JACKIE McLEAN – Hipnosis (1962/67) Blue Note–BN-LA483-J2/UA – 2LP-1978

Label: Blue Note ‎– BN-LA483-J2

Series: Blue Note Jazz Classic Series –

Format: 2 × Vinyl, LP, Album / Country: US / Released: 1978

Style: Hard Bop, Post Bop

A1 to B3 rec. at Rudy Van Gelder's, Englewood Cliffs, New Jersey on June 14, 1962.

C1 to D3 rec. at Rudy Van Gelder's, Englewood Cliffs, New Jersey on February 3, 1967.

Design [Album] – Bob Cato

Photography By – H. Nolan

Compiled By – Michael Cuscuna

Liner Notes – Ben Sidran

Producer [Original Sessions Produced By], Producer – Alfred Lion

Supervised By [Project Director Blue Note Jazz Classic Series] – Charlie Lourie

Matrix / Runout (Side 1): BN-LA483-1 (SET 1) 2 ECK UA

Matrix / Runout (Side 2): BN-LA483-2 (SET 2) 1 ECK UA

Matrix / Runout (Side 3): BN-LA483-3 (SET 2) 1 ECK UA

Matrix / Runout (Side 4): BN-LA483-4 (SET 1) 2 ECK UA

side 1

A1 - The Three Minors ............................................................................................... 6:00

A2 - Blues In A Jiff ..................................................................................................... 7:00

A3 - Blues For Jackie ................................................................................................. 7:45

side 2

B1 - Marilyn's Dilemma ............................................................................................. 5:00

B2 - Iddy Bitty ........................................................................................................... 8:10

B3 - The Way I Feel .................................................................................................. 7:15

Personnel:

Jackie McLean – alto saxophone

Kenny Dorham – trumpet

Sonny Clark – piano

Butch Warren – bass

Billy Higgins – drums, percussion

side 3

C1 - Hipnosis .......................................................................................................... 11:15

C2 - Slow Poke ........................................................................................................ 7:40

side 4

D1 - The Breakout .................................................................................................... 6:17

D2 - Back Home ....................................................................................................... 6:05

D3 - The Reason Why .............................................................................................. 6:45

Personnel:

Jackie McLean – alto saxophone

Grachan Moncur III – trombone

LaMont Johnson – piano

Scott Holt – bass

Billy Higgins – drums, percussion

All selections are released here for the first time. All selections are in stereo.
Hipnosis is a studio album by saxophonist Jackie McLean, featuring selections recorded for Blue Note Records in the 1960s, but not released until 1978. The album was released in the US as a two-fer (BN-LA 483-H2), which included five tracks from a 1967 session, plus six tracks recorded in 1962.  In Japan, it was released the same year as a standard LP (ST-83022) with a different cover, featuring only the 1967 tracks.

The first session's from his wailing hard bop days, and features Kenny Dorham on trumpet, Sonny Clark on piano, and Billy Higgins on drums. Tracks from this one include "Blues For Jackie", "Blues In a Jiff", and "Iddy Bitty". The other set's from the tail end of his "new thing" days, and features Grachan Moncur on trombone and Lamont Johnson on piano. Tracks here include "The Breakout", "Hipnosis", "Slow Poke", and "The Reason Why".
It is interesting to compare Hipnosis with the other UA McLean two-fer offering, Jacknife. I find this Jazz Classics Series sonically better (probably just by chance)  and musically has the edge, if only for the presence of a bubbling Sonny Clark and a brooding Grachan Moncur III. McLean recorded numerous times with Moncur, something about how the malevolant lower register trombone and offsetting acid-sharp alto gel, sweet and sour, a challenging sort of brass unison.

Both vintage McLean twofers are in my view essential, inexpensive good-sounding double vinyl. I expect most jazz fans already have them, but perhaps like me you have been neglecting to play them, so its good to get them off the shelf and onto the turntable where they belong. The twofers are over thirty years old, nearing forty years, close to nearly a  decade short of originals. That is “vintage”, good enough for me.

Even if you have all the McLean and Moncur Blue Notes, which I do, the two McLean twofers (is that a fourfer?) generously complement your collection, without duplicating any tracks.

And in the end, quite what United Artists thought they were doing releasing two twofer series – The Blue Note Reissue Series and The Blue Note Jazz Classics series –  is a mystery to me. Why call something a re-issue which has never been issued before? They are all Jazz Classics, whatever the word Classics means.         (parts of londonjazzcollector review)



If you find it, buy this album!

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!

GRACHAN MONCUR III – Aco Dei De Madrugada (One Morning I Waked Up Very Early) / New Africa (2LP-1971)

Label: BYG Records – 529.205

Series: Double Actuel – 205

Format: 2 × Vinyl, LP, Compilation; Country: France - Released: 1971

Style: Free Jazz, Contemporary Jazz, Free Improvisation

Side A/B - Recorded In Paris 11. August 1969

Side C/D - Recorded In Paris 04. November 1969

Executive-producer – Claude Delcloo

Producer – Jean Georgakarakos, Jean-Luc Young

Two seminal sessions from avant soul trombonist Grachan Moncur III. Beautiful recordings.

New Africa (1969)

A1 - New Africa . . . 17:30

        1st Movement: Queen Tamam  

        2nd Movement: New Africa    

        3rd Movement: Black Call       

        4th Movement: Ethiopian Market        

A2 - Space Spy . . . 6:55

B1 - Exploration . . . 10:45

B2 - When . . . 12:00

        Grachan Moncur III – trombone

        Roscoe Mitchell – alto saxophone, saxophone [piccolo]

        Archie Shepp – tenor saxophone (track: B2)

        Dave Burrell – piano

        Alan Silva – contrabass

        Andrew Cyrille – drums, percussion

Aco Dei De Madrugada (One Morning I Waked Up Very Early) - 1969

C1 - Aco Dei De Madrugada (Traditional Bresilian) . . . 7:02

C2 - Ponte Io (Traditional Bresilian) . . . 6:46

D1 - Osmosis . . . 9:25

D2 - Tiny Temper . . . 5:28

        Grachan Moncur III – trombone

        Fernando Martins – piano, vocals

        Beb  Guérin – contrabass

        Nelson Serra De Castro – drums, percussion

 Grachan Moncur III

In 1969 Grachan Moncur III - jazz trombonist and composer - recorded two albums for the legendary French free jazz record label BYG: "New Africa" and "One Morning I Woke Up Very Early (Aco Dei De Madrugada)".

Moncur had come to France via Algiers, where he had played at the First Pan-African Cultural Festival. This Festival, which focused on Black African ethnic identity politics, had been held in Algeria from the 21st of July to the 1st of August 1969 by the new-fled Organization of African Unity. Moncur had come to the Festival together with Archie Shepp, with whom he had been playing since 1967 (i.a. on 'Life At The Donaueschingen Music Festival' and 'The Way Ahead') and with whom he would remain closely associated in further years (on 'Things Have Got To Change' and 'Kwanza'). Besides Moncur, Shepp brought with him cornet player Clifton Thornton, pianist Dave Burrell, bass player Alan Silva, and avant drummer Sunny Murray.

At the Festival, the whole group was invited to record in Paris by BYG Actuel's Jean Georgakarakos and Jean-Luc Young, and record they did: in a very short time span, working in ever-changing constellations, they created scores of beautiful free jazz records. "New Africa" was recorded on august 11th 1969, only ten days after the end of the Festival; "One Morning I Woke Up Very Early (Aco Dei De Madrugada)" was recorded only a little later, on september 10th and november 4th 1969.

But the jazz corpus created by those invited to record by BYG Actuel - though one of the most enticing on record - was marred by greed: to this day, BYG's mainmen Bisceglia, Young and Georgakarakos have apparently not paid any royalties to the artists involved. The financial problems this created for Moncur initiated a downward spiral, which was worsened by health problems. The result was that Moncur was able to record only rarely after the early 1970's, apparently became quite depressed, and didn't even merit a personal entry in the 7th (2004) edition of "The Pinguin Guide To Jazz On CD".

It is ironic that where a Festival (the First Pan-African Cultural Festival) provided the main impetus for BYG Records, another festival proved to be it's undoing. BYG Records organized a festival together with the countercultural magazine Actuel called 'Le Festival Actuel'. It was planned to take place from October 24th to 27th 1969 in Paris. However, the French authorities denied the organizers the necessary permits, fearing that either a Woodstock-like chaos or a repetition of the may 1968 student riots might ensue. This forced the organizers to move the entire Festival at a very late stage to Belgium, to a place called Amougies (or Amengijs in Flemish) which is near the French-Belgium border. The Festival had a very ambitious line-up, featuring Pink Floyd, Captain Beefheart, Soft Machine and Ten Years After. Also, much of BYG Records roster of Free Jazz performers participated; Grachan Moncur III appeared on Saturday night, together with Don Cherry, saxophonist Arthur Jones and pianist Joachim Kurt Kuhn. Frank Zappa was master of ceremonies at the Festival. Though an audience of 15-20,000 attended the Festival, the financial strain it caused was too much of a burden for BYG Records, which finally went bankrupt in the early seventies.

Bisceglia went on to become a Jazz photographer; Jean Georgakarakos founded Celluloid Records; and Jean-Luc Young founded the record label Charly Records in France in 1974 and moved operations to England in 1975. Living up to his reputation for shady deals, Young ran into legal trouble due to copyright infringement in 2000 while still working for Charly Records.

The trombone - Moncur's instrument - has held a particular fascination for me ever since I saw drone metal band Earth perform live, Steve Moore - who has roots in Free Jazz - providing beautiful trombone gravitas to Earth's haunted Americana. But Moncur's trombone playing is light years removed from Moore's drones: his style is firmly rooted in Jazz tradition.

Moncur's music is not Free Jazz of the chaotic and noisy, Merzbow kind; and it is also devoid of the cheap quasi-mystical exoticism which can spoil Indian/Jazz-fusion-type Free Jazz. Notwithstanding the influence of Shepp's ethnopolitical protest music, both albums present a rather lyrical style of Free Jazz, elegant rather than intransigent, poetic rather than acerbic, a mélange rather than a hotchpotch. Moncur comes across as a good-natured progressive who chooses to explore both the heartlands and the borders of the Jazz tradition, rather than as a revolutionary firebrand who aims to scorch the earth of that tradition.

But that does not mean that Moncur's music lacks passion - on the contrary!

'New Africa' features Roscoe Mitchell (alto sax), Dave Burrell (piano), Alan Silva (bass) and Andrew Cyrille (drums). It opens with the eponymous seventeen-and-a-half minute suite, which consists of four movements. Over the course of these movements, the relaxed, steady bass work by Silva binds together the energetic performances of the other musicians. The drums and the piano on the one hand and the sax and the trombone on the other maneuver around each other in benevolent aerobatic dog-fights. In 'Space Spy' Dave Burrell provides a suspenseful piano tune that gives the track a tense feel appropriate to it's title: that of a Free Jazz afro-futurist espionage thriller. The third track ('Exploration') is the 'Free-est' of all. It is thoroughly informed by Alan Silva's musical style: spiritually ecstatic, with an interplay of instruments that is as writhing as a mass of Cthulhoid tentacles. Archie Shepp appears on the fourth and final track of 'New Africa', where a self-confident (but never swaggering) swing provides the two musicians with a theater stage on which to perform their powerful art.

I'm also very fond of the second part of this double LP, the album "One Morning I Woke Up Very Early (Aco Dei De Madrugada)". It was recorded after 'Le Festival Actuel'. This album presents two songs which are interpretations of Brazilian traditionals: "Aco Dei De Madrugada" and "Ponte Lo"; and two originals: "Osmosis" and "Tiny Temper". On this recording, Moncur was assisted by French bass player Beb Guérin, Brazilian pianist Fernando Martins and Brazilian drummer Nelson Serra De Castro. More laid-back than 'New Africa', the Latin influence gives his music an immensely graceful swing. - Enjoy!

_ Text: Documents, By Valter

If you find it, buy this album!