Monday, May 29, 2017

Marvin Peterson & The Soulmasters - 1969 - In Concert

Marvin Peterson & The Soulmasters 
In Concert

01 Groove For Otis
02 Five Foot Even
03 Conversation
04 Our Groove
05 Summertime
06 I Can't Stand It

Alto Saxophone – Mike Campbell
Bass – Eugene "Spare Time" Murray, Richard "Dick" Thompson
Drums – Emry "Wild Child" Thomas
Organ, Tambourine – Eugene "Gov" Carrier
Tenor Saxophone, Alto Saxophone, Flute – Tim Peterson
Trombone – Cleveland Gay
Trumpet, Vocals – Marvin Peterson

Recorded in concert live at the Burning Bush, Denton, Texas, November 1968.

Original 1968 sound recording owned by Hannibal Lokumbe, under license to Jazzman Records Ltd.

Of all the Holy Grail LPs that we've posted so far, this is quite possibly the rarest of the rare, with a miniscule 50 copies of the original album having been pressed up 40 or so years ago. It's a miracle that any copies at all have survived since then, but we've jumped through hoops to ensure that not only have we faithfully reproduced the original, but we've done it with a quality that cannot be rivaled! Marvin Hannibal Peterson will be a familiar name to '70s jazz enthusiasts, but his career started with the Soulmasters in Texas back in the '60s. As bandleader and trumpeter, they were a popular outfit around the Texas nightclub circuit with their own brand of funky jazz, soul ballads and RnB showmanship. This album manages to squeeze in all three, including the extended funky jazz workout Our Groove, the haunting ballad Five Foot Even and finishing off with a cracking version of James Brown's I Can't Stand It. For lovers of soul, jazz, funk and all things in between, this album is for you.

Marvin Hannibal Peterson & The Sunrise Orchestra - 1974 - Children of the Fire

Marvin Hannibal Peterson & The Sunrise Orchestra
Children of the Fire 

Movement 1. 9:02
01. Forest Sunrise
02. Rhythm Ritual
03. Song Of Life
Movement 2. 3:10
The Bombing
04. Prelude
Movement 3. 4:50
05. Prayer
Movement 4. 17:30
06. The Ascending Of The Soul
Movement 5. 1:50
07. Finale

Bass – Richard Davis
Cello – Diedre Murray
Conductor – David Amram
Congas, Percussion [Bell Tree] – Lawrence Killian
Drums – Billy Hart (Jabali)
Percussion – Barbara Burton, Marvin Tuten
Piano – Michael Cochran
Piccolo Flute – Art Webb
Sitar – Marvin Tuten
Timpani, Drums – Barbara Burton
Trumpet, Koto – Hannibal
Viola – Judith Graves, Julius Miller
Violin – Myung Hi Kim, Rynae Rocha, Stanley Hunte
Violin [Solo] – John Blake
Vocals – Alpha Johnson

Trumpet and koto player Marvin "Hannibal" Peterson has led a reclusive career in jazz since the early '70s, when he first started making albums. A free jazz player in the style of Don Cherry with the metallic tone of Freddie Hubbard, Peterson is widely unknown even to the most diehard jazz fans. His low profile is strange given that he played with popular artists like Pharoah Sanders and Elvin Jones and was a regular member of Gil Evans' big band from '72 to '81.
On his recently reissued first album, Children of the Fire (Sunrise, 1974), Peterson takes his Sunrise Orchestra deep into jazz-classical territory, making his music sound like the Third Stream of Charles Mingus and Gil Evans.

Children of the Fire is a suite in five movements, beginning with "Forest Sunrise," a magical segment of bird-sounding whistles and string arrangements in front of a percussion backdrop. The second part of the movement, "Rhythm Ritual," starts off with the orchestra but then breaks into a straight-ahead but funky rhythm by drummer Billy Hart, bassist Richard Davis and pianist Michael Cochrane. Peterson then enters with a fiery blues solo that recalls the big fusion band sound of electric Miles.

Peterson composed all of the music on Children of the Fire, including the poetry on the spiritual hymn "Song of Life," sung by Waheeda Massey. The music and poems on the album were dedicated to the children of Vietnam during the tail end of the war in Southeast Asia. The highlight of the album is the fourth movement, "The Aftermath," which has a rapid and colorful drum solo by Billy Hart and a long free bop solo by Peterson that is encouraged by the spontaneous trio of Hart, Davis, and Cochrane.

Children of the Fire is an excellent snapshot of where fusion was headed during the early '70s. Electric jazz-rock, injected with heavy doses of classicism, was made popular by the Mahavishnu Orchestra during this time. But the underground Sunrise Orchestra delivers the goods, mixing hard bop and abstract jazz with a Far Eastern spirituality.

Marvin Hannibal Peterson - 1977 - Hannibal In Antibes

Marvin Hannibal Peterson 
Hannibal In Antibes

01. Ro 19:16
02. Swing Low Sweet Chariot 20:25

Bass – Steve Neil
Cello – Diedre Murray
Drums – Makaya Ntshoko
Tenor Saxophone – George Adams
Trumpet – Hannibal

Recorded live at the Antibes Jazz Festival on July 20th, 1977.

An exciting, serpentine solo maker in the mold of Don Cherry -- Peterson has chops but leaves precision to the wind in favor of spontaneous eruptions of melody. Peterson has a more well-rounded technique than Cherry, however, and plays with greater force. Unlike many contemporary free jazz players, Peterson is adept at older styles; he's played under such adventurous yet tradition-bound bandleaders as Rahsaan Roland Kirk, Gil Evans, and Elvin Jones, and with such dyed-in-the-wool avant-gardists as Roswell Rudd, Ken McIntyre, and Deidre Murray.

As a youth, Peterson learned drums and cornet. He attended North Texas State University from 1967-1969 before moving to New York in 1970. That year, he toured the East Coast with Kirk; the next, he joined Evans' orchestra, with which he would continue to play into the '80s. In the early '70s he performed and recorded with a variety of big-name leaders, including Pharoah Sanders, Roy Haynes, and the aforementioned Jones. He also led and played trumpet and koto with the Sunrise Orchestra, a group that included the cellist Murray. Tenor saxophonist George Adams was a frequent collaborator. Peterson has led recording sessions infrequently; his first album was called Children of the Fire, for the defunct Sunrise label (1974). He recorded subsequently for Enja, MPS, and Inner City. Though as a performer he's kept something of a low profile over the years, Peterson -- now known simply as Hannibal -- emerged in the mid-'90s having composed the monumental African Portraits, an orchestral piece that incorporated a jazz quartet, the Chicago Symphony Orchestra (conducted by the eminent composer/conductor Daniel Barenboim), the Morgan State University Choir, the Kennedy-King College Community Chorus, the Doris Ward Workshop Chorale, four operatic singers, various traditional African musicians, and a handful of African-American vocalists. The meticulously composed (and critically hailed) piece differed greatly form the small jazz ensemble contexts with which he had made his professional name. A recorded version was issued by the Teldec label.

Hannibal In Antibes starts off really very badly, so much so that you’re almost tempted to give up on the thing. The problem is it starts with about a three minute drum solo. I mean drum solos are bad enough anywhere on a record, but to start an album with one is just madness. I suppose at least they have started the album with the lowest point on there, so in theory it should only get better from that point on, unless of course you love drum solos. When the other instruments initially kick-in you’re like thank god for that, but then it all starts going a bit pear-shaped and all Tom & Jerry ish. But after about four and a half minutes the bass kicks in, then a cello reveals itself, Hannibal starts blowing the most intense horn work you could ask for, and from that point on you are blessed with a full-on aural pleasure fest for the rest of the album. 

This album is two very long tunes that seem to be dominated by solos throughout. Luckily the drum solo is the only bad one here, and as I already pointed out, they got rid of it at the start. All the rest of the solos respectfully work with the rhythm section and never over reach or go too far out. The rhythm section, which also consists of a cello on here, really seems to control the main instruments of trumpet, tenor sax and flute, and make sure they behave themselves. At one point the sax goes a little over the top, but the rhythm section is like calm down will you you’re spoiling the flow, and brings it back into line. The musicians on here are Marvin “Hannibal” Peterson on trumpet, George Adams on flute and tenor sax, Diedre Murray on cello, Steve Neil on Bass and Makaya Ntshoko on drums, and man can this guy can play those drums. 

The overall feel of the music is very much in that Impulse spiritual and haunting approach, but with a bit more rock element in there. Imagine the latter Pharoah Sanders recordings for Impulse, like Village Of The Pahroahs and Live At The East, but with a trumpet thrown in, and you’ll kind of get the picture. I also like the use of a string instrument, this is where the rock feel comes from; it kind of adds a slight early Velvet Underground (when John Cale was a member) feel to the thing. In addition to that there’s a kind of eastern feel, but not like Middle Eastern, more sort of eastern European feel. Basically it's a real fusion of styles that all work perfectly, so if you imagine a Russian Velvet Underground without guitars covering a Pharoah Sanders' album, you're almost there. 

Both tracks are winners, but side two is a total killer, it’s a twenty plus minute version of “Swing Low Sweet Chariot” that literally abducts you for its entire duration. The drum/bass/cello combination on here is like an all consuming driving riff that just never lets up. I was so taken by this record that I spent the whole twenty minutes just not wanting it to end. I love those times when you've just got an album, but you know absolutely nothing about it and it ends up being one of the best things you've ever heard. If you love all that hypnotic stuff, and strong rhythm sections, then I cannot recommend this album to you enough. Just be warned, it is seriously addictive. The only thing that stops this getting top whack is the drum solo, and that’s just a personal thing, I hate drum solos.

John Hicks - 1978 - Hells Bells

John Hicks
Hells Bells

01. Hell's Bells 9:50
02. Avojca 8:17
03. Yemenja 10:53
04. Angie's Tune 9:50

Bass – Clint Houston
Drums – Cliff Barbaro
Piano – John Hicks

Recorded: May 21, 1975, London, England

A longtime fixture of the New York City jazz landscape, pianist John Hicks was an artist of uncommon versatility, moving effortlessly from pop standards to the avant-garde while retaining the dense physicality and intense energy that were the hallmarks of his approach. Born December 12, 1941, in Atlanta, Hicks was still an infant when his preacher father relocated the family to Los Angeles. He spent the better part of his teen years in St. Louis, and counted among his classmates there the young Lester Bowie. Hicks' mother was his first piano teacher, and after a stint at Lincoln University in Missouri he attended the Berklee School of Music and the Juilliard School; he later cited influences spanning from Fats Waller to Thelonious Monk to Methodist church hymns, and his catholic listening tastes were instrumental in shaping his far-ranging skills as a player. After touring in support of bluesman Albert King and hard bop tenor saxophonist Johnny Griffin, Hicks backed singer Della Reese during a 1963 New York club residency, and the city remained his home for the rest of his life. In the wake of stints with Kenny Dorham and Joe Henderson, Hicks joined Art Blakey's Jazz Messengers in 1964, collaborating alongside the likes of trumpeters Lee Morgan and Freddie Hubbard. Two years later, he signed on with singer Betty Carter, like Blakey a keen judge of emerging talent. Upon exiting Carter's band in 1968, Hicks spent the remainder of the decade with Woody Herman and entered the decade to follow as a first-call sideman. He also moonlighted as an educator, and during the early '70s taught jazz and improvisation at Southern Illinois University.

After backing Carter on her 1976 date Now It's My Turn, Hicks returned to her backing group full-time. The exposure vaulted him to new renown, and in 1979 he finally led his own studio effort, After the Morning. With 1981's Some Other Time, cut with bassist Walter Booker and drummer Idris Muhammad, Hicks also emerged as a gifted composer, writing his best-known effort, "Naima's Love Song," in honor of his young daughter. He recorded prolifically in the years to follow, concentrating on solo and small ensemble work including stints as member of the Power Trio and the Keystone Trio. He also served as the regular pianist with the Mingus Dynasty Band and for a time led his own big band. Hicks enjoyed his greatest commercial success with a series of tribute LPs celebrating the music of his mentors and influences, highlighted by 1998's Something to Live For (a collection of Billy Strayhorn compositions), 2000's Impressions of Mary Lou (Williams, of course), and 2003's Fatha's Day (honoring Earl Hines). Hicks' longest and most rewarding collaboration was his partnership with flutist Elise Wood, which launched in 1983 and after several studio sessions and tours culminated in marriage in 2001, around the time of the release of their duo recording Beautiful Friendship. Hicks died suddenly on May 10, 2006. Just three days earlier, he delivered his final performance at Harlem's St. Mark's United Methodist Church, where his father served as a minister prior to his own death. Hicks was 64 years old.

 Hells Bells, the very first session recorded as a bandleader by the late pianist and former St. Louisan John Hicks. Hells Bells—spelled without the apostrophe on the album cover (pictured), but sometimes with it in other references—was recorded in 1975 for trumpeter Charles Tolliver's Strata-East label, though it wasn't issued until 1978.

There was a CD reissue of the album in 2000 by the Charly label, which now is out of print. As of this writing, the one new copy that could be found for sale online has an asking price of $90, with used copies commanding nearly $30.

John Gordon - 1976 - Erotica Suite

John Gordon 
Erotica Suite 

01. 1st Movement - Desire 6:54
02. 2nd Movement - Fulfillment 6:13
03. 3rd Movement - Aftermath 1:28
04. 4th Movement - Consequences 8:06
05. Ora Lee Tingle 4:26
06. Neleh 6:30
07. Blue Na 8:19

Bass – Lyle Atkinson
Drums – Frank Derrick III
Piano – John Miller
Saxophone – James Spaulding
Trombone – John Gordon
Trumpet – Waymond Reed

Gordon began playing trombone as a child and later studied formally at the Juilliard School Of Music in New York. He played professionally with various bands including several in the blues idiom and was also with Buddy Johnson. When he was 22 he joined Lionel Hampton where he remained for a year, then returned to his studies. For seven years he was with R&B star Lloyd Price whose musical director at the time was Slide Hampton. In 1962 he began a 20-year stint in Broadway pit bands, appearing also on many recordings on Motown Records. He found time for jazz engagements during this period, including spells with Clark Terry, Count Basie, Howard McGhee, Frank Foster and Lionel Hampton. He was a founder member of Trombones Incorporated (later known as Trombones Unlimited) and he also worked with Al Grey’s Trombone Summit. In the early 90s he played in bands led by Illinois Jacquet and he also toured and recorded with a trombone trio alongside Slide Hampton and Joshua Roseman. At this time Gordon was also an occasional member of Nancie Banks’ big band and of a trio, which included Curtis Fuller. An extremely gifted technician, Gordon plays with drive and enthusiasm and his work with other trombonists has helped improve the instrument’s following in the post-bop era after some years of neglect as a front-line jazz voice.

John Gordon - 1975 - Step By Step

John Gordon
Step By Step

01. Step By Step 10:45
02. P & G Inc. 4:52
03. Dance Of The Ymas 5:10
04. No Tricks / No Gimmicks 5:30
05. Making Memories 8:04
06. Activity 5:46

Bass – Lisle Atkinson
Drums – Andrew Cyrille
Flute, Soprano Saxophone, Tenor Saxophone – Roland Alexander
Piano – Stanley Cowell
Trumpet – Charles Tolliver
Trombone - John Gordon

Recorded and mixed at Sound Ideas Studios, New York City, September 22, 1975.
Strata-East Records Incorporated, 156 Fifth Avenue, N.Y.,10010. Printed in U.S.A.

John Gordon's trombone style and sound reflect such masters as Bill Harris and Lawrence Brown. He employs a breadth of conception and a clarity of sound that have more in common with the great trombonists who preceded himby two generations than with the tight phrases and dry tone of the beboppers. The brilliance of his top notes and the sweep of his ideas on Making Memories are bound to remind the listener of Harris. Like his older contemporary, Roswell Rudd, Gordon seems to have studied Harris, and the influence extends into the freest piece of the album, Activity.
The title of one of Gordon's compositions; No Tricks / No Gimmicks, applies to the overall approach. This is unpretentious music firmly rooted in the post-bop era but embracing the harmonic and metric adventurousness nurtured by the Free Jazz movement.
P+G, Incorporated a bright Gordon composition of calypso heritage, one of the happiest pieces of music in years .
All of Gordon's compositions here are attractive, and his arranging for the three horns results in an expansive ensemble sound. He is a talented young man, and his further adventures will be followed with great interest.
Doug Ramsey
Radio Free Jazz - May 1977 - Page 17

Gunter Hampel - 1969 - The 8th of July 1969

Gunter Hampel 
The 8th of July 1969

01. (No. 35) We Move 8:15
02. (No. 30) Morning Song 18:30
03. (No. 37) Crepuscule 25:25
04. (No. 38) The 8th Of July 1969 1:20

Bonus tracks on CD
05. (No. 35) We Move, Take 1 6:59
06. (No. 35) We Move, Take 2 6:21
07. (No. 38) The 8th Of July 1969, Take 1 0:32

Alto Saxophone, Contrabass Clarinet, Sopranino Saxophone – Anthony Braxton
Alto Saxophone, Tenor Saxophone, Bass Clarinet, Soprano Saxophone – Willem Breuker
Bass, Bass Guitar – Arjen Gorter
Drums – Steve McCall
Piano, Vibraphone, Bass Clarinet – Gunter Hampel
Voice – Jeanne Lee

Recorded on July 8, 1969, Studio Andre Van De Water, Nederhorst, Holland.

Something of a landmark in late-'60s free jazz and an early collaboration between American members of the AACM (as represented by Braxton and McCall) and the European jazz avant-garde, the album issued under Gunter Hampel's name holds up quite well in retrospect. Despite his nominal affiliation with free jazz, Hampel never abandoned melody, and the opening track, "We Move," is a rollicking affair that features -- as does much of the record -- the superbly evocative vocals of the late Jeanne Lee. "Morning Song" develops into a more ferocious piece, with Braxton tearing things up in overdrive mode, propelled by the incendiary rhythm team of McCall and Gorter. The long Crepuscule," in contrast, is quietly brooding, opening with a subdued, grumbling bass clarinet trio and generally staying within sonic areas involving soft breaths, sighs, and moans. Though it works up a strong head of steam in its latter third, this stirring performance points out the fallacy of free jazzers doing nothing but screaming and hollering, and nods in the direction of "quiet improv" experiments of 20 to 30 years hence. A fascinating and important historical document and a fine listen in its own right, The 8th of July 1969 is a date to remember.

Andrew Cyrille, Jeanne Lee, Jimmy Lyons - 1979 - Nuba

Andrew Cyrille, Jeanne Lee, Jimmy Lyons 

01. Nuba 1 7:27
02. Cornbread Picnic (Maize) 4:58
03. The One Before Zero 5:23
04. JJ&A 5:12
05. In These Last Days 7:35
06. Sorry 6:58
07. Nuba 2 7:50

Alto Saxophone – Jimmy Lyons
Drums, Percussion – Andrew Cyrille
Voice – Jeanne Lee

Recorded in June 1979 at Fontana Studio 7, Milano.

Drummer Andrew Cyrille and alto saxophonist Jimmy Lyons developed an impressive chemistry during their years with Cecil Taylor. Cyrille's array of percussion instruments and mastery of multiple styles, from hard bop to Afro-Latin, enabled him to play rippling rhythms or light, tinkling lines, attack, or lay back. Lyons' alto solos were alternately driving and soft, sometimes searing in their intensity, sometimes more laid-back and introspective. Those seeking a standard trio or straight jazz date are advised to look elsewhere; there was nothing conventional or predictable about this one.

Jeanne Lee - 1975 - Conspiracy

Jeanne Lee 

01. Sundance 4:40
02. Yeh Come T' Be 7:05
03. Jamaica 6:05
04. Subway Couple 2:55
05. The Miracle 2:10
06. Your Ballad 6:40
07. Angel Chile 6:50
08. Conspiracy 11:55

Alto Clarinet – Mark Whitecage (tracks: B2)
Bass – Jack Gregg
Clarinet – Allan Praskin (tracks: B2), Perry Robinson (tracks: B2)
Design – Irene Kubota, Jeanne Lee
Drums – Steve McCall
Flute, Piano, Vibraphone, Alto Clarinet, Bass Clarinet – Gunter Hampel
Soprano Saxophone, Tenor Saxophone, Flute – Sam Rivers
Trombone – Marty Cook (tracks: B2)

Ensemble tracks recorded by: George Klabin, Sound Ideas Studio, New York, February 1974.
Solo tracks and mix by: Jan Rathbun, Blue Rock Studio and Good Vibration Studio, April and May 1974.

"The Miracle"

The miracle is... that the layers continue
to be stripped away each time uncov'ring
a center more brilliant and revealing
than the one before.

Amazing... that this should be the way
our love our knowledge and our lives
leaving us constantly renewed.

Knowing you exist anywhere in this universe
makes my world that much larger
and that much more filled
with light.


no words,
only a feeling...
no questions only
a light
no sequence
only a
no journey/ only
a dance --

(a poem by Dr David Hazelton, Jeanne Lee's first husband, & the father of their child Naima Hazelton.)
"Subway Couple"

she drifted, indolently through the door;
while he bound up, arms and legs flying
onto the platform, nearly out of reach
of her quick touch
that appeared silently on his head,
wheeling him from left
to right in mid-motion
as I lost sight of them
behind the closing doors

Although there are two labels, Seeds 5 and Earthforms Records - 814, the vinyl pressing and covers are identical.

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.

Great revolutionary jazz singing , Jeanne Lee went even beyond that made certain emotional vertigo Patty Waters one of the most moving experience and strong creative matrix of the vocal jazz .

York January 29 , 1939 , Jeanne began to study dance at Bard College where he met Ran BlakeDestined to become one of the most popular pianists of the current ” third stream music ” that flourished around 1955 on the initiative of Gunther SchullerTended toward a language of synthesis between jazz and European classical music . With Blake , Lee formed a duo that produced the albums of absolute thickness ( among which “The Newest Sound Around”). The use of white space and sounds left to drift and an incredibly versatile voice and deeply visceral makes their duets one of the highest experiences of the jazz of the early sixties.

In 1964 , in California, they met Ian Underwood David Hazelton and the poet , with whom he sketched some collaborations . The most important meeting , however, after the one with Blake, is the one with the German vibraphonist Gunter Hampel with whom he recorded over 20 records, some of which will remain in time as absolute gems of the period. Initially engaged in a meaningful song , but ultimately, still largely conventional, Lee began to evolve a distinctive version of a very particular musical vocabulary , made up of vocalizations that mute , moving from one node to the “standard” , were gradually undergoing a process of abstraction, repeated and modulated voice with a clear sense of the joint .

This peak came his way with his first recording as a “soloist . ” E ‘ 1974 and ” Conspiracy ” comes like a bolt from the blue , dominating from the start as one of the great masterpieces of the jazz of the seventies. An empty space made of primal scream (but imploded ) that refer to Billie Holiday and excellent technique that make it a live issue even Sarah Vaughan. Arranged as a pagan ritual, her voice around the instruments are gathering now determined to do now with calm emotion.

” No words / only a feeling … no questions / light not only on sequences and only a / Being no journey / only to dance “. With these lines ( taken from a poem David Hazelton, her first husband ) the warm and charming voice of Lee opens the crooked dance free of ” Sundance ” , musically constructed around the tread of the bass and all”incrociarsi diagonal of the flute and soprano sax Hampel Rivers. Scatter rapid and uninhibited freedom of a heady , solidly perched on a dance step , to remain faithful to the earth, despite the star ahead. The poem ‘s meaning expanded beyond the game with a voice made of heights and relapses, and warbling nonsense .

” Yeh T’Be How “free speech hallucinations in a vacuum attacked by reflections and blurred hiss . Geometries irrational for solo voice . Dissemination of howling and wailing that makes it even more appalling silence and its surface rough , rough , cold dense. Aphasia is one of a cosmos that desertified and absence radical protester , incontrovertible , transcendent. Language reduced to a desperate prayer , on their way to make contact with the things that is thanks. In ” Jamaica ” , the words to do with choreography collect the loss of the tools that interact in a distracted and then, gradually , more and more structured . The second part is thematically related to the dancing of ” Sundance ” .

In the subsequent “Subway Couple , ” an effect of ” echoing “keeps the voice in a state of detachment from the swirling kaleidoscopic progression of an atonal free- jazz related to the furious piano excursions of Cecil Taylor. E ‘ apotheosis of freedom filiform , irrational , uncontrollable . turbulence Jagged piano ( Hampel ) , chilling screams and incendiary ( a crazy Sam Rivers and ” Ayler ” tenor sax ) , openess and systematically dissolved (the axis rhythmic Gregg / McCall) . An overall feeling of bewilderment and exhilaration. The free- jazz in the making and unmaking his emotions.

The subsequent “The Miracle Is You “is pure recited: essential dry. What more surprising in these lied annihilation is the sense of depth and nudity that takes the sound before the threatening presence of natural and almost – empty silence. If the magma emotional ramifications of his style are more fascinating developments in “Your Ballad ” fanfare resigned and melancholy , “Angel Chile ” provides an ‘ incredible crushing words , syllables, guttural sounds , breaths (Meredith Monk and Joan La Barbara are also in these grooves ). Again , it is the clash between sound and silence that voice – is erected an imaginary scenario of the soul , which collects the meaning “poetic “of disparate sensations (anxiety , horror , joy, disappointment ) by layering logs and apparently confluent styles to a single vanishing point, but in fact ready , each for his part , to follow your own. The final title track repeats this recital of the break , but to support him there are a shimmering vibraphone , wind whistling solo descent , flat fading , in a crunch continues. A jazz that has become very creative visionary (Sam Rivers and Gunter Hampel who share the task of gl ports to tradition, at that time already well -established ‘avant -jazz, synthesizing sounds and solutions both American and European ) in relation to the extraordinary ability of a single singer , able to deepen and suggests, as in the successive stages of its development , changes in harmonic , structural and emotional depth of a sound is a voice and a voice that is sound.

Yet , despite its evocative power and its spiritual charge half – time , ” Conspiracy ” still remains a forgotten masterpiece.
By Rake.

Gunter Hampel, Jeanne Lee, Toni Marcus - 1972 - Waltz For 3 Universes In A Corridor

Gunter Hampel, Jeanne Lee, Toni Marcus
Waltz For 3 Universes In A Corridor

01. (104) Unified
02. Waltz For 3 Universes In A Corridor
03. Galaxie Sun Dance
04. (103) Tu Aimes Ma Musique?

Vibraphone, Bass Clarinet, Composed By, Flute, Ocarina, Piano – Gunter Hampel
Violin, Viola – Toni Marcus
Voice – Jeanne Lee

Excerpts from a "live" radio performance at WKCR, New York, June 20th, 1972