Jazz Archives

A fascinating reissue that comfortably straddles the lines of jazz, folk, and world music, working up a storm by way of a jazz protest album that points toward the Spanish Civil War in particular and the Vietnam War in passing. Haden leads the charge and contributes material, but the real star here may in fact be Carla Bley, who arranged numbers, wrote several, and contributed typically brilliant piano work. Also of particular note in a particularly talented crew is guitarist Sam Brown, the standout of "El Quinto Regimiento/Los Cuatro Generales/Viva la Quince Brigada," a 21-minute marathon. Reissue producer Michael Cuscuna has done his best with the mastering here, but listeners will note a roughness to the sound -- one that is in keeping with the album's tone and attitude.

:::Review by Steven McDonald:::

Charlie Haden - Liberation Music Orchestra (1969)

1 . The Introduction 1:15
2. Song Of The United Front 1:52
3a. El Quinto Regimento (The Fifth Regiment) 20:58
3b. Los Cuatro Generales (The Four Generals)
3c. Viva La Quince Brigada (Long Live The Fifteenth Brigade)
4. The Ending To The First Side 2:07
5. Song For Chè 9:29
6. War Orphans 6:42
7. The Interlude (Drinking Music) 1:24
8. Circus '68 '69 6:10
9. We Shall Overcome 1:19

Credits
Bass, Producer - Charlie Haden
Clarinet - Perry Robinson
Cornet, Flute [Indian Wood Flute, Bamboo Flute] - Don Cherry (tracks: 3, 5)
French Horn, Percussion [Hand Wood Blocks, Bells], Performer [Crow Call], Whistle [Military Whistle] - Bob Northern
Guitar, Percussion [Thumb Piano] - Sam Brown (tracks: 1, 3 to 7)
Percussion - Andrew Cyrille (tracks: 8) , Paul Motian
Percussion [Tambourine], Arranged By - Carla Bley
Saxophone [Tenor], Clarinet - Gato Barbieri
Saxophone [Tenor], Saxophone [Alto] - Dewey Redman
Trombone - Roswell Rudd
Trumpet - Michael Mantler
Tuba - Howard Johnson

German-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.

:::Review by Brian Olewnick:::

The Jazz Composer's Orchestra – s/t (1968)

A1. Communications # 8 (13:52)
A2. Communications # 9 (8:08)
B1. Communications # 10 (13:26)
B2. Preview (3:23)
C. Communications # 11 Part 1 (15:10)
D. Communications # 11 Part 2 (17:47)

Credits
Bass - Alan Silva (tracks: C, D) , Bob Cunningham (tracks: C, D) , Charlie Haden , Eddie Gomez (tracks: A2, B1, B2) , Kent Carter (tracks: A1) , Reggie Johnson (tracks: C, D) , Reggie Workman , Richard Davis (tracks: A1) , Ron Carter (tracks: A1, A2, B1, B2) , Steve Swallow (tracks: A2, B1, B2)
Conductor, Producer - Michael Mantler
Cornet - Don Cherry (tracks: A1)
Drums - Andrew Cyrille (tracks: A1, C, D) , Beaver Harris (tracks: A2, B1, B2)
Flugelhorn - Lloyd Michels , Randy Brecker (tracks: A1) , Stephen Furtado (tracks: A2, B1, B2, C, D)
French Horn - Julius Watkins , Bob Northern
Guitar - Larry Coryell (tracks: A2, B1, B2)
Piano - Carla Bley (tracks: A1, A2, B1, B2) , Cecil Taylor (tracks: C, D)
Saxophone [Alto] - Bob Donovan , Frank Wess (tracks: A2, B1, B2) , Gene Hull (tracks: A1) , Jimmy Lyons (2) (tracks: C, D)
Saxophone [Baritone] - Charles Davis
Saxophone [Soprano] - Steve Lacy (tracks: A1) , Steve Marcus (tracks: A2, B1, B2, C, D)
Saxophone [Tenor] - Gato Barbieri (tracks: A1, C, D) , George Barrow (tracks: A1, A2, B1, B2) , Lew Tabackin , Pharoah Sanders (tracks: B2)
Trombone - Jimmy Knepper , Roswell Rudd (tracks: B1)
Trombone [Bass] - Jack Jeffers
Tuba - Howard Johnson