GILLES PETERSON – Impressed 2 With Gilles Peterson (– 982 107 0 / 2LP-2004)

Label: Universal – 982 107 0

Series: Impressed Re-pressed –

Format: 2 × Vinyl, LP, Compilation / Country: UK / Released: 2004

Style: Modern Jazz, Modal, Big Band, Free Improvisation

Compilation / rare, classic & unique modern jazz from Britain 1963-1974.

Compiled By – Gilles Peterson

Executive Producer – Tony Higgins

Mastered By – Peter Dennett

Sleeve Notes – Tony Higgins

Matrix / Runout (Runout (Etched) Side 1): 982 107 1 – A-1

Matrix / Runout (Runout (Etched) Side 2): 982 107 1 – B

Matrix / Runout (Runout (Etched) Side 1): 982 107 2 – C-2

Matrix / Runout (Runout (Etched) Side 2): 982 107 2 – D

A1 - Amancio D'Silva – A Street In Bombay ................................................................. 10:56

      Bass – Tony Campo

          Drums – Dick Wright

          Guitar – Amancio D'Silva

          Piano – Stan Tracey

          Saxophone [Sax], Flute – Don Rendell

          Tabla – Mick Ripshar

          Vibraphone, Clarinet – Alan Branscombe

A2 - Paul Gonsalves Quartet – Boom Jackie Boom Chick ............................................. 3:54

        Bass – Kenny Napper

           Drums – Ronnie Stephenson

           Piano – Pat Smythe

           Tenor Saxophone – Paul Gonsalves

B1 - Harold McNair – The Hipster .................................................................................. 4:36

        Bass – Spike Heatley

           Drums – Tony Carr

           Flute – Harold McNair

           Piano – Bill Le Sage

B2 - Michael Garrick Septet – Ursula ............................................................................. 5:44

        Alto Saxophone – Joe Harriott

           Bass – Dave Green

           Drums – Trevor Tomkins

           Flugelhorn – Ian Carr

           Piano – Michael Garrick

           Soprano Saxophone – Don Rendell

           Tenor Saxophone – Tony Coe

B3 - Mike Taylor Remembered – Timewind  .................................................................. 1:56

        Bass – Ron Mathewson

           Clarinet, Arranged By – Dave Gelly

           Drums – Jon Hiseman

           Piano – Peter Lemer

           Vocals – Norma Winstone

C1 - Tubby Hayes & The Paul Gonsalves All Stars – Don't Fall Off The Bridg ............. 9:20       

        Alto Saxophone – Tony Coe

           Baritone Saxophone – Jackie Sharp

           Bass – John Lamb

           Drums – Ronnie Stephenson

           Piano – Terry Shannon

           Tenor Saxophone – Paul Gonsalves, Ronnie Scott, Tubby Hayes

           Trumpet – Ray Nance

C2 - The New Jazz Orchestra – Le Dejeuner Sur L'Herbe ............................................. 7:42

        Bass – Jack Bruce

           Conductor – Neil Ardley

           Drums – Jon Hiseman

           Flute, Soprano Saxophone, Alto Saxophone – Barbara Thompson

           Tenor Saxophone, Bass Clarinet – Dave Gelly

           Tenor Saxophone, Flute, Clarinet – Jim Philip

           Tenor Saxophone, Soprano Saxophone – Dick Heckstall-Smith

           Trombone – Derek Wadsworth, John Mumford, Michael Gibbs

           Trumpet, Flugelhorn – Derek Watkins, Harry Beckett, Henry Lowther, Ian Carr

           Tuba – George Smith

           Vibraphone – Frank Ricotti

D1 - Mike Westbrook Orchestra – Metropolis (Part IX) ................................................. 8:01

        Alto Saxophone, Clarinet – Mike Osborne

           Alto Saxophone, Flute – Ray Warleigh

           Alto Saxophone, Tenor Saxophone – Alan Skidmore

           Baritone Saxophone – John Warren

           Bass Trombone – Geoff Perkins

           Bass, Cello – Harry Miller

           Double Bass [Acoustic Bass], Double Bass [Electric Bass] – Chris Laurence

           Drums – Alan Jackson, John Marshall

           Electric Piano – John Taylor

           Guitar – Gary Boyle

           Piano, Producer – Mike Westbrook

           Tenor Saxophone – George Khan

           Trombone – Derek Wadsworth, Malcolm Griffiths, Paul Nieman, Paul Rutherford

           Trumpet – Nigel Carter

           Flugelhorn – Dave Holdsworth, Harry Beckett, Henry Lowther, Kenny Wheeler

           Vocals – Norma Winstone

D2 - The Stan Tracey Quartet – Starless & Bible Black ................................................. 3:47

        Bass – Jeff Clyne

           Drums – Jack Dougan

           Piano – Stan Tracey

           Tenor Saxophone – Bobby Wellins

D3 - Neil Ardley – Will You Walk A Little Faster ............................................................ 3:45

        Bass – Chris Laurence

           Bass Clarinet, Tenor Saxophone – Dave Gelly

           Bass Trombone – Ray Premru

           Bassoon – Bunny Gould

           Conductor – Neil Ardley

           Drums – Jon Hiseman

           Flugelhorn, Trumpet – Derek Watkins, Harry Beckett, Henry Lowther, Nige Carter

           Flute [Alto], Soprano Saxophone, Tenor Saxophone – Don Rendell

           Flute, Piccolo Flute, Soprano Saxophone – Barbara Thompson

           Tenor Saxophone, Soprano Saxophone – Dick Heckstall-Smith

           Trombone – Derek Wadsworth

           Tuba – Dick Hart

           Vibraphone, Percussion – Frank Ricotti

           Vocals – Norma Winstone

Notes:

Sub-titled "Rare, classic & unique modern jazz from Britain 1963-1974".

Two LPs, all four labels are identical aside from the number of  record, 1 or 2,  and which side – 1 or 2. The absence of track listing  led to another breaking of vinyl rules – writing on the label.

Impressed with Gilles Peterson Vol 2 is a second volume of unique, rare and beautiful British jazz . This album sees him uncover more exceptional UK jazz from the 60s and 70s. Featuring landmark recordings, elusive rarities and previously unreleased exclusives, Impressed Vol 2 builds on the success of the first volume, with many of the tracks reissued for the first time since their original release.

Peaceful mellow numbers with lush orchestration is taken care of by the likes of Michael Garrick and the Stan Tracey Quartet, dancefloor bombs belong Tubby Hayes and Paul Gonsalves and Amancio D'Silva  is in charge of the exotic moments. Essential music from a forgotten corner of the jazz spectrum.

Tony Higgins (Executive Producer), London, on September 6, 2018, said:
(LondonJazzCollector)

Hi, I wrote the sleeve notes for both volumes of Impressed, and sourced the tapes we used for the mastering – the Lansdowne tapes were held in the old Polygram archive in Germany (incl Hum Dono which was always assumed lost). The Fontana/Argo/Decca material was from tapes held in the Decca archive in Hampstead. The image of Giles at the DJ controls was taken in the club in Old St called Cargo... I also worked on the BBC TV series Jazz Britannia, researching and writing the script. After Impressed 1 & 2, I suggested to Universal that they do a comprehensive reissue series of selected albums – Garrick, Westbrook, Tubby, Ardley, Rendell Carr, Harriott etc.

They initially agreed and so we set up the Impressed Re-pressed sub-label. The first batch was Amancio D’Silva ‘Integration’, Garrick ‘Troppo’ etc, five in total. Sadly, Universal didn’t want to do LPs just CDs – and even then they skimped on the packaging and artwork. I had flagged about 30 titles to reissue. Come the second batch, they decided just to do five Tubby Hayes CDs and basically use the Japanese reissue CDs and sources, not go to the tapes – which existed. Again, cutting costs. There were no more in the series after that – there were personnel changes in Universal and the meagre support for the project that existed was gone – Universal had no interested in it any more and was keener to sign army wives choirs and singing monks (seriously).

I did manage to compile a volume 3 but it was never released but did slip out on a blog. Roll on to about 2009, I contacted Universal (why??) with some other ideas: a comp of Japanese jazz and European jazz drawn from their own catalogue. They agreed, so I duly comped and wrote sleeve notes: 20,000 for ‘Jazz Japan’ & nearly 40,000 for ‘Jazz Europa’. I delivered the comps and notes. I then suggested why not have a trilogy? So, I convinced them to agree to a third, another British comp, ‘Jazz Britannia’. I selected the tracks and wrote 40,000 words of notes. I even got Don Rendell to write an intro piece. Where are they? Still sitting on someone’s desk at Universal, in limbo. I’ll never work with Universal again. Awful people...

Finally, the fingerprints on the Impressed sleeves are mine.

Tony Higgins



If you find it, buy this album!

WERNER LÜDI SUNNYMOON – Serendipity (C W R – CW 1009 / LP-1987)

Label: Creative Works Records – CW 1009

Format: Vinyl, Album, LP / Country: Switzerland / Released: 1987

Style: Contemporary Jazz, Free Improvisation

Recorded at Soundville Recording Studios, Luzern, January 1987.

Mastered At – CBS Studios, London

Design – Guy Bettini

Engineer – René J. Zingg

Producer – Werner Lüdi Sunnymoon

Liner Notes Verfasser: Werner Lüdi

Matrix / Runout (Side A): CW 1009 A-1 SVS 206 A-1

Matrix / Runout (Side B): CW 1009 B

The cover jacket has two large holes (front and back) and is printed inside so, if it's empty, you can see a far moon in a black sky and a far sun in a clear sky. Insert the inner sleeve and you get a black or white sky. Insert the double insert and you may have a lunar footprint and a sun crown, or a globe with trees and a second one with an ancient map on it, or a washing machine door and an actress' nice face and so on.

side A

A1 - Second Story Twilight : A Manhattan Melodrama ......................................... 7:44

A2 - Jungle Moon In June ..................................................................................... 5:12

A3 - Carolina Morning ........................................................................................... 4:51

side B

B1 - Macho Duck Disco ........................................................................................ 6:06

B2 - Santorini Sailing Sun ..................................................................................... 5:45

B3 - Blindado Flying Circus .................................................................................. 5:18

Personnel:

Werner Lüdi – alto saxophone

Hans Koch – tenor saxophone, soprano saxophone

Stephan Wittwer – electric guitar

Martin Schütz – bass, cello

Dieter Ulrich – drums, percussion, bugle

Werner Lüdi (April 22, 1936 in Poschiavo, Graubünden – June 21, 2000 in Zurich) was a Swiss jazz musician (alto and baritone saxophone) and author.

Lüdi spent the early years of his life in Val Poschiavo and spent his youth in Landquart, where he played accordion in a band. He became familiar with cool jazz and played baritone saxophone in Tone Schädler's band. In 1958, he moved to Hamburg, where he participated in jam sessions. In jam sessions, he got to know Peter Brötzmann.

In 1964, he made a tour as an alto saxophonist with Gunter Hampel's band for one year and then, he went to Munich, where he made jam sessions with Pierre Favre. Then, he came back to Switzerland in 1966 and started to work as a photographer in a public relations office and copywriter in an advertising agency.

In 1981, Lüdi came again to jazz scene and founded the group Sunnymoon with Stephan Wittwer, Fredy Studer and Léon Francioli. In 1984, Hans Koch, Martin Schütz, Timo Fleig and Lüdi played free improvisation in this group. Later, Koch, Schütz, Lüdi and Paul Lovens performed together. At the end of 1980s, he played with Mani Neumeier, Wädi Gysi and the trumpet player Mich Gerber as the group Blauer Hirsch.

He has performed also with Brötzmann's Märzcombo, Butch Morris, Sainkho Namtchylak, Peter Kowald, William Parker, Saadet Türköz, Burhan Öçal, Peter Conradin Zumthor and Daniel Seiler.

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TED CURSON with GEORGES ARVANITAS TRIO – Pop Wine (LP-1971)

Label: Futura Records – GER 26

Format: Vinyl, LP, Album & Country: France Released: 1971

Style: Free Jazz, Leftfield, Contemporary Jazz

Recorded 18 June 1971 at Europasonor Studio, Paris

Design – Pierre Delgado

Layout – Jean-Pierre Bonnet

Photography By – Christian Fauchard, Philippe Gras

Recorded By – Claude Martenot

Producer – Gérard Terrones

Composed By – Ted Curson

Matrix / Runout (Side A Etched Runout): Fut. 2028 A MP

Matrix / Runout (Side B Etched Runout): Fut. 2028 B MP

side A

A1 - Pop Wine ...................................................................................................... 5:10

A2 - L.S.D. Takes A Holiday ............................................................................... 12:40

A3 - Song Of The Lonely One .............................................................................. 5:45

side B

B1 - Quartier Latin .............................................................................................. 13:20

B2 - Flip Top ......................................................................................................... 6:30

Personnel:

Ted Curson – trumpet, piccolo trumpet

Georges Arvanitas – piano

Jacky Samson – bass

Charles Saudrais – drums, percussion

This Futura LP issue of vanguard trumpet legend Ted Curson with the Georges Arvanitas Trio in a Paris studio is one of those very special dates where everything seems to go right.

Curson is in excellent form here, whether he is playing free improvisation as on "Latin Quarter," and is a fiery 13-minute excursion into the outer reaches of free jazz, or turning in a slightly bent but nonetheless streaming hard-bop performance as on the "Flip Top." The Arvanitas Trio, an under-celebrated band that backed virtually every major American musician in Paris proves how well it adapts to Curson's muscular style by responding with more muscle. Arvanitas' left-hand rhythm comping is tough and full of fire and edges. On "L.S.D. Takes a Holiday," Arvanitas pushes Curson hard to the edges of a harmonic shelf that finally bleeds off into a blazing symmetry of angles that is propelled into an abyss by the ferocious bass playing of the under-heralded Jacky Sampson. Also noteworthy are Curson's compositions here that, like much music of their time, leave tradition to the dust. He engages it and the blues in a sort of modal inquiry, where he wraps extant ideas about form, tonal sonance, and intervallic architecture in a phraseology and compositional elegance that was beyond most of his peers. Futura's LP sounds warm, lovely, and very much alive.

Review by Thom Jurek, AllMusic

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GEORGES ARVANITAS TRIO – In Concert (Futura Rec. – GER 11 / LP-1970)

Label: Futura Records – GER 11

Format: Vinyl, LP, Album / Country: France / Released: 1970

Style: Contemporary Jazz

Recorded live at the Centre culturel américain on November 25, 1969 (tracks: A2, B1) and on January 27, 1970 (tracks: A1, B2).

Layout – Gilles Coussine

Photography By – Christian Fauchard, Eléonore Bakhtadzé

Recorded By – Roger Delongeas

Liner Notes – Georges Arvanitas

Producer – Gérard Terrones

Matrix / Runout (Side A Etched Runout): Fut. 2007 A MP

Matrix / Runout (Side B Etched Runout): Fut. 2007 B MP

side A

A1 - Sixième Sens   (G. Arvanitas) ..................................................................... 11:30

A2 - Colchique Dans Les Prés   (Arranged By – G. Arvanitas) .......................... 11:32

side B

B1 - Ah ! Le Chat   (G. Arvanitas) ........................................................................ 7:40

B2 - Indian   (C. Saudrais, G. Arvanitas) ............................................................ 16:30

Personnel:

Georges Arvanitas – piano

Jacky Samson – bass

Charles Saudrais – drums, percussion

The best album by this extraordinary piano/bass/drums trio from France - THIS is the record I play when I want to hear a dynamic, subtle and inspired jazz trio.

"Ah ! Le Chat" (a wordplay on Charlie Parker's "Aleucha", of which this is a new arrangement - and a hidden reference to Le Chat Qui Pêche, a tiny jazz club in Paris where the Arvanitas Trio had a permanent residency, and where one could hear french musicians like Christian Vander (jamming with various alumni from the US jazz scene..) and "Colchiques dans les Prés" (a french traditional nursery rhyme turned into a beautiful, smoking jazz piece) are the best moments of this outstanding set, which was assembled using pieces from 2 dates recorded at the Centre Culturel Américain de Paris in Nov. 1969 and Jan. 1970 - the first of which was interrupted due to EDF (Electricité de France) being on strike. (I am not making this up, it's in the liner notes written by Arvanitas himself..).

Strikes, demonstrations, riots, the Futura label.. French way of life ! ....... :-)

One of Europe's most consistent and versatile musicians, Georges Arvanitas has been active since the early '50s. He's worked with traditional, swing, and bebop musicans, accommodating the demands of the many expatriate Americans who've come to Paris. Though far from being an innovator or daring soloist, Arvanitas is a capable pianist, knowledgeable of bebop fundamentals and able to work effectively in many situations, from recordings to concerts to jam sessions. Arvanitas worked with traditional jazz groups in Marseilles in the '40s, then moved to Paris in the early '50s. He played with Jimmy Archey, Bill Coleman, Dexter Gordon, Sonny Stitt, Donald Byrd and several others in the '50s and '60s. He was later resident pianist at the Blue Note and formed his own group. Arvanitas played with Buck Clayton, Don Byas and Sonny Criss in the early '60s. He visited New York in 1964 and 1965, working with Ted Curson and Yusef Lateef. He paid a return visit in 1966. Arvanitas's trio with Jacky Sampson and Charles Saudrais worked with several major musicians in the late '60s and early '70s, among them Art Farmer and Dexter Gordon, Buddy Tate and Bill Coleman, Slide Hampton, Anita O' Day, and Curson. Arvanitas played with Robin Kenyatta in 1972, toured Japan with Michel Legrand and worked in Italy with Criss and Stitt. He later worked with Pepper Adams, Curson, Dizzy Gillespie and James Moody in the '80s. He's recorded for Columbia and Saravah among others as a leader, and for Spotlite, Futura and Impro as a session musician.....

E n j o y !!!

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JEAN GUÉRIN – Tacet (SouffleContinu Records / LP-1971 / Reissue LP-2015)

Label: SouffleContinu Records – FFL009, Futura Records ‎– SON 04

Format: Vinyl, LP, 45 RPM, Reissue / Country: France / Released: Sep 2015

Style: Free Jazz, Leftfield, Abstract, Experimental, Space-Age

Recorded January 1971 at Ossian & Magne Studios.

Overdubs and mixing at Europasonor.

Licensed by Gérard Terronès

Mixed By – Charles Rocher, Claude Martenot, Daniel Naudin, Jean Guérin

Sleeve Notes – Philippe Carles

Photos – Hilary Gostinsky

Composed By – Jean Guérin

Matrix / Runout: No identifiers

Barcode: 3491570051221

Limited run of 200 / pressed on solid grey vinyl

©2015 SouffleContinu Records / originally released in 1970 by Futura Records.

Although the label says 33rpm, it has to be played at 45rpm

side A

A1 - Triptik 2 ........................................................................................................ 5:42

A2 - Mixage Vert .................................................................................................. 3:49

A3 - Maochat ....................................................................................................... 4:40

A4 - Ca Va Lecomte ............................................................................................ 4:52

side B

B1 - BM 37 .......................................................................................................... 1:57

B2 - Interminable Hommage À Zaza ................................................................... 4:41

B3 - Reflexion 2 ................................................................................................... 5:06

B4 - Gaub 71 ....................................................................................................... 8:17

Line-up / Musicians:

Jean Guérin – electric bass, goblet drum [darbouka], electronics [vcs3, generator],

                        percussion, vocals [gloup tenor], drums [electronic]

Bernard Vitet – trumpet [water trumpet]

Jean Paul Rondepierre – trumpet

Philippe Maté – tenor saxophone

Dieter Guévissler – double bass, cello [violon]

Françoise Achard – vocals [gloup vocal]

Fourth in a reissue series of the cult French underground Futura label.

Highly surreal and wonderfully futuristic, “Tacet”, one of the best kept secrets of the Futura catalogue is the soundtrack work of Jean Guérin for Claude Faraldo's anarchic film "BOF, anatomie d’un livreur". This avant-garde psychedelic jazz masterpiece is a blend of abstract vocals, unusual electronics, twisted sound envelopes and nervous brass instruments.

First official vinyl reissue in over 40 years fully licenced by Gérard Teronnès. Easily one of the finest archival discoveries of the year. 

Housed in gatefold jacket, but unfortunately, ______SOLD OUT___

https://www.soufflecontinurecords.com/product/jean-guerin-tacet-ffl009-son04-grey

The French never cease to amaze and confound! Jean Guérin was mostly known as a drummer, appearing on quite a few free jazz sessions. For this, his only solo outing, he set out to make a soundtrack to a film (by Claude Faraldo) called "BOF, anatomie d'un livreur". The soundtrack was released as "Tacet" on the cult Futura label (also known for putting out records by Red Noise, Mahogany Brain, Chene Noir, Jac Berrocal, Bernard Vitet) for the legendary "SON" series. His choice of musicians is absolutely impeccable; notable figures of the French scene like Bernard Vitet and Philippe Maté contribute their talents. Vitet even plays "underwater trumpet"! Guérin himself takes up a lot of instruments, from electric bass to darbouka to VCS3 and sound generators. Overall, "Tacet" is full of strange sounds and even stranger arrangements. Françoise Achard (of Jac Berrocal "Parallels" and Michel Potage "Occupe" fame) contributes wordless vocals to several tracks, and most of the time her voice sounds like another instrument rather than a human being. The use of both contrabass and electric bass on some tracks provides an interesting sound, considering the electric bass is treated to sound nothing like it should (this isn't a bad thing!). It's hard to pick out standout tracks, since this all flows together perfectly and is best experienced all the way through. The first and last tracks, "Triptik 2" and "Gaub 71" respectively, both feature the same fast rhythm (which sounds like a mix of darbouka and primitive drum machine), but otherwise are different entities. "Gaub 71" is the more experimental of the two, with a constantly evolving structure over its eight minutes. "Triptik 2" is punctuated with the trumpets of Jean Paul Rondepierre and Vitet, and Maté contrubutes his saxophone. This is the closest that "Tacet" comes to jazz, as the remaining tracks are pure explorations of sound, somewhere between free jazz and the cosmic explorations of Kluster et all.

The music on "Tacet" is much more closely related to Herbie Hancock´s Mwandishi sextet - not rhythmically but sonically; incidentally, Patrick Gleason participated in the recordings of "Tacet". One can imagine Gleason to have played this recent recording to Herbie Hancock before they went to the studio to record Herbie´s new music. "Tacet" was recorded before Hancock´s Mwandishi albums! It doesn´t make those LPs less spectacular, but somehow it puts things in a different light. I had always thought that Herbie had been the pioneer launching himself and me into a musical parallel universe with "Mwandishi, Crossings" and "Sextant", and nobody followed on that path. Only Miles Davis and Weather Report occasionally recorded some kind of psychedelic Jazz and only for a short time: Miles went silent in ´75 and Weather Report went into fusion and that was that. German psychedelica such as Tangerine Dream, Popol Vuh or Klaus Schulze pale into insignificance by comparison to "Tacet". Nothing quite like it - the closest comparison I can come up with is the free-jazz-in-a-reverberating-echo-chamber sound of Sun Ra's "Cosmic Tones for Mental Therapy" combined with the extraterrestrial electronic experiments of Pierre Henry, throw in some absurdist vocals, and ... I don't know. It's so odd. But then in all comes together in an entrancing future-primitive vibe, with bubbling water sounds, mysterious echoey effects and hypnotic rhythms (and non-rhythms).........................

If you want truly unique music, this is it! Truly an obscure masterpiece!!!

(Review by V. S.)

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GIGER - LENZ - MARRON – Beyond (Någarå – mix 1011 n / LP-1977)

Label: Någarå – mix 1011 n

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

Style: Jazz, Fusion

Recorded At Biton Studios Frankfurt/M, 1976.

Engineer – Paul-Gerhard Landsiedel

Layout – Irene Giger

Producer – Günther Georgy-Engelhardt, Peter Giger

Distributed By – Mix-Musik

Matrix / Runout (Side A, etched): MIX 1011 A SST

Matrix / Runout (Side B, etched): MIX 1011 B SST

side A

A1 - Beyond   (Marron) ....................................................................................... 8:42

A2 - Quinar   (Giger) ........................................................................................... 5:58

A3 - Flying Wheel   (Marron, Giger) .................................................................... 4:39

side B

B1 - Alyrio   (Giger) ............................................................................................. 5:30

B2 - Antep   (Marron, Lenz, Giger) ..................................................................... 7:39

B3 - Blues For Chaturlal   (Marron, Lenz), Giger) ............................................... 7:10

Personnel:

Peter Giger – drums, percussion

Günter Lenz – double bass, electric bass

Eddy Marron – guitar, baglama [zàz]

In 1976, former Dzyan members drummer Peter Giger and guitarist/zaz player Eddy Marron teamed up with jazz bassist Günter Lenz to record two stellar, but very obscure, jazz oriented records "Beyond" (77) and "Where The Hammer Hangs" (78). The sound is not quite as experimental as Dzyan (what is?) but the group qualify as really well done fusion with some interesting twists with time changes, and different moods conveyed with Marron's tasty guitar, Lenz's probing bass, and Giger's flowery percussion.

To Skye............. I want a pleasant listening..... Enjoy !!!

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GRUPPO DI IMPROVVISAZIONE NUOVA CONSONANZA – Musica Su Schemi (Cramps Records - 6109/LP-1976)

Label: Cramps Records – CRSLP 6109

Series: nova musicha – n.9

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

Style: Abstract, Experimental, Free Improvisation

Recorded at Orthophonic Recording Studio, Roma.

Art Direction – Gianni Sassi

Photography By – Roberto Masotti

Engineer – Sergio Marcotulli

Produced by Cooperativa Nuova Intrapresa

Matrix / Runout (Side A runout, etched): CRS-LP 6109 A1

Matrix / Runout (Side B runout, etched): CRS-LP 6109 B2

side A

A1 - Schema 1 .................................................................................................... 8:55

A2 - Schema 2 ................................................................................................... 11:14

side B

B1 - Schema 3 .................................................................................................... 2:30

B2 - Omaggio A Giacinto Scelsi ........................................................................ 16:40

Personnel:

Franco Evangelisti – piano, percussion [various]

Ennio Morricone – trumpet, flute, instruments [various]

Giovanni Piazza – french horn, flute, violin

Antonello Neri – piano, instruments [various]

Giancarlo Schiaffini – trombone, flute

Egisto Macchi – percussion, strings

This group of Italian avant composers from the '60s and '70s created challenging music that sought to define new methods in the compositional process through group improvisation.

Like AMM and Musica Electronica Viva, they came from a background of avant-garde classical music rather than jazz, but embraced the strategies of freeform music that were being explored by both Europeans and Americans. Going a step further, this ensemble employs the techniques of post-World War II classical music, such as the preparation of instruments pioneered by John Cage, as well as the atonality and abrasive percussion that was being explored by Iannis Xenakis in the '60s. The striking trait of this ensemble is in the outlandish and courageous music that it performed, which has aesthetic similarities to the work of Maurucio Kagel and Luigi Nono in that it exploits the peculiarities of both sound and strategy. Furthermore, legendary Italian soundtrack composer Ennio Morricone was breaking ground as a member of this critical ensemble. With a membership that revolved, the group was most prominently a house for the experiments of Franco Evangelisti and Mario Bertoncini.

This LP reissue is debatably the best document of this ensemble following the rediscovery of late-20th century classical music's many diversions. This is a vital document in the history of avant-garde music and, like the work of Musica Electronica Viva and AMM, it sounds absolutely new even 40 years after the fact.

(Review by Dean McFarlane, AllMusic)

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