Anthony Braxton & Derek Bailey - First Duo Concert(1974)

Anthony Braxton & Derek Bailey - First Duo Concert

Tracklist :
1 The First Set - Area 1 8:22
2 The First Set - Area 2 3:12
3 The First Set - Area 3 (Open) 8:44
4 The First Set - Area 4 (Solo) 2:43
5 The First Set - Area 5 5:21
6 The First Set - Area 6 6:08
7 The Second Set - Area 7 6:48
8 The Second Set - Area 8 6:23
9 The Second Set - Area 9 (Solo) 5:56
10 The Second Set - Area 10 4:29
11 The Second Set - Area 11 (Open) 15:29
12 The Second Set - Area 12 3:57


Anthony Braxton - fl, cl (normal, soprano, contrabass), as, s-nino sax
Derek Bailey - guitar (amplified & 19-string (approx))

Analogue concert recordings made in London in the Wigmore Hall - 1974 June 30

This duo is in very different features of Dave Holland and Sam Rivers. Two musicians of very different characteristics build up very unique sound world. To my feeling the way of their duo is not in collaboration of usual meaning. For example track no 10, is combination of repeating simple pentatonic by Antony's clarinet and abstract and more small phrase by Derek's guitar. If these were played seperately, these are not so interested music. But playing these very different kinds sound makes up unique sound.

http://www.multiupload.com/VX46QTBQ2Q

Manfred Schoof - European Echoes

Enrico Rava: trumpet
Manfred Schoof: trumpet
Hugh Steinmetz: trumpet
Peter Brötzmann: tenor saxophone
Gerd Dudek: tenor saxophone
Evan Parker: soprano & tenor saxophones
Paul Rutherford: trombone
Derek Bailey: guitar
Fred Van Hove: piano
Alexander von Schlippenbach: piano
Irène Schweizer: piano
Arjen Gorter: double bass
Peter Kowald: double bass
Buschi Niebergall: double bass
Han Bennink: drums
Pierre Favre: drums

The lineup says it all. Derek Bailey, Peter Brotzmann, Fred Van Hove, Alexander von Schlippenbach, just to name a few, are all here. I’ve always put this album in context by thinking of it as the non-idiomatic improvisational cousin of Ornette Coleman’s Free Jazz. There is the all-star lineup, the big group moving and swaying and surging, just as there is in Free Jazz. Each player would go on to do even greater things individually or in new configurations. Yet this album, at least from an American perspective, is much less celebrated, which I’ve found curious.

Part of that can be geographic, obviously. Another reason for the supremacy of Free Jazz on these shores is Coleman’s ties to traditional US folk music, where his abstractions would be broken up, or kept in context, by fleeting phrasings (or rephrasings) of memorable tunes. Here there is much less recognizable in terms of melodies under the fray. In this way, it is a more European version of Coltrane’s Ascension. Of course, that is fine praise. And, it is my guess, if you’re a fan of Free Jazz, but enjoy a harsher edge, like Ascension, but want less clutter, then European Echoes is right up your alley.

Unlike some other giant group affairs, this plays slightly more like Bitches Brew in that this record breaks up its storms with a lot of individual showcasing. There is just less going on at one time for a decent number of stretches. In this way, you can hear this as a fresher approach, one that resembles the smaller group free improv of today. The other great thing about this record is that many players are still active, or were at least active recently. This allows you to see how they play in the context of new groups comprised of players that grew up with this sort of thing as respected music rather than a radical statement.

All in all, this is one of the better records posted to KiC, and hopefully a new rip, improved cover art, etc. will help it continue to gain in esteem.(from KILLEDinCARS)

1969 EUROPEAN ECHOES

Spontaneous Music Ensemble - Karyobin

Derek Bailey: electric guitar
Evan Parker: soprano saxophone
Kenny Wheeler: trumpet, flugelhorn
Dave Holland: bass
John Stevens: drums

Review

by Scott Yanow

This CD reissues the second album by the Spontaneous Music Ensemble, retaining two musicians from the initial 1966 set (trumpeter Kenny Wheeler and drummer John Stevens) and adding Evan Parker on soprano, guitarist Derek Bailey and bassist Dave Holland. The young British all-stars (all virtually unknown at the time) stretch out on the six-part "Karyobin," playing quite freely in an idiom influenced a bit by their American contemporaries but already on its way to developing a more European sound. Bailey is mostly in the background with the key voices being Wheeler and Parker, but all five musicians make their contributions. The music is episodic and ends inconclusively but rewards repeated listenings. An important early recording for these five future greats.

1968 KARYOBIN

Derek Bailey & Han Bennink - ICP 004

Derek Bailey: guitar
Han Bennink: drums, oeoe, gachi, conch-trumpet

1969 ICP 004

Misha Mengelberg, John Tchicai, Han Bennink, Derek Bailey - Fragments

ICP ORCHESTRA:
Misha Mengelberg: piano
John Tchicai: saxophone
Derek Bailey: guitar
Han Bennink: drums, percussion

1970 ICP 005

Kaoru Abe, Motoharu Yoshizawa, Toshinori Kondo, Derek Bailey - Aida's Call

Kaoru Abe: alto saxophone
Motoharu Yoshizawa: bass
Toshinori Kondo: trumpet
Derek Bailey: guitar

Review

by Skip Jansen

This 1978 session saw three leading figures of the Japanese free improvisation scene in collaboration with the godfather of British improvised music, Derek Bailey. The guitarist is at home in the highly abstract rapid-fire ad-hoc setting with trumpeter Toshinoro Kondo, bassist Motoharu Yoshizawa, and saxophonist Kaoru Abe, the latter in fact the outstanding player of the quartet through the sheer force with which he plays. The recording is let down somewhat by poor recording quality -- but nonetheless is a vital and historical date for Derek Bailey, who worked with all the players in duo settings on other occasions -- but rarely with three of the Japanese avant-garde's finest musicians.

1978 AIDA'S CALL