Much has been written about the period, the innovative work of Stevens and SME, and this album, so we now move into areas where opinions differ, and this being free improvisation, there is often heated debate, and some grumpiness.
Unlike Bailey, for those who were not there, all we have is this album and a handful of others. They had all performed with each other at the Little Theatre Club, but never in this combination, and due to the vicissitudes of musical life the grouping was never to play again.
They got together at the Club a few days after the session, but only for the photograph which appeared on the back cover see below. Like many others, Stevens was looking for an alternative to traditional hierarchies dominated by certain instruments, taking place within a predictable format. He wanted a real assimilation, with everyone playing on an equal footing. Of course, music did not have to wait for free improvisation to discover the integration of equal, though distinct voices — the idea is as old as polyphony itself — but SME was bringing something new to the table, rethinking the dynamics of group play in improvised music, in this case, the jazz tradition and the standard instrumentation employed on the album, using material generated in the moment.
Referencing what others are doing can take many forms. Some of the playing is imitative: small cells bounced around the instruments. Stevens uses his own custom-built kit, designed to sound at the same volume as other instruments. In fact, the master tapes are divided into sections suggesting that the final version was compiled from separate takes. The parts are banded on this and the previous CD edition. Romantic Evening Sex All Themes. Articles Features Interviews Lists.
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With Ludovico Granvassu. The photo on the original sleeve was assembled at the Little Theatre Club a few days after the recording. This photo shoot was not at a performance, in fact this specific combination of players never played together again. Some black and white photographs were taken with a camera that I took to the date. On release the record enjoyed some critical success but sold very few copies I am sure. If there were any sales and royalty statements my assumption is that they went to Eddie Kramer who by then was very busy with Jimi Hendrix.
He was delegated to negotiate with Eddie Kramer who had long been established in New York and enjoying the reputation as the engineer who recorded the first Jimi Hendrix records.
I contacted the other musicians, and they agreed that I be empowered to act on their behalf over the new license to Trevor Mainwaring. He had arrived at a financial agreement with Eddie Kramer who proposed either a ten year license from him after which control of the masters would revert to him or, for a slightly larger sum, an outright buy-out.
I encouraged Trevor Mainwaring to take the buy-out on the group's behalf. He paid Eddie Kramer which in turn became an advance to the five parties involved. In other words we, the musicians, were advanced the money to buy the tapes outright. We in turn then agreed that Trevor Mainwaring would have the rights to issue CDs for a period of ten years after which the licence would expire and ownership in the recordings would revert to the musicians and their estates.
Trevor Mainwaring then took delivery of the tapes and they were remastered by Dave Bernez at Townhouse, using the best digital technology available at that time, under my supervision.
On the death of Trevor Mainwaring and the expiry of the license period, I approached his widow Lisa Smith-Klossner for the return of the master tapes. These unique master tapes are in my possession. The new 'limited edition' version released by Universal in Japan must have been made from an Island LP — a so-called 'needle drop'. Today only Dave Holland and I survive of the original quintet. In recent times he and I have been discussing the possible ways in which the music could be re-issued and we are of course in contact with the families of Kenny Wheeler, Derek Bailey and John Stevens.
There is much more detail and a better balance here now. The music and the musicians have been my life and I am happy that, thanks to the genius of Adam Skeaping, the music can now be heard in more detail than ever before. Register a free business account. Product details Product Dimensions : 5. Customer reviews. How are ratings calculated? Instead, our system considers things like how recent a review is and if the reviewer bought the item on Amazon.
It also analyzes reviews to verify trustworthiness. Customer images. See all customer images. Top reviews Most recent Top reviews. Top review from the United States. There was a problem filtering reviews right now. Please try again later. Autonomeus Top Contributor: Classic Rock. Finally, after years of anticipation, this recording was finally reissued by Martin Davidson's Emanem label in before Davidson retired.
Strangely released originally by Island Records, it was out of print for decades.
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