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Date: Monday, 15 Sep 2014 03:49
Hi , Heres a new section , which will feature links to the Original posts of things that are just being, or have recently been re uploaded..
the Contributions and request sections are too cluttered , making it difficult to keep track!
comments will be disabled for this section!

Please help us out, if you see comments asking for a re-upload, and you have the files!!
(preferably use only file hosts accessible to free users,do not use these files to make money!)
Please do not ask us to re upload records which are generally available, or have been recently reissued, whatever the format!!

Surely it goes without saying that all views expressed on this Blog , be they impressions  delusions
reveries, political statements, opinions are ours and ours alone , Music stimulates the imagination, so switch off y'r TV,listen ... make up your own minds.

So here goes, Ill start with a few i have recently re uploaded

Update August 4, 2014 -
We've shortened the list for users' convenience:

Harry Beckett's Joy Unlimited - Memories of Bacares/Got It Made
FMT (Free Music Trio) - You Got A Freedom
Internationales New Jazz Meeting auf Burg Altena 1970
Radio Jazz Group Stuttgart & Brötzmann Trio & A.Mangelsdorff - February 1974
Born Free - Scout Records 1970 (partial compilation)
German All Stars - Domicile Munich - September 9, 1971
Bley, Konitz, Giuffre and Connors live in Como
Irene Schweizer and Rüdiger Karl Quartet - Live in Zürich 1981
Alan Silva - Inner Song
Alexander von Schlippenbach Quintet - Frankfurt 1972
Max Roach - Solos
Old and New Dreams - live in Moers 1980
Circle - Gathering
Circle - Hamburg 1971
Charles Gayle Quintet - Live in S.Anna Arresi '10
Masahiko Sato & Toshiyuki Miyama + His New Herd - Yamataifu
Ron Pittner - Out From The Edge
Billy Hart - Enchance
Sabu Toyozumi - Water Weed
Masahiko Togashi & Steve Lacy - Eternal Duo
NDR Jazzworkshop No.93 - Albert Mangelsdorff QuintetAlbert Mangelsdorff Quintet + 3 - Hamburg 1973
Karen Borca / Irene Schweizer Quartet - Basel  1989
Joseph Scianni with David Izenzon - Man Running
Giorgio Gaslini Quartet & RAI Orchestra - Live in Milano 80
Dror Feiler & The Too Much Too Soon Orchestra - What's The Point Of Paris?
Leo Smith Creative Orchestra - Budding Of A Rose
Bergisch-Brandenburgisches Quartet - Köln 1981
Jimmy Giuffre Trio w/ Paul Bley + Steve Swallow - Graz, Austria 1961
Günter Christmann & Detlef Schönenberg - Berlin 1978
Ton-Klami - Paramggod
Ennio Morricone - Gli Occhi Freddi Della Paura
Archie Shepp - Live at the Donaueschingen Music Festival 1967
The Too Much Too Soon Orchestra -  Saw
Jan Garbarek - Til Vigdis
Andrew Hill - Live in London 2000
Billy Bang-John Lindberg-Duo 1979
Christmann/Altena/Nichols/Russell/Lovens - Vario II
Globe Unity - Berlin & Donaueschingen 1966/67 (unreleased)
Steve Lacy and Horace Tapscott live in Vancouver 1993
Butch Morris & X-Communication live at Willisau 1988
Masahiko Togashi - Bura Bura (new links)
Günter Christmann & Detlef Schönenberg - Padua 1979



Author: "SOTISE (noreply@blogger.com)" Tags: "FRESH LINKS, RE UPS"
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Date: Saturday, 13 Sep 2014 21:39


1. Crack Pot
2. Scared Straight
3. Anata no Tsuyu ni Naritai / Flamingo
4. Titicut Follies
5. Red Dye
6. (YxDan) HELGA
7. BOZO
8. Transcendental Masturbation
9. Cn + Co = In + Io


Kazue Sawai, 13-string and 17-string kotos
Junji Hirose, saxophone, hand-made noise machine
Hoppy Kamiyama, prepared piano, samples, gram-pot

God Mountain - GMCD 017

CD Rip
Author: "Nick (noreply@blogger.com)" Tags: "Hoppy Kamiyama, Junji Hirose, Kazue Sawa..."
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Date: Saturday, 13 Sep 2014 12:19
Author: "Andy (noreply@blogger.com)"
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Date: Friday, 12 Sep 2014 17:50



1.  Yumin #3
2.  George Ni Sei #8
3.  Petenshi #2
4.  Yumin #5
5.  Petenshi #4
6.  93.8.12 #1
7.  Petenshi #5
8.  George Ni Sei #6
9.  Usotsuki #2
10. George #10



Masahiro Uemura, drums, percussion
Juniji Hirose, saxophone, noise machine
Natsuki Kido, electric guitar, acoustic guitar, percussion
Masaki Shimizu, fretless bass, fretted bass
Kumiko Takara, vibraphone, percussion

Guest

Asuka Kaneko, electric violin (2), acoustic violin (9)

Doubletrap/Creativeman Disc - CMDD-00001

CD Rip
Author: "Nick (noreply@blogger.com)" Tags: "Junji Hirose, Masahiro Uemura"
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Date: Thursday, 11 Sep 2014 04:31

A short recording by Takashi Kazamaki and Danny Davis from Sun Ra's Arkestra.
Raw and refined at the same time.



Danny Davis, altosaxophone, flute

Takashi Kazamaki, percussion

1. (Untitled)  19:11
2. (Untitled)  14:43

Recorded live at the Strange Fruit in Hadano, Japan on May 18, 1985

FOOL-003  (lp rip)
Author: "onxidlib (noreply@blogger.com)" Tags: "Danny Davis, Takashi Kazamaki"
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Date: Wednesday, 10 Sep 2014 18:12




1. For Your Eyes Only
2. The Time Of Melancholy I
3. The Time Of Melancholy II
4. The Time Of Melancholy III
5. The Time Of Melancholy IV
6. Dissemination



Yuji Takahashi, conductor
Haruna Miyake, piano, synthesizer (2-5)
Masahiko Togashi, drums, percussion (2-5)
José Maceda, conductor (6)
Tokyo Symphony Orchestra


Recorded live on 6 February 1991 at Hitomi Memorial Hall, Showa Women's University.

Fontec ‎– FOCD3151

CD Rip
Author: "Nick (noreply@blogger.com)" Tags: "Haruna Miyake, José Maceda, Masahiko To..."
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Date: Monday, 08 Sep 2014 19:06



A. Ode To Birds (Hideto Kanai)

B. One For Charlie (Masahiko Sato)

part I.   Ode To Birds
part II.  A Certain Devil Birds
part III. Phoenix


Akikazu Takamatsu, alto saxophone
Hiroyuki Imafu, alto saxophone
Hiroshi Yamada, baritone saxophone
Kenji Mori, bass clarinet, alto saxophone, flute
Shoji Nakayama, drums
Yoshihiro Kurosawa, guitar
Hideto Kanai, bass, leader
Noboyasu Urushiyama, percussion (A)
Yasukazu Amemiya, percussion (A)
Mitsuo Kadota, piano
Shin-Ichi Katoh-Oka, synthesizer (A), bass trombone (B)
Kenji Kuga, tenor saxophone (B)
Takeo Motohashi, tenor saxophone
Hideo Miyata, tenor & soprano saxophone, flute (A)
Kazuo Sahaguchi, trombone
Masanori Shozaki, trombone
Tomohiro Ichinose, trombone
Kogi Matsumora, trumpet
Masakatsu Arai, trumpet
Masamichi Asami, trumpet
Mototsugu Akimaru, trumpet
Noboru Ohashi, trumpet
Teruyuki Fukushima trumpet (B)
Yosuke Tanaka, trumpet

Recorded May 2 & 16, 1975 at AOI Studio, Tokyo

Three Blind Mice ‎– TBM-45

Vinyl Rip
Author: "Nick (noreply@blogger.com)" Tags: "Hideto Kanai, Kenji Mori"
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Date: Sunday, 07 Sep 2014 15:12


Kevin Martin, vocals, tenor saxophone, samples
Tim Hodgkinson, alto saxophone & bass clarinet
Steve Blake, alto, tenor & baritone saxophone, didgeridoo
John Zorn, alto saxophone (3,5,6)
Justin Broadrick, guitar
Gary Smith, guitar (8)
Peter Kraut, piano (4,5,7,8)
Dave Cochrane, electric bass
Gary Jeff, electric bass
John Edwards, double bass
Scott Kiehl, drums & percussion
Lou Ciccotelli, drums

1. Pretty  4:01
2. Fucked  10:01
3. Return To Hell  5:27
4. Soul Fire  9:54
5. Hate Meditation 4:51
6. Lord, I'm On My Way     10:26
7. Love  16:51
8. Black Jesus     6:41


Recorded Gateway Studio, Kingston, UK (in 1992?).

Originally on Caroline Records – CAROL 1874-2
This version Venture – CDVE 910
Author: "onxidlib (noreply@blogger.com)" Tags: "John Edwards, John Zorn, Kevin Martin, S..."
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Date: Saturday, 06 Sep 2014 16:02



A1. 23APR76
A2. 16JUL76A

B1. 16JUL76B
B1. 22JUN76
B3. 4JUN76


Allan Mattes, bass
Larry Dubin, drums
Peter Anson, guitar
Bill Smith, soprano saxophone
Nobuo Kubota, soprano & baritone saxophone
Graham Coughtry, trombone
Michael Snow, piano, trumpet
Casey Sokol, piano, electric piano

The Canadian Creative Music Collective, recorded live at the Music Gallery, Toronto

Music Gallery Editions ‎– CCMC-1004

Vinyl Rip
Author: "Nick (noreply@blogger.com)" Tags: "Al Mattes, Bill Smith, Casey Sokol, CCMC..."
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Date: Saturday, 06 Sep 2014 07:46

An audience recording from a wonderful group who made only very few recordings - especially the first track here is excellent.
At the moment there's only one recording readily available as a download - but it's worth every penny.
Check it out at destination-out bandcamp store > Two Compostitions by Rüdiger Carl with COWWS



Rüdiger Carl, tenor saxophone & clarinet
Jay Oliver, bass
Phil Wachsmann, violin
Stephan Wittwer, guitar
Irène Schweizer, piano

1. in einem fort  47:59
2. in einem fort setzung  4:23
3. kühl gleitend  12:51
4. wellenförmig  3:39
5. iterativ  7:21
6. walzer  3:38

Recorded at the Jazzatelier in Ulrichsberg, Austria on June 4, 1988.

(the picture of the Jazzatelier's entrance area is from Francois Lagarde)
Author: "onxidlib (noreply@blogger.com)" Tags: "Irene Schweizer, Jay Oliver, Phil Wachsm..."
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Date: Thursday, 04 Sep 2014 06:39


Update 4-9-2014
A repost of the great 1979 Anima duo LP + Distinction without Difference, Billy Bang's 1980 Hat Hut (IRO4)LP
No Syrup, no EQ,no tracking... just light manual De Click 


------------------------------------------------------------------------------------------------------------------
(POST-12-8-2008)Another timeless relic from the halcyon
years when the New York loft scene was burgeoning with fresh talent. Lindberg and Bang are both particular favourites of mine ,discovered years ago whilst stumbling across those early new york string trio records on black saint. Lindberg was a teenage prodigy who was playing with the likes of Jimmy Lyons, Roscoe Mitchell, Anthony Braxton and Sunny Murray while barely 18. Those more familiar with either of the two's later work may struggle at first to find a way into this session which is about as thorny as anything from the period. the pieces are largely improvised and make full use of extended techniques like col legno , and scrapping, and even what sounds like tapping the soundpegs inside the resonators of the instruments. This is the only ANIMA lp i've ever come across ,it appears to have been an artist run label that was very short lived.. ive included scans of the contemporaneous catalog in the files. this is truly superb and still sounds very fresh. i recommend the flac's ,but will also upload the mp3's. BTW/ im hoping someone has the collaboration by David Murray and Charles Tyler mentioned in the catalog as the next forthcomming release. enjoy!!
Author: "SOTISE (noreply@blogger.com)" Tags: "Anima, Billy Bang, john lindberg"
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Date: Wednesday, 03 Sep 2014 14:59


Heinz Becker, trumpet
Conrad Bauer, trombone
Ernst-Ludwig Petrowsky, alto saxophone, clarinet, flute
Manfred Hering, alto & tenor saxophone
Helmut Forsthoff, tenor saxophone
Ulrich Gumpert,piano
Klaus Koch, bass
Günter Sommer, drums

1. announcement WDR  00:25
2. unknown title 21:42
3. unknown title 11:51
4. unknown title 10:38
5. unknown title 04:51
6. unknown title 06:50

Recorded at the Berliner Jazztage, Berlin on November 1, 1979.


some covers you'll find at htakat's website here - scroll down, it's the picture(s) at the bottom...
Author: "onxidlib (noreply@blogger.com)" Tags: "Connie Bauer, Ernst-Ludwig Petrowsky, GU..."
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Date: Tuesday, 02 Sep 2014 12:10

New Age Jazz Chorale - Light (Button-Nose 1976)

music Burton Greene, poetry Vincent Gaeta

A - Manifesto For Angels     30:33    
B - Tarot             30:44    

Daoud Amin - Percussion
Ernst Reijseger - Electric Cello
Wally Shortz - Flute, Bass Flute
Gerrit Jan Herring - Flute, Recorder (Tarot)
Charles Green - Trumpet (Manifesto)
Frank Grasso - Trumpet (Tarot)
Sean Bergin - Saxophone (Manifesto)
Harvey Wainapel - Saxophone (Tarot)
Martin Koeman - Violin (Tarot)
Maurice Horsthuis - Viola (Tarot)
Christian Landry - Electric Bass (Tarot)
Burton Greene - Piano, Conductor

Vocals:
Phil and Marga Arosa
Hans Van Winsen (bass)
Andrea Goodzeit (alto) on Tarot
Wilma Bos (alto) on Manifesto
Cornelia Van Der Horst (soprano) on Tarot
Linda Haslach (soprano) on Manifesto

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

Button-Nose Records  03
Vinyl rip

on vinyl the tracks are actualy split, and has been digitalised so
Author: "corvimax (noreply@blogger.com)" Tags: "Burton Greene"
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Date: Thursday, 28 Aug 2014 08:34


KENNY WHEELER - trumpet, flugelhorn
STAN SULZMANN - alto sax, flute
JOHN TAYLOR - piano
CHRiS LAURENCE - bass


1 (01:05) Radio announcement
2 (11:30) Kind Folk
3 (12:27) Jigsaw
4 (11:15) One Two Three
5 (12:02) unknown


"Clusone Jazz", Italy, July 25, 2004. RAI 3 broadcast

Thanks to original uploader on DIME.

Author: "miloo2 (noreply@blogger.com)" Tags: "Chris Laurence, John Taylor, Kenny Wheel..."
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Date: Thursday, 28 Aug 2014 07:48


Carin Levine, flute, bass flute
Peter van Bergen, bass clarinet, tenor saxophone
Wolfgang Fuchs, alto clarinet, sopranino saxophone
Evan Parker, tenor saxophone
Michiel Scheen, piano, prepared piano
Maarten Altena, bass
Witwulf Malik, cello
Karri Koivukoski, viola
Phil Wachsmann, violin
Melvin Poore, tuba
Marc Charig, trumpet, fluegelhorn
Martin Mayes, french horn
Radu Malfatti, trombone

and a cricket...

1. introduction      00:54
2. unknown title     49:16
3. unknown title     07:48
4. unknown title     19:38


Recorded at Utopia, Innsbruck, Austria on December 11, 1989.
Author: "onxidlib (noreply@blogger.com)" Tags: "evan parker, Maarten Altena, Marc Charig..."
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Date: Thursday, 28 Aug 2014 03:19
 
ROSWELL RUDD’S BROAD STROKES BAND invitée SHEILA JORDAN ~~ “Banlieues Bleues” 2oo1


DiSC1:
Change Of Season (Herbie Nichols) 8.49 ~ Symbeeoobop (Rudd) 4.52  ~ Almost Blue (Elvis Costello) 8.59 ~ Stokey (Rudd) 6.31 ~ God Had A Girlfriend (Rudd) 9.15 ~ Open House (Rudd) 3.44 ~ Slide Mr.Trombone (Ernie Andrews) 9.22

DiSC2:
The Light (Rudd) 12.01 ~ Su blah blah buh sibi (Rudd) 15.38 ~ Bamako (Roswell Rudd/Verna Gillis) 9.16 ~ Bis:Ornithology (Charlie Parker) 8.12


Sheila JORDAN, Steve RIDDICK, voix
Harvey KAISER, saxophone tenor, clarinette, flute
Josh ROSEMAN, Steve SWELL, trombones
Greg GLASSMAN, trompettes
David WINOGRAD, tuba
Matthew FINCK, guitare
Ken FILLIANO, basse
Lou GRASSI, batterie
Roswell RUDD, trombone, piano, voix, direction


Enregistré a St Ouen a l’espace 1789, dans le cadre du festival “Banlieues Bleues” le samedi 03 mars 2001 par Radio France.
Author: "miloo2 (noreply@blogger.com)" Tags: "Josh Roseman, Ken Filiano, Lou Grassi, R..."
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Date: Wednesday, 27 Aug 2014 00:46
An Alternative to the rip kindly shared here by Chris , my rip from a scratchy 70's reissue on semi bootleg label..Trip..
A great record and one that's been surprisingly unissued on CD... something which we deplore!
Perhaps someday , the boffins who curate Mosaic records might consider issuing a deluxe Box-Set , of Bley's important  60's Trio recordings.
.
Enjoy , and please support Bley by buying his current cd's and fascinating book of interviews with Norman Meehan, "Time will Tell' from Bley's own site if possible.
Author: "SOTISE (noreply@blogger.com)" Tags: "Billy Elgart, Gary Peacock, paul bley"
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Date: Monday, 25 Aug 2014 02:01
For the Hill and Murray fans.....
A wonderful one off(?)... in excellent Sound...
 Amazing!

Andrew Hill Trio-Unknown venue-Paris, France,November 4, 1999

Andrew Hill p
James Lewis b
Sunny Murray d

seeder/tapers Notes
Source: Radio broadcast > cassette > CD > EAC v. 1.0 beta 2 (extraction and FLAC encoding) > FLAC compression level 8


Thanks to Dimer jackmw, for this one!
Author: "SOTISE (noreply@blogger.com)" Tags: "andrew hill, James Lewis, sunny murray"
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Date: Sunday, 24 Aug 2014 16:10
Three weeks ago I bought the book "Free Jazz And Improvisation On Vinyl 1965 - 1985".
I was a bit disappointed but as an 'addict' I enjoyed it notwithstanding its shortcomings and mistakes.
And the 'mistakes' prompted the idea to collect all known information about never released LPs (or cassettes et.al.).
In the book there's a section about Po Torch Records - Paul Lovens' label.
An insert which was included in some of the releases (e.g. Rutherford-Lovens JWD/PTR 3) had an announcement for six (two in the book) LPs which never made it onto the turntable...

I would like to suggest that we confine ourselves to the period from 1960 to 1985.
Maybe we should - at least for a start - list only items which are related to Free Jazz.
Items which are circulating as bootlegs of these elusive sound carriers are welcome as well - we are looking for NIP (never in print) issues which would/could/should have been official releases.
As much information as available would be nice: line-up, title, recording-date, track-titles, label etc. - maybe we can collect some data for a discography solely made of recordings which were never edited.


Here are the first few un-released recordings..........

I/J

ISLAND RECORDS

ILPS61 (test-pressing) - "DOUBLE TRIO"
SPONTANEOUS MUSIC ENSEMBLE (?)
Evan Parker, soprano saxophone
Trevor Watts, alto saxophone
Dave Holland, bass
Peter Kowald, bass
Rashied Ali, drums, percussion
John Stevens, drums, percussion

1. Double Trio – Part 1              30’55                        
2. Double Trio – Part 2              25’13

Recorded by Eddie Kramer at Olympic Sound Studios, London, March 10th, 1968.
("In Part 1 Ali plays small side–drum, hi–hat & cymbal while Stevens plays rest of kit including bass drum. Their roles are reversed in Part 2")

P/Q

PO TORCH RECORDS

PTR/JWD 8 - >END OF THE TEMPEST, BEGINNING THE STORM<
PAUL LYTTON / ERHARD HIRT
miscellaneous live percussion & live electronics, guitars
recorded 1981



PTR/JWD 19 - >URMOND/STEIN<
WERNER LÜDI'S SUNNYMOON
Werner Lüdi, sax
Stephan Witwer, guitar
Martin Schütz, cello
Paul Lovens, percussion
Recorded 1988/1989
("...two almost complete concerts,...the legendary group which disbanded in 1990")


PTR/JWD 20 - >SOLOS<
HANS REICHEL + EVAN PARKER
((a recording, the mastertape of which has hitherto not been traced ... !))
Hans Reichel, guitar
Evan Parker, sax (soprano?)
Recorded 1989
("...each playing solo live in concert")



PTR/JWD 21 - >NICHT ROT NICHT GRÜN<
SJÖSTRÖM-FUCHS-LOVENS-KOIVUKOSKI
Harri Sjöström, soprano saxophone
Wolfgang Fuchs, reeds
Paul Lovens, percussion
Karri Koivukoski, viola
("...two live sets , one in quartet with Karri Koivukoski)
recorded 1988/1989



PTR/JWD ?? - >QUINTET MODERNE<
(some more by quintet moderne, probably
recorded 1991

PTR/JWD ?? - >URS VOERKEL, PAUL RUTHERFORD, PAUL LOVENS<
live recording of a trio, probably
recorded 1992


X/Y/Z
Author: "onxidlib (noreply@blogger.com)"
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Date: Sunday, 24 Aug 2014 15:33










































an update of an early post

hello all,
this time, once again courtesy of 'boromir' another incredibly super rare album.
on the legendary french mouloujdi label.
francois tusques was one of he european pioneers of the genre, who made the transition from a more conventional jazz language sometime in the early 60's.
here is an article from the incredibly useful all about jazz site.
Francois Tusques et le Nouveau Jazz Francais
Published: January 10, 2006

By Clifford Allen
It is somewhat ironic that, as much as European jazz and free improvisation are nestled squarely within the canon of contemporary music—one has to look only at the worldwide recognition of figures like Germany’s Peter Brötzmann, England’s Evan Parker, or Holland’s Misha Mengelberg and their respective integral scenes—the country with the closest ties to vanguard American jazz in the ‘60s has been almost wholly left out of the picture. France has produced several world-renowned improvisers (for example, clarinetists Michel Portal and Louis Sclavis are among the instrument’s greatest proponents), but the architects of France’s ‘new thing’ have been summarily left by the wayside over the course of the music’s history. Pianist and composer François Tusques, while almost unknown outside his native France, is certainly among the rare few in European jazz, not only as a crucial figure in the development of the music in his sector of the continent, but so crucial that he was able to record the first true French free jazz record (Free Jazz, reissued by In Situ)—a claim which, Stateside, is not even Ornette Coleman’s.
Born in 1938 in Paris, Tusques migrated with his family to rural Brittany shortly thereafter, though as his father was a crucial figure in the French Resistance, François and his family moved around quite a bit during and after the War, eventually spending two years in Afghanistan and another two in Dakar before returning to France. As the potential for danger at being ‘outed’ as a member the Resistance was so high, Tusques did not attend any French schools at the time, for fear that he would accidentally divulge his father’s secret to his peers.

This secretiveness, on top of the fact that his family was so mobile, contributed to a difficult childhood, and despite the fact that his mother was an opera singer, poverty and circumstance kept Tusques from beginning musical training until he was eighteen, when he began to study the piano. “I had only one week of lessons; after that, I was on my own—you could say an ‘autodidact.’ I learned to play mostly by ear, especially from the drummers.”

Tusques quickly took to jazz—his worldliness certainly offering exposure to sounds that he would not have heard otherwise during the War—and counts among his early favorites Bud Powell and Rene Urtreger, not to mention subsequent affinities for Cecil Taylor (“but I am not a technical pianist…” says Tusques), Mal Waldron, Monk and Jaki Byard. At the start of the 60s, there was a significant scene of American expatriate improvisers in Paris—Bud, Dexter Gordon, Kenny Clarke, and traditionalists like Bechet—and a handful of young French players ready and willing to sit in, like saxophonist Barney Wilen and bassist Pierre Michelot. Certainly, as in England and elsewhere in Europe, French jazz of this nascent period was almost entirely beholden to the American post-bop model, and quite a few players who could stand alongside their American peers and run the changes.

Nevertheless, there was also a coterie of French improvisers for whom American-derived bebop was not the end, if even the means. Composer, arranger and sometime pianist Jef Gilson (who eventually began the famed Palm Records) was one of the ringleaders of the Parisian new jazz scene, mentoring young players like trumpeter Bernard Vitet, tenorman Jean-Louis Chautemps, drummer Charles Saudrais, bassist Beb Guerin and other soon-to-be leading lights. Tusques, though, was the only pianist at the time in Paris willing to extend those steps into the demanding compositional sound-world of ‘free jazz,’ and those who saw a continuous upward- and outward-mobility with this music looked to Tusques as a fulcrum.
By 1965, Vitet, Chautemps, Saudrais, and Portal (then primarily a classical clarinetist) had asked Tusques to compose a number of loose springboard-pieces to work on as a group, which led to the recording of Free Jazz for poet Marcel Moloudji’s tiny Moloudji label. In company with German vibraphonist-reedman Gunter Hampel’s Heartplants (Saba, 1965) and trumpeter Manfred Schoof’s Voices (CBS, 1966), Free Jazz is among the very earliest documents of a wholly European improvised music, one which springs more greatly from regional influences than those from across the Atlantic.

Free Jazz was followed in 1967 by Le Nouveau Jazz (Moloudji), which joined Tusques with Wilen in the saxophonist’s first recorded entrée into free playing (he would continue somewhat in this vein over the next several years), backed by Guerin and itinerant Italian drummer Aldo Romano, a fixture in Steve Lacy and Don Cherry’s ensembles of the period. Both Moloudji recordings are among the rarest documents of European jazz and were limited to a pressing of only 200 copies apiece—nevertheless, it was Tusques’ wherewithal that led to the first recorded examples of avant-garde French jazz.

By the mid- to late-60s in France, improvisation took on a political edge not dissimilar to that which it had in the States. France’s involvement in Vietnam at the start of the decade, not to mention governmental maltreatment across class lines of both workers and liberalist academics at the university level, led to the revolts of May 1968 and subsequent unrest, and the New Left found sympathetic ears among the jazz vanguard. Expatriate African-American and African artists, their struggle against racial oppression viewed by the Left with a similar lens to the proletarian struggle, led to a period of broader acceptance of free jazz in the liberal French public.

Tusques, though now looking at this period as “a reflection of the attitudes and ideas of the time,” was nevertheless one of the most notoriously political of the new French jazzmen—titles for his compositions like “L’Imperialisme est un Tigre un Papier,” “Les Forces Progressistes,” “Les Forces Reactionnaires,” and Black Panther-themed works like “Portrait of Erika Huggins,” “Right On!” and “Power to the People” belie a decidedly anti-establishment sensibility. The second volume of his Piano Dazibao series on Futura featured a cover with drawings of Mao, Lenin, and Arthur Ashe in addition to Tusques; the back of the third volume of the Intercommunal Free Dance Music Orchestra consists of drawings of the musicians interspersed with Chinese field workers.

Even if these concerns were “of the time” and not something Tusques feels a reflection of his current work, his affinity for a resurging interest in the Vienna School (Webern, Berg, Schoenberg) of composers belies a continuing political sensibility—“they were fighting fascism with their music, much as [improvisers] and artists do today.”

The first ripples of American free players began to show up on the Parisian scene in 1968, primarily due to an extreme paucity of gigs in New York and unwillingness on the part of major record companies to seriously document the music. Drummer Sunny Murray, late of the groups of Albert Ayler and Cecil Taylor, was one of the first to make his home in Paris (though saxophonists Marion Brown and Steve Lacy were making a stand as well), and that year formed his Acoustical Swing Unit with both French and visiting free players. Prophetically, its first European incarnation included Tusques, Guerin, Vitet, Portal, Jamaican tenorman Ken Terroade (previously based in London), itinerant West Indian trumpeter Ambrose Jackson, and later added expatriate Americans Alan Silva (cello), Frank Wright, Byard Lancaster, and Arthur Jones (saxophones) and Earl Freeman (bass). Tusques, with his balance of insistent left hand and pointillistic right, helped to reign in the first two official Swing Unit recording dates, two of his three with Murray. These include the eponymous 1968 ORTF concert recording released by Shandar (Sunny Murray) and its companion Big Chief (Pathé, 1969).

By 1969, as a result of offers from French labels like BYG, Musidisc-America and Pathé, a significant number of American free jazzmen had arrived in Paris for gigs and recording contracts; Tusques and his compatriots therefore had the opportunity to work with figures like Anthony Braxton, the Art Ensemble of Chicago, Don Cherry and trumpeter/trombonist Clifford Thornton. These latter two were of particular importance in Tusques’ development, for as a particularly good ear-learner he fit in perfectly with Cherry’s process-based, ongoing and ear-taught approach to learning the seemingly unending and all-encompassing “Togetherness” suite. Tusques was a frequent collaborator, even assisting Cherry with some of the piano parts on the famed Mu recordings (BYG, 1969)—a series of duets with drummer Ed Blackwell. He also joined up with Thornton, resulting in what might be the valve trombonist’s strongest recording, The Panther and the Lash (America, 1970), with Guerin and drummer Noel McGhie.

It didn’t take long, however, for a significant number of gigs to dry up as the French musicians’ unions began to frown on the large number of perpetually-visiting Americans in Paris. Some, like Murray and Silva, were able to stay on, however, and it was with those two in mind that Tusques assembled his third date as a leader, Intercommunal Music, for Shandar in 1971.

Originally planned as a quartet date for piano, cello, drums and the bass of Beb Guerin, on which a number of Tusques originals would be investigated, kismet and ‘snafu’ turned it into something quite different. “I booked several hours of studio time in advance, Beb and I waited and waited for hours and we were getting very nervous because Sunny didn’t arrive. Finally, there was less than an hour of studio time left, and here come Sunny and Alan with four friends saying ‘OK, here we are, let’s go!’ We only had 37 minutes left, and I couldn’t even teach them the tunes, so what you hear on the record is exactly what happened in the studio with that time.”

What looks like one of the heaviest line-ups of free jazzmen one could conceive of—Murray, Silva, Tusques, Guerin, trumpeter Al Shorter, alto saxophonist Steve Potts (who would later join the Steve Lacy quintet), bassist Bob Reid (of multinational improvising quintet Emergency) and percussionist Louis Armfield—was, in fact, completely unexpected. An insistent, driving and minimal theme is voiced by the ensemble, leading into one of the most memorable ‘free’ alto solos these ears have heard, Tusques alternating between rhythmic repetition, roiling bass soundmasses and anthemic Maoist folk melodies, the unrehearsed group surprisingly empathetic to Tusques’ drive and whims.

Yet Tusques increasingly began to find free improvisation a musical “dead end” and found it necessary to search for other, more integrated approaches to improvisation. In addition to playing and recording a number of solo piano expositions (released to great acclaim on the Futura and Le Chant du Monde labels), Tusques formed the Intercommunal Free Dance Music Orchestra in the early ‘70s, a meeting of French and African musicians that would yield to a “popular appeal,” something that could get both social and artistic concerns out to a number of music listeners of all stripes.

“The name comes from these things: Intercommunal, like French and Africa together; Dance, so people can feel the music; and Free, because it was a free approach to traditional music of the world.” The group included a number of African percussionists, like Sam Ateba, Cheikh Fall and Guem, as well as the great alto saxophonist from Guinea, Jo Maka; French jazzmen like trumpeter Michel Marre; German trombonist Adolf Winkler (“he could play everything—one minute J.J. Johnson, the next minute Tricky Sam Nanton!”) and Spanish orator Carlos Andreu (“he was a revolutionary poet; he would get up and pick random passages from Leftist texts, improvising upon them in concert”).

African and Latin American folk themes yield to lengthy improvisational passages filled with more ebullience than severity in this context—there are even pieces that successfully hedge dub as much as they do Breton music or kwela. The orchestra lasted throughout the rest of the decade in various guises and on into the 1980s, recording nearly ten albums for vanguard French labels including Le Temps de Cerises and Vendemiare (a subsidiary of Palm), before eventually disbanding.

Since the mid-80s, Tusques has co-led a trio with Noel McGhie and Paris bass clarinet wizard Denis Colin, in some ways an heir apparent to the altars of Portal and Sclavis, albeit with an entirely bop-based sensibility that dips into the same spring as Dolphy. This trio recorded Tusques’ Blues Suite for Transes Europeenes in 1998, and it remains his most regular working group (Tusques picks his gigs with the utmost care, so this group might not work as much as followers of his music would like).

Tusques, in collaboration with his partner, actress/vocalist Isabel Juanpera, and members of the Parisian improvisers’ community like Colin and Vitet, has previously expanded upon the “Blues Suite” in works like Blue Phédre (Axolotl, 1996) and Le Jardin des Délices (In Situ, 1992), adding an operatic (and quite possibly cinematic) scale to his already colorful small-group music.

In what might seem a departure, one of Tusques' major projects is in collaboration with architect and visual artist Jean-Max Albert, in which Monk’s compositions are investigated visually. Numbers are applied to thematic fragments, and each number has a corresponding shape—these become surreal diagrams that retain perfectly the gravity and whimsy, the yin and yang of Monk’s music, at times like a painting of Mondrian, at times like a Miró. It his hoped that a concert version of this work can be performed, with Tusques performing the pieces surrounded onstage by the visual images. Such a multifaceted view of Monk is, in many ways, a perfect analogue for the music of François Tusques: an assemblage of insular phrases yields a colorful and multi-directional oeuvre, a never-ending film of freedom, culture, and social engagement. Intercommunal, indeed.

Thanks to François, Jean Rochard and Sarah Remke of the Minnesota sur Seine Festival, and Guy Kopelowicz for making this article possible.
Related Article Minnesota Sur Seine 2005: Intercommunal Music on the Mississippi
Recommended Listening
François Tusques, Blues Suite (Transes Europeens, 1998)François Tusques, Blue Phedre (Axolotl, 1996)
François Tusques, Intercommunal Free Dance Music Orchestra (Vendemiaire, 1976-1978)François Tusques, Intercommunal Music (Shandar, 1971)Clifford Thornton, The Panther and the Lash (America, 1970)Sunny Murray, Sunny Murray (Shandar, 1968)François Tusques, Free Jazz 1965 (Moloudji/In Situ, 1965)

PLEASE BUY MORE FRANCOIS TUSQUES
more info and some records can be bought from futura/marge(another legendary lable)

or Improvising Beings
here http://www.improvising-beings.com/





Nouveau Jazz (Columbia, Mouloudji, 1970) FLAC



Author: "SOTISE (noreply@blogger.com)" Tags: "francois tusques, Mouloujdi"
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