THE JAZZ COMPOSER'S ORCHESTRA RARE NM 1968'S AVANT-GARDE CREATIVE MASTERPIECES
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Description
THE JAZZ COMPOSER'S ORCHESTRA RARE, NEAR MINT, 1968 AVANT-GARDE CREATIVE MASTERPIECES!
SEE DISCOGS DETAILS & ALLMUSIC REVIEW BELOW
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The Jazz Composer's Orchestra Review by Brian Olewnick
Courtesy of AllMusic.comGerman-born composer/trumpeter Michael Mantler and his then-wife Carla Bley were instrumental in developing within jazz the idea of self-sufficiency and independence from established record companies. Their creation of the Jazz Composer's Orchestra, with recordings released on their own label, was the culmination of this endeavor, and the first recording was one of the masterpieces of creative music in the '60s. Mantler had come from the European avant-classical tradition and sought to provide an orchestral framework supporting some of the most advanced musicians in avant-garde jazz -- and he succeeded magnificently. His style tends toward the brooding and darkly romantic with harsh, cynical edges, a perfect foil for the robust, shackle-breaking improvisations found herein. The cloudy, roiling swirls that open "Communications #8," echoed by Bley's stabbing piano chords, lay the groundwork for inspired soloing by Don Cherry and the pre-Last Tango and still extremely fiery Gato Barbieri. Subsequent pieces include an amazing feedback showcase for Larry Coryell and a gorgeous, somber work featuring bassist Steve Swallow and trombonist Roswell Rudd. All of this is a preview for, well, "Preview," an utterly incendiary flight by Pharoah Sanders over a pounding rhythm by the orchestra, a piece that will leave the listener bruised, battered, and exhilarated. Except that the best is yet to come: a 34-minute, two-part composition, a concerto for Cecil Taylor and orchestra, that finds the pianist at the height of his powers, just beginning to enter the third phase of his development where he fused ultra-high energy playing with rigorous logic and heartbreaking beauty. The breadth of this piece, its expansiveness, and its tension between order and chaos is one of the single high watermarks of avant-garde jazz. Communications is a masterwork in and of itself and laid the basis for stunning work by others in decades hence, notably Barry Guy and his London Jazz Composer's Orchestra. It's an essential document for anyone interested in avant jazz and late-20th century creative music.
DISCOGS DETAILS: Courtesy of Discogs
The Jazz Composer's Orchestra – The Jazz Composer's Orchestra
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Label:
JCOA Records – LP 1001/2Format:
2 x Vinyl, LP Box SetCountry:
USReleased:
1968Genre:
JazzStyle:
Avant-garde Jazz, Free JazzTracklist
Hide Credits A1 Communications # 8 Soloist, Cornet – Don Cherry Soloist, Tenor Saxophone – Gato Barbieri Soloist, Cornet – Don Cherry Soloist, Tenor Saxophone – Gato Barbieri 13:52 A2 Communications # 9 Soloist, Guitar – Larry Coryell Soloist, Guitar – Larry Coryell 8:08 B1 Communications # 10 Soloist, Bass [Introduction] – Steve Swallow Soloist, Trombone – Roswell Rudd Soloist, Bass [Introduction] – Steve Swallow Soloist, Trombone – Roswell Rudd 13:26 B2 Preview Soloist, Tenor Saxophone – Pharoah Sanders Soloist, Tenor Saxophone – Pharoah Sanders 3:23 C Communications # 11 Part 1 Soloist, Piano – Cecil Taylor Soloist, Piano – Cecil Taylor 15:10 D Communications # 11 Part 2 Soloist, Piano – Cecil Taylor Soloist, Piano – Cecil Taylor 17:47Companies, etc.
- Published By – Alrac Music
- Recorded At – RCA's Studio B
Credits
- Alto Saxophone – Bob Donovan, Frank Wess (tracks: A2 to B2), Gene Hull (tracks: A1), Jimmy Lyons (2) (tracks: C, D)
- Baritone Saxophone – Charles Davis (2)
- Bass – Alan Silva (tracks: C, D), Bob Cunningham (tracks: C, D), Charlie Haden, Eddie Gomez (tracks: A2 to B2), Kent Carter (tracks: A1 to B2), Reggie Johnson (tracks: C. D), Reggie Workman, Richard Davis (2) (tracks: A1), Ron Carter (tracks: A1), Steve Swallow (tracks: A1 to B2)
- Bass Trombone – Jack Jeffers
- Composed By, Conductor, Producer, Coordinator, Liner Notes – Michael Mantler
- Cover, Design, Layout – Paul McDonough
- Drums – Andrew Cyrille (tracks: A1, C, D), Beaver Harris (tracks: A2 to B2)
- Engineer – Paul Goodman
- Flugelhorn – Lloyd Michels, Randy Brecker (tracks: A1), Stephen Furtado (tracks: A2 to D)
- French Horn – Julius Watkins (tracks: A2 to D), Bob Northern*
- Liner Notes – Cecil Taylor, Paul Haines, Timothy F. Marquand*
- Photography By – Tod Papageorge
- Piano – Carla Bley (tracks: A1 to B2)
- Soprano Saxophone – Al Gibbons, Steve Lacey* (tracks: A1), Steve Marcus (tracks: A2 to D)
- Tenor Saxophone – Gato Barbieri (tracks: C, D), George Barrow (tracks: A1 to B2), Lew Tabackin
- Trombone – Jimmy Knepper
- Tuba – Howard Johnson (3)
Notes
Recorded January, May, June 1968, New York. Comes with a 24 page 12x12" b/w booklet of text and pictures. The box lid label is gray printing on silver foilSpecial Seller Note: All the Matrix & Runout numbers match the Discogs description. However there are two distinct differences on these discs that weren't noted.
1) Address printed on the label is: 1841 Broadway, NY, NY 2) The vinyl pressings appear to be RCA DynaFlex, noteworthy for improved sound quality, purer vinyl used, and better processes for eliminating impurities in the compounds. These records have never been played.
Barcode and Other Identifiers
- Matrix / Runout (Side A runout - stamped): R W3RS-0268-2A
- Matrix / Runout (Side A runout - etched): - A/B
- Matrix / Runout (Side B runout - etched): W3RS-269-2A-A/A
- Matrix / Runout (Side C runout - etched): W3RS-1020-2B-B
- Matrix / Runout (Side D runout - etched): W3RS-1021-2A-C
- Matrix / Runout (Side A matrix): W3RS-0268
- Matrix / Runout (Side B matrix): W3RS-0269
- Matrix / Runout (Side C matrix): W3RS-1020
- Matrix / Runout (Side D matrix): W3RS-1021
- Rights Society: BMI
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