Michel Portal

Michel Portal’s “Alors!!!” lp released on Futura Gen 12 in 1970. This is a steller record with an amazing line-up. Michel Portal – alto saxophone, bass clarinet (much respect), John Surman – baritone and soprano saxophones, bass clarinet, Barre Phillips – bass, Stu Martin – drums, Jean-Pierre Drouet – percussion. This record teeters from all out explosive play to highly dense drone oriented aural workouts. I absolutely love this LP and had to jump through some hoops to even aquire it. So worth it though.
Here’s a little bio from All About Jazz:

Born in 1935 in Bayonne, France, reedman Michel Portal has the unique position of being one of the architects of modern European jazz and having a hand in some of the most significant shifts in modern classical music. Portal, along with pianist Francois Tusques, trumpeter Bernard Vitet, drummer Charles Saudrais and tenorman Barney Wilen, embraced and expanded upon the innovations of Ornette, Cecil, Coltrane and Shepp as part of the nascent French free jazz movement. In addition to leading and co-leading groups with Leon Francioli, Pierre Favre, Joachim Kuhn and Barre Phillips throughout the ’70s, Portal was a central figure in post-Cageian open-form classical music. With trombonist-composer Vinko Globokar, pianist-composer Carlos Roque Alsina and percussionist Jean-Pierre Drouet, Portal and New Phonic Art worked with Stockhausen, Maruicio Kagel and Luciano Berio among others – figuring importantly in Stockhausen’s From the Seven Days compositional cycle.
…

(there’s an interview there as well)

There’s also a nice review by Kevin Waxman over at Jazzweekly.com…worth at quick gander.

–> Enjoy!

Brother Malachi Favors Maghostut (AEC)

Brother Malachi Favors Maghostut’s (spelled as Magoustous on this LP) “Natural and the Spiritual” released on AECO Records in 1978. Recorded Live on April 23, 1977 at the University of Chicago. This is a solo performance comprising solo accoustic bass unamplified, various percussive instruments, and Malachi adding vocals as well. All compositions are original/improvised. Here’s some biographical from Kahilezaber.com info for those uninitiated:

Born 22 August 1927, Chicago, Illinois, USA, d. 30 January 2004, Chicago, Illinois, USA. Favors came from a religious family (his father preached as a pastor) who disapproved of secular music. He took up the bass at the age of 15, initially inspired by Wilbur Ware. He started playing professionally when he left school, accompanying Freddie Hubbard and Dizzy Gillespie. Moving to Chicago, he recorded with Andrew Hill in 1955 and in 1961 he played with Muhal Richard Abrams in the Experimental Band, becoming a member of the AACM at its inception in 1965. He played in groups led by Roscoe Mitchell and Lester Bowie and in 1969 joined with them and Joseph Jarman to found the Art Ensemble Of Chicago, who triumphantly carried the banner of “Great Black Music: Ancient to the Future” into the 90s. Outside of the Art Ensemble, Favors recorded on Mitchell’s and Bowie’s own albums, as well as with fellow AACM member Kalaparusha Maurice McIntyre, drummer Sunny Murray and gospel group From The Root To The Source. Sightsong, an album of duos with Abrams, was released in 1976, and two years later the solo Natural And The Spiritual appeared on the Art Ensemble’s own AECO label.

Favors, who took to appending Maghostut (in various spellings) to his name, typified the AACM’s interest in mysticism and once gave his biography as “into being in this universe some 43,000 years ago. Moved around and then was ordered to this Planet Earth by the higher forces, Allah De Lawd Thank You Jesus Good God A Mighty, through the precious channels of Brother Isaac and Sister Maggie Mayfield Favors; of ten. Landed in Chicago by way of Lexington, Mississippi, for the purpose of serving my duty as a Music Messenger.” Perhaps more plausibly he also claimed that his decision to play freely was a statement that cost him financial rewards. Favors was a foremost exponent of free jazz upright playing, and was also adept at the electric bass, the African balafon, the zither and banjo.

I’m a huge fan of the AEC work and their solo releases on the AECO label. This is an excellent performance that weaves on so many variations and themes that you kinda lose since of time. The first side is in two parts: I. Natural and the Spiritual (working on the buildings) (8:35), and II. Peace be unto you (10:33). Side two is in three parts: I. Natural and the Spiritual (7:08), II. Black Man Tripover/Womens Takeover (4:00), and III. If’ fin You No’s De way-sho us (10:43). Come enjoy classic AEC styled composition and meanderings.

–> Enjoy!

John Handy & Ali Akbar Khan

John Handy & Ali Akbar Khan’s “Karuna Supreme” released on MPS and recorded 1975. John and Ali were both well established musicians long before colliding on a handful of fusion recordings and performances. One of my favorite things about this collabo is both stay true to their cultural roots. In other words, John doesn’t throw on a white robe and Ali doesn’t snap his fingers and wear a suit. Musically they dance and play with melodies truly fusing eastern and western styles. So forget psuedo spiritual Shakti noodling and warm up to these two crossing paths!

–> Enjoy!

Barre Phillips

Barre Phillips’ “Journal Violone” released on Opus One #2. This LP was recorded November 1968 at Parish Church of St. James’ Norlands, London. All composions and are Barre and she’s all solo (by ’she’ i mean this LP…carry on, carry on). This is an amazingly explosive solo outting.

There’s a great interview with Barre talking about how Journal Violone came about over at All About Jazz. Barre was really right in the forefront of the ‘Solo’ work movement that really sprung from that time period.

Here’s some words via Paris Transatlantic Magazine:

This is THE first recording of solo bass improvised music, a milestone which still stands tall today. In 1968 Barre Phillips was performing in London when composer Max Schubel asked him to provide a random selection of improvised double-bass material for later use in an electronic composition. Phillips duly went into London’s St. James’ Norlands church and played spontaneously for three hours with no amplification; upon hearing this spirited, bracing music, Schubel promptly abandoned his original plan and issued it as played on his then-new Opus One label. “This music is my inner feelings, gleaned from three hours of letting my head go”, Phillips writes on the sleeve. Engineer Bob Woolford (of early Incus and Emanem repute) was also present, and captured the results superbly. The sound of the bass is close, bright, forward, resonant, with a rich bottom end, and is cast against just the right amount of the natural acoustic of the church. The LP, 38 minutes long, comprises two uninterrupted side-long improvisations, played by a young, vigorous Barre Phillips. A man in love with his instrument.
The performance opens with Phillips instantly evoking the full vocabulary of free bass playing, then virtually an unheard world. He begins the performance with tapping, strumming sounds, leading briskly into stinging harmonics (later more associated with Barry Guy), dark growling low notes (later more associated with Peter Kowald), semi-tones, quarter-tones and rich glissandos (more familiar in Xenakis’s work). Around 10 minutes in, the church bells ring twin notes in the distance, and in a flash Phillips wittily incorporates them into his improvisation. He contrasts scratchy, scraping sounds and searing attacks with perfectly classical arco chordal work, dovetailing them seamlessly and throwing himself into the instrument with a sense of joyful abandon rarely heard from him since. Few traces of the man’s jazz background are discernible; instead, the music twists and turns through terrain which did not become more identifiable in European free improvisation until some time later. After the performance has wound down to a tender ending, Phillips carefully places his bass on the floor with a clunk and audibly walks out of the church, leaving the future of bass-playing to deal with the consequences.
In the liner notes to his 1994 solo CD Testimony, bassist William Parker writes, “This music is for … Barre Phillips who started it all.” This is the disc that started it all. A simple masterpiece.–GLR

–>Enjoy!

Johnny Dyani Quartet

Johnny Dyani Quartet’s “Song for Biko” released in 1979 on SteepleChase Records (SCS 1109). Recorded on July 18, 1978 with an amazing lineup: Don Cherry(cornet), Dudu Pukwana(altro sax), J0hnny ‘Mbizo’ Dyani(bass), Makaya Ntshoko(drums). Bassist Johnny Dyani’s voicings on this LP are huge. He teams up with two other South African expatriates (altoist Dudu Pukwana and drummer Makay Ntshoko) plus cornetist Don Cherry for music that is haunting, emotional, somewhat adventurous, yet also melodic. He’s a nice review I found over at Rate Your Music

Song For Biko is a forgotten avant-garde Jazz classic, in the same company as Prince Lasha and Sonny Simmons’ Firebirds. Cornetist Don Cherry may be the only well-known member of the quartet but he’s the least interesting. He’s the one that will lead people to quickly compare this album to Ornette Coleman’s work. The other three musicians are from South Africa and bring a very different approach and sound to the table. It’s like hearing guitarist Gabor Szabo for the first time. His combination of Hungarian Folk and Jazz is fascinating. Same thing here. Makaya Ntshoko’s drumming is quite busy and very heavy. It gives the album a Rock feel at times. I’m surprised that alto saxophonist Dudu Pukwana’s legacy is relatively obscure. He had some serious fire and passion at his command. The 16 minute “Jo’Burg – New York” is the most fascinating song. Everybody shows what they’re made of, laying down a truly priceless slice of Jazz. The biggest surprise for me was bassist Johnny Dyani. He doesn’t sit back and act content to play some boring walking bass line. He smacks the hell out of his bass. He makes it talk to you and you really get the impression that you are listening to his very core. If I hear more of his work I just might start calling him my favorite bassist period. He’s THAT good. You could compare him to Cecil McBee and Richard Davis. He travels in those regions of emotive force.

I just want to add this is an electrafying recording. Absolute must have for all heads!

–> Enjoy!

Kip Hanrahan

Kip Hanrahan’s “Coup de Téte” released in 1981 on American Clavé AMCL. New York-based percussionist Kip Hanrahan came to prominence with a project of “neighborhood music” which looked like the urban, American equivalent of Lol Coxhill’s “welfare state” project. Coup De Tete (1980), featuring several Latin percussionists, rock percussionist Anton Fier, atonal guitarist Arto Lindsay, flutist Byard Lancaster and an army of guests.

Here’s a review from Piero Scaruffi’s site:

Relying on Cuban rhythms and Brazilian melodies, Coup De Tete (American Clave, 1981) basically launched a “Latin progressive” fad that spanned rock and jazz territories. Drowned in the jungle of congas, bongos and trap drums (Anton Fier), the Latin-funk shuffle of Whatever I Want radiated soul themes via the saxophone fanfares of Chico Freeman, Byard Lancaster and George Cartwright, while Arto Lindsay’s guitar and Bill Laswell’s bass penned a few disorienting lines. The communion between jazz, rock and Latin musicians could not have been more explicit. The thicker texture created by the saxes and especially the undulations of Jamaaladeen Tacuma’s bass lend At The Moment Of The Serve a jazzier feeling (still upset by Lindsay’s metallic scratches). Lisa Herman intones a delicate theme in This Night Comes Out Of Both Of Us and the saxophones are replaced by more tender flutes, but the percussions double in rhythm and loudness, thus creating a stronger contrast.
Contrast soon becomes the real core of the experiment in revisiting the tradition of Cuban bands. Lindsay’s atonal guitar and Tacuma’s noir bass work wonders in A Lover Divides Time and No One Gets To Transcend Anything. Michael Mantler’s trumpet intones the most romantic theme of the collection in Sketch from Two Cubas, while the percussions abandon the jovial polyrhythm for a more ominous industrial cadence. A trio of mad guitars (Lindsay, Fret Firth, Bill Frisell) details Shadow To Shadow, perhaps the most surreal moment of the album.

This question isn’t who is on this LP but who wasn’t…check the roster:

Daniel Ponce, Jerry Gonzalez , Nicky Marrero, Angel Perez, Gene Golden, Carlos Mestre, Dom Um Romao, Anton Fier, Ignacio Berroa, Victor Lewis, Kip Hanrahan, Bill Laswell, Jamaaladeen Tacuma, Cecil McBee, Arto Lindsey, George Hana, Bern Nix, Chico Freeman, John Stubblefield, Teo Macero, Byard Lancaster, George Cartwright, Carlos Ward, Dave Liebman, Michael Mantler, John Clark, Carla Bley, Orlando DiGiroland, Lanny DiJay, Billy Bang, Lisa Herman, Fred Frith, Jerry Gonzalez, Daniel Ponce, Anton Fier, Lisa Herman

This is a hot hot LP. Besides the obvious cuban underpinnings, there’s moments that are almost sound like Dollar Brand or Fela but with a New York turtle neck on.

Enjoy!

Niels-Henning Orsted Pedersen Quartet

Niels-Henning Orsted Pederson Quartet’s “Dancing on the Tables” released in 1979 on SteepleChase Records. I know very little about Neils. I know he’s a highly regard bassist, passed away recently, and on this particular recording his melodic stylings really stand out. This was my first time hearing Neils but I’ve always been a big fan of Billy Hart and Leibman. I like Scofield on this recording. Typically I can’t stand his wankery but maybe his ego-guitar stroking hadn’t fully developed yet…youth is such a wonderful thing

Here’s the line-up: Niels-Henning Orsted Pedersen (bass); Dave Liebman (soprano, alto & tenor saxophones); John Scofield (guitar); Billy Hart (drums).

–> Enjoy!

Pharoah Sanders

Pharoah Sander released “Pharoah” in 1976 on India Navigation Company. On this is a higher sought after LP we find Pharoah far looser and laid back than any of his prior works. There’s more open vibe on this outting than you’re gonna find on ‘Karma’ or ‘Black Unity’. I got so lost in the “Harvest Time” that I forgot it was Pharoah. The guitar and tenor sprinkles are quite meditative. On “Love will find a way” we’re treated with Pharoah adding some vocals over a very warm latin groove.

Coming to a close we’re greeted with “Memories of Edith Johnson”. “Memories…” is probably the closet finger print to any Pharoah’s previous works. Also, any Four Tet fans will notice the blatant sample lift here. Check Four Tet “Smile around the face” from the Everything Ecstatic LP if you’re not hip.

Pharoah: tenor sax, vocals, percussion
Lawrence Killian: percussion
Steve Neil: bass
Munoz: guitar
Jiggs Chase: organ (side 2)
Greg Brandy: drums (side 2)
Bedria Sanders: Harmonium (side 1)

This is a superb LP. Gotta love those $2.00 finds

Enjoy!

Tom Cameron

Tom Cameron’s “Music To Wash Dishes By” released on Bathing Records in 1982. I know very little about this record but aside from the fact that its all recorded live with no over dubs with the exception of “Music to Wash Dishes By”. Oh, and Tom’s the composed and performed it all.

So what do we have here, and synth noodler! This record has been a pleasant surprise. I picked it up just based on the fact that on the rear cover there’s a picture of Tom sitting on a lawn chair next a a huge stack of synthesizers…good enough for me. Let see, small chincy label + odd cover art + picture of dude in lawn chair in what looks to be a park…next to a large stack of synths + pristine condion, um how much sir!

This is a solid LP. I was nervous of the possible cheese given the time frame but Tom brings it. Ramping arps, complex synths layers, odd bass lines, and sweet sweet texture. I have no problem comparing some moments to Heldon, and that’s always a good thing in my book. Very warm, very lush…

Enjoy!