Sunday, May 28, 2017

Anthony Braxton, Gunter Hampel, Jeanne Lee - 1972 - Familie

Anthony Braxton, Gunter Hampel,  Jeanne Lee 

01. Familie
02. Familie (continued)

Alto Saxophone, Flute, Clarinet, Clarinet [Bb Contrabass], Sopranino Saxophone – Anthony Braxton
Bass Clarinet, Flute, Vibraphone [Vibes], Soprano Saxophone – Gunter Hampel
Voice – Jeanne Lee

Recorded live April 1, 1972, Theatre du Mouffetard, Paris. Collective composition: Anthony Braxton - Gunter Hampel - Jeanne Lee.

Perhaps Hampel has chosen not to reissue this on the grounds that the original recording is so flat and one dimensional. None the less the music is quite exceptional, a largely free improvised set ..its all more or less one free floating piece. Great to hear Anthony Braxton on contra bass clarinet especially this vintage and setting... spine chilling stuff. There is an ethereal quality to this wonderfully spacious set ..that could perhaps (heresy of heresie's) have used the slightly reverby ,crisp production values of a Manfred Eicher.

Gunter Hampel Group + Jeanne Lee - 1969 - Gunter Hampel Group + Jeanne Lee

Gunter Hampel Group + Jeanne Lee 
Gunter Hampel Group + Jeanne Lee

01. Leoni Antoinette 9:40
02. O, Western Wind 6:00
03. The Capacity Of This Room 5:45
04. The Four Elements (11:01)
05. Lazy Afternoon 9:57

Recorded: April 1968
Studio: André Van De Water, Soest (Holland)

Bass, Harmonium – Arjen Gorter
Clarinet, Bass Clarinet, Soprano Saxophone, Saxophone, Tenor Saxophone – Willem Breuker
Percussion – Pierre Courbois
Vibraphone, Flute, Bass Clarinet – Gunter Hampel
Voice – Jeanne Lee

German multi-instrumentalist Gunter Hampel (1937), originally a vibraphonist, was credited with starting the free-jazz scene in continental Europe in 1964 when he formed a quintet with trumpeter Manfred Schoof and pianist Alexander von Schlippenbach that recorded Heartplants (january 1965). Hampel played vibraphone, flute and bass clarinet (that would remain his three main instruments), but composed only one of the five titles. The quartet of Assemblage (december 1966), with Willem Breuker on several saxophones and clarinets, was a far more decisive unit, and Hampel stepped up as a composer with the 22-minute Assemblage and the eleven-minute Heroicredolphysiognomystery.
Relocating to Europe in 1967, the American black vocalist Jeanne Lee joined Hampel's and Breuker's quartet on Gunter Hampel Group + Jeanne Lee (april 1968). Hampel's growing confidence as a leader/composer and Lee's acrobatic vocals highlighted The 8th of July 1969 (july 1969), that also added American saxophonist Anthony Braxton to the Hampel-Breuker-Lee quintet and contained the 18-minute Morning Song and the 25-minute Crepuscule. The magic combination of Hampel's conduction and Lee's decoration permeated Ballet-Symphony (january 197O) for a quintet with Hampel, Lee, cello, bass and drums; People Symphony (march 1970), that added Breuker on clarinet and tenor sax as well as Willem van Manen on trombone; Out Of New York (july 1971), for a quartet with clarinetist Perry Robison and a bassist performing Hampel's seventh and eight symphonies; Spirits (august 1971), a trio with Robinson; Familie (april 1972), a spectacular trio with Braxton, Waltz For 11 Universes In A Corridor (june 1972), a trio with violinist Toni Marcus containing Waltz for 3 Universes in a Corridor and Galaxie Sun Dance. Most of these albums were taken up by lengthy eponymous improvisations, that Hampel painstakingly numbered according to the conventions of classical music.

Hampel and Lee then formed the Galaxie Dream Band, still a nine-piece unit on the colossal jam Angel (may 1972), but, after I Love Being With You (july 1972), the imposing Broadway (july 1972), Unity Dance (june 1973), and Out From Under (january 1974), the first collection of shorter pieces, expanded to an eleven-piece ensemble for Journey to the Song Within (february 1974), that contained Bolero. The Galaxie Dream Band shrank back to an octet for the double-LP Celebrations (june 1974) and to a sextet for Ruomi (october 1974), that did not feature Lee, and then expanded again to an octet (with Lee and Braxton) for Enfant Terrible (september 1975). Transformation (september 1976), by a classic line-up featuring Lee, Robinson, Schoof and flutist Thomas Keyserling, and All Is Real (november 1978), by a quintet with Lee, Robinson, Keyserling and a percussionist, marked a return to the extended format. Despite being reduced to a quartet (with Robinson, Keyserling and a percussionist), the combo was still called Galaxie Dream Band on Vogelfrei (october 1976).

The collaborations with Lee went beyond the Galaxie Dream Band: Cosmic Dancer (september 1975) for a quartet with Lee, Robinson and drummer Steve McCall, and especially Freedom Of The Universe (june 1978), that contained another lengthy meditation, and the double-LP Oasis (july 1978), that contains the 20-minute Oasis.

Hampel resurrected the Galaxie Dream Band (now a sextet with Lee) for the album-long improvisation of All the Things You Could Be If Charles Mingus Was Your Daddy (july 1980), and (as a quartet with Lee and Keyserling) for the shorter pieces of A Place To Be With Us (january 1981), and (as a quintet with Lee, Robinson and Keyserling) for Life On This Planet (july 1981), that contained the side-long Infinite Transparencies.

Ran Blake & Jeanne Lee - 1995 - In Stockholm 1966 Free Standards

Ran Blake & Jeanne Lee 
In Stockholm 1966 Free Standards

01. Ticket To Ride 1:44
02. Kind' A Sweet 2:56
03. Corcovado: Quiet Nights Of Quiet Stars 2:16
04. Let's Go 2:59
05. Ja-da 2:09
06. Bombastica ! 2:40
07. Lydiana: People Of This World 2:22
08. Crystal Trip 1:29
09. A Taste Of Honey 2:37
10. Night And Day 4:00
11. I Can Tell 2:15
12. Take The "A" Train 3:15
13. Living Up To Life 3:00
14. A Hard Day's Night 2:07
15. The Girl From Impanema 2:42
16. Vanguard 3:31
17. Glaziation 0:30
18. You Stepped Out Of A Dream 5:28
19. I Can Tell More 4:15
20. Desafinado & One Note Samba 4:20
21. Stars Fell On Alabama 2:29
22. Just Friends 3:33
23. Free Standards 4:05
24. I'll Remember April 2:53
25. Honeysuckle Rose 2:38

Piano – Ran Blake
Vocals – Jeanne Lee

Recorded In Stockholm November 8, 1966 at Borgarskolan studio.

"In 1961 singer Jeanne Lee (1939-2000) and pianist Ran Blake (born 1935) emerged as one of the most innovative duos on the New York jazz scene. Presenting an almost freely improvised reading of standard and original melodies, they blended voice and piano in a manner seemingly without any boundaries except those imposed by their individual disciplines. It was a stunning combination, but aside from a few concerts, a local television show, a praised RCA Victor album, and an appearance at the 1962 Monterey Jazz Festival, they found little work in the US.
In Europe, however, it was a different story. There the duo’s subtlety, daring and wit, along with Lee’s warmth and precision and Blake’s inventiveness, were immediately appreciated. They opened a series of well-received North-European concerts in 1963 at Stockholm’s Golden Circle and returned there three years later, when these examples of their unique artistry were captured in a studio recording session. In combination they pass, blend, meld, and move around each other in a manner both delicately nuanced and vaguely disconcerting, demanding attention in a way no other group of this kind has done."
(Back cover notes)

Jeanne Lee With Ran Blake - 1962 - The Newest Sound Around

Jeanne Lee With Ran Blake
The Newest Sound Around

01. Laura 5:06
02. Blue Monk 4:40
03. Church On Russell Street 3:12
04. Where Flamingos Fly 4:17
05. Season In The Sun 2:25
06. Summertime 3:30
07. Lover Man 5:00
08. Evil Blues 3:04
09. Sometimes I Feel Like A Motherless Child 2:37
10. When Sunny Gets Blue 4:51
11. Love Isn't Everything 1:20

Piano – Ran Blake
Vocals – Jeanne Lee

Jeanne Lee combines acrobatic vocal maneuvers with a deeply moving sound and quality that allows her to alternate between soaring, upper register flights and piercing, emotive interpretations. She's extremely precise and flexible, and moves from a song or solo's top end to its middle and bottom accompanying an instrument with a stunning ease. Though many critics have cited Lee as creating free jazz's most innovative vocal approach, she's done very little recording, almost none of it as a leader, and even less on American labels. She's best-known for her many sessions with Gunther Hampel. Lee studied dance rather than music at Bard College, but while a student there, she met Ran Blake. They formed a duo, and she did her first recordings with him, which excited many critics. They toured Europe in 1963. Lee moved to California in 1964 and worked with Ian Underwood and sound poet David Hazelton, whom she later married. She and Hampel established their musical relationship while Lee was in Europe in 1967, going on to record over 20 albums together. Lee also recorded with Archie Shepp, Sunny Murray, and Hampel in the late '60s, and with Marion Brown, Anthony Braxton, Enrico Rava, and Andrew Cyrille in the '70s, while also working with Cecil Taylor. She began composing extensively in the '80s and began concentrating on performing her original material, which frequently included poetic and dance components. Most of her recordings have either been done for European labels or small independents. After living in New York in the mid-'90s, Lee taught at two music conservatories in Europe for several years. In 2000, Lee faced colon cancer without medical insurance. Some months after surgery, creative music lost a great voice. Benefit concerts (to help the family with expenses) were held by a number of jazz musicians, including Joseph Jarman, Gunter Hampel, Rashied Ali, Hamiet Bluiett, Abbey Lincoln, and many more.

Third stream pianist and music educator Ran Blake has recorded a number of unique, often solo, jazz albums since the early '60s that showcase his dramatic contrasts of silence and "outbursts" and fresh reinventions of older standards. He has also made his mark on music by influencing music students for many decades at Boston's New England Conservatory of Music.
He was born in Springfield, MA, on April 20, 1935, and eventually got his degree from Bard College, in addition to studying at Columbia University and at the School of Jazz in his home state. In 1957, Blake began collaborating with vocalist Jeanne Lee, and the duo went on a European tour in 1963. His debut album, The Newest Sound Around, was awarded the RCA Album First Prize in Germany in 1963. The follow-up to his debut, Ran Blake Plays Solo Piano, was released on ESP in 1965. Two years later, Blake began teaching jazz at Boston's New England Conservatory of Music. Thirty years later, Blake was still educating students at N.E.C., and also served as chairman of the school's contemporary improvisation department.
Blake is the recipient of fellowships from the Massachusetts Artists Foundation, the Guggenheim Foundation, MacArthur Foundation, and the NEA. His recording has been sporadic and, most often, solo. His discography includes Blue Potato (Milestone, 1969); Third Stream Today (Golden Crest, 1977); Film Noir (Novus, 1980); Duke Dreams (Soul Note, 1981); a double-disc journey through jazz standards and international folk music alike called Painted Rhythms: The Complete Ran Blake (GMRecordings, 1985); one of his duos with Anthony Braxton, A Memory of Vienna (Hatology, 1988); and his duo with Clifford Jordan, Masters From Different Worlds
He recorded even less during the 1990s, but did create, among others: a tribute to Sarah Vaughan, Unmarked Van (Soul Note, 1995), and a revisiting of film noir material and other tunes in a duo with flügelhorn player and trumpeter Enrico Rava, entitled Duo en Noir (2000), recorded for composer Franz Koglmann's new label, Between the Lines. Other labels that have released Blake albums over the decades include the Owl, Horo, Crest, RCA, and Arista labels. In addition to his previously mentioned collaborators, Blake has also worked with Oscar Peterson, Jaki Byard, Mary Lou Williams, Mal Waldron, Houston Person, William Russo, Gunther Schuller, Kate Wolf, and Ricky Ford.

"Third stream" may have been the bandied term, but this unjustly ignored 1962 duet set, the debut for pianist Blake and singer Lee, who worked up their act while studying at Bard College, plays blissfully free of the lumbering lugubriousness and Big Mac-thick philosophizing that mar so much of that music. The eeriness, the mystery, and the sweetness lie always in the deceptive simplicity, never more so than on the opener, "Laura," sketched by Johnny Mercer as a hazy image of loveliness, always out of reach and perhaps not even real, and she flickers in and out of existence with the strike and fade of Blake's figures, the attack and decay of Lee's intonation, now husky, now fruity, but as exacting as Miles Davis' muted trumpet. "Church on Russell Street" is Blake's alone, a gospel show for solo piano late at night, or early in the morning, when everyone but the pianist and maybe the Lord has gone home. "Where Flamingos Fly," from which Van Morrison peeled a few leaves years later, finds Lee a mournful anti-siren, losing her lover and a few members of the animal kingdom to an island that may be Aruba, Iceland, or even Alcatraz; Blake tests single notes like water drops, rumbles chords for incoming tide, stabs boldly at the not quite in tune top octave on his keyboard. "Season in the Sun" (nowhere near Terry Jacks) injects levity with bassist George Duvivier sitting in (as he does on "Evil Blues," the second dash of comic relief) and Lee dryly, slyly insinuating the brevity of her bikini. "If there's going to be an enduring 'new wave' in jazz styling...this voice, this piano may well be the beginning," reads an uncredited blurb on the cover. The record started no revolution, probably because no other two performers had such chemistry or such a distinctive reaction. As jazz styling, though, it endures unsurprisingly. You hear the set in less than one hour
You spend decades wandering inside the sound, as you might inside a sonic Stonehenge, savoring each new vantage point discovered, and the impossibility of discovering them all.

Recorded in 1961, "The Newest Sound Around" still is. One thing you can say for sure about singer Jeanne Lee's and pianist Ran Blake's mutual debut album is that it didn't trigger an avalanche of imitators. In his book, "Jazz: A Critic's Guide to the 100 Most Important Recordings," Ben Ratliff describes "The Newest Sound Around" as an "outsider-art work." He certainly got that right. Today, Patricia Barber is the only "main stream" artist I can think of who sometimes sounds even a little like what Ms Lee and Mr Blake were doing almost 50 years ago.

To my ears, Ms Lee has an extremely pleasing, smokey, flexible voice. There's no place in a song that she can't navigate with ease - and when she improvises, you're left thinking, "Why didn't the composer think of that?" Mr Blake can just flat play. He never shows off, but if you are one of the handful of people who have listened to his piano playing over the years, you know he's got "chops" and then some.

"The Newest Sound Around" is a mix of standards, film music, a Monk tune and some originals by Mr Blake. If you're into "avant garde," "third stream," or just plain "lovely and mysterious" jazz, this album is for you. Half a century after it was recorded, it still sounds like tomorrow's music.

Out of print for many years, "Newest Sound Around" is a unique interpretation of piano and vocal jazz duets. I first heard one of the best tracks on the album, "Laura," on a Smithsonian-sponsored collection of third-stream jazz, circa 1976, and it stayed with me. "Laura" was the only vocal performance in the avant-garde/third stream compilation. Fortunately, I managed to get a copy of the Smithsonian record (also long out of print) and have listened periodically to "Laura" over the years, but always wondered about the rest of "Newest Sound Around." I never did locate a copy of the LP. Now the whole CD is available!

Why is this record so memorable, and why do I like it so much? 3 reasons: 1) Jeanne Lee's vocal stylings - warm and traditional while avant-garde at the same time - a rare combination of strengths; 2) Ran Blake's piano - like ice tinkling in a glass, discordant yet perfectly complimentary to the vocals. As an example, the chords of the familiar "Blue Monk" are transformed into something so different that the listener can hardly believe it's the same blues song performed so often by Monk himself; 3) The choice of repertoire - an interesting mix of styles, each of which is turned inside out and performed in a new way.

Jazz Contemporaries - 1972 - Reasons in Tonality

Jazz Contemporaries 
Reasons in Tonality 

01 Reasons In Tonality  24:00
02 3-M. B.  22:45

recorded live at the Village Vanguard, NYC Feb. 13, 1972

Bass – Larry Ridley
Drums – Keno Duke
French Horn – Julius Watkins
Piano – Harold Mabern
Saxophone [Tenor] – Clifford Jordan, George Coleman

Rare original spiritual jazz LP on the much sought after STRATA EAST label. Sounds very much like it could be a lost session for some classic Coltrane album: the easy gait of the brass, the levitation pull of the bright block chords staggering over on the right end of the piano, the band playing perfectly in unison.  amazing how something can sound at once so casual and so spirited!

Jayne Cortez - 1974 - Celebrations and Solitudes

Jayne Cortez 
Celebrations and Solitudes

01. Lead
02. How Long Has Trane Been Gone
03. Essence Of Rose Solitude
04. Song For Kwame
05. Forreal
06. Festivals And Funerals
07. Solo
08. I Am New York City
09. Under The Edge Of February
10. Lynch Fragment
11. Ife Night
12. Homicide
13. 3 Day New York Blues
14. Remembrance
15. Do You Think
16. Making It
17. So Long
18. Lexington/96 Street Stop
19. I Won't Forget It

Jayne Cortez: poetry reading, poetry, producer
Richard Davis: bass, music

Jayne Cortez was born Sallie Jayne Richardson on the Army base at Fort Huachuca, Arizona, on May 10, 1934. Her father was a career soldier who would serve in both world wars; her mother was a secretary.

At the age of seven, she moved to Los Angeles, where she grew up in the Watts district. Young Jayne Richardson reveled in the jazz and Latin recordings that her parents collected. She studied art, music and drama in high school and later attended Compton Community College. She took the surname Cortez, the maiden name of her maternal grandmother, early in her artistic career.

In 1954, Cortez married jazz saxophonist Ornette Coleman when she was 18 years old. Their son Denardo, born in 1956, began drumming with his father while still a child and devoted his adult life to collaborating with both parents in their respective careers. In 1964, Cortez divorced Coleman and founded the Watts Repertory Theater Company, of which she served as artistic director until 1970. Active in the struggle for Civil Rights, she strongly advocated using art as a vehicle to push political causes, with her work being used to register black voters in Mississippi in the early 1960s. She traveled through Europe and Africa, and moved to New York City in 1967.

In 1969 her first collection, Pissstained Stairs and the Monkey Man's Wares, was published and Cortez went on to become the author of 11 other books of poems, and performed her poetry with music on nine recordings. Most of her work was issued under the auspices of Bola Press, a publishing company she founded in 1971. She presented her work and ideas at universities, museums, and festivals in Africa, Asia, Europe, South America, the Caribbean and the United States. Her poems have been translated into 28 languages and widely published in anthologies, journals and magazines, including Postmodern American Poetry, Daughters of Africa, Poems for the Millennium, Mother Jones, and The Jazz Poetry Anthology.

In 1975 she married sculptor, sculptor and printmaker Melvin Edwards, and they lived in Dakar, Senegal, and New York City. His work appeared in her publications as well as on some of her album covers. Cortez and Edwards she maintained two residences, one in New York City and one in Dakar, Senegal, which she said "really feels like home."

Jayne Cortez wrote and performed with an uncompromising intensity all her own. Acerbic, hard-hitting, unsentimental and scathingly honest, her take on reality is so potent – and even pungent – that many poets may seem benign, or even superficial, by comparison.

The musicians with whom Jayne Cortez aligned herself reflected the sociopolitical and cultural elements to which she attached the greatest importance. Born in Fort Huachuca, Arizona in 1934, she grew up near Los Angeles under the spell of her parents' jazz and blues record collection, which also included examples of Latin American dance bands and field recordings of indigenous American music. Early exposure to the recordings of Bessie Smith instilled in Cortez a deeply etched sense of female identity, which, combined with a strong will, shaped her into an uncommonly outspoken individual. She became transformed by the sounds of Duke Ellington, Sarah Vaughan, Charlie Parker, Dizzy Gillespie, and no-nonsense vocalist Dinah Washington, whose visceral approach to self-expression clearly encouraged the poet not to pull any punches.

Cortez, who respected the memory of independent performing artist Josephine Baker, preferred to name inspirations rather than influences, especially when discussing writers. Those with whom she identified included Langston Hughes, Aimé Césaire, Léon Damas, Christopher Okigbo, Henry Dumas, Amiri Baraka, and Richard Wright. Parallels with the ugly/beautiful poetics of Federico García Lorca also suggest themselves. Her words were usually written, chanted, and spoken in rhythmic repetition that resembled the intricate, tactile language of African and Caribbean drumming.

Most of her work from the early 1970s onwards was issued by Bola Press, the publishing company she founded. She cut her first album, Celebrations and Solitudes, at White Plains, New York, in 1974. A set of duets with bassist Richard Davis, it was released on the Strata-East label. The first Bola Press recording, taped in October 1979, was called Unsubmissive Blues and included a piece "For the Brave Young Students in Soweto." Cortez delivered her poetry backed by an electro-funk modern jazz group called the Firespitters, built around a core of guitarist Bern Nix, bassist Al McDowell, and drummer Denardo Coleman. For years, the Firespitters and Ornette Coleman's Prime Time coexisted with Denardo as the axis and various players participating in both units.

During the summer of 1982, Cortez delivered There It Is, an earthshaking album containing several pieces that truly define her artistry. These include: "I See Chano Pozo," a joyously evocative salute to Dizzy Gillespie's legendary Cuban percussionist; a searing indictment of patriarchal violence called "If the Drum Is a Woman"; and, "US/Nigerian Relations," which consists of the sentence "They want the oil/but they don't want the people" chanted dervish-like over an escalating, electrified free jazz blowout. Recorded in 1986, her next album, Maintain Control, is especially memorable for Ornette Coleman's profoundly emotive saxophone on "No Simple Explanations," the unsettling "Deadly Radiation Blues," and the harshly gyrating "Economic Love Song," which is another of her tantrum-like repetition rituals, this time built around the words "Military spending, huge profits and death." Among several subsequent albums Cheerful & Optimistic (1994) stands out for the use of an African kora player and poignant currents of wistfulness during "Sacred Trees" and "I Wonder Who." Additionally, this album contains a convincing ode to anti-militarism in "War Devoted to War" and the close-to-the-marrow mini-manifestos "Samba Is Power" and "Find Your Own Voice." In 1996, her album Taking the Blues Back Home was released on Harmolodic/Verve; Borders of Disorderly Time, which appeared in 2002, featured guest artists Bobby Bradford, Ron Carter, and James Blood Ulmer.

She appeared on screen in the films Women in Jazz and Poetry in Motion by Ron Mann.

Her impact upon the development of spoken-word performance art during the late 20th century has yet to be intelligently recognized. In some ways her confrontational political outspokenness and dead-serious cathartic performance technique place Cortez in league with Judith Malina and The Living Theater. According to the online African-American Registry, " her ability to push the acceptable limits of expression to address issues of race, sex and homophobia place her in a category that few other women occupy."

Heath Brothers - 1975 - Marchin' On!

Heath Brothers 
Marchin' On!

01. Warm Valley 2:29
02. Tafadhali 3:54
03. The Watergate Blues 5:54
04. Maimoun (From "Illusion Suite") 8:02
05. Smilin' Billy Suite
Part I 6:04
Part II 4:23
Part III 3:28
Part IV 4:35

Bass [Baby Bass], Violin [Bass Violin] – Percy Heath
Drums – Albert Heath
Flute, Tenor Saxophone, Soprano Saxophone – Jimmy Heath
Piano [Acoustic], Mbira – Stanley Cowell

Recorded at Talent Studios, Oslo, Norway 10/22/75.

If you only listened to the A-side of this album, you'd find it to be a quite pleasant, straight-ahead jazz LP, with the warm flute tootings of Jimmy Heath, rich bassline strumming of Percy Heath and Stanley Cowell cameoing on piano and mbira. "Maimoun" is just a gorgeous, mellow song closing out the first side and their cover of "Watergate Blues" isn't bad either. But add on the four part "Smilin' Billy Suite" and you have the makings of one of Strata-East's greatest albums. Sure, it helps that Q-Tip sampled "Suite II" for Nas' "One Love", thereby introducing the album to the rest of the world but like Monty Alexander's "Love and Happiness", the sum of the song is far greater than the sample. By this time, most folks have heard "Suite II" in some fashion or other - Redman used 16 bars of the song on "Supaman Lova Pt. 3" for chrissake. Cowell's use of the mbira thumb piano is just fantastic, giving the whole song a different vibe from traditional jazz instrumentation. But it's always surprised me how little love "Suite I" receives. While almost all the suites use the same basic melodic riff as a common anchor, "Suite I" focuses mostly on Percy Heath's basslines before his brother Jimmy's relaxed flute drifts in. "Suite III" is also pretty solid - much more dramatic and dissonant, largely thanks to Albert Heath's playing of an African double reed woodwind. "Suite IV" brings back the major refrain once more, this time on sax, with a lighter, more upbeat feel than the previous three Suites. All in all, an undeniable masterpiece of the soul jazz era. 

Haki R Madhubuti & Nation - 1974 - Rise Vision Comin

Haki R Madhubuti & Nation 
Rise Vision Comin

01. We Are A Nation
02. Talking Stick
03. The Family
04. Black Woman
05. Walk The Way Of The New World
06. Collectivity
07. Rise,Vision,Comin
08. Black Man
09. We Wound Each Other

Bass – Clarence Seay
Drums – Reed Tuckson
Guitar – Byron Harrison
Percussion – Aiedo Mamadi
Piano – Rufus Wright
Trumpet – Wallace Roney
Vocals – Haki R Madhubuti (Don L. Lee)

Born Don L. Lee in Little Rock, Arkansas, poet and essayist Haki Madhubuti was raised in Detroit, Michigan. His father deserted the family when Madhubuti was very young, and his mother died when he was sixteen. An unstable family life created hardship and forced Madhubuti to seek employment and overall self-reliance at an early age. Of the place of poetry in his childhood, Madhubuti commented that "poetry in my home was almost as strange as money."

In the late 1950s Madhubuti attended a vocational high school in Chicago. He joined the U.S. Army for three years beginning in 1960. From 1963 to 1967, while an apprentice curator at the DuSable Museum of African History, Madhubuti held jobs as a clerk in department stores and at the U.S. post office. During these years he also worked toward his associate degree at Chicago City College. Two decades later he received a master of fine arts from the University of Iowa.

WWith the publication of Think Black! (1967), Black Pride (1968), and Don't Cry, Scream (1969), Madhubuti quickly established himself as a leading poetic voice among his generation of black artists in America. His poetry generated critical acclaim, particularly among African-American commentators associated with the maturing Black Arts movement of the 1960s and early 1970s (the first major black artistic movement since the Harlem Renaissance).

His early literary criticism, including in Dynamite Voices (1971), was one of the first overviews of the new black poetry of the 1960s. In this volume Madhubuti insists on the essential connection between the African-American experience and black art and concludes with a call to black nation building. In his own poetry Madhubuti makes extensive use of black cultural forms, such as street talk and jazz music. His poetry also draws its inspiration from the work of Amiri Baraka (LeRoi Jones), the most influential black arts practitioner of the 1960s.

Judging simply by sales within the black community, no black poet in the black arts movement was more popular than Madhubuti. In the last few years of the 1960s, for instance, Madhubuti's slim paperbound books of poetry—each issued by the black publishing house Broadside Press—sold a remarkable one hundred thousand copies each without the benefit of a national distributor. His popularity and artistic promise made him a frequent writer-in-residence during this period at American universities such as Cornell and Howard.

In 1973 the poet rejected his "slave name" by changing it from Don L. Lee to the Swahili name Haki R. Madhubuti (which means "precise justice"). In the same year he published two collections, From Plan to Planet and Book of Life. These volumes of essays and poetry illustrate his commitment to black cultural nationalism, a philosophy that combines political activism with cultural preservation in the drive toward racial awareness and black unity.

Although his artistic production declined during the mid- to late 1970s, the publication of another volume of essays and poetry, Earthquakes and Sun Rise Missions (1984), renewed Madhubuti's advocacy of black nationalism. The poet's most recent collection, Killing Memory, Seeking Ancestors (1987), speaks to the reader who loves and understands black vernacular

Like his literary compatriots in the black arts movement, Madhubuti attempts to create an artistic form and content that best represents the black community, speaks to their needs, and promotes cultural institutions that serve the coming of the black nation. He eschews Western notions of individualism in favor of collective self-sufficiency among blacks within the United States and throughout the world.

In 1978, when the author published Enemies: The Clash of the Races —a scathing critique of racism within white left as well as right political circles—Madhubuti was (what he calls) "whitelisted" and, as a result, lost anticipated income. Such experiences reinforced his commitment to black self-reliance. As founding editor of Third World Press and a founding member of the Organization of Black American Culture (OBAC) Writers Workshop (which includes black literary figures such as Gwendolyn Brooks and Carolyn Rodgers), Madhubuti continues to be active in Chicago-based organizations. He is also cofounder and director of the Institute of Positive Education in Chicago, an organization committed to black nation building through independent black institutions in areas such as education and publishing.

In 1990 Madhubuti published Black Men: Obsolete, Single, Dangerous? The Afrikan American Family in Transition, which addressed issues raised by the author's grass-roots activism over the previous quarter century. Essays in this collection speak specifically to black men, offering analyses and guidance on topics ranging from fatherhood to AIDS. The first printing of the book (7,500 copies) sold out within a month and reconfirmed Madhubuti's popularity within a sizable portion of the black literary community in America and elsewhere.

Madhubuti teaches at Chicago State University. He published Tough Notes: A Healing Call for Creating Exceptional Black Men in 2002, and Run Toward Fear in 2004.

Excellent! Deep afro-centric indy label spiritual jazz from 1974 that is simply an essential purchase for any fan of the Strata East/Tribe sound! Very highly recommended! As featured in the "Freedom, Rhythm and Sound" book!

Enrico Rava - 1973 - Katcharpari

Enrico Rava 

01. Bunny's Pie 2:00
02. Trial N. 5 6:10
03. Dimenticare Stanca 9:07
04. Katcharpari 4:02
05. Fluid Connection 5:40
06. Cheerin' Cherry 9:27
07. Peace 1:30

Enrico Rava - Trumpet, Vocals, Bells
John Abercrombie - Electric Guitar
Bruce Johnson - Bass  
Chip "Superfly" White - Drums  

Cover - Ariel Soulé  

Recorded: Milan, January 10th 1973.
Yellow Label With Classic BASF Logo On Centre Right.

I like the more subtle spacier cuts on this one such as the fantastic opening waltz, the opening phrases of "Diamenticare Stanca" and the gorgeous, but short closing track "Peace". Rava is great with his trumpet and combines both the subtle phrasing and sharp angularities of Miles' sound during these years. The mean gonzo-funk does slog on a few these longer tracks which cools me down slightly, but generally you'll win more than lose with this one.

Enrico Rava - 1972 - Il Giro Del Giorno In 80 Mondi

Enrico Rava 
Il GIro Del Giorno In 80 Mondi

01. C.T's Dance
02. Back To The Sun
03. Xanadu'
04. Attica
05. Il Giro Del Giorno In 80 Mondi
06. To Start With
07. Olhos De Gato

Bass – Marcello Melis
Drums – Chip White
Guitar – Bruce Johnson
Trumpet – Enrico Rava

Recorded in February 1972 at Fonit-Cetra Studios, Turin.originally released in the International label and rereleased on the Italian Black Saint label in 1976

This hugely popular trumpet player (born in Trieste, Italy in 1939) almost single-handedly brought Italian jazz to international attention. He began playing Dixieland trombone in Turin, but after hearing Miles Davis, switched instruments and embraced the modern style. Other key meetings were with Gato Barbieri, with whom he recorded movie soundtracks in 1962, and Chet Baker. He began to play with Steve Lacy; he also teamed up with South African expatriates Louis Moholo and John Dyani and recorded The Forest and the Zoo (ESP) live in Argentina. In 1967, he moved to New York, playing with Roswell Rudd, Marion Brown, Rashied Ali, Cecil Taylor, and Charlie Haden. In a brief return to Europe, Rava recorded with Lee Konitz (Stereokonitz, RCA) and Manfred Schoof (European Echoes, FMP). From 1969 to 1976, he was back in New York, recording Escalator Over the Hill with Carla Bley's Jazz Composers' Orchestra. After his first album as a leader, Il Giro del Giorno in 80 Mondi (Black Saint), he began to lead his own pianoless quartets and quintets. His recorded output numbers 100 records, 30 as a leader.

Italian release cover

ECM has reissued some of his essential recordings of the '70s, like The Pilgrim and the Stars, The Plot, and Enrico Rava Quartet, while Soul Note and Label Bleu published CDs by his innovative Electric Five (in reality a sextet, as he always excludes himself from the count), which includes two electric guitars. With keyboard master Franco D'Andrea and trumpeter Paolo Fresu, Rava recorded Bix and Pop (Philology) and Shades of Chet, tributes to Bix Beiderbecke and Armstrong, and to Chet Baker, respectively. Also of note are Rava, L'opera Va and Carmen, gorgeous readings of opera arias. In 2001, he created a new quintet with young talents Gianluca Petrella, Stefano Bollani, Rosario Bonaccorso, and Roberto Gatto, and toured with old friends Roswell Rudd and Gato Barbieri, releasing Easy Living with them in 2004 on ECM. Three years later, after Bollani, who had struck out as a solo player, was replaced by Andrea Pozza, The Words and the Days came out. In 2007, Rava and pianist Stefano Bollani released The Third Man on ECM. Rava followed the released in 2009 with New York Days, a collection of moody originals with a film noir tinge, backed by a band that included Bollani, tenor saxophonist Mark Turner, bassist Larry Grenadier, and drummer Paul Motian. Rava broke in a new all-Italian quintet for Tribe, which was issued by ECM in the fall of 2011. Its members included trombonist Gianluca Petrella, pianist Giovanni Guidi, bassist Gabriele Evangelista, and drummer Fabrizio Sferra. Guitarist Giacomo Ancillotto also guested on the set, expanding the lineup on various selections. Rava made a wide left turn for 2012's On the Dance Floor. Amazingly, the trumpeter only became aware of pop singer Michael Jackson's music after his death, and he became obsessed with it. The album, his tribute to what he considers the late singer's contribution to 20th century music, was recorded with Parco della Musica Jazz Lab at the Rome Auditorium; it is entirely comprised of Jackson's material.