HENRY COW – In Praise Of Learning (LP-1975)

Label: Virgin ‎– V 2027

Format: Vinyl, LP, Album / Country: UK / Released: 1975

CD ReR Megacorp – ReR HC3 (US) (2000)

Style: Avantgarde, Jazz Rock, Prog Rock

Recorded at the Manor, February & March 1975, except track A1, recorded November 1974.

Artwork By [Sock] – Ray Smith

Producer – Henry Cow, Phil Becque, Slapp Happy

Recorded By, Mixed By – Phil Becque

Remastered By – Matt Murman

ART IS NOT A MIRROR - IT IS A HAMMER (John Grierson)

A1 - War . . . (2:26)

A2 - Living In The Heart of the Beast . . . (15:30)

B1 - Beginning: The Long March . . . (6:27)

B2 - Beautiful as the Moon - Terrible as an Army With Banners . . . (7:02)

B3 - Morning Star . . . (6:06)

Line-up / Musicians

- Dagmar Krause / vocals

- Peter Blegvad / clarinet, guitar, vocals

- John Greaves / bass, piano

- Chris Cutler / piano, trumpet, drums, vocals

- Lindsay Cooper / bassoon, oboe, Wind

- Mongezi Feza / trumpet

- Phil Becque / synthesizer

- Fred Frith / guitar, piano, violin, keyboards, xylophone

- Tim Hodgkinson / organ, clarinet, piano, keyboards, saxophone, vocals

- Geoff Leigh / trumpet, saxophones

- Anthony Moore / synthesizer, piano, keyboards, electronics

The trademark chainmail sock was deep red, and the cover was adorned with a quote from the left wing film maker John Grierson - 'Art is not a mirror, it is a hammer'. The titles of the two instrumentals also explicitly refer to the band's left wing politics; Beginning: The Long March is a reference to the Chinese Revolution, while Morning Star is the name of the daily paper published by the Communist Party of Great Britain.

And what of the music?

HENRY COW had joined forces with the German trio SLAPP HAPPY as they collaborated to make the album "Desperate Straights" under the SLAPP HAPPY name. "In Praise Of Learning" sees this collaboration continue only this one is released under the HENRY COW name. This collaboration would end shortly after this album was released. Still this melding of the two bands makes "In Praise Of Learning" quite different from their previous two studio albums. More avant-garde i'd say plus having Dagmar Krause on vocals changes the mood completely. I am used to her vocals from the ART BEARS albums but those who haven't heard her sing before don't usually view her participation as a positive. Including guests we get eleven musicians involved with the making of this record. SLAPP HAPPY would fold after this recording when Dagmar announced she was staying with HENRY COW as the COW would tour a lot the following year or so. She would return to SLAPP HAPPY though as witnessed on their 1980 release "Acnalbasac Noom".

"War" is only 2 1/2 minutes long and was composed by the SLAPP HAPPY duo of Moore and Blegvad. Both Blegvad and Krause sing on it and Dagmar is quite passionate here. I like the brief instrumental sections. "Living In The Heart Of The Beast" opens with Frith ripping it up with some dissonant guitar leads. Krause comes in vocally and I like this song already much better than the first tune. It settles down before we get some more aggressive guitar. A calm follows with piano and Dagmar returns in a reserved manner. It turns dark before 3 minutes as we get a complex instrumental section that really impresses. Vocals are back before 4 1/2 minutes. Another calm a minute later as the vocals stop and the sounds become intricate. Vocals are back and they do get passionate at times. Another calm before 7 1/2 minutes with organ. Violin joins in from Frith after 8 minutes. It will kick in again but settle back quickly. This is so good ! Vocals are back before 12 1/2 minutes as it stays fairly relaxed. Great, great track composed by Tim Hodgkinson.

"Beginning- The Long March" like the final track "Morning Star" were joint efforts by the two bands. The first is experimental throughout as various sounds come and go. I like this instrumental a lot, it's a real trip. "Beautiful As The Moon-Terrible As An Army With Banners" is a Frith / Cutler composition. It opens with reserved vocals and a laid back sound with plenty of piano. It does become a little more passionate then settles back before 3 minutes. It picks back up before 4 minutes with an excellent instrumental section. Dagmar is back late. Another excellent track. "Morning Star" ends it as we get dissonant horns and random drum patterns to start and more. Avant is the word and it continues throughout. An adventerous instrumental to close out the album...

Review by Mellotron Storm

PROG REVIEWER, March 03, 2013

Whether you agree with their politics or not, music as passionate and committed as this is all too rare, and in the prog field it is almost unprecedented. Listen and be amazed.

Never have I heard such a radiant combination of instrumentation, song-writing, emotion, intellect, everything that makes each song unique and full of true magic. If you have not heard it, grant your ears the gift immediately. This album gets my highest recommendation of anything I could write.

Buy this album!

MONGEZI FEZA and BERNT ROSENGREN QUARTET – Free Jam - 1972 (2004)

Label: Ayler Records – aylCD-048/49
Format: 2 × CD, Album; Country: Sweden - Released: 2004
Jazz Style: Free Jazz
Recorded on Nov 15/24, 1972, and Dec 15, 1972 at ASEA, Stockholm, Sweden
Cover, Design – Åke Bjurhamn
Edited By, Mastered By – Jan Hansson
Engineer – Göran Freese
Executive-producer – Jan Ström
Liner Notes – Keith Knox, Roger Bergner
Mastered By [Final Mastering] – Per Ruthström
Photography By – Gunnar Smoliansky, Rita Knox
Technician [Assembling Of Material To Dat], Mastered By [Assistant] – Keith Knox

An extraordinary recording, this two-CD set captures trumpeter Mongezi Feza fronting the remarkable Bernt Rosengren Quartet, with Okay Temiz added on percussion. Recorded in 1972, but not released until 2004 on the Swedish label, Ayler Records, the ten tracks constituting nearly two hours of music are a major find, despite the somewhat sub-par recording quality and the truncated nature of some of the pieces.
As is customary with this label, the production quality is first-rate, with meticulous notes contained in the 20-page booklet, superb packaging, and a serious effort to clean up the sound.
For those familiar only with Feza's work with the Blue Notes, his ability to create astonishing solos at lightening speed in a largely unfettered environment may come as a pleasant surprise...

Some music and musicians are linked irrevocably to a specific era, either because premature exits or enforced retirement have limited their contribution to those particular times or because their strongest work appeared then. Feza, of course, suffered an all too early exit while Windo kept on going until 1992. While it is impossible to predict what the trumpeter would have gone on to achieve, in Windo’s case I feel that the work done in the ferment of the 1970s was among his strongest and most intense.

Explosive South African trumpeter Feza was a guest with Bernt Rosengren’s quartet along with percussionist Okay Temiz, during November and December 1972 and Free Jam was recorded during this time in an old paint and glass-blowing factory in Stockholm. The location may not seem inspiring but the sound definitely is, being both raw and full of the energies of collective improvisation, with band members shouting encouragement while the rest respond with vigorous, ebullient solos and group blowing.

On the first cd the opening ‘ Theme Of The Day ’ is nearly forty minutes of this approach and features a typically buoyant solo from Feza as well as a freely ranging alto break by Rosengren and some muscular tenor from Tommy Koverhult. But much of the track is a high energy group interaction with players moving to the foreground then shifting back into the ensemble again. It is a truly exhilarating sound driven by the twin percussive assault of Temiz and quartet drummer, Leif Wennerstrom. It ends with Rosengren abstracting a melodic theme, apparently from a pop song, ‘ Sambabiten ’ , stretching it a little and bringing the piece to a joyously steady rhythmic conclusion.

From the same day ‘ Group Notes 1 ’ continues the mood of free improvisation and highlights Feza’s dynamic playing alongside Koverhult and Rosengren. ‘ Group Notes 2 ’ also finds the tenor man exploring though in slightly more restrained manner, holding notes then unleashing cascades of them. It reminded me of Coltrane momentarily. There is a more spacious feel to this track though the energy levels are still quite high.

The second cd also opens with ‘ Theme For The Day II ’ , in this case a spiralling motif that gradually mutates into a group improvisation led by Rosengren. The drumming is particularly fierce and it is a shame that the track seems to fade before it really gets started. Following on though, is the first of several tracks which prominently feature Feza. ‘ Mong’s Research I ’ allows him space to build a furious solo supported only by Wennerstrom and Temiz. He then carries this on at the start of ‘ Group Notes III ’ wrenching squirming metallic figures from his trumpet whilst again being powerfully driven by the force emanating from the twin percussion team. It is probably one of the longest solos I've heard him take and his energy and invention become quite staggering, cutting a swaggering path through the track. The other major force on this track is Rosengren who matches Feza in resourcefulness and power.

A further three sections of ‘ Mong’s Research ’ also contain stunning examples of his technique as he bursts out in barely contained melodic torrents over Rosengren on piano. He seems to want to explore every aspect of the improvisations, his tone shifting through a range of moods. Again, this is another one of the most sustained performances I’ve come across, possibly even surpassing work he laid down with Brotherhood Of Breath and The Blue Notes and reminding me what a terrible loss his early death was for the music.

Although this is ostensibly a guest session from the trumpeter he contributes much of the excitement and verve to the performances, sounding like a small musical tornado, aided crucially by the empathies of both drummers. For anyone, like me, who feels they’ve never heard enough of his work this is absolutely essential listening. Jan Strom’s team at Ayler deserve an award both for making it available in the first place and for presenting it in an informative and attractive package with distinctive cover artwork, as ever, by Ake Bjurhamn.

_ By PAUL DONNELLY, Stride Magazine



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HARRY MILLER'S ISIPINGO – Which Way Now (1975, Re-2006)

Label: Cuneiform Records – Rune 233
Format: CD, Album; Country: US - Released: 2006
Style: Free Jazz,  Free Improvisation, Contemporary Jazz
Recorded at Post-Aula, Bremen, Germany on November 20, 1975.
Coordinator [Release Coordination] – Steven Feigenbaum
Design [Cd Package] – Bill Ellsworth
Painting [Cover Painting] – Ellie Payne; Photography By – Jak Kilby
Producer [Concert] – Gisela Steppat, Volker Steppat
Recorded By – Dietram Köster, Jürgen Kuntze, Klaus Schumacher, Peter Schulze
Remastered By [Tube] – Michael King, Miki Dandy
Technician [Transfer From The Original Tapes] – Christoph Romanowski

Which Way Now features over 70 minutes of music from a beautifully recorded radio concert from November 20, 1975; it sounds as if you are in the room right with the band!
Since Isipingo only released one album during their lifetime, this release dramatically extends their legacy and like Cuneiform's important and historical work with the Brotherhood of Breath, brings this important, hugely enjoyable, nearly-forgotten music to a new audience.

The remarkably large and intersecting jazz and progressive rock community of late-'60s and early-'70s England is enough to give any discographer nightmares. But within that group a few key players came together more often than most, including a contingent which had escaped South Africa's apartheid. Harry Miller was one such artist, an in-demand bassist who appeared on albums by King Crimson, saxophonist Elton Dean's Ninesence and pianist Chris McGregor's Brotherhood of Breath. Miller is underrepresented as a leader, so Which Way Now is a particularly welcome rescued archival live recording, highlighting Miller's considerable skills as composer and bandleader.

Recorded for Radio Bremen in 1975, Which Way Now features Miller's Isipingo sextet. It's a refreshingly vibrant acoustic jazz album, recorded at a time when most of his peers were pursuing the carrot of fusion. Combining traces of his African roots with a more open-ended improvisational aesthetic, it also strongly reflects the influence of jazz icon John Coltrane. Four extended pieces ranging from 15 to 21 minutes show Miller's ability to provide maximum freedom and avoid compromise. Pervasive rhythms that only occasionally dissolve into total freedom also keep them completely accessible.

The performance was recorded less than a month before another South African ex-pat, trumpeter Mongezi Feza, passed away in December, 1975 at only 30. A sharp-toned player who left a small but fine body of work, Feza is perhaps best known for his work on singer/songwriter Robert Wyatt's early records. Here he's at his best on the mid-tempo, modal "Eli's Song, where his own sense of construction combines with a certain abandon. He's matched by Mike Osborne, who may be an altoist, but is clearly informed by Coltrane's assertive stance.

The spirit of Coltrane may loom over this session, but the presence of pianist Keith Tippett takes it to a different place entirely. The best-known and certainly the most prolific player of the bunch, Tippett has always leaned towards more complete freedom. Here he isn't exactly reined in, but he remains within a sphere of smaller diameter, creating an outré space underneath the soloists that, oddly enough, meshes perfectly with Miller and South African drummer Louis Moholo's insistent pulse.

Trombonist Nick Evans' solo on the fiery title track interacts boldly with Tippett's sparse accompaniment, manifesting the kind of chemistry that's honed from years of working together. This shared chemistry amongst the entire sextet is, in fact, what makes Which Way Now so exciting from beginning to end. Whether acting as a tag-team rhythm section partner with Moholo and Tippett or delivering provocative solos, Miller clearly had the makings of a musical giant—which makes it all the more sad then that, like Feza, Miller's life was cut short prematurely in 1983 at the age of 42. Still, Which Way Now is a welcome reminder of just how vibrant the UK improvising scene was—and continues to be.

_ By JOHN KELMAN, Published: August 12, 2006



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CHRIS McGREGOR'S BROTHERHOOD OF BREATH – Travelling Somewhere (Live-1973) – 2001

Label: Cuneiform Records – Rune 152
Format: CD, Album; Country: US - Released: 2001
Style: Free Jazz, Big Band
Recorded January 19th, 1973 at Lila Eule, Bremen, Germany.
Coordinator [Research And Release Coordination] – Steven Feigenbaum
Design – Bill Ellsworth
Engineer – Dietram Köster
Liner Notes – Mike Fowler
Mastered By [Premastering], Edited By – Matt Murman
Photography By – Jak Kilby
Producer – Peter Schulze

Travelling Somewhere consists of a concert recorded by Radio Bremen (Germany) on January 19, 1973, one week before the Chris McGregor & the Brotherhood of Breath show in Switzerland that would be released on Ogun in 1974 as Live at Willisau.

Personnel : Harry Beckett: trumpet; Mark Charig: trumpet; Nick Evans: trombone; Mongezi Feza: trumpet; Malcolm Griffiths: trombone; Chris McGregor: piano; Harry Miller: bass; Louis Moholo: drums; Mike Osborne: alto sax; Evan Parker: tenor sax; Dudu Pukwana: alto sax; Gary Windo: tenor sax.


BBC Review:

Ex-pat South African pianist McGregor made an immeasurable contribution to British and European jazz in the 1960's and 70's with his Blue Notes, a group of black South African jazz musicians whom the white bandleader hand-picked after hearing them perform at the 1962 Johannesburg Jazz Festival.

Opportunities for a mixed race group in South African being limited, to say the least, McGregor and his crew left their troubled homeland in 1964, and did most of their performing and recording in voluntary exile during the next twenty-five years. Several years after arriving in London with the Blue Notes, McGregor also assembled the Brotherhood of Breath, an ambitious avant garde big band which incorporated various members of the Blue Notes, along with the best of Great Britain's young jazzbos. McGregor struggled to keep the Brotherhood of Breath alive, and it performed sporadically over the years, with a revolving cast of musicians.

This CD documents an exceptional early live performance of the band, when they were at their creative peak. Perhaps because the United States has always been considered the ultimate repository of jazz talent, drummer Louis Moholo, alto saxophonist Dudu Pukwana and trumpeter Mongezi Feza have never really received critical attention commensurate with their abilities, but they were arguably as good as many of their more famous American counterparts. Put them together in a band with the young Evan Parker, Mark Charig, Gary Windo, Mike Osborne, Harry Beckett and Malcolm Griffiths (among others) and give them the energetic direction and compositional abilities of McGregor, and you have something very special.

Later editions of the Brotherhood might have been more sleek and refined, particularly in their studio incarnations, but there's an exuberant energy and density to these 1973 performances, recorded for Radio Bremen in front of a live audience, which at times reaches an almost ecstatic intensity. It's almost as if the Sun Ra Arkestra had been reconstituted in a parallel African reality.

Several pieces, particularly Pukwana's "MRA" and McGregor's "Do It," have the infectious and distinctive township highlife sound, the product of the cross-pollination of jazz and African dance rhythms. A seemingly simple, riff-based piece like "MRA' allows group members considerable latitude, as they improvise against the dominant riffs and develop counter-rhythms and melodies seemingly at will. The ragged collective improvisation periodically dissolves into chaos, only to reinvent itself and rise triumphantly from its own wreckage.

McGregor's "Restless" opens with the leader stating the quirky, Monkish theme on piano, and then showcasing Harry Beckett's eloquent trumpet and later, Pukwana's fiery alto sax. McGregor's "Ismite is Might" has the whole band wailing a slow, sonorous gospel dirge, which soon segues into "Kongi's Theme," a march-like piece with a stomping, second-line New Orleans beat. McGregor's "Wood Fire" starts with another Monkish figure, but soon extends into a freeform harmolodic mingling of multiple melody lines and patterns, making it clear that McGregor had absorbed some important ideas from Ornette Coleman. The title piece, another of McGregor's compositions, is primarily Pukwana's vehicle, as the band establishes a traditional swing groove with Pukwana's alto skittering and screeching over the top. Imagine Jimmy Lyons holding down the first alto chair in the Count Basie band, and you'll have some idea of this track's peculiar charms.

Cuneiform is to be commended for rescuing these tapes from the Radio Bremen archives, as the band's performance here is not just an important historical document, but even thirty-some years after the fact, a representation of some of the most vital and life-affirming big band jazz ever played by anyone, anywhere.

_  By Bill Tilland, 2002
http://www.bbc.co.uk/music/reviews/2bdp



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