Archive Selections, Vol. 1

THE WIRE
“‘Our thinking mind is much too slow for music,’ pianist and vibraphone player Karl Berger observed … Four marvelous improvisations by drummer Ed Blackwell and saxophonist Charles Brackeen open the collection. In their fluency, clarity, nuance and supple dynamism they are the perfect illustrations of Berger’s point. … CMS was a relaxed meeting place for kindred spirits, but this is rigorously focused, at times fiercely concentrated music. … If necessary, put your thinking mind on hold, but be sure to catch this glimpse into a genuinely exploratory and still exhilarating musical gathering.”
—Julian Cowley

GAPPLEGATE MUSIC REVIEW
“[S]o much noteworthy music here … [E]verything is of extraordinary interest for those who dig the advanced new music/avant jazz scene. If you are you will no doubt be as glad as I am to have this set to listen to repeatedly. It is a treasure! I look forward to subsequent volumes.” [FULL ARTICLE]
—Greg Edwards

MONSIEUR DELIRE
“Volume 1 covers a lot of ground. … [T]his stuff truly deserved to be let out of the vault. Curious to see what the next volumes have in store.” [FULL ARTICLE]
—Francois Couture

CADENCE
Best of 2014, Historical Jazz Album —Michael G. Nastos
JAZZ TIMES
Best of 2014, Historical/Reissue —Shaun BRady

CADENCE
“What an absolute treat this one is. … [A] treasure trove. … Izenzon’s solos are very robust and occasionally quizzical, as when he mimics knocks on a door and answers gruffly ‘go away, I’m practicing.’ It’s a great opportunity to hear this distinctive bassist unfettered. … The bracing, complex piano duo is a real archival find, and the two ‘classical’ musicians (each of whom has well-known and lengthy associations with improvisers’ collectives) create some seriously dynamic music. And the duos for Jenkins and Emery are exquisite, filled with real lyricism, lush lines and chords, and palpable empathy. … One of the greatest pleasures is the opportunity to hear archival stuff from Suso’s Mandingo Griot Society, with funky interaction between Drake and Marsh’s electric bass, and loads of zesty kora and percussion. Best is the brisk, danceable ‘Demba,’ but the mid-tempo ‘Disco Gate’ features the most expressive work from Suso, and a winning explanation of his instrument’s lineage to the audience. It’s a fine conclusion to this release, one I imagine most readers will enjoy considerably.”
—Jason Bivins

NEW YORK CITY JAZZ RECORD
“Most valuable are tracks where jazzers try out concepts in large or small groups but there are also works-music surprises. Of the tracks featuring the mostly unidentified CMS orchestra, Roscoe Mitchell’s 14-minute untitled track is the most compositionally sophisticated. Iridescent ensemble harmonies accompany the sharp bites and barks from the composer’s alto saxophone plus skimming tongue flutters from Garrett List’s trombone in the frontline. Olu Dara’s three contributions come from a contradictory space. He segments Sun Ra-like grooves pushed by florid horn section riffs with fitful asides from a percussive flute, clanking guitar, staccato piano chording and his own lead trumpet on one track. … [T]he good stuff captured here is very good indeed. The variety also suggests that many other unexposed musical gems are likely to show up on subsequent volumes.”
—Ken Waxman