For Peace and Liberty - In Paris, Dec 1972
Remarkable excavation of a 1972 performance by free jazz and experimental theatre unit BAG, preceding their only known recording - ‘In Paris, Aries 1973’ - and arriving as their first official release in a half century
Recently discovered on tapes found languishing in the INA (Institute National de l’audiovisual) archive, ‘For Peace and Liberty - In Paris, Dec 1972’ documents Black Artist Group’s Charles W. Shaw, Jr. (Bobo), Oliver Lake, Joseph Bowie, Baikida E.J. Carroll, and Floyd Le Flore all playing multiple instruments during a rare session captured live at studio 104, Masion de la radio (O.R.T.F.), Paris 3 December, 1972 - just months before making their only other recording.
The 35 minute show, cleft in six parts, cycles from killer breakbeat driven free jazz funk with seemingly all hands on percussion, gathering steam train energy in the horn section, to loosen up and spread out on the meanest sort of spiritual jazz fire lit with yowls and clattering but sharply disciplined breaks. They dip to a possessed mid-section on meditative near-silence sipping up with horns and extended reed tekkerz reminding us of Rashad Becker’s notional species via Guttersnipe and Albert Ayler, and shred out in the dizzying fashion that somehow gels together like a sozzled souza band, and keens into sheeting discord before pulling it all back to neck snapping breaks and down to earth.
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Includes 20-page booklet featuring new texts by the musicians plus extensive liner notes by BAG scholar Benjamin Looker and previously unseen photos by French photographer Philippe Gras.
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Remarkable excavation of a 1972 performance by free jazz and experimental theatre unit BAG, preceding their only known recording - ‘In Paris, Aries 1973’ - and arriving as their first official release in a half century
Recently discovered on tapes found languishing in the INA (Institute National de l’audiovisual) archive, ‘For Peace and Liberty - In Paris, Dec 1972’ documents Black Artist Group’s Charles W. Shaw, Jr. (Bobo), Oliver Lake, Joseph Bowie, Baikida E.J. Carroll, and Floyd Le Flore all playing multiple instruments during a rare session captured live at studio 104, Masion de la radio (O.R.T.F.), Paris 3 December, 1972 - just months before making their only other recording.
The 35 minute show, cleft in six parts, cycles from killer breakbeat driven free jazz funk with seemingly all hands on percussion, gathering steam train energy in the horn section, to loosen up and spread out on the meanest sort of spiritual jazz fire lit with yowls and clattering but sharply disciplined breaks. They dip to a possessed mid-section on meditative near-silence sipping up with horns and extended reed tekkerz reminding us of Rashad Becker’s notional species via Guttersnipe and Albert Ayler, and shred out in the dizzying fashion that somehow gels together like a sozzled souza band, and keens into sheeting discord before pulling it all back to neck snapping breaks and down to earth.