holland 2012 Piano: Kenny Barron Dave Holland 2019 Composition: Chris Potter Album: 'Good Hope' Recorded 21/22 Sep 2018 Crosscurrents Trio Filmed live circa 2019 Crosscurrents Trio
|
|
 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.
References: 1,
2,
3.
Discos: 1,
2,
3,
4,
5,
6, Lord (leading 58 of 156 sessions).
IMDb.
Compilations: 'Dscography' 1981-1987 on Jazzwerkstatt jw150 in 2014:
1,
2;
'Duos: Europa America Japan' 1986-1989 by FMP 1991 *.
IA. Peter Kowald 1967 Album by Alexander von Schlippenbach Peter Kowald 1973 Composition: Peter Brotzmann Brotzmann album: 'Hot Lotta' Peter Kowald 1991 Album housing Movements I-IV Clarinet/flute: Floros Floridis Lyre: Ilias Papadopoulos Compositions: Floridis/Papadopoulos/Kowald Peter Kowald 1992 Filmed live Peter Kowald 1993 Film by Salvo Cuccia Peter Kowald 2000 Filmed 31 March 2000 The Eyedrum in Atlanta Empty Bottle Festival of Jazz & Improvised Music Indicated as 10 or 12 May 2000 at * Issued 2007 From 'Bass Solo' Recorded 17 May 2000 Central Michigan U Mt. Pleasant Issued 2009 on QBICO 88 Improvisation
|
|
 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 Westbrook's Concert Band [*].
Surman was in Westbrook's Concert Band on 25 May 1968 for 'The Last Night at
the Old Place' issued on CD in 2018 [1,
2,
3,
4]. The "Old Place" refers to
Ronnie Scott's when it was
located at 39 Gerrard Street. It is presently located at 47 Frith Street
since 1965. 'Release' followed 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 premiere 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 painter, teacher, future wife and
librettist,
Kate Westbrook (Katie,
nee Kate Barnard), joined the Mike Westbrook Brass Band. She
played tenor horn and piccolo as yet Barnard [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,
as of 'A Bigger Show' in July 2015 w Mike's Uncommon Orchestra at
Ronnie Scott's Jazz Club [1,
2].
Along the way arrived such as 'Catania' recorded in Sicily in July 1992
toward release in 2018 [1,
2,
3,
4]
with Kate contributing vocals to music by the Mike Westbrook Orchestra. They had also laid out 'Un Aveugle Chante Pour Sa Ville' in 1994, found on the album by various,
'Sarajevo (Suite)'. Into the new millennium Kate recorded 'Cuff Clout' [1,
2]
with John Winfield and the Skirmishers in November 2001. Mike not
performing, he had otherwise composed 'Toad's Washerwoman' to which
Kate fit lyrics. The New Westbrook Orchestra recorded 'Chanson
Irresponsable' at a concert in Surrey on 24 May of 2002, Kate contributing
lyrics and vocals [1,
2,
3]. Lord's Disco leaves out Kate's 'The Nijinska Chamber',
a duo gone down on dates in latter 2005 w Karen Street at accordion [1,
2,
3]
toward release in 2006.
Mike out, he wrote the music for Kate's lyrics. 'The Serpent Hit' arrived in
Jan and April of 2013 w paintings by Kate on the front and rear covers [1,
2,
3,
4]. 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 premiere 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. Having released above thirty albums, piano solos among
them were 'Piano' in 1977 and his most recent release, 'Paris', recorded at
a concert in France in July 2016 [1,
2].
Mike contributed piano to Kate's 'Granite' as late as March and April of
2018 [1,
2,
3,
4].
Mike and Katie remain as active as ever as of this writing, the Uncommon
Orchestra performing at
Ronnie Scott's Jazz Club as late
as Feb of 2019.
References Mike Westbrook: 1,
2,
3
(alt).
Discos: 1,
2,
3,
4,
5,
6
(alt),
7
(alt), Lord (81 sessions).
Film & television: 1,
2
(alt).
Radio: 1
(alt).
Reviews: 1,
2
(alt).
Select videography.
Interviews: David Grundy w Noa Corcoran-Tadd *. Facebook.
Twitter.
Further reading: 1
(alt).
Other profiles: 1,
2.
References Kate Westbrook: 1,
2
(alt).
Discos: 1,
2,
3
(alt), Lord (leading 7 of 59
sessions). Reviews: 1
(alt).
Select videography.
Interviews: David Grundy w Noa Corcoran-Tadd *. Art.
Facebook.
Twitter.
See also Mike & Kate Westbrook at Discogs.
Mike Westbrook 1967 Album: 'Celebration' All comps John Surman/Mike Westbrook Mike Westbrook 1969 From 'Marching Song Vol 1' Recorded March/April 1969 All compositions Westbrook Album: 'Marching Song Vol 2' Recorded March/April 1969 All compositions Westbrook Mike Westbrook 1970 Music: Mike Westbrook Album: 'Love Songs' Mike Westbrook 1971 All compositions Mike Westbrook Mike Westbrook 1975 From 'Citadel/Room 315' All compositions Mike Westbrook All arrangements Mike Westbrook Sleepwalker Awakening in Sunlight Mike Westbrook 1981 Mike Westbrook Brass Band Music: Mike Westbrook Issued 2010 DVD: 'Mama Chicago: A Jazz Cabaret' Note: See also 'Mama Chicago' recorded in Hamburg and London in June and July of 1979, issued that year in Germany and the UK. Kate Westbrook 2006 Album: 'The Nijinska Chamber' Accordion: Karen Street Music: Mike Westbrook Lyrics: Kate Westbrook Mike Westbrook 2013 Vocals: Kate Westbrook All music: Mike Westbrook All text:: Kate Westbrook Mike Westbrook 2018 Concert w the Uncommon Orchestra 15 Nov 2018
|
 Mike Westbrook Source: Westbrook Jazz |
| 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' [1,
2,
3] in a quartet w alto saxophonist,
Joe Harriott, along w Dave Green
(bass) and Bryan Spring (drums).
Norma Winstone added
vocals to a few titles on that, such as D'Silva's 'Jaipur'. 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 on 17 July in England. References: 1,
2.
Discos: 1,
2,
3,
4, Lord (leading 6 of 13 sessions).
IA.
Guitars.
Further reading: 1,
2.
Per 1969 below, 'Hum Dono' is a joint collaboration with
Joe Harriott. Amancio D'Silva 1969 From 'Integration' Recorded 14 August 1968 London [Per Lord as "possibly"] Composition: D'Silva Composition: D'Silva Composition: D'Silva/Ian Carr From 'Hum Dono' Recorded Feb & March 1969 London Comps below by D'Silva Amancio D'Silva 1971 Composition: Stan Tracey Album: 'Reflections' Amancio D'Silva 1972 Composition: D'Silva Recorded sometime '72 Issued '72 Composition: D'Silva Album: 'Konkan Dance' Recorded sometime '72 Issued '06
|
 Amancio D'Silva 1972 Source: Amancio D'Silva |
|
 Yusuke Yamashita Source: Sync Music Japan | Born in
1942 in Tokyo, Japan, free jazz musician,
Yosuke Yamashita
(山下洋輔), 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 1968 Yamashita formed his first trio
(山下洋輔トリオ) w Osamu Papergami (bass) and Shigeki Honjo (drums). That a fluid
ensemble of changing members, in July 1969 it was Seiichi
Nakamura and Takeo Moriyama who recorded 'Dancing Kojiki' toward issue
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. Along the way Sakata and
Kayama accompanied Yamashita on his first trip to the United States in 1979
where they squared away titles toward 'Hot Menu' on 29 June at the Newport
Jazz Fest held in New York. Yamashita's first recordings in the States had
arrived a few days earlier on the 26th and 27th of June toward 'First Time'
w
Joseph Jarman (sax/
flute),
Malachi Favors (bass) and Famoudou
Don Moye (drums). 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'. The burning piano ceremony
[1,
2,
3] 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, 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. Yamashita's second piano burning arrived in 2008
[*].
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 more recent issues was the big band album, 'Bolero/Pictures at an Exhibition', in
2014. The New York Trio's '30 Light Years Floating' saw release as recently
as 2019. References: 1,
2.
Chronology *.
Major events *.
Discos: Yamashita: 1,
2,
3,
4, Lord (leading 104 of 128
sessions);
videos & DVDs *;
Yamashita Trio: 1,
2;
Yamashita New York Trio: *.
IMDb.
Other profiles *. Yosuke Yamashita 1972 Soundtrack recorded '72 Issued '08 Yosuke Yamashita 1975 Recorded 28 April 1975 Sax: Akira Sakata Drums: Takeo Moriyama Composition: Akira Sakata Album: 'Distant Thunder' Recorded 12 June 1975 Alto sax: Akira Sakata Trumpet/flute: Manfred Schoof Drums: Takeo Moriyama Yosuke Yamashita 1976 Recorded 6 June 1975 Composition: Yamashita Album: 'Montreux Afterglow' Recorded 9 July 1976 Montreux Yosuke Yamashita 1978 Composition: Shinpei Nakayama/Ujo Noguchi Album: 'Sunayama' Yosuke Yamashita 1977 Composition: Albert Ayler Recorded 23 May 1977 Berlin Issued 1990 on 'Ghosts by Albert Ayler' Yosuke Yamashita 1979 Debut recordings in USA 26/27 June 1979 NYC Sax/flute: Joseph Jarman Bass: Malachi Favors Drums: Famoudou Don Moye Yosuke Yamashita 1985 Filmed concert Yosuke Yamashita 1992 Album: 'Kurdish Dance' Bass: Cecil McBee Drums: Pheeroan akLaff Tenor sax: Joe Lovano All compositions Yamashita Yosuke Yamashita 1999 Filmed concert Bass: Cecil McBee Drums: Pheeroan akLaff Yosuke Yamashita 2008 Filmed live
|
|
 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 Organ Trio
issued 'Catch My Drift' in 2014. In 2016
he assisted cellist, Nicole Farnon, w 'So Farnon - So Good'. He supported
vocalist, Zoe Francis, in December 2017 w Barry Green (piano) and Mick
Hutton (bass) toward 'Remembering Blossom Dearie'
[*].
His Volunteers wrapped 'Volunteers' [*]
on January 2018. Mullen held sessions as recently as 2 and 3 of July 2018
toward 'Bumpin'' w vocalist, Claire Martin, she also backed by Mads
Baerentzen (piano), Thomas Ovesen (bass) and Kristian Leth (drums). References for Mullen: 1,
2.
Discos: 1,
2,
3,
4, Lord (leading 14 of 108).
References for Morrissey–Mullen: 1,
2.
Discos: 1,
2,
3,
4. Jim Mullen 1970 Things May Come and Things May Go Album by Pete Brown & Piblokto! Jim Mullen 1971 Filmed with Brian Auger's Oblivion Express Morrissey-Mullen 1979 Composition: Max Middleton Album: 'Cape Wrath' Morrissey-Mullen 1982 Composition: Jim Mullen/Claire Hamill Album: 'Life on the Wire' Morrissey-Mullen 1983 Composition: Jim Mullen/Richard Niles Album: 'It's About Time' Morrissey-Mullen 1985 Live at Waterman's Arts Centre Filmed live Composition: Barry Gould Vocal: Noel McCalla Album: 'This Must Be the Place' Morrissey-Mullen 1998 Filmed live with Claire Martin Composition: Gino Vannelli Morrissey-Mullen 2008 Filmed live Music: George Gershwin 1934 Lyrics: DuBose Heyward/Ira Gershwin For the opera 'Porgy and Bess' Morrissey-Mullen 2009 Filmed with Terry Callier Composition: Terry Callier Morrissey-Mullen 2019 Album: 'Bumpin'' Recorded 2/3 July 2018 Vocals: Claire Martin
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|
 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).
References: 1,
2,
3.
Discos: 1,
2,
3, Lord (leading 27 of 60
sessions).
Transcriptions *.
Further reading *.
Other profiles *.
See also the Zbigniew Seifert International Jazz Violin Competition first held in 2014
for a prize of 10,000 euros:
1,
2,
3,
4.
Per 1978 below, tracks are from Seifert's album,
'Solo Violin' [*]. Zbigniew Seifert 1969 Composition: B. Bowman Recorded 9 March 1969 Jazz nad Odrą Wrocław Issued 2010 on 'Nora' Zbigniew Seifert 1970 From Tomasz Stanko's 'Music For K' All compositions Stanko Nieskonczenie Maly (Infinitely Small) Zbigniew Seifert 1974 Filmed with Hans Koller Zbigniew Seifert 1977 Album recorded 27-30 Sep 1976 Stuttgart, Germany Composition: Seifert Album: 'Zbigniew Seifert' Recorded 1977 Holland Zbigniew Seifert 1978 From 'Solo Violin' All compositions Seifert Zbigniew Seifert 1979 Album recorded 14 Nov 1978 Album recorded 14 Nov 1978 From 'Passion' Recorded Nov 1978 New York Composition: Seifert Composition: Seifert
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 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 [obits: 1,
2,
3,
4,
5]. 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.
References: 1,
2.
Discos: 1,
2,
3,
4,
5,
Lord (leading 20 of 160 sessions).
Reviews.
Azimuth discos: 1,
2,
3,
4,
5.
Per 1996 below, Taylor performs
in a trio with Palle Danielsson (bass) and
Peter Erskine (drums) on the
album,
'As It Is'. John Taylor 1969 Composition: John Surman Surman album: 'Way Back When' Recorded 7 Oct 1969 London Issued 2005 John Taylor 1970 Album by Alan Skidmore Recorded 17/19 Sep 1969 London Graham Collier album: 'Songs for My Father' Recorded Jan/Feb 1970 London All comps by Collier Composition: Graham Collier Harry Beckett album: 'Flare Up' Recorded 15 July 1970 London John Taylor 1971 Debut album John Taylor 1973 From 'Decipher' Second album All comps by Taylor John Taylor 1996 From 'As It Is' Bass: Palle Danielsson Drums: Peter Erskine Composition: Vince Mendoza Composition: Peter Erskine John Taylor 2003 From 'Rosslyn' Composition: Taylor Composition: Kenny Wheeler John Taylor 2015 Piano solo filmed live Compositions: Taylor Piano solo filmed live Composition: Taylor
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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' [*]
released by Polydor 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
second huge orchestra,
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 recordings include 'Live at Triest' [*] recorded at the 'Jazz & Wine
of Peace' festival in Italy on 25 October 2010. Come 'Four Quartets [*]' in July
2014 w Tom Jackson (clarinets), Benedict Taylor (viola) and Ashley John Long
(double bass). The Keith Tippett Octet squared away 'The Nine Dances of
Patrick O'Gonogon' [*] in October that year. 'Murmuration' [1,
2] followed in Bristol
in Jan and Feb of 2016 for Blazing
Flame with Steve Day, Julie, et
al. Tippett has been unable to
perform since a heart attack in early 2018. Complications arising, he yet
recovers as this is updated in Dec 2019. Among the host of others on whose
recordings he can be found
include Amalgam,
Stan Tracey, Low Flying Aircraft,
Howard Riley, Pianoforte and Giovanni Maier.
References: 1,
2,
3.
Sessions: Emanuel Maris
(alt); Tom Lord (leading 32 of 128).
Discos: 1,
2,
3,
4,
5.
IMDb.
Orchestras:
Centipede: 1,
2,
3,
members;
Ark members;
Tapestry members.
Interviews: Jazzwise 2007.
Facebook.
IA.
Further reading: Lin Bensley.
Other profiles: 1,
2.
Keith Tippett 1970 From 'You Are Here...I Am There' Recorded Jan 1970 All comps & arrangements Keith Tippett End 'You Are Here...I Am There' Composition: Robert Fripp/Peter Sinfield King Crimson LP: Recorded Jan-April 1970 Composition: Keith Christmas Shelagh McDonald LP: 'Album' Session(s) unidentified Possibly '69 Keith Tippett 1971 From 'Dedicated to You . . . Listening' Recorded Sep 1970 London Composition: Nick Evans Composition: Nick Evans/Keith Tippett End 'Dedicated to You . . . Listening' Composition(s): Keith Tippett/Julie Tippett(s) Recorded June 1971 London Keith Tippett 1972 Composition: Keith tippett/Roy Babbington/Keith Bailey Album: 'Blueprint' Keith Tippett 1978 From 'Frames: Music . . . Film' With Ark Music: Keith Tippett Lyrics: Julie Tippets Keith Tippett 1986 Filmed live Keith Tippett 2008 Filmed live Composition(s): Keith Tippett/Julie Tippett(s) Keith Tippett 2011 Live in Castel San Pietro Terme Part 4 Filmed in Bologna w Louis Moholo Keith Tippett 2013 Filmed in London Filmed at the Conservatory Nino Rota
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 Keith Tippett Photo: Pierangelo Sacchi Source: Flickriver |
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We end this history of international modern jazz string instruments from 1960 to 1970 with British pianist, Keith Tippett. |
|
Early Blues 2: Vocal - Other Instruments
Modern Blues 2: Vocal - Other Instruments
Romantic: Composers born 1770 to 1840
Modern: Composers born 1900 to 1950
Early Jazz 1: Ragtime - Bands - Horn
Early Jazz 2: Ragtime - Other Instrumentation
Modern 4: Guitar - Other String
Modern 5: Percussion - Other Orchestration
Modern 7: Latin Jazz - Latin Recording
Modern 8: United States 1960 - 1970
Modern 9: International 1960 - 1970
Latin
Latin Recording 2: The Caribbean
Latin Recording 3: South America
Total War - Sixties American Rock
Classical - Medieval to Renaissance
Classical - Baroque to Classical
Classical - Romantic to Modern
Jazz Early - Ragtime - Swing Jazz
Jazz Modern- Percussion - Latin - Song - Other
Boogie Woogie - Doo Wop - R&B - Rock & Roll - Soul - Disco
Sixties American Rock - Popular
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