Anthony Braxton - Silence(1969)

Anthony Braxton - Silence


Tracklist
A Off The Top Of My Head
B Silence

Personnel:

Anthony Braxton - Reeds, (Misc. Instruments), Producer
Leo Smith - Trumpet, (Misc. Instruments), Producer
Leroy Jenkins - Violin, (Misc. Instruments), Producer

Recorded on 18 July 1969 in Paris.


http://www.multiupload.com/QCN22QOZZ0

Giuseppi Logan - More(1966)

Giuseppi Logan - More(1966)

Tracklist:
1 - Mantu
Bass - Reggie Johnson 6:11

2 Shebar
Bass - Reggie Johnson 13:18

3 Curve Eleven 8:42

4 Wretched Sunday
Bass - Eddie Gomez 10:48

Personnel:
Alto Saxophone, Bass Clarinet, Flute, Piano, Written-By - Giuseppi Logan
Drums, Percussion - Milford Graves
Piano - Don Pullen

Recorded 1.5.65 at Town Hall. Released in 1966.

http://www.multiupload.com/FF4FFIV3H2

Barre Phillips -Journal Violone (1968)

Barre Phillips -Journal Violone (1968)

Track:
A Journal Violone Part One
B Journal Violone Part Two


Contrabass - Barre Phillips

Recorded in London during November of 1968. The recording was made in the Parish Church of St. James' Norlands.

Young Barre Phillips plays lika "a pioneer of free improvisation by wood-base" here. He trys various aspects of wood-base as "sound maker", as well as musical imagination.

http://www.multiupload.com/TSSG0EVBPB

Sunny Murray - Big Chief (1969)

Sunny Murray - Big Chief (1969)


Track:
A1 Angels And Devils
Written-By J. Coursil / Sunny Murray 5:14
A2 Hilarious Paris 5:30
A3 Now We Know 7:44
B1 Angel Son 7:30
B2 Straight Ahead
Written-By Le Roy Bibbs/ Sunny Murray 9:30
B3 This Nearly Was Mine
Arranged By Sunny Murray
Written By Rodgers 5:12

Personnel:
Sunny Murray - Drums, Percussion, Written-By, Reissue Producer
Beb Guerin - Bass
Becky Friend - Flute
Francois Tusques - Piano
Ronnie Beer - Alto sax
Kenneth Terroade - Tenor sax
Bernard Vitet - Trumpet
Alan Silva - Violin
H. Le Roy King - Voice (Poem)

Michel Le Bris - Reissue producer
Remastered - Michael King
Eric Schou - Design (Sleeve remix)

Recorded at Studio E.T.A., rue de l'Abbe-Gregoire, Paris.

This is Sunny Murray's leader album during Paris days at the end of 1960s.
Not only strong emotional power, also lylical tranguility makes this album different from uninteresting
and ordinal noisy free jazz.


http://www.multiupload.com/6MDOOMM748

Dave Burrell - High Won / High Two

Dave Burrell - High Won / High Two

Track list:

1 West Side Story (Medley)
Arranged By - Dave Burrell
Written-By - Bernstein 19:35

2 Oozi Oozi 3:07
3 Bittersweet Reminiscence 2:10
4 Bobby And Si 2:10
5 Dave Blue 2:35
6 Margie Pargie (A.M. Rag) 2:58

7 East Side Colors
Drums - Sonny Murray 15:15

8 Theme Stream (Medley) 15:23

Personnel:
Piano - Dave Burrell
Bass - Norris Jones
Drums - Bobby Kapp (tracks: 1 to 6, 8)
Tambourine - Pharoah Saunders

Written-By - Dave Burrell (tracks: 2 to 8)

Producer - Alan Douglas
Producer [Additional Production] - Michael Cuscuna
Artwork By - Malcolm Walker
Photography - Raymond Ross

Recorded in New York City, 6th February 1968 except East Side Colors (9th September 1968)

Last track Theme Stream (Medley) is subdivided in six parts :
(a) Dave Blue
(b) Bittersweet Reminiscence
(c) Bobby And Si
(d) Margie Pargie (A.M. Rag)
(e) Oozi Oozi
(f) Inside Ouch

This is re-issuance of vinyl of 1968 in 1995 with unissued trucks.

Dave Burrell plays rather normal style which includes free taste in limited level. But young Noris Jones (Sirone) seems to try to play in free style so that he can take Dave's piano and music into new and advanced style at that time.

Happeining of such inbalance plays between session members and tensions generated by such is one of interests of Jazz music, I guess.


http://www.multiupload.com/YDNOBUQTNB

Karl Berger - From Now On (1967)

Karl Berger - From Now On (1967)

Track list
A1 Scales
A2 Turn Arround
A3 Steps
B1 Blue Early Bird
B2 Like That
B3 Greenbird
B4 From Now On

Personnels:
Vibraphone - Karl Berger
Bass - Henry Grimes
Drums - Edward Blackwell
Alto Saxophone - Carlos Ward

Composed By - Karl Berger

This is happy and vital music with good balance of cool inteligence and free jazz energy.
I guess, Carlos Ward should be taken more attention.

Souce of this is cassett tape, recording the noisy vinyl. So sound quality is not satisfactory. Sorry for this.


http://www.multiupload.com/T6RPP00UBD

Alan Silva - Skillfullness

ALAN SILVA - Skillfullness (ESP, 1969)

Alan Silva: violin, cello, piano
Becky Friend: flute, vocals
Mike Ephron: piano, organ
Dave Burrell: piano
Karl Berger: vibraphone
Lawrence Cook: cymbals, rattle, percussion

01-Skillfullness
02-Solestrial

Listening to Alan Silva is always a strong and strange experience. Skillfullness is one of the weirdest Silva's recordings. This one is rather powerfull and in a constant unstable equilibrium: it's always under tension. There are a lot of unusual instruments for this time (flute, violin), a lot of different energies. Rythmic patterns are rather absent and all keys are utterly unmaked. A cosmic and solar music somewhere between Sun (Ra) and Cecil Taylor.

HERE
dedicated to Flo.

Albert Ayler - Spiritual Unity

ALBERT AYLER - Spiritual Unity (ESP, 1964)

Albert Ayler: tenor saxophone
Gary Peacock: bass
Sunny Murray: drums

01-Ghosts (First variation)
02-The Wizzard
03-Spirits
04-Ghosts (Second variation)

1964 proved to be a watershed year for Albert Ayler , who recorded enough material for ten albums, three for ESP alone. With drummer Sunny Murray  a lone constant, Ayler exchanged Henry Grimes  for Gary Peacock  on bass midyear, briefly adding Don Cherry  for some of the most memorable excursions he would commit to tape, including the expanded group that scorched through New York Eye and Ear Control. Almost a month to the day after capturing the Ayler/Peacock/Murray trio live at the Cellar Cafe in New York, ESP recorded them performing nearly the same program in the studio as Spiritual Unity. As part of ESP owner Bernard Stollman's better-late-than-never remaster/reissue series, Spiritual Unity still weighs in at under thirty minutes with no bonus tracks. But the four original tracks pack more power and punch 41 years after the fact than most dreck-filled full length releases. In glorious mono (on the opening track; the rest are stereo), Ayler invents "ancient to the future with his unmatched mixture of old time spiritual theme snippets played with maudlin vibrato launching into unfathomable dimensions of sound. The shivering shriek and wavering wail return with a freshness that knows no expiration date.
The first of two versions of "Ghosts barely states the theme before the fun begins. Murray steams the cymbals as Ayler finds every manner of variation, fingers working the keys as primal nerve impulse. When he rests, Peacock briefly runs the baton over unexpected intervals. It's amazing to reflect that he came into his tenure with Ayler after his historic pensive, empathic association with Bill Evans, a polar opposite if ever there was one. Ayler returns for a more complete stating of the theme. The second "Ghosts has Peacock more aggressive in the opening, and during nearly double the length of the first version, Ayler wastes no time reaching for the stars. There must have been a good deal of body English involved as he moved up and back off the mic, blowing the brass off the sax.
The enigmatic theme of "The Wizard sets a roiling improv in motion where the ideal of three playing as one finds realization. Ayler breaks out with jagged-edged multiphonics, taking the tenor on a runaway train ride few would dare attempt. Spirits slows it down as Ayler sings, slides, and slurs the sax through the land of strange beauty that only he inhabited, though others visited. Murray and Peacock relax, working off space, silence, and the beauty of freedom.
The Ayler ESP recordings remain some of the most breathtakingly remarkable music ever captured: original, alien, and as seductively familiar as one's own pulse. (from AAJ)
 
HERE

Albert Ayler - My Name Is Albert Ayler

ALBERT AYLER - My Name Is Albert Ayler (Fontana, 1963)

Albert Ayler: soprano & tenor saxophones
Niels Brønsted: piano
Niels-Henning Ørsted Pedersen: bass
Ronnie Gardiner: drums

01-Introduction
02-Bye Bye Blackbird
03-Billie's Bounce
04-Summertime
05-On Green Dolphin Street
06-C.T.

HERE 

Ostad Elahi - The Paths of Divine Love

OSTAD ELAHI - The Paths of Divine Love (Le chant du monde, 1997)

Ostad Elahi: compositions, modes and improvisations on the tanbur lute

01 Farangi
02 Suite Haft Khân-E Rostam
03 Suite de Tarz 1-8
04 Chants
05 Suite Shâh Hoseyni (2e Partie)

Recorded between 1964-72

HERE

Han Bennink, Misha Mengelberg, John Tchicai - ICP 002

 HAN BENNINK, MISHA MENGELBERG, JOHN TCHICAI (ICP, 1968)

Han Bennink: percussion
Misha Mengelberg: piano
John Tchicai: alto saxophone

1. Amagabowl part 1, no. A B C D E
2. Amagabowl part 2, no. F G H I J
3. Sweet smells
4. Vietcong

HERE

Han Bennink & Willem Breuker - New Acoustic Swing Duo (ICP 001)

HAN BENNINK + WILLEM BREUKER - New Acoustic Swing Duo (ICP, 1967)

Willem Breuker: soprano, alto & tenor saxophones, Eb & bass clarinets
Han Bennink: percussion, drums, voice

1. Music For John Tchicai
2. Felix Meritis and B.V.
3. I.C.P. 1 For Marteen Derksen
4. Singing The Impalpable Blues
5. Mr. M.A. de R. in A.

HERE

If you like the ICP recordings, you can check a lot of them on the LUCKY PSYCHIC HUT

Noah Howard - The Black Ark

NOAH HOWARD - The Black Ark (Freedom, 1969)

Noah Howard: alto saxophone
Arthur Doyle: tenor saxophone
Earl Cross: trumpet
Leslie Waldron: piano
Norris Jones (Sirone): bass
Juma (Juma Sultan): congas
Mohammed Ali: drums

1. Domiabra
2. Ole Negro
3. Mount Fuji
4. Queen Anne

Noah Howard's 1969 album The Black Ark has, in an unintended way, lived up to its name in recent years. It has become, to free jazz obsessives, a sort of Ark of the Covenant, a fabled and much sought after grail and jazz message boards lit up when it was announced that the British label Bo'Weavil would be putting the album out on CD.

Recent years have also shown a renewed interest in Howard's career, with new recordings on CIMP, Cadence, Ayler and Boxholder and an important reissue on Eremite pairing his 1971 album Patterns (by a sextet that included Han Bennink and Misha Mengelberg) with an unreleased 18-minute track from 1979 called "Message to South Africa" (with Johnny Dyani, Kali Fasteau, Noel McGee and Chris McGregor), recorded for Mercury in France but unissued because of its perceived militancy.

The Black Ark was Howard's third record as a leader. Released by Polydor after two ESP titles, it should have been his breakthrough. Instead it broke him. Unhappy with the lack of support for free jazz in the states, within three years he had left for Paris, eventually moving again to Belgium where he still lives. Record labels at the time were scrambling to figure out what was going on in jazz as well as rock and many worthy albums didn't get the proper promotion and distribution and were lost in the shuffle.

But The Black Ark was one that should have risen to the top. It is, in a sense, the missing link between Albert Ayler and Archie Shepp. Simple yet insistent melodies scream through the twin saxophones of Howard and, on his recording debut, Arthur Doyle before breaking down into strident, freeform marches. Like Ayler and Shepp, Howard here favors tunes that feel like work songs, or even nursery rhymes. With a third horn (Earl Cross on trumpet), the front line flies over the rumbling rhythms of Leslie Waldron (piano), Norris Sirone Jones (bass), Mohammed Ali (drums) and Juma (conga). Compared to the mountains of recordings released in today's market, the discography of revolutionary (politically and musically) jazz from the late '60s is rather small and it's fantastic to hear another piece of the picture. (from AAJ)

HERE

The Velvet Underground - White Light / White Heat

THE VELVET UNDERGROUND - White Light/White Heat (Verve, 1968)

Lou Reed: vocal, guitar, piano
John Cale: vocal, electric viola, organ, bass guitar
Sterling Morrison: vocal, guitar, bass guitar
Maureen Tucker: percussion

1. White Light/White Heat
2. The Gift
3. Lady Godiva's Operation
4. Here She Comes Now
5. I Heard Her Call My Name
6. Sister Ray

The world of pop music was hardly ready for The Velvet Underground's first album when it appeared in the spring of 1967, but while The Velvet Underground and Nico sounded like an open challenge to conventional notions of what rock music could sound like (or what it could discuss), 1968's White Light/White Heat was a no-holds-barred frontal assault on cultural and aesthetic propriety. Recorded without the input of either Nico or Andy Warhol, White Light/White Heat was the purest and rawest document of the key Velvets lineup of Lou Reed, John Cale, Sterling Morrison, and Maureen Tucker, capturing the group at their toughest and most abrasive. The album opens with an open and enthusiastic endorsement of amphetamines (startling even from this group of noted drug enthusiasts), and side one continues with an amusing shaggy-dog story set to a slab of lurching mutant R&B ("The Gift"), a perverse variation on an old folktale ("Lady Godiva's Operation"), and the album's sole "pretty" song, the mildly disquieting "Here She Comes Now." While side one was a good bit darker in tone than the Velvets' first album, side two was where they truly threw down the gauntlet with the manic, free-jazz implosion of "I Heard Her Call My Name" (featuring Reed's guitar work at its most gloriously fractured), and the epic noise jam "Sister Ray," 17 minutes of sex, drugs, violence, and other non-wholesome fun with the loudest rock group in the history of Western Civilization as the house band. White Light/White Heat is easily the least accessible of The Velvet Underground's studio albums, but anyone wanting to hear their guitar-mauling tribal frenzy straight with no chaser will love it, and those benighted souls who think of the Velvets as some sort of folk-rock band are advised to crank their stereo up to ten and give side two a spin. (from AMG)

HERE

Albert Ayler - Love Cry

ALBERT AYLER - Love Cry (Impulse!, 1968)

Albert Ayler: alto & tenor saxophones, vocals
Donald Ayler: trumpet
Call Cobbs: electric harpsichord
Alan Silva: bass
Milford Graves: drums

1. Love Cry
2. Ghosts
3. Omega
4. Dancing Flower
5. Bells
6. Love Flower
7. Love Cry?
8. Zion Hill (alternate take)
9. Universal Indians (alternate take)
10. Zion Hill
11. Universal Indians

From the time he was signed to Impulse in 1966, it was assumed that Albert Ayler's releases on that label would be motivated by an attempt at commercialism. While the music was toned down from his earlier ESP recordings, by no means did Ayler ever make commercial records. Much in the same way John Coltrane's later-period Impulse releases weren't commercial, Ayler simply took advantage of a larger record company's distribution, trying to expose the music to more people. Ayler's uncompromising musical freedom mixed with his catchy combination of nursery rhythms and brass band marches remained prominent on Love Cry. The interplay between the Ayler brothers also remained fiery as younger sibling Donald is heard playing trumpet for the last time on a recording with his brother. Donald was fired from the band (at the suggestion of Impulse) and, unfortunately, was committed to a mental institution for a short stay after these sessions were made. The rhythm section of Alan Silva on bass and Milford Graves on drums continually instigates and propels this music into furious militaristic march territory. Unhappily, the four tracks in which Call Cobbs is featured on harpsichord tend to drag the music down; it's unfortunate his gospel-inspired piano or organ playing couldn't have been utilized instead. The CD reissue contains alternate takes of "Zion Hill" and "Universal Indians." (from AMG)

HERE

Cecil Taylor - Live in Stuttgart, 1966-10-16

CECIL TAYLOR - Live in Stuttgart 1966 (Radio Broadcast)

Cecil Taylor: piano
Jimmy Lyons: alto saxophone
Alan Silva: bass
Andrew Cyrille: drums

1. Second Amplitude - First Amplitude
2. Conquistador

HERE

Thanks to the original uploader

Don Pullen & Milford Graves - In Concert at Yale University

Don Pullen & Milford Graves - In Concert at Yale University Vol. 1 (SRP, 1966)

Don Pullen: piano
Milford Graves: percussion

1. P.G. I
2. P.G. II

Un concert mémorable autoproduit et seulement édité à 100 exemplaires, le rip n'est pas terrible, si quelqu'un a une version de meilleure qualité, ça serait bien de l'envoyer pour que je remplace celle-ci...

HERE

(You can check the second volume NOMMO that I have already uploaded here.)

Marion Brown Septet - Juba-Lee

MARION BROWN SEPTET - Juba-Lee (Fontana, 1967)

Marion Brown: alto saxophone
Bennie Maupin: tenor saxophone
Alan Shorter: trumpet, flugelhorn
Grachan Moncur III: trombone
Dave Burrell: piano
Reggie Johnson: bass
Beaver Harris: drums

1. 512E12
2. The Visitor
3. Juba-Lee
4. Iditus

Recorded only a month before his classic Impulse debut, Three for Shepp, this much overlooked session, though quite different, is more than reputable in its own right. The reason for its obscurity is pretty simple. Juba-Lee, as of May 2003, had yet to see formal release anywhere in the world other than its original Dutch pressing and subsequent reissues in Japan. Otherwise, it bears a good deal of resemblance to his Marion Brown Quartet date on ESP, so listeners familiar with that session should know what to expect here. Among other reasons, this is because both sessions share the talents of Alan Shorter and bassist, Reggie Johnson. Also on hand were tenor man Bennie Maupin, pianist Dave Burrell, drummer Beaver Harris, and trombonist Grachan Moncur III. All but Maupin and Shorter would also appear on Three for Shepp. It should go without saying that any free jazz session featuring either Shorter or Moncur is going to be heavy. Both men, as soloists and as composers, tend to dramatically alter any recording upon which they appear. They usually contribute at least one tune to the repertoire -- here it's Shorter -- and both have a very deliberately paced and immediately recognizable delivery as soloists. Unfortunately, this would be the only session upon which the two appeared together, making the historical relevance of this date even more pronounced. The opening tune is a free-for-all, but the title track is reminiscent of Brown's wonderful "Capricorn Moon," employing a playful and spirited head. Both "The Visitor" and "Iditus" are deep and pensive, very much what one would expect from a session featuring Moncur or Shorter. Highly recommended. (from AMG)

HERE

Kalyani Roy & Ali Ahmed Hussain - Soul of India

Kalyani Roy & Ali Ahmed Hussain - Soul of India (ABC, 1968)

Kalyani Roy: sitar
Ali Ahmed Hussain: shehnai

1. Raga: Jaunpuri: Alap; Jod; Gat; Taal:Teental
2. Raga: Kedara – Alap; Gat Taal:Teental
3. Dhun

HERE

Bismillah Khan & Party - Sarang / Dadra / Chandra Kauns / Kajaree

Bismillah Khan: shehnai

1969 SARANG-DADRA-CHANDRA KAUNS-KAJAREE (EMI) mediafire
thanks to Mr Fear from Snap, Crackle & Pop