Soft Machine – Triple Echo

	Harvest – SHTW 800, Harvest – OC 153-99 090/1/2
	3 x レコード, LP, Compilation, Stereo, Mono ボックスセット
	UK
	1977年3月
	Jazz, Rock
	Jazz-Rock, Prog Rock

収録曲

A1		Love Makes Sweet Music Bass – Daevid Allen Drums, Vocals – Robert Wyatt Guitar – Kevin Ayers Organ – Mike Ratledge Producer – Chas Chandler Written-By – Ayers* Bass – Daevid Allen Drums, Vocals – Robert Wyatt Guitar – Kevin Ayers Organ – Mike Ratledge Producer – Chas Chandler Written-By – Ayers*	2:27
A2		Feelin' Reelin' Squeelin' Bass, Vocals – Kevin Ayers Drums, Vocals – Robert Wyatt Guitar, Whistle, Backing Vocals – Daevid Allen Piano, Organ – Mike Ratledge Producer – Kim Fowley Written-By – Ayers* Bass, Vocals – Kevin Ayers Drums, Vocals – Robert Wyatt Guitar, Whistle, Backing Vocals – Daevid Allen Piano, Organ – Mike Ratledge Producer – Kim Fowley Written-By – Ayers*	2:50
A3		Memories Bass – Kevin Ayers Drums, Vocals – Robert Wyatt Guitar – Daevid Allen Organ – Mike Ratledge Producer – Giorgio Gomelsky Written-By – Hopper* Bass – Kevin Ayers Drums, Vocals – Robert Wyatt Guitar – Daevid Allen Organ – Mike Ratledge Producer – Giorgio Gomelsky Written-By – Hopper*	2:58
A4		She's Gone Bass – Kevin Ayers Drums, Vocals – Robert Wyatt Guitar – Daevid Allen Piano, Organ – Mike Ratledge Producer – Gomelsky*, Joe Boyd Voice [Barely Audible Aphorism] – William Burroughs* Written-By – Ayers* Bass – Kevin Ayers Drums, Vocals – Robert Wyatt Guitar – Daevid Allen Piano, Organ – Mike Ratledge Producer – Gomelsky*, Joe Boyd Voice [Barely Audible Aphorism] – William Burroughs* Written-By – Ayers*	2:29
A5		Why Am I So Short? / So Boot If At All / A Certain Kind Bass, Piano [On 'So Boot If At All'] – Kevin Ayers Drums, Vocals – Robert Wyatt Organ – Mike Ratledge Producer – Chas Chandler, Tom Wilson (2) Written-By [So Boot If At All] – Ayers*, Ratledge* Written-By [Why Am I So Short? / A Certain Kind] – Hopper* Written-By [Why Am I So Short? / So Boot If At All] – Wyatt* Bass, Piano [On 'So Boot If At All'] – Kevin Ayers Drums, Vocals – Robert Wyatt Organ – Mike Ratledge Producer – Chas Chandler, Tom Wilson (2) Written-By [So Boot If At All] – Ayers*, Ratledge* Written-By [Why Am I So Short? / A Certain Kind] – Hopper* Written-By [Why Am I So Short? / So Boot If At All] – Wyatt*	13:13
B1		We Did It Again / Plus Belle Qu'une Poubelle / Why Are We Sleeping? Backing Vocals [Why Are We Sleeping?] – Cake* Bass, Vocals – Kevin Ayers Drums, Backing Vocals – Robert Wyatt Organ – Mike Ratledge Producer – Chas Chandler, Tom Wilson (2) Written-By – Ayers* Written-By [Why Are We Sleeping?] – Ratledge*, Wyatt* Backing Vocals [Why Are We Sleeping?] – Cake* Bass, Vocals – Kevin Ayers Drums, Backing Vocals – Robert Wyatt Organ – Mike Ratledge Producer – Chas Chandler, Tom Wilson (2) Written-By – Ayers* Written-By [Why Are We Sleeping?] – Ratledge*, Wyatt*	10:32
B2		A Concise British Alphabet - Part 2 / Hullo Der / Dada Was Here / Thank You Pierrot Lunaire / Have You Ever Been Grean? / Pataphysical Introduction - Part 2 Bass – Hugh Hopper Drums, Vocals – Robert Wyatt Piano, Organ – Mike Ratledge Producer – Soft Machine Saxophone – Brian Hopper Written-By – Wyatt* Written-By [A Concise British Alphabet - Part 2 / Hullo Der / Dada Was Here / Thank You Pierrot Lunaire / Have You Ever Been Grean?] – Hopper* Bass – Hugh Hopper Drums, Vocals – Robert Wyatt Piano, Organ – Mike Ratledge Producer – Soft Machine Saxophone – Brian Hopper Written-By – Wyatt* Written-By [A Concise British Alphabet - Part 2 / Hullo Der / Dada Was Here / Thank You Pierrot Lunaire / Have You Ever Been Grean?] – Hopper*	7:33
B3		As Long As He Lies Perfectly Still Bass – Hugh Hopper Drums, Vocals – Robert Wyatt Piano, Organ – Mike Ratledge Producer – Soft Machine Written-By – Ratledge*, Wyatt* Bass – Hugh Hopper Drums, Vocals – Robert Wyatt Piano, Organ – Mike Ratledge Producer – Soft Machine Written-By – Ratledge*, Wyatt*	2:34
B4		Dedicated To You But You Weren't Listening Acoustic Guitar – Hugh Hopper Harpsichord – Mike Ratledge Producer – Soft Machine Vocals – Robert Wyatt Written-By – Hopper* Acoustic Guitar – Hugh Hopper Harpsichord – Mike Ratledge Producer – Soft Machine Vocals – Robert Wyatt Written-By – Hopper*	2:33
C1		The Moon In June Bass – Hugh Hopper Drums, Vocals – Robert Wyatt Piano, Organ – Mike Ratledge Producer – John Walters Written-By – Wyatt* Bass – Hugh Hopper Drums, Vocals – Robert Wyatt Piano, Organ – Mike Ratledge Producer – John Walters Written-By – Wyatt*	13:00
C2		Esther's Nose Job Alto Saxophone – Elton Dean Bass – Hugh Hopper Cornet – Mark Charig* Drums, Vocals – Robert Wyatt Organ, Electric Piano – Mike Ratledge Producer – John Walters Soprano Saxophone – Lyn Dobson Trombone – Nick Evans Written-By – Ratledge* Alto Saxophone – Elton Dean Bass – Hugh Hopper Cornet – Mark Charig* Drums, Vocals – Robert Wyatt Organ, Electric Piano – Mike Ratledge Producer – John Walters Soprano Saxophone – Lyn Dobson Trombone – Nick Evans Written-By – Ratledge*	11:57
D1		Mousetrap / Noisette / Backwards / Mousetrap Reprise Alto Saxophone – Elton Dean Bass – Hugh Hopper Cornet – Mark Charig* Drums – Robert Wyatt Organ, Electric Piano – Mike Ratledge Producer – John Walters Soprano Saxophone – Lyn Dobson Trombone – Nick Evans Written-By [Backwards] – Ratledge* Written-By [Mousetrap / Noisette / Mousetrap Reprise] – Hopper* Alto Saxophone – Elton Dean Bass – Hugh Hopper Cornet – Mark Charig* Drums – Robert Wyatt Organ, Electric Piano – Mike Ratledge Producer – John Walters Soprano Saxophone – Lyn Dobson Trombone – Nick Evans Written-By [Backwards] – Ratledge* Written-By [Mousetrap / Noisette / Mousetrap Reprise] – Hopper*	8:46
D2		Slightly All The Time / Out Bloody Rageous / Eamonn Andrews Alto Saxophone – Elton Dean Bass – Hugh Hopper Drums – Robert Wyatt Organ, Electric Piano – Mike Ratledge Producer – John Walters Written-By – Ratledge* Alto Saxophone – Elton Dean Bass – Hugh Hopper Drums – Robert Wyatt Organ, Electric Piano – Mike Ratledge Producer – John Walters Written-By – Ratledge*	15:19
E1		Teeth Alto Saxophone – Elton Dean Bass – Hugh Hopper Cornet – Mark Charig* Double Bass – Roy Babbington Drums – Robert Wyatt Electric Piano, Organ – Mike Ratledge Executive-Producer – Sean Murphy Producer – Soft Machine Tenor Saxophone – Alan Skidmore Trombone – Nick Evans Written-By – Ratledge* Alto Saxophone – Elton Dean Bass – Hugh Hopper Cornet – Mark Charig* Double Bass – Roy Babbington Drums – Robert Wyatt Electric Piano, Organ – Mike Ratledge Executive-Producer – Sean Murphy Producer – Soft Machine Tenor Saxophone – Alan Skidmore Trombone – Nick Evans Written-By – Ratledge*	9:13
E2		Kings And Queens Bass – Hugh Hopper Cornet – Mark Charig* Drums – Robert Wyatt Electric Piano – Mike Ratledge Executive-Producer – Sean Murphy Flute [Alto] – Jimmy Hastings Producer – Soft Machine Saxello – Elton Dean Trombone – Nick Evans Written-By – Hopper* Bass – Hugh Hopper Cornet – Mark Charig* Drums – Robert Wyatt Electric Piano – Mike Ratledge Executive-Producer – Sean Murphy Flute [Alto] – Jimmy Hastings Producer – Soft Machine Saxello – Elton Dean Trombone – Nick Evans Written-By – Hopper*	5:01
E3		All White Bass – Hugh Hopper Drums – Phil Howard Electric Piano – Mike Ratledge Executive-Producer – Sean Murphy Producer – Soft Machine Saxello – Elton Dean Written-By – Ratledge* Bass – Hugh Hopper Drums – Phil Howard Electric Piano – Mike Ratledge Executive-Producer – Sean Murphy Producer – Soft Machine Saxello – Elton Dean Written-By – Ratledge*	6:05
E4		Bone Bass, Pipe [Whirling Pipe] – Hugh Hopper Executive-Producer – Sean Murphy Organ – Mike Ratledge Percussion – John Marshall Producer – Soft Machine Recorder – Elton Dean Written-By – Dean* Bass, Pipe [Whirling Pipe] – Hugh Hopper Executive-Producer – Sean Murphy Organ – Mike Ratledge Percussion – John Marshall Producer – Soft Machine Recorder – Elton Dean Written-By – Dean*	3:28
F1		Stanley Stamps Gibbon Album Bass – Hugh Hopper Drums – John Marshall Executive Producer – Sean Murphy Piano – Karl Jenkins Piano, Organ – Mike Ratledge Producer – Soft Machine Written-By – Ratledge* Bass – Hugh Hopper Drums – John Marshall Executive Producer – Sean Murphy Piano – Karl Jenkins Piano, Organ – Mike Ratledge Producer – Soft Machine Written-By – Ratledge*	5:55
F2		Carol Ann Bass – Roy Babbington Electric Piano – Karl Jenkins Executive-Producer – Sean Murphy Producer – Soft Machine Synthesizer – Mike Ratledge Written-By – Jenkins* Bass – Roy Babbington Electric Piano – Karl Jenkins Executive-Producer – Sean Murphy Producer – Soft Machine Synthesizer – Mike Ratledge Written-By – Jenkins*	3:46
F3		Hazard Profile - Part 1 Bass – Roy Babbington Drums – John Marshall Executive-Producer – Sean Murphy Guitar – Allan Holdsworth Organ – Mike Ratledge Producer – Soft Machine Soprano Saxophone, Electric Piano – Karl Jenkins Written-By – Jenkins* Bass – Roy Babbington Drums – John Marshall Executive-Producer – Sean Murphy Guitar – Allan Holdsworth Organ – Mike Ratledge Producer – Soft Machine Soprano Saxophone, Electric Piano – Karl Jenkins Written-By – Jenkins*	9:16
F4		The Tale Of Taliesin Bass – Roy Babbington Drums – John Marshall Executive-Producer – Sean Murphy Guitar – John Etheridge Piano, Synthesizer [String] – Karl Jenkins Producer – Soft Machine Written-By – Jenkins* Bass – Roy Babbington Drums – John Marshall Executive-Producer – Sean Murphy Guitar – John Etheridge Piano, Synthesizer [String] – Karl Jenkins Producer – Soft Machine Written-By – Jenkins*	7:14

会社名など

• 音源著作権℗ – Polydor Records Ltd.
• 音源著作権℗ – ABC Records Ltd.
• 音源著作権℗ – Soft Machine Music Ltd.
• 音源著作権℗ – CBS Records Ltd.
• 製造元 – EMI Records Ltd.
• レコード会社 – EMI
• 出版 – Soft Machine Publishing Company Limited
• 出版 – Warner Bros. Music Ltd.
• 出版 – A. Schroeder Music Pub. Co. Ltd.
• 出版 – Robbins Music Co. Ltd.
• 録音 – Advision Studios
• 録音 – CBS Studios, London
• 録音 – De Lane Lea Studios
• 録音 – Record Plant, N.Y.C.
• 録音 – Olympic Studios
• 録音 – Maida Vale Studios
• 録音 – Playhouse Theatre
• 録音 – Abbey Road Studios
• プレス – EMI Records

クレジット

• Lacquer Cut By – NICK W*
• Research, Compiled By, Liner Notes – Al Clark

ノート

Released in a laminated card box with closing flaps on two sides.
Each disc is housed in an individually printed card inner sleeve.
Comes with a 12x12" 8-page booklet of credits, Pete Frame's family tree and photos.

Compilation of the first 10 years of the group.

Track A1 recorded January 1967 at Advision; released as a single 17/2/67. ℗ 1967 Polydor Records Ltd.
Track A2 recorded January 1967 at CBS; released as 'B' side of 'Love Makes Sweet Music' 17/2/67. ℗ 1967 Polydor Records Ltd.

Track A3 recorded April 1967 at De Lane Lea; one of numerous demos recorded at this time. Subsequently turned up five years later on 'Rock Generation Vol.8' (French LP). ℗ 1977 Soft Machine Music Ltd.

Track A4 recorded June 1967 at Sound Techniques. Intended as a single but never released. Demo version, produced by Gomelsky, appears on same LP as 'Memories'. ℗ 1977 Soft Machine Music Ltd.
[Note : this version, produced by Joe Boyd, remained exclusive to this release for years. It was re-released only in 2006 on the Joe Boyd tribute compilation White Bicycles - Making Music In The 1960s]

Tracks A5 & B1 recorded April 1968 at The Record Plant, New York; released December 1968 on LP 'The Soft Machine' (Probe CPLP 4500). ℗ 1968 ABC Records Ltd./Soft Machine Music Ltd.

Tracks B2, B3 & B4 recorded February 1969 at Olympic; released April 1969 on LP 'Volume Two' (Probe SPB 1002). ℗ 1969 ABC Records Ltd./Soft Machine Music Ltd.

Track C1 recorded June 10th 1969 at BBC Maida Vale Studio 4; transmitted 21/6/69 on programme 'Top Gear'. An entirely different version to the one which appeared a year later on the LP 'Third'. Much of the lyric was written especially for this recording. ℗ 1977 Soft Machine Music Ltd.

Track C2 recorded November 10th 1969 at BBC Playhouse Theatre; transmitted 29/11/69 on programme 'Top Gear'. This and the four tracks in D1 are the only recordings made by the ambitious but short-lived seven-piece line-up. ℗ 1977 Soft Machine Music Ltd.

Track D1 recorded November 10th 1969 at BBC Playhouse Theatre; transmitted 29/11/69 on programme 'Top Gear'. Different versions of 'Noisette' and 'Backwards' - which concludes 'Slightly All The Time' - can be found on the LP 'Third', 'Mousetrap' has never appeared before on record. ℗ 1977 Soft Machine Music Ltd.

Track D2 recorded May 4th 1970 at BBC Maida Vale Studio 4; transmitted 16/5/70 on programme 'Top Gear'. Highly extended versions of 'Slightly All The Time' and 'Out Bloody Rageous' can be found on the LP 'Third'. 'Eamonn Andrews' can't be found anywhere else. Release date of 'Third' (CBS 66246): 6/6/70. ℗ 1977 Soft Machine Music Ltd.

[Note : previously unreleased at the time of this release, these BBC recordings C1, C2, D1 & D2, would be re-issued later on dedicated BBC sessions' albums like The Peel Sessions (1990) or BBC Radio | 1967 - 1971 (2003)]

Tracks E1 & E2 recorded November 1970 at Olympic; released 28/2/71 on LP 'Fourth' (CBS 64280). ℗ 1971 CBS Records Ltd.

Track E3 recorded November 1971 & track E4 recorded February 1972 at Advision; released 23/6/72 on LP 'Fifth' (CBS 64806). ℗ 1972 CBS Records Ltd.

Track F1 recorded November 1972 at CBS; released 2/2/73 on LP 'Six' (CBS 68214). ℗ 1973 CBS Records Ltd.

Track F2 recorded July 1973 at CBS; released 5/10/73 on LP 'Seven' (CBS 65799). ℗ 1973 CBS Records Ltd.

Track F3 recorded July 1974 at CBS; released 4/4/75 on LP 'Bundles' (Harvest SHSP 4044). ℗ 1975 Soft Machine Music Ltd.

Track F4 recorded March 1976 at Abbey Road; released 25/6/76 on LP 'Softs' (Harvest SHSP 4056). ℗ 1976 Soft Machine Music Ltd.

Tracks A1 to A4, C1 to D2 are recorded mono only.

Made and printed in Great Britain.

Mastering credit derived from matrix etching.

バーコードとその他の識別子

• その他 (Cat# disc 1): SHTW 8001
• その他 (Cat# disc 2): SHTW 8002
• その他 (Cat# disc 3): SHTW 8003
• Matrix / Runout (Label side A): SHTW.8001A
• Matrix / Runout (Label side B): SHTW.8001B
• Matrix / Runout (Label side C): SHTW.8002A
• Matrix / Runout (Label side D): SHTW.8002B
• Matrix / Runout (Label side E): SHTW.8003A
• Matrix / Runout (Label side F): SHTW.8003B
• Matrix / Runout (Side A - Stamped, variant 1): SHTW.8001 A-2
• Matrix / Runout (Side B - Stamped, variant 1): SHTW.8001 B-1
• Matrix / Runout (Side B - Etched, variant 1): NICK W
• Matrix / Runout (Side C - Stamped, variant 1): SHTW.8002 A-1
• Matrix / Runout (Side D - Stamped, variant 1): SHTW.8002 B-1
• Matrix / Runout (Side E - Stamped, variant 1): SHTW.8003 A-1
• Matrix / Runout (Side F - Stamped, variant 1): SHTW.8003 B-1
• Matrix / Runout (Side F - Etched, variant 1): NICK W
• Matrix / Runout (Side A - stamped, variant 2): SHTW.8001 A-2 3 GH
• Matrix / Runout (Side B - stamped/etched, variant 2): SHTW.8001 B-1 1 P NICK W
• Matrix / Runout (Side C - stamped, variant 2): SHTW.8002 A-1 1 GG
• Matrix / Runout (Side D - stamped, variant 2): SHTW.8002 B-1 3 GO
• Matrix / Runout (Side E - stamped, variant 2): SHTW.8003 A-1 1 T
• Matrix / Runout (Side F - stamped/etched, variant 2): SHTW.8003 B-1 1 L NICK W

書籍 ： 生田耕作－〈芸術〉なぜ悪い「バイロス画集事件」顛末記録

生田耕作

〈芸術〉なぜ悪い「バイロス画集事件」顛末記録 生田耕作

A5サイズ／７２ページ

昭和1981年6月 

奢霸都(サバト)館

書籍 ： 上野圭一 / 全記録スワノセ第四世界

 全記録スワノセ第四世界 上野圭一

書籍 ： 金子光晴－ 詩集 鮫

 詩集　鮫　　　金子光晴　　　　昭和１２年　　　初版函

書籍 ： 西脇順三郎詩画集 擇

西脇順三郎詩画集 擇

詩学社

昭和47年発行 限定100部 二重函 大型本 

音楽 ： Lennie Tristano Personal Recordings 1946 – 1970 (6 CDs)

 

Lennie Tristano Personal Recordings 1946 – 1970 (6 CDs)

Peek Into The Private Library of Lennie Tristano

Dot Time Records and Mosaic Records, in partnership for the first time, are thrilled to announce the release of Lennie Tristano Personal Recordings 1946 – 1970. This 6-CD set chronicles over twenty years of stunning creative output from jazz luminary Lennie Tristano offering listeners the most comprehensive portrait of Tristano’s musical genius available.

The Limited Edition Box set includes:

• A six CD set of 74 recordings, not one single note of which has ever appeared on a record.
• The deluxe box set includes our exclusive booklet with a loving introduction by Carol Tristano
• A track-by-track appreciation of Tristano’s music by Popkin; and many rare photographs.
• Trio sessions alongside guitarist Billy Bauer and bassist Arnold Fishkin
• Live sextet recordings of Tristano alongside alto saxophonist Lee Konitz
• A full disc of solo performances where Tristano’s astounding technical facility and deep pathos is on display.

Deeply Moving, Deeply Personal, and Completely Unknown – Until Now.
One of the greatest pleasures we experience at Mosaic is uncovering rare, overlooked gems by acknowledged masters from whom we’ve all believed we’ve heard the last word. Often in scouring the archives for cleaner, better source material we uncover a few unknown recordings, forgotten sessions, or viable alternate takes that are no less fascinating than the selections initially approved for release. 

We take great pride in adding to the known canon of work by giants, even when only a few recordings come to light. 

So imagine how we feel about our new set, “Lennie Tristano Personal Recordings 1946-1970.” Jerry Roche of Dot Time Records supervised the release of these treasures, selected by Lennie Tristano’s daughter Carol and sonically restored by tenor saxophonist Lenny Popkin, a Tristano disciple and sideman.

The recordings come from a trove of material in Tristano’s personal collection — airchecks, remote wire recordings, live dates preserved by his associates on the bandstand, and tracks laid down at Lennie’s East 32^nd Street studio in New York. Not originally intended for commercial release, they provide an intimate look at Tristano’s range and his unmistakable approach to jazz. 

Uncategorizable Brilliance
Tristano is often mis-categorized as a disciple of the “cool” style of jazz, possibly because his approach was so measured, lyrical, and precise in contrast to the jagged energy of bebop. But the breath and depth of his playing stretch far beyond that post World War II genre in both directions. 

A student from the American Conservatory of Music in Chicago, he started making a name for himself in New York in the mid-1940s, even playing alongside Charlie Parker, Dizzy Gillespie, and Max Roach. The beboppers marveled at his exceptional harmonic gifts, his ability at playing long, intricate solo lines, and his unerring virtuosity. He contributed to the music of Parker and Gillespie without slavishly copying their approach. 

Tristano was critical of the bebop movement, but his comments could apply to anyone who was a follower and not a leader. “Whether they play drums, saxophone, piano, trombone, or glockenspiel, it still comes out Gillespie,” he wrote.

His belief that music must express something personal led to his decision to start his own school, stressing that playing jazz needs to entail more than learning chord changes and picking an idol to copy. Tristano began focusing on jazz education from a personal studio he established while he was still performing regularly.

That studio (where some of the tracks on this set were recorded) was to be a hub for Tristano for many endeavors – a first-of-its-kind school of jazz for players at all levels, the domain for his recording and publishing companies, a recording studio, and a performance spot. While some of his ambitions went unrealized, his devotion to teaching – as he himself said, the “method and madness” of jazz – pointed to his strong belief that harmony, ear training, composition, and technique were all critical components of a fully formed musician. 

As for what genre his belongs to, keep in mind that Tristano was always looking ahead. He is believed to have recorded the first-ever ensemble free jazz compositions, abandoning chord structure and song forms to follow wherever a motif or phrase could lead, stressing listening over playing.  He also experimented with overdubbing at a time when that idea was so new that most reviewers had no idea what they were hearing.

While to some ears Tristano sounds remote or mechanical in his long runs of even eighth notes, a more careful listening reveals the playfulness and passion in his approach on piano. There’s a lot of Art Tatum in his soloing, like someone with too many notes in him to fit them all in a bar of music. Despite the intricacy, it never overshadows his ease. His block chords were a major influence on Bill Evans. His drive and power, and his fascination with exploding traditional song formats, inspired Cecil Taylor. 

This set follows an unusual pattern for a Mosaic release in that it is not presented in chronological order, but rather themed to a style of presentation crossing eras and personnel. 

Disc 1
Features Tristano alongside Billy Bauer and Arnold Fishkin. These live trio recordings from 1946/1947 were recorded in Long Island, New York and capture the pure synergy, improvisational acuity and playfulness of this tight-knit ensemble. Right away, one notes Tristano’s incredible feel. “As it is expressed by his playing both as a soloist and playing with others, every note he plays has a personality. Every note is imbued with feeling. In the recordings presented in this set, you will hear that no matter what the tempo, the key, whether he is playing quarter notes, eighth notes, sixteenth notes – no matter how fast, each note is distinct. Each note has character,” reflects Popkin.

Disc 2
Features marvelous solo piano recordings of Tristano recorded both at Rudy Van Gelder Studio and at Lennie’s own East 32nd Street studio. The 15 tracks on this disc demonstrate Tristano’s inner world of harmony. 

Disc 3
Features live sextet recordings of Tristano alongside Lee Konitz, Warne Marsh, Billy Bauer, bassists Arnold Fishkin and Joe Shulman, and drummer Jeff Morton. This marks the first recorded performance of a group of jazz musicians performing free jazz in front of an audience in a club. Lennie Tristano’s daughter and co-producer of this album, Carol Tristano indicates that “he embodies that link between free playing and swinging jazz.

The free playing of these four musicians together has, to this day, almost no parallel. It is not random, nor is it instant composing. It is rooted in jazz feeling and being created completely spontaneously in the moment. The result is no experiment! Each piece tells a story and is great music of the highest order. You may find it can remind you of what it’s like to listen to a great composition — but it’s not composed — that’s the magic of it!”

Disc 4
Features Tristano playing straight-ahead jazz with two fantastic trios both with Peter Ind on bass, one with drummer Tom Wayburn, the other with drummer Al Levitt. “The trio sides with Peter Ind, Tom Weyburn and Al Levitt are among my favorites. Lennie with a rhythm section — wowing you with his lyrical prowess, doing that thing that great musicians can do — compelling your ear into a state of pure pleasure! No matter how many times you hear a great solo, it will affect you the same, if not more, every time,” shared Carol.

Disc 5
Contains duos and trios with bassist Sonny Dallas and drummer Nick Stabulas. The duo tracks capture the intentful listening of two friends and musicians eager to create beautiful music together, and the trio tracks demonstrate the rare interplay of three musicians who are connected to each other’s every melodic refrain and harmonic exploration. To quote Popkin,

Disc 6
Begins with a groundbreaking free jazz session from 1948 featuring Lee Konitz, Warne Marsh, Billy Bauer. The recording predates Tristano’s historic Capitol sides Intuition and Digression as well as iconic free jazz recordings of the late 50’s/early 60’s by other artists that so often receive the acclaim for Tristano’s early innovation.

As with all Mosaic sets, our release is extremely limited. When they are sold out, this music goes back into the vaults, never to be released in this form again. Please don’t miss out on this opportunity to fall under Tristano’s spell. 

LENNIE TRISTANO PERSONAL RECORDINGS 1946-1970 (Mosaic MD6-272)

DISC ONE:
Trio With Billy Bauer – Live Performances
1.Rhythm (A) 3:22
2. Lennie’s Song (A) 4:12
3. Surrender (A) 3:14
4. Stream Line (A) 2:42
5. Day And Night (A) 3:12
6. Rhapsody (B) 3:16
7. Three For Tea (C) 4:42
8. Streamin’ (C) 7:09
9. Depend On Me (C) 7:19
10. Just Fine (C) 5:59
11. September Rain (D) 4:21
12. Mystery (E) 2:04
13. Under Your Spell (E) 3:19
14. Cosmology (E) 2:34
15. Restoration (F) 2:33

DISC TWO
Solo Piano
1.Spectrum (G) 1:52
2. New Pennies (H) 5:14
3. Lennie’s Blues (H) 4:18
4. Dusk (H) 2:39
5. These Foolish Things (H) 3:04
(Strachey-Marvell-Link)
6. Tania’s Dance (H) 1:51
7. Call It Love (H) 4:36
8. C Minor Fantasy (H) 1:48
9. No Foolin’ (H) 3:34
10. When Your Lover Has Gone (H) 2:32
(E. A. Swan)
11. Bud Line (H) 1:39
12. Studio Time Medley (H) 4:42
13. Palo Alto Days (H) 2:52
14. Foolish Again (H) 2:17
15. The Avenue (H) 1:43
Thursday Suite:
16) Sonnet (I) 4:35
17) Swing Time (I) 3:26
18) Love Chords (I) 3:57

DISC THREE
Sextet – Live Performances
1.Live Free (J) 1:58
2. Sound-Lee (J) 9:47
(Lee Konitz)
3. Lennie’s Changes (J) 10:27
4. Ice Cream Konitz (J) 10:03
(Lee Konitz)
5. Fishin’ Around (J) 11:15
(Arnold Fishkin)
6. Band Excerpt (K) 5:17
7. You go to my head (L) 4:39
(J. F. Coots-H. Gillespie)
8. Sax of a kind (L) 5:20
(L. Konitz-W. Marsh)

DISC FOUR
Trio Sessions
1.Lennie’s Lines (M) 5:36
2. My Melancholy Baby (M) 7:45
(Norton-Watson-Burnett)
3. Oceans Deep (M) 4:04
4. That Trading Feeling (M) 5:48
5. You Go To My Head (M) 6:55
(J. F. Coots-H. Gillespie)
6. London Blues (M) 4:19
7. There Will Never be Another You (M) 5:12
(H. Warren-M. Gordon)
8. Session Wave (N) 5:59
9. Movin’ Along (N) 3:51
10. Trio Lines (N) 7:42
11. Lennie’s Place (N) 6:41

DISC FIVE:
Duos And Trios With Sonny Dallas
1. Duo Days (O) 4:55
2. Dream Sequence (O) 7:09
3. Melancholy Up (O) 5:08
4. Forever Lines (O) 10:18
5. Friends (O) 4:16
6. You Go To My Head (O) 9:45
(J. F. Coots-H. Gillespie)
7. I Should Care (P) 7:18
(Cahn-Stordahl-Weston)
8. Lennie’s Groove (P) 9:14

DISC SIX
1948 Free Session
1. Transformations (Q) 2:30
2. Dialogue (Q) 2:28
3. Digression Expanse (Q) 3:11
4. Pinochle Jump (Q) 2:00
5. Story (Q) 3:12
6. Ensemble Tune (Q) 2:17
Live At The Half Note
7. Formation (Q) 3:30
8. Sonny’s Variation (R) 1:07
9. Swingin’ at the Half Note (R) 8:41
10. Lennie’s Dream (R) 7:09
11. Smilin’ Groove (R) 5:09
12. Mine (R) :51
13. Hudson Street (R) 9:06
14. How Deep is the Ocean (S) 10:41
(Irving Berlin)

All tunes by Lennie Tristano, Lifeline Jazz Inc. ASCAP, except where otherwise noted

//////////////////////////////////////////////////////////////////////////////////////
Personnel listed below.
All material is previously unreleased except for (L)

A: Billy Bauer, guitar; Arnold Fishkin, bass.
Al B. White’s Restaurant, Freeport, Long Island, 1946

B: bassist unknown.
Dave Garroway show, NYC, October 26, 1947

C: Billy Bauer, guitar; Arnold Fishkin, bass.
Valley Stream, Long Island, c. 1947

D: Billy Bauer, guitar; Arnold Fishkin, bass
Venue unknown, c. 1947

E: Billy Bauer, guitar, bassist unknown
Bandstand U.S.A. air shots, NYC, August 21, 1948

F: Billy Bauer, guitar, Arnold Fishkin, bass.
NYC, December 23, 1947

G. solo piano
Van Gelder Studio, Hackensack, NJ, 1952

H. solo piano
Lennie’s studio. Palo Alto Street, Hollis, NY, c. 1962

I. solo piano
Lennie’s studio. Palo Alto Street, Hollis, NY, October 15, 1970
J. Lee Konitz, alto saxophone; Warne Marsh, tenor saxophone; Billy Bauer, guitar; Arnold Fishkin, bass; Jeff Morton, drums.
Orchid Room, 1950

K. Same personnel as J.
Soldier Meyers, 1949-‘50

L. same personnel as above, except Joe Shulman, bass replaces Fishkin.
“Voice Of America” Carnegie Hall, NYC, December 24, 1949

M. Peter Ind, bass; Tom Wayburn, drums
E. 32nd Street Studio, 1956

N. Peter Ind, bass; Al Levitt, drums
E. 32nd Street Studio, mid ’50s

O. Sonny Dallas, bass
Lennie’s studio. Palo Alto Street, Hollis, NY, mid ’60s

P. Sonny Dallas, bass; Nick Stabulas, drums
Lennie’s studio. Palo Alto Street, Hollis, NY, 1966

Q Lee Konitz, alto saxophone, Warne Marsh, tenor saxophone, Billy Bauer, guitar
Lennie’s house, Flushing, NY, 1948

R. Sonny Dallas, bass, Nick Stabulas, drums
The Half Note, NYC, c. 1962

S. Lee Konitz, also saxophone, Zoot Sims, tenor saxophone, Sonny Dallas, bass, Nick Stabulas, drums
The Half Note, NYC, c. 1962

The wire recordings, CD 1, tracks 7-11, CD 3, tracks 1-5, CD 6, tracks 1-7 : recorded by Billy Bauer.
CD 2, track 1 recorded by Rudy Van Gelder
CD 2, tracks 2-15 recorded by Lennie Tristano, tracks 16-18 recorded by Lenny Popkin.
CD 4 and CD 5: Recording engineer: Lennie Tristano.

Produced by Jerry Roche, Carol Tristano, Lenny Popkin
Mastering by Lennie Popkin
Executive Producer: Michael Cuscuna
Sound and Audio Restoration: Lenny Popkin
CDs mastered by Lou Gimenez at The Music Lab, Elmont , NY

音楽 ： U-Men – The Art Of Talking

 

U-Men – The Art Of Talking

	Raven Records, Inc – RV 81261
	レコード, LP, Unofficial Release
	UK
	1981年
	Rock
	New Wave, Art Rock

収録曲

A1		Misery Goats	2:37
A2		Modern Dance	3:03
A3		Small Was Fast	3:09
A4		Horses	2:40
A5		Go	3:01
A6		Caligari's Mirror	3:37
B1		Codex	3:37
B2		Ubu Dance Party	3:39
B3		Big Ed's Used Farms	2:39
B4		Real World	2:33
B5		Birdies	2:33
B6		Navvy	2:33
B7		Humor Me	2:39

クレジット

• Artwork By – Sissy
• Composed By – Mr. Thompson*, The U-Men
• Ensemble [Uncredited] – Pere Ubu, Red Krayola
• Performer – Allen Ravenstine, David Thomas (2), Mayo Thompson, Scott Krauss, Tony Maimone
• Producer – The U-Men, Tuff Ravis

ノート

Live recording (possibly 2/22/81 in Krefeld, Germany) by members of Pere Ubu and Red Krayola .

Group is credited on labels as "The U-Man's Experimental Band". Cover is not glued on top and bottom, just folded and has catalogue number RAW99. Individual track titles are not listed but taken from hearpen.com.

バーコードとその他の識別子

• 権利協会 (fake): S.I.A.E.