Friday, December 29, 2006

Herbie Hancock and Foday Musa Suso: Village Life

A personal favorite for a number of years, that I tracked down on ebay (and which will often fetch a premium unless you get lucky, which was what happened in my case).

The info:

1 Moon/Light 7:57
2 Ndan Ndan Nyaria 9:50
3 Early Warning 2:50
4 Kanatente 19:59

Herbie Hancock: Yamaha DX-1 Synthesizer, Yamaha RX-11 Digital Drum Machine, Producer
Foday Musa Suso: Kora, Talking Drum, Vocals
Bill Laswell: Producer

Recorded August 7-9, 1984 at CBS/Sony Studios, Shinao-Machi, Tokyo Japan

Released by Columbia Records, 1985
An absolutely gorgeous live-in-studio album with Hancock and Suso jamming together, weaving these tranquil, improvised tunes that defy easy categorization and must have given the marketing wonks fits. Of course, unlike Hancock's previous albums (Future Shock and Sound System), there was no recognizable hit - nothing to inspire break dancing or made-for-MTV videos. Not too surprisingly, it's been out of print for ages. Hancock and Suso had worked together before (on Sound System), and it's cool that the two musicians chose to explore their ideas outside of a pop or fusion context. It's a shame these two didn't pursue this collaboration further.

A more professional view from
This quiet, lovely record, in which the Gambian kora virtuoso Foday Musa Suso is given equal billing, was generally ignored when it came out, probably because it fit no one's preconceived idioms -- be they jazz, funk, MTV, or even world music. The only performers are Hancock on a detunable Yamaha DX-1 synthesizer and drum machine and Suso spinning his webs of delicate sound on the zither-like kora, vocalizing a bit and playing a talking drum -- all in real time in a Tokyo studio. The results are absolutely mesmerizing, with Herbie aligning himself perfectly within Suso's unusual, complex rhythmic conceptions and folk-like harmonies. On the 20-minute "Kanatente," Hancock does introduce some of his own advanced harmonic ideas, and he contrasts and interweaves them with Suso's deceptively simple lines in a splendid jam session that eventually ends in a dance that can only be described as Gambian funk. This music generates the same feeling of ecstatic well-being as an Indian raga -- and even hardcore jazz fans may find themselves seduced against their will.
There was a subsequent live album credited to Hancock and Suso (also out of print) that I'll upload a little later.

Download Village Life.

Sunday, December 24, 2006

Ed Blackwell: What It Be Like?

The Info:
1 Nebula 9:59
2 Grandma's Shoes 13:05
3 Penta Houve 8:32
4 First Love 7:21
5 Lito, Pt. 1-3 27:58

Ed Blackwell - Drums
Don Cherry - Trumpet
Graham Haynes - Cornet
Mark Helias - Bass
Carlos Ward - Flute, Sax (Alto)

Lee Brenkman - Engineer
Peter Denenberg - Digital Transfers
Jurgen Hubner - Typography
Wolfgang Meyscheider - Mastering
Kunle Mwanga - Producer
James Radke - Photography
Judy Sneed - Photography
Elisabeth Winckelmann - Design
Matthias Winckelmann - Executive Producer
Ed Blackwell made a name for himself in the early '60s drumming with Ornette Coleman's band (Blackwell plays on the free jazz classics THIS IS OUR MUSIC, FREE JAZZ, and ORNETTE ON TENOR). His distinctive approach to timekeeping, which highlights tribal rhythms and New Orleans marching band cadences, is on excellent display on WHAT IT BE LIKE, one of his few dates as a leader. "Nebula", the opener, features a tumbling horn melody with Blackwell providing almost martial accents on the snare, and is an excellent example of his style.

The compositional palette on WHAT IT BE LIKE is broad, with tones, textures, and atmospheres shifting throughout the track list. In "Pentahouve", exuberance prevails with a fragmented Latin shuffle providing the context for a dazzling rhythmic dialogue between Blackwell and flautist Carlos Ward. On the album's closer and set piece, the almost 30-minute "Lito (Parts 1, 2 & 3)", trumpeter Don Cherry joins the ensemble for an evocative exploration of fractured melodies and snake-charmer motifs over a repeated rhythmic pattern. After each band member has soloed, Blackwell's strictly metered flourishes over the snare and tom-toms close out the tune, which in turn closes out this fine set of vital, adventurous jazz.
Download What It Be Like?

Update: corrected the link to the album as of 8:47 pm.

Saturday, December 23, 2006

Update those blogrolls and bookmarks

As you can see, we've moved. Thank Blogger for completely botching the migration process, and eating my old blog in the process. I had to create the complete archives manually in order to replicate the original blog which took a bit of doing, but we can say it was a success.

When time permits, I should have some new music up for y'all.

Tuesday, December 19, 2006

Arthur Doyle Discography

Arthur Doyle Discography

Sessions Led By Arthur Doyle

Title: Alabama Feeling Label: DRA Records Year Released: 1978

Arthur Doyle (tenor sax, bass clarinet, flute)
Richard Williams (Fender bass)
Rashied Sinan (drums)
Bruce Moore (drums)
Charles Stephens (trombone)


1. November 8th or 9th – I Can’t Remember When
2. Something for Caserlo, Larry, & Irma
3. A Little Linda, Debra, Omita, Barry & Maria
4. Ancestor
5. Mother Image, Father Image
6. Development
a. BaBi Music for Milford & Huge
b. Alabama Soul for Arthur
c. Ramie & Master Charles of the Trombone

All compositions by Arthur Doyle (BMI)

Engineer: Rashied Sinan
Mastering Engineer: Rashied Sinan
Cover Art: Martha Hurd
Photos: Ken Mermel

Transfer to CD: Wharton Tiers, Fun City Studios, NYC, 2-25-98
Title: More Alabama Feeling Label: Forced Exposure Year Released: 1993

Arthur Doyle


1. Hao
2. Nature Boy

Year recorded: 1990

Title: Plays and Sings from the Songbook Volume 1 Label: Audible Hiss Year Released: 1995

Arthur Doyle (flute, tenor sax, piano, voice)


1. Ozy Lady Dozy Lady
2. Yo Yoo>Yo Yoo
3. Olca Cola in Angola
4. Hey Minnie Hey Wilber Hey Mingus
5. Flue Song
6. Just Get the Funk Spot
7. Govery

Photography and Cover Design: Rudolph Grey

Year recorded: 1992
Title: Live at the Cooler Label: The Lotus Sound Year Released: 1996

Arthur Doyle (tenor sax, flute)
Rudolph Grey (electric guitar)
Wilbur Morris (bass)
Tom Surgal (drums)


1. Spiritual Healing
2. Flue Song
3. Noah Black Ark

All compositions by Arthur Doyle (BMI)

Photos: Simon Badger
Liner Notes: Sumner Crane

Recorded March 15, 1995
Title: The Songwriter Label: Ecstatic Peace Year Released: 1997

Arthur Doyle (flute, tenor sax, voice)


1. Ancestor
2. African Express
3. Noah Black Ark
4. Are You Sleeping
5. Prophet John C
6. Chemistry of Happiness

All titles by Arthur Doyle

Liner Notes: Leonard Feather
Title: Do the Breakdown Label: Ain-Soph Year Released: 1997

Arthur Doyle (flute, tenor sax, voice)


1. Breakdown Take 1
2. Breakdown Take 2
3. Street Player
4. African Queen
5. Alabama Feeling
6. Battle of Jericho (traditional)
7. He Exists

All titles but #6 composed by Arthur Doyle
Title: A Prayer for Peace Label: Zugswang Year Released: 2000

Arthur Doyle (flute, recorder, tenor sax, voice)
James Linton (bass, cornet, bell, live loops)
Scott Rodziczak (drums, cymbals)


1. That Happiness
2. I Am Somebody
3. Ahead a Pothead
4. A Prayer For Peace
5. Chemistry of Happiness
6. Homo
7. Joy of Life
8. Flue Song
9. Free Love, Good Love
10. Flue Song (Tenor Variation)
11. A Head A Pothead
12. African Express

Tracks 3, 5, 6, 8, 10, 11, 12 by Arthur Doyle; all other tracks composed by Doyle, Linton, and Rodziczak
Title: Live at the Dorsch Gallery Label: Carbon Year Released: 2002
Recorded live August 2000 in Miami Florida

Performer: Arthur Doyle


1. Track 1
2. Track 2
3. Track 3
4. Track 4
5. Track 5
6. Track 6

Released as a limited edition cdr.
Title: Egg Head Label: Hell’s Half Halo Year Released: 2003

Arthur Doyle (tenor sax, flute, recorder, piano, voice)


1. Johnny Dead Conspirator
2. Happy New Year 1999
3. Homo

Available as 7” single
Title: No More Evil Women Label: Qbico Year Released: 2005

Wilber Morris – Double Bass (tracks: 2, 4)
Rashied Sinan – Drums (tracks: 2, 4)
Tim Poland – Sonic Reducer (tracks: 1, 3, 5)
Dave Cross – Sampler (tracks: 1, 3, 5)
Arthur Doyle – Voice, Flute, Saxophone [Tenor]


A1 Red Bird
A2 Funk Breaks
A3 Jackie Millionaire
A4 The Boost

Available as LP only

One-sided yellow vinyl, octagonal cover with silver or yellow or black borders, artwork by Cindy Sherman, cover by Qbico

Tracks A1, A3 and A5 recorded in 2004, tracks A2 and A4 in 1989.
Title: No More Evil Women Tour Label: Carbon Year Released: 2005

Arthur Doyle (voice)


1. No More Crazy Women
2. Round Midnight
3. Stormy Monday

All vocals recorded to cassette

Arthur Doyle Electro-Acoustic Ensemble

Title: Plays the African Love Call Label: Ecstatic YOD Year Released: 2001

Arthur Doyle
Dave Cross
Tim Poland
Ed Wilcox
John Schoen
R. Nuuja


1. Omo
2. Ozy Dozy Lady
3. Govery
4. Money
5. Flue Song

live recordings by R. Nuuja at Bug Jar, Rochester (6/99) and Astrocade, Philadelphia (9/99)

sonic reassessment by Jim O'Rourke

thank you: June Wilcox, Seth Soffer

Ecstatic Yod Collective 221 Pine Street #4b1 Florence, MA 01062

Available as LP only
Title: Conspiracy Nation Label: Qbico Year Released: 2002

Arthur Doyle (tenor sax, voice, flute, recorder)
Leslie Q (bass, guitar)
Ed Wilcox (drums, percussion)
Vinnie Paternostro (Roland 505)
Tim Poland (Clavinova)
Dave Cross (turntable, Ibanez DM 1100 sampler, drums on side 1, track 1.)


1. Birdman
2. Ahead A Pothead
3. Barbatiri
4. Love Ship
5. Pull the String
6. Alabama and Mississippi Reunited
7. No Title

Side One rec. at Hallwalls, Buffalo, NY on January 24, 2002.
Side Two rec. at Analog Shock Club, Rochester, NY on January 26, 2002.

Available as LP only
Title: National Conspiracy Label: Carbon Year Released: 2004
Remix of pre-recorded and live material

Available as part of Carbon’s CDR series

Arthur Doyle and Sunny Murray

Title: Dawn of a New Vibration Label: Fractal Year Released: 2000

Arthur Doyle (tenor saxophone, flute, vocal)
Sunny Murray (drums)


1. Giblets 3
2. Nomingo
3. Nature boy
4. African express
5. Elephant dreams 3
6. Goverey

Tracks 3, 4, and 6 by Doyle; remaining tracks by Murray

Liner Notes: Dan Warburton
Photos: Aya Harada
Engineering and Mixing: Thierry Bertomeu
Executive Producer: Jerome Genin
Special Thanks: Francois Pardon

Recorded in Les Lilas, Triton Studio, 8th march 2000.
Title: Live at the Glenn Miller Café: Label: Ayler Year Released: 2001

Arthur Doyle (flute, tenor sax, voice)
Bengt Frippe Nordström (alto sax)
Sunny Murray (drums)


1. Spontaneous Creation, Pt. 1
2. Spontaneous Creation, Pt. 2
3. Spontaneous Creation, Pt. 3
4. African Love Call
5. Two Free Jazz Men Speak
6. Nature Boy
7. Joy

Liner Notes: Arthur Doyle and Sune Spångberg
Photography and Cover Art: Åke Bjurhamn
Engineer: Per Ruthström
Arthur Doyle/ Takashi Mizutani/ Sabu Toyozumi

Title: Live in Japan, 1997 Label: Qbico Year Released: 2003

Arthur Doyle (tenor sax, flute, voice)
Takashi Mizutani (electric guitar)
Sabu Toyozumi (drums)


1. November 8th or 9th – I Can’t Remember When
2. Alabama and Mississippi Reunited
3. I Pass, Then Resist
4. I’d Live in Her World, Then Live Without Her in Mine
5. Love Heal
6. Joy

Liner Notes: Ilya Monosov
Cover Art: Qbico

Rec. live November 14, 1997 @ Manda-la2, Tokyo, Japan

Available as LP only

Arthur Doyle/ Edward Perraud/ Dan Warburton

Title: The Basement Tapes: Label: Durto Year Released: 2003

Arthur Doyle (voice, tenor sax, flute)
Dan Warburton (violin)
Edward Perraud (drums)


1. Noah Black Ark
2. Birthday Song for Edward
3. Milford Graves
4. A Prayer for Peace
5. Homo
6. Street Player

Editing and Premastering: Eric la Casa
Final Mastering: Maïkôl Seminatore
Front Cover Art: Edward Perraud
Photographs: Thierry Trombert and Edward Perraud
Layout: Othila
Liner Notes: Dan Warburton and David Tibet

Rec. direct to DAT June 1, 2001, Perraud’s basement.

Arthur Doyle/Hamid Drake

Title: Your Spirit is Calling Label: Qbico Year Released: 2004

Arthur Doyle (tenor sax, flute, recorder, piano, voice)
Hamid Drake (drums, percussion)
Recorded June 7th, 2003 at MU REC Studio, Milano
Sessions led by others


Title: The Black Arc Label: Freedom Year Released: 1969

Noah Howard (alto saxophone)
Arthur Doyle (tenor saxophone)
Earl Cross (trumpet)
Leslie Waldron (piano)
Norris Jones (bass)
Mohammed Ali (drums)
Juma (congas)


1. Domiabra
2. Ole Negro
3. Mount Fuju
4. Queen Anne


Title: Babi Music Label: IPS Year Released: 1976

Arthur Doyle (reeds)
Hugh Glover (reeds)
Milford Graves (percussion)


1. Bä
2. Bi
3. Bäbi


Title: Desert Mirage Label: IACP Year Released: 1982

Alan Silva-dir
Pierre Faure-fl
Carl Schlosser-fl,piccolo
Aldridge Hansberry-fl,alto fl
Karo-alto cl
Denis Colin-bcl
Jean Querlier-oboe,ehn
Bruno Girard-vln
Pascal Morrow-vln
Didier Petit-cel Itaru Oki-tp,bugle
Jeff Beer-tp Serge Adam-tp
Bernard Vitet-tp
Michael Zwerin-tb
Domenico Criseo-tb
Francois Cotinaud-ts
Georges Gaumont-ts
Arthur Doyle-ts
Philippe Sellam-as
Sebastien Franck-as
Henri Grinberg-ss
Antoine Mizrahi-el-b
Rosine Feferman-b
Francis Gorge-g
Francois Leymarie-el-b
Jacques Marugg-vib,marimba,timbales
Adrien Bitan-vib,timbales
Ron Pittner-d
Bernard Drouillet-d
Gilles Premel-perc

rec. Paris, Studio Aquarium June 25 through June 27, 1982

Title: Transfixed Label: New Alliance Year Released: 1988


Rudolph Grey
Arthur Doyle
Sumner Crane

Title: Live NY 1980 Label: Audible Hiss Year Released: 1995

Rudolph Grey (Electric Guitar)
Arthur Doyle (Tenor Saxophone, Flute)
Beaver Harris (Percussion)


1. Untitled
2. Untitled
3. Untitled
4. Untitled

Cover Photo: Ronald V. Williams
Cover Design: Rudolph Grey
Recording Engineer/Graphics Production: R. Bianca

Recorded at Hurrah, NYC March 12, 1980

Title: “As Seen On TV” Label: Spare Me Year Released: 1996

Title: “I love music” Label: Muckraker Year Released: 1996

Title: Nature of the systems Label: Carbon Year Released: 2000

Title: Iamaphotographer Label: Plain Year Released: 2001

Credits for this discography:

James Benjamin (assembly, documentation of most of Arthur Doyle’s sessions as leader and some of his collaborations)

I owe tremendous thanks to the following individuals without whom this discography would be woefully incomplete:

Alan Cummings (documentation of Doyle’s collaborations, sessions work, and compilation appearances)

George Scala (documents Doyle’s appearance w/Celestial Communication Orchestra)

Fractal Records (documentation of Doyle’s compilation appearances)

Last updated December 29, 2006

Interesting NYT article

“Jazz just kind of died,” said the saxophonist Branford Marsalis. “It just kind of went away for a while.” He was looking back to the 1970s, an uncertain era when some jazz musicians turned to rock or funk, and others pushed deeper into heady abstraction. His assessment, conveyed in the final episode of “Jazz,” the influential Ken Burns film, seemed as definitive as a coffin nail.

But over the last six months, a far-flung contingent of musicians and aficionados has made an effort to upend that prevailing notion, armed with stacks of vinyl, high-speed Internet and a shared conviction that things back then were really far from moribund. Along the way, they touched off the year’s most animated public discourse on jazz, a democratic exchange that culminated last weekend in the debut of, an interactive database devoted to the music’s most conflicted period.

The movement, so to speak, has its origins in a posting by the trumpeter and composer Dave Douglas on his label’s blog, “I’m reading a new book by Philip Jenkins called ‘Decade of Nightmares: The End of the Sixties and the Making of Eighties America,’ ” Mr. Douglas wrote at the beginning of the summer, “and I think there are some pertinent tie-ins to the elusive history of the last four decades of American music. Those are the decades Ken Burns couldn’t handle, and this may help explain why.”

That book’s principal argument is that the 1970s saw the failures and excesses of ’60s idealism compounded by national horrors like Vietnam and Watergate, resulting in the rise of a paranoid conservatism. On his blog Mr. Douglas drew a parallel. “There’s a demonization of musicians who pushed the boundaries, successfully and importantly, in that period,” he wrote, “and it has crept into the way history is told and music is taught.”

Noting that “jazz” became an impossibly broad designation around this time, Mr. Douglas posed a rhetorical question: “Is there a writer who can take on the project of an unbiased overview of music since the end of the Vietnam War?” And borrowing Mr. Jenkins’s benchmark of Richard M. Nixon’s resignation as the official end of the 1960s, he proposed a new jazz history that would acknowledge “a generation of multiplicity,” beginning in 1974 and stretching to the end of the cold war.

The call hung in the air for a while. Then, near summer’s end, a reply of sorts appeared on Do the Math, the blog of the band Bad Plus ( Ethan Iverson, the pianist in the band and the chief blogger on the site, answered Mr. Douglas’s query not with an unbiased overview, but a catalog of hundreds of cherished albums from his collection, complete with casual but articulate annotations.

Mr. Iverson was transparently subjective (“Every note is perfect,” he wrote of Charlie Haden’s out-of-print LP “The Golden Number”) and often pithy (“If you don’t like ‘The Calling,’ I can’t help you,” he said about a track from Pat Metheny’s album “Rejoicing,” also featuring Mr. Haden).

“I could have made this list much longer,” he wrote in conclusion, “but how many Paul Bley and Mal Waldron records can you put on a list without looking silly?” All told, Mr. Iverson had churned out nearly 5,000 words.

Within a couple of days, Do the Math was so bombarded with feedback that Mr. Iverson set up a temporary e-mail address and announced a one-week call for outside submissions. By the end of that week there was not only a blizzard of e-mail messages from around the world but also a handful of lengthy responses from every corner of a nascent jazz blogosphere.

Darcy James Argue, the leader of a big band called the Secret Society, posted his own expansive list at Steve Smith, the classical editor at Time Out New York and a contributor to The New York Times, spilled even more words than Mr. Iverson at, beginning with an erudite endorsement of John Carter, an overlooked composer. Jeff Jackson (blog name: Chilly Jay Chill) and Jeff Golick (Prof. Drew LeDrew), proprietors of, piped up in favor of the pianist Muhal Richard Abrams and the saxophonist Marion Brown.

The resulting list of nearly 500 albums — compiled by a Boston-based saxophonist named Pat Donaher at — is essentially the product of an open-source, alternative canon-building sweep. Though idiosyncratic and avant-garde in temperament, it feels admirably nondogmatic. Fusion flagships (Weather Report, Return to Forever, Mahavishnu Orchestra) are selectively represented, as are acoustic efforts by veterans like Tommy Flanagan and Joe Henderson. Because the timeline stretches through the 1980s, Wynton and Branford Marsalis both make the list.


Of course the jazz blogosphere is not a modern facsimile of the United Hot Clubs. Yet the free MP3’s featured at, usually grafted from out-of-print LPs and posted with chirpy yet incisive analysis, do serve a similar purpose: “to give this essential music its due and share it with folks so they can hear for themselves,” as Mr. Jackson wrote in a recent e-mail message., named after a Dewey Redman album and assembled over the last two months by a handful of volunteers, shares that impulse of openness. The charge has been led by a programmer, Brett Porter ( At the moment it’s not much more than a cross-indexed list of recordings, starting with the blog-consensus catalog. But because the site has the same sort of user-editing functionality as Wikipedia, it has the potential to evolve into a clearinghouse. What’s needed is the continuing engagement of a community online.

Mr. Douglas has faith in that community, which has supported Greenleaf Music since it was established last year. This week the label will record his working quintet at the Jazz Standard; each set will be offered as a $7 download within 24 hours at In some ways this arrangement recalls the rugged self-reliance of the 1970s avant-garde, but with better technology and a savvier business plan.

It also underscores a point about the jazz blogosphere: no matter how retrospective the discussion, virtually all of the participants have a stake in the contemporary scene. So their interconnectivity has implications beyond the scope of history; you could even make the Marsalisesque argument that by preserving the past, their efforts help secure the music’s future. Many overlapping versions of the future, to be precise.

Hat tip to Eclectic Grooves.

Thursday, December 14, 2006

Saint Louis Creative Ensemble

The info:
Saint Louis Creative Ensemble
I Can't Figure Out (Whatcha Doin' to Me)
Moers Music 1979

Side 1

1. Sold Not Told (14:31)
2. Leave Me, Savior Me (9:04)

Side 2

1. I Can't Figure Out (Whatcha Doin' To Me) (3:50)
2. M.U.L.E. (4:42)
3. .38 Special (3:40)
4. Five o'Clock Whistle (9:57)

Luther Thomas - as
Joseph Bowie - tbn
Rasul Siddik - tp
Darrell Mixon - bass
Charles Bobo Shaw - drums

Paris, March 3, 1979
This recording seems like an outgrowth of the BAG and Human Arts Ensemble crews. Many of the names in the credits should indeed be fairly familiar to those who dig on the BAG and HAE recordings. The music, too, should sound fairly familiar.

Download I Can't Figure Out (Whatcha Doin' To Me)

Light Blogging

It's finals week, so I am in the midst of grading final papers, administering exams and all that fun festive stuff. I will hopefully be gracing this blog space with some new material as time permits, but as you all can no doubt see, time really hasn't been on my side as of yet. This too shall pass (and hopefully so will my students).

Monday, December 4, 2006

Ted Daniel: Tapestry

Ted Daniel Quintet
Sun Records SR 112

1. Tapestry
2. Sweet Dreams (For Your Eyes)
3. Mozambique

Tim Ingles - "non fretted" electric bass w/ wah wah pedal
Jerome Cooper - drums
Khan Jamal - vibraphone
Richard Daniel - electric fender rhodes w/ leslie speaker, wah wah pedal and echoplex
Ted Daniel - fluegel horn on all tracks

recorded at artists house on january 26, 1974
produced by noah howard for altsax productions
Ted Daniel is an American trumpeter in the NYC loft scene who has been sorely under-recorded over the years. This is one of his three full-length albums, recorded in 1974, and features a cast of Jerome Cooper, Khan Jamal, Tim Ingles, and (brother) Richard Daniel. Strangely, this is not the expected free jazz blowout like his self-titled private pressed album is. Instead, Rhodes driven too hot through a leslie with placid improv by Khan and Ted over the top is the order of the day. The result is a gorgeous album that is mellow, modal, and perfectly aimless.
As good a description as any. Nice recording. By the way, this is the same Sun Records that released a number of hard-to-find Frank Wright recordings during the 1970s.

Available May 20, 2008 at Porter Records.

Sunday, December 3, 2006

Sunny Murray/Untouchable Factor: Apple Cores

The info:
Sunny Murray's Untouchable Factor-Apple Cores
Philly Jazz 1004 USA rec NYC, Blank Tapes Studio 1/1/78
Sunny Murray-d Frank Foster-ss Oliver Lake-as Jimmy Vass-as Youseff Yancy-tp,flh,theremin,various electro-acoustical sound manipulating devices Don Pullen-p Monnette Sudler-g Cecil McBee-b Hamiet Bluiett-bs Arthur Blythe-as Fred Hopkins-b Abdul Zahir Batin-fl,whistles,perc Sonny Brown-d

Side 1
1. Apple Cores
2.Past Perfect Tense
3. One Up, One Down

Side 2
1. New York Maze
2. Applebuff
Download Apple Cores