CLIFFORD THORNTON – Ketchaoua (Actuel – 23 / LP-1969)

Label: BYG Records – 529.323

Series: Actuel – 23

Format: Vinyl, LP, Album / Country: France / Released: 1969

Style: Free Jazz, Free Improvisation

Recorded – August 18, 1969 in Paris, France

Composed By, Arranged By – Clifford Thornton

Coordinator [Coordination] – Jacques Bisceglia

Engineer – Claude Jauvert

Executive-Producer – Claude Delcloo

Photography By – Jacques Bisceglia

Producer – Jean Georgakarakos, Jean-Luc Young

A1 - Ketchaoua ...................................................................... 12:22

         alto saxophone – Arthur Jones

         bass – Beb Guerin

         congas, gong, percussion – Earl Freeman

         cornet, congas – Clifford Thornton

         drums – Sunny Murray

         piano, bells – Dave Burrell

         soprano saxophone – Archie Shepp

         trombone – Grachan Moncur III

A2 - Pan African Festival ....................................................... 7:50

         alto saxophone – Arthur Jones

         bass – Beb Guerin, Earl Freeman

         cornet, congas – Clifford Thornton

         drums – Sunny Murray

         piano – Dave Burrell

         soprano saxophone – Archie Shepp

         trombone – Grachan Moncur III

B1 - Brotherhood .................................................................. 10:43

         alto saxophone – Arthur Jones

         bass – Beb Guerin, Earl Freeman

         cornet – Clifford Thornton

         drums – Claude Delcloo

B2 - Speak With Your Echo (And Call This Dialogue) ........... 9:05

         bass – Beb Guerin, Earl Freeman

         cornet – Clifford Thornton

23rd volume in the BYG Actuel series; gatefold sleeve, 180 gram vinyl. This album was recorded in Paris on August 18, 1969 by Clifford Thornton (cornet and conga drums) with Grachan Moncur III (trombone), Archie Shepp (soprano saxophone), Arthur Jones (alto saxophone), Dave Burrell (piano), Sunny Murray (drums), Beb Guerin (bass), Earl Freeman (bass) and Claude Delcloo (drums).

"Clifford Thornton was a player and a composer whose obscurity was offset by the high esteem in which he was held by his fellow musicians... like Shepp, Thornton was actively involved in advancing the ideology of the black  movement... and all of his recordings are intense and important about those matters that were close to his heart -- liberation, communication and unity."

_ Byron Coley

Clifford Thornton's only Actuel date as a leader is, like many of the others in this BYG series, an all-star blowing session highly indicative of the times. For some, it will be difficult to tell whether taking credit for composing these pieces is a lost cause. This is some very free music and, save for a handful of scored passages, almost wholly improvised. A number of the scene's top players make appearances here in different groups.

Otherwise, "Brotherhood," a piece for quintet, is performed by Thornton, Jones, Guerin, Freeman, and this time, drummer Claude Delcloo, while on "Speak With Your Echo" only the two bassists (Guerin and Freeman) accompany Thornton's cornet. This piece in particular is especially enjoyable and reminiscent perhaps of Arthur Jones' fantastic ballad, "Brother B," from his own Actuel LP, Scorpio. At times the ensemble pieces sound like a Pan-African Morton Feldman, and at others, hazy, psychedelic post bop. Fans of brooding and contemplative improvised music will find a great deal to enjoy here. In fact, many would argue that this is the best LP under Thornton's leadership...

1969's Ketchaoua leaps through many styles in a way that reminds me of the Art Ensemble of Chicago and also Archie Shepp in this era—Shepp appears on half of the album.  Side A contains two long tracks that feature large ensembles and a lot of simple, interweaving percussion.  Both tracks gradually evolve into brief periods of recognizable jazz styles before floating back into more abstract terrain.  The opening title track might be the least prominent appearance from drummer Sunny Murray, who blends into the massed percussion.  The two tracks on side B are opposite extremes, though both feature smaller groups.  "Brotherhood" draws from New York energy jazz, with Claude Delcloo's percussion prominent in the mix.  "Speak with Your Echo" ends the album with its sparsest arrangement, featuring only Thornton and two bassists.  The recording quality varies, with the large groups sounding better than "Brotherhood", where the explosive percussion reverberates awkwardly in a boxy room. Who cares, it still sounds great.

Yes, definitely raw, awesome, volatile and atmospheric. Brilliant!

If you find it, buy this album!

FRANK WRIGHT – Your Prayer (LP-1967 / ESP Disk')

Label: ESP Disk – ESP 1053

Format: Vinyl, LP, Album / Country: US / Released: 1967

Style: Free Jazz

Recorded in New York City, May 1967, RLA Sound Studios NY.

Engineer – Richard L. Alderson

Photography By – Harlene Sandra Stollman

All compositions did Frank Wright, except Jones' "The Lady".

A1 - The Lady . . . . . 9:04

A2 - Train Stop . . . . . 7:32

A3 - No End . . . . . 6:49

B1 - Fire Of Spirits . . . . . 12:31

B2 - Your Prayer . . . . . 15:42

Frank Wright – tenor saxophone

Arthur Jones – alto saxophone

Jacques Coursil – trumpet

Steve Tintweiss – bass

Muhammad Ali – drums, percussion

Despite the fact that avant-garde jazz has often met with the criticism that its tonalities and rhythms put it far outside the jazz (and by extension black music) tradition, it is quite true that many of the forerunners of free jazz found their voice in blues and R&B outfits. Ornette Coleman, Albert Ayler, Dewey Redman, Noah Howard, Prince Lasha and Pharoah Sanders all came up in blues bands in the South and Midwest, which in some ways predate both bebop and avant-garde credentials... 

Mississippi-born and Cleveland-raised tenor man Frank Wright (1935-1990) was one of the forerunners of the multiphonics-driven school of saxophonists to follow the direction pointed by Ayler, but with a more pronounced bar-walking influence than most of his contemporaries. Whereas Ayler's high-pitched wails, wide vibrato and guttural honks all belied an R&B pedigree, his solos still contained the breakneck tempos and facility of bebop, for which he had earlier earned the nickname "Little Bird. Wright, on the other hand, offers his honks and squawks with a phraseology derived from the slower, earthier funk of R&B and gospel music; indeed, he was a bassist in Cleveland blues bands until switching to tenor in the early '60s as a result of Ayler's influence (the same influence that brought Wright to New York in 1964).

Wright had not been playing tenor long when he was asked to make Coltrane's Ascension date (he had sat in with Trane on several occasions previously), but reportedly he declined it fearing his skills weren't at the level required by the music. Nevertheless, Wright did make his first session as a leader a few months later, in a trio with bassist Henry Grimes and drummer Tom Price for then-fledgling ESP-Disk' (Frank Wright Trio, ESP 1023).

In the spring of 1967, Wright made his second date as a leader for ESP, the powerful quintet statement of Your Prayer (ESP 1053) featuring Wright in the company of Cleveland-born altoist Arthur Jones, expatriate Martinique-born, French-educated trumpeter Jacques Coursil, drummer Muhammad Ali and bassist Steve Tintweiss. Where the first date falters at a lack of dynamics and cohesion (not to mention experience), Your Prayer finds Wright refining the bag his solos come from, yet maintaining a firm hold on the ecstatic free-blues shout that makes up most of his solo language. The set starts off with Jones' composition "The Lady, a simple unison ascending-descending call for the horns peaking in vibrato, which gives way to a searing solo by the composer with echoes of Dolphy's speed and intervallic leaps coupled to Johnny Hodges' tone, a quality that clearly defined this altoist's style for the few years he was actively recording. Coursil follows with a deft series of punches and blasts, exuding the bubbly-yet-raw swing his solos always carry, even in the most 'out' contexts.

Wright's distorted squall seems like a real style now (though in the ensuing twenty-odd years, it would change some), a thick wall of sound that is less given to distraction, coming through pure and hot. In the Wright-Ali duo that follows, "Train Stop, Wright harps rhythmically on phrases, repeating and expanding upon them and wringing out every last growling breath before moving to yet another plane far eclipsing the ADD approach that hampers his first recording. Muhammad Ali, brother to the more well- known free drummer Rashied, approaches the kit with a more singular style that focuses on hurtling masses than the allover, coloristic palette that his elder sibling has employed. At over fifty minutes (for a single LP at its release), Your Prayer is a rather lengthy slab of high-energy grit, but its unified forward and upward motion make for a firmly rooted sonic liberation.

Slightly over a year after recording his second ESP session, Wright, Ali, Jones, altoist Noah Howard and pianist Bobby Few would leave New York together for Europe with the wave of American free players that subsequently descended on Paris. The Center of the World Quartet (Wright, Ali, Few, and Howard, who was later replaced by bassist Alan Silva) recorded prodigiously for BYG, America, Calumet, Sun and their own Center of the World label throughout the '70s, and brought the tools of post-Coltrane freedom to bear on a decidedly funkier and more populist approach to ecstatic jazz. As poet Larry Neal wrote in a 1969 review of Ayler's R&B record New Grass in the Cricket, "I know what the Brother is trying to do. But his procedure is fucked up. Though these ESP sessions are only an early indicator, Frank Wright was one to get it "on."

_By CLIFFORD ALLEN, July 13, 2005 (AAJ)


One of Frank Wright's finest recordings.

If you find it, buy this album!