Ogun Records

Label Spotlight
By Ken Waxman

Nearly 40 years after it released its first disc – and after pressing about 40 LPs and 30 CDs – London-based Ogun Records is still chugging along, with managing director Hazel Miller maintaining it as a one-woman show. Strongly identified with the South African musicians who fled Apartheid for the United Kingdom during the 1960s as well as with the British innovators affiliated with them, Ogun puts out three to four CDs annually. The discs are a mixture of CD transfers of important LPs; newly recorded discs; plus never-before-released historical sessions.

Necessity was the mother of Ogun’s invention in 1974, initially by Miller and her then-husband, the late bassist Harry Miller (1941-1983). Born in Cape Town, Miller played with many bands in England, including Chris McGregor’s Brotherhood of Breath (BOB) big band, whose Live at Willisau became the fledging label’s first release. “Global record companies started to show a disinterest in European contemporary jazz and improvised music in the mid-1970s,” recalls pianist Keith Tippett. “So Ogun stepped forward to document and record the South Africans exiled in London and English musicians who were working together in ensembles too numerous to mention.”

Involved in many facets of the music scene, British-born Miller was managing BOB at the time, and “that’s how the tapes were offered to kick-start the label,” she recalls. “Chris [McGregor (1936-1990)] was keen for the success of Ogun and totally supportive.” Survival played a part too, since musicians needed records to promote their work. Dick Hodge, a friend and professor of African history, helped cover the initial costs, and organized a share portfolio to finance Ogun. Hodge also came up with the label name which is that of the Yoruba God of work and iron, while another friend created its distinct anthropomorphic logo. Hodge departed soon afterwards and since that time, courtesy of record sales, plus what Miller terms “an understanding bank manager”, Ogun has flourished.

Harry Miller’s role had been artistic director, which as Hazel Miller recalls often involved carrying “1,000 LPs up three flights of stairs to our home,” while she organized all administrative aspects of the label, as well as booking gigs, setting up concerts and doing promotion work for many of the affiliated groups. Although she and Miller subsequently split up, and he later died in an auto accident, Ogun’s course had been set.

“I often set up gigs which we then recorded,” Miller recalls of the label’s beginnings, leading to memorable discs such as saxophonist Mike Osborne trio’s Border Crossing – now half of the CD Trio & Quintet – and Ovary Lodge featuring Tippett/Harry Miller, vocalist Julie Tippetts and percussionist Frank Perry. Most early records were engineered by Keith Beal. Today, Miller says “I use recordings made at the time of the concert by BBC, studios sessions or recordings by individuals.”

Although most of the players recorded were in the South African-British Free Music axis, a few continental Europeans are represented as well. “The non-South African-releases resulted from being approached by those musicians and if there wasn’t anything in the pipeline and it fitted into our catalogue we produced them,” explains Miller “We were also pleased to add different music to the catalogue, because in many cases it was from musicians we knew and liked.”

Ogun’s meticulous accounting system hasn’t changed from years past either, she continues. “Each project is costed and the budget discussed and agreed upon with those involved.” With file copies of all the Ogun LPs still on hand Miller reports that “transition to CD wasn’t a problem … and they take up less room which is a bonus”. Although Ogun was semi-dormant for a time during the 1980s to prepare for the format change, Elton Dean’s The Bologna Tape, McGregor, Dudu Pukwana and Moholo’s Blue Notes for Johnny – part of the five-CD box set The Ogun Collection – and Moholo-Moholo’s Viva-la-Black appeared during the time. A substantial order from Disk Union, Ogun’s Japanese distributor for CD copies of Tippett’s big band Ark session and Soft Head’s Rogue Element, featuring saxophonist Elton Dean and bass guitarist High Hopper, “funded us nicely forward” and helped ease the transition to CD, she adds. “Digitalization is obviously a path to wander down in the future,” Miller notes, “but only the released CDs of archive material have been done so far.”

Over the years, Rogue Element and Ark have remained some of Ogun’s best-selling discs along with Dean’s Ninesense Happy daze/Oh! for the edge on CD, plus different CDs by Moholo-Moholo. Steady sellers on both LP and CD formats are sessions by BOB and the original South African combo, the Blue Notes, plus the Blue Notes’ The Ogun Collection.

“All over the world people can hear our heart’s vibrations because of Ogun”, exults Moholo-Moholo, who was featured on Live at Willisau in 1974 and continues to record for the label today. “We are so rich musically because Ogun stepped in to record us when times were tough. It’s still spreading the music to places where other recording companies did not.”

As with most small labels, distribution remains a problem, with gaps as local companies go in-and-out of business. Right now, notes Miller: “Ogun is distributed through Harmonia Mundi in the UK, Orkestra in France, Distrijazz in Spain and Portugal, IRD in Italy, Music by Mail in Denmark, No Man’s Land in Berlin, and Wayside Music, Downtown Music Gallery, Dusty Groove and Squidco in the U.S.

“And” she adds proudly, “at last I have a distributor in South Africa: Pretoria’s Mabitsela Music & Events.”

“For 37 years Hazel Miller has tirelessly worked to make possible the documentation of this passionate music,” notes Julie Tippets. “So today it’s here for everyone to hear”.

Continuing to issue new CDs means that even with its long history Ogun remains much more than a reissue label, insists Miller. Plus, like the recent Spiritual Knowledge and Grace capturing a nightclub gig of Moholo-Moholo, Pukwana and Dyani with American saxophonist Frank Wright, some future scheduled CDs consist of material recorded in the past, but never released. There’s another disc from the Blue Note’s sojourn in Holland, without Wright, but with McGregor for instance, plus a multi-disc McGregor project, the size or scope of which has to be decided. Among the new issues will be Moholo-Moholo’s concert at the 2010 London Jazz Festival

“Whilst there are still fans out there we shall continue to release archive music and new recordings,” says Miller with finality.

--For New York City Jazz Record December 2011

December 5, 2011

Louis Moholo-Moholo/Dudu Pukwana/Johnny Dyani/Rev. Frank Wright

Spiritual Knowledge And Grace
Ogun OGCD 035

Elton Dean’s Ninesense

Suite

Jazzwerkstatt JW 107

Prime, hitherto-unreleased slices of Jazz’s past, these CDs not only bring into circulation historically important live performances, but also confirm the skills of featured percussionist Louis Moholo-Moholo. One of the last surviving members of the many South African improvisers who left the country in the early 1960s because of Apartheid, Moholo, 71, still plays in fine form, and has returned to live in South Africa.

In 1979, 1981 and 1982 when these sets were recorded, Moholo – who added the second “Moholo” to his name following his mother’s death – and other SA expats were involved in different situations. No longer part of the cohesive Blue Notes band with which he had arrived in England in early 1960s, some players such as Moholo and saxophonist Dudu Pukwana regularly joined with pioneering British free improvisers in groups such as Chris McGregor’s Brotherhood of Breath, led by another ex-Blue Note, or other formations such as saxophonist Elton Dean’s Ninesense represented here. Meanwhile bassist Johnny Dyani, another former Blue Noter had moved to the continent.

Spiritual Knowledge And Grace is particularly noteworthy since Pukwana, Dyani and Moholo are captured on a rare one-off gig in a Netherlands club with tenor saxophonist Frank Wright. Known as “Rev” for his soulful playing, Wright was a first-generation New Thinger who had also moved to Europe for greater opportunities. The second CD is another matter entirely. Recorded at 1981’s Jazzwerkstatt Peitz, the closest thing to a Woodstock Festival that existed in what was then East Germany, the first track is an over-40 minute suite with Moholo’s drums powering a group of some of the era’s most accomplished British Freeboppers. Recorded at the same location the next year, “Natal” is different still. Here the drummer is part of bare-bones trio with two other United Kingdom-based expatriates: Barbados-born trumpeter Harry Beckett (1935-2010) and Cape Town-native, bassist Harry Miller (1941-1983).

With Miller and Beckett taking centre stage with elongated grace notes from the trumpeter and cerebral string-set anglings and staccato extensions from the bassist, the drummer’s chief function is encouragement; both percussively and verbally. Slightly older than the others, Beckett’s roughened grace notes, peeps and squeals are never less than tonic. He splutters out intense improvisational tropes throughout, but without straying too far from the melody. Miller on the other hand varies his slaps, walking and jabs with quick-popping and sul tasto scrubs. While operating in double counterpoint with the trumpeter, his technique reflects four-string advances that had taken place during the proceeding decade. Contributing to coloration and rhythmic thrust are Moholo’s drums, a presence every step of the way.

The drummer’s rhythmic skill is stretched even more on the two half-hour plus selections which make up Spiritual Knowledge And Grace. That’s because his beat is the only constant as the others introduce new textures throughout by switching instruments. Wright as well as Dyani plays bass at points, while both Dyani and Pukwana contribute piano patterns when needed. This multi-instrumentalism become particularly problematic during the nearly 40-minute “Contemporary Fire”, when the South Africans begin encouraging one another – tongue clicking and chanting – in Xhosa, although it does mean that the Tranesque reed overblowing heard is from the American. Wright’s disconnected tenor saxophone punctuation plus high-frequency squeals and flutters also improvise in tandem with similar tone extensions from Pukwana’s alto saxophone with each man reaching for higher-pitched notes as Dyani pounds piano variations behind them. It’s also Wright who most likely adds a trebly, diaphragm vibrated blues-swing line to his playing, tossing in split-second quotes as he trades off with the altioist, each offering staccato variation on the initial theme.

On his own Dyani offers tough flamenco-styled plucks, multi-fingered runs and arco slides, as Pukwana creates pressurized key-clipping piano runs and Wright wraps up with characteristic Gospel-and-Bop vibrations. Earlier his renal sax ejaculations contrast markedly with the altoist’s chromatic squeals. While the interacting reed trills may call to mind other tenor-alto partnerships like John Tchicai and Archie Shepp, here, at least, Wright glossolalia and split tones confirm that this native of the Southern U.S. may have been more influenced by musical voodoo then the native of Southern Africa who had closer knowledge of witch doctors. When the horns decorate the initial theme with intense phrases at different lengths, Dyani’s thumps and sul ponticello strains plus Moholo’s press rolls and cymbal accents keep the ragged interface from splintering and vanishing into the stratosphere.

Fortissimo layered solos from the six horns, alone and in teams, presents a similar organizational challenge on the other CD. But at least the vibrated reed lines and exploding grace notes from the brass are kept down to earth by a full rhythm section. Solid in his pacing as he is inspired in his soloing, Miller thickens the beat as much as Walter Page with the Basie band or Bill Crow with the Concert Jazz band would have done in similar circumstances. As for pianist Keith Tippett, the former-and-future experimenter sounds appropriately grounded. Throughout, he sluices from metronomic pulsing and merry-go-round key splatters to motivated single-note comping that could have come from Count Basie’s keyboard. As for the horns, multiphonic hocketing, animalistic shrieking and discordant vibrations share space with more common swing motifs. The frequent stop-time sections also give ample space to reed splatters, trombone guffaws, one mellow trumpet aside – from Beckett? – split tone squeals from Dean’s saxello alongside linear reed blending and brass fluttering.

Eventually a climax is reached once Alan Skidmore’s intense tenor saxophone solo and key-clipping from Tippett gives way to verbalized cat calls and retches from the band members, pushing the cacophonous call-and-response section work to a satisfying conclusion.

When the inspirational playing from the dozen players represented on both CDs is matched with the novelty of hearing these previously unknown sessions, it makes both valuable additions to all-encompassing collections of European contemporary Jazz.

--Ken Waxman

Track Listing: Spiritual: 1. Ancient Spirit 2. Contemporary Fire

Personnel: Dudu Pukwana (alto saxophone, piano, whistle and voice); Rev. Frank Wright (tenor saxophone, bass and voice); Johnny Dyani (bass, piano and voice) and Louis Moholo-Moholo (drums and voice)

Track Listing: Suite: 1. Ninesense Suite 2. Natal

Personnel: Suite: 1. Harry Beckett and Mark Charig (trumpets); Nick Evans and Radu Malfatti (trombones); Elton Dean (alto saxophone and saxello); Alan Skidmore (tenor saxophone); Keith Tippett (piano); Harry Miller (bass) and Louis Moholo (drums) 2. Beckett, Miller and Moholo

October 30, 2011

Peter Brötzmann

Alarm
Atavistic ALP257CD

Brötzmann/Mangelsdorff/Sommer
Pica Pica
Atavistic ALP258CD

Two more valuable CD reissues of Wuppertal, Germany-based saxophonist Peter Brötzmann’s work for FMP in the 1980s once again show his versatility. One disk offers proof positive that the hard-driving reedist can easily hold up his side in an all-star trio configuration, while the other shows how he helps spark aural fireworks in a nonet situation.

Ironically the aptly-named Alarm almost ended up being more than a fanciful “blast from the past”. This Hamburg radio gig with a multi-national cast of nine Free Jazzers had to be interrupted after the 40 odd minutes captured on the disc were recorded because a phoned-in bomb threat meant that the audience, technicians and musicians had to quickly evacuate the hall.

Lacking the extra-musical drama of the other date, Pica Pica is just as incendiary, with Brötzmann playing tenor, baritone and alto saxophones and tarogato as one part of a little-recorded trio. His front-line partner is veteran trombonist Albert Mangelsdorff, then in the most experimental phase of his long career, but the real surprise is the presence of Günter “Baby” Sommer on traps set and horn. Like Han Bennink of the Netherlands –

Brotz’s usual percussion partner – Sommer is an all-around drum master. Unlike Bennink, he resides in East Berlin, on the other side of the then-existing wall, so he was just starting to interact with non-East Block players.

You couldn’t tell that from this session. Sommer’s tambourine shuddering cymbal raps, intense cross sticking and triplet flams and rattles add heaving tension to the tunes, which take on new dimensions when he releases the beat. As the trombonist and reedist bluster away on two long improvisations and the short title track, Sommer contributes blunt polyrhythms, using sticks, brushes, palms and fists to provide vivid brush strokes of aural color. The jokey and jittery “Pica, Pica” makes the greatest use of the drummer’s faux parade-drill timing. But his harsh ruffs and bulldozer-like press rolls are in evidence throughout.

Rotating among his horns like a mini-reed section Brötzmann spins from steady air raid siren glossolalia on alto to inchoate, near bagpipe-like timbres on tarogato and slurry and smeary reed undulations on baritone. His characteristic stratospheric glottal punctuation is often evident, as are his mouse-squeaking altissimo tones. Once, when he seems to be soloing on two different horns, it becomes apparent that the secondary timbres are from Sommer’s horn.

Articulating chromatic grace notes and whinnying plunger tones, Mangelsdorff’s triple-tongued slurs make common cause with the saxophonist’s staccato phrasing. Often accompanying as well as soloing, his pedal-point lilt sneaks in a common Bop riff at the end of “Wie Du Mir, So Ich Dir Noch Lange Nicht” to keep the proceedings on track as the piece downshifts to muted harmony.

Triple the brass, reed and rhythm on Pica Pica, and you approximate the cacophonous polyphony that arises during Alarm’s extended title track. Surprise at this explosion is a moot – but definitely not a mute – point when you consider the other players. The rhythm section is made up of German Free Jazz big band leader Alexander von Schlippenbach on piano plus two European-domiciled South African expatriates, bassist Harry Miller and drummer Louis Moholo. Brass was Japanese trumpeter Toshinori Kondo – who would reunite with Brötz for the Die Like A Dog band in the 1990s – and two trombonists: modern gutbucket stylist, East German Johannes Bauer, and British trombonist Alan Tomlinson, who was also a member of the London Jazz Composers Orchestra.

Joining Brötzmann on reeds is Willem Breuker from the Netherlands, then (1981) closer to his Free Jazz roots than his later composerly stance; plus American tenor saxophonist Frank Wright, a first generation New Thinger then part of the burgeoning Yank jazzmen-in-Europe-Diaspora.

Driven by the dense and unyielding rhythm section – that in Miller’s case also encompasses shuffle-bowing tremolo and stretched sul ponticello jetes – the massed band exposes the robust theme, variations of which are utilized by the horn section as linking motifs that connect the solos. And what solos they are.

Von Schlippenbach is at his most manic, turning high-intensity pummeling into a metronomic fantasia of exaggerated note clusters and patterns. Kondo contributes half-valve squeezes and brassy slurs, while the stop-time dual trombone theatrics include guttural, spittle-encrusted blasts and metal-scraping concussive expansion.

Not that the reedists are outdone. Except for an off-kilter, a capella raggedy march – is it a mess call or a mail call? – the majority of the saxophone timbres undulate almost physically. Parlando and flutter tonguing, each of three saxmen at times gets involved in double counterpoint with an individual brass player until hyper-fast piano motifs push the tune forward. Slip-sliding, roller-coaster-like coils and twists are expressed by both horn families, as are snorting, basement-level expositions and shrill altissimo timbres. Eventually the high-level pan-tonality gives way to conclusive slurs.

While it’s difficult to isolate individual soloist, there’s no doubt that it’s Wright who sings the jivey lyrics to his own brief “Jerry Sacem”. A rhythmic blues, the undemanding melody and Moholo’s backbeat easily speed the audience outside the studio without anyone being panicked about the purported bomb threat.

Luckily this part of the concert was preserved. It, along with the other CD fills in some gaps in European Free Jazz history. But both are exhilarating listening as well.

-- Ken Waxman

Track Listing: Alarm: 1. Alarm Part 1 2. Alarm Part 2 3. Jerry Sacem

Personnel: Alarm: Toshinori Kondo (trumpet); Johannes Bauer and Alan Tomlinson (trombones); Willem Breuker (alto and tenor saxophones); Peter Brötzmann (tenor and alto saxophone); Frank Wright (tenor saxophone); Alexander von Schlippenbach (piano); Harry Miller (bass) and Louis Moholo (drums)

Track Listing: Pica: 1. Instant Tears 2. Wie Du Mir, So Ich Dir Noch Lange Nicht 3. Pica, Pica

Personnel: Pica: Albert Mangelsdorff (trombones); Peter Brötzmann (tenor, baritone and alto saxophones and tarogato) and Günter “Baby” Sommer (drums and horn)

November 14, 2006

RAPHE MALIK QUARTET

Last Set: Live at the 1369 Jazz Club
Boxholder BXH 042

BRÖTZMANN CLARINET PROJECT
Berlin Djungle
Atavistic Unheard Music Series UMS/ALP 246CD

Getting an understanding of the situation for committed free improvisers in Europe as opposed to the United States in the mid-1980s is pretty obvious when listening to these two live CDs, recorded about two months apart, both of which happen to have William Parker in the bass chair.

In early November 1984, German reedist Peter Brötzmann put together an international, all-star, 11-piece “Clarinet Project” for a special concert in a Berlin theatre as part of that city’s Jazzfest. Beside himself the clarinetists were Tony Coe from England, Louis Sclavis from France, East German Ernst-Ludwig Petrowsky and J. D. Parran and John Zorn from the U.S. But that’s not all. The ensemble also included Japanese trumpeter Toshinori Kondo, East German Johannes Bauer and Briton Alan Tomlinson on trombones, with British drummer Tony Oxley supplying the bottom along with Parker. By all accounts the one lengthy piece was welcomed by the audience.

Across the ocean in Boston, hometown boy trumpeter Raphe Malik was doing a series of local club dates with a trio filled out by Parker and drummer Syd Smart. This CD, recorded at Cambridge’s 1369 Jazz Club, is particularly notable, since the trio was joined by pioneering New Thing tenor saxophonist Frank Wright in his only Boston-area gig. A long-time expatriate and Paris resident, Wright died in 1990. Here too the audience is enthusiastic, but you get the feeling that for most Bostonians -- heck, Americans -- this performance could be dismissed as just another club date by players too stubborn to adopt the fashionable fusion or neo-con styles of the time.

Unsurprisingly -- for pertinent pure improv is about a lot more than in-the-moment fashion and audience accessibility -- both performances feature considerable musical values that recommend them.

Take LAST SET for instance. Undeterred by the fact that this was just another club date, Malik, Wright, Parker and Smart give their all. Maybe they didn’t know how to improvise any other way. Wright especially is so caught in the moment that when he’s not forcing out emotional reed riffs he vocalizes quasi-verbal exhortations during the others’ solos.

This mostly tales place on “Companions #2”, the almost 30-minute centrepiece of the disc. Performed hell-bent-for-leather, it shows that neither front-line partner had lost any efficacy from his so-called 1960s (Wright) or 1970s (Malik) prominence.

From the beginning, Wright slurs and slides and growls and overblows, putting R&B-flavored mid-range vibrated snorts and deeper-pitched honks into his solo. As he mutates variations of the blaring theme, he masticates sounds from the lowest section of his horn’s bow up to the cork attached to his mouthpiece. Malik’s broken octave accompaniment converges with rapid, spiky triplets and sprightly hide-and-seek timbres.

As the trumpeter solos, Wright, caught up in the moment, begins a weird sort of Free Jazz style vocalizing filled with mumbled asides, Bronx cheers and lip trumpet action. Behind him Parker’s speedy arco line reaches a sul ponticello crescendo, while Smart, who labors as a public school teacher as well as playing as a valued local musician, uses his bass drum and sock cymbal to resonate heavy nerve beats and drum paradiddles.

One climax is reached as Malik spews machine-gun style triplets that are soon joined by Wright’s irregularly voiced tenor. As the saxman’s mid-tempo variations on the theme turn to variations on variations -- featuring only a few R&B snorts -- Malik come up with a separate, but complementary theme of sweet, high-pitched grace notes and some bugle-call intimations. Swaying spiccato from the bassist slow the tune down for the finale with splattered triplets from Malik serving as the coda.

Featuring heraldic trumpeting from Malik, double-tongued fanfares and the odd satisfied grunt from Wright, “Sad C”, the first track, is more of the same. However, “Chaser” the final number is an exercise in freebop, which judging from its title, may be a contrafact, with a new head superimposed upon the existing set of changes from Monk’s “Straight, No Chaser”.

Wright’s influences are blusier than bop, however, and his slurred pitch and wide vibrato encourages Malik to sound plunger-focused theme variations as Parker walks and Smart plays a shuffle. Ever heard finger-popping Free Jazz? Here is it in volume. Soon the reedist is snorting raucous riffs over and over again as Malik shrills rubato broken chords in tandem with him. Pedal point chortles and bubbling colored air confirm that the band is still in free territory, but the audience reacts as if it was in attendance at a James Brown performance.

With three times the brass capability and six times the reed power, Brötzmann and company’s polyphony has much more volume but about the same amount of energy as Malik’s quartet on its single almost 50-minute piece. Strangely for a clarinet showcase, the CD begins with a Scottish bagpipe-type air from Brötzmann’s tarogoto that’s quickly joined by the wavering pitch of the other reeds, including Sclavis’ wiggling bass clarinet.

Using tongue slaps for emphasis, the theme’s first development leaves the rhythm section to cleave to the bottom as the horns increase the volume while spurting squeaks and trills. One quarter of the way through, the brass finally asserts itself, with elephant-like trumpeting plus hippo-like snorts and snores from the trombone. Cutting through the responding reed pitches are oddball, vocalized static and whistles, probably courtesy of Zorn’s clarinet mouthpieces. Playing entire passages in ear-splitting altissimo, he alternates harsh raspberries, duck-like quacks and plush toy squeaky timbres. Oxley’s anvil-like bass drum blows and clip-clop cymbal tempos keep things on an even keel until a parlando trombone solo, possibly from Bauer, rouses the audience’s applause.

As Parker’s strums and Oxley’s rhythmic power reins in the jagged peaks and valleys of the horn lines, one sibilant romantic tone supersedes the others. Probably from the clarinet of Coe, whose experience encompasses studio and commercial big band work as well as freer episodes, it provides a moderating influence on the contrapuntal discord around him that starts to resemble ornithological mealtime. With the muted ‘bones supplying rubato counterpoint, the reeds form quivering accordion-like harmonies leading to a finale of sky-high honks and twitters.

The bassist’s screechy sul ponticello lines and the drummer’s irregular patterning on cow bell, wood block and ride cymbal seem merely an afterthought or solo reward for yeoman accompaniment service. Recapitulating the beginning, Brötzmann reintroduces the tarogato and attempts, on pure lung power, to go one-on-one with Oxley. Percussion strength barely triumphs, but only because a posse of other reeds joins in for a postlude of polytonal split tones.

A singular experience BERLIN DJUNGLE produces some memorable textures and must be admired for Bötzmann’s decision to broaden his compositional range. Yet LAST SET also proves that plenty of good music was also being produced far from the spotlight, and which -- like this session -- has only been preserved by happenstance.

-- Ken Waxman

Track Listing: Berlin: 1. What A Day First Part 2. What A Day Second Part

Personnel: Berlin: Toshinori Kondo (trumpet); Johannes Bauer and Alan Tomlinson (trombones); Peter Brötzmann (clarinet, tenor saxophone and tarogato); Tony Coe, Ernst-Ludwig Petrowsky, J. D. Parran (clarinets); Louis Sclavis (clarinet and bass clarinet); John Zorn (clarinet and mouthpieces); William Parker (bass); Tony Oxley (drums)

Track Listing: Last 1. Sad C 2. Companions #2 3. Chaser

Personnel: Last: Raphe Malik (trumpet); Frank Wright (tenor saxophone and voice); William Parker (bass); Syd Smart (drums)

February 28, 2005