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!

SADAO WATANABE VS TERUMASA HINO (Rec.1969/1970 - Canyon/LP-1980)

Label: Canyon – C20R0034 C

Format: Vinyl, LP / Country: Japan / Released: 1980

Style: Contemporary Jazz, Jazz Funk, Free Jazz

(A1, A2) Recorded in January 1969.

( B ) Recorded at Upsurge Studio, New York City, March 1970.

Engineer – Kennichi Handa (A1, A2)

Engineer – Tom Di Pietro ( B )

Remix, Edited By – Kennichi Handa

Cover Design – Mitsuru Yamada

Made By – Canyon Records, Inc.

Matrix / Runout: Side 1 C20R0034 C -A

Matrix / Runout: Side 2 C20R0034 C -B

A1 - Sadao Watanabe Quartet – Pastoral ................................................................ 15:00

A2 - Sadao Watanabe Quartet – Round Trip [Coming] ............................................ 10:11

           Sadao Watanabe – alto saxophone, soprano saxophone, flute

           Yoshiaki Masuo – guitar

           Yoshio Suzuki – acoustic bass, electric bass

           Hirotami Tsunoda – drums, percussion

           guest: Kazuo Yashiro – electric piano, piano

B  -  Terumasa Hino – Journey To Air 1 ................................................................... 24:20

           Terumasa Hino – flugelhorn, trumpet 

           Steve Grossman – tenor saxophone, alto saxophone, flute 

           Pete Yellin – alto saxophone, flute  

           Gary Pribec – alto saxophone   

           David Liebman – tenor saxophone, alto saxophone  

           Olu Dara – trumpet 

           Mike Garson – piano, electric piano

           Dave Holland – bass, Fender bass

           Lanny Fields – bass, contrabass 

           Teruo Nakamura – bass, contrabass 

           Motohiko Hino – drums, handclaps

           Bobby Moses – drums

It is the 80's planning LP, that coupled the past performances of Japanese jazz pioneer saxophonist Sadao Watanabe and Japan's leading jazz trumpet player Terumasa Hino. Sadao Watanabe in quartet formation, contents that compared the recording work by Terumasa Hino '70 recording work with combo formation.

Japan's jazz where idyllic atmosphere drifts like the title as "Pastoral". "PASTORAL" which became the first album of '69 CBS Sony transferring as organized by Sadao Watanabe, Yoshiaki Masuo , Yoshio Suzuki and Hiro Tsunoda, famous song "Pastoral" which told the opening of the new era, and there is also incredibly goodJazz Funk number "Round Trip [Coming] ".

Terumasa Hino, with the chosen company, saxophone players Steve Grossman, David Liebman, genius trumpeter Ola Dara, pianist Mike Garson, three bassists including Dave Holland, two drummers Motohiko Hino and Bobby Moses will lead us through 24-minute deep free jazz "Journey To Air 1" recorded at Upsurge Studio in New York. (See LP: Group Everything Everything Everything ‎– Hino's "Journey To Air" - Love Records ‎– TP-103).

Very intriguing music. Highly recommended.

If you find it, buy this album!

SAM RIVERS – Waves (Tomato Records – TOM-8002 / LP-1979)

Label: Tomato – TOM-8002

Format: Vinyl, LP, Album / Country: US / Released: 1979

Style: Free Jazz, Free Improvisation

Recorded at Big Apple Studio in New York City on August 8, 1978.

Design – Milton Glaser

Photography By – Steve Salmieri

Engineer – Elvin Campbell, James Jordan

Produced by Rivbea Music Company
Liner Notes – Robert Palmer

All compositions by Sam Rivers

Matrix / Runout (Side A Label): TOM 8002-A

Matrix / Runout (Side B Label): TOM 8002-B

A1 - Shockwave .............................................................................. 14:58

A2 - Torch ......................................................................................... 7:05

B1 - Pulse ....................................................................................... 10:33

B2 - Flux ........................................................................................... 6:10

B3 - Surge ........................................................................................ 5:18

Personnel:

Sam Rivers – tenor saxophone, soprano saxophone, flute, piano

Dave Holland –  bass, cello

Joe Daley – tuba, baritone horn

Thurman Barker – drums, percussion

Waves is an album by American jazz saxophonist Sam Rivers featuring performances recorded in 1978 and released on the Tomato label.

An explosive late '70s set with underrated composer, multi-instrumentalist, and arranger Sam Rivers leading a strong quartet. While bassist and cellist Dave Holland and percussionist Thurman Barker merged to form a strong, challenging rhythm section, Rivers and Joe Daley, playing tuba and baritone horn, worked together to create instrumental dialogues in sequence. Their array of contrasting voicings, with Rivers on tenor and soprano sax and flute, makes for compelling listening.

(_ Review by Ron Wynn)

Here's a LP that I love very much. Tomato Records (TOM-8002) as one of the great documents of 70s creative jazz. Sam Rivers is one of the all-time greats on tenor sax, and a mean soprano, flute, and piano player, as well. Anyone who's caught his trio live in recent years can attest to the fact that his talents are undiminished, even at the age of 80. This particular album was recorded in 1978, and prominently features bassist Dave Holland, one of Rivers' most sympathetic collaborators of the decade. Holland is the anchor here, with Thurman Barker's spare, understated, and masterfully economical drumming going from rapid hi-hat timekeeping to volcanic surges of Varese-like pile-ups. The bass player has an almost unreal sense of time, and his rapid, wandering lines are consistently articulated with impeccable clarity. Also holding the bottom end down is Joe Daley's tuba. He handles What one would assume to be an unweildly instrument for fast-paced improvisation with a deftness that allows him to flow easily amongst the quicksilver play of the other musicians. Daley also plays baritone horn on the opening cut "Shockwave", his lines and Holland's interlocking in a fluid tussle. The piece opens with Rivers on the piano, playing with a robust, but beautiful force that prefigures the style Matthew Shipp would take to the next level some years later. After the aforementioned duet between Holland and Daley, Barker gradually asserts his presence, while Rivers enters on tenor. His angular, clean lines evolve into impassioned shrieks, while the rapid free-bop pace never lets up. "Torch" is a similarly speedy number, with Rivers on flute. After the rhythmic, acoustic quasi-fusion of "Pulse", where Holland's playing most recalls his work with Miles Davis, "Flux" features the bassist's cello playing in a duet with Rivers' piano. The piece recalls twelve-tone classical in its more restrained moments, before building up into a dramatic cloud of sound accented by Barker's bells. Rivers' rich tenor returns on the closing "surge", as does Daley's tuba. Holland stretches out on arco bass while Barker lays low for much of the track, adding manic snare shapes at unpredictable peaks. Overall, this album met with my high expectations.

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!

DAVID HOLLAND / DEREK BAILEY – Improvisations For Cello And Guitar (LP-ECM-1971)

Label: ECM Records ‎– ECM 1013 ST

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

Style: Free Jazz, Free Improvisation

Recorded live at the Little Theater Club, London, January 1971.

Cover Design by – Dave Holland

Layout – B & B Wojirsch

Liner Notes [Poem] – E. E. Cummings

Music published by ECM-Verlag

Matrix / Runout (Side A Runout): ST-ECM 1013-A

Matrix / Runout (Side B Runout): ST-ECM 1013-B

A  -  Improvised Piece III ........................................................... 20:04

B1 - Improvised Piece IV ............................................................. 8:16

B2 - Improvised Piece V ............................................................ 10:08

All compositions by Dave Holland and Derek Bailey

David Holland — cello

Derek Bailey — guitar

Improvisations for Cello and Guitar is an album by cellist David Holland and guitarist Derek Bailey recorded in 1971 and released on the ECM label.

''One’s not half two. Its two are halves of one… All lose, whole find.''

(by–E. E. Cummings)

If you’ve ever picked up a guitar and played those short strings between the end of the neck and the pegs and wondered if one could make viable music with that kind of sound, then look no further, for that is precisely the pinpoint aesthetic captured on this rare recording. These improvisations are miniscule and entomological, whispering with the nocturnal regularity of a cricket. Holland and Bailey shift from pops and plucks to more sustained tones at the drop of a hat, but always with an ear keenly tuned to the other player. The two take full advantage of extended techniques to create a wide palette of sounds. These are delicate pieces, but no less full of verve and character for their utter precision. Sometimes the music is incredibly expansive. Other times it seems to implode, by turns galactic and subterranean. Because both musicians are so skillful at what they do, one can truly appreciate the spontaneous dynamics of their playing, the ways in which they react and prompt each other into action. They are never afraid to take separate paths, for they always seem to rejoin, and in doing so they add seemingly endless variety as the energy flows and ebbs. It’s always fascinating to hear Dave Holland’s earlier work, and this meeting with Bailey is certainly an archival treat.

Todd S. Jenkins called the album "a dark resonant masterwork".

If you find it, buy this album!

DAVE HOLLAND / SAM RIVERS – Dave Holland and Sam Rivers, Vol. 1 (LP-1976)

Label: Improvising Artists Inc. – IAI 373843

Format: Vinyl, LP, Album / Country: US / Released: 1976

Style: Avant-garde Jazz, Free Improvisation

Recorded at Big Apple Studio, New York City, February 18, 1976.

Artwork [Jacket], Photography By – Carol Goss

Composed By – Sam Rivers

Producer – Paul Bley

Recorded By, Mixed By – David Baker

A - Waterfall  ........................................................ 17:10

bass – Dave Holland / soprano saxophone – Sam Rivers

B - Cascade  .......................................................... 21:20

bass – Dave Holland / tenor saxophone – Sam Rivers

Intimate improvisational music played with absolute mastery by the incredible Sam Rivers (saxophonist/flutist/composer) and a great virtuoso of the double bass Dave Holland. A profound musical journey - but also just a dialogue between friends. Essential.

The first of two LPs that bring back a daylong duet session by Sam Rivers and bassist Dave Holland consists of two lengthy improvisations featuring Rivers on soprano and tenor; volume two features him playing flute and piano. Rivers' adventurous solos and interplay with the virtuosic Holland make this record of interest to listeners with open ears toward the avant-garde, despite the LP-length playing time.

Please be aware that this music will not immediately mandate foot tapping. Nor was it intended to, at least not during the first listen. It IS the combination of two legendary musicians providing wholly improvised, extended duo performances that never weaken with time. This music was recorded in 1976, and is still fresh. It does not fall into the traps of, I am sorry to say standard, so-called free form music, with its inability to focus. Rather, this musical set brings the listener to and through distinctly formed stream of consciousness improvisations with Sam Rivers playing and soprano then tenor saxes, underpinned by Dave Holland on bass. This, along with Volume two of this collaboration, should be a part of anyone's collection who appreciates interactive music which develops musical forms with structure and clarity; music that never fades.

If you find it, buy this album!

SAM RIVERS and DAVE HOLLAND – Vol. 2 (LP-1976)

Label: Improvising Artists Inc. – IAI 373.848

Format: Vinyl, LP, Album / Country: US / Released: 1977

Style: Avant-garde Jazz, Free Improvisation

Recorded at Big Apple Studio, New York City, February 18, 1976.

Painting [Jacket Cover Drawing] – David Garland

Photography By [Jacket Liner] – Carol Goss

Producer – Paul Bley

Recorded By, Mixed By – David Baker

A - Ripples ............................................................. 23:49

bass – Dave Holland / flute, composed by – Sam Rivers

B – Deluge .............................................................. 23:23

bass – Dave Holland / piano, composed by – Sam Rivers

Sam Rivers / Dave Holland Vol. 2 is an album by American jazz saxophonist Sam Rivers and English double-bassist Dave Holland featuring performances recorded in 1976 and released on the Improvising Artists label. Not Easy Listening, but unique and beautiful music, and as with Volume I, excellently formed.

...In a significant discography now approaching forty titles as a leader across five decades, "Contrasts" stands out as the only recording that left-of-center saxophonist/flautist Sam Rivers led for ECM. Originally released in 1980 on vinyl.

Rivers made his ECM debut on Dave Holland's classic 1973 ECM recording, "Conference of the Birds". In the years between these two recordings, the pair continued to work together in a number of formats, most notably as the duo responsible for Sam Rivers/Dave Holland Vol. 1 (I.A.I., 1976) and Vol. 2 (I.A.I., 1977), and in a trio with drummer Barry Altschul on "Sizzle" (Impulse!, 1976) and "Paragon" (Fluid, 1977). But it was with "Waves" (Tomato, 1979), that the seeds of "Contrasts" were born, as Rivers and Holland were joined by drummer/percussionist Thurman Barker, a similarly avant-reaching member of Chicago's Association for the Advancement of Creative Musicians (AACM)...

...When Sam Rivers met up with bassist Dave Holland for a set of duets, he decided to record two LPs and play a different instrument on each of the sidelong pieces. While Rivers performs on tenor and soprano during the first volume, the second recording finds him playing "Ripples" on flute and switching to piano for "Deluge"; both performances are over 23 minutes long. Since tenor is easily Rivers's strongest ax, this set is something different, equally successful and very intriguing. The flute piece has several different sections that keep both the musicians and listeners interested, while Rivers's piano feature is quite intense...

Hey, that's Sam & Dave, isn't it?

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!