Wednesday, November 15, 2017

Toni Verde - 1977 - Calypso

Toni Verde
1977
Calypso


01. Cocoo Jay
02. Fluido
03. Nova Losa
04. Benze-Dream
05. Calypso
06. Valle Serena
07. Danza
08. Clap

Recorded at Kaleidofon Studios, London, between January and August 1976.

Brian Smith
David Vorhaus
Francesco Froggio Francica
Henri
Lol Coxhill
Pino Bellardinelli
Roberto Gardin
Toni Verde
Vincent Crane.

Vocals: Berta-Caroline


Antonio [Tony/Toni] Verde was one of the three core members of the legendary Saint Just, so this "solo" album is a matter of great interest. It's not that far from Saint Just in the grand scheme, but it's basically an instrumental 70s jazz fusion album with some Latin elements and a fairly low level of intensity--no barnstormers here, but it's not saccharine or cheesy either. That was a typical progression in the experimental rock scene of the 70s: some adventurous/weird/psychedelic stuff in the late 60s and early 70s and then some jazz fusion or disco stuff in the later 70s.

The first solo by Saint Just's bassist, produced by White Noise's David Vorhaus (who also plays on it, as does Vincent Crane from Atomic Rooser.) Almost completely instrumental except for some extremely pleasant female vocals at the beginning. This is a real winner, filled with new ideas and unusual approaches to progressive fusion. It really doesn't sound like anything else. Quite upbeat and energetic, it nevertheless possesses an appealing grit, and avoids late-'70s fuzak schmaltz altogether. Flute,vibes, bass, acoustic guitar, piano, sax, and synths (sparingly used) fill up the sonic space with excellent tunes and spot-on soloing. The emphasis is on the compositions, and they're all great, varied, and not terribly "jazz"-like at all. Maybe some of the fusion-oriented Zeuhl-offshoots can provide a clue. Elastic fantastic. 

Tom Newman - 1977 - Faerie Symphony

Tom Newman
1977 
Faerie Symphony


01. The Woods Of 2:13
02. Fordin Seachrain 1:42
03. Bean Si (Banshee) 0:20
04. Little Voices Of The Tarans 1:48
05. The Fluter 3:00
06. The Seelie Court 4:28
07. The Spell Breaks 4:06
08. The Fairy Song 1:16
09. Dance Of Daoine Sidhe 3:33
10. Memories Of Culchulainn 1:31
11. Aillen Mac Midna 1:16
12. The Unseelie Court (Bad Faeries) 4:50
13. The Woods Of ...... 1:54

-Jon Collins/ Violin
-Ward Kelly Conover/ Drums
-Terry Edwards/ Vocals
-Jon Field/ Bagpipes, Drums, Flageolet, Flute, Flute (Alto), Oboe, Orchestra, Percussion, Soloist, Vocals, Wind
-Jim Fitzpatrick/ Artwork, Cover Design, Illustrations
-Jane Gibson/ Drums, Percussion
-Pete Gibson/ Brass, Drums, Percussion, Trombone
-Debbie Hall/ Soloist, Violin
-Tina Jones/ Vocals
-Tom Newman/ Arranger, Balalaika, Bells, Concept, Drums, Engineer, Flageolet, Glockenspiel, Guitar, Guitar (Acoustic), Guitar (Electric), Jaw Harp, Keyboards, Mellotron, Orchestra, Percussion, Producer, Soloist, Synthesizer Strings, Vocals
-Tom Norden/ Guitar
-Joe O'Donnell/ Violin
-Geoff Westley/ Piano


Although hardly prolific, the producer, composer, engineer and multi-instrumentalist Tom Newman has enjoyed a rather colourful musical career. He would start out with the universally-ignored pop-psych outfit July, a group that featured Newman in the twin roles of both lead-guitarist and main songwriter, before developing a parallel career behind the mixing desk which saw him join Richard Branson's burgeoning Virgin imprint at the beginning of the 1970's. This move would find Newman helping to engineer Mike Oldfield's seminal 1975 album 'Tubular Bells', making Newman the only other musician to feature on the notoriously reclusive and shy young Oldfield's record, a feat that would eventually allow him to produce his own solo album 'Fine Old Tom' during the same year. Although 'Fine Old Tom' would ultimately fail to find an audience, his earlier work with July would, finding popularity several decades down the line and attaining cult 21st century status, the album now regarded as one of the high points of the brief British psychedelic movement that blossomed during the latter part of the 1960's. However, whilst Newman is probably best remembered for the July album and its endearing single 'Dandelion Seeds', the Englishman's best work is to be found on his fantasy-themed second - and final - solo album 'Faerie Symphony', a sprawling, deeply-ethereal and highly-atmospheric prog-folk record from 1977. Finally issued on CD during 2009 by Mark Powell's prolific reissue imprint Esoteric Recordings, 'Faerie Symphony' is a true relic from a bygone age, a magical instrumental album steeped in the traditions of both J. R. R. Tolkien and the fantastical imagery found on the covers of early-seventies progressive rock albums. Featuring an organic, earthy sound conjured up by the plethora of different instruments - both electric and acoustic - 'Faerie Symphony' develops slowly across thirteen interlocking pieces, brewing up a unique musical experience that is probably best enjoyed under herbal circumstances. Stylistically if not sonically 'Faerie Symphony' very much resembles the earlier works of Oldfield, especially 'Ommadawn', which shares this records mystical ambience. So, as a result, this is very much for those listeners who enjoy Oldfield's 1970s material, this twinkling concoction of twittering flutes, softly tribal percussion fills and slowly unfurling rhythms the kind of album that may well take a few listens to truly comprehend. However, those who do take the time to explore what would turn out to be(so far) Newman's final work, will find a fascinating album full of dreamy melodies and dazzling instrumental landscapes. Hardly immediate stuff then, yet for some 'Faerie Symphony' makes for a truly cinematic experience quite unlike any other.

Tom Newman - 1975 - Fine Old Tom

Tom Newman
1975 
Fine Old Tom


01. Suzie 2:34
02. Poor Bill 3:23
03. Will You Be Mine In The Morning 2:48
04. Ma Song 2:07
05. Penny's Whistle Boogie 3:42
06. She Said, She Said 2:30
07. Sad Sing 2:24
08. Nursery Rhyme 2:42
09. Song For S.P. 4:09
10. Superman 3:32
11. Alison Says 2:53
12. Day Of The Percherons 3:24

Extra Tracks
13. Ma Song (Demo) 2:30
14. Superman (Demo) 3:34
15. Oh Susie (Demo) 3:41
16. Poor Bill (Demo) 3:43
17. She Said She Said (Demo) 2:20
18. Sweet 16 2:29
19. Ham 'n Eggs 3:26
20. Day Of The Percherons (Demo) 2:29
21. Sad Sing (Demo) 2:12
22. Have Mercy On My Eyes 4:21

-Peter Brook /Harmonica
-Chris Cutler/ Drums, Pans, Pots
-Ned Callan/ Bass, Guitar (Bass)
-Peter Cook/ Harmonica
-Lol Coxhill /Sax (Soprano), Saxophone
-David Duhig/ Guitar
-Jon Field/ Drums, Percussion, Producer, Vocals, Wind
-Hughie Flint/ Drums
-Fred Frith/ Bass
-Neil Innes/ Guitar, Keyboards, Organ, Slide Guitar
-Ted MacDowell/ Guitar, Slide Guitar
-Tom Newman/ Bells, Cymbals, Drums (Bass), Flageolet, Guitar, Guitar (Acoustic), Guitar (Bass), Handclapping, Keyboards, Mandolin, Organ, Producer, Tabla, Tambourine, Vocals
-John Obyton/ Vocals
-Mike Oldfield/ Guitars
-Suzy Shute/ Choir Boy, Vocals
-Mike Storey/ Keyboards, Piano
-Mick Taylor/ Guitar, Vocals
-John Varnom/ Guitar


Born in 1943 in the United Kingdom, Tom Newman has a varied career as musician, collaborator, composer and producer. He initially started with the band called Playboy formed in the early 60's playing mainly R & B and skiffle sounds. this line up went on to form the band July and had some measurable success in Europe, particularly Spain.Their self titled release is still one of the most highly, valuable sort after albums of the late 60's.Following July's breakup in 1969 Newman began working as a guitar session player and solo recording artist.

In the early 1970's Tom Newman became resident and prime builder of Richard Branson's Virgin Manor Studio's in Oxford and began working, producing/collaborating with Mike Oldfield on the Tubualr Bells project. Enthusiasts of Mike Oldfield will fondly recall great moments these two artists shared alongside another well known personality, Vivian Stanshall making the album. After a single studio album at Virgin, Newman signed up with Decca for his much praised Faerie Symphony after starting his own studio called Argonaut in 1976. Faerie Symphony was regarded by some pundits to be one of the last true progressive LP's to come out in the 70's.

Tom Newman was one of the more enduring talents to come out of the orbit of the psychedelic group July, but his history went back much farther than that band. Born in 1943, he was in his early teens when rock & roll hit in England, and by the late '50s was in a skiffle outfit called the Playboys, who turned to rock & roll and R&B during the early '60s and took the new name, first the Thoughts and then the Tomcats, whose membership -- Tony Duhig on lead guitar and vocals, Jon Field on percussion and vocals, Chris Jackson on drums, and Newman on lead vocals, guitar, and keyboards -- later became the lineup of July. In the interim, they hit in Spain with a series of Spanish language covers, but returned to England during the psychedelic era and adapted to the new sound with a change of name to July. That group lasted for the duration of a single and a superb and very hard-to-find album. Following July's breakup in 1969, Newman went on to a dual career as a session guitarist and solo recording artist, and in the early '70s hooked up with Mike Oldfield, playing on Tubular Bells, and was signed to Richard Branson's Virgin Records label, for which he built Manor Studios. After a single solo studio venture there, he jumped ship from Virgin and subsequently recorded an ambitious solo album, Faerie Symphony, on which he reteamed with his former July bandmate Jon Field. Newman founded his own studio, Argonaut, in 1976, which became his primary vehicle for his own recordings, often with Field and Fred Frith, although he did sign with Decca Records in 1977 to release Faerie Symphony, one of the last unabashedly progressive rock long-players to come out of England during an era when the music had definitely gone out of fashion. In the years since, Newman has followed his own star, recording material that ranges from quasi-New Age ambient sound to sing-along numbers.

Longtime producer/engineer for Mike Oldfield and many others, Tom Newman displays his creative chops on this, his first solo effort. A real sleeper, Fine Old Tom is a relatively obscure yet refreshing original pop/prog-rock project constructed by Newman and his pals, with Jon Field, Mike Oldfield, Ned Callan, Chris Cutler and Fred Frith in the starring roles. Everything on this eclectic album is done with original style and vigor to spare, convention being left by the wayside. Even Newman's cover of Lennon/McCartney's "She Said She Said" is inventive. Beatles influences are obvious in several of the pop-oriented compositions. Album highlights include the energetic "Nursery Rhyme," a prog piece with cynical lyrics and blistering guitar, and the excellent "Superman," a reggae-meets-punk experiment.

Overall, this album is really fun to listen to. You can practically experience many varieties of styles from one song to the next: from soul, blues, rock n' roll to folk, boogie, country... Interestingly enough is the fact that many good and reknown musicians such as Fred Firth, Chris Butler, Mick Taylor and his friend Mike Oldfield participate in this album. At the end it is clear that they all got together to experiment, to jam and - the very basic intention of music - HAVE FUN! They transmit that happiness throughout the whole album.
Analysing some of the songs, let's begin with "Suzie" which has a style of soul and blues, a dramatic sound that is carried well by the guitar and the lead singer; "Poor Bill" lifts the beat to a more rock n' roll style; once again, good solos. I felt like listening to those classic rock performers or bands such as Rory Gallagher, or Family. "Ma Song" is a funny old-blues-style tune, with the sound of metallic guitars, but very experimental. The sound and the instruments were recorded as if you were listening to them in the 20's or 30's, suddenly the voice have a bizarre twist, very experimental. "Penny's Whistle Boogie", well, the name tells you everything; it's an instrumental boogie piece, if you like Canned Heat, definitely this song will be fine for you. "She said, she said" a cover from The Beatles with a more folk style combined with Canterbury scene; the voices are the core of the whole tune, and in the background some hindi percussions that complement it. "Sad Sing" has a beat style, definitely portraying the origins and influence of bands such as Herman Hermits, Beatles, etc. The next song is "Superman", a very strange jazzy tune with saxophone, and a good happy rhythm with all the instruments, and funny voices singing the lyrics and choruses. "Alison Says" goes back to experimentation and the voices play again the most relevant part of the tune; voices singing different tonalities, which reminded me of "We Have Heaven" by Jon Anderson in Yes's Fragile album or the whole Ollias of Sunhilow. The last track "Day of the Percherons" is a complete folk song - just the name paves the way for the music - with a combination of instruments like celtic flutes, tambourine, drums, beautiful choirs, and folk guitar arrangements; I loved this tune because I love Mike Oldfield and Hergest Ridge and Ommadawn are two of my favourite albums. Also, this tune is what probably made Tom Newman go on with a more folk prog style in his next albums. There are other songs included in the album, such as "Ham and Eggs", "Sweet 16" which are folk country songs, quite enjoyable or "Have Mercy on My Eyes" which is another boogie blues song.

Is it PROGRESSIVE? Well, if you separate song by song you will discover that only a couple of them have progressive hints, more oriented to folk prog, that is why Newman is considered as a "Crossover Prog" artist. One thing I am sure about is that it is full of experimentation and it is highly enjoyable because the songs are different from each other. Probably not highly essential or excellent in prog terms, but definitely is one of those albums that I would be very happy to add to my collection for the people that play in it, for the representation of Tom Newman (and the others)'s background.

The Johnny Rondo Trio - 1978 - Las Bicicletas

The Johnny Rondo Trio
1978 
Las Bicicletas


01. Las Bicicletas  2:34
02. Frog Dance  2:48

Lol Coxhill, soprano saxophone
Colin Wood, cello
Dave Holland, piano


A somewhat short-lived label devoted to modern Jazz.  Chiltern Sound was based in Marlow, and was an offshoot of the record shop of the same name, owned by Michael Eagleton.  It seems to have issued only a handful of records; most of them, including singles by Barbara Thompson and by Lol Coxhill, were in 12" format, but there was at one 7" single, 'Las Bicicletas' b/w 'Frog Dance' by The Johnny Rondo Trio, which was given a RONDO-1 catalogue number and is surprisingly melodic.  The label's dates of operation were from c.1977-c.80; as for what year the single came out, opinions on the net are divided between 1977 and 1978.  Distribution of Chiltern Sound records was by JSU and Lugton. 

Camelo Pardalis - 1973 - Manor Live

Camelo Pardalis 
1973 
Manor Live


01. See The Light 3:25
02. Keep On 3:04
03. Hey God 3:37
04. Full Time Love 4:10
05. Black Note Meets The White Note 1:40
06. Trouble, Trouble 3:45
07. Male Chauvinist Pig Song 3:46
08. Slidin' Sideways 3:56
09. Women's Lib Song 4:55
10. I'll Be Home 2:30
11. Do What You Feel 4:25

Steve York: bass, vocals, writer, producer, horn arrangements, mixing, percussion
Graham Bond: organ, alto saxophone, mixing
Tim Hinkley: piano, electric piano, organ, remixer, writer
Ian Wallace: drums, remixer
John Lee: trombone, horn arrangements
Boz Burrell: vocals, bass, remixer, writer
Barry Duggan: alto saxophone, horn arrangements
Elkie Brooks: vocals, backing vocals, writer
Ollie Halsall: guitar, piano, backing vocals, writer
Mark Charig: cornet
Dave Thompson: organ, piano
Dave Brooks: tenor saxophone
Mike Patto: vocals, drums, backing vocals, piano, writer
Rob Tait: drums
Diane Stewart: congas, backing vocals
Micky Moody: guitar
Pete Gavin: drums
Lol Coxhill: tenor saxophone
Jim Mullen: guitar


It's named Steve York's Camelo Pardalis, but it's actually a kind of supergroup: ex-King Crimsons, ex-Pattos, ex-Stone The Crows, etc, produced by Tom Newman, the same of Tubular Bells.
Despite the presence of so many heroes of those times's Progressive, the album goes much more to the direction of a robust blues. 

"This is an album I put together at Virgin Records Manor Studio. I was on crutches at the time with a broken pelvis after a car accident. It featured some of my favourite UK musicians including Graham Bond, Elkie Brooks, Boz Burrell, Rob Tait, Pete Gavin, Jim Mullen, Tim Hinckley, Mike Patto, Ollie Halsall, Jon Lee, Barry Duggan, Marc Charig, Dave Brooks, Mick Moody, Lol Coxhill and Lol Coxhill. Drummer Ian Wallace also played on the album but is wrongly credited.

"This record was a mess but it is an interesting document. The name , chosen by Virgin Records, is Latin for giraffe. A pregnant giraffe was brought to England from Spain for the cover photo. None of the musicians were paid." - Steve York



Ayers, Oldfield, Wyatt, Bedford, Coxhill, Six Beautiful Girls - 1997 - The Garden Of Love

Ayers, Oldfield, Wyatt, Bedford, Coxhill, Six Beautiful Girls
1997 
The Garden Of Love


01. The Garden Of Love 21:07

Drums – Robert Wyatt
Electric Guitar – Mike Oldfield
Electric Guitar, Vocals – Kevin Ayers
Saxophone – Lol Coxhill
Organ - David Vickerman Bedford
Percussion - Mick Fincher

Recorded September 26th, 1970, at the Queen Elizabeth Hall, London.

Credited to the individual artists on the cover and spine, but to "Kevin Ayers And The Whole World" on the CD.
The booklet also credits a quintet of flute, clarinet, horn, trumpet and double bass as performers, but gives no names of the artists involved.


Written in 1970 on a commission from The London Sinfonietta for a 'Third Stream' concert, THE GARDEN OF LOVE is scored for a "classical" quintet, rock group with vocal solo, and "six beautiful dancing girls". The essential idea is clever. Composer David Bedford starts with a melodic germ which is only heard in fragments throughout the aggressively ugly eighteen minute instrumental beginning section. After an extreme of cacophony is reached, the melody is finally heard in its entirety in a closing section of folk-like simplicity, a folk-rock setting of William Blake's poem 'The Garden of Love'. Although the final tune is appealing, the piece is not a pretty one, yet must have been great fun at its first and only performance, which is the source of this recording.
The liner notes contain two items of misinformation. The London Sinfonietta were not "the quintet Bedford had employed" but in fact the commissioners of the piece, and it is not true that "together with a few other audience members so disliked the rock music element of the piece that they walked out of the hall." The Sinfonietta members in fact left the stage just before the end because there is an instruction written in the score for them to do so.
It is one of those pieces that I am not really crazy about, but I also can't shake. I have listened to it many times !

Lol Coxhill - 1990 - The Holywell Concert

Lol Coxhill 
1990 
The Holywell Concert


01. In Transit 7:26
02. Half Pisced 9:07
03. No How 12:05
04. Bliss 9:48
05. Gliss 8:53
06. Ivory Horn 11:12
07. Oxford 16:20

Baritone Saxophone – George Haslam (tracks: 3, 4, 7)
Piano – Howard Riley (tracks: 1, 4, 6, 7)
Soprano Saxophone – Lol Coxhill (tracks: 1, 3, 5, 7)
Trombone – Paul Rutherford  (tracks: 2, 3, 6, 7)

Recorded at the Holywell Music Room, Oxford, 22 February 1990.

The oldest custom-built concert hall in Europe, it opened its doors to the public for the first time in 1748. Designed by Thomas Camplin, Vice-Principal of St. Edmund Hall, the building was probably the brainchild of William Hayes, then Professor of Music at the University.


This is the story of George Haslam and SLAM Productions

By Ken Waxman

Serendipity not strategy led to the birth of the British label SLAM 23 years ago, which since that time, from its base in Abingdon, six miles south of Oxford, has grown to a catalogue of almost 160 releases from European, South and North American improvisers.

SLAM simply came about when journeyman multi-reedist George Haslam, who at 50 had played with everyone from ‘ 30s dance band trumpeter Nat Gonella to free music trombonist Paul Rutherford decided he wanted to release a disc of solo baritone saxophone improvisations. “ I made a couple of LPs on Spotlite with my group, but I wanted to make a solo improvised recording and I knew this would not fit with Spotlite whose beginnings had been with Charlie Parker, ” he recalls. “ I spoke to Eddie Prévost [who runs the Matchless label] and others, coming to the conclusion that the best way to do this and have complete control, was to do it myself. Eddie advised me to do a CD, not an LP – which, in 1989, was excellent advice. In the event I recorded an album of solos and duos with Paul Rutherford called 1989 - and all that ”.
The only idea was preserving his own work, he adds. “ I had no intention of creating a new CD label. I played a concert in Oxford with [soprano saxophonist] Lol Coxhill, Paul Rutherford and [pianist] Howard Riley; Michael Gerzon made a beautiful recording and so I made the CD The Holywell Concert [1990]. Sometime later, Howard [Riley] approached me with a great recording by the quartet he co-led with [alto saxophonist] Elton Dean, asking if I would like to put it out ‘ on your label ’ . I agreed and that was when the label was established.” 
A one-man outfit, with Haslam preferring the title “ sole proprietor ” , SLAM soon grew exponentially as other musicians began offering him sessions to release. Not liking the clichéd “ 001 ” , his first CD was numbered “ 301 ” with a different numbering system needed for other release. UK musicians ’ discs come out on the 200 series; the 400 series is for compilations; and 500 for non-UK artists. “ One or two have slipped in the wrong series, purely by mistake, ” he jokes. 
Certainly there have been many CDs to deal with in nearly a quarter-century, during which Haslam has “ built great working relations with studios, design artists, photographers, pressing and printing plants and legal advisors ” . SLAM ’ s first non-British releases date from 1992 when Haslam was arranging a jazz festival in Oxford. Admiring the work soprano saxophonist Steve Lacy, with whom he had previously played, had done with pianist Mal Waldron, he invited them to the festival. The recorded concert became Let ’ s Call This … Estee. Interestingly enough this was Haslam ’ s first meeting with Waldron, with whom he would record Waldron-Haslam in 1994, which remains one of the label ’ s best-selling discs.
Always a world traveler –Haslam often plays in Eastern Europe and South America, in the mid- ‘ 90s SLAM gradually began putting out discs featuring the saxman with local players. 
“Since around 2005, he elaborates, 
“I’ve been contacted by musicians from many different countries – always unsolicited and quite out of the blue. Where appropriate I have tried to present their music. I guess they see SLAM as active in the same area of music as themselves.” 
One improviser who does is Swiss trombonist Samuel Blaser, whose Solo Bone CD appeared on SLAM in 2008 and who is to record a new solo trombone album for the label at the end 2012. “ Solo Bone was actually my very first solo concert I gave in Switzerland. It was recorded by Swiss radio and the results turned out so well that I decided to release it. I started shopping it around, but few labels were interested.One reason was due to the difficulties to sell such a challenging product. Unfortunately few people have an interest in listening to a trombone by itself. However, George automatically showed interest and asked me to send the recording. I heard back from him a couple of weeks after that telling me he loved it and that he wanted to put it out. I am really thankful George decided to release Solo Bone and even more happy to work with him on the following one. I guess George takes some risks to release this music. It ’ s challenging to put out free jazz music in today's market. Fortunately we still have people like George who continuously support our community.” 

All discs that appear on SLAM in what Haslam calls a "joint venture” arrangement. Although he self-finances he own releases, other avenues such as recording grants available from the Arts Council of England were discontinued years ago. “ Musicians need to find a level of funding which I put towards the costs of printing, pressing, licensing etc. The musicians ’financial input is expected to be returned through gig sales and royalties. I see SLAM sitting somewhere between a ‘self release’ and a signed up contracted operation. The musicians have complete control over the music, artwork etc., but hopefully benefit from being on an established label.” 
Besides Haslam, who has appeared on about 40 of the imprint ’ s releases, SLAM ’ s the musician who has appeared on the most SLAM CDS is tenor saxophonist Paul Dunmall. “ I knew George in the late ‘ 70s early ‘ 80s before he set up SLAM records when I played every Sunday night at the old fire station in Oxford, ” recalls Dunmall. “ George said he was going to start a label and when I recorded the double CD in 1993 that became Quartet, Sextet and Trio. 
I asked if he would be interested in releasing it. He agreed, and basically we have had a very good working relationship since then. Now sometimes I have a recording and think it would be perfect on SLAM. I don't remember him ever turning anything down that I have offered him. He does a very thorough job and really makes a lot of effort to get releases known in the press etc. Also he makes the business side of things very clear and he is a very honest man. He has a very open policy with his ideas of the music that will work on his label. It's not just improvised music, there's a huge variety of styles although of course it is jazz based somewhere along the line. SLAM really has had a huge impact on the improvised/jazz music scene especially here in the UK. You only have to look at his vast catalogue to see what a great job he has done.” 
Dunmall, who started his CDR-only DUNS Limited label in 2000, says he did so to have discs to sell at gigs. “ To release a CD back then was quite expensive, so I could probably just do one CD for SLAM a year if I was lucky, but with DUNS I could put out one CDR a month. But I think it was also important to have music released on established labels like SLAM. I hope the label keeps going for years to come. It will be tough, but George is a determined guy.” 
Overall SLAM releases about six or seven CDs a year, with sales ranging from those which don ’ t reach three figures to those which sell about 1,000 copies or so. Besides Waldron- Haslam, the label ’ s other best sellers are Explorations … to the Mth Degree, a duet by drummer Max Roach and Waldron; and The Vortex Tapes, recorded at that London club by Dean in group featuring among others, bassist Paul Rogers, drummer Tony Levin and trombonist Rutherford. 
Due to Prévost ’ s prescient advice there were never any SLAM LPs issued, although there were cassettes. “ Last year I looked at producing an LP ” , he reveals. “ But the costs were quite high. I ’ d like to do it, apart from anything else the scope for artwork on a 12-inch sleeve is appealing, ” he says. Digital downloads of 11 out-of-stock CDs can be ordered through iTunes, Amazon.co.uk and eMusic. As well, The Middle Half by the Esmond Selwyn Hammond Organ Trio is only for sale digitally. “ Esmond ’ s first SLAM CD, Take That, sold out completely; his second The Axe, a collection of jazz standards on solo guitar, sold very few, in spite of rave reviews around the world. Esmond sells them by the dozen on his gigs, ” te saxophonist explains. “ When he came along with The Middle Half I discussed this with him. He wanted to stay with the label so we went for the digital release with limited quantity pressed for promotion and gig sales. It ’ s an experiment, but it ’ s too early to judge results, sales figures take months to trickle through.” 

 Among the sessions scheduled for release is what Haslam calls “ a great new CD by Paul Dunmall playing Coltrane compositions. We sometimes take the masters too much for granted and it is good to be reminded of their contribution to the music.” 
He adds: “ When a recording is offered to me for release on SLAM, I listen to it and consider is SLAM the right place for it? I don ’ t have a style template to which the music must fit. There is a wide range of music on the label and the SLAM slogan has always been Freedom of Music. I remember many years ago playing a concert with Lol Coxhill; at one point he was asked to play a solo piece, He said he was going to play ‘ Autumn Leaves ’ . ‘ But this is a ‘ free ’ gig, Lol ’ someone said. ‘ So, ’ said Lol ‘ Am I free to play what I want? ’ What ties the catalogue together, I hope, is the objective of a) preserving music which may otherwise be lost and b) making this music available to a listening public. To try to ‘ educate ’ or lead a public would be counterproductive but the music is there to be discovered. ” 

--For New York City Jazz Record 
   (August 6, 2012)

Coxhill / Haslam / Hession / Rutherford / Fell - 1990 - Termite One

Coxhill / Haslam / Hession / Rutherford / Fell 
1990 
Termite One


01. Termite One One 17:33
02. Termite One Three 10:07
03. Termite One Four 11:03
04. Termite One Two 9:57

Lol Coxhill, soprano saxophone
George Haslam, baritone saxophone
Paul Rutherford, trombone
Simon H. Fell, double bass
Paul Hession, drums.

Recorded on 11 November 1989 at The Termite Festival, Pack Horse Inn, Leeds.
Originally released as BFC24 cassette in 1990



Recorded on November 11, 1989, as part of a festival organized by northern England's legendary new music nightspot, the Termite Club in Leeds, this gritty quintet features bassist and Bruce's Fingers label boss Simon H. Fell in the company of improv titans Lol Coxhill (soprano sax) and Paul Rutherford (trombone) and muscular free jazz bruisers George Haslam (baritone sax) and Paul Hession (drums). A lot of ink has been spilled over recent years as to what exactly constitutes the difference between free jazz and free improv, but while musicologists and critics have been arguing over the fine points, the musicians themselves have, as always, gotten on with business. The four extended tracks on Termite One are in effect both -- arguably "free improvised jazz": there's the open form of improv and a free flow of ideas not derived from or dependent on a theme, but at the same time the music respects structural principles associated with jazz in its alternation of solo and ensemble passages. Whatever you choose to call it, it's 100 percent live (and well remastered in 1999) and 300 percent alive, brimming over with energy and creativity, and the five musicians are in spectacular form throughout.

Lol Coxhill - 1987 - Before My Time

Lol Coxhill 
1987 
Before My Time


01. Victory Walk
02. Baby, Won't you please come home?
03. Huggin Girl
04. Liberty Bodice
05. Buddy Bolden's Blues
06. Blues as the come
07. What a friend we have in Jesus
08. Down The Line
09. Sidewalks of New York
10. Burgundy Street Blues
11. I Wish I Could Shinny Like My Sister Kate
12. Strutting With Some Barbecue
13. Pass The Paceo
14. Monk's Hill

Lol Coxhill, Soprano Sax
Paul Rutherford, Trombone
Dave Green, Double Bass
Bruce Turner, Alto Sax
Stan Greig, Piano
Victor Brox, Piano, Vocals


Before My Time is a fun album which finds Coxhill and company covering New Orleans jazz tunes and performing some originals inspired by New Orleans music. Among the musicians joining him are trombonist Paul Rutherford and multi-instrumentalist Victor Brox.

Steve Miller Trio meets Lol Coxhill - 1986 - Miller's Tale

Steve Miller Trio meets Lol Coxhill 
1986
Miller's Tale


Side A - Nigh-and-Sly
Side B - Nether Eye
Side C - A Largeish Quart
Side D - Nowell's Flood

Steve Miller - piano
Tony Moore - double bass
Eddie Prevost - drums
Lol Coxhill - soprano saxophone

Recorded at a concert given at the Bull and Gate, Kentish Town, London on 11th November 1985 which was financially assisted by the Musicians' Union


Here is a live set from 1985 with the Steve Miller Trio. Miller and Coxhill have collaborated in the past, most notably on two lps out on the Virgin subsidiary Caroline from 1973 and 1974, respectively. These have been compiled on a double cd on the Cuneiform label, with lots of extra material from what I read. Might be well worth picking up for those who did not get the original albums. Miller and Coxhill were part of the whole Canterbury prog jazz rock scene which spawned a bunch of outfits, among others Delivery, with which both were associated, and Kevin Ayers and the Whole World which made a memorable album called "Shooting at the Moon", featuring Coxhill. 

While the earlier collaborations were fragmented and ad-hoc-ish, this set here is one contiguous performance spread over four sides where Miller and Coxhill are joined by Tony Moore on bass and Eddie Prevost, of AMM provenance, on drums. The Matchless label is very much alive as an outlet for AMM projects and other specimens of British improv. 

An intensely concentrated set, this one, freely improvised, no steady rhythmic backbone to discern here, Coxhill floating and gliding over the piano-led trio. Not as obviously whimsical as other Coxhill projects, but somewhat chamber-like with the type of close listening among the players one associates with the Spontaneous Music Ensemble and similar British improv combos. Not the stuff to grab you by the throat, but to gradually insinuate itself with you. A pleasant listening experience, whose rewards are acquired cumulatively. On top of it all, Coxhill's slippery soprano.

Lol Coxhill - 1986 - The Inimitable

Lol Coxhill 
1986 
The Inimitable


01. The Moon Was Yellow 2:41
02. Spring Is Here 2:33
03. The Folks Who Live On The Hill 2:39
04. Little Froggies 0:40
05. It Never Entered My Mind 5:49
06. A Certain Smile 2:48
07. Time After Time 3:05
08. Change Partners 2:59
09. Requiem Major 4:26
10. Cocktail For Two 4:15
11. Two Sleepy People 2:28

Recorded August 8-10, 1985 at Nato Studio, Chantenay, France.

Double Bass, Violin, Guitar – Stuart Hall
Euphonium – Steve Beresford (tracks: A6)
Piano – Steve Beresford (tracks: A2, A5, B4), Veryan Weston (tracks: A1, A5 to B3)
Vocals, Soprano Saxophone – Lol Coxhill


Lol Coxhill - 1986 - Café de la place

Lol Coxhill 
1986 
Café de la place


01. Albert & Yves 5:31
02. Fizz Harmonique 2:32
03. Frog Dance 0:48
04. Hardly Classic 1:10
05. Insincérité 2:53
06. Huapango Tejana 3:26
07. Suitens Hour 5:49
08. Murio La Cucaracha 3:11
09. Blue Saalaplace 10:26
10. Steps 3:35
11. Cachunka Incl. Tell Me 4:37

Accordion – Mike Adcock (tracks: A2 to A8, B3)
Ensemble – Le Quatuor Des Tilleuls De Cantenus* (tracks: A1)
Guitar, Vocals – Mike Cooper (tracks: B3)
Soprano Saxophone – Lol Coxhill
Vocals – Beñat Achiary (tracks: B2)

A1, 30 Aug. - 18h, place de l´eglise
A2 to A8, 31. Aug. - 12h, place de l´eglise
B1, 31. Aug. - 18h, café de la place
B2, 31. Aug. - 16h, marches de l´eglise
B3, 31. Aug. - 18:30h, café de la place
all @ Festival Chantenay



For his sixth participation in the festival of Chantenay, Lol Coxhill will be the troubadour staff to the extent of its open air, reciting many memories of stays imagined in the islands where the frogs dance, from one place to another as centers of a tiny but vast planet; from the square to the steps of the church to finish at Café de la Place close to these places of heart of the village. The choice of his companions (a quintet involuntarily Aylerien, a Basque singer leaping, a accordionist calin-cajun, a singer blues) confirms that at Coxhill, everything is round and everything is sung and when he finds himself alone, the song It is still rounder, a multitude of a village to make and a place to love.

Lol Coxhill - 1985 - Frog Dance

Lol Coxhill 
1985 
Frog Dance


01. Clapperboard 0:00
02. Liquid Reflections 2:49
03. Scottish Eagle And Other Sounds 0:08
04. Doodlesop 5:40
05. Sea Lions 0:04
06. Pedestrian Infiltrations 2:20
07. Confidential Report (Including Personal Statement) 3:37
08. Distant Slumbers 2:17
09. Hardly Dawn 1:26
10. Alto Funerale 2:24
11. Fidget 4:58
12. Caucasian Splinter Mystery 1:48
13. Frog Dance 2:03
14. Edited Half Handclap 0:00
15. Apres 4:38
16. Zoo Collective 0:12
17. Chance Including Chocolate Field 24:59
18. Archive Projections 17:45
19. Deja Vu 11:34
20. Deja Vu Tu 28:07
21. End Of Play 0:28

Lol Coxhill: Electronics, Soprano Saxophone, Voice


The album is a compilation of material made for the film "Frog Dance", directed by Richard White and funded by The Arts Council of Great Britain. In making the compilation, Lol Coxhill added further music recorded between 1980 and 1985.

Lol Coxhill - 1984 - The Dunois Solos

Lol Coxhill
1984 
The Dunois Solos


01. Distorted Reminisces 19:25
02. Further Developments 22:26

Soprano Saxophone – Lol Coxhill

Recorded in concert at Théâtre Dunois, Paris, on 6 November 1981.


With a fabulous cover personally designed by the performer himself, this album is perhaps the best way to get to the heart of Lol Coxhill's soprano saxophone playing. Other players may have chiseled more of a facade in the avant garde by organizing solo saxophone concerts more tightly, but the lack of conceptual continuity or a compositional command post adds more than just eccentric charm to these proceedings. By titling the two side-long events "Distorted Reminiscences" and "Further Developments," Coxhill proves he both knows what he is doing and can be witty about it. His saxophone is indeed a kind of center of personal rumination, the improvisations developing casually, as if a conversation was in progress rather than just the thoughts of one musician. Coxhill proves adept at seeing the long range outcome of what he is doing as well as hearing instances where quite quick, sometimes even radical changes can be made with the push of a button and a slight change in embouchure. While Coxhill will no doubt go down playing, and playing well at that, the early '80s was one of his best periods as a solo saxophonist. This recording, done at an intimate Parisian avant garde music venue, is pure cream.