Tuesday, May 29, 2018

Hans Dulfer And Ritmo Natural - 1970 - Candy Clouds

Hans Dulfer And Ritmo Natural 
1970
Candy Clouds


01. King Size Davy 7:45
02. Satin-A 6:51
03. Candy Clouds (Part 1) 4:00
04. Candy Clouds (Part 2) 13:00
05. Froggy 2:32
06. Red, Red Libanon 2:48

Bass – Jan Jacobs
Congas [Congadrums], Timbales – Steve Boston
Design – Jan Fijnheer
Drums – Martin van Duynhoven
Guitar – Dave Duba
Piano – Kees Hazevoet
Tenor Saxophone [Tenor-sax] – Hans Dulfer
Tenor Saxophone [Tenor-sax], Flute – Rob van Wageningen
Timbales, Guiro – John Grunberg (Groentjie)
Timbales, Vibraslap [Fibre Slap] – Appie de Hond

Recorded 17th. and 18th. of August 1970


In the 70's, especially in Europe, there was no shortage of groups striving to merge the worlds of jazz and rock. Often the fruit of these labors seem proggishly vulgar, pedantically over-intellectualized (looking right at you, Soft Machine), or were simply train wrecks-- the result of clueless musicians who understood neither jazz nor rock with any insight or subtlety, smashing them together like joyless stoners. So If I were to tell you that Dutchman Hans Dulfer's Candy Clouds is a Jazz-Rock masterpiece and beyond, I'd understand if you required some further persuasion.

Let's get something straight: Dulfer doesn't even belong in the Prog-jazz ghetto with acts like Alcatraz, Xhol Caravan, and all the others. Candy Clouds' mind-blowing brand of fusion has much more in common with the free/spiritual jazz scene in Europe, and can be easily to compared to the experimental fusion efforts of Archie Shepp or Gato Barbieri in the 70's. It isn't even entirely accurate to call this jazz-rock, as though the two modes of music share the spotlight equally; the music here is as Latin as it is heavy, and so this becomes a fascinating record of Spiritual Free Jazz Latin Psych. Stupendous.

The title track, split into two sections on the record and totaling nearly twenty minutes, is the heart of this fine album. Part 1 opens with a giant smash of heavy guitar that sounds like early Sabbath (forgive the obviousness of this comparison-- it just sounds like fucking Sabbath), trading lines with conniptions of free sax. They go back and forth a few times, until the whole things drops and it's a heavy psychedelic Latin jam with red hot sax burning through everything. In case I am failing to make the case, let me be blunt: it is awesome, as in awe-inspiring.

Part 2 takes its time getting started, beginning above the clouds with a long dreamy section, the sax heating up to flaming as the combo descends to earth... after six or seven minutes, your flight has landed, and that huge groove from Part 1 makes a return. Bigger, deeper, groovier even than before, Dulfer's improvisations reach a thrilling space between, say, Gato Barbieri's warm exotica shredding and Archie Shepp's emotional Fire Music-- all while electric guitars blaze in a cloud of reverb, a piano wanders off and gets lost, and a glorious cowbell abides with wisdom.

Just as good as "Candy Clouds 1&2" are the two tracks preceding it, a guitar-based groove with jungle shadows that's honestly just too cool to be believed, and a huge Latin jam with excellent flute acrobatics (the flautist is doing that Black Harold-y thing where he's sort of howling into the flute as he's playing it, whatever that's called). The Fire Music is in full force throughout.
A lost masterpiece of many fusions, an album so crazy and cool and fun that I honestly can't believe it exists. This is the type of thing I hear in my dreams, then wake up depressed because it wasn't real and I can't even remember it anymore. So, so good.

Hans Dulfer And Ritmo Naturel - 1970 - My Morning After The Third

Hans Dulfer And Ritmo Naturel 
1970 
My Morning After The Third 



01. The Morning After The Third 9:36
02. Senor Steve 8:56
03. Dit Is Het Begin 5:44
04. Between The Devil And The Blue Horizon 5:09
05. Green Mountain 7:24

Congas [Conga Drums], Timbales – Steve Boston
Drums – Paul van Wageningen
Drums, Timbales, Vibraslap [Fibre Slap] – Appie de Hond
Electric Bass, Bass – Arjen Gorter, Jan Jacobs
Guitar – Jan Akkerman
Tenor Saxophone [Tenor Sax] – Hans Dulfer
Timbales, Guiro, Trombone – John Grunberg (Groentjie)

Recorded: February 1970.


Hans Dulfer was born on 28 May 1940 in Amsterdam, Netherlands. He began at age 17 and has been referred to as "Big boy" because of his album of the same name. At the end of the sixties he and Herbert Noord (Hammond organ) founded a quartet that played saxophone/organ funk. He has done a good deal of cross-over jazz or jazz fusion and even worked with Punk rockers at one point. He has recorded an album with fellow saxophonist Frank Wright titled "El Saxofón". He has comparatively high popularity in Japan where Hyperbeat was a top-selling CD by instrumental standards. Furthermore, Japanese film maker Masaaki Yuasa stated that he listened to Hans Dulfer's music while working on Mind Game.

Hans Dulfer is the father of saxophonist Candy Dulfer and the two worked together on the album Dulfer Dulfer, whose title refers in part to Hans.

Dulfer's album is a sax laden underground jazz album with Latin percussion. The sole area of interest for rock fans is the appearance of Jan Akkerman (Focus) on the first track (of five total). Here Akkerman adds psychedelic styled guitar solos that are at complete odds with the rest of the material, but is strangely satisfying. Of note, the Dutch Catfish label was also home to Ahora Mazda and the early albums by Solution.

Akira Ishikawa And Count Buffalo - 1976 - Okinawa

Akira Ishikawa & Count Buffalo 
1976
Okinawa


01. サスカッチ
02. High School Cadets
03. Baby Elephant Walk
04. C'est Si Bon
05. Okinawa Blues 沖縄ブルース
06. Sea Side Bound
07. 谷茶前
08. Sunset Okinawa サンセット沖縄

Baritone Saxophone – Masao Suzuki
Bass – Masaoki Terakawa
Drums – Akira Ishikawa
Guitar – Takao Naoi
Keyboards – Hideo Ichikawa
Percussion – Larry Sunaga
Strings – Ohno Group
Tenor Saxophone, Alto Saxophone – Takeru Muraoka
Trombone – Eiji Arai
Trumpet – Koji Hatori
Vocals – Kayoko Ishu, Time Five



Count Buffalo & The Jazz Rock Band - 1969 - Soul And Rock

Count Buffalo & The Jazz Rock Band 
1969
Soul And Rock


01. The Cougar
02. I'm Gonna Make You Love Me
03. Michelle
04. Green Sleeves
05. The Sandpiper
06. No More Than A Drop
07. Hey Jude
08. Deep River
09. Mago-Uta

Masaoki Terakawa: Bass
Akira Ishikawa: Drums
Kiyoshi Sugimoto: Guitars
Hiromasa Suzuki: Piano
Masahiko Satoh: Piano
Takeru Muraoka: Sax


Free Jazz Rock album with covers and originals compositions recorded by the Count Buffalo band, precursor of the Japanese Progressive Jazz Rock genre featuring Masahiko Sato & Hiromasa Suzuki. The first album of Akira Ishikawa under  Count Buffalo nickname who was active since the mid-fifties as percussionist and probably the most famous jazz drummer alongside Motohiko Hino, Takeshi Inomata & George Kawaguchi. Each track contains some free forms of Jazz & psychedelic rock including two classics from The Beatles, the Motown cult song, I'm Gonna Make You Love Me which was performed by The Supremes & Marvin Gay, the negro spiritual Deep River, two compositions of Masahiko Sato The Cougar & No More Than A Drop.

Burton Greene - 2010 - Live At The Woodstock Playhouse 1965

Burton Greene 
2010 
Live At The Woodstock Playhouse 1965


01. Tree Theme II 11:54
02. Cluster Quartet II 19:00
03. Like It Is 27:42


Alto Saxophone – Marion Brown
Bass – Reggie Johnson
Drums – Rashied Ali
Piano – Burton Greene

Recorded August 28, 1965.


Recently discovered live recording from 1965 of pianist Burton Greene performing with saxophonist Marion Brown, drummer Rashid Ali and bassist Reggie Johnson in Woodstock, New York. During the 60s there was a clear line drawn in the sand between the traditionalists of jazz and the new school of free jazz musicians, who took in the social situations around them and channeled it through their music. This quartet stood firmly on the side of free jazz with highly creative compositions mixed with a strong dose of improvisation. An important audio recording by some of the best known musicians in the field of free improvisation.

Out there but still together. Almost great sound quality of a dedicated band working it. The sound of Coltrane just after a '63 show contemplating his next move. Great for research and new writing projects.

Burton Greene Quartet - 1984 - One World Music

Burton Greene Quartet
1984 
One World Music


01. Portugese Impressions 16:17
02. 63rd And Cottage Groove 7:07
03. Round Robbin' 6:13
04. Cokertme 11:25
05. When You're In Front Get Off My Back 4:40

Recorded januaary 18, 1984 in Holland
music by Burton Greene except track 4, traditional

Burton Greene - piano, percussions, voice
Fred Leeflang - sax soprano alto and tenor
Raoul van der Weide - bass
Clarence Becton - drums, percussions



Narada Burton Greene - 1983 - Zephyr

Narada Burton Greene 
1983 
Zephyr 


01. Autumn Song
02. When You're In Front, Get OFF My Back
03. Karasar Zeybegi
04. Zephyr

Narada Burton Greene, harpsichord, piano, prepared piano, percussion, voice

"Zephyr" recorded at Odeon Theater, Amsterdam, for KRO Radio on December 12, 1982.
"Karasar Zeybegi" recorded at NOS Studios, Hilversum, Holland, for KRO Radio on April 11, 2983.
"Autumn Song" and "When You're in Front, Get OFF My Back" recorded at a concert in France in Autumn, 1983.


Though Narada Burton Greene's best-known work dates from when he was based in New York in the tempestuous heyday of free jazz, the pianist has recorded a sizeable body of work, and not just for piano, since he relocated to Amsterdam in the early '70s. Zephyr, released on Greene's own Button Nose imprint in 1983, gives a splendid overview of the musician's diverse activities of the period. On "Autumn Song," recorded live in France, he uses that European keyboard par excellence, the harpsichord, to create a predominantly modal tapestry that reveals a fondness for and understanding of everything from the Baroque repertoire to Bartók and Klezmer. Though harpsichords aren't normally associated with high-energy freakouts, Greene's subtle use of registration takes the venerable instrument to the limit. "When You're in Front, Get Off My Back," which Greene dedicates to "all the little people in this world," is one of the pianist's typically rambunctious exercises in offbeat stride and blues piano crossed with sporadic explosions of free jazz fisticuffs (plus some assorted explosions from percussion instruments placed inside and around the instrument). In a more lyrical vein, "Karasar Zeybegi," a traditional Turkish folk song -- Greene's interest in Turkish music dates back to his encounter with percussionist Okay Temiz in the early '70s and has remained strong ever since -- reveals the gentler side of Greene's pianism, from deceptively simple folk voicings to sparingly but effectively used touches of Debussyian impressionism. The album's title track, "Zephyr," is billed as a "wind suite in four movements." Wind as in element rather than instrumentation; emerging from the bowels of the piano (Greene was the first jazz pianist to play the innards of the instrument, it should be borne in mind), a haze of wind chimes and swept strings soon lead to some decidedly Romantic tremolo work (Liszt comes to mind). It's a perfect resumé of Greene's multidirectional activities, from disarmingly naïve folk-like material via wryly ironic (self) parody to all-out free-form explosion.

Greene Burton / Alan Silva - 1980 - The Ongoing Strings

Greene Burton / Alan Silva 
1980 
The Ongoing Strings


101. Side A first set
102. Side B first set

201. Side A second set
202. Side B second set

No track titles given.


Rec. live at the Bim Huis in Amsterdam 14 February 1980
Hat Hut Fifteen 2R15 - 2LP

Greene Burton, piano, prepared piano, percussion, voice on first set
Silva Alan, bass, cello, percussion, voice on second set.


Burton Greene Quartet - 1980 - Lady Bug Dance

Burton Greene Quartet
1980
Lady Bug Dance


01. Renephanie 10:57
02. Sunny Monk 5:00
03. Embryonic Change 10:50
04. Sphyrinx 7:18
05. Biedronka Tanz (Lady Bug Dance) 10:57
06. Na-Calm (After The Strom) 5:32

Fred Leeflang - Alto Saxophone (5), Piccolo Flute (5), Flute (4), Soprano Saxophone (1, 4), Tenor Saxophone (1, 2, 3)
Mark Miller - Bass
Max Bolleman - Drums, Percussion
Burton Greene - Piano, Piano [Prepared], Percussion

Tracks A1, B2 and B3 recorded at VARA-studio's, Hilversum, Holland, April 2, 1980;
track A3 recored in Zürich, September 23, 1980 during the Quartet's Swiss Tour;
tracks A2 and B1 recorded at Studio Zeezicht, Haarlem, Holland, October 13, 1980.



The N.B.G. Trio - 1979 - Structures

The N.B.G. Trio 
1979 
Structures


01. Come Sunday 5:30
02. Indebop 18:57
03. Impulse 10:27
04. Nicolai Covaci Variations 14:30

Bass – Mark Miller
Drums – Rob Peters
Piano, Percussion, Voice, Bells [Bell] – Narada Burton Greene
Tenor Saxophone, Piccolo Flute – Keshavan Maslak

Recorded live at the 't Hoogt Theater, Utrecht, Holland, November 11, 1978



Narada Burton Greene - 1978 - The Past Is Also The Future

Narada Burton Greene
1978
The Past Is Also The Future


01. Pavanne Variations 6:50
02. Siep 7:37
03. Zero 5:00
04. Milestones 8:25
05. Cycling Thru The Cycles 9:20
06. Museums 4:45
07. Khalil 9:12
09. Would'n You 3:30

Recorded Nov. 14, 1978 at Studio des Champs Elysées, Paris, France.

Piano – Narada Burton Greene


Narada Burton Greene - 1978 - It's All One

Narada Burton Greene
1978
It's All One


01. Buddy's Blues             5:14
02. It's All One... Fun       9:58
03. In Your Own Sweet Way     5:14
04. Django                    3:02
05. Renaissance Variations    9:43
06. Daoud                     6:45
07. Hey, Little Mama!         4:48
08. Sbruce                    9:43
09. Trees Revisited          13:05
10. March Sun                 7:15
11. Nicolai Covaci            6:32
12. Cycling Thru The Cycles   5:18

Burton Greene - piano, percussion, recorder

Recorded in Rome, April 12, 1978 at Mama Dog Studio.



New Age Jazz Chorale - 1976 - Light

New Age Jazz Chorale 
1976
Light 


01. Manifesto For Angels 30:33
02. Tarot 30:44

Alto Vocals – Andrea Goodzeit (tracks: B), Wilma Bos (tracks: A)
Bass – Christian Landry (tracks: B)
Bass Vocals – Hans Van Winsen
Cello – Ernst Reijseger
Electric Bass – Christian Landry
Flute – Gerrit Jan Herring (tracks: B), Wally Shortz
Percussion – David Amin
Piano – Burton Greene
Saxophone – Harvey Wainapel (tracks: B), Sean Bergin (tracks: A)
Soprano Vocals – Cornelia Van Der Horst (tracks: B), Linda Haslach (tracks: A)
Trumpet – Charles Green (tracks: A), Frank Grasso (tracks: B)
Viola – Maurice Horsthuis (tracks: B)
Violin – Martin Koeman (tracks: B)
Vocals – Marga Arosa, Phil Arosa

"Manifesto For Angels" recorded June 1976
"Tarot" recorded June 1975

music Burton Greene, poetry Vincent Gaeta
Narada Burton Greene: Composer, Pianist, Arranger, Author


Originally from Chicago, he began his long career of many recordings and performances in New York´s legendary jazz scene of the 1960’s. He and Bassist Alan Silva contributed to the beginnings of free jazz in New York with the formation of their Free Form Improvisation Ensemble in 1963. He also co- founded the East West Trio with Indian sitarist Jamaluddin Bhartiya and percussionist Daoud Amin in 1973, one of the first World Music groups (and long before they called it that.) Since that time he has travelled all over Europe and the USA with performances and recordings of his compositions and arrangements in many different types of music styles and ensembles. As Burton says it: “Music is or should be universal, without limits.. Borders eventually become boring.. they should be transcended. I like all kinds of music as long as it´s not dull or repetitious or superficial.. as long as it´s creative and from the heart.” His 14 piece New Age Jazz Chorale (1975-78) did concerts and recordings in Europe, years before most other groups were termed as “New Age”. In the last 26 years he’s been busy with his klezmer, Sephardic, Balkan, jazz ensembles Klezmokum and Klez-Edge, and various jazz solo, trio or quartet combinations. He also has a solo orchestral electronics program, teaches jazz, world music workshops, and lectures. His autobiographical book written over 20 years: “Memoirs of A Musical Pesty-Mystic” appeared in print in 2001 (Cadence Jazz Books). His solo piano recording for Drimala Records: “Live At Grasland” was voted one of the top 10 CD releases in All About Jazz (2005). His groups in recent years based in New York and recorded on CIMP Records include a duet with bassist Mark Dresser, a quartet with trumpeter Roy Campbell, Lou Grassi, and Adam Lane. Concerts and recordings also on the CIMP label are his trio with Ed and George Schuller on bass and drums, and a quintet with the Schuller brothers, Russ Nolan on saxes and flute, Paul Smoker on trumpet. His solo piano CD “Retrospective 1961– 2005 came out in January, 2007 on the CIMP label. Burton’s group, a quintet: Klez-Edge had a CD Release in May, 2008: “Ancestors, Mindreles, NaGila Monsters” is on John Zorn’s Tzadik CD label in New York. Also Released on the Tzadik label in June, 2009 is the intimate duo CD: “Two Voices in the Desert” with Burton’s long time colleague and Klezmokum clarinetist Perry Robinson. A release (September, 2009) on Latham Records: “Groder & Greene”, spontaneous improvisations with Brian Groder, Rob Brown, Adam Lane, Ray Sage, and Burton. Porter Records brought out a rare recording: Burton Greene Quartet: “Live at the Woodstock Playhouse 1965” with Marion Brown, Rashied Ali, Reggie Johnson (February 2010). After that came 3 releases: Burton’s klezmer jazz group Klezmokum: “Where We Come From,. Where We’re Going” on the Music & Words label: (Netherlands–2011), a solo piano CD of his latest compositions: “Live at Kerrytown House”, on NoBusiness Records (Lithuania), and a duo electronics CD “Parallel Worlds” with Burton’s long time colleague Alan Silva on Long Song Records (Italy). The last 2 CD’s came out in 2012. Burton’s solo piano concert program of his recent compositions was presented in the Spring of 2013 in a 12 concert tour in the States, and in Europe together with a film about his life and music “Moldavian Blues” by the English documentary film maker Malcolm Hart. Recent releases (2015) include “A 39 Year Reunion Celebration”, a duo with Laurence Cook on Drums, (Boston– Studio 234 label), and “Flower Stalk—Burton with Open Field String Trio”, (Cipsela label– Portugal). Burton hooked up with the fine Paris label Improvising Beings in 2015 for the duo CD release with Burton’s long time “spiritual co-composing partner” composer/vocalist Silke Röllig: “Space Is Still the Place”, and a quartet with Alan Silva, Chris Henderson, Abdelhaï Bennani recorded at a Sunside/Sunset concert in Paris. Klez-Edge has a recent CD out on Burton’s label Disk Respect: “The Struggle Can Be Enobling”. Burton’s most recent release is on Improvising Beings (May 2017), his recent music on a double CD: “Compendium 2016-2017” recorded at the Goethe Institute and Bim Huis in Amsterdam. Burton’s music is featured on more than 85 recordings: records and CD’s. 


Burton Greene / Daoud Amin - 1973 - Trees

Burton Greene / Daoud Amin 
1973
Trees


01. Suite: Variations On Darbari Kanada In Three Movements (1973) 25:55
02. Woodstock Vibrations (1967) 11:38
03. Vishnu (1972) 13:09

Burton Greene - Piano, Percussion
Daoud Amin - Percussion [Bongos]

 Recorded live at the Doelen Alternative Jazz Festival, June 1973, Rotterdam (1)
 and Central Museum Utrecht, September 1973 (2, 3)


Burton Greene - 1971 - Mountains

Burton Greene 
1971 
Mountains


01. Mountains.... Expression 1 22:15
a) I Prologue
b) II Ascent
c) III Descent
d) IV Aftermath
02. Now Music 20:04

Flute, Cello – Tom Moore
Piano – Burton Greene


Deep avantgarde, rare Dutch free jazz LP from 1971. A very intriguing album.

Burton Greene - 1970 - Celesphere

Burton Greene
1970 
Celesphere


01. Prins Hendrik Garden 17:10
02. Astral Projection 9:00
03. Lyric For Brother John 15:00

Bass – Maarten Van Regteren Altena
Piano, Electric Piano, Percussion – Burton Greene

Recorded November 1, 1970



This is a pretty obscure one with one of my dutch musical heroes, I found years ago in a flea market when I just moved to Amsterdam and everybody was still ditching their LP for little money. I love the dreamy feeling of the first track. I think it was around this time that he also recorded with Gong... or do I have it wrong? All info welcome!

Burton Greene - 1968 - Presenting Burton Greene

Burton Greene 
1968 
Presenting Burton Greene


01. Ballad In B Minor 6:40
02. Slurp! 7:37
03. Nirvana Vibrations 8:55
04. Lebanese Turn-Around 3:45
05. Eastern Folk Song 6:30
06. Voice Of The Silences 11:39

All tracks recorded in New York City. Recording dates:
A1, A3, B3: 4.17.68
A2: 3.26.68
B1: 3.26.68 & 9.11.68
B2: 9.11.68 & 4.17.68

Byard Lancaster - Alto Sax, Trumpet
Steve Tintweiss - Bass
Shelly Rusten - Percussion
Burton Greene - Piano, Keyboards


Burton Greene figured prominently in New York's free jazz movement of the '60s, performing with such major figures as Marion Brown, Sam Rivers, Gato Barbieri, and Alan Silva. As a child, Greene studied classical music at the Fine Arts Academy in Chicago; from 1956-1958 he studied jazz with Dick Marx. Greene moved to New York in the early '60s, as the city's free jazz movement was gathering momentum. There, he formed the Free Form Improvisation Ensemble with Silva in 1963 -- reputedly one of the first groups devoted to playing a wholly improvised music. In 1964, he joined the Jazz Composer's Guild. During the mid-'60s, he recorded for the ESP-Disk label as a leader, before moving to the Netherlands in 1969. Greene became something of a journeyman, performing all over Europe while maintaining a residence on a houseboat in Amsterdam. He recorded intermittently in the '70s and '80s. Greene became one of the few free jazz musicians to experiment with synthesizers. He's played solo and led various bands of unusual instrumentation; a recent project is a klezmer group called Klez-Jazz, which features clarinetist Perry Robinson. During the '90s, Greene recorded more frequently in the U.S., notably for the Cadence Jazz and C.I.M.P. labels. Greene's autobiography is entitled Memoirs of a Musical "Pesty Mystic" -- or -- From the Ashcan to the Ashram and Back Again, published by Cadence Jazz Books.

Certainly one of the more adventurous titles in the Columbia catalog, Presenting Burton Greene is a complex and fiery affair. Greene is teamed with bassist Steve Tintweiss, percussionist Shelly Rusten, and Byard Lancaster on both trumpet and alto saxophone. Lancaster is particularly hot and, when he isn't plowing through scales at 90 miles per hour, he employs a wide, Ayler-esque vibrato. Of particular interest may be Greene's use of electronics to augment his usual instrument of choice. The result could perhaps be described as Morton Subotnick-meets-Cecil Taylor as rapid, oscillating tones match and complement Greene's upper register runs on the (acoustic) piano. Free improvisation reigns on this date although most numbers begin and end with a theme of some sort or another. Many of these themes are quite catchy and, in a sense, help counter some of the more intense and somber improvisations with a touch of warmth and humor. "Slurp!," for example, gets things off the ground with a dissonant yet bouncing and playful head before Lancaster lets loose on alto, prompting the captain to leave the seat belt sign on until the turbulence subsides.

Burton Greene Ensemble - 1969 - Aquariana

Burton Greene Ensemble
1969 
Aquariana


01. Aquarius Suite 19:24
a) Mystery
b) Eastern
c) Piano Trio
d) Interpretation
e) Basses Painters
f) Aquariana
02. From "Out Of Bartok" 5:10
03. Two-One-Two Vibrations 19:20

Recorded June 9, 1969 - Studio Saravah - Paris

Alto Saxophone – Arthur Jones
Bass – Beb Guerin
Bass – Dieter Gewissler
Drums – Claude Delcloo
Piano – Burton Greene
Trumpet – Jacques Coursil


Burton Greene was a conservatory-trained musician, writer, painter, and improviser who was a vital participant in the new music and free jazz movement of 1960s New York. Recording for the ESP label and working with artists such as Bill Dixon, Archie Shepp, Roswell Rudd, and Alan Silva, he formed the Free Form Improvisation Ensemble and the Jazz Composers Guild of New York. Relocating to Europe in the late '60s, he worked extensively in the free improvisation community, and produced a few recordings, of which one is handsomely reissued here. A new pressing of the prestigious avant-garde label BYG 's eighth release saw Greene teamed up with avant-garde jazz musicians Jacques Coursil, Arthur Jones, Ben Guerin, Claude Delcloo, and Dieter Gewissler. Meditation mindsets were of great interest to Greene, and he employed such conscious states in his performances, improvisations, and compositions, resulting in a cerebral and intensely spirited free jazz music with classically inclined motifs (as the second of the three pieces here, billed as "Out of Bartok," may suggest). The LP side-long "Aquarius Suite" is considered to be one of the most vital pieces of late-'60s free jazz, and is clearly a powerful display of the mastery of chaos and melody combined.

Burton Greene Trio - 1967 - On Tour

Burton Greene Trio
1967
On Tour


01. Bloom In The Commune 9:50
02. Ascent 11:25
03. Tree Theme 12:35
04. Transcendence 12:42

Recorded April 1966 at Syracuse University, Buffalo, and Cornell, Ithaca.

Bass – Steve Tintweiss
Percussion – Shelly Rusten
Piano, Harp – Burton Greene


Press Quotes: 
"Pianist Burton Greene ('37) is a major figure in the free jazz revolution of '60s New York." –Portland Monthly 
"Pretty far out work from pianist Burton Greene...Steve Tintweiss on bass and Shelly Rusten on drums…give Burton plenty of space to stretch out in an open-ended, freely improvised sort of way. There's a very spacious, dynamic style to the music – with oblique segments interspersed with more wide open ones, and occasional crescendos with wide sheets of sound." – DustyGroove.com

Lost classic, recorded "live" during ESP's 1966 New York State College Tour. The "piano harp" credit is Greene's way of noting that he plays inside the piano, directly on the strings – the first jazz pianist to do so on record, taking a page from avant-gardist Henry Cowell's book. In his notes to the original LP, included complete in this reissue, Greene writes, "The tour found people largely unexposed to this music. They were often shaken up. Some were deeply moved. Those who came for a total body and soul experience were rewarded with the vibrations. The people who constantly needed the theoretical approach or 'road maps' were not.... Like the time a boat load of people left the hall at a lecture following a performance at Fredonia State Teacher's College. We had the audacity to tell people that not only was our approach to music valid but that often the results were as musically complex and often more so than, let's say Beethoven. Throughout the tour we continued to denigrate the idea of the 'sacred cow' and tried to encourage people to learn to do their own thing rather than to follow us blindly and mimic our techniques etc.

Burton Greene Quartet - 1966 - Burton Greene Quartet

Burton Greene Quartet
1966 
Burton Greene Quartet


01. Cluster Quartet 12:08
02. Ballade II 10:34
03. Bloom In The Commune 8:04
04. Taking It Out Of The Ground 13:02

Alto Saxophone – Marion Brown
Bass – Henry Grimes
Tenor Saxophone – Frank Smith
Piano, Percussion – Burton Greene
Percussion – Tom Price
Percussion – Dave Grant

Recorded in January 1966.



Burton Greene (born June 14, 1937) is a free jazz pianist born in Chicago, Illinois, though most known for his work in New York City. He has explored a variety of genres, including avant-garde jazz and the Klezmer medium.

Greene rose to popularity during the 1960s on New York's free jazz scene, gigging with well-known musicians which included Alan Silva and Marion Brown, among a host of others. With Alan Silva he formed the Free Form Improvisation Ensemble in 1963.[1] He joined Bill Dixon's and Cecil Taylor's Jazz Composers Guild in 1964, and also played with a number of other artists, including Rashied Ali, Albert Ayler, Gato Barbieri, Byard Lancaster, Sam Rivers, Patty Waters, and others. During this time, he recorded two albums under his own name for ESP-Disk.

He moved to Europe in 1969, first to Paris. Since then he has been living in Amsterdam and played with such Dutch musicians as Maarten Altena and Willem Breuker. During the late 1980s he began exploring the Klezmer tradition in his groups Klezmokum (along with Perry Robinson), Klez-thetics, and a more recent group called Klez-Edge with vocalist Marek Balata. Klez-Edge has a recent recording Ancestors, Mindreles, NaGila Monsters (2008) out on John Zorn's Tzadik label. A duet with Perry Robinson, also on the Tzadik label, Two Voices in the Desert was released in January 2009.

"Although over 50 years have passed since the release of this album for ESP-Disk in 1966, Chicago-born pianist / composer Burton Greene still considers it to be one of his best recordings. All compositions are written by Greene and feature Marion Brown on alto sax, Henry Grimes on bass, Dave Grant and Tom Price on percussion and Frank Smith on tenor sax. Greene made his way to New York City in 1962 just as the free jazz movement was beginning to gain momentum. The following year he and bassist Alan Silva formed the Free Form Improvisation Ensemble, often considered the first spontaneous composition group. Greene has remained committed to music over the past four decades, most recently exploring his Eastern European Jewish roots with various klezmer-jazz projects.." - Forced Exposure

A typical ESP blowout, this CD reissue has the only recording of tenor saxophonist Frank Smith (who sounds quite intense during his lone appearance on "Taking It Out of the Ground") and features strong playing from pianist Burton Greene, long-lost bassist Henry Grimes, and either Dave Grant or Tom Price on drums. However, this set's main value is the improvising of altoist Marion Brown, who manages to sound both lyrical and very exploratory on the four Greene originals. Invigorating music from the free-jazz era.