Free Jazz Music

People may end up buying this because its on Thurston Moore's free jazz list but its not a bunch of mind bending skronk. Which isn't to say its not quality free jazz. On the contrary its a diversion into a variety of sound structures enhanced by multi instrumentation. Aspects of world music find their way into "Afrodisiaca" which is not surprising but in a restrained way like Don Cherry or late 60's Archie Shepp. John Tchicai, having played on John Coltrane's "Ascension" and with the New York Art Quartet had started a massive ensemble here, a free jazz orchestra encorporating multiple sound structures. More restrained than some of his work though clearly within the free jazz genre its too bad its not more well known though it should be.

AFTER APPLEBY is the second recording by the Parker/Guy/Lytton trio joined by pianist Marliyn Crispell -- their first was NATIVES AND ALIENS, a studio recording from 1997 also on Leo Records. AFTER APPLEBY breaks no new ground, but is another beautiful outing, a 2-disc set, one in the studio and one live at the Vortex. Evan Parker is heard on tenor more than usual here, his main horn being the soprano. And as before, there is much quiet, delicate playing -- whereas the sax/bass/drums trio is known for its lightning speed and intensity, adding Crispell to the mix results in slower playing with more space as the three veteran "natives" listen and make room for the "alien." If there is also some aging and mellowing going on in contrast to the ferocious music made by P/G/L in years past, it certainly does not diminish the precise and astonishing group interplay. There are moments when the volume, speed and intensity increase, though, make no mistake, and Crispell sounds more like Cecil Taylor.

The studio disc includes six short duets, with the players in various combinations, as well as two long quartet improvisations, "Blue Star Kachina" and "Where Heart Revive." The live disc contains one long improvisation, "Capnomantic Vortex," and a pretty closing number, "Fond Farewell," with a Crispell/Guy/Lytton trio. This is free improvisation at its finest, a superb representative of its genre by some of its masters.

This double-CD is a superb example of an incomparable musical dimension courtesy of four of the most virtuosic, forward-looking, creative and intense improvisers/composers alive: Evan Parker (soprano and alto saxophones), Marilyn Crispell (piano), Barry Guy (bass), Paul Lytton (percussion).

I can't think of words that would do this music justice, which is very frustrating given its tragic lack of exposure and the lack of reviews of it (with the exception of the excellent review by autonomeous). The least I could do to increase its potential for greater exposure is to quote some passages from the superb liner notes by Steve Kulak, which are as fitting as I can imagine:

"Evan Parker is one of the few players who can transport you inside their mind completely. His dazzling technique rides hard on the back of an elaborate sense of invention. He has changed the face of saxophone technique and saxophone music. His approach to music is intensely physical yet intellectually detailed, constantly challenging at every level. ...

...It is impossible not to be overwhelmed by the sheer force of what is going on here. You would need to have ears of steel and a heart of stone not to appreciate this extended flight into outer space. ...

After Appleby is social engagement by four minds of equal stature sharing an equal commitment in an unequal world. They reinvent their instruments, from primal bursts to a thrilling harnessing of sound converted into a viable music so exciting and different that it virtually defies categorization.

... After Appleby, like Parker's 50th Birthday Concert, ... is music of such impressive focus and fearsome weight, that there is never any doubt as to the significance of the musical content. ...

Parker is in great company. Guy and Lytton match him in every respect. The bonus is Crispell ... If anyone wanted an introduction to the most engaging, exploratory piano mind at work today, then the Crispell discography on Leo Records will satisfy ten times over. Here is a disciplined mastery reflected through a prism of songs impregnated with all manner of subliminal nuances. ...

Welcome to Evan Parker's controlled fury. Welcome to life heard as music, an intimate source of sound, discipline and devotion swept along by a restless quest for the new to liquidate the old. ...

Climb over the wall. Project yourself into the music, in a situation you are obliged to be present in. This is music of conversation, making audible a world that already exists. It is not commodity music made to a market demographic. Listening to Parker, Guy, Lytton and Crispell you regain consciousness and can feel your bones again. ..."

four and a half stars. probably, the best ever vocal version of "you go to my head": intoxicating. what lee does with her voice is amazing. but there are excellent versions of other standards like "caravan", "good-bye pork pie" "straight ahead" and "fire waltz". and though not on the level of "you go to my head", a very good version of "ev'ry time we say good-bye". all in all, an excellent album from beginning to end, with mal waldron's monk-esque, hipnotic, slow tempo piano as a perfect accompaniment to lee's unparalleled voice. forget diana krall and norah jones, here we have a true heavyweight. long linked to avant-garde music, lee passed away in 2001, leaving an unfortunately small repertoire of jazz recordings. i strongly recommend "after hours", i only wish she had recorded more albums of standards... finally, the sound quality is incredible. recorded in france in 1994.

four and a half stars. probably, the best ever vocal version of "you go to my head": intoxicating. what lee does with her voice is amazing. but there are excellent versions of other standards like "caravan", "good-bye pork pie" "straight ahead" and "fire waltz". and though not on the level of "you go to my head", a very good version of "ev'ry time we say good-bye". all in all, an excellent album from beginning to end, with mal waldron's monk-esque, hipnotic, slow tempo piano as a perfect accompaniment to lee's unparalleled voice. forget diana krall and norah jones, here we have a true heavyweight. long linked to avant-garde music, lee passed away in 2001, leaving an unfortunately small repertoire of jazz recordings. i strongly recommend "after hours", i only wish she had recorded more albums of standards... finally, the sound quality is incredible. recorded in france in 1994.

four and a half stars. probably, the best ever vocal version of "you go to my head": intoxicating. what lee does with her voice is amazing. but there are excellent versions of other standards like "caravan", "good-bye pork pie" "straight ahead" and "fire waltz". and though not on the level of "you go to my head", a very good version of "ev'ry time we say good-bye". all in all, an excellent album from beginning to end, with mal waldron's monk-esque, hipnotic, slow tempo piano as a perfect accompaniment to lee's unparalleled voice. forget diana krall and norah jones, here we have a true heavyweight. long linked to avant-garde music, lee passed away in 2001, leaving an unfortunately small repertoire of jazz recordings. i strongly recommend "after hours", i only wish she had recorded more albums of standards... finally, the sound quality is incredible. recorded in france in 1994.

I have (perhaps delusionally) thought of myself as well versed in the history of modern jazz. I have been listening to it and avidly collecting it's documents since around 1968.
But every once in a while, I come across a recording of which I knew nothing and which makes me wonder if I know anything about the history of improvisational music at all.
This CD is part of a series of reissues from the Free America label. This was (I believe) a Parisian label that specialized in recording expatriate American free jazzmen who were living in France at the time. The labeled issues some of the best early recordings of the Art Ensemble of Chicago and Anthony Braxton's great Saxophone Improvisations, Series F along with dates by Archie Shepp, Clifford Thornton, etc.. They all seem to be available now as reissues.
This particular date was Dave Burrell's fourth date as a session leader and is still remarkably innovative in many ways.
Before I get to that, let me mention the personnel involved: On the two sections of After Love (the sections are distinct pieces I believe not the results of the LP format) the band is Burrell (piano), Roscoe Mitchell(saxes, clarinets and flutes), Alan Silva (cello, electric cello and violin), Ron Miller (bass and mandolin) and Bertrand Gauthier (drums). On My March, Miller and Gauthier are replaced by Michel Gladieux on bass and Don Moye on the drums.
The first section of After Love (subtitled "Questions and Answers") is a treat and a shock. The sonic mix is the first thing you notice. The bass, electric cello and drums are up front and the piano and sax are in the background. The drumwork by Gauthier must have been exhausting-it is an unrelenting throb. The cello and bass (about midway, Miller changes to the mandolin for awhile) dominate throughout the piece with Burrell serving largely as a harmonic and percussive commentator. To me, Silva is simply unbelievable. His cello work seems prophetic of the way that string technique would develope in the decades after this 1970 date. It is a scratchy, microtonal romp. I bought this CD because I am a big fan of Mitchell and Burrell. I have been listening to it constantly for the last week largely because of Silva. Proof, once again, that I am an ignorant (insert noun of your choice).
The second section of After Love is subtitled "Random" which is sort of fitting. The sound mix is more traditional on this piece although all the instruments are treated as equals. The piece is brooding, melodic and contrasts well with the first section. Together they form an impressive piece that must have been a treat to experience live.
My March is another odd structure. It starts out with a lovely solo section from Burrell. Burrell is one of those pianist (like Jaki Byard) who knows and loves stride and ragtime piano and incorporates those styles into solos that are very free at the same time. The result is a sort of fragmented stride piano with modernistic harmonic touches. It is great stuff. After about five minutes Mitchell takes over on a clarinet (alto?). He is disjointed and uses lots of embrochure variation. Again you can hear some march cliches that are being both respected and punished. Silva comes in and does another great string solo (violin?). Suddenly at about ten minutes the soli series stops and Moye leads the whole band into a march. Moye and Gladieux mostly plays the march straight while Burrell, Mitchell and Silva perform loosely as a free trio on top of the rhythm section. Silva plucks his cello, Mitchell growls on his alto sax and Burrell connects everyone.
I hope I have given you some idea of why I think this music was so innovative and possibly influential. This music predates sessions by Oliver Lake (Heavy Spirits) and Julius Hemphill (Dogon A.D.) where similar experiments were made. I guess in some ways the question of influence and historical import is of little concern to the average listener. I think I can guarantee you however that if you are a lover of improvistional musics that are experimental or free that you will very much enjoy this CD. I came to this CD hoping to delight in Burrell the pianist. I come away from it everytime delighting not only in that but in Burrell the creator of musical structures. Give it a earshot and let me know what you think.

An artist known for her creativity and penchant for taking chances, Cassandra's After the Beginning Again includes some moments one has come to continually expect from Ms. Wilson. Particularly pleasant are the standards 'Round Midnight and Baubles, Bangles, and Beads, as well as her haunting original There She Goes. Although it must be admitted that some of her originals on this album are quite weak, her creativity shines through nonetheless as still appealing. After the Beginning Again may be of interest to those serious fans wishing to augment their Cassandra Wilson collection beyond her smash-success releases of the mid-nineties.

Cassandra Wilson's "After The Beginning Again" is another classic from this talented woman! Her rich, sultry voice sounds great on every track of this CD. The only slight disppointment I have about this CD is that the version of "Redbone" found here is inferior to the version that appears on the "Blue Light Til Dawn" CD. My personal favorite tracks are "There She Goes" and "'Round Midnight." This is definitely worth a listen, add this one to your music collection!