CLARKE / COREA / HENDERSON / HUBBARD / WHITE – The Griffith Park Collection 2 In Concert (2LP-1983)

Label: Elektra Musician – 96-0262-1

Format: 2 × Vinyl, LP, Album / Country: Germany / Released: 1983

Style: Hard Bop, Post Bop, Contemporary Jazz

Recorded Live April 3, 1982 at the Circle Star Theater, San Francisco

(US release: Elektra Musician ‎– 60262-1-I )

Cover [Painting] – Edward Hopper

Photography By [Back Cover] – Andrew Su

Photography By [Freddie Hubbard] – Ron Slenzak

Executive-Producer – John Smith

Produced by – Lenny White

Producer [Production Consultant] – Jeffrey Weber

Mastered By – Bruce Leek

Other [Administration] – Norva Smith

Liner Notes – Lenny White

Art Direction – Norm Ung/Design

Edited [Digital] by – Jeffrey Weber, Jim Wolvington, Tom MacClusky

Matrix / Runout (Side A Etching): EM-96-0262-1 A-2 -ST

Matrix / Runout (Side B Etching): EM-96-0262-2 B-1 -ST

Matrix / Runout (Side C Etching): EM-96-0262-3 C-1 -ST

Matrix / Runout (Side D Etching): EM-96-0262-4 D-1 -ST

A  -  Why Wait  (Stanley Clarke) .............................................................................. 18:53

B  -  Guernica  (Lenny White) .................................................................................. 19:35

C1 - Happy Times  (Freddie Hubbard) .................................................................... 12:30

C2 - October Ballad  (Chick Corea) ......................................................................... 14:36

D1 - I Mean You  (Coleman Hawkins, Thelonious Monk) ........................................ 11:51

D2 - Here's That Rainy Day  (Johnny Burke, Jimmy VanHeusen) .......................... 12:22

Personnel:

Freddie Hubbard – trumpet, flugelhorn

Joe Henderson – tenor saxophone

Chick Corea – piano

Stanley Clarke – bass

Lenny White – drums, percussion

Manufactured in Germany by Record Service GmbH. ELEKTRA MUSICIAN 96-0262-1, Stereo. Phonographic Copyright (p) – Elektra/Asylum Records.

Realizing the wealth of talent that had assembled, Bruce Lundvall at Elektra/Musician asked for an album featuring just the instrumentalists. The Griffith Park Collection opens with White's "L's Bop," a 60's Blue Note paean showcasing some vintage Hubbard hornwork that evokes those sunny days when Blue Note producer Alfred Lion was repeatedly capturing the blinding brilliance of an era. Clarke's "Why Wait" is a blues that sneaks up barefooted as the bassist strums a slow amble of a walking rhythm, White riding a cymbal step-for-step, Hubbard and Henderson blowing sweet unison notes and somehow managing to create the additional harmonic of a trombone between them, when Corea's aggressive comping style finally gives the meter a push and Henderson punches a full-throated solo with his thick, unmistakable copper-and-zinc tone. A little over a minute into it when White bounces a snare roll that introduces the chorus' arrival like the low roar of an incoming tide, the boys are swinging so hard that you can feel it in your body...

... This is a stunning live recording. Magically resurrected from a soundboard cassette of one of the shows during the group's five day California tour, Griffith Park Collection 2: In Concert starts with "Why Wait," this time at a slightly slower tempo that seems to open up the arrangement and allow the soloists room to swing even harder. Like wanderers returning to their home hearth, they play with a mounting sense of urgency and passion as the night wears on, pursuing the music like it was the source of life itself.

Stalwart rhythm aces White and Clarke could both have turned in longer and more frequent solos, but this particular night they were largely content to lay down strong-shouldered support for the incendiary energies of Hubbard, Henderson and Corea—three players bursting with energy and clearly in a mood to solo on some unrestrained bop. Especially Hubbard.

These guys were certainly ready for something. Without preamble Hubbard starts by blowing a series of runs that sound like cascades of sparks sprayed from an arc welder's torch (it's tempting to imagine the other players wearing protective goggles as they watch him intently.) No question, Hubbard's unbridled, over-the-ramparts approach might have had a daunting effect on another stage, but on this spring evening it leads the charge and sets a standard. Each player's solo invites the next until it is clear that each is ready to take full advantage of this rare opportunity. White's "Guernica" is an unforgettable, hair-raising blowing session that evokes the passionate emotional landscape of that war-torn Spanish city. Hubbard's flashy, headlong bopper "Happy Times" is followed by Corea's tone poem "October Ballade," and then it's back to the races with a hard-driving "I Mean You," and finally a gently swaying "Here's That Rainy Day" with a handful of lyrical flourishes from Hubbard to close things out.

(Review By CARL L. HAGER)

The world's greatest musicians? Who knows... What is certain is that the kind of mastery and dynamic synergism on display in these performances comes from musicians who possess that exceedingly rare ability to listen as well as they blow. As Lenny White said when asked about his composition "Guernica": "When you write for musicians like this, all you need to do is give them a few notes and let them play."

If you find it, buy this album!

ROLF KÜHN JAZZGROUP – Going To The Rainbow (BASF – CRC 008/LP-1971)

Label: BASF – CRC 008

Format: Vinyl, LP, Album / Country: W. Germany / Released: 1971

Style: Free Jazz, Contemporary Jazz

Recorded at the Cornet-Studios, Cologne on December 14/15, 1970.

Engineering Wolfgang Hirschmann

Produced by Klaus Lorenzen

Comes in a gatefold-sleeve

German Original Press. Red BASF labels.

Matrix / Runout (Side A runout, etched): A-0051 A-1 / CRC 008 A

Matrix / Runout (Side B runout, etched): A-0051 B-1 / CRC 008 B

A1 - Houndhouse Rock .................................................................................. 4:50

A2 - Sad Ballade ............................................................................................ 3:39

A3 - T.C.B.  ..................................................................................................... 9:45

B1 - Going To The Rainbow ......................................................................... 12:55

B2 - Racing It Down ....................................................................................... 6:55

Musicians:

Rolf Kühn – clarinet

John Surman – baritone saxophone, soprano saxophone, electric piano

Alan Skidmore – tenor saxophone

Joachim Kühn – piano, organ

Chick Corea – electric piano

Peter Warren – bass

Tony Oxley – drums, percussion

THE ROLF KUHN JAZZGROUP: "Going To The Rainbow" (BASF Records – CRC 008 / Gatefold Jacket / Rarity). Original 1971 high quality German pressing. Great free Improvisation with spiritual undertones influenced by Miles Davis. One of Kühn's timeless recordings for which he got assisted by heavy weights like John Surman, Alan Skidmore, Chick Corea and Tony Oxley. Absolutely stunning free improv with an addictive rolling groove that really puts the funky cat out there. Highest recommendation.

(Tiliqua Rec.)

If you find it, buy this album!

CHICK COREA – Circling In (2LP-1975)

Label: Blue Note – BN-LA472-H2

Series: The Blue Note Re-Issue Series –

Format: 2 × Vinyl, LP, Album / Country: US / Released: 1975

Style: Free Jazz, Free Improvisation

Art Direction, Design – Bob Cato

Engineer – Tony May

Liner Notes – Stanley Crouch

Producer [Original Sessions] – Sonny Lester

Reissue Produced For Release By – Michael Cuscuna

Supervised By [Project Director Blue Note Re-issue Series] – Charlie Lourie

Matrix / Runout (Side 1 runouts): BN-LA472-1- UA

Matrix / Runout (Side 2 runouts): BN-LA472-2 UA

Matrix / Runout (Side 3 runouts): BN-LA472-3- UA

Matrix / Runout (Side 4 runouts): BN-LA472-4-X UA

Tracklist:

A1 - Bossa .......................................................................................... 4:45

A2 - Gemini ........................................................................................ 4:17

A3 - My One And Only Love .............................................................. 3:33

A4 - Fragments ................................................................................... 4:01

A5 - Windows ..................................................................................... 3:08

B1 - Samba Yanta .............................................................................. 2:40

B2 - I Don't Know ............................................................................... 2:39

B3 - Pannonica ................................................................................... 2:58

B4 - Blues Connotation ...................................................................... 7:17

B5 - Duet For Bass And Piano No.1 .................................................. 3:28

B6 - Duet For Bass And Piano No.2 .................................................. 1:40

C1 - Starp ........................................................................................... 5:20

C2 - 73º-A.Kelvin ................................................................................ 9:09

C3 - Ballad .......................................................................................... 6:41

D1 - Danse For Clarinet And Piano No.1 ........................................... 2:14

D2 - Danse For Clarinet And Piano No.2 ........................................... 2:32

D3 - Chimes Part 1 ........................................................................... 10:20

D4 - Chimes Part 2 ............................................................................. 6:40

Written-By – A. Braxton (tracks: C2 to D4), C. Corea (tracks: A1, A2, A4 to B2, B5, B6, C3 to D4), D. Holland (tracks: B5 to C1, C3, D3, D4)

Tracks A1 to B3 recorded in New York in May, 1968.

Track B4 recorded in New York on April 7, 1970.

Tracks B5, B6, D1 to D4 recorded in New York on Oct 13, 1970.

Tracks C1 to C3 recorded in New York on Oct. 19, 1970.

Personnel:

Chick Corea – piano (all tracks); celeste, vibes, percussion (tracks: B5, B6, D1 to D4)

Miroslav Vitous – bass (tracks: A1 to B3)

Dave Holland – bass (tracks: B4 to D4); cello, guitar (tracks: B5 to D4)

Anthony Braxton – clarinet, alto saxophone (tracks: B5 to D4);

                                contrabass clarinet (tracks: B5, B6, D1 to D4); flute (tracks: C1 to C3)

Roy Haynes – drums, percussion (tracks: A1 to B3)

Barry Altschul – drums, percussion (tracks: B4, C1 to C3)

Notes:

This version has 'Chick Corea' written in bright yellow on the front cover, as opposed to the green writing on Chick Corea - Circling In. Label variation with white "b".

Circling In is a double LP by jazz pianist Chick Corea featuring performances recorded between 1968 and 1970, including the first recordings by the group Circle, which was first released on the Blue Note label in 1975.  It contains trio performances by Corea with Miroslav Vitous, and Roy Haynes recorded in March 1968, and performances by permutations of the band Circle recorded in April and October 1970 some of which were later released as Early Circle.

This out-of-print double LP, all of the contents, gives one a clear picture into the evolution of pianist Chick Corea during the 1968-70 period. The first eight tracks, trio music with bassist Miroslav Vitous and drummer Roy Haynes from 1968, finds Corea stretching the boundaries of straightahead jazz, taking advanced solos that hint at the avant-garde and displaying his early distinctive style. Much of the rest of this two-fer features the rather radical group Circle with Corea joined by the masterful reed player Anthony Braxton, bassist Dave Holland and, on some tracks, drummer Barry Altschul for some very advanced group improvising. Music strictly for those with open ears.

(Review by Scott Yanow)

“Circling In” is one of those thrown together albums made up of different recording sessions, and because of that it doesn’t get a lot of attention, which is a real shame because this is actually one of the better Chick Corea LPs out there. Chick has stated that sometime in the early 70s he decided to change his approach to the piano in an attempt to ‘communicate’ better with the audience. Fortunately, all of the recordings on “Circling In” come from that time before his conscious change and feature the young fiery Chick Corea who combined elements of Monk, Cecil Taylor, Eddie Palmieri and Bill Evans into one of the most notable piano styles of the late 60s. Certainly Corea continued to be a great player for the rest of his career, but his early playing will always be his best.

Side one opens this double LP set with recordings recorded in New York in May, 1968 with Roy Haynes on drums and Mirsolav Vitous on bass.  Generally these tunes are of the modern post bop variety that move in and out of free sections. The material ranges from an imaginative reading of “My One and Only Love”, to the more fragmented and dissonant “Gemini”. Side two continues with the same trio until we hit “Blues Connotation”, a fierce outside hard bop number with Dave Holland on bass and Barry Altschul on drums. The rest of side two, as well as sides three and four are filled with recordings by Corea’s short lived avant-garde group, Circle recorded in New York on October, 13. and 19. 1970.

In keeping with the spirit of this album being an overlooked gem, the group Circle is one of the more under appreciated ensembles to ever play improvised music. The music they present on this album ranges from blistering free jazz assaults, to carefully constructed pieces that recall leading 60s concert hall composers such as Berio, Boulez and Stockhausen. Having the multi-talented Anthony Braxton on board doesn’t hurt as he and Corea both are able to easily move from the bar-room world of jazz to the highest of academia without any loss of integrity. Every track by Circle has its own unique flavor and vision, and often their performance carries a sense of de-constructive humor as well.

This was one of the first jazz albums I ever bought and still gladly listen, I love this Blue Note series, has a special charm. Chick was just a different pianist at this time, and after he decided to change his approach, I eventually lost interest in his playing. Because “Circling In” is a mixed bag, it does not command a high price. I would imagine some might prefer the post bop styled cuts with Roy Haynes, while others might prefer the more avant-garde Circle, but really, every track on here is excellent.

Enjoy!

If you find it, buy this album!

CHICK COREA – Is (LP-1969 / Solid State Records)

Label: Solid State Records – SS 18055

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

Style: Free Jazz, Avant-garde Jazz

Recorded at Bell Sound, New York City on May 11/12, 1969.

Art Direction – Frank Gauna

Painting [Cover] – Hans Weingaertner

Mastered At – Bell Sound Studios

Producer – Sonny Lester

A  -  Is ...................................... 29:01

         (by – C. Corea)

B1 - Jamala .............................. 14:14

         (by – D. Holland)

B2 - This .................................... 8:18

         (by – C. Corea)

B3 - It ......................................... 0:28

         (by – C. Corea)

Chick Corea – piano, el. piano

Woody Shaw – trumpet

Bennie Maupin – tenor saxophone

Hubert Laws – piccolo flute

Dave Holland – double bass

Jack DeJohnette – drums

Horace Arnold – percussion

There is nothing better than hearing jazz legends as much younger men; hungry, talented and wanting to make their mark on the world. This album gives you all of that. Corea, Holland, DeJohnette and a very very fierce pre-Headhunters Bennie Maupin, then there are also surprisingly free Woody Shaw and Hubert Laws. Legends one and all.

Although the recording of Chick Corea’s “IS” sessions took place in May of 1969, the rhythm section, which consists of bassist Dave Holland, drummer Jack DeJohnette, and legendary Latin/hard-bop/fusion pianist Chick Corea, found its footing seven months earlier in the electric tone poems of the In A Silent Way sessions under Miles Davis’s leadership.

The “IS” sessions, is a great LP released on Solid State Records, which is a musical example of the exploratory sound of 1969. On IS, Corea, Holland, and DeJohnette largely break into the “new thing” or avant-garde with the help of hard bop players Woody Shaw and Bennie Maupin, flutist Hebert Laws, and percussionist Horace Arnold.

Records begins with “Is” is a 28 minutes of free association, a free jazz opus which symbolizes the experimental attitude that was present in American music and society in the late ’60s.

“Jamala” introduces the free-form style with which begins the second side of the album. The piece, composed by Holland, is over fourteen minutes of avant-garde ramblings, unstated tempos, and dissonant piano chord changes.

“This” breaks into free jazz territory, with Maupin dodging in and out of Corea’s lines on electric piano. It’s not suprising that Corea’s soloing on “This” has the seemingly chaotic but controlled intonations of Herbie Hancock considering they both played in Miles Davis’s free bop quintet on Filles De Kilimanjaro. Over five minutes of “This” is dedicated to showing off the simultaneous improvisation between Holland and Corea.

“It,” a 28 second classical duet between flutist Laws and Corea that is based on an original Corea composition called “Trio for Flute, Bassoon, and Piano.”

This music is 46 years old now. Just realize what has happened during this time in contemporary music - jazz or "classical": The borderline has completely vanished. Listen to 21st century contemporary music ("classical") - it sounds like Chick Corea in 1969.

If you find it, buy this album!

CIRCLE / Corea, Braxton, Holland, Altschul – Paris - Concert (2LP-1972)

Label: ECM Records – ECM 1018/19 ST

Format: 2 × Vinyl, LP, Album / Country: Germany / Released: 1972

Style: Avant-garde Jazz, Free Improvisation

Recorded on February 21, 1971 at the Maison de l'O.R.T.F., Paris.

Design [Cover] – B & B Wojirsch

Photography By – Jean-Pierre Leloir

Engineer – Jean Deloron

Producer – Manfred Eicher

Realisation by Andre Francis "Jazz Sur Scene"

A1 - Nefertiti ...................................................................................................... 19:17

         (Composed By – Wayne Shorter)

A2 - Song For The Newborn ............................................................................... 7:00

         (Composed By – David Holland)

B1 - Duet ........................................................................................................... 10:37

         (Composed By – Anthony Braxton, Chick Corea)

B2 - Lookout Farm / 73° Kalvin (Variation - 3) .................................................. 16:13

         (Composed By [73° Kalvin (Variation - 3)] – Anthony Braxton)

         (Composed By [Lookout Farm] – Barry Altschul)

C  -  Toy Room - Q & A ..................................................................................... 24:46

         (Composed By – David Holland)

D  -  No Greater Love ........................................................................................ 17:41

         (Composed By – Isham Jones, Marty Synes)

Anthony Braxton – reeds, percussion

Chick Corea – piano

Dave Holland – double bass, cello

Barry Altschul – drums, percussion

This 1971 document of one of the greatest jazz groups reveals a high level of musicianship and creativity in this quartet, used to make wonderful, huge, beautiful music. "Nefertiti" and "There Is No Greater Love" are stunning comments by the group in the context of the songs' forms and harmonies. These men have gotten inside of these tunes, down to the guts, where they can explore the farthest possibilities of their souls. (There is NO "free" playing on these tunes, which remains a challenge to those of us who wish to follow in these mens' footsteps.) The quartet appears again on Dave Holland's "The Toy Room" and "Q-A," an almost ambient cut. Mr. Braxton takes out the flute and clarinet on his Composition 6F ("73 Kalvin"), a classic Braxton fusion of composition and group improvisation. "Song for the Newborn" and "Lookout Farm" are superb solos by Dave Holland and Barry Altschul, respectively. Chick Corea and Anthony Braxton improvise an exciting duet. This is an album you'll have trouble putting away. Masterpiece.

_ By Michael G. Mcneill

...It's a very, very good recording. Corea of course is fine here, my prejudices notwithstanding; all four members are in top form. I often have some trouble with Altschul, finding him to be generally overbusy and there's some of that, though his percussion feature, "Lookout Farm", is rather impressive. But it's Holland and Braxton who steal the show. The former's "Q & A", which would be reprised the following year on "Conference of the Birds", is a wonderful hide 'n' seek piece, a fine balance between the Bailey-esque music Holland had been playing and the theme-driven work he'd settle into...

...They do a rocking rendition of Shorter's "Nefertitti" [sic] as well as closing out with "No Greater Love". At the time, it was a bit shocking to hear Braxton waxing so romantic! Little did we know....

...Strong concert, worth hearing, on purely musical grounds...

(By Brian Olewnick)

I wanted to note in passing another nostalgic fact: The smell of the original ECM pressings. Very unique and heady and still manifest 40+ years later! Not sustained when Polydor began printing the albums for US consumption. Mmmmm....ECM smell......

If you find it, buy this album!