Tuesday, September 28, 2010
Admittedly, this is my only exposure to Scianni. But, Izenzon's volatile bass playing is what makes this session pop and the reason why I grabbed this disc in the first place. He brings unorthodox harmonic stuff here just as in Jaki Byard's Sunshine of My Soul, turning open-but-conventional piano playing into something unique. Still leaves me wishing Elvin was tooling out some poly rhythms in the mix.....but there's plenty here to enjoy.
Joseph Scianni p
David Izenzon b
March 18, 1965 Savoy MG 12185
@ 320. wax dRIP:
Tuesday, September 21, 2010
Recorded previous to the Paysages date on April 5, 1971, the music on this disc has haunting and beautiful melodies plus incredibly rich and varied textures largely attributed to the two percussionists. Released and almost exclusively available in Japan....it's definitely time US folks had better access. Draw to it. Walk to it. Build stuff to it.......whatever. Enjoy it.
Gary Peacock b
Masabumi Kikuchi p, ep
Masahiko Togashi d
Hiroshi Murakami d
Tuesday, September 14, 2010
It seems that Bitches Brew was the inspiration for Paysages with that familiar Rhodes induced electro-acoustic sound. The way the drums lightly tiptoe into "Space is Not a Place" even reminds me of the intro to "Pharaoh's Dance". But the five sensibilities at work here make this album (and the other two from the session) seem like worlds away. Good stuff.
Sadao Watanabe Alto Sax, Flute and Sopranino Sax
Masabumi Kikuchi Acoustic and Electric piano
Gary Peacock Bass
Masahiko Togashi Drums
Hiroshi Murakami Drums
Recorded June 22, 1971
Ripped at 320.
Tuesday, September 7, 2010
Monday, September 6, 2010
"About the time we decided to put our trio performance from Pisa out on record ("Detto Fra Di Noi"), Alex had arranged with FMP headmaster Jost Gebers the concert dates for a live quartet record. We played on two nights altogether five pieces. When during the following summer all of us toured with the Globe Unity Orchestra, we took along on cassette a rough-mix of the material. After listening to it individually on the bandbus, we heard the whole lot together in the listening room of Alan's school in Paris. There turned out to be more good stuff than we needed for one LP, so we left it at that, waiting to speak with Jost for a final decision. He had meanwhile been checking the original tapes again and found enough technical faults (off-mike recording and mike drop-outs) to make him reject those masters. New dates were arranged tot he same year, concerts were played and recorded, and from this new material the quartet's "Anticlockwise" album was produced. For this we all went to Berlin for the definite mix, and as we still thought highly of the music of the original date, we asked for the old mastertapes to be given to us; but having been discarded as unusable, they had been erased! I kept the rough-mix cassettes and after listening to them again and again, I knew: the music had to be on a Po Torch record. What I chose is the first long piece from the first night (A + B) and the two short sets of the second (C and D). Masters were made from the cassettes using a bit of equalization, faults remained uncorrected. By and by, ideas for the sleeve took shape, the name came, the titles of the pieces--taken from Robert Graves' translation of Solomon's poem...
It has taken a long time; so now: listen! to hear these excerpts from the Song of Songs."
Alexander von Schlippenbach, piano
Evan Parker, soprano and tenor saxophone
Alan Silva, doublebass
Paul Lovens selected drums and cymbals, Singende Sage, zither
Played live on November 6th and 8th 1981 at the Quartier Latin, Berlin
Front painting by Herbert Bardenheuer
Inside painting by Astrid Bardenheuer
1991 Po Torch records
Ripped at 320: