The Squid's Ear Magazine

Rivers / Holland / Altschul

Reunion: Live in New York [2 CDs]

Rivers / Holland / Altschul: Reunion: Live in New York [2 CDs] (Pi Recordings)

After 25 years, saxophonist, flutist, and pianist Sam Rivers reunites his groundbreaking trio of Dave Holland on bass and Barry Altschul on drums for a fully improvised concert at Miller Theatre.
 

Price: $18.95



Quantity:

In Stock

Quantity in Basket: None

Log In to use our Wish List
Shipping Weight: 3.00 units

Sample The Album:





product information:

Personnel:



Sam Rivers-tenor saxophone, soprano saxophone, flute, piano

Dave Holland-bass

Barry Altschul-drums


Click an artist name above to see in-stock items for that artist.




UPC: 808713004526

Label: Pi Recordings
Catalog ID: Pi 45
Squidco Product Code: 16614

Format: 2 CDs
Condition: New
Released: 2012
Country: USA
Packaging: 2 CDs in gatefold cardstock foldover
Recorded live at Miller Theatre at Columbia University, New York on May 25th, 2007.

Descriptions, Reviews, &c.

"A historically important new release, Sam Rivers "Live at Miller Theater" features the reunion of octogenarian saxophonist /flutist/pianist Rivers with his groundbreaking trio of two-time Grammy Award winner Dave Holland on bass and Barry Altschul on drums. The venerated band was a mainstay at Rivers' Studio RivBea -- the most famous venue during the "loft jazz" movement of the 1970s -- and was well-known for its marathon fully -improvised concerts. Their powerful rapport gives no hint of the fact that they had not played together in 25 years when this concert took place in 2007.

Rivers played with such disparate musicians as Miles Davis, T -Bone Walker, Dizzy Gillespie, and Cecil Taylor in a musical career that spanned over 50 years. He is best known for his heralded albums on Blue Note and Impulse! of the 1960s and 1970s and two Grammy-nominated big band recordings for RCA. The Rivers /Holland/Altschul trio, though revered in jazz circles, recorded rarely and those out of print records are highly sought after by collectors. Unfortunately, Rivers did not live to see the release of this CD; he passed away on December 26, 2011."-Pi Recordings



This album has been reviewed on our magazine:

The Squid
The Squid's Ear!

Artist Biographies

"Samuel Carthorne Rivers (September 25, 1923 Ð December 26, 2011) was an American jazz musician and composer. He performed on soprano and tenor saxophones, bass clarinet, flute, harmonica and piano.

Active in jazz since the early 1950s, he earned wider attention during the mid-1960s spread of free jazz. With a thorough command of music theory, orchestration and composition, Rivers was an influential and prominent artist in jazz music.

Rivers was born in El Reno, Oklahoma. His father was a gospel musician who had sung with the Fisk Jubilee Singers and the Silverstone Quartet, exposing Rivers to music from an early age. His grandfather was Marshall W. Taylor, a religious leader from Kentucky. Rivers was stationed in California in the 1940s during a stint in the Navy. Here he performed semi-regularly with blues singer Jimmy Witherspoon. Rivers moved to Boston, Massachusetts in 1947, where he studied at the Boston Conservatory with Alan Hovhaness.

He performed with Quincy Jones, Herb Pomeroy, Tadd Dameron and others.

In 1959 Rivers began performing with 13-year-old drummer Tony Williams. Rivers was briefly a member of the Miles Davis Quintet in 1964, partly on Williams's recommendation. This edition of the quintet released a single live album, Miles in Tokyo, from a show recorded on July 14 at Kohseinenkin Hall. Rivers' tenure with the quintet was brief: he had engagements in Boston, and his playing style was too avant-garde for Davis during this period; he was replaced by Wayne Shorter shortly thereafter.

Rivers was signed by Blue Note Records, for whom he recorded four albums as leader and made several sideman appearances. Among noted sidemen on his own Blue Note albums were Jaki Byard, who appears on Fuchsia Swing Song, Herbie Hancock and Freddie Hubbard. He appeared on Blue Note recordings by Tony Williams, Andrew Hill and Larry Young.

Rivers derived his music from bebop, but he was an adventurous player, adept at free jazz. The first of his Blue Note albums, Fuchsia Swing Song (1964), adopts an approach sometimes called "inside-outside". Here the performer frequently obliterates the explicit harmonic framework ("going outside") but retains a hidden link so as to be able to return to it in a seamless fashion. Rivers brought the conceptual tools of bebop harmony to a new level in this process, united at all times with the ability to "tell a story", which Lester Young had laid down as a benchmark for the jazz improviser.

His powers as a composer were also in evidence in this period: the ballad "Beatrice" from Fuchsia Swing Song has become an important standard, particularly for tenor saxophonists. For instance, it is the first cut on Joe Henderson's 1985 The State of the Tenor, Vols. 1 & 2, and Stan Getz recorded it during the 1989 sessions eventually issued as Bossas & Ballads Ð The Lost Sessions.

During the 1970s, Rivers and his wife, Bea, ran a jazz loft called "Studio Rivbea" in New York City's NoHo district. It was located on Bond Street in Lower Manhattan and was originally opened as a public performance space as part of the first New York Musicians Festival in 1970. Critic John Litweiler has written that "In New York Loft Jazz meant Free Jazz in the Seventies" and Studio Rivbea was "the most famous of the lofts". The loft was important in the development of jazz because it was an example of artists creating their own performance spaces and taking responsibility for presenting music to the public. This allowed for music to be free of extra-musical concerns that would be present in a nightclub or concert hall situation. A series of recordings made at the loft were issued under the title Wildflowers on the Douglas label.

Rivers was also recruited by Clifford Thornton to lead a student world-music/free-jazz ensemble at Wesleyan University in 1971.

During this era Rivers continued to record, including several albums for Impulse!: Streams, recorded live at Montreux, Hues (both records contain different trio performances later collated on CD as Trio Live), the quartet album Sizzle and his first big-band disc, Crystals; perhaps his best-known work from this period though is his appearance on Dave Holland's Conference of the Birds, in the company of Anthony Braxton and Barry Altschul.

In the early 1990s Sam and wife Beatrice moved to Florida, in part to expand his orchestra compositions with a reading band in Orlando. This band became the longest-running incarnation of the RivBea Orchestra. He performed regularly with his Orchestra and Trio with bassist Doug Mathews and drummer Anthony Cole (later replaced by Rion Smith.) From 1996 to 1998 he toured and recorded three projects for Nato Records in France with pianist Tony Hymas and others. In 1998, with the assistance of Steve Coleman, he recorded two Grammy-nominated big-band albums for RCA Victor with the RivBea All-Star Orchestra, Culmination and Inspiration (the title-track is an elaborate reworking of Dizzy Gillespie's "Tanga": Rivers was in Gillespie's band near the end of the trumpeter's life). Other late albums of note include Portrait, a solo recording for FMP, and Vista, a trio with drummers Adam Rudolph and Harris Eisenstadt for Meta. During the late 1990s he appeared on several albums on Postcards Records.

In 2006, he released Aurora, a third CD featuring compositions for his Rivbea Orchestra and the first CD featuring members of his working orchestra in Orlando.

Rivers died from pneumonia on December 26, 2011 at the age of 88 in Orlando, Florida.

On June 25, 2019, The New York Times Magazine listed Sam Rivers among hundreds of artists whose material was reportedly destroyed in the 2008 Universal fire."

-Wikipedia (https://en.wikipedia.org/wiki/Sam_Rivers)
3/25/2024

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

"Dave Holland is a bassist, composer, bandleader whose passion for musical expression of all styles, and dedication to creating consistently innovative music ensembles have propelled a professional career of more than 50 years, and earned him top honors in his field including multiple Grammy awards and the title of NEA Jazz Master in 2017.

Holland stands as a guiding light on acoustic and electric bass, having grown up in an age when musical genres-jazz, rock, funk, avant-garde, folk, electronic music, and others-blended freely together to create new musical pathways. He was a leading member of a generation that helped usher jazz bass playing from its swing and post-bop legacy to the vibrancy and multidiscipline excitement of the modern era, extending the instrument's melodic, expressive capabilities. Holland's virtuosic technique and rhythmic feel, informed by an open-eared respect of a formidable spread of styles and sounds, is widely revered and remains much in demand. To date, His playing can be heard on hundreds of recordings, with more than thirty as a leader under his own name.

Holland first rose to prominence in groundbreaking groups led by such legends as Miles Davis, Stan Getz, Sam Rivers, Betty Carter, and Anthony Braxton-as well as collaborations with the likes of Chick Corea, Gary Burton, Jack DeJohnette, and John McLaughlin. Carrying such an enviable history Holland does with little fanfare and extreme humility; to him what matters most is the immediate musical project at hand. Fittingly, he is today more celebrated for the bands that he continues to assemble, record and perform with-ensembles which range from duos and trios to big bands, and often feature musicians like Steve Coleman, Robin and Kevin Eubanks, Jason Moran, Chris Potter, Eric Harland, among many others who were bound for their own headline-status. The consistent priority connecting all of Holland's projects is an abiding sense of challenge-to himself, his fellow musicians, and his listeners. His comments on this driving force in his career serve as a personal credo:

"My take on the relationship with the audience is that you don't want to underestimate their ability to hear the music. You want to be as clear as possible in your musical statement and not be obscure in terms of what it is you're doing. At the same time, you don't want to compromise on your creative ambitions because that's the driving force that's going to develop the music and keep it relevant for me. Outside of the audience, there's the aspect of me needing to be interested in what I'm doing and be stimulated by it in a challenging situation which is going to continue to allow me to grow as a player and composer."

Holland was born in Wolverhampton, United Kingdom in 1946, and even before reaching puberty played ukulele and then guitar, having fallen under the spell of skiffle music like most British youth during the 1950s and early '60s. As an adolescent, he switched over to the low end of the string family, an uncle fabricating his first "tea-chest bass" out of the thin wooden crates in which tea was shipped. The bass ultimately proved the instrument that steered him away from a working-class destiny. At the ripe age of 14, he began playing R&B, rock and pop tunes for dances and in clubs with local bands, and visiting U.S. artists like Roy Orbison, Chet Atkins, and Johnnie Ray. By his late teens Holland began exploring an expanding palette of jazz styles and it was clear that music was Holland's calling.

The search for more opportunities, experience, and advanced music education led the young bassist to journey from The Midlands to work in London in 1964, where he began to study with James Edward Merrett, the principal bassist with the London Philharmonic. A year later, Merrett recommended him for a scholarship to the Guildhall School of Music and Drama and Holland was on his way.

The mid-'60s were an exciting time to be in "Swinging" London: the U.K. was pulling itself free from an extended postwar, economic decline and a whirlwind of fresh, cultural ideas (especially musical) was in the air. Holland was soon exploring more advanced classical and avant-garde music, as well as the work of jazz bass masters from Ray Brown, Leroy Vinegar and Charles Mingus, to Scott LaFaro, Jimmy Garrison, Ron Carter and Gary Peacock. He began to perform regularly with bands fronted by leaders at the cutting edge of the U.K. jazz scene: Tubby Hayes, Ronnie Scott, Chris McGregor, Evan Parker, and John Surman.

Holland was a mere 19 years old when he began to appear at Ronnie Scott's jazz club in London's Soho district, supporting touring jazz veterans like Ben Webster, Coleman Hawkins and Joe Henderson. That was the venue in which famed trumpeter Miles Davis-who was about to transition from purely acoustic music to more electric instrumentation in 1968, including rock and funk influences-first heard Holland. Davis asked him to take over the bass chair in his band at a time when generations of musicians and music fans were intensely focused on every step the trumpeter was taking.

Joining Davis's groundbreaking, semi-electric band was the catapult that launched Holland's career to the international stage. As the world watched and listened, he contributed to albums that pointed the way to the future-Filles De Kilimanjaro, In A Silent Way, Bitches Brew-and performed in jazz clubs and rock festivals, helping to lay the groundwork for the rise of Fusion jazz, an important member of a brotherhood of innovators adept at older and newer jazz vocabularies. While still with Davis, Holland gigged and recorded with other musicians as well, including the Thad Jones/Mel Lewis Orchestra, Chick Corea, and Joe Henderson.

Holland left Davis's employ in 1970 and immediately co-founded Circle-the influential if short-lived free-jazz quartet, with Corea, Anthony Braxton and Barry Altschul. After the breakup of Circle in late '71, Holland found himself working in bands led by the likes of Stan Getz, Thelonious Monk, Braxton, and initiating an enduring relationship with saxophonist/bandleader Sam Rivers.

By 1972, Holland relocated to upstate New York, and began recording under his own name, beginning a long-standing association with the Munich-based ECM label. It was during this period of re-establishment that he began participating with vibraphonist Karl Berger's Creative Music Studio, and co-founded the Gateway Trio with John Abercrombie and Jack DeJohnette. Holland later joined Betty Carter's group for a year, and served as a sideman on a wide range of recording projects that featured blues singer/guitarist Bonnie Raitt, vocalist Maria Muldaur, and bluegrass heavyweights John Hartford, Norman Blake, and Vassar Clements. In '77, Holland began performing solo bass concerts, which led to the studio album Emerald Tears, which he later followed with the solo cello recording Life Cycle in '83.

As the '80s began, Holland stepped forward with a working band of his own for the first time. The Dave Holland Quintet was comprised of alto saxophonist Steve Coleman, trumpeter Kenny Wheeler, trombonist Julian Priester, and drummer Steve Ellington. Their 1984 debut was well-received critically, and initiated a long run of groups that varied in musical approach-smaller lineups focusing on lengthy improvisations, larger ensembles dealing with intricate arrangements- and evolved as new arrivals, like drummer Marvin "Smitty" Smith and guitarist Kevin Eubanks, who all became part of Holland's creative circle.

In 1990, Holland debuted Extensions-a quartet album featuring Kevin Eubanks, Coleman and Smith-that was voted Album of the Year by Downbeat magazine. A year later, on the same week, he recorded World Trio, featuring Eubanks on acoustic guitar and percussionist Mino Cinelu, and Phase Space, a duo album with Steve Coleman. These were followed in '93 by Holland's third solo effort, Ones All (both World Trio and Ones All were originally released on the Intuition label.)

By '97, the Dave Holland Quintet included a mix of younger and veteran players, with vibraphonist Steve Nelson and trombonist Robin Eubanks (Kevin's brother) alongside saxophonist Chris Potter and drummer Billy Kilson (and later Nate Smith.) While most of his creative choices as a bandleader are the result of feel and intuition, Holland admits a conscious decision when it comes to combining musicians of varying levels of experience. "I'm an equal opportunity employer. I don't think about anything to do with gender, race or age. I'm looking for the music. I listen to the music with my ears, but at the same time, I am also conscious of the fact that it's very important that there is intergenerational contact in the music. Older players should play with younger players and vice-versa so we have a chance to cross-pollinate our influences and backgrounds. This is how the music grows and expands."

In the 1990s, Holland's desire to focus on his compositional and arranging skills led to the formation of the Dave Holland Big Band, a group that that led to his notching two Grammy awards for Best Large Jazz Ensemble. Around the same time, he earned a third for an all-star quintet with old colleagues Burton, Corea, Pat Metheny and Roy Haynes. During the '90s, Holland also revisited a number of historic collaborations-including the Gateway Trio, and working with Herbie Hancock-and in the 2000s, Holland expanded his focus to new collaborations: the comically named "ScoLoHoFo" quartet featuring Joe Lovano, John Scofield, and Al Foster; as well as a duo with Jim Hall.

In 2003, Holland departed ECM and formed his own label, Dare2 Records, on which he has issued almost all of his recent recordings. In 2005, Dare2 premiered with Overtime, a big band project including music commissioned by the Monterey Jazz Festival. A year later, Critical Mass featured his Quintet (the first with Nate Smith), and Pass It On in 2008, a sextet performing arrangements in a mini-big band style (with, among others, Robin Eubanks, pianist Mulgrew Miller, drummer Eric Harland.)

In 2010, Holland released two recordings: the live octet album Pathways, and Hands, a duet with flamenco guitarist Pepe Habichuela. In 2013, Holland dug deeper into his Fusion roots, unveiling his quartet Prism with Harland, Kevin Eubanks, and keyboardist Craig Taborn; and a year later, Holland teamed up with pianist and longtime friend Kenny Barron to record The Art Of Conversation for the Blue Note label.

The remarkable rate at which Holland leads or collaborates his way into fresh and exciting projects proves he has no plans to diminish the range nor frequency of his creative drive. His band lineups reveal that his ear is still to the ground, listening for and recognizing fresh and deserving talent, and that many are the musicians who are happy to perform or record with him. As Holland prepares to celebrate his 70th year, he is currently playing with a new group, the Aziza quartet, co-founded with Harland, saxophonist Chris Potter, and guitarist Lionel Loueke.

As a leader and collaborator, Holland continues to tour the world and it comes as no surprise that he has and still serves the music in an educational role, having worked during the 1980s as artistic director of the Banff Centre's jazz summer program (Canada), and as a faculty member for two years at the New England Conservatory of Music in the '90s, where he still serves as an artist in residence (as he does at the Royal Academy of Music.) He has also been elected a Fellow of the Guildhall School-his alma mater-and has received honorary doctorates from Birmingham Conservatoire (UK), Berklee College of Music, and the New England Conservatory.

Most recently, Holland was made an Honorary Member of the Royal Academy of Music (UK)-a rare honor as membership is limited to 300 living musicians-and he's been named a 2017 Jazz Master by the National Endowment for the Arts.

Over the years and through countless musical experiences, Holland has come to define his purpose as a musician-and he articulates it well: "I'm trying to create music that exists on multiple levels, such as simpler elements along with more complex elements. To me, a lot of great art, whether it's visual, musical or written, has an ability to do those things-to offer some fundamental truths that echo in people, yet at the same time, introduce them to a new way of looking at those fundamentals that gives them a little different perspective..."

-Dave Holland Website (http://daveholland.com/about)
3/25/2024

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

"Barry Altschul (born January 6, 1943, New York City)[1] is a free jazz and hard bop drummer who gained fame in the late 1960s with the pianists Paul Bley and Chick Corea.

Altschul, having initially taught himself to play drums, studied with Charlie Persip during the 1960s. In the latter part of the decade, he performed with Paul Bley. In 1969 he joined with Chick Corea, Dave Holland and Anthony Braxton to form the group Circle. At the time, he made use of a high-pitched Gretsch kit with add-on drums and percussion instruments, which he integrated seamlessly in a whirlwind of sound.

In the 1970s Altschul worked extensively with Anthony Braxton's quartet featuring Kenny Wheeler, Dave Holland, and George Lewis. Braxton, signed to Arista Records, was able to secure a large enough budget to tour with a collection of dozens of percussion instruments, strings and winds. In addition to his participation in ensembles featuring avant-garde musicians, Altschul performed with Lee Konitz, Art Pepper and other "straight ahead" jazz performers.

Altschul also made albums as a leader, but after the mid-1980s he was rarely seen in concert or on record, spending much of his time in Europe. Since the 2000s, he has become more visible, with two sideman appearances on the CIMP label with the FAB trio (with Billy Bang and Joe Fonda), the Jon Irabagon Trio recording "Foxy", and the bassist Adam Lane. Altschul has played or recorded with many musicians, including Roswell Rudd, Dave Liebman, Barre Phillips, Denis Levaillant, Andrew Hill, Sonny Criss, Hampton Hawes, and Lee Konitz."-Wikipedia

-Wikipedia (https://en.wikipedia.org/wiki/Barry_Altschul)
3/25/2024

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


Track Listing:



CD ONE

1. Part 1 8:07

2. Part 2 9:41

3. Part 3 15:45

4. Part 4 8:37

5. Part 5 9:32

CD TWO

1. Part 1 8:55

2. Part 2 14:46

3. Part 3 4:10

4. Part 4 7:23

Related Categories of Interest:


Improvised Music
Jazz
NY Downtown & Jazz/Improv
Trio Recordings
Piano Trio (Piano Bass Drums)

Search for other titles on the label:
Pi Recordings.


Recommended & Related Releases:
Bley, Paul Trios
Play Annette Peacock, Revisited
(ezz-thetics by Hat Hut Records Ltd)
Annette Peacock's response to the free-blowing loft scene was to compose using spacious intervals, allowing great harmonic and rhythmic freedom, inspiring pianist Paul Bley and his trio as heard in two unique interpretations of the same pieces from two exceptional working bands: one with bassist & drummer Mark Levinson & Barry Altschul, the other with Gary Peacock & Billy Elgart.
Ullmann, Gebhard / Steve Swell / Hilliard Greene / Barry Altschul
We're Playing In Here ? [VINYL]
(NoBusiness)
Substantial creative free jazz with compositions each from trombonist Steve Swell and reedist Gebhard Ullman, recording at Park West Studio in Brooklyn with Barry Altschul on drums and Hilliard Green on double bass, the structures of their compositions providing lyrical launch points for adept free soloing, amidst unusual and masterful technique and surprising asides; exceptional!
Rivers, Sam Trio
Archive Series. Volume 6 - Caldera
(NoBusiness)
Continuing NoBusiness' archive series of late reed & wind player Sam Rivers, this wild and sophisticated concert from 2002 was recorded at the Freeport-McMoRan Theatre in New Orlean's Contemporary Arts Center, by the long-standing Sam Rivers Trio with Doug Matthews on upright & electric bass and bass clarinet, and Anthony Cole on tenor sax & piano.
Davis, Miles Quintets
Stockholm 1967 & 1969 Revisited
(ezz-thetics by Hat Hut Records Ltd)
Two live recordings from Miles Davis in the 1960s, first from Stockholm in 1967 with the classic 60s quintet of Miles, Wayne Shorter, Herbie Hancock, Ron Carter and Tony Williams; then two years later also in Stockholm with the "Lost Quintet" of Miles, Wayne Shorter, Chick Corea, Dave Holland and Jack DeJohnette, pushing new directions with tracks including "Bitches Brew".
Williams, Anthony (w/ Shorter / Rivers / Hancock / Hutcherson / Carter / Davis / Peacock)
Life Time & Spring, Revisited
(ezz-thetics by Hat Hut Records Ltd)
Remastering & reissuing drummer Anthony Williams first two albums: Life Time was recorded for Blue Note shortly after joining the Miles Davis Quintet, employing two bassists--Richard Davis and Gary Peacock--along with mentor Sam Rivers and Davis alumni Herbie Hancock & Ron Carter; Spring reflects the new freedom of 60s jazz in a quintet with both Wayne Shorter & Sam Rivers.
Bley, Paul Trio
Touching & Blood, Revisited
(ezz-thetics by Hat Hut Records Ltd)
Reissuing two essential and innovative piano trio albums: Paul Bley Trio's 1965 album Touching with Bley on piano, Kent Carter on double bass and Barry Altschul on drums, plus the title track from the 1967 Bley album In Haarlem - Blood with Altschul and Mark Levinson taking the double bass roll, performing compositions by Paul Bley, Carla Bley and Annette Peacock.
Rivers, Sam Trio (feat Joe Daley / Dave Holland / Thurman Baker )
Braids: Archive series Volume 4
(NoBusiness)
The fourth volume in the NoBusiness Records Sam Rivers Archive series is this live recording from Hamburg, Germany during River's 1979 tour of Europe, with the multi-instrumentalist performing on tenor & soprano saxophones, flute & piano in a quartet with Joe Daley on tuba, euphonium, Dave Holland on bass, cello, and Thurman Barker on drums.
Rivers, Sam Trio feat Dave Holland / Barry Altschul
Ricochet
(NoBusiness)
Captured live in San Francisco in 1978, the lastest in the NoBusiness Sam Rivers Archive series finds the masterful wind player in peak form with the trio of Dave Holland on bass & cello, and Barry Altschul on drums, Rivers on tenor & soprano sax, flute & piano, in the 52 minute free jazz epic "Ricochet", a high-energy work of diverse mood and character; superb!
Waters, Patty (w/ Greene / Pavone / Altschul)
An Evening In Houston
(Clean Feed)
The distinctively unique voice and unconventional stylings of Patty Waters bring a set of standards and folk songs to a live quartet session in Houston, Texas in 2018 with the stellar backup of Burton Greene on piano, Mario Pavone on bass, and Barry Altschul on drums, covering songs by Billy Holiday, Nat King Cole & Hank Williams along with a trio instrumental of Monk's "Off Minor".
Sharp, Elliott Aggregat (Bynum / Greene II / Jones / Altschul)
Dialectrical
(Clean Feed)
Downtown New York multi-reedist mainstay Elliott Sharp in his third Aggregat release, in a quintet with Taylor Ho Bynum on trumpet, Barry Altschul on drums, Terry L. Greene II on trombone, and Brad Jones on bass, pushing elastic limits on the concepts of jazz and free improv.
Mirra, Helen / Ernst Karel
A Map Of Parallels 41-N And 49-N At A Scale Of Ten Seconds To One Degree
(Shhpuma)
A map of the latitudes delineating the geographical area where the European - North American history of deforestation and resforestation has played out, in a work of guitar and field effects from Portugese artist Helen Mirra and sound artist Ernst Karel.
Other Recommended Releases:
Tragic Assembly
Blood Drains And Memories
(Soul City Sounds)
The Durham, NC free improvising trio of Crowmeat Bob on alto & tenor saxophones, clarinet & guitar, Phil Venable on double bass and Charles Chance on drums notch up their playing, with Crowmeat Bob performing on both reeds and electric guitar as the band explores breaking down the barrier between subconsciousness and expression through collective improv.
Lehman, Steve / Selebeyone
Xaybu: The Unseen
(Pi Recordings)
An urgent album of modern jazz, underground urban and electronic music, from the international collective of MCs HPrizm (NYC) & Gaston Bandimic (Dakar), saxophonists Steve Lehman (Los Angeles) & Maciek Lasserre (Paris) and drummer Damon Reid, exploring Islamic mysticism of al-Ghaib with the voices of Billy Higgins and Jackie McLean heard throughout the album.
Rivers, Sam Quartet (feat. Jerry Byrd / Rael Wesley Grant / Steve Ellington)
Archive series. Volume 5 - Undulation
(NoBusiness)
During the early 80s saxophonist and wind improviser Sam Rivers formed his quartet around electric instruments, with the core rhythm section of drummer Steve Ellington and electric bass guitarist Rael Wesley Grant, the other lead instrument on guitar during that time, sometimes with Kevin Eubanks, and on this previously unreleased, superb live performance in Florence, Italy, guitarist Jerry Byrd.
Coleman, Steve & the Council of Balance
Synovial Joints
(Pi Recordings)
Composer and alto saxophonist Steve Coleman in a superb modern jazz album, written by applying characteristics of human synovial joints to compositional process, and using "camouflage orchestration" to orchestrate players into the fore-, middle- and background.
Coleman, Steve & Five Elements
Functional Arrhythmias
(Pi Recordings)
Alto saxophonist Steve Coleman takes his long-standing M-Base band Five Elements ongoing study into patterns found in nature in an album of music reflecting the irrational rhythms found in healthy human heartbeat patterns.
Virelles, David
Continuum
(Pi Recordings)
Cuban-born pianist David Virelles in a collaborative effort with legendary drummer Andrew Cyrille, bassist Ben Street, and Cuban folkloric percussionist/poet Roman Diaz, inspired by various aspects of Afro-Cuban religious practices.
Way Out Northwest (John Butcher / Tortsen Mueller / Dylan van der Shyff)
The White Spot
(Relative Pitch)
The UK and Vancouver meet for a second release under the Way Out Northwest name - British saxophone master John Butcher with bassist Torsten Muller and drummer Dylan van der Schyff - recording for Sonarchy Radio.
Bisio, Michael / Matt Shipp Duo
Floating Ice
(Relative Pitch)
NY bassist Michael Bisio and pianist Matthew Shipp continue their collaborations from their trio work with Whit Dickey in this duo release recorded in the studio, beautiful and amazing telepathic communication.
Threadgill Zooid, Henry
Tomorrow Sunny / The Revelry, Spp
(Pi Recordings)
Henry Threadgill and his Zooid band follow up the 2 part "This Bring Us To" series with this exceptional album of NY jazz, abstracting the jazz idiom in persuasive and stunning ways through great writing and playing.



Customers Who Bought This Item Also Bought:
Zorn, John (Marsella / Roeder / Smith)
The Fourth Way
(Tzadik)
Inspired by the writings of Russian philosopher, mystic and composer Georges Gurdjieff (1866-1949), John Zorn composes for his piano trio of Brian Marsella (piano), Ches Smith (drums) and Jorge Roeder (bass), their 3rd album after Suite for Piano and their quartet work with guitarist Julian Lage on Incerto; technically sophisticated and melodically compelling music; exceptional.
Zorn, John (w/ Lage / Roeder / Wollesen)
New Masada Quartet, Volume Two
(Tzadik)
LOWER PRICE! Taking on another set of compositions from John Zorn's Masada Songbook, the New and electrified Masada quartet of Kenny Wollesen on drums, Julian Lage on guitar, Jorge Roeder on bass and Zorn himself on alto saxophone releases their second volume, seven melodically rich and intricate works that lead to incredible, often burning soloing and group interchange.
Sorey, Tyshawn Trio + 1 w/ Greg Osby
The Off-Off Broadway Guide to Synergism [3 CDs]
(Pi Recordings)
A 3-volume set from four night's performances at The Jazz Gallery in NYC by the Tyshawn Sorey trio of drummer Sorey, pianist Aaron Diehl and bassist Russell Hall, joined by alto saxophonist Greg Osby for sets of exceptionally sophisticated and passionate interpretations of jazz standards including work by Miles Davis, Billy Strayhorn, Cole Porter, Thelonious Monk, McCoy Tyner, &c.
Likhachev, Yaroslav Quartet
Occasional Sketches
(Clean Feed)
Performing the embracingly angular compositions of Russian-born, German-based saxophonist Yaroslav Likhachev that pivot on hard bop transformed through inventive approaches, since 2016 Likhachev's Quartet with Yannis Anft on piano, Conrad Noll on bass and Moritz Baranczyk on drums have pursued new forms of expression while maintaining jazz, traditions here in nine well-defined "sketches".
Pavone, Mario / Dialect Trio + 1
Blue Vertical
(Out Of Your Head Records)
Recorded in 2021, one of late New York bassist Mario Pavone's final studio albums sees the composer extending his Direct Trio of pianist Matt Mitchell and drummer Tyshawn Sorey with trumpeter Dave Ballou, a longtime collaborator who brings an additional level of lyrical excitement and sophistication to the group's work, in 9 substantial compositions and collective works.
Cherry, Don
Complete Communion & Symphony For Improvisers, Revisited
(ezz-thetics by Hat Hut Records Ltd)
Following a 1964 Albert Ayler tour, trumpeter Don Cherry remained in Europe, working on new concepts of improvising based on form itself, developing his concepts with saxophonist Gato Barbieri, vibraphonist Karl Berger & bassist J.F. Jenny Clark, composing two brilliant albums: 1966's Communion with Barbieri, Henry Grimes & Ed Blackwell; and in 1967 Symphony for Improvisers as a septet.



The Squid's Ear Magazine

The Squid's Ear Magazine

© 2002-, Squidco LLC