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Dunmall, Paul Sun Ship Quartet (Skidmore / Kjaer / Solberg / Wastell): John Coltrane 50Th Memorial C (Confront)

A stellar line-up commemorateing the 50th anniversary of John Coltrane's passing, showcasing Paul Dunmall's blistering Coltrane-influenced quartet together with special guest, lifelong Coltrane devotee saxophonist Alan Skidmore, and also marking the premiere performance of the newly formed international trio of Julie Kjaer (DK), Mark Wastell (GB) and Stale Liavik Solberg (NOR).
 

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Triple foldout with credits & liner notes, 4 page insert with liner notes from Daniel Spicer, Jazzwise Magazine

UPC: 5902249001617

Label: Confront
Catalog ID: Core 07
Squidco Product Code: 26454

Format: 2CDS
Condition: New
Released: 2019
Country: UK
Packaging: Cardboard Gatefold 3 Panels
Recorded live at Cafe OTO, in London, England, on July 17th, 2017, by Shaun Crook.


Personnel:

Julie Kjaer-flute

Stale Liavik Solberg-percussion

Mark Wastell-percussion

Paul Dunmall-tenor saxophone, soprano saxophone

Howard Cottle-tenor saxophone

Olie Brice-double bass

Tony Bianco-drums

Alan Skidmore-tenor saxophone

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Artist Biographies:

"Saxophonist, flautist and composer Julie Kjær's edgy and thoughtfull playing and 'dark, otherworldly imagery' (Jazzwise) has become incerasingly evident around Europe, inhabiting ground between composition and free improv. Experimenting with extended techniques, sound and rhythm she pushes her instruments to their limits.

She has toured internationally and recorded with Django Bates and his band StoRMChaser. Currently her main focus is on her trio, Julie Kjær 3, with bass player John Edwards and drummer Steve Noble. Their debut album 'Dobbeltgænger' was just released on 14th March '16 on Clean Feed Records.

She tours internationally with Norwegian drummer Paal Nilssen-Love and his Large Unit. Other main projects are a trio with Rachel Musson and Hannah Marshall and Danish-English sextet 'Pierette Ensemble', which she co leads with Danish composer and piano player Signe Bisgaard. The ensemble's debut was cd released February 2014. She plays with London Improvisers Orchestra and is a leader and sidewoman of several other English and Danish ensembles.

She associates herself with prized performers like Mark Sanders, Dave Douglas, Louis Moholo-Moholo, John Russel, Dave Liebman, Laura Jurd, 'Leafcutter' John, Mira Calix, Veryan Weston and Steve Beresford."

-British Music Collection (https://britishmusiccollection.org.uk/composer/julie-kj%C3%A6r)
7/8/2019

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"Solberg holds a Masters degree in improvisation at the Norwegian Academy of Music and has since worked in the Norwegian and European improvisation scene, u. a. with Øystein Eldøy, Frode Gjerstad, Fred Lonberg-Holm, Eivind Lønning, Stine Janvin Motland, David Stackenäs, Joe Williamson and Per Zanussi in the formations Hot Four, Motsol, S / S Motsol and VCDC. He also played in a duo with John Russell and in a trio with Steve Beresford and Martin Kitchen, 2014 in trio with Alan Silva and Mette Rasmussen . With Paal Nilssen-Love, he organized the Blow Out! Festival in Oslo. [3] Solberg lives in Oslo."

-Wikipedia DE (translated) (https://de.wikipedia.org/wiki/StŒle_Liavik_Solberg)
7/8/2019

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"Mark Wastell Born 1968; cello.

Much of Mark Wastell's relationship with his chosen instrument is concentrated on the tactile, textural and sonic possibilities of both violoncello and bow. He is increasingly interested in working with extreme elements drawn from frequency, timbre and pitch.

His early activity was consciously and subconsciously influenced by a variety of improvising musicians including John Stevens, Barry Guy, Phil Durrant and John Russell. Subsequent exposure to contemporary composers lead to a greater understanding and appreciation of the works written for strings by Feldman, Cage, Nono, Lachenmann and Sciarrino. The use of live electronics and music concrete by Tudor, Parmegiani, Xenakis and others was another important early influence.

Wastell's current instrumental material primarily focuses on using abstract principles of space and texture - encompassing elements of new London silence, pro-instrument minimalism, new complexity and electro-acoustics. Because of the very nature of his chosen instrument, he tends to favour 'chamber' style ensembles and is a member of a number of regular groups:

• Chris Burn's Ensemble, with John Butcher, Rhodri Davies, John Russell, Matt Hutchinson

• Derek Bailey's Company - with, for example, Will Gaines, Simon H. Fell and Rhodri Davies

• Evan Parker's String Project, with Peter Cusack, Hugh Davies, Rhodri Davies, Phil Durrant, John Edwards, Kaffe Matthews, Marcio Mattos, John Russell

• Assumed possibilities, with Chris Burn, Rhodri Davies and Phil Durrant

• The Sealed Knot, with Burkhard Beins and Rhodri Davies

• Necessaire with Alessandro Bosetti, Ignaz Schick and Burkhard Beins

• IST with Simon Fell and Rhodri Davies

• Quatuor Accorde with Tony Wren, Phil Durrant and Charlotte Hug

• Broken Concort, a duo with Rhodri Davies

Mark Wastell has also performed with many other leading musicians including John Zorn, Keith Rowe, Peter Kowald, Hugh Davies, Roger Turner, Veryan Weston, Lol Coxhill, Mark Sanders, Axel Dorner, Hans Koch, Phil Minton, Max Eastley and Steve Beresford.

As a soloist he has played at the Micro-classical Festival (London 1996), LMC Festival (London 2000) and the Huddersfield Contemporary Music Festival (2000). He has travelled extensively with various groups, performing on tour and at festivals in the USA, France, Spain, Italy, Germany, Sweden, Denmark and Greece. Other work includes the launch in 1996 of his own record label, Confront Recordings. Wastell is also joint co-ordinator of the concert venue All Angels, together with Rhodri Davies."

-European Free Improv (EFI) (http://www.efi.group.shef.ac.uk/musician/mwastell.html)
7/8/2019

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"Paul Dunmall was born 1953, Welling, Kent; saxophones, clarinets, bagpipes, miscellaneous wind instruments.

As told to Watson (1989), Paul Dunmall was a working class lad from Welling who left school at 15 and spent two years repairing instruments at Bill Lewington's shop in Shaftesbury Avenue, London. He turned professional at 17 and, following two years touring Europe with a progressive rock band (Marsupilami), joined the Divine Light Mission, a spiritual movement led by Guru Maharaj Ji and moved from London to an ashram in America. He told Isham (1997), 'I moved to an ashram full of musicians - a music ashram - but it was still spiritual practice. That gave me a spiritual understanding through meditation, Coltrane's music, and all the rest of it, led me to that, and that's been a fundament in my life ever since - that I can actually sit down and meditate and forget my body. I realise how important meditation is in my life... but I don't do it so much these days.' During the three years he lived in America, Dunmall played with Alice Coltrane (in a big band with the Divine Light Mission) and toured for twelve months with Johnny 'Guitar' Watson.

Back in England, he played with Danny Thompson and John Stevens as well as folk musicians Kevin Dempsey, Martin Jenkins and Polly Bolton and then, in 1979 he became a founder member of Spirit Level (Tim Richards, piano; Paul Anstey, bass; Tony Orrell, drums), staying with the group until 1989. During his time with Spirit Level, Dunmall joined the two-tenor front line group Tenor Tonic with Alan Skidmore (1985), played and broadcast with Dave Alexander and Tony Moore in the DAM trio (1986) and formed the Paul Dunmall Quartet with Alex Maguire, Tony Moore and Steve Noble (1986).

In 1987 Paul Dunmall joined the London Jazz Composers Orchestra, being a constant member and appearing on all their recorded output from that date onward. The following year the improvising collective quartet Mujician was formed by Keith Tippett, Dunmall, Paul Rogers and Tony Levin and has continued to be a regular performing, touring and recording group, sometimes augmented by other musicians. Dunmall has also played in a trio with Keith and Julie Tippetts and in Keith Tippett's big band Tapestry. Two other duos have also sprung out of Mujician: Dunmall with Tony Levin (two CD releases) and Dunmall in folk-influenced outings with Paul Rogers. Another regular playing partner throughout this period and up until the present includes Elton Dean.

In 1995, two trios were formed, the first with Oren Marshall, tuba and Steve Noble, percussion, the second with John Adams, guitar and Mark Sanders, percussion, these sometimes coming together as a quintet. More recently, Dunmall has played in another reeds/guitar/drums trio with Philip Gibbs and Tony Marsh and there appears to be regular crossover between all these players. The Paul Dunmall Octet was founded in 1997."

Dunmall also has released a large number of albums and a box set on the UK FMR label, in various configurations and instrumentation.

-EFI (http://www.efi.group.shef.ac.uk/musician/mdunmall.html)
7/8/2019

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"London based Howard Cottle has played with, Chris McGregor's Brotherhood of Breath, The Jazz Warriors, Slide Hampton, John Hicks, Harry Beckett, Kenny Wheeler, Evan Parker, Paul Dunmall, and has also played and Studied with Steve Grossman."

-Cafe OTO (https://www.cafeoto.co.uk/events/john-coltrane-50th-anniversary-memorial-concert/)
7/8/2019

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"I'm a jazz and improv double bassist, based in Hastings, SE England.

I lead and compose for The Olie Brice Quintet, which released our debut album 'Immune to Clockwork' in 2014. The quintet was named as one of the 'new bands 2014' in the El Intruso Critics Poll, and was described by Richard Williams as "one of the most interesting and satisfying bands on the current UK scene". The current line-up of the quintet features George Crowley on tenor, Alex Bonney on cornet, Mike Fletcher on C-melody sax and Jeff Williams on drums. Our 2nd album, 'Day After Day' will be released in Jue 2017 on the Babel label.

I'm also involved in several collaborative projects, including;

a Trio with Tobias Delius - tenor sax, clarinet and Mark Sanders - drums

duos with Achim Kaufmann - piano, Rachel Musson - tenor sax and Tom Challenger - tenor sax

BABs (James Allsopp - bass clarinet, Alex Bonney - laptop)

and am in a few people's bands, including:

Mike Fletcher Trio (Mike Fletcher - C melody sax, Jeff Williams - drums)

Dee Byrne's Entopri (Dee Byrne - alto sax, Andre Canniere - trumpet, Rebecca Nash - piano & Matt Fisher - drums)

Alex Ward Quintet (Alex Ward - clarinet, guitar, Rachel Musson - tenor sax, Tom Jackson - bass clarinet, Hannah Marshall - cello)

Loz Speyer's Inner Space Music (Loz Speyer - trumpet, Chris Biscoe - alto sax, alto clarinet, Rachel Musson - tenor & soprano, Gary Willcox - drums)

Alex Bonney Quartet (Alex Bonney - trumpet, James Allsopp - reeds, Jeff Williams - drums)

Other musicians I've appeared with include Tony Malaby, Evan Parker, Paul Dunmall, Ingrid Laubrock, Ken Vandermark, Steve Swell and many others..."

-Olie Brice Website (https://oliebrice.com/about/)
7/8/2019

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"The unlimited vistas of music show us our own limitless perceptions of our being. My hopes of music are my hopes for art and humanity. I was born in New York City, the son of a drummer and the grandson of a guitar player. I always saw music as a work of heroes. My father saw music more as a vocation than an occupation. I was lucky. Growing up in New York City I could experience the greatest sounds in jazz. Seeing these greats play was a blessing. I remember seeing Elvin, Mingus, Art Blakey, Woody Shaw, Miles, Liebman, Tony Williams, Dexter Gordon, Ron Carter. What an experience. This intensified my love for this music. I always thought that there was a point to it all. A reason. I took chances in my life because of this. I was always single-minded. I had a hard time compromising. I knew being a musician was a career, but I was never business minded. I just floated. Of course, my father was always anxious for me. He wanted me to play some kind of jazz he understood, but I just played what I heard at the time. I felt jazz was a very contemporary sound, not just a sound that was based on the past although I have great respect for the past. I think these perceptions come naturally from the time we live in. Progress. What is sound? What is perception? I never felt I was good enough. A father who loved the greats can be very intimidating. I was always searching for some perception that was my own. There was a time I thought 'forget music - it's impossible. You'll never have your own attitude'. Then I heard John Coltrane. He made me feel it was possible. Praise and Thanks.

Of course growing up in New York I thought these sublime thoughts but I had to make a living. I thought of myself as a drummer. I did what I thought a drummer should do. I became, of course, less idealistic and did all kinds of work - any work that would come my way. This included all genres. I thought of myself as a jazz musician but I seemed to be playing everything else except jazz. I got a steady gig in New York City in a warm-up band in a famous comedy club - Catch a Rising Star. It's a legendary comic club that a lot of the great comedians came through (Jerry Seinfeld, Chris Rock, Robin Williams, Richard Belzer). It was actually a great experience - kind of like a talkshow band (Jay Leno, David Letterman). It was a steady gig and it was real easy, and of course I could just float. The bass player on the gig was Lloyd Mair. He was a devotee of avant garde music and jazz. He knew some really interesting things about jazz. I learned a lot from him. Lloyd was great. Of course being at this club I played in some pretty interesting situations - Edgar Winter, Pat Benatar. I even played drums behind Andy Kaufman doing his Elvis routine. This club had more of a vibe than anything else. Anyway, it was a steady gig (five years). In that time I explored my own ideas and met a lot of musicians. One became a close friend - a tenor player Mac Goldsberry. He introduced me to a lot of the New York City players even though he was from Texas. Through him I played and recorded with Ed Schuller, Herb Robertson and Charlie Elgart (a commercial FM sounding jazz). I started to write music at that time. I made a recording with John Hart on guitar. At the same time I hooked up with (through Goldsberry) the singer, writer, jazz musician and poet Bob Lennox and his son Adam. Through Adam I first met Liebman. We did a record and gig doing this progressive rock thing. At this time also I also did a recording with Anthony Jackson, the legendary electric bass player. I also started to play more free jazz at this time. But things in New York for me weren't really going well. I broke up with my first wife and was feeling kind of dark. I was really going through a lot. There was a lot more going on than I could write about. You dig? I met some musicians from the University of Miami (Mike Gillis, legendary guitar player and great guy) and went to Japan for a few months with them. On coming back to the U.S. one of the teachers from the University said why don't you come to Miami - maybe we could hook you up with a teaching gig there. Then I thought, well okay, what else is there to do. I went to the International Jazz Educators Seminar at the University to check it out - see if I could get a gig. Anyway, at one of the parties that night I met Liebman, and he said to me 'What are you doing here?' I said maybe I can get a gig teaching here. Then he said forget that - go to Berlin where some of your mates went to live and play jazz (Lennox, Goldsberry). Liebman said that I needed to get out of NYC to see myself. He said if you were born there you needed to get out to feel yourself - New York is such an intense city (that was 1990). Anyway, I decided to got to Berlin - I had some money from that gig in Japan and borrowed some money from my Japanese girlfriend (Naomi) and sold my grandfather's vintage guitar (I got ripped off) and went off to Berlin.

I moved to Berlin in 1991. It was great. The Berlin Wall had recently come down and there was a good feeling in the air. I started to do more of the music I wanted to do (jazz). This city had a very free feeling. I started to work with Alex von Schlippenbach and his wife Aki Takase, and Gerd Dudek. I had an opportunity to hang and play with Reggie Workman on a Schlippenbach gig and was very honoured that he seemed to like me. I was learning more about the European free improv scene. At the same time I worked with the late legendary bass player Jay Oliver who influenced me in some rhythmic concepts and attitude. I was also privileged to work with the late gypsey guitarist Costa Lucas. My rhythmic concepts really took a turn when I worked with Hans Hartman (bass and stick player) and Turkish percussionist Mesut Ali - these guys could really play in different time signatures. At this time I was really understanding a different sort of sound.

I lived in Berlin until 1995. I felt a longing for some familiarity at this point (the English language). I returned to New York for a few months, then joined my wife (who I met in Berlin) in London. We had enough money for one month's rent and a phone. I had to borrow my first drum set, but somehow met some of the guys. I met Loz Speyer (great guy) who got me a drum set and he introduced me to a lot of the straighter players. I also met Alex McGuire who introduced me to Elton Dean, from where I met the rest of the free scene. I met Paul Dunmall and we played and recorded some great music together. I also made some great music and recordings with Elton. I started to complete some of the ideas I came up with in Berlin. I came up with a project called Freebeat with Elton Dean and sound engineer, Jon Wilkinson. It was a concept of playing through time signatures but playing also free through it. It never materialised as a label-released record but it inspired a lot of ideas. These ideas interested Dave Liebman. I recorded a similar but different project with him in Berlin (2003). These ideas and projects were never released either but I am working on it.

The CD 'In a Western Sense' handles some of these same concepts. I think that time signatures are a way of defining phrasing. My music really doesn't watch the time signature as much as the phrasing. Through beats (a drum thing) you can keep a pulse but have no number on the pulse. It's not in 1-1. That's impossible, since the phrasing has to be in one and it's not. It is actually many different time signatures but one pulse. I could explain this in more detail but not on a website bio. Anyway, this concept influenced practically all my musical ideas. Time and no time were brought together. Liebman told me I came into the world to do this. Who knows. The thing is that my improvised and free music seems to have this pulse in it. It is done quite unconsciously on some level (I think it was to do with my studies or working out these concepts) and on another level quite deliberate. I do have a method. Sometimes great complexity is held together by great simplicity. Anyway, I moved to London in 1996 - it's been good and bad - what hasn't? It's been a hard place for me to meet people but I did get some records out. I played and recorded with Paul Dunmall, Elton Dean, Simon Picard, Paul Rutherford, Keith Tippett, Paul Rogers, Marcio Matthos and John Edwards. Some great music was played.

I was also very fortunate to meet the band that played 'In a Western Sense' - Zoe Rahman, Carlos Lopez-Real and Oli Hayhurst. I have (probably because I am an American) the need to combine the sounds of straight and free jazz. It is part of my instinct. Like many other musicians at this time. It seems to be what is happening. Reason and chaos, chaos and reason. Maybe it resolves in peace."-Tony Bianco

-Tony Bianco Website (http://www.tonybianco.f9.co.uk/biog.htm)
7/8/2019

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"Alan Skidmore, a world-class musician experienced in a myriad of musical environments and disciplines, is renowned both as a soloist and as a section player on films, radio and television. The list of international artists with whom he has performed and recorded reads like a "Who's Who" of contemporary music and includes Georgie Fame, John Mayall, Elvin Jones, Eric Clapton, Clark Terry, Stan Tracey, Van Morrison, Charlie Watts, Chick Corea, Herbie Hancock, Joe Henderson, Weather Report and Dexter Gordon!

Skid's formative years - what he has described as "my university education" - was playing with John Mayall and Alexis Korner in the early 1960s.

The earliest of his many special achievements came in 1969, when his quintet, featuring the late Kenny Wheeler, represented the UK at the Montreux: Jazz Festival and won the International Press Awards for Best Soloist, which included a scholarship to Berklee College of Music in Boston, and for Best Band.

Alan first won the Melody Maker Jazz Poll for saxophone in 1971 and again in 1972, 1973 and 1974. In 1973 he formed the band S.O.S with John Surman and Mike Osborne, with which he toured extensively and appeared at the Queen Elizabeth Hall.

Always popular in Germany Alan also had the pleasure of being invited to play at NDR Hamburg's Jazz Workshop with Weather Report for TV broadcast and also for jazz education purposes.

In 1984 Alan toured India, Hong Kong and the Philippines as the featured soloist with the Cologne-based West Deutscher Rundfunk (WDR) Big Band.

One of the major highlight's of Alan's career was the honour and privilege of working at Ronnie Scott's with the Elvin Jones Jazz Machine in 1988, giving Alan the opportunity to work with his hero, John Coltrane's, regular drummer.

During the 1980s he represented the BBC at the Belgrade Festival with the band S.O.H. (Skidmore, Oxley and Haurand), with which he toured Europe for six years, and has toured the world and recorded with Rolling Stones' drummer Charlie Watts, Stan Tracey and Georgie Fame, featuring with Georgie on BBC TV's Later With Jools Holland.

In the 1990s, after the abolition of apartheid, Alan was chosen to be the first European jazz musician to go on a British Council sponsored tour of South Africa, and has since recorded three CDs The Call,Ubizo and 50 Journeys with the African drum band Amampondo and they have toured the UK several times as Alan Skidmore's Ubizo.

n 1998 Alan became one of a very small band of saxophonists - Charlie Parker, Sonny Stitt and Stan Getz - to record an album with a full orchestra. After the Rain has proved a great favourite and has been reissued in 2017. His "Tribute to John Coltrane" UK tour which included appearances at Brecon Jazz Festival and Cheltenham Jazz Festival received rave reviews, and more recently, he has collaborated with Peter King at the North Sea Jazz Festival where they presented their "In Honour of Bird and Trane" programme, accompanied by the celebrated Dutch band, the Rein de Graaff Trio while, closer to home, he has performed at the Royal Albert Hall with Elvis Costello and Georgie Fame.

In July 2017 he featured at a special memorial tribute concert marking the 50th anniversary of John Coltrane's passing at London's Cafe Oto with Paul Dunmall's Sunship Quartet. In 1987 he shared the bill at the Fairfield Halls in Croydon with a quintet with many of Coltrane's regular collaborators to mark the 20th anniversary."

-Alan Skidmore Website (https://alanskidmore.info/about-2/)
7/8/2019

Have a better biography or biography source? Please Contact Us so that we can update this biography.
track listing:


CD1



1. May There Be Peace And Love And Perfection Throughout All Creation O God 21:23

2. Amen 14:41

3. Dearly Beloved 11:44

4. Sun Ship 10:44

CD2



1. Attaining 18:47

2. Ascent 14:16

3. Ascension 11:15

sample the album:








descriptions, reviews, &c.

"A stellar line-up commemorateing the 50th anniversary of John Coltrane's passing, showcasing Paul Dunmall's blistering Coltrane influenced quartet together with special guest, lifelong Coltrane devotee saxophonist Alan Skidmore, and also marking the premiere performance of the newly formed international trio of Julie Kjaer (DK), Mark Wastell (GB) and Stale Liavik Solberg (NOR).

"John Coltrane's music developed at such a breakneck pace during the two decades that he was active that it would be hard to single out one moment that encapsulates his legacy. This memorial gig - held on the 50th anniversary of Trane's death, aged 40, on July 17th 1967 - solves that problem by focusing exclusively on the last couple of years of his life, by which time he had emerged as a champion and pioneer of the free-jazz avant-garde.

The opening act - a newly-formed international trio comprising Danish flautist (and sometime saxophonist), Julie Kjaer and two drummers, Mark Wastell from the UK and Stale Liavik Solberg from Norway - takes inspiration from the 16-minute track "To Be", from the 1967 album Expression (released just two months after Coltrane's death), on which he and Pharoah Sanders played flutes. At that time, Coltrane was also experimenting with multiple percussionists and, here, the twin drummers set up a restless undertow of small gestures, over which Kjaer extemporizes melodic fragments for flute with a calm determination.

For the main event, the showcase's attention gazes further back to 1965 and Coltrane's Sun Ship - with all five of the album's tracks reinterpreted by ursine British tenor giant Paul Dunmall's Sunship Quartet featuring the explosive rhythm section of bassist Olie Brice and criminally under-recorded drummer Tony Bianco, plus second tenor-man Howard Cottle. Using Trane's brief, fanfare-like heads as springboards into high-energy group improvisation, the quartet summon an utterly convincing and powerfully transporting free-jazz blast.

When veteran UK horn man - and fellow long-time Trane acolyte - Alan Skidmore steps in to add a third tenor to the mix, a frisson of anticipation ripples through the room: not, these days at least, so well known for avant-garde strategies, just what would Skid contribute? The answer is a rugged lyricism that slips beautifully through the cracks of the turbulent melee, illuminating it from within.

To wrap things up, every player involved in the evening crowds the already cramped stage of Cafe Oto for a brief mass blow-out in the style of Coltrane's epochal large-group 1965 free-jazz session Ascension. A fine, noisy, passionate finale."-Daniel Spicer, Jazzwise


Triple foldout with credits & liner notes, 4 page insert with liner notes from Daniel Spicer, Jazzwise Magazine
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New York
(Confront)
Dunmall, Paul Sextet
Life in Four Parts
(FMR)
IST
London: Conway Hall
(Confront)
Bianco, Tony
Utoma Quartet
(FMR)
Kellers, Willi Quartet
Life In A Black Box
(FMR)
Dunmall, Paul / Philip Gibbs / Neil Metcalfe
The Ravens Look
(FMR)
BEFOREHAND (Lazaridou / Wastell)
Live at Hundred Years Gallery
(Confront)
Dunmall, Paul / Paul Rogers / Philip Gibbs
The Clouds Turned Silver
(FMR)
Deep Whole Trio (Dunmall / Rogers / Sanders)
That Deep Calling
(FMR)
Riverloam Trio
Inem Gortn
(FMR)
Broken Consort
done
(Quakebasket)
Wastell, Mark
Caressed On The Brow By Unseen Hands
(Confront)
Sealed Knot, The
All Angels
(Confront)
Sealed Knot, The
Surface/Plane
(Confront)
Oceans of Silver & Blood
Oceans of Silver & Blood
(Confront)
Ist (Davies / Fell / Wastell)
Consequences (of Time and Place)
(Confront)
Davis, Matt / Phil Durrant / Mark Wastell
Confront Collectors Series
(Confront)
Red Dhal Sextet (Jeffery / Schubert / Dunmall / Schlippenbach / Majkowski / Dimitriadis)
Red Dhal Sextet
(FMR)
Dunmall, Paul / Philip Gibbs / Trevor Taylor
New Atmospheres
(FMR)
VCDC (Motland / Lonberg-Holm / Solberg / Gjerstad)
Insult
(FMR)
Dunmall / Hanslip / Gibbs / Ricart
Weeping Idols
(FMR)
Ist (Davies / Fell / Wastell)
Berlin
(Confront)
Dunmall, Paul / Philip Gibbs
Dreamworld
(FMR)
Marsh, Tony / Paul Dunmall / Phill Gibbs
For The Last Time
(FMR)
Malcolm, Nick Quartet
Glimmers
(FMR)
Dunmall / Wooster / Sanders / Mapp
The Iceberg Quartet
(FMR)
Dunmall, Paul / Mark Sanders
Pipe & Drum
(FMR)
McGovern, Neil / Paul Dunmall
Intervention
(FMR)
Dunmall / Davis / Kane
Clown
(FMR)
Realisation Trio: Dunmall / Jurd / Bashford
Salt Dolly
(FMR)
Dunmall / Gibbs / Rogers
Tribute to Tony Levin
(FMR)
Irvine Ensemble, Brian With Paul Dunmall / BBC Concert Orchestra
Montana Strange: The Music Of Brian Irvine
(FMR)
Realisation Trio, The (Paul Dunmall / Nick Jurd / Jim Bashford)
The Realisation Trio
(FMR)
Davis, Matt & Mark Wastell
Derby 11.05.2002 / Liverpool 10.05.2002
(Confront)
Dunmall / Gibbs / Rogers / Sanders
Kithara
(FMR)
Rogers / Dunmall / Bianco
Dig Deep Trio
(FMR)
Tippett, Keith Octet
From Granite To Wind
(Ogun)
Deep Joy Trio
Live in Austria
(FMR)
Dunmall / Gibbs / Metcalfe / Rogers
Sun Inside
(FMR)
Atmospheres Without Oxygen (Dunmall / Gibbs / Stevens / Taylor)
4 Live In Oxford
(FMR)
Dunmall, Paul / Philip Gibbs / Miles Levin
Manu
(FMR)
Dunmall / Sanders / Edwards
Mind Out
(FMR)
Dunmall / Edwards / Gibbs / Sanders
Boundless
(FMR)
Sealed Knot, The
Live at the Red Hedgehog
(Confront)
Ist (Davies / Fell / Wastell)
Lodi
(Confront)
Dunmall / Bianco / Kane
Ritual Beyond
(FMR)
Dean, Elton's Ninesense
Happy Daze + Oh! For The Edge
(Ogun)
Oceans of Silver and Blood
Live at Cafe Oto
(Confront)
Akiyama / Nakamura / Sugimoto / Wastell
Foldings
(Confront)
Dunmall, Paul
Deep [DVD]
(FMR)
Dunmall, Paul Sun Quartet
Ancient and Future Airs
(Clean Feed)
Taylor / Dunmall / Chang
Crossing
(FMR)
Various Artists
That Mysterious Forest Below London Bridge
(Matchless)
Decision Dream
Steamroom Variations
(Red Toucan)
Dunmall, Paul Octet
Bridging
(Clean Feed)
Scotch Of St James, The
Live at Amplify 2004
(Confront)
Dunmall, Paul
In Your Shell Like
(Emanem)
Davis, Matt / Phil Durrant / Mark Wastell
Open
(erstwhile)
Recommended & Related Releases:
Thomas / Butcher / Solberg
Fictional Souvenirs [CD]
(Astral Spirits)
Thomas / Butcher / Solberg
Fictional Souvenirs [CASSETTE]
(Astral Spirits)
Dunmall, Paul / Mike Fletcher / Percy Pursglove / Richard Foote / Chris Mapp / Tymek Jozwiak
One Became Many
(FMR)
Dunmall, Paul / Alan Niblock / Mark Sanders
Dark Energy
(FMR)
Dunmall, Paul / Philip Gibbs / Neil Metcalfe / Ashley John Long
Seascapes
(FMR)
Cardew, Cornelius / London Experimental Ensemble
Treatise
(Split Rock Records)
Dunmall / Schubert / Dessanay / Bashford
Sign Of The Times
(FMR)
Dunmall, Paul / Percy Pursglove / Tony Orrell
Nothing in Stone
(FMR)
Imaginary Numbers (McPhee / Niggenkemper / Solberg)
Imaginary Numbers
(Clean Feed)
Large Unit
Selected Tracks 2013-2017
(PNL)
Urpeth, Peter / Olie Brice / Terry Day / Ntshuks Bonga)
Wraith Island (Live At Cafe Oto)
(FMR)
Tippetts, Julie / Mark Wastell
Unraveling The Waterfall
(Confront)
Rodrigues, Ernesto / Nuno Torres / Carlos Santos / Stale Liavik Solberg
Soon
(Creative Sources)
Dunmall / Shipp / Edwards / Sanders
Live in London
(FMR)
Davies, Rhodri / David Sylvian / Mark Wastell
There Is No Love
(Confront)
Dunmall, Paul Quintet
The Dreamtime Suite
(FMR)
Veliotis, Nikos / Mark Wastell
Live at All Angels
(Confront)
Collusion Duo (Nick Smith / Mark Wastell)
Refraction
(Confront)
Dunmall / Noble / Edwards / Sanders
Chords Of Connections
(FMR)
Dunmall, Paul / Phillip Gibbs
Electrosonics
(FMR)
Butcher, John / Stale Liavik Solberg
So Beautiful, It Starts To Rain
(Clean Feed)
Dunmall, Paul / Philip Gibbs / Ashley John Young
Now Has No Dimension
(FMR)
Wastell, Mark
Vibra: Trent (3" CDr)
(Linear Obsessional Recordings)
McGovern, Neil / Paul Dunmall
Intervention
(FMR)
Sealed Knot, The
Trembling Shade
(Confront)
Kjaer, Julie 3 (Kjaer / Edwards / Noble)
Dobbeltgaenger
(Clean Feed)

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