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Carter, John Octet: Dauwhe [VINYL] (Black Saint Vinyl)

A much-needed reissue of John Carter's 1982 LP "Dauwhe", the first chapter in his "Roots and Folklore" saga, a 5-part epic through African American heritage, performed with Carter himself on clarinet, Bobby Bradford (cornet), James Newton (flute), Charles Owens (sax, oboe & clarinet), Red Callender (tuba), Roberto Miranda (bass), William Jeffrey (drums), and Luis Peralta (percussion).
 

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product information:


UPC: 8056099003318

Label: Black Saint Vinyl
Catalog ID: BSR 057LP
Squidco Product Code: 28363

Format: LP
Condition: New
Released: 2019
Country: Italy
Packaging: LP
Recorded at The Music Lab, in Los Angeles, California, on February 25th, 28th, and March 8th, 1982, by Dennis Moody.


Personnel:

John Carter-clarinet

Bobby Bradford-cornet

James Newton-flute

Charles Owens-soprano saxophone, oboe, clarinet

Red Callender-tuba

Roberto Miranda-bass

William Jeffrey-drums

Luis Peralta-percussion

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Artist Biographies:

"John Wallace Carter was born in Fort Worth, Texas, on September 24, 1928, and was a childhood friend of Coleman and drummer Charles Moffett. He earned a bachelor's degree in music education from Lincoln University in Jefferson City, Missouri in 1949, and a master's degree from the University of Colorado in 1956. He taught in public schools in both Fort Worth then moved Los Angeles in 1961, where, with Coleman's encouragement he formed a band, the New Art Jazz Ensemble (NAJE), with trumpeter Bobby Bradford in 1964.

Carter conducted orchestral versions of Coleman's work at UCLA in 1965, and he was initially a follower of the saxophonist's "harmolodic" approach to composition and improvisation. On the NAJE's 1969 album Seeking, he demonstrates great facility on alto and tenor saxophones, as well as clarinet.

The NAJE continued as a group until 1974 and released a total of four albums on the Revelation and Flying Dutchman labels. After the NAJE disbanded Carter played clarinet exclusively, and progressively came into his own voice as an improviser and composer.

In the late 1970s, he played in a group called Wind College with flutist James Newton and bassist Red Callender, and was the subject of a documentary, The New Music: Bobby Bradford and John Carter in 1980. He played at clubs and festivals in Europe and the United States, both as a leader and as a sideman, with groups that frequently included Bradford, Newton, and Roberto Miguel Miranda. In the 1980s he led the clarinet quartet Clarinet Summit, with Alvin Batiste and Jimmy Hamilton and with David Murray on bass clarinet. As an improviser, Carter came to share affinities with the work of other free-jazz clarinetists, such as Perry Robinson and Theo Jörgensmann.

In the 1980s, Carter focused increasingly on composition, starting with Dauwhe, an octet he recorded in 1982. The piece would become the first part of Roots and Folklore, and reveals his evolving approach to both instrumentation and creative improvisation. With focused interplay and overlapping of tones and ideas, Carter's clarinet takes an omnipresent position.

Carter and Bradford's musical relationship was not unlike that of Coleman and Cherry in their pianoless quartet. In this setting, Carter and Bradford embrace the composition's pastoral, evocative voices of tribal Africa while the sleekness and idiosyncratic horns swirl like apparitions above the manic, even brooding rhythm. Both experimental, yet familiar, Dauwhe augurs many of the ideas Carter later explored in the remaining volumes of his history: clashing cultures, forces of myth and predation, lust, and unadulterated beauty amid the chaos. Neither free music nor swing, this album shows elements of both, and has layers of ensemble work similar to massive conductions of Butch Morris.

Carter's compositions, intriguing in their varied instrumentation, draw on the folk wisdom of country blues, the sophisticated dances of swing, the figured bass of bebop, and the violent clashes of free jazz, all combined in careful doses. The five parts of Roots and Folklore explore deep feelings about the African diaspora, starting with Dauwhe, named for an African goddess of happines. This is followed by meditations on imprisonment in Castles of Ghana, the middle passage on Dance of the Love Ghosts, chattel slavery on Fields, and the youthful exuberance of Harlem between the World Wars in Shadows on a Wall. The works vary in instrumentation, and are both expressionistic and impressionistic.

Carter employed equal parts roots and folklore in his explorations of African-American historyhis attachments to what came before looks forward in both style and quality of style. Carter's work is articulate and allows for a sinister wilderness to penetrate even his most designed pieces, all of which are a statement about Africans who became African-Americans, and the immense losses in between.

John Carter, recorded the final chapter of Roots in 1989, and died of lung cancer in Los Angeles on March 31, 1991."

-Dark Tree (http://www.darktree-records.com/en/artistes/john-carter)
3/30/2020

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"Bobby Lee Bradford (born July 19, 1934) is an American jazz trumpeter, cornetist, bandleader, and composer. He is noted for his work with Ornette Coleman. In October 2009, Bradford became the second recipient of the Festival of New Trumpet Music's Award of Recognition.

Bobby Lee Bradford's life begins in Mississippi, he and his family then moved to Dallas, Texas, in 1946. He moved to Los Angeles, California in 1953 where he reunited with Ornette Coleman, whom he had previously known in Texas. Bradford subsequently joined Coleman's ensemble, but was drafted into the U.S. Air Force and replaced by Don Cherry.

After playing in military bands from late 1954 to late 1958, he rejoined Coleman's quartet from 1961 to 1963, which infrequently performed in public, but was indeed recorded under Coleman's Atlantic contract. Quite unfortunately, these tapes were among those many destroyed in the Great Atlantic Vault Fire. Freddie Hubbard acted as Bradford's replacement upon his departure to return to the West Coast and pursue further studies. Bradford soon began a long-running and relatively well-documented association with the clarinetist John Carter, a pairing that brought both increased exposure at international festivals (though the records remain scantily available, when one excludes web rips and bootlegs). Following Carter's death in 1991, Bradford fronted his own ensemble known as The Mo'tet, with which he has continued to perform since. He is the father of drummer Dennis Bradford. He is also the father of jazz vocalist Carmen Bradford.

He holds a B.M. degree from Huston-Tillotson College (now Huston-Tillotson University) in Austin, Texas.

In addition to Coleman, Bradford has performed with Eric Dolphy, Leon "Ndugu" Chancler, Ingebrigt Hker-Flaten, Bob Stewart, Charlie Haden, George Lewis (trmbn.), James Newton, Frode Gjerstad, Vinny Golia, Paal Nilssen-Love, and David Murray, who was previously a student of his in the 1970s.

He is an instructor at Pasadena City College in Pasadena, California, and Pomona College in Claremont, California, where he teaches The History of Jazz, known to be one of the most popular classes available."

-Wikipedia (https://en.wikipedia.org/wiki/Bobby_Bradford)
3/30/2020

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"James Newton (composer/flutist)

Mr. Newton's work encompasses chamber, symphonic, and electronic music genres, compositions for ballet and modern dance, and numerous jazz and world music contexts.

Mr. Newton has been the recipient of many awards, fellowships, and grants, including the Ford Foundation, Guggenheim, National Endowment of the Arts and Rockefeller Fellowships, Montreux Grande Prix Du Disque and Downbeat International Critics Jazz Album of the Year, as well as being voted the top flutist for a record-breaking 23 consecutive years in Downbeat Magazine's International Critics Poll.

In 2005 Newton decided to commence the greatest challenge of his compositional career - a trilogy of large-scale sacred works: Mass, St. Matthew Passion, and a setting of Psalm 119. Mass, completed in early 2007, received its premiere at the 2007 Metastasio Festival in Prato, Italy. Its U.S. premiere (an expanded choral version) occurred in 2011 with Grant Gershon conducting the Los Angeles Master Chorale at Walt Disney Concert Hall. Newton completed his St. Matthew Passion in 2014. Its World premiere, with Grant Gershon conducting Coro e Orchestra del Teatro Regio di Torino, occurred in 2015 during the Torino Jazz and La Sidone Festivals. Mr. Newton is the first African American and the first composer rooted in the Jazz tradition to compose a St. Matthew Passion. His research on the final installment of the trilogy, Psalm 119, began in the summer of 2017, and he will complete the work in early 2020.

Described as a musician's renaissance man, Newton has performed with and composed for many notable artists in the jazz and classical fields: San Francisco Ballet, Coro e Orchestra del Teatro Regio di Torino, Vladimir Spivakov and the Moscow Virtuosi, Mingus Dynasty, Anthony Davis, David Murray, Aurèle Nicolet, Dino Saluzzi, Zakir Hussain, Geri Allen, New York Philharmonic, Cecil Taylor, Emmanuel Pahud, Grant Gershon and the Los Angeles Master Chorale, Billy Hart, San Francisco Contemporary Music Players, Henry Threadgill, the Los Angeles Philharmonic New Music Group, Ensemble für Neue Musik (Zurich), Gloria Cheng, Jon Jang, and Frank Wess among others.

Mr. Newton's works have been performed at notable venues including Carnegie Hall, the San Francisco Opera House, The Kennedy Center for Performing Arts, Cité de la Musique Paris, France, Berlin National Gallery, Teatro Romano, Verona, Italy, The Walt Disney Concert Hall, Hollywood Bowl, RAI Auditorium, Torino, Italy, Blas Galindo Auditorium, Mexico City, Mexico, Teatro Strehler, Milano, Italy, Theatre de la Ville, Paris, France, Parco Concert Hall, Tokyo, Japan, DIRECTV Music Hall, Rio De Janeiro, Severance Hall, Cleveland, Studio Koncertowe Polska Radio im. Witolda Lutoslawskiego, Warsaw Poland, Amsterdam Museum of Modern Art and The Whitney Museum, New York, New York.

In addition to significant compositions, Mr. Newton's recent work includes his co-producing with Zev Feldman, a release of the work of notable jazz multi-instrumentalist Eric Dolphy. The recording, entitled Eric Dolphy Musical Prophet (The Expanded 1963 New York Studio Sessions) on Resonance Records, was released in late 2018. It was runner-up for the 2019 DownBeat International Critics' Poll Reissue of the Year Award.

Newton is a distinguished professor emeritus at the Herb Alpert School of Music, the University of California at Los Angeles. He has also held professorships at the University of California at Irvine, California Institute of the Arts, and Cal State University Los Angeles. In May of 2005, the California Institute of the Arts awarded Mr. Newton a Doctor of Arts Degree, Honoris Causa."

-James Newton Website (https://jamesnewtonmusic.com/biography/)
3/30/2020

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"Charles M. Brown, better known as Charles Owens (born May 4, 1939, Phoenix, Arizona) is an American jazz saxophonist. Owens should not be confused with Charles Owens (Saxophonist, 1972) [de], an American jazz saxophonist born in 1972 who has recorded for Fresh Sound Records.

Owens began playing music while attending the University of San Diego; following a stint in the United States Armed Forces, he studied at Berklee College of Music. He worked in the bands of Buddy Rich and Mongo Santamaria as an alto saxophonist in the late 1960s, and in the 1970s played mostly tenor and soprano saxophone. He played in that decade with Bobby Bryant, Paul Humphrey, Diana Ross, John Mayall, Frank Zappa, Henry Franklin, Patrice Rushen, Gerald Wilson, Lorez Alexandria, and James Newton among others. He worked with Newton again in the mid-1980s, and also played in the 1980s with John Carter, Horace Tapscott, and Mercer Ellington. Later he worked with Carmen Bradford, Jeannie Cheatham and Jimmy Cheatham, and Buddy Childers."

-Wikipedia (https://en.wikipedia.org/wiki/Charles_Owens_(saxophonist_born_1939))
3/30/2020

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"George Sylvester "Red" Callender (March 6, 1916 March 8, 1992) was an American string bass and tuba player. He is perhaps best known as a jazz musician, but worked with an array of pop, rock and vocal acts as a member of The Wrecking Crew, a group of first-call session musicians in Los Angeles.

Callender was born in Haynesville, Virginia. In the early 1940s, he played in the Lester and Lee Young band, and then formed his own trio. In the 1940s Callender recorded with Nat King Cole, Erroll Garner, Charlie Parker, Wardell Gray, Dexter Gordon, Uffe Baadh [Frank Bode] and many others. After a period spent leading a trio in Hawaii, Callender returned to Los Angeles, becoming one of the first black musicians to work regularly in the commercial studios, including backing singer Linda Hayes on two singles. He made his recording debut at 19 with Louis Armstrong's band. However, he later turned down offers to work with Duke Ellington's Orchestra and the Louis Armstrong All-Stars.

On his 1957 Crown LP Speaks Low, Callender was one of the earliest modern jazz tuba soloists. Keeping busy up until his death, some of the highlights of the bassist's later career include recording with Art Tatum and Jo Jones (19551956) for the Tatum Group, playing with Charles Mingus at the 1964 Monterey Jazz Festival, working with James Newton's avant-garde woodwind quintet (on tuba), and performing as a regular member of the Cheatham's Sweet Baby Blues Band. He also reached the top of the British pop charts as a member of B. Bumble and the Stingers. In November 1964 he was introduced and highlighted in performance with entertainer Danny Kaye in a duet on the Fred Astaire introduced George and Ira Gershwin song, Slap That Bass, for Kaye's CBS-TV variety show.

Callender died of thyroid cancer at his home in Saugus, California."

-Wikipedia (https://en.wikipedia.org/wiki/Red_Callender)
3/30/2020

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"Roberto Miranda, Bass. Adjunct Assoc. Professor, Global Jazz Studies. String bass; Director, Jazz Combo

Roberto Miranda is a dynamic bassist who is noted for his inventive, high-energy improvisations. He is adept in both soulful passages and fleet percussive lines, and is fluent in all jazz idioms. He has toured, played and recorded with an impressive array of jazz artists, including Kenny Burrell, Horace Tapscott, Bobby Bradford, John Carter, David Murray, Cecil Taylor, Charles Lloyd, and Bobby Hutcherson. He has recorded extensively including albums with his own group, showcasing his successful blend of African-American, Latin, and experimental jazz.

Miranda released his CD With Groaning Too Deep for Words in 2002. He also wrote the appendix for the book The Dark Tree, by Steven L. Isoardi (University of California Press, 2006).

As a young player Miranda studied with jazz legends Ray Brown, Red Mitchell, and master classical musicians Bob Stone, Dennis Trembly and Fred Tinsley of the Los Angeles Philharmonic. While studying for his M.M. at USC, he received two grants from the National Endowment for the Arts. These grants enabled him to score two compositions for symphony strings, jazz bass, bassoon, and trombone, one of which was performed by the Carson Symphony Orchestra.

Today, Miranda balances a dual career as a performer and teacher. Besides teaching for the UCLA Jazz Studies Program, he is a retired middle school teacher for the Los Angeles Unified School District, where he worked for twenty-four years."

-UCLA School of Music (https://schoolofmusic.ucla.edu/people/roberto-miranda/)
3/30/2020

Have a better biography or biography source? Please Contact Us so that we can update this biography.

William Jeffrey is a US jazz drummer, known for the groups John Carter Quintet, and The John Carter Octet.

-Discogs (https://www.discogs.com/artist/338611-William-Jeffrey)
3/30/2020

Have a better biography or biography source? Please Contact Us so that we can update this biography.

Luis Peralta is a US drummer and percussionist, known for the groups Gravity Adjusters Expansion Band, and The John Carter Octet.

-Discogs (https://www.discogs.com/artist/338613-Luis-Peralta)
3/30/2020

Have a better biography or biography source? Please Contact Us so that we can update this biography.
track listing:


SIDE A



1. Dauwhe 12:07

2. Ode To The Flower Maiden 7:52

SIDE B



1. Enter From The East 7:57

2. Soft Dance 6:18

3. The Mating Ritual 7:04
sample the album:








descriptions, reviews, &c.

"A reissue of John Carter Octet's Dauwhe, originally released in 1982. Dauwhe is the first chapter in John Carter's Roots and Folklore saga. A five-part epic journey through the African American heritage conceived by the great clarinetist-composer and performed by a stellar line-up featuring Carter himself, Bobby Bradford (cornet), James Newton (flute), Charles Owens (soprano sax, oboe, clarinet), Red Callender (tuba), Roberto Miranda (bass), William Jeffrey (drums), and Luis Peralta (percussion).

This is a highly integrated form of jazz, based on the processing of different musical forms and related topics. From the ancient African mythology through the Blues experience towards the open land of creative jazz. A strong musical and cultural statement from one of the greatest west coast modern jazz composers."-Black Saint



"The first of clarinetist John Carter's five-part series in which he musically depicts the history of black Americans is one of the strongest. For the only set on Black Saint (the following chapters were released by Gramavision), Carter utilizes a notable octet which also includes cornetist Bobby Bradford, flutist James Newton, Charles Owens on soprano, oboe and clarinet, bassist Roberto Miranda, the veteran Red Callender on tuba, drummer William Jeffrey, and Luis Peralta on percussion. The five originals pay tribute to life in Africa a few centuries ago, mixing together folk melodies with very advanced improvising; Newton and Callender in particular really excel in this setting. Highly recommended for open-eared listeners."-Scott Yanow, All Music


Get additional information at All Music
Related Categories of Interest:


Vinyl Recordings
Improvised Music
Jazz
Free Improvisation
West Coast/Pacific US Jazz
Octet Recordings
Jazz Reissues
New in Improvised Music
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