Reviews that mention Marshall Allen
May 9, 2020
Heliocentric Worlds1 & 2 Revisited
Ezz-thetics 1103
Albert Ayler Quartets 1964
Spirits to Ghosts Revisited
ezz-thetics 1101
Baroque Jazz Trio
Baroque Jazz Trio + Orientasie/Largo
SouffleContinue Records CD fl0 56
Sam Rivers Quintet
Zenith
NoBusiness Records NBCD 124
Willem Breuker & Han Bennink
New Acoustic Swing Duo
Corbett vs Dempsey CD 0066
Something in the Air: Reissues Keep Genre-Defining Sessions in Circulation
MORE
June 26, 2018
Discipline 27-II
Corbett vs Dempsey CD0039
Another in the seemingly limitless number of newly discovered or reissued Sun Ra sessions, 1972’s Discipline 27-II is representative in that the five tracks show off differing angles of the keyboardist/bandleader’s music. Like Stephen Leacock’s description of the fellow flinging himself on his horse and riding off in all directions, Ra was never satisfied with pursuing one musical style, when his band could incorporate a half-dozen or so references into every performance.
Following Ra most intense experimental period, this Arkestra – including eight horn players, six percussionist and four vocalists – was still jam-packed with saxophone solos from John Gilmore, Marshall Allen and others that sutured the metaphysical heft of John Coltrane’s technical explorations with the search for the intangible cosmic tones of New Thing players. Plus Ra’s keyboard arsenal, here consisting of electronic keyboard space age instruments (sic) and Moog synthesizer meant that, for instance, jingled and juddered sonic knob twists and twirls showed up alongside centred drumming and reed shrieks on “Untitled Outtake”. In contrast a track like “Discipline 8” shuttles from movie soundtrack-like accompaniment to cacophony with daubs of oscillated vibrations, muting the duck-like quacks and dog-like yelps from the other horns and Gilmore’s fiery asbestos-shredding tones. Later big band-like riffing and Afro-Cuban hand-palm pressure fight for supremacy. Fletcher Henderson-reminiscent dancing swing propelled by dual baritone saxophone vamps plus brassy color from the two trumpets shares space with Afro-futuristic vocalizing on “Neptune” as reed split tones promote and practically fuelling the spaceship voyage. MORE
January 16, 2018
Heliosonic Toneways Vol. 1
ScienSonic Laboratories SS10
Recorded on the same date as the 50th anniversary of the studio creation of The Heliocentric Worlds of Sun Ra in 1965, the Saturian-American bandleader/keyboardist’s most influential and radical disc, Heliosonic Toneways Vol. 1 is an auspicious salute to that LP. Organized by reedist Scott Robinson who composed the heads and plays a music store’s worth of instruments here, Heliosonic was recorded by Richard Anderson, who also engineered Heliocentric, and features Arkestra leader Marshall Allen on piano and bass marimba as well as his expected alto saxophone and EVI. While Allen is the only holdover from the 1965 LP, among the other participants are those whose experience is on improvised music most exploratory side – with or without Sun Ra – baritone saxophonist/flutist Danny Ray Thompson, bassist clarinetist JD Parran and trombonist Frank Lacy, for instance; plus other accomplished contemporary jazzers such as trumpeter Philip Harper, alto saxophonist Yosvany Terry, percussionist Matt Wilson, bassist Pat O'Leary and bass trombonist Tim Newman. MORE
February 11, 2016
A Modern Jazz Piano Master
By Ken Waxman
Paul Bley who died at 83 in early January was probably never bothered that he was usually described as Canada’s second best-known jazz pianist; Oscar Peterson was the first. But Bley, who shared a Montreal birth with Peterson, and who similarly was honored with induction into the Order of Canada in 2008 – albeit 30 plus years after Peterson – was for all intents and purposes a much more radical pianist than O.P. Peterson, seven years Bley’s senior, was a flamboyant stylist who adapted Art Tatum’s all-encompassing swing era techniques to the structure of modern jazz during an almost incalculable number of performances from the late 1940s until his death in 2007. However Bley, represented on more than 100 discs during his career, cycled through a variety of keyboard strategies from the outgoing to the cerebral, eventually matching the atonality of off-centre techniques with straightforward, melodically measured motion. He was also one of the first serious improvisers to deal with the sonic possibilities that could be extracted from the then brand-new portable Moog synthesizer. Later, such better-known pianists as Keith Jarrett, The Bad Plus’ Ethan Iverson and Satoko Fujii developed their playing following the examples of Bley’s breakthroughs. MORE
September 11, 2014
Live in Ulm 1992
Golden Years of Jazz GY 30/31
Kidd Jordan/Alvin Fielder/Peter Kowald
Trio and Duo in New Orleans
NoBusiness Records NBCD 64/65
Pete Robbins
Pyramid
Hate Laugh Music 003 pet
Jean Derome et Lé Quan Ninh
Fléchettes
Tour de Bras TDB 9004cd
Fred Van Hove/Damon Smith/Peter Jacquemyn
Burns Longer
Balance Point Acoustics BPA2
Something In The Air: Guelph Jazz Festival Reaches A New Maturity MORE
December 15, 2012
In the Beginning 1963-64
ESP-Disk ESP-4069
Pierre Favre
Drums and Dreams
Intakt CD 197
Connie Crothers - David Arner
Spontaneous Suite for Two Pianos
Rogueart R0G-037
Various Artists
Echtzeitmusik Berlin
Mikroton CD 14/15/16
Something In The Air: Multiple Disc Sets for the Adventurous
By Ken Waxman
Defying doomsayers who predicted the death of the LP, the CD’s disappearance appears oversold. True music collectors prefer the physical presence and superior fidelity of a well-designd CD package and important material continues to released. Partisans of advanced music, for instance, can choose any one of these sets. The only saxophonist to be part of saxophonist John Coltrane’s working group, tenorist Pharoah Sanders is celebrated for his own highly rhythmic Energy Music. In the Beginning 1963-64 ESP-Disk ESP-4069, a four CD-package highlight his steady growth. Besides Sanders’ first album as leader, very much in the freebop tradition, as part of quintet of now obscure players, the other previously released sounds capture Sanders’ recordings in the Sun Ra Arkestra. More valuable is a CD of unissued tracks where Sanders asserts himself in quartets led by cornetist Don Cherry or Canadian pianist Paul Bley. The set is completed by short interviews with all of the leaders. Oddly enough, although they precede his solo debut, Sanders’ playing is most impressive with Bley and Cherry. With more of a regularized beat via bassist David Izenson and drummer J.C. Moses, Cherry’s tracks advance melody juxtaposition and parallel improvisations with Sanders’ harsh obbligato contrasted with the cornetist’s feisty flourishes; plus the darting lines and quick jabs of pianist Joe Scianni provides an unheralded pleasure. Bley’s economical comping and discursive patterning lead the saxophonist into solos filled with harsh tongue-twisting lines and jagged interval leaps. With Izenson’s screeching assent and drummer Paul Motion’s press rolls the quartet plays super fast without losing the melodic thread. Sun Ra is a different matter. Recorded in concert, the sets include helpings of space chants such as “Rocket #9” and “Next Stop Mars”; a feature for Black Harold’s talking log drums; showcases for blaring trombones, growling trumpets; plus the leader’s propulsive half-down-home and half-outer-space keyboard. Sharing honking and double-tonguing interludes with Arkestra saxists Pat Patrick and Marshall Allen, Sanders exhibits his characteristic stridency. Enjoyable for Sun Ra’s vision which is spectacular and jocular, these tracks suggest why the taciturn Sanders soon went on his own. MORE
November 30, 2011
Vibrations of the Day
KonstruKt Re048
Odean Pope
Universal Sounds
Porter Records PRCD 4053
At 87 years of age, alto saxophonist, flutist and Electronic Wind Instrument (EWI) player Marshall Allen appears to be busier than ever. One would think that the wiry reedist who ascended to the leadership of the Sun Ra Arkestra shortly after Ra’s planet leaving in 1993 would have his hands full shepherding that rambunctious aggregation. Yet he’s obviously free enough – in both senses of the word – to lend his talents to such notable projects as these CDs. MORE
November 30, 2011
Universal Sounds
Porter Records PRCD 4053
Marshall Allen/KonstruKt
Vibrations of the Day
KonstruKt Re048
At 87 years of age, alto saxophonist, flutist and Electronic Wind Instrument (EWI) player Marshall Allen appears to be busier than ever. One would think that the wiry reedist who ascended to the leadership of the Sun Ra Arkestra shortly after Ra’s planet leaving in 1993 would have his hands full shepherding that rambunctious aggregation. Yet he’s obviously free enough – in both senses of the word – to lend his talents to such notable projects as these CDs. MORE
February 12, 2011
Live at the Knitting Factory Vol. 1 (with Marshall Allen)
Porter Records PRCD 4051
Nu Band
Live in Paris
NoBusiness Records NBCD 16
By Ken Waxman
Recorded almost exactly seven years apart, these high-class discs illuminate drummer Lou Grassi’s hard-hitting yet rhythmically sophisticated style in two advanced group contexts. At home with styles ranging from ragtime to free form, Grassi advances any project in tandem with other players, never drawing undue attention to himself.
A welcome document involving the drummer’s long-constituted – since 1995 – Po Band, Live at the Knitting Factory features flutist/saxophonist Marshall Allen, linchpin of the Sun Ra Arkestra, guesting with the 2000 version of the group. Besides Grassi, trumpeter Paul Smoker, trombonist Steve Swell and clarinettist Perry Robinson are featured along with the late bassist Wilber Morris. That same year, Grassi hooked up with three other mature players to form the Nu Band. Live in Paris, recorded in 2007, demonstrates the close cooperation which has allowed it to flourish. Although each Nu Band member is a leader in his own right – as are Po Band’s participants – the CD’s extended tracks demonstrate the group’s collegial if not musical harmony. Mercurial reedist Mark Whitecage and fiery brass man Roy Campbell have an ideal setting for their contrapuntal connections, while the drummer and solid bassist Joe Fonda – who plays in as many bands as Grassi – not only keep the music on an even keel, but solos impressively. MORE
December 9, 2010
The Heliocentric Worlds
ESP-Disk 4062
Peter Brötzmann Chicago Tentet +1
3 Nights in Oslo
Smalltown Superjazz STSJ197CD
Anthony Braxton/Gerry Hemingway
Old Dogs (2007)
Mode Avant 9/12
Rivière Composers’ Pool
Summer Works 2009
Emanem 5301
Something in the Air
By Ken Waxman
Boxed sets of recorded music have long been a holiday gift. But sophisticated music fans won’t settle for slapped together “best of” collections. Boxes such as these, collecting multiple CDs for specific reasons, should impress any aware listener. MORE
October 17, 2010
Marshall Allen/Matthew Shipp/Joe Morris
Night Logic
Rogueart Rog-0028
More like a cozy song-swap around the campfire by a trio of equals than an intergenerational showdown or torch passing, Night Logic still offers 10 real-time improvisations between of representative of today’s advanced music and a musician who has trawled the sonic spaceways for many decades.
Pianist Matthew Shipp, 49, epitomizes the contemporary multi-directional explorer, at home playing in advanced Free Music situations with bassist Mike Bisio and saxophonist David S. Ware, to cite two, as he is involved in synthesizers and programming with Chris Flam or the Anti-pop Consortium. Joining him here is multi-instrumentalist Marshall Allen, 86, who has been part of Sun Ra’s Arkestra since 1956 and led the large improvisational ensemble since Ra’s death 16 years ago. Backing both with stops and strokes that are usually more felt than heard is bassist Joe Morris, 54, equally renown for his guitar playing. MORE
July 24, 2009
The Will Come, Is Now
ESP 1099
Sun Ra
Featuring Pharoah Sanders & Black Harold
ESP 4054
Reissued and newly discovered sounds by composer/bandleader Sun Ra [1914-1993] are helping to fill gaps in his massive oeuvre and present a more complete picture of his activities. These two exceptional discs for instance, recorded a decade apart by a distinct Ra Arkestra and a valued member of his organization reveal additional – and unexpected – facets of Ra’s musical life.
Paradoxically, each suggests that despite his extraterrestrial trappings, the loquacious Ra may have actually been only as avant-garde as Duke Ellington, who similarly was never at a loss for words. Featuring Pharoah Sanders & Black Harold for example, combines previously un-issued and spottily distributed 1964 tracks that showcase musicians who otherwise didn’t play with the Arkestra. In this way the sessions are not unlike radio air checks that capture the work of unrecorded Ellington bands of the 1940s. Similar to what those slabs of the Ducal canon also reveal, the tracks prove that no matter how powerful the presence of tenor saxophonist Sanders – subbing for John Gilmore who had joined Art Blakey’s Jazz Messengers – and log drummer/flutist Black Harold (Murray) – who would reappear for a time in the 1990s in Chicago’s Ethnic Heritage Ensemble – is, their contributions don’t really modify Ra’s singular and mercurial vision. MORE
July 24, 2009
Featuring Pharoah Sanders & Black Harold
ESP 4054
Ronnie Boykins
The Will Come, Is Now
ESP 1099
Reissued and newly discovered sounds by composer/bandleader Sun Ra [1914-1993] are helping to fill gaps in his massive oeuvre and present a more complete picture of his activities. These two exceptional discs for instance, recorded a decade apart by a distinct Ra Arkestra and a valued member of his organization reveal additional – and unexpected – facets of Ra’s musical life.
Paradoxically, each suggests that despite his extraterrestrial trappings, the loquacious Ra may have actually been only as avant-garde as Duke Ellington, who similarly was never at a loss for words. Featuring Pharoah Sanders & Black Harold for example, combines previously un-issued and spottily distributed 1964 tracks that showcase musicians who otherwise didn’t play with the Arkestra. In this way the sessions are not unlike radio air checks that capture the work of unrecorded Ellington bands of the 1940s. Similar to what those slabs of the Ducal canon also reveal, the tracks prove that no matter how powerful the presence of tenor saxophonist Sanders – subbing for John Gilmore who had joined Art Blakey’s Jazz Messengers – and log drummer/flutist Black Harold (Murray) – who would reappear for a time in the 1990s in Chicago’s Ethnic Heritage Ensemble – is, their contributions don’t really modify Ra’s singular and mercurial vision. MORE
June 18, 2009
Live in Cleveland 1975
Golden Years of New Jazz GY 29
Sun Ra
Secrets of the Sun
Atavistic ALP 266 CD
Sun Ra’s near-cultish status among some fans, means that, unlike the fanatical disciples such as Dean Benedetti, who preserved non-commercially released work of Charlie Parker and other major jazz figures, Ra material-hoarders number in the hundreds. Consequently previously unknown – or un-circulated – material turns up with increased regularity. Both of these sessions fit into that category. MORE
June 18, 2009
Secrets of the Sun
Atavistic ALP 266 CD
Sun Ra
Live in Cleveland 1975
Golden Years of New Jazz GY 29
Sun Ra’s near-cultish status among some fans, means that, unlike the fanatical disciples such as Dean Benedetti, who preserved non-commercially released work of Charlie Parker and other major jazz figures, Ra material-hoarders number in the hundreds. Consequently previously unknown – or un-circulated – material turns up with increased regularity. Both of these sessions fit into that category. MORE
October 8, 2008
On Jupiter
Art Yard CD 004
Sun Ra
Sleeping Beauty
Art Yard CD 003
Unlike many committed sonic experimenters, keyboardist/composer/band leader Sun Ra (1914-1993) never denigrated any type of music – he used them for his own ends.
Thus these notable 1979 sessions, recorded when his Intergalactic Myth Science Solar Arkestra numbered 20 plus musicians, do more than promulgate Ra’s usual mixture of Black Pride and Science Fiction in an improvised jazz context. The compositions add elements of impressionistic moodiness, gospel harmonies, doo-wop vocals, solo piano blues and big band riffs. Furthermore, post-production processing plus the distortions available from electrified guitar, bass, piano and organ also bring out echoes of rock, R&B and even disco. MORE
May 3, 2008
Sun Ra & His Outer Space Arkestra
Some Blues But Not The Kind Thats Blue
Atavistic UMS ALP 265 CD
Sun Ra
The Complete Disco 3000 Concert
Art Yard CD 001
Nearly 15 years after his death – oops, leave-taking for another planet – reissued, unknown and newly discovered sessions by keyboardist/composer/band leader Sun Ra (1914-1993) continue to appear. With the facilities of his own Saturn label plus whichever label(s) he was signed to at the time available to him, Ra evidently recorded just about every scrap of sound involving him and his band.
Furthermore, although Ra was first and foremost a large ensemble specialist – he directed the last constantly working big band – if the occasion demanded, he fronted small groups as well – as these fascinating documents attest. As tradition-oriented as he was futuristic, Ra’s set list was as colossal as it was unpredictable. Thus these discs recorded in 1973, 1977 and 1978, contain not only new material such as both CDs’ title tracks, but a mixture of Ra “hits” such as “We Travel the Spaceways” and “Sun of the Cosmos” and standards such as “My Favorite Thing” and “Nature Boy”. MORE
May 3, 2008
The Complete Disco 3000 Concert
Art Yard CD 001
Sun Ra & His Outer Space Arkestra
Some Blues But Not The Kind Thats Blue
Atavistic UMS ALP 265 CD
Nearly 15 years after his death – oops, leave-taking for another planet – reissued, unknown and newly discovered sessions by keyboardist/composer/band leader Sun Ra (1914-1993) continue to appear. With the facilities of his own Saturn label plus whichever label(s) he was signed to at the time available to him, Ra evidently recorded just about every scrap of sound involving him and his band. MORE
November 15, 2005
Improv On The Move
for CODA
Taking the concept of free-flowing improvisation a step further, one morning at this year’s Guelph Jazz Festival (GJF), 15 musicians performed simultaneously in four different whitewashed rooms of the Macdonald Stewart Art Centre.
The workshop developed this way, according to Ajay Heble, GJF artistic director, because so many musicians wanted to participate. Some – American alto saxophonist Marshall Allan, British pianist Veryan Weston, Québécois guitarist René Lussier and American banjoist Eugene Chadbourne – rooted on a spot and collaborated with whoever came along. Others moved from place to place and up and down the staircase as they played. MORE
March 8, 2004
Spaceship Lullaby: The Vocal Groups: Chicago 1954-60
Atavistic Unheard Music Series UMS243CD
Undoubtedly one of the most -- if not the most -- bizarre items in the massive Sun Ra discography, this CD showcases the pianist and infrequently members of his Arkestra backing up three pro-am Chicago vocal groups.
While there’s some grotesque fascination in listening to some of the 37 [!] songs the three sets of singers -- the Nu Sounds, the Lintels and the Cosmic Rays -- perform, you have to realize that many of the 74 plus minutes of music are merely of rehearsal tape quality. Plus true appreciation of the results must come with a certain tolerance for schmaltz. Before he took his band and cosmic visions to New York and later Philadelphia, Sun Ra was very much part of Black show biz in the Windy City. Thus much of the singing is given over to a cross section of pre-rock’n’roll standards and originals, some as cringe-inducing as “A Perfume Counter (in Paris)” and “The Wooden Soldier & The China Doll”, both sung by the Lintels. MORE
December 30, 2002
Music From Tomorrow's World
Atavistic Unheard Music UMS/ALP 237CD
Analogous to hearing Count Basie's band at Kansas City's Reno Club in 1935 or Charlie Parker's legendary stand at New York's Famous Door in 1953 with Thelonious Monk on piano, these newly unearthed tapes offer 17 Chicago performances from 1960 by Sun Ra's then tiny Arkestra.
Their fascination lies more in what the Arkestra isn't then what it is. Not yet the familiar, well-organized band of a dozen musicians plus, instead these tracks feature both a sextet and an octet, working through -- sometimes for the first time -- newly recorded or soon to be taped Ra compositions. Some of the tunes would become Arkestra classics; some would never be recorded or heard again. Additionally, since the first seven selections were taped at Ra's regular gig at the Wonder Inn at Cottage Grove and 75th on Chicago's South Side, you get to hear how the band functioned in a non-listening room circumstance. Mixing familiar show tunes, light classics, jazz syncopation and Ra inventions, the band showed that schtick and showmanship were upfront more than 40 years ago. MORE