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A vinyl-only sampler spanning 1970-2007, showcasing Joe McPhee's fiercely inventive spirit through funk-driven grooves, spiritual jazz depth, fiery collaborations with Cato Salsa Experience and The Thing, and intimate duo interplay with Paal Nilssen-Love - a defiant, time-jumping portrait of one of improvised music's most dynamic voices.
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Sample The Album:
Joe McPhee-tenor saxophone, soprano saxophone, trumpet, vocals, pocket cornet
Otis Greene-alto saxophone
Mike Kull-electric piano
Dave Jones-guitar
Tyrone Crabb-bass
Bruce Thompson-drums
Ernest Bostic-drums
Harold E. Smith-percussion
Cato Thomassen-guitar, vocals
Mats Gustafsson-baritone saxophone
Christian Engfelt-bass, vocals
Bard Enerstad-guitar, organ
Ingebrigt Haker Flaten-double Bass
Jon Magne Riise-drums
Paal Nilssen-Love-drums
Andre Jaume-alto saxophone
Raymond Boni-electric guitar
Francois Mechali-bass
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UPC: B0FXSJGY6C
Label: Corbett vs. Dempsey
Catalog ID: CvsDLP016
Squidco Product Code: 36859
Format: LP
Condition: New
Released: 2025
Country: USA
Packaging: LP
Track A1 recorded in Poughkeepsie, New York, in December, 1970.
Track A2 originally released on Trinity (CJR, 1972).
Track B1 recorded in Oslo, Norway, in March, 2005.
Track B2 recorded in Boswil, Switzerland, in August 1982.br>
Track B3 recorded in Oslo, Norway, in August, 2007.
"Who was that masked man?
This question is on many lips having seen and heard the "Defiant Jazz" episode of the hit TV show Severance, the one in which the show's protagonists are allowed a company dance party, accompanied by a light show and increasingly wild, funky, saxophone-driven music. The masked man? None other than Joe McPhee, Poughkeepsie, New York's best kept secret, one of the great figures of contemporary improvised music. A living legend looming large, you might say. And now a presence in households around the globe.
This "taster" is more than a "best of" record. (The "best of" Joe McPhee would be no smaller than a 20-record set!) Defiant Jazz includes "Shakey Jake," the dance party track, a funky upsetter from 1970 that shimmies and rolls at the same time it builds and explodes. The vinyl-only compilation then moves across time, touching on another early track, the spiritual jazz classic "Astral Spirits," from the 1972 CJR LP Trinity and a 1983 version of the Sonny Rollins tune "Oleo" from the hat Hut LP of the same name, with psychedelic guitar outbursts courtesy of Raymond Boni. The second side opens with "I See You Baby Shakin' That Ass," a self-proclaimed "throwdown" with McPhee as emcee and flamethrowing saxophonist, fronting two bands, Cato Salsa Experience and The Thing. A dance floor jack-in-the-box for anyone unlucky enough not to have heard it yet. The program concludes with a sensitive tenor/drum duet between McPhee and Paal Nilssen-Love. The cover features previously unpublishedvintage photos of McPhee.
If you already know Mr. McPhee's music, this compilation is designed to fulfill, and if you're new to him, it will thrill and chill. Win-win."-Corbett Vs. Dempsey
Artist Biographies
• Show Bio for Joe McPhee "Joe McPhee, born November 3,1939 in Miami, Florida, USA, is a multi-instrumentalist, composer, improviser, conceptualist and theoretician. He began playing the trumpet at age eight, taught by his father, himself a trumpet player. He continued on that instrument through his formative school years and later in a U.S. Army band stationed in Germany, at which time he was introduced to performing traditional jazz. Clifford Thornton's Freedom and Unity, released in 1969 on the Third World label, is the first recording on which he appears as a side man. In 1968, inspired by the music of Albert Ayler, he took up the saxophone and began an active involvement in both acoustic and electronic music. His first recordings as leader appeared on the CJ Records label, founded in 1969 by painter Craig Johnson. These include Underground Railroad by the Joe McPhee Quartet (1969), Nation Time (1970), Trinity (1971) and Pieces of Light (1974). In 1975, Swiss entrepreneur Werner X. Uehlinger release Black Magic Man by McPhee, on what was to become Hat Hut Records. In 1981, he met composer, accordionist, performer, and educator Pauline Oliveros, whose theories of "deep listening" strengthened his interests in extended instrumental and electronic techniques. he also discovered Edward de Bono's book Lateral Thinking: A Textbook of Creativity, which presents concepts for solving problems by "disrupting an apparent sequence and arriving at the solution from another angle." de Bono's theories inspired McPhee to apply this "sideways thinking" to his own work in creative improvisation, resulting in the concept of "Po Music." McPhee describes "Po Music" as a "process of provocation" (Po is a language indicator to show that provocation is being used) to "move from one fixed set of ideas in an attempt to discover new ones." He concludes, "It is a Positive, Possible, Poetic Hypothesis." The results of this application of Po principles to creative improvisation can be heard on several Hat Art recordings, including Topology, Linear B, and Oleo & a Future Retrospective. In 1997, McPhee discovered two like-minded improvisers in bassist Dominic Duval and drummer Jay Rosen. The trio premiered at the Vision Jazz Festival in 1998 but the concert went unnoticed by the press. McPhee, Duval, and Rosen therefore decided that an apt title for the group would be Trio X. In 2004 he created Survival Unit III with Fred Lonberg-Holm and Michael Zerang to expand his musical horizons and with a career spanning nearly 50 years and over 100 recordings, he continues to tour internationally, forge new connections while reaching for music's outer limits." ^ Hide Bio for Joe McPhee • Show Bio for Otis Greene An early collaborator in Joe McPhee's Poughkeepsie circle, alto saxophonist Otis Greene appears on McPhee's formative recordings from the late 1960s and early 1970s, contributing a raw, soul-inflected tone that helped shape the early CJR sound. ^ Hide Bio for Otis Greene • Show Bio for Mike Kull Mike Kull is an American pianist, known for the groups Byron Morris And Unity, Joe McPhee & Survival Unit II, The Jazzmen, The Joe McPhee Quintet ^ Hide Bio for Mike Kull • Show Bio for Dave Jones Guitarist Dave Jones was part of the early McPhee ensembles documented on CJR, bringing a rock-leaning, exploratory edge to McPhee's early electric groups and helping define the hybrid rhythmic pulse heard on "Shakey Jake." ^ Hide Bio for Dave Jones • Show Bio for Tyrone Crabb Tyrone Crabb is an American bassist, known for the groups Contemporary Improvisational Ensemble, Hugh Brodie And The Real Thing, Joe McPhee Quartet, The Jazzmen, The Joe McPhee Quintet. ^ Hide Bio for Tyrone Crabb • Show Bio for Bruce Thompson Drummer Bruce Thompson played in McPhee's high-energy early 1970s bands, delivering a loose, propulsive rhythmic foundation that bridged funk, free jazz, and modal improvisation during McPhee's early electric recordings. ^ Hide Bio for Bruce Thompson • Show Bio for Ernest Bostic A drummer associated with McPhee's early recordings, Ernest Bostic provided a contrasting percussive voice to Thompson, adding drive and rhythmic variety to McPhee's formative sessions. ^ Hide Bio for Ernest Bostic • Show Bio for Harold E. Smith Percussionist Harold E. Smith, known for his work with Pearls Before Swine and Marion Brown, contributed atmospheric textures and free-flowing rhythmic layers to McPhee's early recordings, enriching their tonal and timbral palette. ^ Hide Bio for Harold E. Smith • Show Bio for Cato Thomassen ^ Hide Bio for Cato Thomassen • Show Bio for Mats Gustafsson ^ Hide Bio for Mats Gustafsson • Show Bio for Christian Engfelt A bassist and member of Cato Salsa Experience, Christian Engfelt provides a thick, groove-oriented low end and vocal accents in the sessions combining McPhee's fierce saxophone playing with the band's raw rock intensity. ^ Hide Bio for Christian Engfelt • Show Bio for Bard Enerstad Norwegian musician Bård Enerstad, associated with the Oslo improv and rock scenes, contributes guitar and organ textures that fuse garage-rock grit with improvisational freedom in McPhee's later collaborative sessions. ^ Hide Bio for Bard Enerstad • Show Bio for Ingebrigt Haker Flaten "Ingebrigt Håker Flaten (b. 1971, Oppdal) - studied Jazz at the Music Consevatory in Trondheim, Norway (1992-1995) under the tutelage of bassplayer Odd Magne Gridseth. When one listens to the great bassists in modern jazz history, a striking thing (though it may not be immediately arrived at) is that greatness is reached through open-mindedness and diversity. William Parker, Malachi Favors Maghostut, Peter Kowald, Wilbur Ware, Bertram Turetsky, Buell Neidlinger - all of these bass players have embraced a lifestyle of playing all sorts of music and the breadth of each musicians' technique is a testament to those experiences. Norwegian bassist and composer Ingebrigt Håker Flaten is also a musician whose experience is both geographical and aesthetic. While the fertile Scandinavian new jazz scene offered a vast amount of opportunities to work in different bands with musicians whose concepts are as individual as the grains in a reed, Flaten has found home and on-the-bandstand education in places as far flung as Chicago and his current residence Austin, Texas. A muscular player whose tone and attack run the gamut from Paul Chambers to Buschi Niebergall, his sense of both openness and control serves ensembles as diverse as The Thing, Free Fall, Atomic, Scorch Trio and the Kornstad/Håker Flaten Duo. In addition to his own Chicago Sextet and Austin-centric Young Mothers, Flaten has also recorded and performed with Frode Gjerstad, Dave Rempis, Bobby Bradford, the AALY Trio, Ken Vandermark, Stephen Gauci, Tony Malaby, Daniel Levin, Dennis Gonzalez and numerous others. Flaten studied at the Conservatory in Trondheim (1992-1995), turning professional shortly afterward, yet his hunger to play in new situations with new musicians - schooled or amateur, frequently recorded or just starting out - puts him in a rare class, that of a truly broad-minded artist. That mettle has served him well, living and developing the music under his own steam and drawing from influences as diverse as Derek Bailey, George Russell, Chris McGregor, filmmakers Ingmar Bergman, contemporary pop melody and gritty punk music as well as everyday sights and sounds. There is a calmness and self-assuredness that imbues all great artists, in that the diversity of their work comes with very little ego. Flaten's artistry is often in collective, leaderless ensembles and in fact, following a decade of professional musicianship it wasn't until 2004 that his leader-debut was released - Quintet (Jazzland, followed in 2008 by The Year of the Boar, and a Sextet recording is upcoming). This latter fact is partly due to the necessity of a copacetic situation - in an interview in 2010 with the Austinist he noted that "I use people where I'm located. It's inspiring to have your own band to write for, but you have to make sure that people feel free and not limited by the music; the compositions should lead the way to a player's open mind, and that is a challenge." Certainly not every bandleader/composer thinks this way. In 2011, he formed another ensemble, The Young Mothers, which includes drummers Stefan Gonzalez (Dallas) and Frank Rosaly (Chicago), trumpeter/poet/rapper Jawaad Taylor (New York), saxophonist Jason Jackson (Houston), and Jonathan Horne (Austin) on guitar. It's a group of varying levels and influences and as it grows organically, will be another excellent lens through which to view Flaten's aesthetic, philosophy, and musicianship. The next few years see him in a position where established ensembles can steep and spread their influence, while experimenting with and nurturing a wide range of new relationships." ^ Hide Bio for Ingebrigt Haker Flaten • Show Bio for Jon Magne Riise Drummer Jon Magne Riise is known for his work in Norwegian rock and experimental ensembles; his solid, driving approach underpins the energetic fusion of rock and free improvisation in McPhee's collaborations with Cato Salsa Experience. ^ Hide Bio for Jon Magne Riise • Show Bio for Paal Nilssen-Love "Paal Nilssen-Love was born in Molde, Norway, Dec 24. 1974, and raised at a jazz club in Stavanger, run by his parents. It was natural to choose his fathers drums as his instrument and jazz as his work. From 1990 on he took actively part in the jazz milieu in Stavanger and joined bands with established musicians such as trumpeter Didrik Ingvaldsen and saxophonist Frode Gjerstad. In many ways, these collaborations were essential as they pointed out the directions for Paal's later musical development and career. During his studies at the Jazz dept at the University in Trondheim, where the first self initiated bands were established, things developed really fast - and Paal was nationally acknowledged at the age of 20. The forming of the quartet Element in 1993 in many ways represented the start of a new phase in Paal's musical life. Element musically became a platform for several other groups with bassist Flaten and pianist Wiik, and lead to collaborations with Iain Ballamy and Chris Potter, amongst others. Paal moved to Oslo in 1996, where he joined and/or took part in the forming of bands like Vindaloo, SAN, Håkon Kornstad Tio, The Quintet and Frode Gjerstad Trio. He later on got more into self initiated projects and collaborations with Swedish musicians, such as pianist Sten Sandell and saxophonist Mats Gustafsson. Paal played his first solo concert in 1999, and since then the solo concept has been an important part of his work: "Everyone should try doing some solo work, just to feel who you really are and what gets you going". His solo album "Sticks and stones" was put out in 2001 on SOFA Rec. Being active in several bands at the same time has always been Paal's deliberate working method. He is constantly conscious about the projects he is in, as his participation in each and one of them is fully dedicated. Playing is not about getting from start to goal, but rather being in an everlasting process, a continuous movement where each new piece of music performed is a prolongation of the latest. Hence, keeping focused and concentrating all energy around what's happening there and then is of greatest importance - as is the freedom in the music, the ability of being free within the expression. All bands, although various styles and musical versatility in general, represent important pieces that make up a total, and all bands are formed or joined with a clear vision. Today Paal's portfolio includes Atomic, School Days, The Thing, Frode Gjerstad Trio, Sten Sandell Trio, Scorch Trio, Territory Band, FME, and various duo projects such as with reedmen Ken Vandermark, John Butcher, Mats Gustafsson, organist Nils Henrik Asheim and noise wizard Lasse Marhaug. And not to forget the recently joined Peter Brötzmann Chicago Tentet." ^ Hide Bio for Paal Nilssen-Love • Show Bio for Andre Jaume "Mainly known as a tenor player, French multi-instrumentalist André Jaume also excels on alto sax, flute, bass clarinet, and clarinet, his first instrument, and is one of the most emblematic figures of the French jazz scene. His warm and generous tone is his trademark and his career reflects his curiosity and open-mindedness. Classically trained, Jaume developed his interest for jazz going to dances where Sidney Bechet performed and listening to records. His interest quickly moved from Dixieland to more modern musicians, such as Charlie Parker, Duke Ellington, and John Coltrane. He attended the first French jazz school under the direction of Guy Longnon from 1966 to 1969. Social events of the late '60s and inroads made by free jazz encouraged him to find his own path rather than mimicking American artists. After playing with Barre Phillips in the early '70s, he created a duo with percussionist Gerard Siracusa, which soon evolved as a trio with the addition of Raymond Boni on guitar. Later, he joined Jeff Gilson's orchestra from 1976 to 1979. During that time, Jaume met saxophonist Joe McPhee at a festival in Nancy (France) and a long friendship ensued, punctuated by several albums, in particular Old Eyes & Mysteries and Oleo & a Future Retrospective. In the early '80s, Jaume put together an octet to fulfill his ambition to compose for string instruments. Through his association with McPhee, the saxophonist gave his first concerts in the United States in 1985. Although an already well-seasoned musician, Jaume seized this opportunity to write and ask Jimmy Giuffre to study arrangement and composition. Giuffre's positive response resulted in yet another fruitful collaboration with a string of concerts and recordings. It was also Giuffre who encouraged Jaume to resume playing the clarinet. In the '90s, Jaume entered a prolific and diverse period carrying on projects with Charlie Mariano, John Medeski, Charlie Haden, and Barry Altschul, as well as collaborations with musicians from Indonesia or Guinea. He also formed a working trio with guitarist Rémi Charmasson and Randy Kaye, Jimmy Giuffre's former drummer. Jaume retired from his faculty position at the Avignon Conservatory in 2001, hoping to focus entirely on his music. ^ Hide Bio for Andre Jaume • Show Bio for Raymond Boni "Influenced by musicians as diverse as Django Reinhardt and Cecil Taylor, French guitarist Raymond Boni has developed a unique and dazzling style derived from gypsy technique. After studying the piano and switching to the harmonica, Raymond Boni learned how to play the guitar with Gypsies living near his home. This empirical experience would leave a permanent imprint on Boni's approach to the instrument. In the early '60s, still a teenager, he decided to go study in London. Surrounded by a very diverse and creative musical environment, Boni decided to get serious about the guitar and to break from the musical framework of musical academia. Back in France, he settled in Paris where he was among the first French musicians to embrace free jazz and free improvisation. His first major collaboration was a long-lived duo he formed with guitarist Gérard Marais in 1973. In 1976, he joined the André Jaume/Gérard Siracusa duo and worked with saxophonist Claude Bernard. The latter was also responsible for allowing Boni to fulfill his ambition to compose for and perform with dancers. In 1978, he started a long relationship with Joe McPhee, which produced some stellar albums such as Old Eyes & Mysteries and Oleo & a Future Retrospective and a tour in the U.S. and Canada (1985). In 1981, Boni moved to Marseille where he was not able to perform as often as in Paris. As an alternative, he focused on writing and diversified his projects. In 1982, he met dancer and choreographer Geneviève Sorin and started to compose music for her company. Raymond Boni also continued to foster some old partnerships while developing new ones with accomplished artists such as Les Mistrals with British improvisers Terry Day and Max Eastley. In the '90s, the guitarist worked extensively with musicians from younger generations, most notably Claude Tchamitchian and Eric Echampard. Boni also multiplied collaborations with artists having a background other than jazz but a bent for improvisation. Another worthy project is Boni's Family with Sorin and son Bastien Boni, which honors his Gypsy legacy and capitalizes on his talented household. In 2001, Boni reunited with McPhee for an album, Voices & Dreams, and several concerts in the U.S. and Europe." ^ Hide Bio for Raymond Boni • Show Bio for Francois Mechali French bassist François Méchali, part of André Jaume's circle and active in European improvisation since the 1970s, is known for his warm tone and melodic phrasing, contributing lyrical counterpoint to McPhee's 1982 European recordings. ^ Hide Bio for Francois Mechali
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Track Listing:
SIDE A
1. Shakey Jake (13:32)
2. Astral Spirits (10:40)
SIDE B
1. I See You Baby, Shakin' That Ass (13.01)
2. Oleo [take 1] (5:32)
3. Body Sound (4:33)
Vinyl Recordings
Improvised Music
Jazz
Free Improvisation
NY Downtown & Metropolitan Jazz/Improv
Large Ensembles
Rock and Related
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Song Based Music
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| Guy, Barry and Friends Krakow 2018 [5 CD BOX SET] (Not Two) |
| Two days of concerts in 2018 at Alchemia Club, in Krakow, Poland and a recording at Radio Krakow the next day from English composer, band leader and a bass player Barry Guy, in varying configurations at Alchemia of duos & trios with some of Europe & The UK's leading improvisers, culminating in an 11-piece ensemble at Radio Krakow performing the large work "For To End Yet Again". |
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| Gustafsson, Mats Naja (Black Cross Solo Sessions 5) (Corbett vs. Dempsey) |
| For three days in his own Discaholic Studios in Nickelsdorf, saxophonist Mats Gustafsson recorded the playing-card pieces of Peter Brötzmann--compositional prompts intended for a large group or for solo playing--performing on a cross-section of the saxophone family from sopranino to bass, and also one piece for saxophone mouthpiece, creating a set of stunning improvisations. |
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| McPhee, Joe / John Edwards Tell Me How Long Has Trane Been Gone (for James Baldwin And John Coltrane) (Klanggalerie) |
| The incredible first meeting between legendary saxophonist Joe McPhee and double bassist John Edwards is this performance at the 2019 Artacts festival in Austria, a powerfully reflective free jazz concert with McPhee speaking & preaching about the loss of giants John Coltrane, Albert Ayler and James Baldwin, as they stand upon their shoulders through free music. |
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| Gustafsson, Mats / Nu Ensemble Hidros 8 Heal (Trost Records) |
| A conduction of an absolutely impressive ensemble of free and ea- improvisers on a powerfully diverse journey, from Anna Högberg & Gustafsson on sax, Susana Santos Silva on trumpet, Per-Åke Holmlander on tuba, Hedvig Mollestad on guitar, Dieb13 on turntables, Christof Kurzmann on lloopp & voice, Massimo Pupillo on bass, Gert-Jan Prins on drums & electronics, and Ivar Loe Bjørnstad on drums. |
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| Blue Reality Quartet (Joe McPhee / Michael Marcus / Jay Rosen / Warren Smith) Ella's Island (Mahakala Music) |
| The 2nd album from the quartet of Joe McPhee on tenor saxophone, Warren Smith on vibraphone, Michael Marcus on reeds and Jay Rosen on drums, formed from a 2018 Jazzgalerie Nickelsdorf date with NY drummer Jay Rosen rounding out the quartet, this album extends their accessibly relaxed and creatively magnificent approach to free and structured jazz. |
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| McPhee / Edwards / Kugel Existential Moments (Not Two) |
| The 3rd album from the touring trio of Joe McPhee on trumpet & tenor sax, John Edwards on double bass and Klaus Kugel on drums, following their previous NotTwo releases A Night In Alchemia and Journey To Parazzar, here captured live at FreeJazzSaar 2019, in Saarbrucken, Germany for a boisterously exciting set of three collective improvisations, including a tip of the hat to Charles Gayle. |
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