CADENCE COLUMN PAPATAMUS CD, Book, and Vinyl Reviews A collection of sometimes disparate material though generally relating to music recordings or performances. The second half of the 1960s was a prime time for new music/avant-garde jazz in New York City and for CHARLES LLOYD in particular. Lloyd had broken away from Chico Hamilton, started his own band and simultaneously become part of the Cannonball Adderley group. By the ‘70s Lloyd seemed to have lost the hard passion of the Avant-garde and moved to the more pastel sounds of the flower power west coast, where he toiled through most of the '70s. Charles Lloyd’s MANHATTAN STORIES [Resonance cd 2016], a 2-CD set, finds some prime Lloyd, in 1965 concerts from Judson Hall and Slugs, with Gábor Szabó [gtr], Ron Carter [b], and Pete La Roca [dms]. But not all is prime, what this does well is capture some of the discovery energy of the time, but also the lack of direction of the period. Best is the Judson Hall material, more focused and disciplined while the Slugs material does not stand up well to the more directly produced material of the period. Slugs was in the East Village of NYC, a near slum and home to many improvising musicians. Slugs had the informality of the original 5 Spot (on Bowery) but not the ambiance, in the air was the anticipation of violence. Like the 5 Spot it was a musical crucible which on some nights yielded greatness and at other times something of a lesser nature. None-the-less, as I remember it, somehow it was always exciting. And I’d wonder, of the many nights I’d leave—talking excitedly about what I just heard, how those performances would sound today, sans the atmosphere. As usual Resonance has done a beautiful job in presentation, including a 38-page booklet of notes and attractive packaging. The program references “Lady Gabor” at both venues plus “Sweet Georgia Bright” and “How Can I Tell You” from Judson, and “Slugs’ Blues” and "Dream Weaver" from Slugs. Inviting, but overall I’d give it an A+ for packaging but something less for performance. Trost records has issued the ALEX VON SCHLIPPENBACH [p] trio’s FIRST RECORDINGS [tr-132]. The trio in this case includes Evan Parker [ts/ss] and Paul Lovens [dms] and first recordings [April 2, 1972] refers to the trio, not the individual members, all of whom already had established reputations as players of instant composition/free form jazz. Two of the four tracks here, “With Forks And Hope” and “Then Silence” previously appeared on a limited edition FMP record box and I find it odd that FMP did not issue the trios strongest performance “Deals”. At 38 plus minutes—it is possibly it was purely due to length that it did not get issued here. Over the years these three have met numerous times and between them have been part of ground breaking groups and some of the finest recorded free jazz of the last half century. Here the pianist develops lines that are nothing short of screamingly terrific. Lovens lays down a barrage of sound that helps create a slash and burn pattern while Parker comes in with distortions and ripping reed work that nicely puts a bow on the proceedings. There are some quiet moments as well that serve to offset the intense times. But overall the trio seems a wound-up unit of intensity itching to get out of the gate. 50 years later most of North America is still trying to catch up with and understand the creative charge these three were a part of. This is some intense and joyful and insightful music! The packaging on ALL THE WAY [Unit 4352] by the MALTE SCHILLER [ts/flt/b-clt] Octet [Dan Weinstein, Lauren Franklin-Steinman, Liron Yarviv, Sol Kim-cellos/ Jan Rodt-gtr/Andreas Lang-b/ Reinhold Schmölzer-dms] is basic but the music is anything but basic. Six of the seven tracks are Schiller compositions (the seventh is by Tom Waits — a very melodic “The Briar And The Rose”). This recording has a very dynamic use of strings that can reach out and grab you as a vine looking to attach. This is Schiller’s second CD for Unit and perhaps it is his only second CD period. There is a genuine talent exhibited both in the writing and execution of the compositions. Schiller is very modest with his tenor sax work, which is very effective improvising counterpoint over and against the strings. I’ve had this as a default in my CD changer so when I claim this holds up very well on repeated listens, it does and better yet it grows in depth and pleasures. Unit (Swiss) is not an easy label to find but one assumes it is on iTunes so I’d heartily recommend you download this and give it 9 or 10 listens for deepened joy, although one listen is enough of a start for discovery. A fine free jazz blowout comes from WILLIAM HOOKER [dms] & LIUDAS MOCKUNAS [ss/as/ts] called LIVE AT VILNIUS FESTIVAL [NoBusiness Records nbcd 68]. There is a bit of everything here; some parallel playing, individual features, some excellent solo/duo developments and while I did find some of this work had meaningless moments, overall it’s a pleasant 50+ minutes of listening. In the last decade or so eastern Europe has emerged as a receptive outlet for improvised music with better known Americans mixing it up with lesser known elements. So while Hooker turns in one of his best efforts, he brings along Mockunas, who has recorded many times before (including numerous times on NoBusiness Records) but is largely unknown in the states. This kind of marriage has been going on for years with Americans and European and Scandinavian Artists as Jazz/creative improvised music truly becomes a world music. Also from NoBusiness comes TURNING POINT [nbcd 70] by DAVE BURRELL [p] with STEVE SWELL [tbn]. This is the third (of five) suite by Burrell that deals with the Civil War. This is a very formal and structured music [“One Nation”, “Battle Of Gettysburg”, “Church Picnic Celebration”, “Paradox Of Freedom”, “Disease Hits Contraband Camp”, “Fancy Trade Nightmare”, “Battle At Vicksburg”] with Swell taking both written and improvised rolls. Full program notes are offered in the 8-page booklet. Not so much a jazz issue as third stream, and worth a listen. Distinctive. Also somewhat formal is a duo concert [May 8, 2011] with BILLY BANG [vln] and WILLIAM PARKER [b] called MEDICINE BUDDAH [NoBusiness cd 71]. This is a rather subdued concert (of 5 originals by Parker or Bang) for what seems a very subdued audience. I’m mentioning the recording here because Billy Bang was a distinguished voice in improvised music and there is undoubtedly limited amount of unreleased material, making anything by Bang notable at this point. Also included is a very warm tribute to him by Parker in the liner notes. With the proliferation of labels and the relative ease of issue a fair amount of music which could not find a home, when recorded, is now getting issued. On one hand some excellent music now sees the light of day but also some music, usually because of name appeal, is issued which is not of high quality. With that in mind, I was skeptical when I encountered INNERCONNECTION [NoBusiness cd 72-73] by TED DANIEL’s ENERGY MODULE [Daniel-horns/Daniel Carter-ts/Oliver Lake-saxes & flt/Richard Pierce-b/Tatsuya Nakamura-dms] recorded November 8th, 1975. This is a 2-CD set [83:33] and a very good one as well. Basically a free quintet, Ed Hazell’s very fine liner notes inform, they only played 2 gigs in one week in the fall of 1975. Free jazz, no other pretensions, it is what it is, and what it is is some fine, fine, blowing with good momentum over 5 tracks [Jiblet/Innerconection/The Probe/Ghosts/Entering-Congenility-Pagan Spain]. A solid concert, after which, you exhale. XYQUARTET is a quartet of NICOLA FAZZINI [as], ALESSANDRO FEDRIGO [acc.b-grt], SAVERIO TASCA [vbs] and LUCA COLUSSI [dms] and have issued XY [cdr 05 nusica.org] who’s basic packaging houses music which for me held many delights.The eight originals, by Fazzini and Fedrigo are very structured, offering a variety of composed terraced platforms from which the players construct their statements. Fazzini has a sour toned alto, Tasca’s vibes offer heavy use of vibrato and single note hits which is very effective in moving the music up and forward over which Fazzini fashions exciting statements. Colussi often uses rock patterns while Fedrigo keeps a tempo or shadows a soloist. It is hard to tell where composition ends and improvisation begins, the transitions are natural and seamless, but make no mistake this is (free bop) jazz and damned good. XYQUARTET had an earlier [March 2, 2012] release, IDEA F [03 nusica.org], this issued also as a CDR and with the same minimalist packaging. Again the program is eight originals, but the construction of the music is not as distinctive or perhaps as firmly constructed as XY. In addition, Fazzini’s (listed as leader on this release) tone is sweeter and at times sounds a bit like a clarinet. Overall Idea F offers a less distinct group sound which may indicate XYQuartet is not only sticking it out but zeroing in on it’s distinct sound. These two recordings cover 2012 and 2013. 2014?, stay tuned.