Black Sam Rivers

Sam Rivers - Black Africa (1976) {Atomic Records 76813}
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© 1976, 2009 Atomic Records / Horo Records | 76813
Jazz / Avant-Garde Jazz / Saxophone / Flute

This edition presents, for the first time ever on CD, the complete long unavailable 1976 Villalago performance by the Sam Rivers Trio, featuring Don Pullen as a guest soloist. One of the best exponents of free jazz, this set features Rivers playing tenor and soprano saxophones, flute and piano on an extended exploration of his "Black Africa".

Don Pullen & Sam Rivers - Capricorn Rising (1975) {Black Saint 120004-2 rel 1993}
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© 1975, 1993 Black Saint | 120004-2
Jazz / Post Bop / Avant-Garde Jazz / Piano / Saxophone

Sam Rivers is on exuberant form throughout and Don Pullen plays some marvellous piano. The effect is rather like some of the thrilling work Pullen did with the quartet he had with George Adams, slightly more advanced perhaps, but with the same combination of of excitement and complexity.

Other than an album for the Italian Red label the previous March, this CD from the defunct Black-Hawk label was the first to feature trumpeter Tom Harrell with the Phil Woods Quintet. At this point in time, bassist Steve Gilmore and drummer Bill Goodwin had been with the band since its beginning 12 years before, while pianist Hal Galper was a five-year veteran. The repertoire on the set is quite strong, with a pair of less-played Duke Ellington pieces (the beautiful "Heaven" and "Azure") being performed along with Dave Brubeck's "The Duke," Sam Rivers' "222," the standard "I'm Getting Sentimental Over You" and Harrell's "Occurrence." Phil Woods sounds quite inspired throughout the date by Harrell's presence, giving him another horn to work off of.

Andrew Hill - Mosaic Select 16 (2005) {3 Disc Set, EMI–Mosaic Records MS-016 rec 1967-1970}
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© 1967-70, 2005 EMI Music / Mosaic Records | MS-016
Jazz / Post Bop / Modal Jazz / Avant-Garde Jazz / Piano

Of all the volumes in the Mosaic Select series, this one, and the Big John Patton box, are the most satisfying, though for very different reasons. This one is a true collector's gem. For starters, all but six of the 31 cuts on this three-CD box are previously unreleased. For Hill fans who knew there was more in the can, this is a most welcoming find. The material here was completely composed by Hill and was recorded in five sessions between 1967 and 1970. The pianist and composer is found in three different settings, from trio to sextet and septet with some octet sides. The personnel here varies, too. The sextet sessions feature Hill with Bennie Maupin, Pat Patrick, Charles Tolliver, Ron Carter, and either Paul Motian or Ben Riley on drums. These are the earliest cuts here and they are solid as solid can be.

Various Artists - The House That Trane Built: The Story Of Impulse Records (2006) [4CD] {Impulse! Japan Edition}
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© 2006 Impulse! / Verve | UCCI-7001/4 / B0006680-02
Jazz / Avant-Garde Jazz / Bop / Afro-Cuban Jazz / Free Jazz / Hard Bop / Modern Creative

The House That Trane Built: The Story of Impulse Records is a four-disc set, compiled and annotated by author Ashley Kahn who wrote the book of the same name being published concurrently with its release. Impulse's great run was between 1961 and 1976 – a period of 15 years that ushered in more changes in jazz than at any other point in the music's history. Impulse began recording in the last weeks of 1960, with Ray Charles, Kai Windig /J.J. Johnson, and Gil Evans. While Impulse experimented with 45s 33 1/3 EPs, cassettes, and reel to reel tapes later in its existence, it was–and this set focuses on– it was the music on its LPs (with distinct orange and black packaging in gatefold sleeves containing copious notes) that helped to set them apart.

The House That Trane Built: The Story of Impulse Records is a four-disc set, compiled and annotated by author Ashley Kahn who wrote the book of the same name being published concurrently with its release. Impulse's great run was between 1961 and 1976 – a period of 15 years that ushered in more changes in jazz than at any other point in the music's history. Impulse began recording in the last weeks of 1960, with Ray Charles, Kai Windig /J.J. Johnson, and Gil Evans. While Impulse experimented with 45s 33 1/3 EPs, cassettes, and reel to reel tapes later in its existence, it was–and this set focuses on– it was the music on its LPs (with distinct orange and black packaging in gatefold sleeves containing copious notes) that helped to set them apart.