Different Perspectives In My Room...!

Label: Jugoton – LSY-66184

Format: Vinyl, LP, Album; Country: Yugoslavia - Released: 1983

Style: Post Bop, Modal

This record was released around the tenth anniversary of Janša's quartet; it represents the last four versions of the group.

Artwork By – Dragana Midič

Editor-in-chief – Dubravko Majnarić

Editor – Vida Ramušćak

Liner Notes – Janez Gregorc

Written-By, Leader – Tone Janša

Psychedelic Yugoslav free jazz could be the best definition of this amazing album, released in 1983 for Jugoton record label. Somehow, maybe it’s my subjective origin based opinion, but the traditional sound of Balkan is in a perfect emotional synergy with the jazz form played by the artists. Themes are utterly contagious, while inspiring solos will fly you away into a complete trance. With such a soul given play, Tone Janša celebrates the tenth anniversary of the existence of his quartet. Definitely, a true gem of Yugoslavian jazz. Enjoy!

A1 - Goa . . . 10:36

BERND DIETRICH – double bass, (soloist)

GERHARD WENNEMUTH – drums

DEJAN PEČENKO – piano

TONE JANŠA – soprano saxophone, (soloist)

A2 - Trainin' . . . 5:22

KAREL NOVAK – bass

RATKO DIVJAK – drums

SLAVKO AVSENIK Jr. – piano, (soloist)

TONE JANŠA – tenor saxophone, (soloist)

A3 - Yatra . . . 6:23

ADELHARD ROIDINGER – double bass

RATKO DIVJAK – drums

DEJAN PEČENKO – piano, (soloist)

TONE JANŠA – Wind [Shinay], (soloist)

B1 - Stroll And Flight . . . 10:44

KAREL NOVAK – bass

RATKO DIVJAK – drums

SLAVKO AVSENIK Jr. – piano, (soloist)

TONE JANŠA – tenor saxophone, (soloist)

B2 - Black Time . . . 10:03

ADELHARD ROIDINGER – double bass, (soloist)

RATKO DIVJAK – drums

TONE JANSA – flute, (soloist)

ANDY LUMMP – piano, (soloist)

Tone Janša

Liner Notes:

Tone Janša celebrates the tenth anniversary of the existence of his quartet. On this record he represents the last four versions of his group, which changes its members according to need:

Tone Janša ss, Dejan Pečenko p, Bernd Dietrich b, Gerhard Wennemuth dr on "Goa" A1

Tone Janša ts, Slavko Avsenik jun. p, Karel Novak b, Ratko Divjak dr on "Trainin'" A2 and "Stroll and flight" B2

Tone Janša fl, Andy Lummp p, Adelhard Roidinger b, Ratko Divjak dr on "Black time" B2

Tone Janša shinay, Dejan Pečenko p, Adelhard Roidinger b, Ratko Divjak dr on Yatra A3

After having finished his studies in Classical music and Jazz in Graz and after his Jazz studies at Boston's Berklee College of Music, Tone Janša returned to Yugoslavia, joined the RTV Ljubljana Big Band as saxophonist and devoted more time to his own music and quartet. He recorded in Ljubljana at North German radio station in Hamburg, in Trieste in numerous Yugoslav TV and radio studios. Further he played and recorded on Jazz Festivals at:

1974 the Polish "Jazz nad Odra", in Graz where he played in the international Big Band under the direction of Slide Hampton

1975 in Debrecen and Nagykanisza in Hungary, Ljubljana Jazz Festival, Finland "Pori Jazz Festival"

1976 in Prague with Gustav Brom's Big Band, Ljubljana and Belgrade Jazz Festival

1978 UER/EBU (Europena Big Band) in Perugia - Italy

1979 Yugoslav Jazz Festivals (Maribor, Novi Sad, Belgrade, Zagreb)

1980 Yatra Jazz Festival in Bombay + an extensive tour of India Burghausen Jazz Festival in Germany

1981 Berlin Jazz Festival "Jazz Buhne Berlin 81", Austrian Jazz Days in Linz, Aarhus EBU Jazz Festival in Denmark

1982 Saalfelden in Austria, Ljubljana and Maribor Jazz Festival, Nagykanisza and Sombathely in Hungary and many others

Tone Janša is without doubt one of the most promising jazz musicians in Yugoslavia. He represents a new trend, which one readily recognizes after having listened to his music. His music is fresh, dynamic, and modally as well as rhythmically very interesting. He composes and plays his own music.

_ By JANEZ GREGORC

If you find it, buy this album!

Label: Cosmic Sounds – CS-15 LP

Format: Vinyl, LP, Compilation; Country: UK - Released: 2001

Style: Post Bop, Modal, Free Jazz

Previously released in Yugoslavia on RTB label on two albums:

Tone Janša Kvartet - RTB LP 4202, 1976 (tracks 1,2)

Tone Janša Kvartet - RTB LP 4205, 1978 (tracks 3,4,5,6)

Compiled By – Zeljko Kerleta

Phonographic Copyright (p) – Cosmic Sounds

Limited edition high-quality Vinyl LPs reissue.

A1 - Yudach (Juda) . . . 15:52

A2 - Milky Way (Rimska Cesta) – Herald Neuwirth - piano . . . 8:38

A3 - Vision (Vizija) . . . 4:37

B1 - Motive (Motiv) . . . 16:23

B2 - Bouyancy (Vzgon) . . . 3:40

B3 - Sun (Sonce) . . . 9:36

TONE JANSA — Sax (Alto), Sax (Tenor)

ANDRE JEANQUARTIER — Piano

EWALD OBERLEITNER — Bass

JOHANN PREININGER — Drums

In 70's Pharoah Sanders wasn't listening to Tone Jansa, neither Tone was listening to Pharoah but two musicians at two different parts of the world were creating at the same time unbelievably similar music. It is obvious where both of them got inspiration - Coltrane. Two albums that Tone recorded in 70's for RTB label are masterpieces of Yugoslavian Jazz. The third one that he did at the same time and in a same quality came out on Helidon label and is well worth checking.

Tone's music is not worth explaining, it has to be heard. It is very spiritual at the moments, very deep and soulful and sometime just cheerful and moving, giving you urge to dance or just wiggle. Couple of the tracks might sound to long for you but if you listen to them carefully, when they finish you want more and the main theme stays in your had all day long........

"Rare recordings from Yugoslavian sax player Tone Jansa - a free-thinking 70s talent with a post-Coltrane spiritual approach to jazz! Jansa's working here in a quartet with piano, bass, and drums -- and he plays alto, tenor, and flute in long spiralling solos that branch out, searching sonically for new horizons, in the mode of some of the better early 70s work by Americans like Carlos Garnett or Pharoah Sanders. "

"Black americas sound of the 70's, wasn't something that the YU jazzmen of the same period did hang on to. Tone is a precious jewel of what may be called the fusion sound of YU jazz."

"Yugoslavian rare groove. 'Vision' instantly reminded me of Courtny Pine new album, kind of soul jazz vibe going on and yes, very nice indeed. The rest of the album is very straight ahead, very spiritual, very much in a kind of John Klemmer, Pharoah Sanders kind of mid 70's vibe..."

"This compilation taken from two seminal albums in the history of Eastern European jazz — particularly in what used to be Yugoslavia — is a welcome find in the bins of the United States and England. Saxophonist Tone Jansa is a giant of a man, and a saxophonist who has much in common with both Pharaoh Sanders and the giant who influenced him, John Coltrane. This quartet made a total of five records, and one in quintet and sextet settings. But the two that are referred to here should be reissued in their entirety. Oh well, what can I do? The first two tracks of this outrageously beautiful, spiritually motivated open modal jazz is from the Tone Jansa Jazz Kvartet disc on RTB in 1976, and the last four are from the Tone Jansa Kvartet disc on the same label from 1978. There is a quiet fire in Jansa's playing; like Sanders, he seeks out the melodic propensity in scalar problems — especially in contrapuntal situations with pianist Andre Jeanquartier on 'Motive' and 'Yudach.' Both men tend to emphasize the mode inside the interval that creates sparks of lyrical fire between them and generates the most intricate of solos. The rhythm section here, Ewald Oberleitner and drummer Johann Preininger, is above journeyman status as well, but far from virtuosos in their own rights. Still they move rhythms and meters through some interesting color phases throughout this collection, turning the time against itself on 'Sun,' which closes the album so that both soloists have to reinvent the mode each time they solo. These recordings are so fine in their spiritually transcendent way, they would have been right at home on the Strata East label a few years earlier. There is no higher compliment one can pay than that." (AMG)

If you find it, buy this album!

Label: hat ART – hat ART CD 6149

Series: Hat Jazz Series –

Format: CD, Album: Country: Switzerland - Released: 1994

Style: Free Jazz, Free Improvisation

Digital tracks recording on May 1-3, 1990 at Radio DRS, Zurich.

Design [Graphic Concept] – Ecke Bonk

Engineer – Peter Pfister

Liner Notes – Art Lange

Photography By – Max Kellenberger

Producer – Pia & Werner X. Uehlinger

Lines is a trio that comprises of Swiss saxophonist Urs Leimgruber, Austrian bassist Adelhard Roidinger, & Swiss percussionist Fritz Hauser. On this document the aesthetics of the free approach in an egoless, commutative matter in which is both enthralling & difficult. All 7 pieces are of collective entities of their own.

The disc begins with “Open” an instant composition which presents melodic invention, rhythmic openings & walking bass lines. This piece showcases the entire trio with given solo space: an entire trio discourse, a drum & bass dialogue, a concise drum solo & reuniting the trio with swirling madness. Everything is indeed “open.”

Shifted is an epic piece which explores “shifting” moods, textures & rhythms. At first, Hauser places emphasis on riding his cymbal with simple quarter notes, sporadic tom fills & light cymbal crescendos. Then he would play with his shaker & small percussion. Roidinger switches from playing Arco (bowing) to pizzicato. Leimgruber as well shifts from playing altissimo, screechy notes, to beautifully lyrical phrases. There is even a brief section of the piece where they play quite harmoniously. The piece would then conclude with a crescendo of Arco bass, altissimo saxophone & subtle percussion.

“Off” is an excellent example of “call and response” improvisation. The trio now focuses on staccato, disjointed playing of quick arpeggios, plucks & rapid percussion.

The aptly titled “Twisted” exemplifies a sort of approach as it appears the musicians are twisting their instruments from the inside out by the endless flow of notes & rhythms.

“Forgotten” is something of a “free ballad” if you wish to consider it. Leimgruber now switches to his tenor. (the only tenor piece on the album) It is a very gentle piece; perhaps the most accessible on the album considering he accentuates his playing in a very lyrical manner, avoiding anything in the high registers. This piece also displays Roidinger’s walking bass at a more coherent volume & Hauser’s brilliant brushwork. It is a busy piece, but never pretentious.

Another aptly titled piece; “Up” demonstrates ascension of notes from the saxophone, the swinging bass line, and the swift eighth note rides on the cymbal.

“Red” opens with light cymbal crescendos and agile brushwork; along with a slow tempi bass & lyrical soprano saxophone. The group maintains a soft, piano dynamic with a slight shift in the volume of the saxophone & the percussion, but concludes with the original given dynamic.

This excellent recording of this trio presents an ideal introduction to the various works of these musicians.

(Teenbeat, Aug 23 2005)

If you find it, buy this album!

Label: Douglas – KZ-31568; Epic – ECPN-34

Format: Vinyl, LP, Album, Gatefold; Country: US/Japan - Released: 1970/1972

Style: Jazz-Rock

Recorded at Record Plant Studios, New York City, February 1970.

Photography [Cover & Inside] – Ira Cohen

Photography [Liner Photographs] – Michael Margetts

Producer – Alan Douglas, Stefan Bright

A1 - Devotion . . . 11:25

A2 - Dragon Song . . . 4:13

B1 - Marbles . . . 4:05

B2 - Siren . . . 5:55

B3 - Don't Let The Dragon Eat Your Mother, Brother . . . 5:18

B4 - Purpose Of When . . . 4:45

John McLaughlin – guitar

Buddy Miles – drums, percussion

Billy Rich – bass

Larry Young – organ, electric piano

John McLaughlin / Larry Young

John McLaughlin: Devotion Originally released in 1970 but re-released regularly since, Devotion is a hard driving, spaced-out, distorted hard-jazz-rock album featuring organist Larry Young, drummer Buddy Miles, and the little known bassist Billy Rich. This album was recorded close to the period when McLaughlin had been jamming with Jimi Hendrix, Young, Miles and Dave Holland. Terrible bootlegs exist of some of their jams, but bad sound quality and McLaughlin's guitar on the fritz make the bootlegs a ripoff.

Devotion was also sort of a ripoff. To this day, McLaughlin is angry about the way former Hendrix producer Alan Douglas mixed this record. Apparently, Douglas spliced bits of music together here and there that were not supposed to be connected. Despite this obvious problem, and the fact Douglas paid McLaughlin only $2,000 to record both Devotion and My Goal’s Beyond , this album is chock full of wonderfully ominous riffs and sounds. Devotion is an overlooked landmark album.

“Marbles" opens up the second side of album and is truly an early fusion masterpiece. The catchy hook is infectious. Years later, McLaughlin would employ the same riff often while with Shakti. You should also check out Santana’s cover version on his hard to find album with Buddy Miles, Live.

McLaughlin focuses more on tension and dynamics than on speed, and Larry Young plays mysterious and otherworldly chords. Miles keeps a constant thud-thud-thud churning throughout and Billy Rich effectively doubles McLaughlin’s themes. No slow ballads. No pretty melodies. This is just pure unadulterated jazz-grunge. Those familiar with the Mahavishnu Orchestra will enjoy picking out the passages that would later become signature tunes. Devotion is awfully messy at times, but you won’t mind cleaning up afterwards.

By WALTER KOLOSKY, Published: November 17, 2002 (AAJ)

If you find it, buy this album!

Label: Douglas – DGL 64537

Format: Vinyl, LP, Album, Gatefold; Country: Netherlands - Released: 1971

Style: Jazz-Rock, Acoustic, Fusion

Recorded in New York City, March 1971.

Design [Sleeve Design] – Chris Poisson

Photography By – Hugh Browne

Producer – Mahavishnu John McLaughlin

A1 - Peace One . . . 7:15

A2 - Peace Two . . . 12:18

B1 - Goodbye Pork Pie Hat . . . 3:15

B2 - Something Spiritual . . . 3:35

B3 - Hearts And Flowers . . . 2:05

B4 - Phillip Lane . . . 3:35

B5 - Waltz For Bill Evans . . . 2:00

B6 - Follow Your Heart . . . 3:17

B7 - Song For My Mother . . . 3:30

B8 - Blue In Green . . . 2:37

John McLaughlin - acoustic guitar

Jerry Goodman - violin

Dave Liebman - tenor & soprano sax, flute

Charlie Haden - bass

Billy Cobham - drums

Airto Moreira - percussion

Badal Roy - tablas

Eve McLaughlin (alias Mahalakshmi) - tambura

Mahavishnu John McLaughlin

Jerry Goodman

John McLaughlin: My Goal's Beyond Technically, the acoustic guitar playing on 1970's My Goal's Beyond does not approach the skill exhibited on most of John McLaughlin's recordings. Flubbed notes pop up here and there, and although this album is famous for McLaughlin's "solo" renderings of such classic tunes as Mingus'"Good-Bye Pork-Pie Hat," Bill Evans and Miles Davis'"Blue in Green" and his own wonderful composition "Follow Your Heart," Mclaughlin actually pre-recorded the chords and soloed over them.

However, no small amount of flubbing or overdubbing can take away from the fact that this album is a true masterpiece. MGB set standards for acoustic guitar playing which remain today. McLaughlin's soloing and chord playing was a revelation even to those familiar with his electric guitar style. He snapped the steel strings with the confidence of a warrior. His playing was amazingly fast, yet still melodic, and his tune selection was unusually eclectic. He was coming from an entirely new place.

The most impressive performance is the ensemble rendering of McLaughlin's "Peace One." Charlie Haden opens the composition with an infectious bass groove, and the tune features crisp, snapping acoustic guitar and Far Eastern tonal colors. Dave Liebman is especially up front on sax. Other members of the band included future Mahavishnu Orchestra band mates Billy Cobham and Jerry Goodman. Airto and Badal Roy also come along for the joyful ride. Violinist Goodman, in particular, makes some very strong statements.

So popular has this record become over the years that several labels have purchased it from catalog and re-released it. You can't kill this thing with a stick. In addition to the original Douglas 9 production, MGB has also appeared on the Warner-Electra, Ryko and The Knitting Factory labels (the latter being its latest reissue, from 2000).

MGB is considered to be a milestone in the career of John McLaughlin and the history of acoustic jazz guitar. To this day, there are many who claim it is still the greatest of all McLaughlin records. I recommend listening to this record once a month for the rest of your life.

We shouldn't forget that it took guts to record an acoustic guitar album during the times of Led Zeppelin and Jimi Hendrix. So although over the years the album has sold well through reputation, it totally bombed when it was released. MGB is a primary recording for any McLaughlin fan.

By WALTER KOLOSKY, Published: November 19, 2002 (AAJ)

If you find it, buy this album!

Label: Blue Note – BLP 4221

Format: Vinyl, LP, Album; Country: US - Released: 1965

Style: Avant-garde Jazz, Hard Bop, Post Bop

Recorded At Van Gelder Studio, Englewood Cliffs, New Jersey on November 10, 1965.

Design [Cover] – Reid Miles

Liner Notes – Nat Hentoff

Producer – Alfred Lion

Recorded By [Recording By] – Rudy Van Gelder

A1 - Zoltan (Woody Shaw) . . . 7:37

A2 - Monk's Dream (Thelonious Monk) . . . 5:45

A3 - If (Joe Henderson) . . . 6:42

B1 - The Moontrane (Woody Shaw) . . . 7:18

B2 - Softy As A Morning Sunrise (Hammerstein, Romberg) . . . 6:21

B3 - Beyond All Limits (Woody Shaw) . . . 6:02

Larry Young – organ

Woody Shaw – trumpet

Joe Henderson – tenor saxophone

Elvin Jones – drums

THE JAZZ ORGAN SHAKE-UP: LARRY YOUNG’S “UNITY”

If you happened to be a fan of the jazz organ sound in 1965, you knew exactly what to expect when you stepped into a club – greasy blues, ballads and jazz warhorses played at racecar tempos.

Unity changed that. In one elegant stroke. All by itself.

Embracing modal harmony and the freer, more open structures/language favored by the rising crew of post-bop musicians, Larry Young expanded commonly held notions of what was possible on the instrument; his brisk, restless, masterfully syncopated performances on this album brought the organ into the modern post-bop conversation.

The Newark-born Young started out like just about everyone who aspired to B3 greatness – contending with the towering presence of Jimmy Smith, the trailblazer who defined jazz organ. Young learned the basics, and developed a credible approach within the tradition – his recording debut, in 1960, shows a surprisingly individual take on the “grits and gravy” sound.

Fast forward a few years. By the time of this, his second Blue Note date, Young was determined to push beyond what had been done before, and was well-equipped, from a technique standpoint, to do that. He was conversant in free jazz, as well as the plateauing chord voicings used by John Coltrane’s pianist McCoy Tyner and the polyrhythmic roiling of Coltrane’s drummer, Elvin Jones, who is behind the kit on Unity. Young “got” the new jazz aesthetic, and used both unique chord voicings and basslines handled via footpedals to create his own sound for it. Young choreographed elaborate agitations, all by himself: Starting with a terse rhythmic motif behind a soloist, he’d knead and develop a phrase over an extended period until it sent the group’s efforts into collective frenzy. His secret weapons included perpetually oscillating, color-changing chords, and he used them with painterly precision, shaping dramatic peaks and valleys behind a soloist. Lots of organ demons dropped bombs at key moments; Young’s crisply executed devices arrived with galvanic force, their sophisticated harmonies suggesting thrilling and profoundly new pathways.

From the opening war-dance taunt of “Zoltan,” written by the trumpet player Woody Shaw, it’s clear that Young wants Unity to be more intellectually challenging than the typical Blue Note blowing session.

The melody, handled by Shaw and the tenor saxophonist Joe Henderson, is a study in fits and starts. Young’s jabs land across and against the beat, hinting at – but never fully tipping into – anarchy. Henderson seizes this instantly, and within the first measures it’s clear that his notions of agitation align with Young’s; his spiraling lines fit uncannily into the terse offbeats from the organ. This isn’t solo dazzle – it’s a conversation between well-matched modernists.

Young’s own solos – particularly those on “Softly As in A Morning Sunrise” and the electrifying duet with drummer Elvin Jones on “Monk’s Dream” – contrast powerfully with the fast-talking daredevil approach popularized by Smith and emulated by every other organist. Young can do that – there are more than a few breathless extended runs here – but he mostly concentrates on wide intervallic leaps and fitful, unexpected changes in mood. And like all the great post-Coltrane soloists, he’s inclined to shift tactics at will: His choruses on “Monk’s Dream” hit outbreaks of dissonant tumult and sullen areas of introspection and points along the spectrum in between – at each stop, he executes with snapping intent, an audible sense of purpose.

Anyone who ever longed to shake up a set-in-its ways tradition can relate to Young’s attempt to update jazz organ. He started with a powerful idea, blending hard bop, Coltrane harmony and “new thing” rhythm on an instrument uniquely suited to such a mix. But that’s just the concept stage. What makes Unity such a landmark is the way Young involves these incredible players in his quest – they seize his vision, then work together (hence the title) to overhaul the status quo of the jazz organ world. It’s a shame Young died young (at 38, from complications of pneumonia), because as is unmistakable here, this bold musician had a lot of upheaval in him.

Buy this album!

Label: Blue Note – BLP 4242

Format: Vinyl, LP, Album; Country: US - Released:1966

Style: Avant-garde Jazz, Hard Bop, Post Bop

Recorded At Van Gelder Studio, Englewood Cliffs, New Jersey on July 28, 1966.

Design [Cover], Photography By [Cover Photo] – Reid Miles

Liner Notes – A. B. Spellman

Producer – Alfred Lion

Recorded By [Recording By] – Rudy Van Gelder

A1 - Pavanne (Morton Gould) . . . 14:17

A2 - Of Love And Peace (Larry Young) . . . 6:30

B1 - Seven Steps To Heaven (Davis, Feldman) . . . 10:19

B2 - Falaq (Larry Young) . . . 10:03

Larry Young – organ

Eddie Gale – trumpet

James Spaulding – alto sax, flute

Herbert Morgan – tenor sax

Wilson Moorman III – drums

Jerry Thomas – drums

Larry Young: ''Of Love and Peace'' eight scant months after his classic ''Unity'' (Blue Note, '65), organist Larry Young was back in the studio with a larger ensemble and a bolder concept. The title Of Love and Peace may stand in direct contrast to the music within; there may be plenty of love, but on this cacophonous album of barely-controlled chaos, there's precious little peace.

Augmenting the front line of trumpeter Eddie Gale, alto saxophonist/flautist James Spaulding and tenor saxophonist Herbert Morgan, Young opts for a two-drummer approach, with Wilson Moorman III and Jerry Thomas behind their respective kits. Of these players only Spaulding will be well-known to most fans of the period, having appeared on countless albums by artists as diverse as Sam Rivers, Stanley Turrentine and Wayne Shorter. But Gale and Morgan, in particular, are players deserving of more due. Gale is a brash player who, while never recording with him, shared the stage with Coltrane a number of times, mixing a hard bop edge with more avant leanings. Morgan, with the exception of Unity , seems to be Young's tenor man of choice, appearing on all of Young's subsequent Blue Note outings and demonstrating a big tone that was perfectly in keeping with Young's more extroverted and increasingly unpredictable work.

With its duple ï rhythm, "Pavanne" is aptly titled, but it's a dance like none you are likely to hear, with Moorman and Thomas creating a scarcely-contained maelstrom behind the front line, which improvises with reckless abandon over Young's anchoring keyboard work. With Young living up to his reputation as the John Coltrane of his instrument, he provides an open-ended modal backdrop for solos which stretch the boundaries of the harmonic centre. The title track is only marginally more relaxed, with Young creating a simmering layer under which the two drummers create a certain forward motion in an ostensibly free improvisation. Likewise, the closing "Falaq" balances momentum and liberty equally, with Moorman and Thomas creating, interestingly enough, the kind of polyrhythmic independence that Elvin Jones was capable of doing all by himself. Still, Morgan contributes a solo that is reflective of the time and, in no small way, influenced by the outer leanings of Sam Rivers, while Gale is telepathically linked to Young, building screams and wails that are in sharp contrast to Young's richly ascendant chords.

The odd man out on the disc might on first glance seem to be the reading of "Seven Steps to Heaven," but the way the front line plays with the familiar theme, snaking in and out of it with exuberance and a greater sense of adventure, only sets things up for Young's solo, which runs at breakneck speed before Gale enters and matches Young's elusive behaviour note-for-note.

Of Love and Peace may be marginally less of a classic than Unity , if only for its more radical yielding to an almost stream-of-consciousness approach; but it demonstrates how far Young's conception had developed in a few short months and, consequently, is an important document of a rapidly evolving artist.

_ By JOHN KELMAN

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Label: Circle Records – RK 23578/12

Format: Vinyl, LP, Album; Country: W. Germany - Released: 1978

Style: Free Jazz

Recorded live in "De Groote Luxe", Tilburg, Holland, May 23, 1978

Photography By [Back Cover] – H. L. Lindenmaier

Photography By [Front Cover] – Günter Voss

Recorded By, Design, Photography By – John Lindberg

Producer – Rudolf Kreis

A1 - Sequence . . . 13:20

A2 - Tiburg Centre . . . 6:56

B1 - Ectodorph . . . 7:30

B2 - Ballad . . . 7:45

B3 - Concere Natashiah . . . 9:23

Joseph Bowie – trombone

James Emery – guitar

Charles Bobo Shaw – drums

Very rare vinyl copy of The Human Arts Ensemble Live.

This is the second part of the concert, The Human Arts Ensemble at "De Groote Luxe", Tilburg, Holland, May 23, 1978, setup is now changed and we will enjoy the trombone bravura Joseph Bowie and totally distortions guitar James Emery and, of course, drums Charles Bobo Shaw. The sound is a bit dry, raw, powerful, stripped down to the core and strongly emotional interpretation. Prepare and enjoy it.

The first part of the concert you can search here:

http://differentperspectivesinmyroom.blogspot.com/2014/03/the-human-arts-ensemble-human-arts.html

If you find it, buy this album!

Label: MPS Records – MPS 15274

Format: Vinyl, LP; Country: Germany - Released: 1970

Style: Free Jazz

Recorded March 23rd, 1970 Walldorf Studio, Frankfurt, Germany.

Engineer – Torsten Wintermeier

Producer – Joachim Ernst Berendt

Fotos by Inge Werth, cover and graphic work by Günter Kieser

A1 - Wide Open . . . 3:45

A2 - Never Let It End . . . 9:48

A3 - Certain Beauty . . . 9:14

B1 - The 13th Color . . . 6:54

B2 - Open Mind . . . 4:17

B3 - Roitz And Spring . . . 7:14

B4 – Nachwort . . . 1:50

Albert Mangelsdorff – trombone

Heinz Sauer – saxophone (tenor, alto)

Günter Lenz – bass

Ralf Hübner – drums, percussion

Jazz in Germany – the 60s/70s

The music critic and producer Joachim-Ernst Berendt took an eminent position at this time, influencing German jazz mainly in the 1960s and 1970s. Without him, neither the European Free Jazz, even as individual musicians like Mangelsdorff, Doldinger and others, would have gained the importance that they have for the German jazz today. Berendt was the first and only global player of the jazz critics and producers of the German jazz scene, who introduced jazz from Germany abroad.

The best-known jazz groups in West Germany were the quintets of Albert Mangelsdorff (with Heinz Sauer and Günter Kronberg), Michael Naura (with Wolfgang Schlüter), and the quartet of Klaus Doldinger (with Ingfried Hoffmann.) Innovators were also the Lauth Wolfgang quartet (with Fritz Hartschuh) and the trio of Wolfgang Dauner (with Eberhard Weber and Fred Braceful). Musically there was a deliberate but careful delineation of the American model. With their growing popularity, Doldinger and Mangelsdorff could also perform abroad and publish records. Naura had to retire from active life as a musician because of illness, and later became an editor of the Jazz part of the NDR (Northern German Broadcast). For the GDR, the Manfred Ludwig sextet has to be mentioned,originally for a long time the only band, which turned to the style of modern jazz.

In 1965, the quintet of Gunter Hampel, a moderate Free Jazz maintainer, with musicians such as Manfred Schoof, Alexander von Schlippenbach, Buschi Niebergall and Pierre Courbois, arrived on the German jazz scene and performed many concerts in the "province". Free jazz, without compromises, could be heard from the Manfred Schoof quintet (Voices) and an octet by Peter Brötzmann (Machine Gun). Especially in the smaller towns of western Germany, jazz music clubs disappeared with the advent of the Beat. From the mid-1960s on, in the GDR, the trio of Joachim Kühn (who migrated to the West in 1966), Friedhelm Schönfeld, and Manfred Schulze found their own ways into free jazz.

Label: MPS Records – 21 21746-9, BASF – 21 21746-9

Format: Vinyl, LP; Country: Germany - Released: 1973

Style: Free Jazz

Recorded September and December 1972 at Walldorf-Studio, Frankfurt/M.

Design [Cover Design] – Günter Kieser

Liner Notes – Claus Schreiner

Photography By – Ralph-B. Quinke

Producer – MPS Records

A1 - Wobbling Notes And Fluted Crackle . . . 14:18

A2 - Grive Musicienne . . . 5:42

B1 - Birds Of Underground . . . 11:37

B2 - Xenobiosis . . . 11:42

Albert Mangelsdorff – trombone

Heinz Sauer – alto saxophone, tenor saxophone

Gerd Dudek – tenor/sopran saxophone, flute

Buschi Niebergall – bass

Peter Giger – drums, percussion

The 1970s were marked by the globalization and commercialization of the German jazz world. Jazz was combined with various other music genres. Successful jazz musicians such as Klaus Doldinger, Volker Kriegel and the United Jazz and Rock Ensemble followed this trend in the direction of rock music in West Germany. At the same time, younger musicians like Herbert Joos, Alfred Harth and Theo Jörgensmann garnered public acknowledgment and aroused the attention of the jazz scene with their music. It is noteworthy that the German musicians achieved an acceptance with the local audience on par with American jazz musicians. For example, the Theo Jörgensmann quartet, an avant-garde jazz group, was even in the Best-of Lists of Popular Music in the Music-Yearbook Rock Session. At the same time the German record labels FMP, ECM and ENJA established in the market. Also acoustic-romantic performances by Joachim Kühn and other pianists like Rainer Brüninghaus came into fashion. In Moers and other West German towns, festivals were held that focused on these new developments in jazz.

In the 1970s, scholastic learning of jazz was also achieved in West Germany. The annual summer course at the Akademie Remscheid (Remscheid Academy) was very popular among young jazz musicians. There is hardly a professional jazz musician, born between 1940 and 1960, who did not attend this course as a student or teacher.

After 1970, the mighty government ministries of East Germany gave up their antagonism towards jazz music, giving the "explanation" that jazz had become an integral part of East German culture and politics. But Klaus Lenz and the Modern Soul band found its own way to the Fusion of rock and jazz music. In East Germany in particular, free jazz musicians developed their own gestures and improvised first on apparently East German-specific material in such a way that the idea of an "Eisler Weill Folk-Free jazz" could take hold abroad. The self-assertion was more strongly pronounced in East than in West Germany. Among the better-known artists of this era were Conny Bauer and Ulrich Gumpert (Zentralquartett), as well as Manfred Hering and Günter "Baby" Sommer. This music resonated with a very broad young audience, and was very successful. The jazz journalist Bert Noglik noted in retrospect: "In the course of the seventies in the GDR in the evolution of jazz the Free Jazz (in a broader sense) has crystallized to be the form of the major direction of practice and its majority passes, and exists both in quantitative and qualitative respects. This statement refers to the musicians, the audience and also the organizational structure of the concert and tour management. All of this is even more astonishing when one considers that in the eastern and western neighboring regions, there always flowed a relatively strong mainstream music."...etc

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Label: ECM Records – ECM 1007

Format: Vinyl, LP, Album; Country: W. Germany - Released: 1970

Style: Free Jazz, Contemporary Jazz

Recorded on September 22 and 23, 1970 at the Bendiksen Studio, Oslo.

Design [Cover Design] – B & B Wojirsch

Engineer – Jan Erik Kongshaug

Photography By – Terje Engh

Producer – Manfred Eicher

A1 – Scarabée (Jan Garbarek) . . . 6:15

A2 - Mah-Jong (Arild Andersen) . . . 1:50

A3 - Beast Of Kommodo (Jan Garbarek) . . . 12:30

B1 - Blow Away Zone (Jan Garbarek) . . . 8:35

B2 – MYB (Arild Andersen) . . . 1:50

B3 – Concentus (Arild Andersen) . . . 0:47

B4 - Afric Pepperbird (Jan Garbarek) . . . 8:00

B5 – Blupp (Jon Christensen) . . . 1:05

Jan Garbarek – tenor saxophone, bass saxophone, clarinet, flute, percussion

Terje Rypdal – guitar, bugle

Arild Andersen – bass, kalimba [african thumb piano], xylophone

Jon Christensen – drums, percussion

Great 1970 Jan Garbarek LP. One of the first ECM releases.

This is the first Jan Garbarek album for ECM Records. So who better to have with him then guitarist Terje Rypdal. Great to see Jan and Terje at such a young age in the picture provided in the liner notes too. So we get that typical ECM atmosphere in this release but man these young guys hold nothing back at times. I'm so impressed with this album. It's very interesting, challenging and it holds my attention all the way through.

"Skarabee" is different with the xylophone, percussion and Thumb piano all coming and going. Drums and sax also contribute to this laid back tune. Very intricate. Flute 5 minutes in. "Mah-Jong" is a short tune that features bass and cymbals as some sparse guitar and drums join in. "Beast Of Kommodo" is a beast indeed. Bass and cymbals again to start as the sax comes in. Great sound when the drums become more prominant.The sax is killer. It settles some before 6 minutes then the guitar arrives after 7 minutes in place of the sax. Incredible sound ! Xylophone after 11 minutes then silence. Sax changes that though.

"Blow Away Zone" opens with percussion. It's experimental sounding as these strange sounds come and go. Bass 2 minutes in then some dissonant sax 2 1/2 minutes in. It's more intense 4 minutes in. Check out the sax before 6 minutes as Jan goes solo. Drums are back before 6 1/2 minutes as sax blasts away. Insane ! "MYB" opens with bass as drums shuffle. Sax before a minute. "Concentus" is a short tune that features flute and clarinet. "Afric Pepperbird" is uptempo with deliberate drumming and horns. It settles before a minute to a more laid back sound. Almost spacey guitar from Rypdal here with bass and light drums.This is so good. The sax after 2 minutes is relaxed at first then he rips it up after 4 minutes. Bass sax after 5 1/2 minutes and the guitar joins in too. Nice. My favourite track. "Blupp" has these percussion sounds that come and go and someone saying "blupp" in between. It's pretty funny.

_ Review by Mellotron Storm

Precise,cool and robust free-jazz based, sound is clear and airy and this album is often mentioned as what later will be known as "ECM sound" standard. Andersen/Christensen rhythm section builds perfect structure of all compositions, framed but with huge space inside for Garbarek sax and Rypdal guitar's improvs. With its roots in post- bop, album's music is excellent example of progressive and innovative sound which is fresh and experimental, but not noisy or destructive at the same time.

One of the best (if not just The Best) Garbarek's solo album and excellent Nordic avant-garde jazz release, influenced European and world jazz evolution process for years ahead.

Together with Sart, Tryptikon, and Witchi-Tai-To (as well as a prior recording on Flying Dutchman "Esoteric Circle"), this album represents the strongest, most aggressive portion of Garbarek's career.

Very highly recommended.

If you find it, buy this album!

Label: Intercord – INT 147.300, Freedom – INT 147.300

First released on US-label Flying Dutchman 1969, under George Russell Presents...

Format: Vinyl, LP, Album; Country: W. Germany - Released: 1976

Style: Free Jazz, Contemporary Jazz

Recorded in Oslo, Norway in 1969.

Art Direction – Bob Heimall

Artwork [Cover Art] – Benno Friedman

Coordinator [U.s. Production] – Micahel Cuscuna, Steve Backer

Design – Nancy Greenberg

Engineer – Bjornar Andresen

Producer – George Russell

A1 - Traneflight . . . . . . . 2:53

A2 - Rabalder . . . . . . . . 8:16

A3 - Esoteric Circle . . . . . 5:23

A4 - Vips . . . . . . . . . . . . . 5:40

B1 - SAS 644 . . . . . . . . . 7:47

B2 - Nefertite . . . . . . . . . 2:03

B3 - Gee . . . . . . . . . . . . . 1:09

B4 - Karin's Mode . . . . . . 7:32

B5 - Breeze Ending . . . . . 3:39

Jan Garbarek – tenor saxophone, composed

Terje Rypdal – guitar

Arild Anderson – bass

Jon Christensen – drums, percussion

Jan Garbarek had studied with the great American composer George Russell, and had previously appeared on Russell's venture into jazz-rock, Electronic Sonata for Souls Loved By Nature. Whereas his teacher's usage of rock rhythms in an avant jazz context often came off as rather clunky, for Garbarek and his guitarist, Terje Rypdal, formerly a member of the popular Norwegian band the Vanguards, such a melding was more second nature. The Esoteric Circle, the first album by their band of the same name (hey, this was still the '60s after all), is a highly successful and enjoyable effort, one that can stand comfortably with work being done at that time by Tony Williams or John McLaughlin. Garbarek's compositions range from deeply felt homages to Coltrane ("Traneflight" and "Nefertite") to rocking jams like "Rabalder," where Rypdal gets to showcase his considerable chops. In fact, some of these themes were used by Russell in his aforementioned work. Garbarek's own playing, here entirely on tenor, come largely out of Albert Ayler as well as Coltrane, and his general attack is much more raw and aggressive than the style for which he would eventually become more widely known through his recordings for ECM. Listeners who enjoy his first several albums for that label (from Afric Pepperbird to Witchi-Tai-To) will find much to savor here.

_ Review by Brian Olewnick

Jan Garbarek's solo debut, released on US-label Flying Dutchman under "Esoteric Circle" project's name (and later re-released as his solo album), is really interesting release for every Garbarek fan.

First of all,music presented there is a bit raw but innovative mix of post-bop, fusion and avant- garde jazz. Musician's line up is the same as on Garbarek second, much better known album (and his debut on ECM), but the music sounds different. Rhythm section is more conservative there and rarely leaves post-bop tradition, but Garbarek's tenor sax and partially Rypdal's electric guitar make some trips to fusion and avant-garde zones. As a result, album in whole sounds slightly unfocused, but raw,dirty and even explosive in moments (what is impossible for any Garbarek's recorded on ECM music).

Some compositions have strong emotional vibes, nice tunes, and Coltrane's influences are obvious there.At the same time, Jon Christensen and Terje Rypdal bring some heavier and rockier elements, from jazz-rock to rock jamming. Eclectic and quite unusual musical mix for Garbarek's album, isn't it?

Rare and interesting release illustrating Garbarek's (and Rypdal's) early musical influences,inspired and innovative as few first Garbarek's ECM albums are.

_ Review by snobb

If you find it, buy this album!

Label: MPS Records – 29 21754-2

Format: 2 × Vinyl, LP, Album; Country: Germany - Released: 1973

Style: Jazz-Rock, Fusion, Experimental

A1 to D1 recorded live at Sielmingen with Ton Studio Bauer in May 1973

D2 recorded at Dauner Studio 1973

Design [Cover], Photography By – Frieder Grindler

Engineer – Martin Wieland

Mixed By – Martin Wieland, Wolfgang Dauner

Producer – MPS Records

A1 - Twelve And Nine (Wolfgang Dauner) . . . 12:00

A2 - Introduction (Kovacev, Braceful, Schmidt-Oehm, Thurow, Dauner) . . . 10:34

B1 - Es Soll Ein Stück Vom Willi Sein (Jürgen Schmidt-Oehm) . . . 9:45

B2 - Plumcake (Matthias Thurow) . . . 10:05

C1 - G X 3 And Blues (Wolfgang Dauner) . . . 22:00

D1 - The Love That Cannot Speak It's Name (Wolfgang Dauner) . . . 16:40

D2 - Nemo's Dream (Wolfgang Dauner) . . . 4:24

Wolfgang Dauner – synthesizer, keyboards

Jürgen Schmidt-Oehm – violin, flute

Matthias Thurow – bass, sitar

Lala Kovacev – drums [left track]

Fred Braceful – drums [right track]

German outfit Et Cetera was the brainchild of Wolfgang Dauner. Starting out playing piano as a child, he actually graduated from the Stuttgart conservatory with a major in trumpet.

In 1963 he founded his own jazz band, focusing on the comtemporary scene, bringing in famous German bassist Eberhard Weber and American drummer Fred Braceful. This threesom played together well into the 70s ? changing and challenging their sound to the limit.

Dauner recieved critical acclaim with his take on experimental and modern jazz, where he and his fellow band mates stretched the boundaries of the scene to such an extent, that many since have claimed that they did to jazz what Faust did to rock. Already at the end of the 60s, these musicians showed signs of what was to come in form of the Krautrock movement rolling across Germany during the frantic and wild 70s.

So as a natural continuation of what was happening in regards to experimentation between the different genres, Dauner and crew recorded the Et Cetera debut in mid December 1970 at the Orange Recording Studios in London. The band now consisted of Roland Wittich (percussion), Eberhard Weber ( different bass instruments, vc), Fred Braceful (drums, voices, bongos), Siggi Schwab (guitar, sitar, sarangi) and Wolfgang Dauner (synths, clavinet, ringmodulator, trumpet, flute, etc etc).

Combining everything from Indian raga music and psychedelics to the avant garde jazz tendencies with a modern rock template, Et Cetera managed to conjure up a rather unique take on the Krautrock sound. Freeflowing and loose with much focus on improvisations, the band was a melting pot of many different styles and approaches.

With the add on of legendary drummer Jon Hiseman and guitar chameleon Larry Coryell for the second studio album Knirsch, the band now seemed like a sonic experimentation to be reckoned with. Sadly this was to be the final studio release from this highly eclectic group, and they called it quits the year after with a double live album.

Et Cetera was a shortlived installment in the early days of Krautrock, but seen from a modern perspective and in the larger scope of what the scene was all about, it seems only proper to call this outfit one of the true pioneers of the scene.

The music can be everything from psychedelic tinged rock to freak out avant garde jazz with a healthy dose of Indian spicing, but above all and most importantly, this group was indeed a highly experimental force that influenced and pushed the dynamics of the German Krautrock scene during its infancy.

_ David (Guldbamsen, DK)

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Label: Leo Records – CD LR 280

Format: CD, Album; Country: UK - Released: Dec 1999

Style: Free Jazz, Free Improvisation

Recorded on 20 March 1999 at Ouistiti, Paris.

Mastered By – Mark Haliday

Mixed By – Dan Warburton, David Cook

Photography By – Dan Warburton, Jean-Luc Guionnet

Producer – Dan Warburton, Leo Feigin

Recorded By – David Cook

01 Somehow, Anyhow . . . 12:54

02 Hic Et Nunc, In Limine . . . 17:20

03 Y2k . . . 12:39

04 Truth And Reconciliation [To Archie Shepp] . . . 7:12

Dan Warburton – piano, violin

Jean-Luc Guionnet – alto saxophone

François Fuchs – bass

Edward Perraud – drums, percussion

" ...Dan Warburton's outfit were this event's genuine new find. Recalling The Joe Manieri Trio's revelatory performance at the first Leo Records festival back in 1996, Warburton, on piano and violin, with his group of young, top notch French players, stretched the barest of tunes until they snapped, burst and split at the seams and left the crowd hungry for more..."

This is an enjoyable disk of mostly spontaneously composed jazz by four Paris-domiciled players, led by multi-instrumentalist, jazz critic and British ex-pat Dan Warburton. (As an added bonus, the CD is graced with a tres chic cover photo of Warburton’s toddler-aged son pondering the universe amid a pile of free jazz LPs.) All but one of the four tunes on Return are freely improvised, but, like a selection of Muhal Abrams pieces from the Seventies and Eighties, they cover quite a wide range of approaches. The talented alto saxophonist Jean-Luc Guionnet goes to work early on the opening "Somehow, Anyhow," strutting impressive Evan Parker-influenced barrages. But the piece flies into another gear altogether with only a couple minutes to go (at about the 11-minute mark) when (pianist/violinist) Warburton, breaks out his serious, (and seriously fast) neo-hard-bop chops. The following "Hic et Nunc, in Limine" (by percussionist Edward Perraud) is in the late Coltrane, devotional mode, with Warburton going Alice C. one better by jumping off the three-chord arpeggiated background train whenever he feels like it. The balance is a bit heavy on the piano and drums on this one, but since Warburton and Perraud are doing such interesting stuff, it’s not really a problem. The tune gets stuck in a little rut (again at about the 11-minute mark) but the gentlemen climb out winningly after a few perilous moments atop some of the most exciting playing on the disk. "Y2K" begins with a briskly sawed note on Francois Fuchs' bass. The other players dance exotically around this single repeated pitch for a while, with Warburton taking up a Jenkins- drenched violin. Unlike its predecessors, this tune changes directions after only about half of eleven minutes, when Warburton switches to modal piano, and the bass and drums move into a funky one-chord space jam. Guionnet’s sax solos are terrific on this tune - high-energy urban heat. After a couple of minutes, Warburton leaves Tyner Town for Bergman Bay and the boys buy vacation property there. The downside here is Fuchs extreme reluctance to leave the original tonic even after the other players get more adventurous.. There’s more funk (and single-key dominance) on the closing "Truth and Reconciliation," which, though dedicated to Archie Shepp, brought to my mind the smiling faces of Errol Garner and Ray Charles. Warburton’s (again highly funkified) piano is once more the dominant voice, with Guionnet’s wailing alto and Perraud’s grooving drums the featured supporting actors. This time, Fuchs is forced to fall into the role of follower, since Warburton is calling all of the bass, chord, and rhythm shots, and a single pitch on bass would not have been appropriate. (As a sometimes "bossy" improvising keyboardist myself, I often find that when music that is both tonal and - in some sense - free is the order of the day, the best thing to do is to leave the bassist home: that way there’ll be neither conflict nor subservience.) In any case, I hope to hear more from this exciting, eclectic group. Like cellist Matt Turner’s group Chum, this gang is simply fun to listen to.

_ By Walter Horn

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Label: Ayler Records – aylCD-010

Format: CD, Album; Country: Sweden - Released: 2003

Style: Free Jazz, Free Improvisation

#1 recorded at Studio Val d'Orge, Epinay sur Orge, France on February 16, 2002.

#2-5 recorded at the Festival Jazz à Mulhouse in Mulhouse, France, on August 25, 2000.

Artwork [Cover Art], Design – Åke Bjurhamn

Executive-Producer – Jan Ström

Mastered By – Maïkôl Seminatore

Photography By – Pascale Szpiro

Recorded By – Grégory Teurtrie (tracks: 2 to 5)

Traque is the group Return of the New Thing's second recording, the first being issued several years earlier on the Leo label. Those who appreciate the high quality of these unabashedly uncompromising pieces will be unconcerned that the so-called "New Thing" has been around continuously for decades at the time of these sessions, and instead focus on the music, not the semantics. Dan Warburton, who plays piano and violin for the quartet and also wrote the liner notes (and who is better known for his exemplary work as a journalist), calls the genre of performance "improvised free jazz," but whatever it is called, the results enthrall. Those familiar with the quirky, staccato-infused, iconoclastic blowing of Jean-Luc Guionnet will recognize his primitive sound from the get-go, as his pre-bop snarls and anti-bop phrasing are riddled with a strained emotional fervor. There are times, particularly on the long opening track, when the ghost of Albert Ayler and the shadow of Cecil Taylor raise their heads. That these comparisons can even be made is a tribute to some incredible finger work from Warburton, who is the "real" thing on his primary instrument, the piano. Listeners accustomed to the (mostly) European post-Coltrane embrace of free improvisation should be taken by the harsh divergences that run throughout: the altered tempos on "Traque," the hard-hitting exclamations on "Scent," and the occasional changes in volume that sometimes seem contrived. Warburton is a powerful presence particularly on "Traque," where he is permitted to stretch at length. There appears to be a conscious effort to build slowly (and sometimes not so slowly), but there is an evolutionary consistency throughout. Much time is allotted to solos, and they are uniformly superb, with a special nod to Warburton's CT-like clusters that at their best come across like meteor showers from space, and to Guionnet's weird but enticing disjointedness. Somehow it all works remarkably well, though as is so often the case those not accustomed to "free" improvisation will find this music very abstract and difficult to follow. For everyone else, well, how about a glass of champagne?

_ Review by Steve Loewy

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Label: Spool – SPL 127 / Series: LINE 27

Format: CD, Album; Country: Canada - Released: Dec 2006

Style: Free Jazz, Free Improvisation

Recorded live in Quebec City, Quebec, October 30 and November 1st 1999

Sound and mastering by François Carrier

Photos by – François Carrier

Produced by – François Carrier

Assisted by – Edith Fortier

Music entirely improvised by François Carrier, Dewey Redman, Michel Donato, Ron Séguin and Michel Lambert

Description: François Carrier, alto sax; Dewey Redman, tenor sax; Michel Donato, acoustic bass; Ron Séguin, acoustic bass; Michel Lambert, drums. Recorded live in Quebec City, October 30 & November 1st 1999. Inexhaustible improviser François Carrier has captivated critics and audiences alike with his intense and original playing. Inspired by the vibrating and dynamic power of sounds, Carrier is interested in exploring what he calls the 'emotional atmosphere' in music, and in celebrating ephemeral beauty of the passing moment. Whether in a meditative mood or a playful one, Carrier is always unpredictable.

With Open Spaces, François Carrier has given us an opportunity to hear him paired with the magnificent Dewey Redman, recorded over two nights live in Quebec City in 1999. Carrier's usual drummer, Michel Lambert, provides powerhouse support on both nights, while bassist Michel Donato plays on track one and Ron Séguin on tracks two and three. This release, which was also mastered and produced by Carrier, is essentially a homage to Redman.

Redman, who died last September at the age of 75, did not gain as much recognition as perhaps he should have, but he was acknowledged as one of the most versatile tenor players around. His most notable associations were with Ornette Coleman from 1967-74 and with Keith Jarrett's "American" quartet in the early '70s.

The music on Open Spaces is by turns extraordinarily beautiful and physically exciting, and it seems to these ears that Carrier, although himself a master of free improvisation, follows Redman's lead. Indeed, there are times when it is hard to tell who is playing when Redman is at the upper end of his tenor and Carrier the lower end of his alto.

The free playing here is audibly tonally and thematically centered. "Going Through" opens with one of the most beautiful rubato lines you will ever hear by Redman (I think). All is mystery, softness and warmth, with a bit of danger added in. "Open Spaces" starts with a jaunty, humorous theme, again by Redman (I think), while "With The Flow," which sounds like Carrier's answer to Redman's first theme, brings back the first track's wide, deep silences.

Not only are the front-line players totally in sync, but the bass and drum playing is always very sensitive and supportive. Lambert has been with Carrier a long time and has a sixth sense when to lay back and when to push the group forward, either by erupting or locking in with the bassist in sections that can raise the hair on your neck.

Open Spaces, perhaps even more than Carrier's recent Leo release, Happening, is a wonderful introduction to free playing for those for whom it is new. Yes, there are periods of seeming chaos, with some squealing and honking and manic drumming, but these moments are reached by logical means. Then again, there are many clear themes, quotes from Lester Young and others that just pop out and shock just as much as the free-form stuff.

Put simply, all of these players know how to control the flow, density and emotions of the music as it develops, and this makes it "easy" to accept and follow. "Free" playing here does not mean cacophony, but rather an on-your-toes, in-the-moment experience of playing and listening. Enjoy.

By BUDD KOPMAN, Published: November 27, 2006 (AAJ)

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Label: Silkheart – SHCD 156

Format: CD, Album; Country: Sweden / Released: 2007

Style: Free Jazz, Free Improvisation

Recorded at West Park Studios in Brooklyn, NY 12/04/2007.

Artwork By [Front Cover] – Bob Thompson

Executive Producer [For Silkheart Records] – Keith Knox, Lars-Olof Gustavsson

Photography By – Peter Gannushkin

Photography By [Front Cover] – Lars Hoflund

Producer [For POS Productions] – Michael T.A. Thompson

Recorded By, Mixed By, Mastered By – Jim Clouse

Jazz trios led by a horn other than a saxophone are something of a rarity and while Matt Lavelle is known primarily as a trumpet player (William Parker's Little Huey Orchestra), on Spiritual Power he mostly divides the bulk of his time evenly between the mellower flugelhorn and bass clarinet. This band's natural antecedent is Roy Campbell's Pyramid Trio, another non-sax group where the leader riffs over a propulsive bass-and-drum rhythm section. Here, it's bassist Hilliard Greene (an expert in forward motion from his days with Charles Gayle) who plays the pivot, authoritative with his fingers on the title cut, mournful with the bow in unison with Lavelle's darkly tinted bass clarinet on "End Times and crisply on the leading edge of the rhythm as he mimics the vocalized meter of "S?- Se Puede . Drummer Michael TA Thompson is Greene's perfect partner, articulating each note and accenting every beat. Lavelle's tunes have an organic rightness about them, an economy of language that wastes nothing and brings each performance to a satisfying resolution, the end result of an open-hearted and inspired recording session.

_ By JEFF STOCKTON, Published: April 7, 2007 (AAJ)

Matt Lavelle is a multi-instrumentalist : he plays trumpet, flugelhorn and bass clarinet. This is, I think, his first CD with a trio, and it is more than appealing. He is accompanied by veterans Hilliard Greene on bass and Mike Thompson on drums. The lack of a harmonic chordal instrument is more than compensated by the intensity of the interplay. The tone for the album is set from the first piece, "Spiritual Power" : a powerful, chasing, relentless propulsing composition that gets out the best of the three musicians. The same intensity continues on the second piece, with the trumpet being changed for the clarinet. Don't look for clearly delineated melodies here, but that is definitely not the objective. The third piece, "Si Se Puede" gets Spanish shouting support from the musicians and is an exhilirating, pulsing, halting song with powerful drum and bass work. After all this intensity, "End Times" brings a moment of rest in the album : Greene plays arco for several minutes, to be joined by Lavelle on the bass clarinet, who takes over the initiative and further improvises on the sad theme. The most beautiful piece is "I Will Have Love In My Life" that starts with a drums solo from Thompson and which evolves into a bluesy free theme that hails back to the roots of jazz. Great stuff. For those who like open and unpredictable music.

_ By Stef (FreeJazz)

Silkheart Records / catalog:

http://www.silkheart.se/catalog.php

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Label: Trikont – CD 0258-2

Format: 2 × CD, Compilation; Country: Germany - Released: 1999

Style: Brass Band, Big Band, Political

Mixed By – Heinz Weihe (tracks: 2-1 to 2-16), Ute Schatz (tracks: 2-1 to 2-16)

Recorded By – Clemenz Müller (tracks: 1-1 to 1-14, 2-2 to 2-4, 2-6), Dietram Köster (tracks: 2-7, 2-9, 2-12, 2-13), Franco Fabbri (tracks: 2-10, 2-11), Heinz Weihe (tracks: 2-1, 2-5), Helmut Fritz (2)(tracks: 2-14), Ute Schatz (tracks: 2-1, 2-5)

Recorded By [Vocals] – Rainer Hecht (tracks: 2-3)

SOGENANNTES LINKSRADIKALES BLASORCHESTER was a brass band formed in 1976, in Frankfurt, by HEINER GOEBBELS, ALFRED HARTH, CHRISTOPH ANDERS... in an attempt to reinforce artistically the left student movement demonstrations of that period. The band, designed mostly for live appearances, was consisting of about twenty musicians and played on stage, at the streets and in diverse political activities.

In spite of the circumstances of its birth, The So-Called Left Radical Brass Orchestra never was a preacher of left dogmatism. Their repertoire crossed the music history from baroque & classical period, early twentieth century to free-jazz and avant-garde, including original pieces, traditonal themes, covers of Hans Eisler, Frank Zappa etc.

Their interpretations were imaginative, inventive, uncompromised but not snobbish, eclectic, intellectual and yet very amusing - a channel for direct communication with the people.

SLB discography comprises the albums: "HÖRT HÖRT" (1977) and "MIT GELBEN BIRNEN" (1980)

''Hört, Hört!''– Recorded july 1977. – (Trikont US-36)

1-1,3,5 and 1-14 are live recordings from a concert in 'dem Frankfurter Stadtteilkino 'Harmonie'', 11-07-1977.

1-1 Vorspiel und "Gedanken über die rote Fahne" (by Hanns Eisler) 2:52

1-2 Begleitung (by Rolf Riehm) 2:07

1-3 Tagesschau (by Alfred Harth, Heiner Goebbels, Rolf Riehm) 7:32

1-4 Ich bin halt die Kotze aus Deiner Glotze (''I'm the Slime'' by Frank Zappa) 2:37

1-5 Chickmatch-Blues (by Alfred Harth) 3:12

1-6 Die Fabriken und Stück (by Hanns Eisler, Rolf Riehm) 3:16

1-7 Circa (by Heiner Goebbels) 5:17

1-8 Rote Sonne (by Trad. Arranged by Heiner Goebbels) 2:23

1-9 Der Anwalt des Schreckens (by Rolf Riehm, Lyrics by Peter Paul Zahl) 2:30

1-10 Ya no somos nosotros (by Karaxu, Arranged by Heiner Goebbels) 1:37

1-11 La resistencia se organisa (by Karaxu, Arranged by Heiner Goebbels) 4:54

1-12 Homesick-Blues (by Rolf Riehm, Lyrics by Peter Paul Zahl) 3:28

1-13 Lied von der Gedankenfreiheit (by Walter Mossmann) 1:50

1-14 Tschüs (by Walter Kubiczek, Lyrics by Dieter Lietz) 1:33

''Mit Gelben Birnen''– Recorded Sept. 1979 and August 1980. – (Trikont US-63)

2-1 Trotzalledem (by Trad. Arranged by Heiner Goebbels) 3:47

2-2 Die Hügel von Ca'n Geroni (by Rolf Riehm) 2:53

2-3 Hälfte des Lebens (by Heiner Goebbels, Words by Friedrich Hölderlin) 2:36

2-4 Poema para el despertar de un niño (by Johannes Eisenberg, Written by Cumbo, Rubio) 3:07

2-5 Ohne dass ich sagen würde, ich bin der neue Führer (Arr.by Goebbels, Comp. by Hübner) 7:50

2-6 Präludium (by Johann Sebastian Bach, Arranged by Rolf Riehm) 2:10

2-7 Einzugsmarsch (''Enlightenment'' by Sun Ra, Arranged by Heiner Goebbels) 2:24

2-8 Zirkus (by Rolf Riehm) 3:53

2-9 Baderkatalog 3:30

2-10 Großvater Stöffel (by Hanns Eisler, Lyrics by Bertolt Brecht) 0:37

2-11 Trauermarsch (by Willem Breuker) 3:11

2-12 O'Guarracino (by Trad. Arranged by Heiner Goebbels) 4:52

2-13 Maschine 3:42

2-14 Kommet Ihr Hirten (Composed by Trad.) 1:14

Bonus

2-15 Verstandsaufnahme (by Heiner Goebbels, Words by Erich Fried) 3:04

2-16 Poltergeist (by Trad. Arranged by Heiner Goebbels) 2:33

SLB musicians:

Christoph Anders, Alfred Harth, Heiner Goebbels – tenor saxes

Henning Wiese, Rolph Riem, Barbara Muller-Rendtorff – alto saxes

Thomas Jahn, Gudrun Stocker, Cora Stefan – flutes

Volker Haas, Reinhard Bussmann, Herwig Heise, Walter Ybema – clarinets

Klaus Becker, Johannes Eisenberg, Gunther Lohr – trumpets

Michael Hoehler, Peter Lieser – trombones

Uwe Schriefer, Jorn Stuckrath – tubas

Ernst Stotzner – voice

This post has prepared my friend Herr -Otto- and here are some of his interesting notes:

Just in case you wonder about the titles of the original LPs: “Hört, hört!” is not equivalent to the (approving) “hear, hear!” used in US and British English but quite the opposite, more like an expression of outrage, as in: “I can’t believe what I just heard!” or, in John McEnroe’s words: “You can’t be serious, man!”

…and “mit gelben Birnen” is the first line of Hölderlin’s poem “Hälfte des Lebens” which was published in 1805 when Friedrich was 35. Apparently a full life span back then was considered 70 years (with some luck). Hölderlin himself exceeded that by 3 years, although most of his later years (after 1807) he spent in a psychologically unstable state in the town of Tübingen in a tower by the Neckar river. This tower is still now referred to as “der Hölderlinturm”.

Enjoy!

posted by -Otto-

Buy this albums!

HEINER GOEBBELS and ALFRED HARTH – Der Durchdrungene Mensch / Indianer Für Morgen (LP-1981)

Label: Riskant ‎– riskant 4001

Format: Vinyl, LP, Album; Country: Germany - Released: 1981

Style: Avantgarde, Experimental

Cover – Johannes Beck

Music By – Alfred Harth (tracks: A1 to A6, B2 to B4), Heiner Goebbels (tracks: A1 to B4)

Producer – Wolfgang Hamm

Recorded By, Mixed By [August 81] – Heiner Goebbels

Recorded By, Mixed By [Sunrise Studios, Kirchberg] – Etienne Conod, Robert Vogel

Der Durchdrungene Mensch - Zyklus Über Den Modernen Mensch

A1 - Der Stürzende Mensch . . . 3:40

A2 - Der Lachende Und Der Weinende Mensch . . . 1:46

A3 - Der Durchdrungene Mensch

(Lyrics By [Life Can Be A Gestalt In Time] – A. Maslow) . . . 3:36

A4 - Der Reibungslose Mensch . . . 3:11

A5 - Der Kommunistische Mensch . . . 4:15

A6 - Der Redende Und Der Schweigende Mensch

(Featuring [Wann Ist Denn Endlich Frieden] – Wolf Biermann) . . . 2:56

Indianer Für Morgen

B1 - Berlin, Q-Damm 12.4.81

(Rec. By – G. Lackner, R. Krause / Trombone – A. Boje, A. Roelofs) . . . 5:05

B2 - Indianer Für Morgen . . . 2:18

B3 - Dunkle Wolk

(Lyrics By – J. Werlin / Recorded By – G. Platen / Vocals – D. Krause) . . . 5:11

B4 - Kein Kriegsspielzeug Für Jonathan . . . 4:11

B5 - Über Den Selbstmord

(Lyrics By – Bertolt Brecht / Music By – Hanns Eisler) . . . 2:36

Heiner Goebbels– Synthesizer, Piano, Drums, Drum Machine, Bass Saxophone, Tenor Saxophone, Soprano Saxophone, Clarinet, Cello, Guitar, Harpsichord, Shawm

Alfred Harth– Voice, Trombone, Bass Clarinet, Bass Saxophone, Tenor Saxophone, Alto Saxophone, Soprano Saxophone

GOEBBELS / HARTH mit KRAUSE / STÖTZNER – Bertolt Brecht: Zeit Wird Knapp (LP-1981)

Label: Tonstudio Zuckerfabrik – 28022

Format: Vinyl, LP, Album; Country: Germany - Released: 1981

Style: Free Jazz, Poetry, Free Improvisation

Recorded and mixed August-October 1981 Tonstudio Zuckerfabrik-Stuttgart.

Artwork [Cover, Booklet] – Pit Mischke

Composed By – Alfred Harth, Heiner Goebbels

Concept By [Idea, Choice Of Texts] – Joachim-Ernst Berendt

Engineer – Gibbs Platen

Lyrics By – Bertolt Brecht / Painting – Robert Cavegn

Photography – Saefkow/Buchholz

Producer – Heiner Goebbels, Joachim-Ernst Berendt

Recorded By – Rolf Riehm and Gisbert Lackner

A1 - Tagesanbruch . . . 4:28

A2 - Ich, Bertold Brecht . . . 1:16

A3 - Schwächen 1:12

A4 - Morgens Und Abends Zu Lesen . . . 0:48

A5 - Liebeslied 1:26

A6 - Abbau Des Schiffes Oskawa Durch Die Mannschaft . . . 6:26

A7 - Es Lebt Eine Gräfin In Schwedischem Land . . . 2:03

A8 - Die Vögel Warten Im Winter Vor Dem Fenster . . . 2:54

B1 - Apfelböck Oder Die Lilie Auf Dem Felde . . . 3:34

B2 - Der Pflaumenbaum . . . 1:38

B3 - Legende Von Der Entstehung Des Buches Taoteking Auf Dem Wege Des Laotse In Die Emigration . . . 5:25

B4 - Liedchen Aus Alter Zeit . . . 0:37

B5 - Sonett . . . 1:25

B6 - Deutsches Lied . . . 1:26

B7 - 1940 (Ich Befinde Mich Auf Dem Inselchen Lidingo) . . . 3:35

B8 - Ich, Bertolt Brecht / An Die Nachgeborenen / Wer Zuhause Bleibt, Wenn Der Kampf Beginnt / Adresse Des Sterbenden Dichters An Die Jugend . . . 2:49

Alfred Harth– Alto Saxophone, Soprano Saxophone, Tenor Saxophone, Clarinet, Bass Clarinet, Recorder [Bass], Percussion

Heiner Goebbels– Piano, Harpsichord, Organ, Synthesizer [Korg, Sci, Wasp], Accordion, Cello, Violin [Chinese], Guitar, Bouzouki, Electric Bass, Percussion

Dagmar Krause– Vocals

Ernst Stötzner– Voice

HEINER GOEBBELS and ALFRED HARTH – Frankfurt-Peking (LP-1984)

Label: Riskant ‎– riskant 4011

Format: Vinyl, LP, Album; Country: Germany - Released: 1984

Style: Avantgarde

Recorded and mixed at Trion Sound Studio Frankfurt (September 1984)

Design [Cover-Design] – Johannes Paar

Mixed By [Abgemischt Von] – Büdi Siebert, Heiner Goebbels, Walter Brüssow

Music By [Musik] – Heiner Goebbels (tracks: A3), Heiner Goebbels / Alfred Harth (tracks: A1, A2, A4, B)

Producer [Produziert Von] – Wolfgang Hamm

Recorded By [Aufgenommen Von] – Bernhard Klein, Walter Brüssow

Track A1 composed for the play "Nach Aschenfeld" by F. K. Waechter

Track B uses original parts of the "Modern Revolutionary Peking-Opera 'Shachiapang'"

A1 - Die Reise Nach Aschenfeld . . 5:50

A2 - Stell Dir Vor Du Bist Ein Delphin

(Lyrics By – Micky Reman) . . . 4:52

A3 - Blitze Über Moskau4:39

A4 - Paradies Und Hölle Können Eine Stadt Sein . . . 4:53

B - Peking-Oper . . . 15:55

Alfred Harth– Tenor Saxophone [Tenorsaxophon], Soprano Saxophone [Sopransaxophon], Clarinet [Klarinette], Bass Clarinet [Baßklarinette], Trombone [Posaune], Trumpet [Trompete], Performer [Mundstücke Etc.]

Heiner Goebbels– Piano, Synthesizer, Organ [Orgel], Guitar [Gitarre], Percussion [Perkussion], Violin [Chinesische Geige], Performer [Mundstücke, Gartenschläuche Etc.]

posted by -Otto-

Buy this albums!

Label: Incus Records – 17

Format: Vinyl, LP, Album - Country: UK / Released: 1976

Style: Free Improvisation

Side A recorded in mono in London on 4 July 1969.

Side B recorded in stereo in London on 18 June 1970.

Painting – Jamie Muir

Producer [Post Production] – John Hadden

Recorded By – Bob Woolford (tracks: 5, 6)

The back cover features a quote from 'The Wellsprings of Music' by Curt Sachs.

A1 - Pointing . . . 7:10

A2 - Untitled 3 . . . 6:32

A3 - Untitled 4 . . . 4:10

A4 - Bedrest . . . 7:38

B1 - Its Tongue Trapped To The Rock By A Limpet, The Water Rat Succumbed To The Incoming Tide . . . 8:55

B2 - In The Victim's Absence . . . 10:35

Derek Bailey– guitar

Evan Parker– soprano saxophone, autoharp [amplified]

Hugh Davies– electronics [live], organ

Jamie Muir– percussion, painting

This LP covers the historic beginnings of the British free music scene and its founding fathers: Derek Bailey, Evan Parker, Hugh Davies, and future King Crimson drummer Jamie Muir. These recordings come off amazingly well, considering the first four were recorded in mono. And while there are six pieces here, it's almost impossible to talk about them as separate entities, since what was at work in the group consciousness was to create a free jazz music in the U.K. that was distinct from what was happening in America and elsewhere in Europe at the time. Therefore in the brave spirit of rabid experimentation and oh so serious creative spirit, we have an amalgam of recordings that suggest the future of a free music that turned out very differently than its origins suggest. This collective is exactly that; none of these players -- especially not Parker or Bailey -- had developed into the kinds of soloists that they are today, not only in terms of technical expertise, but in terms of vision. What one can hear in the bravado here is indecision, misdirection, and wrongheaded musical obfuscation that proved to be liberating obstacles in the long run. The one constant here, the thread, if you will, is the sense of dynamics that became the trademark of the new music and has remained ever since. This is a document that does sound dated, but only in a way that tells a story. It's is a necessary addition to anyone's library who is interested in improvised music.

_ By THOM JUREK

If you find it, buy this album!

Label: Virgin ‎– V 2027

Format: Vinyl, LP, Album / Country: UK / Released: 1975

CD ReR Megacorp – ReR HC3 (US) (2000)

Style: Avantgarde, Jazz Rock, Prog Rock

Recorded at the Manor, February & March 1975, except track A1, recorded November 1974.

Artwork By [Sock] – Ray Smith

Producer – Henry Cow, Phil Becque, Slapp Happy

Recorded By, Mixed By – Phil Becque

Remastered By – Matt Murman

ART IS NOT A MIRROR - IT IS A HAMMER (John Grierson)

A1 - War . . . (2:26)

A2 - Living In The Heart of the Beast . . . (15:30)

B1 - Beginning: The Long March . . . (6:27)

B2 - Beautiful as the Moon - Terrible as an Army With Banners . . . (7:02)

B3 - Morning Star . . . (6:06)

Line-up / Musicians

- Dagmar Krause / vocals

- Peter Blegvad / clarinet, guitar, vocals

- John Greaves / bass, piano

- Chris Cutler / piano, trumpet, drums, vocals

- Lindsay Cooper / bassoon, oboe, Wind

- Mongezi Feza / trumpet

- Phil Becque / synthesizer

- Fred Frith / guitar, piano, violin, keyboards, xylophone

- Tim Hodgkinson / organ, clarinet, piano, keyboards, saxophone, vocals

- Geoff Leigh / trumpet, saxophones

- Anthony Moore / synthesizer, piano, keyboards, electronics

The trademark chainmail sock was deep red, and the cover was adorned with a quote from the left wing film maker John Grierson - 'Art is not a mirror, it is a hammer'. The titles of the two instrumentals also explicitly refer to the band's left wing politics; Beginning: The Long March is a reference to the Chinese Revolution, while Morning Star is the name of the daily paper published by the Communist Party of Great Britain.

And what of the music?

HENRY COW had joined forces with the German trio SLAPP HAPPY as they collaborated to make the album "Desperate Straights" under the SLAPP HAPPY name. "In Praise Of Learning" sees this collaboration continue only this one is released under the HENRY COW name. This collaboration would end shortly after this album was released. Still this melding of the two bands makes "In Praise Of Learning" quite different from their previous two studio albums. More avant-garde i'd say plus having Dagmar Krause on vocals changes the mood completely. I am used to her vocals from the ART BEARS albums but those who haven't heard her sing before don't usually view her participation as a positive. Including guests we get eleven musicians involved with the making of this record. SLAPP HAPPY would fold after this recording when Dagmar announced she was staying with HENRY COW as the COW would tour a lot the following year or so. She would return to SLAPP HAPPY though as witnessed on their 1980 release "Acnalbasac Noom".

"War" is only 2 1/2 minutes long and was composed by the SLAPP HAPPY duo of Moore and Blegvad. Both Blegvad and Krause sing on it and Dagmar is quite passionate here. I like the brief instrumental sections. "Living In The Heart Of The Beast" opens with Frith ripping it up with some dissonant guitar leads. Krause comes in vocally and I like this song already much better than the first tune. It settles down before we get some more aggressive guitar. A calm follows with piano and Dagmar returns in a reserved manner. It turns dark before 3 minutes as we get a complex instrumental section that really impresses. Vocals are back before 4 1/2 minutes. Another calm a minute later as the vocals stop and the sounds become intricate. Vocals are back and they do get passionate at times. Another calm before 7 1/2 minutes with organ. Violin joins in from Frith after 8 minutes. It will kick in again but settle back quickly. This is so good ! Vocals are back before 12 1/2 minutes as it stays fairly relaxed. Great, great track composed by Tim Hodgkinson.

"Beginning- The Long March" like the final track "Morning Star" were joint efforts by the two bands. The first is experimental throughout as various sounds come and go. I like this instrumental a lot, it's a real trip. "Beautiful As The Moon-Terrible As An Army With Banners" is a Frith / Cutler composition. It opens with reserved vocals and a laid back sound with plenty of piano. It does become a little more passionate then settles back before 3 minutes. It picks back up before 4 minutes with an excellent instrumental section. Dagmar is back late. Another excellent track. "Morning Star" ends it as we get dissonant horns and random drum patterns to start and more. Avant is the word and it continues throughout. An adventerous instrumental to close out the album...

Review by Mellotron Storm

PROG REVIEWER, March 03, 2013

Whether you agree with their politics or not, music as passionate and committed as this is all too rare, and in the prog field it is almost unprecedented. Listen and be amazed.

Never have I heard such a radiant combination of instrumentation, song-writing, emotion, intellect, everything that makes each song unique and full of true magic. If you have not heard it, grant your ears the gift immediately. This album gets my highest recommendation of anything I could write.

Buy this album!

TONE JANŠA QUARTET – Goa (LP-1983)

TONE JANSA QUARTET – Bouyancy (LP-1976-78)

URS LEIMGRUBER / ADELHARD ROIDINGER / FRITZ HAUSER – Lines (1994)

JOHN McLAUGHLIN – Devotion (Douglas LP-1970 / Epic, Japan LP-1972)

MAHAVISHNU JOHN McLAUGHLIN – My Goal's Beyond (LP-1971)

LARRY YOUNG – Unity (Blue Note LP-1965)

LARRY YOUNG – Of Love And Peace (Blue Note LP-1966)

THE HUMAN ARTS ENSEMBLE – The Human Arts Ensemble Live Vol. II (LP-1978)

ALBERT MANGELSDORFF QUARTET / QUINTETT – Never Let It End (LP-1970) and – Birds Of Underground (LP-1973)

JAN GARBAREK QUARTET – Afric Pepperbird (LP-1970)

JAN GARBAREK with TERJE RYPDAL – Esoteric Circle (LP-1969-76)

WOLFGANG DAUNER'S ET CETERA – Live (2LP-1973)

WARBURTON / FUCHS / GUIONNET / PERRAUD – Return Of The New Thing (1999)

RETURN OF THE NEW THING – Traque (2003)

F. CARRIER/ D. REDMAN/ M. DONATO/ R. SÉGUIN/ M. LAMBERT – Open Spaces (Live in Quebec City, Oct.30/Nov.1st 1999)

MATT LAVELLE TRIO – Spiritual Power (2007)

SOGENANNTES LINKSRADIKALES BLASORCHESTER ‎– Hört, Hört! (1977) / Mit Gelben Birnen (1980) - 2CD-Trikont

HEINER GOEBBELS and ALFRED HARTH / 3 albums (LPs-1981-1984)

THE MUSIC IMPROVISATION COMPANY – 1968-1971 (LP-1976)

HENRY COW – In Praise Of Learning (LP-1975)