Free Jazz Music

I wish I could compair this album, with Annexus Quam's OSMOSES. Reading the review of their first LP, i find little there, that might refer to this LP. In almost every way, this LP evolved from the freejazz tradition. Nothing wrong there, but that sound was deeply explored by several American jazz masters, by this time.(1976) The overall sound, reminds me of Ornette Coleman's early experiments, but a much thinner, less viscerally connected sound. Inside the cover, the band expressed some disappointment with the studio setup, under which they had recorded the album. Apparently sound screens, and headphones were in use, and the musicians felt that this prevented them from having a free, unobstructed view of each other's faces. Therefore, they felt that their normal musical interaction, to produce "lifesituation" music, could not be properly pulled off. So the band is even making excuses for this LP. Not a good sign.

I'll attempt a direct discription of their sound on this album. First off, no drums. What you hear, are various sax lines, some bass, and occasionally guitar, depending on the song. The line up listed on the CD is odd, cos five musicians are listed. (Bass, two guitarists, someone one sax and flute, and another guy who seems to primarily produce ambience.) So, it isnt rooted by a drummer like Ornette Coleman quartet's Ed Blackwell, or Elvin Jones, who played with Coltrane with his freejazz sessions. Naturally, a good drummer can really ground sessions that embrace the unexpected, and spontaneous. A drummer might have been able to give musical signals, and hear rythymic links, and produce a lot of texture and energy. You don't have that here. Maybe the thinner sound, keeps this album from the becoming very difficult music, as say Coltrane's "OM", or "ASSENSION". But i would never compair Annexus Quam's music to Pink Floyd. Perhaps at times, on maybe one song, you start to hear the slightest hints of psychedelia. It's transcient at best. If I could compair this with any music, maybe it would be that German band LIMBUS. So much of this music just mellows out, to some squeaking sax, with another sax line, occasional guitar arpeggios, and some occasional sound effects. I don't hear heavily textured interactions, overall. You expect more sound, from 5 musicians. Yet that is not the case. One might surmise, that this was music the band hoped would just gell in the studio, and it didnt. However, don't get me wrong. I wouldn't call this a failed experiment on all levels. It certainly beats listening to "SMOOTH JAZZ". Maybe I'd only say two stars, but it's certainly original, and that counts. Unfortunately the band, or producer was too "conceptual". There's not enough psychic interplay, and energy, which is what makes the best freejazz work. Perhaps this band's first album is more successful. If so, then I would recommend that, if you want to the band at their best.

Originally released in 1972,this was the little-known krautrock band's 2nd of just two albums.Another obscurity that's an acquired taste.Tracking list is as follows: "Trobluhsel el E Isch"(5:29), the quite beautifully arranged as well as moody "Leyenburg 1"(14:05), "Dreh Dich Nicht Um"(16:20) and Leyenburg 2"(3:35). Line-up: Peter Werner-guitar, Martin Habenicht-bass, Hans Kamper-guitar,trombone&flute, Ove Volquartz-sax and Harald Klem-zither,tabla and guitar. Should appeal to fans of Ash Ra Tempel,Deuter,early Tangerine Dream and Yatha Sidhra.

ECM is known for this type of musical innovation. This album has elements of both classical and jazz and is so original its hard to seriously compare it to anything. It has elements of minimalism, free jazz, scandinavian folk, etc, but integrates them in such a seamless way it really defies classification. If you have an appreciation for ECMs more avant-garde musical works and don't mind a bit of weirdness, check this out. It really rewards repeated listening.

This is Julius Hemphill's only big band recording. Previously, Hemphill's compositions had been performed by smaller ensembles like his duos, trios, and quartets with Abdul Wadud, the World Saxophone Quartet, and even Hemphill solo, accompanying himself via overdubbing. With this larger ensemble Hemphill demonstrates his compositional and arranging abilities on a grand scale.   The orchestral make-up is a little out of the ordinary. All of the woodwinds (Hemphill, Marty Erhlich, J.D. Parran, John Purcell, John Stubblefield) double on other instruments with nearly everyone playing flute or soprano sax - both instruments (especially flute) that are not usually heard in a big band context. In addition to trumpets, trombone, and bass trombone Hemphill uses two (two!) French horns. These combinations of horns and woodwinds give Hemphill's big band a unique sound - which is appropriate considering the types of compositions that are being played. Two guitarists also get some solo spotlight; Jack Wilkins contributes a great solo to the swaggering "C/Saw" and Bill Frisell plays a classic Frisell solo in "Bordertown".   These are compositions that Hemphill has worked over many times in the past. I've heard some of these pieces performed as duets and trios - where they sounded fully realized; that's what makes Hemphill's arrangements for big band so surprising - the songs sound completely different with the expanded line-up.   My rating would have been 5 stars but the poetry of K. Curtis Lyle on "Drunk on God" kind of detracts from the music - however the music is powerful enough to stand on its own. Still an amazing recording.

This is Julius Hemphill's only big band recording. Previously, Hemphill's compositions had been performed by smaller ensembles like his duos, trios, and quartets with Abdul Wadud, the World Saxophone Quartet, and even Hemphill solo, accompanying himself via overdubbing. With this larger ensemble Hemphill demonstrates his compositional and arranging abilities on a grand scale.   The orchestral make-up is a little out of the ordinary. All of the woodwinds (Hemphill, Marty Erhlich, J.D. Parran, John Purcell, John Stubblefield) double on other instruments with nearly everyone playing flute or soprano sax - both instruments (especially flute) that are not usually heard in a big band context. In addition to trumpets, trombone, and bass trombone Hemphill uses two (two!) French horns. These combinations of horns and woodwinds give Hemphill's big band a unique sound - which is appropriate considering the types of compositions that are being played. Two guitarists also get some solo spotlight; Jack Wilkins contributes a great solo to the swaggering "C/Saw" and Bill Frisell plays a classic Frisell solo in "Bordertown".   These are compositions that Hemphill has worked over many times in the past. I've heard some of these pieces performed as duets and trios - where they sounded fully realized; that's what makes Hemphill's arrangements for big band so surprising - the songs sound completely different with the expanded line-up.   My rating would have been 5 stars but the poetry of K. Curtis Lyle on "Drunk on God" kind of detracts from the music - however the music is powerful enough to stand on its own. Still an amazing recording.

I'vw been listening to excerpts from many of the jazz violin albums. This album is my favorite from the group that I recently purchased. I had never heard of Billy Bang before. So many of the violinists seemed old-fashioned or too simple or too abstractly avant-guarde or too electronic or simply not very jazz-like. Billy Bang fits in comfortably with my post-bop jazz sensibility.

And then I remember that it is a Soul Note release and they are somewhat hard to get in the United States (of Occassionally Willful Ignorance).
There is no real star here as well. John Tchicai was probably most famous as a 60s firebrand of free jazz who helped to found such groups as the New York Contemporary Five. He has mellowed over the years but is still an intelligent and searching player of both the tenor sax and the bass clarinet.
Garrison Fewell (I am sad to admit) was new to me. He apparently studied with the likes of Pat Martino and Lenny Breu. He plays in a straight-ahead, classical toned style. He is superb comper and solos to good effect (especially on Yogi in Disguise).
Tino Tracanna is known (in Europe) for his sophisticated composing and playing. He can play in any format and is lyrical even for an Italian (that is a compliment, by the way).
Paolino Dalla Porta graces the pages of Amazon only for his work with Stefano Battaglia. His own CD, "Esperanto" should be how he is known. I would recommend it over this CD. He is the possessor of an unusally large double bass and an even bigger sound. He solos only on Simplicity. Let us just say he makes good use of it.
Finally, Massimo Manzi, is a great Italian studio drummer on too many CDs to mention. He has worked before with Tracanna and with Dalla Porta.
The three leads share the compositional duties and most of the solo space. The music here seems to me to be a sort of contemporary version of Tristano. Chromatic Cool. There are some stand outs (Simplicity, X-Ray Vision and Yogi In Disguise among others) but nothing that strikes me as likely to enter the tradition. Another way to put it is that these compositions almost seem if they were written before Ornette Coleman came on to the scene.
But the problem for me may be the performances. Everybody seems so relaxed (or maybe so determined not to grab the spotlight in a collective effort) that no one really grabs my attention and makes it urgent for me to listen to them. Tracanna is the best of the lot especially on the soprano. But I have heard him play better on his own CDs.
So for me, for now, this is a good CD, one that I will listen to sometimes but not frequently. Perhaps, on future listening, I will hear more. Or perhaps, someone else will review it and reveal to me what I am missing.
For now, I suggest that you seek out Dalla Porta's Esperanto or Tracanna's "292" also on the Splasc(h) label. As always, write me if you have trouble finding them.