Saturday, December 2, 2017

DANIEL HUMAIR / GORDON BECK / RON MATHEWSON ‎– Morning! (Musica Records – MUS 3009 / LP-1975)




Label: Musica Records – MUS 3009
Format: Vinyl, LP, Album / Country: France / Released: 1975
Style: Modal, Free Jazz, Free Improvisation
Recorded at Fontana Studios in Milan, Italy in January 1972.
First recorded on label: Dire – FO 341 / Released 1972 / Country: Italy
Design – Studio Chouette
Photography By – Lucille Whan Humair
Composed By – Gordon Beck, Daniel Humair, Ron Mathewson
Producer – Alain Boucanus
Matrix / Runout (Side A runout): MPO MUS 3009 A
Matrix / Runout (Side B runout): MPO MUS 3009 B

         MORNING !
A1 - 1er Movement ............................................................................................... 12:10
A2 - 2e Movement .................................................................................................. 5:10
         (D. Humair / G. Beck / R. Mathewson)
         SUITE 5
B1 - 1er Movement ................................................................................................. 8:20
B2 - 2e Movement .................................................................................................. 5:45
B3 - 3e Movement .................................................................................................. 4:50
         (Gordon Beck)

GORDON BECK – piano
RON MATHEWSON – bass
DANIEL HUMAIR – drums, percussion

Originally recorded at Fontana Studios in Milan, Italy in January 1972 and subsequently released on the Italian Dire label on LP the same year. 



Recorded during a tour of Italy with Phil Woods, the European Rhythm Machine, consisting of Gordon Beck, Ron Mathewson and Daniel Humair, recorded this entire album in the course of one morning. The album features two long compositions; on the first page of vinyl "Morning!", composed by Gordon Beck, Ron Mathewson and Daniel Humair performed in two movements and on the other side "Suite 5", composed by Gordon Beck performed in three movements followed by the track.



Easily overlooked as a piece of obscure 1970s Britjazz nostalgia, and short and sweet at 36 minutes, this is an Italian recording of two suites that pianist Gordon Beck conceived with bassist Ron Mathewson and drummer Daniel Humair in 1972. It is short, but far from insubstantial.
The propulsive rhythm section of what at that time constituted the Phil Woods Rhythm Machine gets two extended workouts, all recorded in one morning while on a European tour. It would be fine to cite the Bill Evans primer as a major influence on Beck, but it would be selling him short. The breadth and diversity of ground covered in this session is astounding, from gorgeous postbopflurry to sparse and razor-sharp post-Webernianpointalistic free jazz. None of this should come as any surprise, Beck having worked previously with the incredible and irrepressible timbral powerhouse Tony Oxley. In other hands, such forays into experimentation might come off as mere flirtations, but the trio is obviously so comfortable with every gesture, composed or otherwise, that the album coheres beautifully and seamlessly.
In the first track "Morning!" Humair takes a driving solo that quickly turns funky and everyone follows suit with alacrity. Morning sometimes sounds like Herbie Hancock baiting Tony Williams in Miles's 1960s band before it becomes an astonishing collective improvisation, Beck's steel-hard chords calling and responding to Humair's chattering snare and lashing rimshots.
Suite 5 reflects Beck's immensely sophisticated grasp of the alternative implications of Bill Evans - his faultless timing of the turn of a fast phrase is always startling, and there's an unexpected amount of free-improv. About half way through the track, when freer terrain is traveled, Daniel Humairs brushwork is complemented beautifully by Ron Mathewsons effortless fast slides and runs on bass. Eventually, Beck can be found inside the piano, Humair and Mathewson bowing and scraping along with him. But there's a wide span leading from piano-led tunes, recognisably from the same pen as those on "Gyroscope", to free group improvisations that are exciting but not wild.

Review by MARC MEDWIN, All About Jazz, New York



If you find it, buy this album!

THE WOLFGANG SCHLÜTER COMBO – Hangover (PIL 9038 / LP-1977)




Label: Peer International Library Limited – PIL 9038
Also on: Southern Library of Recorded Music - MQLP 9038
Series: Contemporary 9000 –
Format: Vinyl, LP / Country: UK / Released: 1977
Style: Contemporary Jazz, Avant-garde, Modal
Recorded at PEER - SOUTHERN STUDIOS, Hamburg, W. Germany
Design [sleeve] – Jack Mooring
Engineer – Frank Reinke
Producer – John O'Brien-Docker
Composed By – Wolfgang Schlüter
Matrix / Runout: PIL–9038.A–IV
Matrix / Runout: PIL–9038.B–2C

Very rare Peer International Library Limited – PIL 9038, LP from 1977 (UK). This is a great Jazz, LP with a soulful groovy feel.  Nice use of Vibes! ____ Sold out! –  (never on a CD)

A1 - Hangover ................................................................................................... 11:07
A2 - Consensus .................................................................................................. 4:39
A3 - Sun Up ........................................................................................................ 4:38
B1 - Dance Of The Dinosaurs ............................................................................ 7:57
B2 - Time And Tide ............................................................................................. 5:20
B3 - Thirst ........................................................................................................... 5:10

Personnel:
Wolfgang Schlüter – vibraphone, percussion
Leszek Zadlo – soprano saxophone, tenor saxophone, flute
Jan Tolf – guitar
Rob Franken – keyboards
Lucas Lindholm – bass
Alex Riel – drums, percussion




Wolfgang Schlüter, a jazz fusion vibes player, in the vein of Dave Pike. His Wolfgang Schlüter Combo album HANGOVER is notable for the Brave New World, connections of Lucas Lindholm and John O'Brien-Docker (as producer), I mean their collaboration on the 1972 album - Impressions On Reading Aldous Huxley (Vertigo ‎– 6360 606). Here really goes well with rather easy listening moody jazz-fusion with Leszek Zadlo's saxes as the main solo instruments and Schlüter's cool vibes a close second.



If you find it, buy this album!

Wednesday, November 15, 2017

JASPER VAN'T HOF's PORK PIE feat. CHARLY MARIANO – Transitory (MPS Records – 0068.125 / LP-1974)




Label: MPS Records – 0068.125
Format: Vinyl, LP, Album, Repress / Country: W. Germany / Released: 1974
Style: Jazz-Fusion, Jazz-Funk
Recorded at Conny's Studio Neukirchen, Germany, May 17 & 18, 1974.
Cover, Photography By, Design – Frieder Grindler
Photography By – Hans Harzheim, Kira Tolkmitt
Liner Notes – Achim Hebgen
Recorded By – Conny Plank
Producer – Achim Hebgen
Matrix / Runout (Side A, etched): 0701610 S1
Matrix / Runout (Side B, etched): 0701610 S2

A1 - Epoch  (van't Hof ) ......................................................................................... 7:40
A2 - Transitory (Part 1)  (van't Hof ) ...................................................................... 4:42
A3 - Transitory (Part 2)  (van't Hof ) ...................................................................... 4:02
A4 - Angel Wings  (Catherine) .............................................................................. 5:23
B1 - Pudu Kkottai  (Trad.-Mariano) ....................................................................... 8:05
B2 - Something Wrong  (van't Hof ) ...................................................................... 2:44
B3 - Bassamba (Part 1)  (Jenny-Clarke) ............................................................... 2:51
B4 - Bassamba (Part 2)  (Romano)....................................................................... 4:39
B5 - March Of The Oil-Sheikhs  (van't Hof ) ......................................................... 3:10

Personnel:
Jasper Van't Hof – electric piano, organ [prepared], grand piano, celesta
Charlie Mariano – soprano / alto saxophone, flute, bamboo, nagaswaram
Philip Catherine – electric / acoustic guitar
J.F. Jenny-Clarke – bass
Aldo Romano – drums / percussion
Ivanir "Mandrake" Do Nascimento – congas, pandeiro, tambourine, agogô, bells

LP MPS-BASF/ 21 22099-0, MPS Records – 0068.125 (Original German Pressing), cult label
Gatefold sleeve. Black label MPS dist. by Metronome.
(track A3 dedicated to Peter Trunk)

Dutch keyboardist / composer Jasper van`t Hof was one of the most prominent young Jazz musicians on the European scene in the late 1960s / 1970s and a pioneer of the new European Jazz, which emerged like a Phoenix on the ashes of the stagnant Jazz tradition. A founding member of the legendary Association P.C., van`t Hof left the group in 1972 (to be replaced by Joachim Kühn) and a year later formed his own ensemble Pork Pie (the name being a tribute to a famous Lester Young tune) with four other excellent musicians: the veteran American (but resident in Germany) saxophonist Charlie Mariano, Belgian guitarist Philip Catherine, French bassist Jean-Francois Jenny-Clark and Italian (but resident in France) drummer Aldo Romano. The group recorded a couple of albums on the legendary German MPS label, of which this was the first. The group played a completely innovative music, which moved freely between genres and included Free Jazz, Jazz-Rock Fusion, Psychedelic and World Music elements. All five members of the group were splendid musicians, blessed with virtuosity and inspiration, and the rapport between them was phenomenal.




Mariano's arrangement of "Pudu Kkottai"—a traditional North Indian song expanded into free territory while retaining ethnicity through use of bamboo flute and nasal double-reed South Indian nagaswarama—seamlessly fuses serpentine linearity with more turbulent undercurrent, harmonic density and a surprising blend of acoustic and electric instruments. Jenny-Clark's "Bassamba (Part 1)" is a freewheeling bass-drums duet that leads into Romano's "Bassamba (Part 2)," which refers more clearly to its namesake, a potent samba beat turned into something else by van't Hof's electric piano and Mariano's effervescent alto. Catherine's one solo spot is his own "Angel Wings," a dark Mahavishnu-like energy creating a modal backdrop for the guitarist's overdriven tone, juxtaposed with a paradoxically beautiful layered flute theme by Mariano that unexpectedly fades out.
The rest of the writing belongs to van't Hof, including the rock-inflected "Epoch," which sets the stage for Pork Pie's greatest differential. Few, if any, fusion bands of the time were using electric bass as their foundation, but Jenny-Clark didn't need 1,000 watts to create an energetic pulse; nor did Romano need a dozen rack toms to push forward with a perfect combination of groove, elasticity and unfettered freedom. At a time when keyboards and guitars ruled the day, Mariano's saxophone was a welcome contrast, while van't Hof's solo acumen and avoidance of synthesizers was refreshing, while never diminishing the group's potency.
But Transitory's high point is the two-part title track. Orchestral in scope despite limited instrumentation, van't Hof's strength as a textural player, comfortably blending impressionistic writing with freer concerns, is in full force. "Transitory (Part 2)" is a marvel of color and timbre—how Weather Report might have sounded in its early days had Wayne Shorter been a more assertive foil for Joe Zawinul's expansive arrangements. A minor classic finally receiving its due, Transitory proves that as American fusion was leading towards its inevitable implosion, a distinct lack of ego was keeping it alive and well elsewhere in the world.

This album sounds today as advanced and oracular as it did at the time of the recording, losing nothing of its freshness, a true timeless masterpiece. The Brazilian percussionist Ivanir “Mandrake” Do Nascimento appears as a guest on some of the tracks and adds his magic to the mix. In retrospect this is a superb example of what was happening on the European Jazz scene at the time, underlining the perpetual quest for new forms of expression and ceaseless search for new musical vocabulary.  (Review By John Kelman)



If you find it, buy this album!

THE KLAUS DOLDINGER QUARTET – Blues Happening (World Pacific Jazz – ST-20167 / LP-1968)




Label: World Pacific Jazz – ST-20167
Format: Vinyl, LP, Album, Gatefold / Country: US / Released: 1968 / 69 ?
Style: Modern Jazz Fusion
Record Company – World Pacific Jazz / Printed in USA.
Design [Cover] – Günther Kieser
Engineer – Willi Schmidt
Liner Notes – Siegfried Schmidt-Joos
Producer – Siegfried E. Loch
Also the German edition on the label:
Liberty ‎– LBS 83 167 I / Series: World Pacific Jazz Series –
Matrix / Runout (A runout etched): ST-20167-1
Matrix / Runout (B runout etched): ST-20167-2

Tracklist:
A1 - Saragossa .................................................................................................. 6:39
A2 - Tempus Fugit .............................................................................................. 6:32
A3 - Face In The Night ....................................................................................... 6:51
B1 - Blues Happening ....................................................................................... 18:07

Personnel:
Klaus Doldinger – soprano (tracks: A1, A2, B1) / tenor saxophone (tracks: A3, B1)
Ingfried Hoffmann – piano (tracks: A1-A3) / organ (track B1)
Joe Quick – guitar (track B1)
Lothar Maid – bass guitar (track B1)
Helmut Kandlberger – bass (tracks: A1-B1)
Kurt Bong – horn section (track B1) / drums (track B1)
Cees See – drums / percussion (tracks: A1, B1)
Wolfgang Paap – drums /percussion (track B1)

THE KLAUS DOLDINGER QUARTET – Blues Happening, LP 1968, World Pacific Jazz stereo ST-20167 vinyl     __________     OUT OF STOCK


A pioneering and multi-talented musician with a career that has run from MOR pop onto the leading edge of experimental jazz fusion. Doldinger's history is confused. If you want to know all about his background via trad. jazz, as a James Last popular jazz and soul copyist (aka Paul Nero), onto psychedelic pop and Passport, all this is documented on the triple anthology album DOLDINGER JUBILEE (Atlantic 60073), though even that doesn't really make sense of it all.




His first rock group was Motherhood, which kind of transmuted into Passport (the other Motherhood members split off forming Hallelujah), though also during this period Klaus Doldinger also kept working in jazz under his own name, as witnessed by the three albums listed below:

BLUES HAPPENING  [LP Liberty LBS 83167] (1968)
Credited to: Klaus Doldinger Quartet

THE AMBASSADOR  [2LP Liberty LBS 83317/18] (1969)
Credited to: Klaus Doldinger Quartet

DOLDINGER  [2LP United Artists UAS 29542/43] (1973)
(CompilationCredited to: Klaus Doldinger)

all which explore different aspects of modern jazz fusion. Numerous top Munich musicians have also been involved in Klaus' various bands (many of whom can be found on numerous MPS releases, or went onto more progressive musics with Embryo, Amon Düül II, etc.) or have become well-known afterwards, like Udo Lindenberg or Kristian Schultze for instance.

More recently, as a synthesist, Klaus has also become sought after as a film soundtrack composer, after his success with the soundtracks to "Das Boot" and "The Neverending Story". There are no doubt numerous others we don't know of. Yet above all, Doldinger is an excellent and uniquely styled saxophonist, best remembered for several excellent albums in the early-70's with his groundbreaking jazz-rock band Passport, who paralleled the likes of Isotope or Mahavishnu Orchestra.

Blues Happening is the murderous album of early Dondlinger with the musicians you just want. Very, very intriguing. Enjoy!



If you find it, buy this album!

Saturday, October 28, 2017

ERICH KLEINSCHUSTER SEXTETT ‎– Erich Kleinschuster Sextett (2LP-1972)




Label: MPS Records/BASF – 29 21356-0
Format: 2 × Vinyl, LP, Album / Country: Germany / Released: 1972
Style: Free Jazz, Post Bop, Modal
Recorded Live of 9.1.1971 to 18.10.1971  in the Vienna Amerika-Haus.
Design [Cover] – Gerhard Burczik
Photography By – Lui Dimanche
Engineer [Tontechnik] – Ernst Neuspiel
Producer, Liner Notes [German, English - Mallindi, Kenya, January 17, 1972] – André Heller
Recording Supervisor [Aufnahmeleitung] – Paul Polansky
Matrix / Runout (Seite A, 1. Platte): A-1089 A1/C3A Made In Germany
Matrix / Runout (Seite B, 1. Platte): A-1089 B1/C3A Made In Germany
Matrix / Runout (Seite C, 2. Platte): A-1090 A1/C3A Made In Germany
Matrix / Runout (Seite D, 2. Platte): A-1090 B1/C3A Made In Germany

A  -  VLGM - Very Little Green Man ..................................................................... 18:42
B1 - English Garden Walk ................................................................................... 10:25
B2 - To Mr. Parikh ................................................................................................ 10:15
C1 - Confab ........................................................................................................... 9:05
C2 - "S" ............................................................................................................... 13:43
D1 - Sunshine In Raindrops .................................................................................. 5:10
D2 - Erwägung ...................................................................................................... 5:40
D3 - Backsliders Hambone ................................................................................... 8:33

Musicians:
Erich Kleinschuster – trombone
Leszek Zadlo – alto / soprano / tenor saxophone (tracks: A, B1, B2, C2)
Hans Salomon – alto / tenor saxophone (tracks: C1, D1 to D3)
Art Farmer – trumpet / flugelhorn (tracks: D1 to D3)
Fritz Pauer – piano / electric piano
Adelhard Roidinger – bass (tracks: A, B1, B2, C2)
Rudolf Hansen – bass (tracks: C1, D1 to D3)
Erich Bachträgl – drums / percussion
Fritz Ozmec – percussion(tracks: A, B1, B2, C2)


For more than 50 years Erich Kleinschuster, the native of Graz has not only characterized the history of jazz in Austria as a soloist, composer, arranger and bandleader, it already as a longtime director of the ORF entertainment music / production department as well as a music teacher, he has decisively influenced subsequent music genres. A literary trombone - as Andre Heller once described his friend Erich Kleinschuster.





But first, the jazz professor was actually a doctor. As a professional jazz musician, he decided not to make a decision until 1958 when he was invited to the "International Youth Band" at the "Newport Jazz Festival". There he met jazz greats such as Miles Davis, Cannonball Adderley and Louis Armstrong, with whom he even shared the stage.
In 1966, he founded the Erich Kleinschuster Sextet - and soon gained international recognition, not to mention his popularity in Austria. In 1971, Kleinschuster founded the "ORF Big Band", which he was responsible for 10 years. In 1969, he founded the Jazzinstitut at the Vienna Conservatory, in 1985 the jazz department at the Carinthian Conservatory, and in 1981 he was full professor at the Graz University of Performing Arts.

When it comes to providing jazz with the right value, Erich Kleinschuster is always at the forefront. After all, there is the audience - this has proved once again its successful festival "Jazzsommer Graz", and if he wants to retire as its director now, that does not mean that he wants to be quieter.   (Ö1 Morgenjournal)


Note:
This text comes from the year 2005, i.e. the master trombonist celebrated his 80th birthday.



If you find it, buy this album!

Friday, October 27, 2017

ALBERT MANGELSDORFF, J.F. JENNY-CLARK, RONALD SHANNON JACKSON – Albert Live In Montreux! (LP-1981)




Label: MPS Records ‎– 0068.261, MPS Records ‎– MPS 15572
Format: Vinyl, LP, Album / Country: Germany / Released: 1981
Style: Post Bop, Avant-garde Jazz
Recording Live at Casino Montreux, July 16, 1980, Switzerland.
Cover – Studio Icks
Photography By – Encore Photographics
Mixed By – Albert Mangelsdorff, J.E. Berendt, Paul Landsiedel
Mixing dates: Nov. 30 - Dec. 1, 1980.
Producer – Joachim-Ernst Berendt
Matrix / Runout (Side A Runout): 0703 900 S 1 0068 261 S1 3 20 A 1
Matrix / Runout (Side B Runout): 0703 900 S 2 0068 261 S2 3 20 B 1

A1 - Dear Mr. Palmer ........................................................................................... 16:02
A2 - Mood Azur ..................................................................................................... 5:57
B1 - Stay On The Carpet ....................................................................................... 5:57
B2 - Rip Off .......................................................................................................... 16:08

Musicians:
Albert Mangelsdorff – trombone
J.F. Jenny-Clark – bass
Ronald Shannon Jackson – drums, percussion

Trombonist Albert Mangelsdorff was considered a major innovator on his instrument, not just on the European free improvisation scene but also worldwide. He performed in a wide range of settings from solo to big band with some of the finest musicians of the era. On this live recording from the 1980 Montreux Jazz Festival, drummer Ronald Shannon Jackson and bassist J. F. Jenny-Clarke join him.



“Dear Mr. Palmer” starts off with bleats of brass and bass as the band joins together for some thoughtful interplay. Blasts of trombone build choppily unaccompanied in open space. The bass and drums begin to roil the music with thickly plucked bass and nimbler percussion making for a musical high wire act. Mangelsdorff again takes a solo section making eerie sounding noises before the entire trio takes the music out with a fast and hard conclusion. The length of the performance allows the group to fully explore the possibilities the trio format offers. There is a raw and forlorn sensibility to the leaders trombone on “Mood Azure” with high pitched bass and roiling drums setting an abstract foundation for the trombone to solo over. The music is kept under control, and flurries of faster playing strain at the leash in this moody and atmospheric performance. “Stay on the Carpet” opens with drums rolling and trombone stuttering, uttering high pitched streaks and streams of notes. Bass and drums join together to make for a powerful team and show that the group can turn on a dime and take their improvisation in unexpected directions. They can work in quiet whispers as well as moving dynamically to screaming louder passages. Mangelsdorff takes “Ripp Off” in his own direction, cleaving the open space with grumbling and sputtering trombone. He probes and explores the silence to see what possibilities lay there, adrift in space and time. There is a radical shift as the bass and drums move in and he even tips a sly wink to his forbears, adding a hint of swagger like he’s in a postmodern New Orleans parade. Both Jackson and Jenny-Clarke are afforded solo opportunities, which they take full advantage of before the trio ends their concert together to rousing applause.
(Review by Tim Niland)



If you find it, buy this album!

JOE HAIDER – Reconciliation (EGO Records – 4001 / LP-1974)




Label: EGO Records – 4001
Format: Vinyl, LP / Country: Germany / Released: 1974
Style: Contemporary Jazz
Recorded November 1974 at Connie's Studio in Neunkirchen.
Artwork By [Cover Design] – Kathy Fröhlicher
Photography – Josef Werkmeister
Engineer – Connie Plank
Crossover, published by KLAWEI-MUSIKVERLAG, Putzbrunn b München
Produced by Joe Haider
Matrix / Runout (Side A runout, stamped): ST 4001-A
Matrix / Runout (Side B runout, stamped): ST 4001-B

A1 - Crossover .............................................................................................. 10:07
A2 - Spanish Groove ...................................................................................... 9:55
B1 - Mas De Serles ........................................................................................ 8:35
B2 - Magdalena .............................................................................................. 5:37
B3 - Reconciliation ......................................................................................... 5:35

Musicians:
Joe Haider – piano
Ack Van Rooyen – fluegelhorn
Andy Scherrer – tenor / soprano saxophone
Günter Lenz – bass
Todd Canedy – drums, percussion

The first big break as a professional musician, he received in 1965. At that time he was hired as a pianist and conductor of the house trio at the Munich jazz club "Domicile" and worked there during the following three years. Thus, he had the opportunity to play with many European and American jazz musicians.
During two years (1968-70) Haider conducted the Radio Jazz Ensemble des Bayerischen Rundfunks (7-10 musicians), for which he also composed, arranged and worked as a producer - a job that Haider has brought a lot of prestige. So he got a commission, among others, for the "Dürener Music Days", perform an original composition that was there awarded the third prize. These were to the work "Fate of a Child", written in memory of his daughter who died young.



The period 1970-1989 was marked by several innovations in career Joe Haider: With the Swiss jazz quartet "Four for Jazz" (Heinz Bigler, alto saxophone, Isla Eckinger, bass and Peter Giger, drums) we went both on tour and in the recording studio , Next, the pianist founded together with Eckinger and drummer Pierre Favre his own trio, toured and took plates under his own name. Then he formed together with the US trombonist Slide Hampton a Big Band, the "Slide Hampton / Joe Haider Orchestra", in which, inter alia, the trumpeter Benny Bailey and Idries Sulieman, the tenor saxophonist Dexter Gordon and trombonist Bob Burgess participated. The band embarked on a major European tour and played a record one for the label MPS. Besides Haider played by Leszek Zadlo quartet in Poland, the Sal Nistico Quartet, with Benny Bailey Quintet with Nistico, Eckinger and drummer Billy Brooks and the Dusko Goykovich / Joe Haider Quintet, in which Roman Schwaller played tenor saxophone.

In 1984, Haider took over in addition to his teaching activity the post of Director of the "Swiss Jazz School" in Bern. In this oldest private and fully accredited Jazzschule Europe he remained until 1995, where he was awarded in 1994 by the government of the canton of Bern for his achievements in the field of music the "Big Culture Award". But still there was time for some part-time functions such as another grossorchestrales adventure that Joe Haider Orchestra featuring Mel Lewis. Also from this band, there is a disk recording, which received a Best Big Band Recording of the Year 1988 "German Record Prize".



If you find it, buy this album!

Sunday, October 15, 2017

MUUN MUSIC UNIVERSE (Ing Rid / Karl Berger / Dave Holland and friends) – Vol. 1 - The Peace Church Concerts (2LP-1974)




Label: Creative Music Communication – CMC 00101
Series: CMC Series – 1
Format: 2 × Vinyl, LP, Album, Gatefold / Country: US / Released: 1974
Style: Free Jazz, Free Improvisation
Recorded in concert on May 25 and May 22, 1974 at the Washington Square Church, New York City.
Recording Engineer By – Bob Cummins
Cover Design – Joan Eliott
Photographs – Ray Ross
Concept and written compositions by Karl H. Berger
Distributed in the USA – India Navigation Company
Matrix / Runout (Label side A) [etched]: A- 00101-1 A
Matrix / Runout (Label side B) [etched]: B- 00101-2 B
Matrix / Runout (Label side C) [etched]: C- 00101-1 C II
Matrix / Runout (Label side D) [etched]: D- 00101-2 D II

        SPACE IN TIME
A  -  Part I: Live Time ............................................................................................ 14:40
B  -  Part II: Dance Now Is We Are ....................................................................... 24:10

        SILENCE IN SOUND
C1 - Part I: The Continual Pattern ........................................................................ 14:35
C2 - Part II: Music Is .............................................................................................. 9:40
D  -  Part III: Tune In Time In ................................................................................ 22:10

Musicians:
Ing Rid – vocals, percussion
Karl Berger – piano, vibraphone, percussion
Dave Holland – bass
Richard Teitelbaum – instruments [various], synthesizer
Bob Moses – percussion (tracks: A, B)
Betty MacDonald – violin (tracks: A, B)
Garrett List – trombone (tracks: C1, C2, D)
Ilene Marder – flute (tracks. A, B)
Tom Schmidt – bass (tracks. A, B)
Eva Berger and Savia Berger – voice, sounds [initial sounds] (tracks: A. B)





Very rare original 1974? US private pressing on Creative Music Communication (Woodstock NY) (catalog # CMC 00101 / CMC Series No. 1) recording from Washington Square Church (Peace Church) with original gatefold sleeve. This two record set was recorded by Bob Cummins and distributed by his India Navigation label, but was a production of the Creative Music Foundation.

This is wonderful work in spacy and spiritual atmosphere. It's never released on a CD.



If you find it, buy this album!