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Seit den späten 60ern macht Joe McPhee tolle Musik, hat mit Clifford Thornton gespielt, dann auf dem Label des Malers Craig Johnson, CJR, seine ersten eigenen Aufnahmen veröffentlicht. Bereits das Debut, Underground Railroad (1969), war ein grossartiges künstlerisches Statement, Musik von enormer Dringlichkeit und grosser Emotionalität.
Im Jahr darauf entstand das zweite CJR-Album, Nation Time (1970, rel. 1971), das ich bisher leider noch nicht kenne. Das dritte, Trinity (1971), entstand im Trio – Bassist Tyrone Crabb hatte die Gruppe verlassen und McPhees Versuche, einen Ersatz zu finden, fruchteten nichts. Diese Trio-Scheibe war eine der ersten McPhee-Aufnahmen, die ich kennenlernte und gehört noch immer zu meinen allerliebsten.
Alle drei CJR-Alben sind von Atavistic in der „Unheard Music Series“ auf CD wiederaufgelegt worden, das erste wurde dabei um einen fast eineinhalbstündigen Live-Mitschnitt von 1968 erweitert, der die Gruppe in einem frühen Stadium zeigt und noch viel weniger dicht und konzentriert ist als die wenig später entstandenen Aufnahmen. Da Highlight ist „Birmingham Sunday“, eine über 25 Minuten lange Suite, die auf den Bombenanschlag von 1963 Bezug nimmt, bei dem vier afro-amerikanische Kinder ums Leben kamen (mehr dazu hier).
1974 lernte Werner Uehlinger aus Basel zufällig auf einer Geschäftsreise in die USA die Musik von Joe McPhee kennen und erfuhr auch von unveröffentlichten Aufnahmen. Er gründete sein Label Hat Hut ursprünglich in der Absicht, McPhee zu dokumentieren und begann nebenberuflich mit der Herausgabe von Schallplatten. Die erste LP, die als HatHUT A erschien, war Black Magic Man (rec. 1970), als HatHUT B erschien zudem 1975 auch McPhees The Willisau Concert, das ihn im Trio mit John Snyders Synthesizern und Makaya Ntshoko am Schlagzeug präsentierte. Snyder war mit Trompeter Marc Levin auch auf HatHUT D zu hören, Rotation. Schon 1976 erschien als HatHUT C auch die erste Solo-Aufnahme von McPhee, Tenor (die für die CD-Aufnahme um das Viertelstündige „Fallen Angels“ von 1977 erweitert wurde).
McPhee und Uehlinger veröffentlichten später weitere Archiv-Aufnahmen, darunter die 1971 entstandene Live-Aufnahme von WBAI’s Free Music Store, N.Y. N.Y., October 30, 1971 mit Clifford Thornton als Gast.
Ich möchte nicht allzu viele Worte über McPhees Werdegang und Diskographie verlieren, da er eine informative Website (LINK) unterhält, auf der dazu mehr zu finden ist. Es wird dort ersichtlich, dass Hat Records in der Folge noch einige weitere McPhee-Alben veröffentlicht hat – in einer idealen Welt wären die alle greifbar… einige konnte ich mal hören, ist aber lange her, leider beschränkt sich meine Sammlung auf die hatOLOGY Reissues, die längst nicht alle Hat LPs von McPhee umfassen (und „As Serious As Your Life“ habe ich noch immer nicht, scheint aber bald neu aufgelegt zu werden).
2005 habe ich mit einem Kollegen eine Radio-Sendung aus Anlass des 30. Geburtstags von Hat Hut gemacht, die hier (in allerdings schlechter Qualität und nur mit RealPlayer) nachgehört werden kann:
http://www.lora.ch > Sendungen > Sonus: Musik im Gespräch > 20.11.2005
Das ist alles in Mundart, die Anmoderation hat mein Kollege allein gemacht, das Interview hatten wir (auf Uehlingers Wunsch) leider in einem nicht sehr ruhigen Restaurant geführt. Egal, das gehört eher in den Hat-Thread, aber am Beginn des Gesprächs erzählt Uehlinger, wie 1974 zum ersten Mal für die Sandoz in die USA reisen musste und die Gelegenheit nutzte, einige Musiker zu treffen, darunter zweimal Joe McPhee, mit dem er schon drei Jahre in Briefkontakt gestanden hatte. McPhee hat ihm bei sich zuhause unveröffentlichte Bänder vogespielt – und nach der Rückkehr nach Basel fasste Uehlinger der verrückten Beschluss, eine Platte zu veröffentlichten (Auflage: 1000 Stück, 500 in den USA, 500 in der Schweiz). Erst ab 1988 widmete Uehlinger sich ganz seinem Label und gab seinen Job bei der Sandoz auf.Ich kenne von McPhee leider noch nicht sehr viel, bin aber immer wieder fasziniert von seiner Musik und seinem Spiel, auch neulich, als ich ihn in Zürich mit dem Peter Brötzmann Tentet + 1 gehört habe.
Es gibt hier einen noch nicht sehr weit gediehenen Sterne-Thread (LINK) und McPhee taucht in diversen Besten-Listen auf, sonst ist aber kaum was über ihn zu erfahren im Forum und ich würde mich daher um ein paar Beiträge freuen!
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"Don't play what the public want. You play what you want and let the public pick up on what you doin' -- even if it take them fifteen, twenty years." (Thelonious Monk) | Meine Sendungen auf Radio StoneFM: gypsy goes jazz, #158 – Piano Jazz 2024 (Teil 1) - 19.12.2024 – 20:00; #159: Martial Solal (1927–2024) – 21.1., 22:00; #160: 11.2., 22:00 | Slow Drive to South Africa, #8: tba | No Problem Saloon, #30: tbaHighlights von Rolling-Stone.deDiese 24 Songs retten jedes Weihnachten
Lemmy Kilmister: Die letzten Tage im Leben des Motörhead-Sängers
Die schönsten Bilder aus „Nightmare Before Christmas“
Zum 60. Geburtstag von Eddie Vedder: Sänger für die Verlorenen
Christmas-Playlist: 10 großartige Songs zu Weihnachten
Oh, du Hässliche! Die 25 schrecklichsten Weihnachtsalben-Cover
WerbungEin paar Links:
AAJ Interview (von Michael Anton Parker, zuerst 2002 veröffentlicht)
AAJ Fireside Chat (von Fred Jung, 2003)
mehr auf AAJ: http://www.allaboutjazz.com/php/musician.php?id=9298The African American GI Experience (AACVR, 10. April 2007)
Das WNUR Interview (19. Februar 1996, von John Corbett) scheint leider nicht zu funktionieren.
Hier noch das Titelstück von „Black Magic Man“: http://www.youtube.com/watch?v=GwCjxxcecNU
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"Don't play what the public want. You play what you want and let the public pick up on what you doin' -- even if it take them fifteen, twenty years." (Thelonious Monk) | Meine Sendungen auf Radio StoneFM: gypsy goes jazz, #158 – Piano Jazz 2024 (Teil 1) - 19.12.2024 – 20:00; #159: Martial Solal (1927–2024) – 21.1., 22:00; #160: 11.2., 22:00 | Slow Drive to South Africa, #8: tba | No Problem Saloon, #30: tbaEr spielt häufig in Europa. Wegen Gigs schaue ich öfters mal auf seiner homepage.
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Am 17. April in Zürich mit dem Peter Brötzmann Tentet + 1
Die anderen auf den Fotos sind: Kent Kessler (b), Michael Zerang (d), Mats Gustafsson (bari)--
"Don't play what the public want. You play what you want and let the public pick up on what you doin' -- even if it take them fifteen, twenty years." (Thelonious Monk) | Meine Sendungen auf Radio StoneFM: gypsy goes jazz, #158 – Piano Jazz 2024 (Teil 1) - 19.12.2024 – 20:00; #159: Martial Solal (1927–2024) – 21.1., 22:00; #160: 11.2., 22:00 | Slow Drive to South Africa, #8: tba | No Problem Saloon, #30: tba
„I’ve always intentionally kept a low profile. I think the music goes where it has to go anyway, so I’m not going to run around in circles and scream. In America, everybody’s looking for the latest revelation on the scene : who’ll be the new Bird ? Who’s going to replace Trane ? As for me, anyway, I’m not new.“
~ Joe McPhee, aus Down Beat (Nr. unbekannt, zit. nach: Hervé Quenson, Liner Notes zu „Daunik Lazro & Joe McPhee: élan. impulse.“, in situ 590037 [CD], 1991)
END AT THE BEGINNING – BEGINNING AT THE END
PO MUSIC HAS NO CANVAS OR MODEL OR PALLET
NO PENCIL PAPER OR STORY
NO KNOWLEDGE MEMORY OR WISDOMPO MUSIC LISTENS TO SILENCE
EXPANDING IN UNISON
CONTRACTING IN COLORSPO MUSIC HAS HARMONY IN THE MUSICIANS
TASTES GOOD
AND FLOATS UPSIDE DOWN IN AFTER-GLOWPO MUSIC HAS INSTRUMENTALITY
AND USES IT
LEADING AND FOLLOWING AT THE SAME TIME~ Joe McPhee, 1981
(aus den Liner Notes zu: Joe McPhee Po Music – Linear B, hat ART CD 6057, 1991)
(photo: Ken Brunton, von hat ART CD 6047)LOOPS-CYCLES-CIRCLES
The word PO, as used in PO MUSIC, comes from Dr. Edward de Bono’s concept of LATERAL THINKING. Derived from words like possible, positive, poetry and hypothesis, PO is a language indicator to show that the process of provocation is being used to move from a fixed set of ideas in an attempt to discover new ones.
PO MUSIC represents ideas as provocation rather than as accurate description of what things are; a positive, possible, poetic hypothesis.~ Joe McPhee, April 29, 1983
The decade 1981 – 1991 marked the most productive and satisfying period in my music career . Yet mysteriously it remains the least documented in terms of recordings. The Cycle began with the recording of TOPOLOGY March 24, 1981 and ended with a multi-media performance of a work entitled HAZEL’S DINER on March 23, 1991. Many performances were given in each of the inclusive years, but to this date only three recordings, exclusively on hat Hut Records, document this period: TOPOLOGY (1981), OLEO (1982), and MYSTERIES/LINEAR B (1990).
Beginning at the beginning is to introduce two important musicians who have most directly influenced my work since our meeting in 1979, saxophonist André Jaume and guitarist Raymond Boni. The ocassion was the Paris session OLD EYES. From that moment a bond of friendship support and collaboration was formed which has shaped the entire body of my work to this day. Although not literally in the PO MUSIC series the roots of the concept can be traced to OLD EYES and is reflected in the final 1990 Zurich sessions which produced MYSTERIES/LINEAR B. Coincidentally OLD EYES, TOPOLOGY, and MYSTERIES/LINEAR B are further linked by the fact that all are studio dates, all feature large ensembles, and all include the rare use of percussionists (Mile Fine, Pierre Favre, Fritz Hauser). Each also includes the trio Boni-Jaume-McPhee at the core of its unifying structure. The trio continues today as a separate entity building on the strength of our relationship.
Beginning at the end, many important personal lessons were learned from the various experiences associated with the PO MUSIC loop/cycle. PO is after all only a language indicator, and the use of provocation to discover new ideas has always been the point. Also, it was always my intention that one day the concept would be clear enough that the word MUSIC in association with my work would make language indicators unnecessary.
~ Joe McPhee, Pooughkeepsie, NY, July 6, 1991Beide obigen Zitate aus den Liner Notes zu: Joe McPhee Po Music – Linear B, hat ART CD 6057, 1991 – die meisten Schreibfehler, „ocassion“ und das fehlende Komma zwischen „friendship support“ zumal, stehen so in den Notes. Die selben Notes sind auch in hat ART CD 6047 zu finden, „Old Eyes & Mysteries“, 1991
Die „Old Eyes“ Sessions im Mai 1979 in Paris wurden übrigens von Jef Gilson aufgenommen. Das grosse Highlight für mich ist „Django“, das mit Abstand längste Stück. „Old Eyes“ selber (das zweitlängste und neben „Strings“ das dritte, das länger als drei bis vier Minuten dauert) ist übrigens Ornette Coleman gewidmet, „with much respect and gratitude. The title comes from a term I once heard a psychic use to describe someone who carried the look of ages of past tradition in his eyes.“ (McPhee, Liner Notes zu hat ART 6057 bzw. hat ART 6047).
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"Don't play what the public want. You play what you want and let the public pick up on what you doin' -- even if it take them fifteen, twenty years." (Thelonious Monk) | Meine Sendungen auf Radio StoneFM: gypsy goes jazz, #158 – Piano Jazz 2024 (Teil 1) - 19.12.2024 – 20:00; #159: Martial Solal (1927–2024) – 21.1., 22:00; #160: 11.2., 22:00 | Slow Drive to South Africa, #8: tba | No Problem Saloon, #30: tba
Paul Plimley, Joe McPhee, Lisle Ellis
(photo: Joël Gélys, aus hat ART CD 6162, 1995)Fifty years after the end of World War II, neo-nazi skindheads kill gypsies in Austria, terrorist poison thousands with nerve gas in the Tokyo subway system, and a black family finds a burning cross on their lawn in a community near where I live in New York State. These are but a few isolated examples to be sure, but they represent symptoms of a problem. Perhaps the concept of freedom itself is the problem. Perhaps its too vague, too ill defined. Perhaps it needs qualification; freedom from what, for what, for whom? Once qualified, questions of rights, responsibilities, dicipline and control arise. Perhaps freedom has to be viewed with a kind of peripheral vision in order not to be seen at all, like an optical illusion or love. Just when you think you have it firmly in focus it jumps, changes and becomes something else entirely.
SWEET FREEDOM – NOW WHAT? (The answer is the question!) Each answer invites a new question, and when the questions stop, we are in big trouble! The challenges and the dangers are considerable once freedom has been acheived, but failure to question and challenge invites disaster. Clearly any consideration of the subject of freedom can not be so narrowly limited to race or gender or even music. Freedom, whatever it is, like Max Roach’s timeless protest, is an on-going process, a work-in-progress which demands constant engagement!~ Joe McPhee, March 31, 1995, Poughkeepsie, NY, Liner Notes zu „Sweet Freedom – Now What?“, hat ART CD 6162, 1995 – die beiden schreibfehler sind wieder nicht meine.
Zum Vorfall mit dem brennenden Kreuz hat sich Judith Butler ausführlich geäussert in „Excitable Speech, A Politics of the Performative“ (NY 1997, deutsch in der edition suhrkamp 2006 unter dem irreführenden Titel „Hass spricht“).
When they began For Bill Dixon II in a second set, McPhee proposed that he start solo on fluegelhorn, and from the first he managed to evoke that haunting „music without notes“ for which Dixon is known, moving over the full range of the horn, from a whisper to a scream.
~ John F. Szwed, Liner Notes zu „The October Revolution“, Evidence ECD 22166-2, 1996
Die folgenden Passagen stammen aus der „Invisible Jukebox“, The Wire #294, August 2008, p. 20-23 – Dan Warburton hat für McPhee Musik aufgelegt und sich mit ihm unterhalten.
[MINGUS, „A Foggy Day“ von Pithecantropus Erectus]: [Instantly] That’s Charles Mingus. Pithecantropus Erectus. That’s the one that took me away… took me to another planet. It was like nothing I’d ever experienced before. „A Foggy Day“ keeps popping up, but with all these things happening around it. I was like, you can do that? […]
[ORNETTE, „Bird Food“ von Change of the Century] […] In 1963 I was in the army, and I had a Saturday off, but I didn’t have enough time to go home so I went to Birdland, and there I saw Don Cherry playing in the quartet with Sonny Rollins. When I heard the sound of the pocket trumpet I said, that’s it. Next year I bought a pocket trumpet in Germany.
[…]
I was so enamoured with Ornette that I made a watercolour portrait of him which I hung in my locker in the army in Würzburg, Germany. That got me into some trouble, with guys asking why I had a picture of Ornette Coleman there instead of a naked woman! [Laughs] […][SUNNY MURRAY, „Black Art“ von Sonny’s Time Now] […] [Stopped by Ayler’s saxophone] That’s the sound that made me want to play tenor. I borrowed one from a friend in 1968 and the next day I took it to a club. I had no idea how to play it, and the guys I’d been playing trumpet with let me sit in, but when they heard what I was doing they pulled me aside and said, please don’t come back with that! [Laughs] I was schooled on the trumpet, but no on saxophone. But every Sunday there was a jam session, and I’d go there in mechanic’s overalls, with a white shirt, a big bowtie and big round sunglasses, and when they heard what I was doing they said, oh my God!
[…]
[WARBURTON: We’ve just celebrated the 40th anniversary of May 1968. What are your thoughts on that whole revolutionary period, 40 years on?]
I thought it was essential, and now I think it’s really sad that the world is in such extraordinarily bad shape and I don’t see anything like the same thing from students today. […][CLIFFORD THORNTON, „Huey Is Free“, von The Panther and the Lash] […] I first met Clifford in 1963 when I was in the army. I didn’t want to play trumpet, I wanted to learn about computers and get into electronics. They said you’re qualified for this, but there’s no room in the school for you, but have a place open for a trumpet player. I said, oh no. They said, in that case you’ll be in the infantry marching band behind a tank. I said I’ll play trumpet! [Laughs] So I went to band training, which was very intensive, learning harmony and theory, playing every day, and it was the best decision I ever made. In 1964 I was transferred to Germany, but Clifford said, don’t worry Joe, no matter where you go I’m going to be there too. And he showed up in Würzburg. Clifford was the first person who showed me a piece of written music: Miles Davis’s „Four“.
You hear that valve trombone? I was with him when he bought it, in Würzburg. I bought my pocket cornet the same day. It’s a very special trombone, compact size. Then in 1971 we had a concert at WBAI in New York, the one that’s released on HatHut, and I invited Clifford, who was teaching at Wesleyan at the time. But he came with a baritone horn. I said, ‚Where’s the trombone?‘ He said somebody stole it out of his car. Well, in 1979 I was in New York and went into a music shop for used instruments and I said, I want to find a valve trombone, and the guy’s wiping the counter very nonchalantly and said, well I got this German model. I saw the nickel plated bell, I thought, that looks familiar. The case was upstairs. I gave my friend Craig Johnson some money and said, ‚If the case is maroon with grey around I want to take it, because it’s Clifford’s horn.‘ I looked at the bell and it said Würzburg. I was the only person other than Clifford who could identify that horn. So I took it. Clifford was living in Geneva at the time. I called him and said, ‚Does the number 872 mean anything to you?‘ He said, ‚No why should it?‘ I said, ‚Because that’s the number that was on your trombone.‘ He said, ‚How do you know?‘ I said, ‚Because I’m holding it!‘ [Laughs] I’ve been playing that trombone ever since.[JEAN-FRANCOIS PAUVROS & GABY BIZIEN, „No Man’s Land“, von No Man’s Land] […] In 1975 I had a tour with a synthesizer player, John Snyder. We were travelling with an ARP 2600, which nobody ever did, playing Ornette Coleman tunes in the Alps. We came back to Paris and a friend of mine arranged a concert at the American Center. We played Albert Ayler’s „The Truth Is Marching In“ and I had this hooded costume on with the sax sticking out of my mouth, and they had rags hung over the wall and I stepped out from behind them and began to play. [Guitarist] Raymond Boni was in the audience, and he told me later he knew at that moment I was the person he wanted to play with for the rest of his life! That’s how it started.
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[PAULINE OLIVEROS, „Bog Road“, von No Mo] […] That’s about when I started working with John Snyder. I met him in 1972, but we didn’t record until 1974. What I liked about John was that he wasn’t a keyboard player, he was a sound sculptor. He was a German teacher, not a musician. He couldn’t play a melody if he wanted to. Well eventually he did, when we played something called „Voices“ at Radio France, but because the synthesizer was analogue, every time the voltage changed, the pitch changed. So we had these strange parallel harmonies. […]
Po Music was something I got from reading Dr Edward de Bono’s Lateral Thinking, how you can use a fixed set of ideas as a starting point to move to something else, something you didn’t set out to discover in the first place. Like you’re driving north and you come to a hole in the road. Yo know you’re heading north but for some time you have to go south. And you discover something else along the way. That’s what the Po concept was all about. That’s the way I tried to present it to musicians. All those theories are fine if you make good music from them. If not you can just throw them in the basked. It’s the end result that’s important.[MORTON FELDMAN, „Patterns in a Chromatic Field“, von Patterns in a Chromatic Field, HatHut] […]
[WARBURTON: The story goes that Werner Uehlinger started HatHut just to release your music.]
Craig Johnson and I had released four recordings, and Uehlinger at that time was a collector. He worked for Sandoz Pharmaceuticals and they had offices in New Jersey. He was over on business and wanted to meet Craig and me. So we had dinner together and he asked if we had anything else. I told him there was more recorded at the Nation Time session but we didn’t have the money to put it out. He heard it, and said maybe I could do something with it. He drove home that night and got so caught up in the music he got lost! He called up next morning and said he wanted it.
Black Magic Man is from the same concert. He put that out, and then several solo recordigns. Then he said, we can’t have a label with just one person on it. So in 1977 there was a solo recording of Steve Lacy live in Basel. I was on that same programme. I played solo before him. He said to me before the gig, ‚Would you like to play together?‘ At the time I was blowing my brains out all the time, full force, all like that. And when I heard Steve play I thought, oh God, what have I gotten myself into? What instrument am I going to play? I had my trumpet, my tenor and my soprano. I chose soprano. What a stupid thing to do – he’s the soprano genius! What am I doing playing soprano with Steve Lacy? It was recorded, but I didn’t listen to it at all for 30 years. I finally played it again when Steve died. And, you know, I didn’t embarass myself that badly.
[WARBURTON: You were vice president of HatHut, weren’t you?]
Yeah, from 1981 until 85. Then it got to be too much. You know, all these musicians who wanted something out on the label and thought I could be some kind of influence. But Mr. Uehlinger was the President and he chose everything. It was like, I like your ideas but I’ll do what I want. It was time for me to leave.[…]
[KEN VANDERMARK, „Goodbye Tom B“, von Free Jazz Classics 1 & 2] It’s my piece. Is it André Jaume? No, it’s Ken Vandermark. „Goodbye Tom B“. He’s playing it like me! I heard him play this piece in 1994 with his group. [Listens] He really got me. Ken called me up and that call started a whole bunch of things in Chicago. It led to the Brötzmann Tentet. I’d never played with Peter before. We’d played on the same programme in 1977, but I was playing solo and Peter was playing with Han Bennink. We never played together until the Tentet.
[WARBURTON: The Chicago connection is still important for you.]
Oh yeah, there’s a trio with Michael Zerang and Fred Lonberg-Holm called Survival Unit III which is really good. There’s one recording out on an Italian label [Don’t Postpone Joy!, Rai Trade 2007], and we’re working on another one.[…]
Lacys Hälfte des 1977er Solo-Konzertes ist auf Hat unter dem Titel „Clinkers“ erschienen, es war damals die sechste LP, die das Label herausbrachte. Die jüngste Ausgabe war hatOLOGY 546 von 2000 und ist vergriffen.
Eine weitere CD der Survival Unit III scheint bisher nicht erschienen zu sein, es sind aber auf dem Brötzmann 5CD-Set „3 Nights in Oslo“ (Smalltown Superjazz STSJ197, 2010) mehrere „bands within the band“ zu hören, darunter auch die Survival Unit III. McPhee ist zudem im Duo mit Ken Vandermark und als Teil des Trombone Choirs (mit Jeb Bishop, Johannes Bauer und Per-Ake Holmlander) zu hören, weitere kleine Formationen auf den CD2-4 sind Sonore (Mats Gustafsson, Brötzmann und Vandermark), Zerang im Duo mit Paal Nilssen-Love, Bauer im Duo mit Holmlander sowie Bishop im Duo mit Nilssen-Love. Auf CD1 und CD5 ist das Tentet+1 zu hören.--
"Don't play what the public want. You play what you want and let the public pick up on what you doin' -- even if it take them fifteen, twenty years." (Thelonious Monk) | Meine Sendungen auf Radio StoneFM: gypsy goes jazz, #158 – Piano Jazz 2024 (Teil 1) - 19.12.2024 – 20:00; #159: Martial Solal (1927–2024) – 21.1., 22:00; #160: 11.2., 22:00 | Slow Drive to South Africa, #8: tba | No Problem Saloon, #30: tbaDie 3 Nights In Oslo-Box ist sehr zu empfehlen, kostet auch vergleichsweise wenig.
Mein Lieblings-Album von McPhee ist Oleo, aber ich kenne insgesamt nur drei.
Danke für die Mühe, gypsy.
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Ohne Musik ist alles Leben ein Irrtum.„Oleo“ gefällt mir von den Po Music Alben bisher auch am besten, aber „Trinity“ bleibt wohl mein liebstes und auch das Debut ist grossartig (der Bonus auf der Doppel-CD fällt aber etwas ab). Etwas enttäuschend fand ich soeben beim Wiederhören die CD mit The Thing (milde gestimmte ***1/2). Sterne folgen, wenn ich mit den verbleibenden CDs durch bin dann im Sterne-Thread (LINK).
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"Don't play what the public want. You play what you want and let the public pick up on what you doin' -- even if it take them fifteen, twenty years." (Thelonious Monk) | Meine Sendungen auf Radio StoneFM: gypsy goes jazz, #158 – Piano Jazz 2024 (Teil 1) - 19.12.2024 – 20:00; #159: Martial Solal (1927–2024) – 21.1., 22:00; #160: 11.2., 22:00 | Slow Drive to South Africa, #8: tba | No Problem Saloon, #30: tbaCJR-Katalog:
HatHut-Katalog:
Hab vorhin grad die Hat A, „Black Magic Man“, gehört, auf der weitere Aufnahmen vom Vassar College Konzert zu hören sind (der erste Teil erschien als „Nation Time“, die muss ich bei nächster Gelegenheit bestellen). Ist etwas weniger mein Fall, McPhee ist hier im Kaputtspielmodus, den er im Wire-Gespräch im Zusammenhang mit dem Lacy-Konzert erwähnt.
Auf McPhees Website herrscht da etwas Verwirrung: der Line-Up ist unter „Nation Time“ korrekt, aber die ist unter 1979 gelistet (die Aufnahmen stammen aber von 1970). Die zusätzlichen Musiker vom funky Track von „Nation Time“ tauchen auf der „Black Magic Man“ nicht auf.
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"Don't play what the public want. You play what you want and let the public pick up on what you doin' -- even if it take them fifteen, twenty years." (Thelonious Monk) | Meine Sendungen auf Radio StoneFM: gypsy goes jazz, #158 – Piano Jazz 2024 (Teil 1) - 19.12.2024 – 20:00; #159: Martial Solal (1927–2024) – 21.1., 22:00; #160: 11.2., 22:00 | Slow Drive to South Africa, #8: tba | No Problem Saloon, #30: tbaClifford Thorntons Ventilposaune kann man auf „Impressions of Jimmy Giuffre“ (CELP 1991) hören. Hier die kurze Besprechung aus Gramophone:
Joe McPhee Trio. Impressions Of Jimmy Giuffre.
CELP CD (fl CELPC2I (44 minutes: DDD).
In a month of somewhat unexpected releases the black multi-instrumental McPhee, generally associated with things avant-garde, celebrates the white clarinettist/composer Giuffre, best known for his Train And The River (forever associated with the film Jazz On A Summer’s Day). It has been belatedly recognized that Giuffre had an indirect input to the more twee end of esoteric European jazz but one mustn’t hold that against McPhee. The leader, who has recently added valve-trombone to his arsenal, works well with French reedman André Jaume and guitarist Raymond Boni, and has produced an intelligent album which may earn him more listeners than hitherto. B. P.--
"Don't play what the public want. You play what you want and let the public pick up on what you doin' -- even if it take them fifteen, twenty years." (Thelonious Monk) | Meine Sendungen auf Radio StoneFM: gypsy goes jazz, #158 – Piano Jazz 2024 (Teil 1) - 19.12.2024 – 20:00; #159: Martial Solal (1927–2024) – 21.1., 22:00; #160: 11.2., 22:00 | Slow Drive to South Africa, #8: tba | No Problem Saloon, #30: tba[IMG]http://www.clubw71.de/jpg/survivalunit3/SUT_S%20(39).jpg
Fotos vom Konzert der Survival Unit III am 24. Februar 2007 im W 71 in Weikersheim (DE) – aufs Bild klicken!
Und HIER der Bericht übers Konzert.--
"Don't play what the public want. You play what you want and let the public pick up on what you doin' -- even if it take them fifteen, twenty years." (Thelonious Monk) | Meine Sendungen auf Radio StoneFM: gypsy goes jazz, #158 – Piano Jazz 2024 (Teil 1) - 19.12.2024 – 20:00; #159: Martial Solal (1927–2024) – 21.1., 22:00; #160: 11.2., 22:00 | Slow Drive to South Africa, #8: tba | No Problem Saloon, #30: tba
Holy Holy! Corbett vs Dempsey bring am 1. November ein 4CD-Set heraus, das die ganzen „Nation Time“-Aufnahmen dokumentiert!
_______________________Joe McPhee’s Nation Time box set
October 19, 2013CHICAGO—On sale November 1st, Corbett vs. Dempsey presents a 4-disc, box set edition of Joe McPhee’s Nation Time. A seminal spiritual-free-funk record, complete with all the recordings made during the 2-day 1970 session and two concerts from 1969. The 60-page book features period photos and definitive new interview with McPhee.
In 1970, multi-instrumentalist Joe McPhee waxed one of the landmark free-funk records: Nation Time. Recorded in concert at Vassar College and originally released on McPhee’s own CjR label, Nation Time culled elements of post-Coltrane spiritual jazz, greasy organ funk, and expressive r&b into a previously unknown brand of Poughkeepsie stew. When the LP was finally reissued on CD a dozen years ago, it became an instant hit, drawing fans from the British soul scene and denizens of free jazz alike, introducing a new generation to Mr. McPhee’s powerful statement, still brimming with sweat and humanity thirty years after its birth.
After working on it for five years, Corbett vs. Dempsey is proud to release Nation Time: The Complete Recordings, a deluxe 4-disc box set featuring all the music leading up to and around the seminal LP. With 17 tracks previously unreleased on CD, most of which have never been issued at all, the set provides an expansive picture of the vibrant up-state NY free jazz/new thing scene, centered as it was on Joe McPhee. Lavishly packaged, with a booklet containing an extensive conversation between John Corbett and Joe McPhee and many previously unpublished photographs, Nation Time: The Complete Recordings also helps contextualize the original LP, exploring the special milieu in which tracks like “Shaky Jake” and “Scorpio’s Dance” took shape.Along with the LP, complete and remastered, Nation Time: The Complete Recordings presents additional tracks recorded during the original 2-day performances in December, 1970, including a version of James Brown’s “Cold Sweat,” as well as the full LP Black Magic Man, which was released on vinyl as the very first issue of the fledgeling Hat Hut record label in 1975, but has never been reissued on CD. Two fascinating concert recordings from 1969 are released here for the first time, one featuring McPhee on trumpet playing jazz standards including “My Funny Valentine,” “Milestones,” and “Bag’s Groove,” and the other, recorded at a local bar called the Paddock, including the first incarnation of what would become the track “Nation Time.”
This box set cuts direct to the heart of 1970s jazz-funk expression, with all the passion, intrigue, and tenderness the world has come to expect from Joe McPhee. Here it is in all its germinal, previously unheard glory. What time is it? You know what time it is. Once again, it’s Nation Time!
Each box contains:
* Nation Time, the original LP, complete as issued and remastered
* Black Magic Man, the original LP, complete with two alternate takes of “Song for Lauren”
* The Vassar Sessions, 1970, six unreleased tracks from the Nation Time recording sessions
* Nation Time Preview, 1969, two concert recordings in the run-up to Nation Time
* 60-page liner booklet, full-color, stocked with never-published vintage photos
* Definitive Nation Time interview with Joe McPhee by John Corbett
* Hardshell case, separate cardboard sleeves for all 4 discs
* Luxurious design by Sonnenzimmer_______________________
http://www.corbettvsdempsey.com/2013/10/19/joe-mcphees-nation-time-box-set/
Poster: Nick & Nadine, sonnenzimmer.comWare huge Joe McPhee fans. His music, his presence – both are so powerful and soulful. He always manages to establish a direct connection with the listener. His work has been continuous, his ideas move through space and time. For us he is a big creative force, a huge cultural ambassador, and a reminder there’s no easy route. We were extremely excited to work on the packaging design for a reissue of his classic 1970 album, Nation Time, which will be released by Chicago gallery Corbett vs. Dempsey later this year. In addition to the box set, we’ve also created this very limited poster to commemorate the release. The typography pays homage to a sticker that came with the original release, which features the best use of Hobo (typeface) that we’ve ever seen. The artwork, is a direct influence of McPhee’s signature improvisational style. Each poster in the edition varies, as we painted directly onto the screen before each pull and then printed with a transparent base.
http://www.sonnenzimmer.com/memory/joe-mcphee-nation-time/
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"Don't play what the public want. You play what you want and let the public pick up on what you doin' -- even if it take them fifteen, twenty years." (Thelonious Monk) | Meine Sendungen auf Radio StoneFM: gypsy goes jazz, #158 – Piano Jazz 2024 (Teil 1) - 19.12.2024 – 20:00; #159: Martial Solal (1927–2024) – 21.1., 22:00; #160: 11.2., 22:00 | Slow Drive to South Africa, #8: tba | No Problem Saloon, #30: tbaWas mir unklar ist, ist ob und wie stark sich sich das mit den Aufnahmen hier überschneidet (die ich noch immer nicht habe):
http://www.corbettvsdempsey.com/2013/02/22/joe-mcphee-quintet-ernie-bostic-quartet-live-at-vassar-1970/
Ich tendiere mal dazu, den obigen Text so zu verstehen, dass das weitere Stücke von den Vassar-Sessions sind – als nicht ein Teil derjenigen auf der Doppel-CD.--
"Don't play what the public want. You play what you want and let the public pick up on what you doin' -- even if it take them fifteen, twenty years." (Thelonious Monk) | Meine Sendungen auf Radio StoneFM: gypsy goes jazz, #158 – Piano Jazz 2024 (Teil 1) - 19.12.2024 – 20:00; #159: Martial Solal (1927–2024) – 21.1., 22:00; #160: 11.2., 22:00 | Slow Drive to South Africa, #8: tba | No Problem Saloon, #30: tbaSieht sehr interessant aus.
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Ohne Musik ist alles Leben ein Irrtum.Interessant? Der Herr belieben zu scherzen? Da shiznit! :sonne:
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"Don't play what the public want. You play what you want and let the public pick up on what you doin' -- even if it take them fifteen, twenty years." (Thelonious Monk) | Meine Sendungen auf Radio StoneFM: gypsy goes jazz, #158 – Piano Jazz 2024 (Teil 1) - 19.12.2024 – 20:00; #159: Martial Solal (1927–2024) – 21.1., 22:00; #160: 11.2., 22:00 | Slow Drive to South Africa, #8: tba | No Problem Saloon, #30: tba
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