TAKASHI KAZAMAKI ‎– EIKO NO HATA: LIVE IN NEW YORK, 1987 (OMBA RECORDS, 1987)

A. Roulette

B. Krain Theater


Takashi Kazamaki, percussion
Tom Cora, cello (A)
Danny Davis, alto saxophone (B)
William Parker, bass, marimba (B)


Recorded Live At Roulette, New York, October 16, 1987 (A)

Recorded Live At Krain Theater, New York, July 9, 1987 (B)


Omba Records ‎– OMBA-004


Cassette Rip

KARL BERGER / WOODSTOCK WORKSHOP ORCHESTRA ‎– LIVE AT THE DONAUESCHINGEN MUSIC FESTIVAL (MPS RECORDS, 1980)

For Paul and Norm: this time, with a Cherry on top.

A1. Open Time
A2. The Smile That You Send Out Returns To You
A3. Collective Talks

B1. New Moon
B2. Zeynebim - A Turkish Folk Dance


Terry Sines, bass
Janet Grice, bassoon
Tom Cora, cello
Peter Apfelbaum, drums, baritone saxophone
Ingrid Berger, vocals, percussion
Karl Berger, vibraphone, piano
Savia Berger, flute
Susan Veglia, French horn
Mark Ralston, oboe, English horn
Lee Konitz, alto saxophone
Don Davis, alto saxophone, flute, clarinet
Oliver Lake, alto and soprano saxophone, flute
Trilok Gurtu, tabla, congas, drums
James Harvey, trombone
Leroy Jenkins, violin
Michael Lytle, clarinet
George Lewis, trombone
Don Cherry, pocket trumpet, bamboo flute
Tom Collins, tenor and soprano saxophone


Recorded live at the Donaueschingen Contemporary Music Festival on October 1979 in collaboration with Sudwestfunk Baden-Baden and MPS Records Villingen/West Germany.

MPS Records ‎– 0068.250

Vinyl Rip

KARL BERGER / WOODSTOCK WORKSHOP ORCHESTRA ‎– NEW MOON (PALCOSCENICO, 1980)

A1. New Moon
A2. Zeinebim
A3. Collective Talks

B1. Smile
B2. Open Time



Terry Sines, bass
Janet Grice, bassoon
Tom Cora, cello
Peter Apfelbaum, drums, bass saxophone
Eva Berger, vocals
Ingrid Berger, vocals, percussion
Karl Berger, vibraphone, piano, percussion
Savia Berger, flute
Susan Veglia, French horn
Mark Ralston, oboe
Lee Konitz, alto saxophone
Don Davis, alto saxophone, flute, clarinet
Oliver Lake, tenor saxophone, flute
Trilok Gurtu, tabla, percussion, drums
James Harvey, trombone
Leroy Jenkins, violin


Recorded live at CIAK, Milano, Italy 11/7/79.

Palcoscenico ‎– PAL 15007

Vinyl Rip

Steve Lacy - (1992) New York 1992.04.01 (Trio) - [FLAC]

Another imaginary cover from an imaginary label.

Hi to everyone here!
FIRST A GREAT THANKS(!!!) TO ALL INCONSTANT SOL CONTRIBUTORS
for their generosity and invaluable work!

Day by day I've been sure that places like this one really contribute to the knowledge of this terrific music, and to the growth of the musical culture in general.
I've been (I'am) proud of having little contribute to this blog.
As a gift to everyone here and in particular to those who couldn't rightly download this recording.

I'll re-up here that astoshing fine concert with new links.

Steve Lacy - (1992) New York 1992.04.01 (Trio) - [FLAC].rar
Parts 1, 2 and 3

http://www.mediafire.com/download.php?wxunfytmtmx
http://www.mediafire.com/download.php?jqwzmqo42mw
http://www.mediafire.com/download.php?nhlxy0njn5t

Here the link to the others infos:
http://inconstantsol.blogspot.com/2009/01/tom-cora-and-sam-bennetts-third-person.html



Listen loud to the music

SEE YOU LYM

Tom Cora and Sam Bennett’s "Third Person" joinin’ Steve Lacy - Live at The Knitting Factory 1992 january the 4th

Excerpt from: New York Times’ article “Sounds Around Town”, By Jon Pareles , Published: January 3, 1992

Steve Lacy's Sax Steve Lacy, the Knitting Factory, 47 East Houston Street, at Mulberry Street, Manhattan, (212) 219-3055. The soprano saxophonist Steve Lacy is to perform in two settings. Tomorrow at 9 P.M., he joins Samm Bennett on percussion and Tom Cora on cello as part of Third Person, a continuing series of collaborations. Tickets are $10.

Excerpt from: Point of Departure an online music journal
Issue 20 - December 2008 - What's New?: The PoD Roundtable

…In teaching and clinics, he spoke fairly negatively about the kind of free improvisation that doesn’t have clearly stated, shared constraints on form or material. He talked about free playing autobiographically as a period of research in the past that was of its time (mid- to late 1960s, Italy and Argentina, The Forest and the Zoo) and yielded some useful results, but was over and done with. He explained that it was useful in that it helped him try out material, weed out unwanted things, and it led to his own much more structured compositions with guided improvisation. He seemed to have very strong guidelines in mind about improvisation, even ostensibly free, open-ended improvisation. When I played in his Precipitation Suite with him and the Boston-based Jazz Composers Alliance he was very definite about what he wanted me to do in an improvised duet, and gave similar instructions for larger group improvisations. And the few other times I got to perform with him, we played 12-bar blues (“Misterioso”, or “Baghdad Blues” with a short, conducted, programmatic group sound improvisation). These glimpses of working with Steve matched stories I heard from Lee Konitz about their playing “free” together, and about his interactions with Third Person (Tom Cora and Samm Bennett) and perhaps ROVA. Steve seemed to prefer working with his own material, or with pretty strictly controlled structures for improvisation, in his later years. When he performed in off-campus clubs or galleries with students while teaching in Boston, they played largely Monk tunes, sticking to the forms and changes, or (much less often) his songs. A brief bio excerpt about Third Person Cora was also a member of the improvising trio Third Person, formed in 1990 as a live collaboration with percussionist Samm Bennett and a "third person" who changed from concert to concert. Two CDs of some of their performances were released, The Bends in 1991 (with "third persons" Don Byron, George Cartwright, Chris Cochrane, Nic Collins, Catherine Jauniaux, Myra Melford, Zeena Parkins, and Marc Ribot) and Luck Water in 1995 (with "third person" Kazutoki Umezu).

Translated from Italian Interview by Fabrizio Gilardino
appeared on Musiche Year VI n. 1 (14) 1993

• What kind of group du You tink Third Person is? The answer is in the name. It sound almos like a slogan, and in some way it is one. The idea was born when Samm and me were doing a lot of concerts togheter, every time inviting a new “third person”. So wu found the name of the band about after two years of plyin that way. We played two times with George Lewis, teo eith Butch Morris,, once with George Cartwright, and finally we decided that it was a very nice way of playin, We were searching for a band’s name and naturally thought to “Third Person . I think it’s a good one in itself and almost describes well what we are doing.
• What’s the third person role, playin’ with You’ The thids persons are our victims. It greatly depends on who is the third person: some people have a stronger musical personality than others…What Tom and me are playin isnt’ exactly what You would expect from in a totally improvised musical situation, expecially the use we made of some rhythms and the song-form.

A Tom Cora discography link: www.wnur.org/jazz/artists/cora.tom/discog.html

I can add that from this magical encounter sorted out an astonishing music, almost Lacy’s music but with the addiction of two marvellous musicians and free improvisers. As sometimes happens with such musical minds it seems they have played togheter for years since the trio is playin for a common goal: musical beauty.

Tom Cora and Sam Bennett’s Third Person joinin’Steve Lacy
Knitting Factory 1992 january the 4th

Steve Lacy soprano sax
Tom Cora cello
Samm Bennett drums

1. Name (Lacy) 8:29
2. Rudders (Cora) 5:39
3. Cliches (Lacy) 8:32 4.
The Wane (Lacy) 9:10
5. Bone (Lacy) 6:09
6. untitled (likely free improv) 4:16

Note that in the note pad the date enclosed to the files the date is wrong,
Since I’ve taken this one from DIME someone invererted month with day,
As You Well know in English dating is Y/M/D so here is the correct one confirmed by the New York Times article datet.

Here the NEW LINKS to this post:
http://inconstantsol.blogspot.com/2010/05/steve-lacy-1992-new-york-19920401-trio.html