The
David S. Ware
Sessionography





A work in progress,
by Rick Lopez.


Document begun April 27, 1998

UPDATES

 May 4, 2008


Photo by Nuno Martins.

David S. Ware


The Deep Digging; The Incantations;

donate please
The Inspirations; All These Words...


Tour info, Biographical sketch, and Recordings at AUM Fidelity.


The companion William Parker Sessionography,
and the Susie Ibarra & Matthew Shipp Discographies.


APOGEE º the Abdul Hannan Group º


Notes on two source bands and related observations.


•Extensive and highly informative interview by William Sacks in recent issue of Perfect Sound Forever.
•D. S. Ware interview by Glenn Good, March 11, 1996.
•Brief ecstatic testimony by D. S. Ware from Vision Fest '98 at the Soundz Impossible website.
•Third Ear Recitation liner notes by Ben Ratliff.


Thank You to those who've helped.
A brief list posted many years ago during the documents beginnings.
Subsequent credits are listed in individual session entries.


Detail Search and Questions, Questions...
Missing Items, Eye-crossing Mysteries, Confusing Tidbits.


"Not in my collection." A list of out-of-print and difficult to find recordings I'm searching for,
along with new releases not yet included in this document.


MUSIC COLLECTION Sale List


"...our forté is really the extension of the form. We succeed in situations where the platform of the melody is haunted, where it is inhabited very fully and we each find its spaces around that presence. You know, there has to be resistance to overcome in the pursuit of free flow, and when the spaces in a motif are not obvious, when the existing modality seems very complex, that's a kind of resistance which we know ways of exploring and finding our way through by listening to one another as we're thinking about the form..."


Session List :::


All sessions linked below are to detailed entries for recorded media.
Also listed in chronological order within this sessionography and its session entries are play-dates with no known recorded media.
I would appreciate notice of any club dates, concert dates, festival dates, etcetera, that are not listed here.
Please include reference information (i.e. periodical name, issue date, page number), along with any and all relevant details.


00.00.00 • APOGEE / the Abdul Hannan Group / Notes on two source bands and related observations

[From correspondence with Marc Edwards and others:]

Drummer Marc Edwards on APOGEE:

"As you already know, we rehearsed extensively as a trio. This helped us to develop musically on all levels."

"The only tape of Apogee that I know of was done by David and Cooper-Moore. I'll have to try and find the flyer, but, I can tell you that it was a performance in Boston, at the YMCA. Either David or Cooper-Moore have the tapes. The next tape, a studio recording, became the Birth of a Being record on the then new Hat Hut Record label. If there are any other tapes, they're unauthorized recordings."

"During the early 1970s, while still living in Boston, we came to New York to play at Columbia University's radio station, WKCR. I don't recall the year we did this. Reel to reel tapes recorded Apogee live on the air. We did not talk nor do an interview. Most of the feedback that we got was that we didn't talk. It seems listeners were more interested in hearing us speak than the music. The personnel were David S. Ware, tenor sax, Gene Ashton (Cooper-Moore), piano, and yours truly on drums... A fan tells me that there are two tapes of Apogee at Columbia University's radio station WKCR [See 73.12.09]. They may confirm my hunch that we played there a second time."

Cooper-Moore on formative years and APOGEE:

[These interview excerpts from Adam Lore's beautiful periodical 50 Miles of Elbow Room, Number One.

"...During this time [late '60s] I took David Ware into a studio and we did a duo, he on tenor and me on Wurlitzer electric piano. We just turned a tape on and recorded. That was the first time we were ever in the studio. The tape was used for an Opportunity Industrialization Centers orientation film (a job-training program). David and I had met at Berklee but we never played together while we were classmates, only after I had left...

Then I played flute in a band called the Afro-Jazz Messengers, [which was] led by Jim Riley (who is now known as Jumma Santos). That band morphed into another one called The Rosewater Foundation. In that band I played the Hammond organ and wrote all but two of the tunes. Jumma played congas and the tunes were written around that sound. The band was trumpet, alto, organ, drums, and congas. After many rehearsals we finally got a gig. A couple months later... I told him about David Ware and how I thought he would add a lot to the band. In steps Ware. I was even happier than before, writing for three horns...

Ware had moved back to Jersey, and I told him to come back to Boston to live with us and form our own band. We needed a drummer. [Ware] suggested Marc Edwards. Marc couldn't really play a drum set yet but he was a drummer. He'd done the marching thing in NYC and had a good sense of technique, was focused and a hard worker.

I went to Webster's Dictionary to find a name for the new band. I got no further than the A's: Apogee. We practiced, rehearsed, practiced, rehearsed, obsessed about our place in the history of the music, practiced, rehearsed, obsessed. We created our own concerts. Anywhere that would have us we played. No one wrote for this band. We just started playing and stopped when we stopped. We never talked about what we were playing. Apogee was like a marriage. I have never had relationships with other musicians like [I had] with David and Marc. I loved these people. What we did was very powerful for us. Maybe others didn't understand us, but for the trio it filled a great need and a bridge to another place. Later we added a bass player, Chris Amberger, who gave the name "tremble time" to the hyper-ness in our music.

[In early 1973] the quartet was asked by Sonny Rollins to open up for him at the Village Vanguard. The night at the Vanguard was a highly charged one. The club was filled. We knew that most of those in the audience had not come to hear us but many had and some others would be receptive [because] we had the endorsements of the Master. We mounted the stage as if it were a spacecraft and blasted off. Musicians in Sonny's band and other musician friends of ours were sitting in seats on the side in back of the stage. I could see them laughing and rocking back and forth. 'Yeah,' I thought, 'They're digging it.' I don't know how long we had been playing, but the stage lights began flashing on and off. Max (the owner of the Vanguard) was having a fit and wanted us off. He didn't like the kind of music we played and made a point of not hiring musicians who played it. We played until the music stopped. Then something amazing happened. Sonny's band got on stage and they were so filled with the energy that Sonny could barely control them. They wanted to go, go, go. Poor. Max.

Not long after that we all moved to NYC. I found a building on Canal Street. 501 Canal had five floors and the rent was $550 a month. The first floor became a rehearsal/performance space. David Ware and Alan Braufman lived together on the second floor. My family took the third. Chris Amberger took the fourth. The fifth was condemned but was used by my wife as a pottery studio, for storage, and for musicians who needed a place to stay. There was music all the time, people practicing, rehearsals, performances, jam sessions, recordings, at all times of the day. Very memorable was waking up every morning to Trane being played on the stereo upstairs or Ware or Braufman practicing downstairs. I often thought, 'This must be heaven.' Here we were, fulfilling the dream. Finally we had arrived, an instant community. My vision was to use the place to break onto the scene by creating our own scene. Looking back on it all, I see that for me it was a strategy based on insecurity. None of it went the way I thought it would. People went their own ways.

Apogee started in 1970 and ended when we recorded Birth of a Being in 1977. I raised the money to make the recording, $1,500 or so. David Ware took it to Hat Hut and sold it for $500 under his name, not the name of the band. The explanation was that the owner of the company wanted it that way. This, of course, upset me [because] to me Apogee was a collective...

In April of 1981, I did a six-week tour of Europe with David S. Ware. The band consisted of Ware on tenor and soprano saxes, Beaver Harris on drums, Brian Smith on bass, and myself on piano. The experience was so awful that when I returned home I called a friend who helped me push my piano out of the living room, through the kitchen, off of the back porch into the yard where I then took a sledgehammer and demolished the thing. I then burned the wood, took the sledge and demolished the cast iron harp and put the pieces and the ashes in barrels to be carted away by the garbage men..." —Reprinted with permission of Adam Lore , from 50 Miles of Elbow Room, Number One.
[Please write Adam and get yourself a copy of this excellent publication. -RL]

From others:

"This music is important... due to the significance of Ashton/Cooper-Moore's innovative style, from which he's since evolved something just about as interesting but with a measurably different approach. This doesn't take away from the great interactivity and musicianship of this unit either. Whether this group was led by one of the individuals or not is for them to say... Maybe we will get a chance to hear this group again yet... we'd like to find and see tapes of APOGEE surface and hear them released on CD." —99.03.28

Drummer Marc Edwards on HANNAN:

"Abdul moved to New York after I had gotten myself a day-job. The last time I saw him, he was playing on the streets... Abdul... experienced hard times in New York and elsewhere."

From others:

"At the time Ware... was primarily a part of a [group] known as APOGEE, featuring Gene Ashton (who was later to be known as Cooper-Moore) as pianist, Chris Amberger on the bass, Marc Edwards on the traps..."—99.03.28

Marc Edwards:

Chris did perform with Apogee, however, for the record, the band developed largely without a bass player. This had an enormous impact on my drumming. The times that Chris performed in public with Apogee were [rare]. While we were in Boston, bass players were always in demand. For that reason, Chris was unable to remain with Apogee as a permanent member. We were glad to see him make a few gigs with the band on those rare occasions. Raphe Malik heard Apogee in Boston while we were rehearsing across the street from the New England Conservatory. He can confirm that David, Gene, and yours truly, spent most of our time together as a trio-- not a quartet."

From others:

"David Ware appeared on a privately-produced LP recorded in Boston in 1972 or 1973 by Abdul Hannan, a serious alto saxophonist from Boston. This recording documented a variety of contexts for Abdul Hannan's musical ideas, such as his performance with a steelpan orchestra... He used to sell it by himself..." —99.03.28

"It was truly a self-produced record-- and acts of both love and defiance that were performed against the odds. For example, you're now just hearing of Abdul Hannan. Why aren't he and so many others, both known and unknown, now in our world-view today? ...there were probably only 500 LPs pressed..." —99.03.31


68.00.00 • Abdul Hannan: The Third World

RITE 3044 (LP) 1968

Month and day?, 1968 / Abdul Hannan's Living Room, Boston, MA
  1. Awareness Part 1 [18:15]
  2. Awareness Part 2 [17:30]
  3. Wind & Wood, Band of Steel
On "Awareness":
Abdul Hannan (as; fl; leader)
David S. Ware (ts; comp)
Arnold Clapman (congas)
Rollins Ross (reversible piano)
Anne "Fields" Brudevold (v)
Chris Amberger (bass)
Sheila Azores (Third World Charter)

On "Wind & Wood, Band of Steel":
The Silver Star Steel Orchestra
Melvin R. Griffith, Captain
Abdul Hannan (as)

Third World Third World back

Third World LP cover.

[Click image to enlarge view]

Third World back detail 1 Third World back detail 3
Third World back detail 2 Third World back detail 4

LP Details, Cover & Back. / [Click image to enlarge view]

Third World back detail B1 Third World back detail B5
Third World back detail B2 Third World back detail B6 Third World back detail B8
Third World back detail B3 Third World back detail B7
Third World back detail B4 Third World back detail B9


{Primary Source: Anne Dumas (recording date and place); Giorgio Mortarino & Achille Silipo of Splasc(H) Records; others...} Not in my collection.

73.07.03 • Milton Marsh: Monism

Strata East SES-19758 (LP) 1975

July 3, 1973 / Media Sound, New York City
  1. Monism [8:49]
Milton Marsh (cond; spoken text, Composition)
Rene McLean (as)
Joseph Ferguson (as)
David Ware (tenor sax)
Bill Cody (tenor sax)
Reynold Scott (bs)
Frank Williams (tp)
Sinclair Acey (tp)
Bubbles Martin (tp)
Kamal Abdul-Alim (tp)
Bill Campbell (tb)
Charles Stevens (tb)
Bill Lowe (tb)
Bill Davis (tu)
Cedric Lawson (piano)
Don Pate (bass)
Greg Bandy (perc)
"String Players contracted by cellist Bernard Sennell."

[The spoken text is an excerpt from the "Sufi Message (Vol. 2)" of Hazrat Inayat Khan]

{Primary Source: SES-19758}

73.12.09 • APOGEE [Broadcast Recording]
WKCR-FM (LIVE) Broadcast

December 9, 1973 / Knitting Factory, New York City
  1. unknown title [48:33] (fades out, probable split track)
  2. unknown title [2:43] (cuts in, incomplete, cuts off !!!)
[51:18]

David S. Ware (tenor sax)
Gene Ashton aka Cooper-Moore (piano)
Chris Amberger (bass)
Marc Edwards (drums)

{Primary Source: CD-R; anonymous 06.01.01}

74.03.12 • Cecil Taylor Unit Core Ensemble [Audience Recording]

March 12, 1974 / Carnegie Hall, New York City
    Suite: TRIBE [80:19] (incomplete, cuts in at beginning, split track at 45:01, split track at 57:29)
  1. Voices
  2. To Night
  3. Being Body
  4. Black Node
  5. Suns
  6. Weight Fall
  7. Tribe
There is a shorter tape circulating at 58:33, missing the final 23:00+ end section.

Also another at 85:22 that shows first track at 60:29, second at 24:48. —RL

Cecil Taylor (piano, Composition)
Jimmy Lyons, Bobby Zankel, Luther Thomas (alto sax) ?
David S. Ware, Hassan Abdullah, Craig Purpura, Elliot Levin (tenor sax)
Jemeel Moondoc ?, Ken Simon (soprano sax)
Charles Tyler (baritone sax)
Karen Borca (bassoon)
Raphe´ Malik, Hannibal Marvin Peterson, Arthur Williams, Kevin Powell/identified elsewhere as "Fitzpatrick" (trumpet)
Joe Bowie, Craig Harris ? (trombone)
Sharon Freeman (french horn)
Carla Poole (fl)
David First, Bud Neuber, 3rd unidentified (g)
Sirone, William Parker, Dave Saphra, Earl Henderson (bass)
Rashid Bakr, Sunny Murray, Marc Edwards (drums; perc)
Andrew Cyrille (tym; perc)
unidentified (perc)

From anonymous source who attended concert, via personal email to Jason Hook (CTResearch / http://www.webmutations.com/ceciltaylor) :::

"1974/0312 was a Tuesday.

It's unlikely there was an unidentified tenor saxophonist. Frank Lowe was supposed to have been there, but was absent.
A Kevin Fitzpatrick never existed as part of this orchestra. The correct name of the trumpeter was and is Kevin Powell.
Luther Thomas was said to have been there. With Joseph Bowie there, a fellow member of the Black Artists Group, this was quite possible.
The unidentified soprano saxophonist may have been Jemeel Moondoc.
The unidentified trombonist may have been Craig Harris."


Marc Edwards: "I was one of the drummers in that show. Fellow Free Jazz Drummer, Rashied Bakr was also there playing traps. As per Cecil's instructions, we each took turns playing congas and a variety of other instruments that were on the far side of the stage during the concert. Andrew Cyrille did not play traps. He played tympani and small percussive instruments. Dave Saphra was in the Bass section along with William Parker, Sirone & Earl Henderson. Frank Lowe did make some of the rehearsals, but, he didn't play with the band at Carnegie Hall. About a month before we actually did the performance, there was a large influx of new musicians that joined the already large ensemble. Since our names were not printed in the program, it's tough to recall many of the fine musicians that were on the stage that night. My apologies to those that I'm unable to remember."

Heinrich Smejkal: "In Down Beat 74.02.28 (Vol.41, No.4 - pages 9 and 33) is an announcement that the Cecil Taylor concert was one part of total 15 concerts organized by the New York Jazz Repertory Company [including] the dates of the concerts. In Down Beat 74.05.09 (Vol.41, No.9 - page 29) [there is] a concert review by Gary Giddins, unfortunately he mentions only a few of the participants. Giddins noted also that ‘many players were recruited from colleges where Taylor has taught.’"

David First: "[guitarist] Bud and I were recruited to join Cecil's ensemble from an ensemble that he had put together while teaching a series of classes at what was at the time known as Glassboro State Teacher's College. ...there were upwards of twenty or so people taking the class - none of whom had either enrolled in the school or paid for the class. My friend Bud and I had the pleasure of picking CT up from 30th St Station in Philadelphia twice a week and driving him (approx 45 min) to the school in South Jersey and thus got to spend a lot of extra time talking about numerous subjects. There was also a ‘class’ concert at Glassboro in May of that year, but it was a bit of a mess, I reckon... I remember hearing a bit of a tape from that night at a guy's loft, whose name escapes me. He was Cecil's manager at the time and a couple of us were staying with him during this period. Somewhere on Greenwich St. in lower Manhattan, I believe. We would come up twice a week for rehearsals with CT and sleep on the guy's floor. The ensemble rehearsals were on Chambers St. also in lower Manhattan..."

Bobby Zankel: "...my memories from that period with CT would make a chapter in a book, but I can't remember how the music sounded. Carnegie Hall was an excellent band (in spite of my youth) and there was a decent amount of rehersal—a balance between people accustomed to Cecil's system/language and New York pros—my strongest memory was coming back to my music stand after playing a too long solo and being met by Jimmy Lyons' smile and a pat on the back from him and Charles Tyler..." correspondence 03.07.11


CT Big Band / NYC 74.03.12
CT Big Band / NYC 74.03.12

The Cecil Taylor Big Band at Carnegie Hall in New York City, March 12, 1974. Photos courtesy David First, reproduced with permission.



CT Big Band / NYC 74.03.12, with names CT Big Band / NYC 74.03.12, with names
Same photos with some names. Detailed by anonymous.


{Primary Source: 2CD-R; info via H. Smejkal, Marc Edwards and David First}

75.02.26 • Andrew Cyrille and Maono: Celebration

Institute of Percussive Studies Records IPS ST 002 (LP) 1975

1st session
[See also: 75.05.14.]

February 26, 1975 / Ali's Alley or Studio 77, New York City
  1. Haitian Heritage (Pt. 1)
    (a) Voices of the Lineage (Cyrille) [12:01]
    (bass) Agowé, Hunto (Cyrille) [2:46]
    (Spirit in the Drum)
  2. Haitian Heritage (Pt. 2)
    "Levitation" (Cyrille) [12:15]
  3. Fate (Cyrille) [9:32]
  4. Gossip (Jimmy Lyons) [7:25]
  5. Non-Expectation Celebration (Cyrille) [9:25]
Jeanne Lee (voice)
Elouise Loftin (poet)
Alphonse Cimber (Haitian drum)
David S. Ware (tenor sax)
Ted Daniel (trumpet)
Donald Smith (piano)
Stafford James (bass)
Romulus Fanceschini (synthesizer)
Andrew Cyrille (drums, percussion)

{Primary Source: IPS ST 002}

75.00.00 • Andrew Cyrille & Maono [Audience Recording]

???, 1975 / Ali's Alley or Studio 77, New York City
    banter, tuning up [0:48]
  1. unknown title [20:53]
Andrew Cyrille (drums; percussion)
Ted Daniel (trumpet)
David S. Ware (tenor saxophone)
unknown (electric guitar)

{Primary Source: CD-R}

75.05.14 • Andrew Cyrille and Maono: Celebration

Institute of Percussive Studies Records IPS ST 002 (LP) 1975

2nd session
[See also: 75.02.26.]

May 14, 1975 / Ali's Alley / Studio 77, New York City Jeanne Lee (voice)
Elouise Loftin (poet)
Alphonse Cimber (Haitian drum)
David S. Ware (tenor sax)
Ted Daniel (trumpet)
Donald Smith (piano)
Stafford James (bass)
Romulus Fanceschini (synthesizer)
Andrew Cyrille (drums, percussion)

{Primary Source: IPS ST 002}

75.07.14 • Andrew Cyrille & Maono [Broadcast Recording]
WKCR-FM Broadcast

July 14, 1975 / Studio RivBea, New York City
  1. unknown title [25:41]
    announcement [0:39]
  2. unknown title [43:52] (split track at 20:18)
  3. unknown title [9:20]
    announcement [0:74]
[75:35]

Andrew Cyrille (drums; percussion)
Ted Daniel (trumpet)
David S. Ware (tenor saxophone)
Donald Smith (organ, synthesizer)

{Primary Source: CD-R; web-listing}

76.01.30 • Cecil Taylor Unit [Audience Recording]

January 30, 1976 / New Foxhole Cafe, Penn University, Philadelphia, PA
  1. unknown title [80:40] (incomplete, cuts in at beginning, split track at 40:31, cuts out at end)
Note: Some tapes have the venue listed incorrectly as "The Empty Foxhole". —RL

Cecil Taylor (piano)
Jimmy Lyons (as)
David S. Ware (tenor sax)
Joseph Bowie (tb)
Raphé Malik (tp)
Beaver Harris ? (drums)

"...listening to the tape... The drummer sounds like me but, I don't have any recollection of a trombone player sitting in with the band. ...It is possible we could be listening to Beaver Harris or perhaps Ronald Shannon Jackson? Both men worked with Cecil after I left the band." —Marc Edwards, correspondence 01.10.20

"I recently met Marc Edwards in NYC and told him about seeing the Cecil Taylor group play in ...Philly in late January, 1976. ...it was in the lower part of a large church. It was a chapel, smaller than the main sanctuary, but still pretty large. I also remember the gigs took place over two nights. I mentioned that there was a trombone player... It seemed to be important to Marc that there was, in fact, a trombone player... and [he] asked that I send this info to you. It's a long time ago, but I do remember a trombone player-- an African-American who mostly played in the ensemble passages. I don't remember who it was..." —Wally Shoup correspondence 02.09.25; 02.10.12

"Bowie was in and out of various units around that time, and was part of the original band in "A Rat's Mass". Harris was a frequent sub for Edwards around that time and I've never been sure that it's him on the tape, although it's likely... The information comes from:..." Albert Ayler, Sunny Murray, Cecil Taylor, Byard Lancaster & Kenneth Terroade: On Disc & Tape, by Mike Hames, photography by Val Wilmer, printed privately by the author with the financial assistance of the Arts Council of Great Britain, January, 1983 [Ed Hazell correspondence 03.03.31]

{Primary Source: Tape; venue info via M. Edwards; identity of trombonist Bowie via Ed Hazell}

76.02.05 • William Hooker: ...is eternal life

Reality Unit Concepts RUC-444 (2LP) 1981

February 5, 1976 / Langston Hughes Library, Corona, NY
  1. Passages (anthill) [18:46]
"[William] Hooker eventually made his recording debut with the 1978 double album Is Eternal Life on his own Reality Unit Concepts label. Long out of circulation, it stands as one of the best kept secrets of the free jazz underground. 'It's a series of duets with saxophonists David Murray and David S. Ware and no, I don't have any copies for sale, man,' he deadpans.' [Extract from William Hooker interview/article by David Keenan, WIRE #197 July 2000 p.32]

David S. Ware (tenor sax)
William Hooker (drums, Composition)

{Primary Source: RUC-444; release date via DOWNBEAT December 1981 p.61}

76.04.15 • Cecil Taylor Unit [Broadcast Recording]
Original broadcast WCBN-FM / National Public Radio "Jazz Alive"


April 15, 1976 / The Power Center, Michigan State University at Ann Arbor, Ann Arbor, Michigan
  1. Wavelets [31:58]
    Cecil Taylor announcement "Petals, just once through." [0:28]
  2. Petals [13:50] (incomplete, cuts out)
[46:15]

This tape is the second set of the Ann Arbor concert. Track one is an interesting piece in that it differs from the usual Taylor ensemble methodology: The piece begins with a drum solo (there is a split-second drop-out about 1:00 in); leads into a piano-tenorsax duet; [11:00 in] segues into a piano-altosax-drum trio segment; [18:00 in] becomes a piano-trumpet duo until ending.
Does a recording of the first set exist? Reference is also made to a tape at 50:00 with "Heather" and an unknown title. —RL

* There is also a tape circulating listed as "2 tracks, 48:00."
On this tape the tracks have been somehow reversed. The sound quality (not very good on track 1) descends to near horrible on the "unknown title," and proceeds to the end commentary by A.B. Spellman of NPR's "Jazz Alive." The 2nd track begins and ends w/ edit cuts. Taylor's voice is not heard here.

Drummer Marc Edwards:
"We did a torrid [first] set... After we finished playing, we were taking a break, and Cecil told us that we had to do a second show. I was completely burned out. I started off the set doing a drum solo. I don't recall the breakdowns that followed. I think Cecil and Jimmy played together, David S. Ware may have soloed by himself or he may have performed as a duo with Malik. It's hard to recall now. Eventually, the entire band did play together as an ensemble towards the end. I don't know the name of that piece."

The applause following track one leads to Cecil Taylor's calling out "Petals... just once through... Petals..." The very ending of this track is cut off—(just a few moments from where the announcement by NPR appears on the inferior tape discussed above.*) —RL

Marc Edwards: "I remember the "Petals" composition to this day. Cecil wrote wonderful melodic lines. We had a ball playing that piece during a tour on the West Coast and later, in Europe. We first performed this song during the band's one week stay at the KeyStone Korner in San Francisco."

Marc Edwards (after hearing the tape): "I was under the impression that we were going to do only one set. When Cecil announced that we were going to play some more, I was surprised. The second set begins with a drum solo... Cecil's bands do not generally provide many opportunities for drum solos. This concert presents a rare chance to hear me in this context. My primary function was to play behind the band members supporting their musical ideas and concepts. To become a good soloist, one has to solo on a regular basis. What the fans heard on the second set was the stuff that I play behind the ensemble. Towards the very end of my solo, I began to get the hang of it. Just as I started moving into a different area, Cecil and David began to play. They had quietly entered the stage. The audience was great responding favorably to what I had played. (Fans interested in hearing more should listen to my drum solo on the Black Queen CD. "Bumblebees and Marigold Flowers" is good. "Pi R Squared," from the Time &amp: Space Vol. 1, is another interesting solo. A musician's playing really does improve as the years go by.
Getting back to the second set, David S. Ware's performance with Cecil was outstanding. During those days, critics and writers labeled David as just another screaming fiery tenor saxophonist. David S. Ware is much more than that. Unlike most Free Jazz saxophonists, David has far more range and depth. He and Cecil are in fine form, exploring the musical layers melodically. This a side that many writers couldn't hear. Jimmy and Raphe followed, each performing in a similar spirit that pervaded the second set. Jimmy Lyons is no longer with us. If he were alive, I would love to work with him. The passage of time has helped me to mature. With the knowledge that I now have, I would know how to support his improvisations better."

Cecil Taylor (piano)
Jimmy Lyons (as)
David S. Ware (tenor sax)
Raphé Malik (tp)
Marc Edwards (drums)

{Primary Source: CD-R; Marc Edwards for venue info—from a notice referenced in The Michigan Daily, dated Friday, April 16, 1976, Vol. LXXXVI, No. 161. }

76.05.23 • Andrew Cyrille and Maono: Junction {1}

Institute of Percussive Studies Records IPS ST 003 (LP) 1976; WHY NOT WN-014 STEREO/PA 7157 (LP) JAP

[Also:] May 23, 1976 / Studio Rivbea, New York City
  1. Okurimono (Gift from Japan) (Cyrille) [21:14] {1,4}
  2. Short Short (Cyrille) [7:30] {2,3,4}
  3. Interlude (Ware / Daniel) [2:19] {1*,4}
* On STEREO/PA 7157 only.

Note: (on the Japanese release) "The album is WHY NOT STEREO/PA 7157 and is the last album of a series of recordings dedicated to free jazz. The complete discography is of 14 albums. The number WN-O14 is master code number." —Marco Negri

[These are all (separate) excerpts from the same continuous performance.
"Short Short" ends with audience applause. —RL]

Ted Daniel (tp-2,3; flgl-1)
David S. Ware (tenor sax)
Lisle Atkinson (bass)
Andrew Cyrille (d-1,2)

Chuck Berg review of the Wildflowers series, (Down Beat 8/11/77) and info on both the 5-Volume LP and 3-Volume CD configurations.

The New York Loft Jazz Sessions
"Studio Rivbea Spring Festival" event review by Vladimir Simosko from CODA magazine, July, 1976.

{Primary Source: IPS ST 003 & NBLP7047; info for JAP issue via Marco Negri}

76.06.00 • Cecil Taylor Unit [Soundboard Recording]

June (day?), 1976 / Maison de la Culture, Woluwe St. Pierre, Brussels, Belgium

Also erroneously circulated as "CECIL TAYLOR UNIT - 1978? - BELGIUM." This version being the first set, missing a minute or so of the end, with a fade out.
  1. unknown composition (part 1) [46:20]
  2. unknown composition (part 2) [46:20] (incomplete, fades out)
Cecil Taylor (piano)
Jimmy Lyons (as)
David S. Ware (tenor sax)
Raphé Malik (tp)
Marc Edwards (drums)

{Primary Source: 2CD-R; Lukas Lindenmaier to CTResearch Group 05.05.07}

76.06.18 • The Cecil Taylor Unit: Dark to Themselves

ENJA 2084 (LP) 1977 SWZ; Enja Soul Posters SP 2092 (LP) FR; Inner City IC3001 (LP) 1977; ENJA R2 79638 (CD) 1990; ENJ-2084 2 (CD) "25th Anniversary Series" 1997

June 18, 1976 / Ljubljana Jazz Festival, Ljubljana, Yugoslavia
  1. Streams and Chorus of Seed [61:45]
Cecil Taylor (piano, Composition)
Jimmy Lyons (as)
David S. Ware (tenor sax)
Raphé Malik (tp)
Marc Edwards (drums)

[Note: ENJA 2084 was a heavily abbreviated edition of this concert.]

Dark to Themselves

Dark to Themselves Inner City IC3001 LP.

[Click image to enlarge view]


{Primary Source: R2 79638; SP 2092}

76.06.20 • Cecil Taylor Unit [Audience Recording]

June 20, 1976 / Rotterdam Jazz Festival, De Doelen, Rotterdam, Netherlands

* There are Audience Recordings circulating with the date mistaken as 76.07.20. —RL
    announcement [2:30]
  1. Five C.T. / Be a Red Aisle Runner (from "A Rat's Mass") [68:34] (split track, fades out and back in at 43:22)
Drummer Marc Edwards:
"We played at a festival, however, I did not get a program."
[Later correspondence:] "Dark To Themselves is well liked by fans of Free Jazz. What most people don't realize is that the concert in Yugoslavia was the first stop of the European Tour. We played in France, Germany, Italy, and Norway, just to name a few. I've always believed that DTT was not our strongest performance. The show that we did in La Rochelle, France, was incredibly strong. I don't know if anyone in the audience recorded it. I do recall that Alan Silva made a tape while we were playing. Alan says that it was great, but, again, I have no way to confirm that. I've never heard his tape.

The Rotterdam Concert shows the band in rare form. Listening to the show today, I can only describe my drumming as relentless. Jimmy Lyons was outstanding. After David's solo, he began mimicking some of my rhythmic ideas as well as those of David. Cecil, of course, can do anything. He began picking up on the rhythmic ideas too, throwing them back and forth. Due to my inexperience, I wasn't fully able to utilize what Cecil was feeding me. I was still locked into my own musical ideas. Were I to play with Cecil today, this would be no problem. Experience is the best teacher. Jimmy was very lyrical, a word that I use to mean that he was playing above his usual melodic concepts. I enjoyed listening to him a lot. Playing the tape for a second time, I find that I'm drawn to Jimmy's extensive use of rhythm in this concert. He sounds great!

...In some ways, this performance eclipses DTT. Maybe we'll see it released on CD, but, I don't think that would make Enja Records happy. They're doing quite well selling DTT. :) "

Cecil Taylor (piano)
Jimmy Lyons (as)
David S. Ware (tenor sax)
Raphé Malik (tp)
Marc Edwards (drums)

{Primary Source: CD-R; date confirmed by Marc Edwards.}

76.06.30 • Cecil Taylor Unit [Broadcast Recording]
NDR Broadcast

June 30, 1976 / Onkel Pö, Hamburg, Germany

"The correct title of this now defunkt famous Jazz Club in Hamburg was 'Onkel Pö's Carnegie Hall'..." —correspondence from Kai-Martin Mueller
  1. Dumping Petal Point and Sunflowers / Part 1 [39:00]
  2. Dumping Petal Point and Sunflowers / Part 2 [29:00]
  3. Don't Send Me No Pebbles [Petals?] from Georgia [44:00] (incomplete)
  4. First Word I-II [54:00] (incomplete)
[166:39]

Track 3 is another version of 76.06.18's "Streams and Chorus of Seed," and track 4 also contains further development of some of the same motifs.

[Also:]
Tape listed as same date, "...a short German radio broadcast from a jazz club called "Onkel Pö."
  1. German introduction [0:20]
  2. Don't Send Me No Pebbles from Georgia, Part 2 [20:55]
Drummer Marc Edwards:
"...it's Uncle Po's, a jazz club in Hamburg. We played there from June 30 - July 1, 1976 according to the itinerary. One of the shows was recorded by one of the radio stations (I think?)..."

Cecil Taylor (piano)
Jimmy Lyons (as)
David S. Ware (tenor sax)
Raphé Malik (tp)
Marc Edwards (drums)

{Primary Source: 3CD-R; info via Jan Ström; & info via Marc Edwards; Kai-Martin Mueller} 2nd Broadcast Recording not in my collection.

76.07.10 • Cecil Taylor Unit [Audience Recording]

July 10, 1976 / Venue ?, La Rochelle, France
  1. unknown title [88:04] (incomplete, continuous set, split track at 45:40, cuts out at end)
Drummer Marc Edwards:
"What's note worthy about the La Rochelle, France show is the addition of bassist, Alan Silva. Alan joined the band for the Montreux show in Switzerland on July 9, 1976. The band was rehearsing in a secluded area. It turned out to be not so secluded. One lucky fan heard us playing. He came in and sat down for a free concert. Alan Silva arrived minutes later. We continued to play with much passion. I turned it up an extra notch or two, just to see how Alan would react. Alan began playing, adjusting his musical ideas with what the band was playing. My reaction was that Alan was thinking [that] I was going to get tired and change to an easier level. That didn't happen! I kept playing harder and harder. Alan was checking me out closely. I kept playing so hard that Alan started laughing. Cecil was also highly amused by my tactics. He knew what I was doing.

Drummers tend to be very territorial. If anyone joined the band, I made sure that they played out stuff. On that point, there was no compromise. For the record, Alan Silva was the only musician to play with the Dark To Themselves Cecil Taylor Unit. No one sat in at any time. If you hear otherwise, it didn't happen while I was there. Anything is possible after I left.

This brings us to the La Rochelle performance in France, the next day we flew in a private plane. The plane was small, having just enough room for us, the musicians, and our instruments. We took only a change of clothes for one day. Our suitcases arrived later that day. I was uncomfortable in the plane. Raphe and I were in the back-seat. My drum case contained the floor tom-tom and the small tom-tom. The case rested on our laps pressing against our faces. It was quite large. Had the plane gone down, there was no way for Raphe nor I to save ourselves. We were pinned to the back-seat by my drum case. We were totally in the hands of the Almighty. Luckily, we arrived at La Rochelle without any mishaps.

Jimmy and David were laughing at us throughout the flight. They teased us to no end. After the plane landed, we were taken to the hotel. We were late getting to La Rochelle. The promoters of the concert wanted us to go to the theater ASAP. I was hungry. I went to David's room and told him that I had to get something to eat before we played. David took me to Cecil's room and explained the situation. Cecil understood. Within a short time, we were at a restaurant eating a lavish meal. Meanwhile, the promoters were having a fit. The show was not going to start on time. As soon as I had finished eating, the promoter, personally, drove me to the theater pronto.

I don't recall the name of the place. It was a large theater that could also double for showing movies. When I had finished setting up my drums, Cecil, Jimmy, David and Raphe arrived. We did a quick sound check. I could hear a concerned crowd behind the curtains. They were greatly relieved when the curtains went up. Finally, they were going to hear some music. The tape doesn't fully capture my performance. At the beginning, I was using brushes. On this day, I was in the zone. Everything that I played was superb. Jimmy Lyons turned around at one point because he was so impressed with my work on brushes. Later, I changed to drumsticks and the band took off. Alan really added another voice to the unit. I wish he had stayed on longer with the group. Listening to the tape, the band sounds great.

Towards the end of our long set, Jimmy, Raphe and David started playing together. This is one of the few times that the three horns improvised freely, other than when they were playing the "heads" (the composition lines). They kept playing on and on. I thought they would never stop. During this segment, Cecil thought that I was pushing the band. No, it wasn't me, it was the horn players. They had gotten into a hard driving mode and locked in. I had no choice but to keep up. That was no problem. I simply dug in and started to push the group as hard as I could. When we finished playing, the audience was very enthusiastic. They kept screaming and hollering. We bowed and left the stage. Because I had played so well, Cecil asked me to go back on stage - by myself. I didn't want to, but, Cecil insisted. As soon as I set foot on the stage, the audience went nuts! They started screaming again, only this time, their collective voices went up another octave. Words cannot begin to describe how I felt at that moment. Now, I understand why people cry when they receive awards at the music awards shows. The audience can literally move a person to tears."

Cecil Taylor (p; voc)
Jimmy Lyons (as)
David S. Ware (tenor sax)
Raphé Malik (tp)
Alan Silva (b; voc)
Marc Edwards (drums)

{Primary Source: 2CD-R; Jan Ström's Jimmy Lyons, A Sessionography, p.36; info via Marc Edwards.}

76.07.14 • Cecil Taylor Unit [Private & Broadcast Recordings]
Broadcast by Radio Stadt Bremen, Tape #JZ 5288

July 14, 1976 / SendeSaal Saal Studio, Bremen, Germany

Audience Recording:
  1. Winds Alight Stepping Silver [120:36]
Broadcast Recording:
    announcement [0:39]
  1. Winds Alight Stepping Silver (excerpt) [29:09]
    announcement [0:29]
  2. Winds Alight Stepping Silver (excerpt) [34:39] (incomplete, fades at end)
[65:50]

Broadcast Recording is also circulating with incorrect date of "77.03.00."

Drummer Marc Edwards:
"This performance took place in a radio studio—for a live broadcast."

Jimmy Lyons, A Sessionography: "[tracks 1 and 2 were] broadcast at different occasions but given the same date and title, [indicating] one performance... broadcast in two parts."

Cecil Taylor (p; voc)
Jimmy Lyons (as)
David S. Ware (tenor sax)
Raphé Malik (tp)
Marc Edwards (drums)

{Primary Source: Private 2CD-R; Broadcast CD-R; info via Marc Edwards; Jan Ström's Jimmy Lyons, A Sessionography, p.6 UPDATE 02-0130; info via Holger Neuhaus & Heinrich Smejkal.}

!!! NO TRADE !!! on Audience Recording.

76.07.20 • Cecil Taylor Unit [Audience Recording]

July 20, 1976 / Rotterdam, Netherlands

Tapes circulating with this date are actually from 76.06.20.

76.12.11 • Cecil Taylor Unit [Audience Recording]

December 11, 1976 / Village Gate, New York City
  1. 1st Set [78:48]
  2. 2nd Set [69:36]
[148:24]

First Set was possibly Broadcast on WKCR.

Cecil Taylor (piano)
Jimmy Lyons (as)
David S. Ware (tenor sax)
Raphé Malik (tp)
Beaver Harris (drums)

{Primary Source: 2CD-R}

77.03.00 • Cecil Taylor Unit [Audience Recording]

March, 1977 / SendeSaal Saal Studio, Bremen, Germany

Tapes circulating with this date are actually from 76.07.14.

77.03.21 • Beaver Harris Quintet [Broadcast Recording]

March 21, 1977 / WKCR-FM, New York City
  1. unknown titles [51:03]
Raphé Malik (tp)
David S. Ware (tenor sax)
Hamiet Bluiett (bs)
Tito Sumpa (perc)
Beaver Harris (drums)

{Primary Source: CD-R}

77.04.14 • David S. Ware: Birth of a Being

hat HUT Records hat HUT W (LP) 1979

1st session
[See also: 77.04.15.]

April 14, 1977 / CIRecording, Inc., New York City
  1. Prayer [10:50]
  2. A Primary Piece #1 [13:45]
  3. A Primary Piece #2 [11:45]
David S. Ware (tenor sax, Compositions)
Gene Y. Ashton (piano)
Marc D. Edwards (drums)

{Primary Source: hat HUT W}

77.04.15 • [David S. Ware: The Birth of a Being]

hat HUT Records hat HUT W (LP) 1979

2nd session
[See also: 77.04.14.]

April 15, 1977 / CIRecording, Inc., New York City
  1. Thematic Womb [16:35]
David S. Ware (tenor sax, Composition)
Gene Y. Ashton aka Cooper-Moore (piano)
Marc D. Edwards (drums)

{Primary Source: hat HUT W}

77.05.26 • Beaver Harris: African Drums

Owl OWL 09 (LP) 1977 FR

May 26, 1977 / "Recorded at Daniel Pascaud's Studio in Paris." —Giovanni Corda correpondence 04.10.20
  1. African Drums (Harris) [10:15]
David S. Ware (tenor sax)
Beaver Harris (drums)

{Primary Source: OWL 09}

77.06.15 • Cecil Taylor Unit [Audience Recording]

June 15, 1977 / Arri-Kino, München, Germany
  1. Part One of "F" [85:13] (split track at 74:40)
  2. Part Two of "F" [53:03]
[138:16]

Fragmented parts of soundcheck, announcements, chatter before the beginning... have been edited out. In these fragments Cecil Taylor announces the composition as "...the title is F (Eff) ...is in two parts... is 'F' ...played in F-sharp."

Cecil Taylor (piano, Composition)
Jimmy Lyons (as)
David S. Ware (tenor sax)
Raphé Malik (tp)
Beaver Harris (drums)

{Primary Source: 2CD-R; info via H. Lukas Lindenmaier; Jan Carlsson correspondence 04.03.28}

77.06.18 • Cecil Taylor Unit [Audience Recording]

June 18, 1977 / Bimhuis, Amsterdam, Netherlands
  1. First set [:]
  2. Second set [:]
[44:52]

Sound on this tape for the first 20-25 minutes is unbearable, un-listenable, horrible, very bad. Since no one could possibly provide a worse copy—can anyone provide a better copy? —RL.

"In the summer of '77 I caught the Cecil Taylor Unit at the Bim Huis club in Amsterdam. The group was over an hour late and the crowd actually booed as they walked on-- Jimmy Lyons, David Ware, Raphe Malik, and, to my surprise, Beaver Harris. Beaver's percussion propelled the group and Cecil with a virtuosic intensity..." (from Rudolph Grey's liner notes to "Blue Humans Live - N.Y. 1980" on Audible Hiss)

Cecil Taylor (piano)
Jimmy Lyons (as)
David S. Ware (tenor sax)
Raphé Malik (tp)
Beaver Harris (drums)

{Primary Source: CD-R}

78.00.00 (2) • Cooper-Moore: Outtakes 1978

Hopscotch HOP 16 (CD) 2005

Dates ?, 1978 / Venue ?, NYC
  1. ensemble 1 redo take 9 [8:00] (track 2 on CD; listed in liners as track 4)
  2. Trio take 5 [3:34] (track 3 on CD; listed in liners as track 5)
  3. ensemble 1 take 2 [7:46] (track 6 on CD; listed in liners as track 9)
  4. prayer take 8 [5:00] (track 7 on CD; listed in liners as track 10)
  5. ensemble 1 take 1 [8:44] (track 8 on CD; listed in liners as track 1)
  6. Trio take 6 [3:52] (track 9 on CD; listed in liners as track 6)
David S. Ware (tenor sax)
Mark Gould (trumpet)
Cooper-Moore (diddley-bow-1,3,5; piano-2,4)
Kenwood Dennard (drums)

{Primary Source: HOP 16}

78.09.02 • Andrew Cyrille & Maono [Audience & Broadcast Recordings]

September 2, 1978 / Jazz Festival Willisau, Willisau, Switzerland

Audience:
  1. Sweet Nut [27:20]
  2. Spiegelgasse 14
    a) Reflections and Restaurants
    b) The Park [46:05]
  3. 5-4-3-2 [12:45]
  4. Metamusician's Stomp [42:43] (incomplete)
Broadcast:
  1. Meta Music Star, Part 2 [5:55]
David S. Ware (reeds)
Teddy Daniels (tp)
Nick DeGeronimo (bass)
Andrew Cyrille (drums)

{Primary Source: 2CD-R; info via Jan Ström; Heinrich Smejkal; venue via Pierre-André Monti; CODA October 1978 #163 p.29}

78.09.00 • Andrew Cyrille & Maono: Metamusician's Stomp

Black Saint 120205-1 (LP); 120025-2 (CD) 1978 ITALY September (day?), 1978 / Ricordi Studios, Milano, Italy
  1. Metamusician's Stomp (Cyrille) [6:41]
  2. My Ship (Kurt Weill) [7:05]
  3. 5-4-3-2 [4:54]
  4. Spiegelgasse 14: Reflections+Restaurants / The Park / Flight [21:14]
David S. Ware (ts; fl; foot)
Teddy Daniels (tp; flgl; wood fl; foot)
Nick DeGeronimo (b; foot)
Andrew Cyrille (dr; perc; foot)

{Primary Source: Black Saint 120025-2; BS/SN-C003}

78.09.30 • David S. Ware (featuring Jean-Charles Capon): From Silence to Music

PALM Records (Productions Artistiques Litteraires et Musicales) PALM 32 (LP) 1978 FR

1st session: [See also 78.10.01.]

September 30, 1978 / Studio PALM, Paris, France
  1. Blues for a change (Ware) [9:52]
  2. In memory of (Ware) [10:44]
David S. Ware (tenor sax)
Jean Charles Capon (cello)

{Primary Source: PALM 32; split session info via Pierre-André Monti}

78.10.01 • [David S. Ware (featuring Jean-Charles Capon): From Silence to Music]

PALM Records (Productions Artistiques Litteraires et Musicales) PALM 32 (LP) 1978 FR

2nd session: [See also 78.09.30.]

October 1, 1978 / Studio PALM, Paris, France
  1. It could happen to you (Van Heusen) [7:55]
  2. Deep Purple (Peter de Rose) [3:55]
  3. Prelude to a Kiss (Ellington) [3:53]
  4. From deep within Part I (Ware) [2:52]
  5. From deep within Part II (Ware) [3:20]
David S. Ware (tenor sax)

{Primary Source: PALM 32; split session info via Pierre-André Monti}

79.06.30 • David S. Ware Trio [Audience Recording]

June 30, 1979 / Live At Soundscape, New York City
  1. Awareness [ : ]
  2. Come Sunday [ : ]
  3. Home at Last [ : ]
David S. Ware (tenor sax)
A. Klapman (bass ?)
Rashid Bakr (drums)

{Primary Source: anonymous 06.01.01} Not in my collection.

79.00.00 • Andrew Cyrille & Maono [WKCR Archival Recording]

unknown date, 1979 / Paris, France
  1. Module [20:11]
David S. Ware (tenor sax)
Teddy Daniels (trumpet)
Nick DeGeronimo (bass)
Andrew Cyrille (drums)

{Primary Source: WKCR-FM Archive 07.07.31} Not in my collection.

79.10.14 • Andrew Cyrille & Maono [Audience Recording]

October 14, 1979 / Burghausen, Germany

First Set:
  1. Abracadabra (Clifford Jordan) [20:01]
    announcement [1:00]
  2. Baby Man (John Stubblefield) [17:48]
    announcement [0:46]
  3. Metamusician's Stomp (Cyrille) [27:02] (split track at 6:56)
    announcement [0:45]
[67:59]

David S. Ware (tenor sax)
Teddy Daniels (trumpet)
Nick DeGeronimo (bass)
Andrew Cyrille (drums)

{Primary Source: CD-R}

79.10.15 • Andrew Cyrille & Maono [Audience Recording]

October 15, 1979 / Innsbruck, Austria
  1. unknown title [8:27]
  2. unknown title [25:57]
  3. unknown title [29:44]
  4. unknown title [44:32] (split track at 30:15, fades out and back in)
  5. unknown title [17:42]
[126:27]

David S. Ware (tenor sax, voice)
Teddy Daniels (trumpet, flugelhorn, voice)
Nick DeGeronimo (bass, voice)
Andrew Cyrille (drums, percussion, sanza, voice)

{Primary Source: Norbert Kreutzer 08.03.03} Not in my collection.

80.02.02 • David S. Ware Quartet [Broadcast Recording]
WKCR-FM

February 2, 1980 / Live Broadcast, Soundscape, New York City
  1. unknown title
  2. unknown title
  3. Angel Eyes
  4. Theme
  5. Somewhere Time
  6. Eleanor Rigby
David S. Ware (tenor sax)
Gene Y. Ashton (piano) (aka Cooper-Moore)
William Parker (bass)
Rashid Bakr (drums)

{Primary Source: CADENCE Vol.6 No.2 February 1980 p.2; anonymous 05.12.31; additional info via even more anonymous correspondence} Not in my collection.

80.03.21 • David S. Ware & Tatsuya Nakamura Duo [Broadcast Recording]
WKCR-FM

March 21, 1980 / Live Broadcast, WKCR-FM, New York City
  1. Come Sunday [50:00]
David S. Ware (tenor sax)
Tatsuya Nakamura (drums)

{Primary Source: anon. 06.01.01; CADENCE Vol.6 No.2 February 1980 p.2} Not in my collection.

80.09.27 • Andrew Cyrille & Maono [Audience Recording]

September 27, 1980 / Jazz Club Unterfahst, Münich, Germany
    soundcheck, announcement Cyrille [2:50]
  1. The Magnificent Bimbo / Circumfusion [20:00]
  2. You Leave Me Breathless [10:15]
  3. Special People [19:15]
  4. The Music in Us [26:15]
  5. Jamile [10:20]
  6. High Priest [22:40]
David S. Ware (tenor sax)
Teddy Daniels (trumpet, flugelhorn)
Nick DeGeronimo (bass)
Andrew Cyrille (drums)

{Primary Source: 2CD-R; info via Jean-Marc Foussat; Heinrich Smejkal} !!! NO TRADE !!!

80.10.15
80.10.16
80.10.17
80.10.18
80.10.19 • Andrew Cyrille & Maono [Audience Recording]

October 15 through 19, 1980 / Le Dreher, Paris, France
  1. unknown title [17:40] (incomplete, cuts out at end)
[Also noted: Hat hut recorded this entire engagement:]
"Four nights recording, each with 3 sets, with one night for [sound] check! An Hat hut demand for a live album. I did it. I bring the 12 tapes (each 45') to Switzerland. 2 month later a Werner phone call from Zürich. There was a sound Problem. I go there. It was a kind of buzz on the whole trumpet sound. Apologise: as sound engineer I didn't listen it while recording, or If I did, I didn't realized that it was so unpleasant, so ugly, so!!! At that second I was as have no more ability in the thing it was my job, for ever! The whole thing was erased under my eyes by Werner himself with his hands. And I must return my fee as if nothing has never happened. Hope you understand. The pure Horror."
[Jean-Marc Foussat's splendid correspondence]

David S. Ware (tenor sax)
Teddy Daniels (trumpet)
Nick DeGeronimo (bass)
Andrew Cyrille (drums)

{Primary Source: CD-R; info via Jean-Marc Foussat}

80.10.21
80.10.22 • Andrew Cyrille: Special People

Soul Note SN 1012 (LP) 1981 IT; SN 121012 (CD) IT

October 21 & 22, 1980 / Barigozzi Studios, Milano, Italy
  1. A Girl Named Rainbow (Ornette Coleman) [10:00]
  2. High Priest (Cyrille) [7:42]
  3. Fortified Nucleolus (Cyrille) [5:08]
  4. Baby Man (John Stubblefield) [6:34]
  5. Special People (Cyrille) [7:00]
David S. Ware (tenor sax)
Teddy Daniels (tp; flgl)
Nick DeGeronimo (bass)
Andrew Cyrille (perc)

{Primary Source: SN 1012}

81.04.31 • David S. Ware Quartet (featuring Beaver Harris) [Audience Recording]

April 31, 1981 / Jazz Unite, Paris, France
  1. Bliss Tune (Ware) [24:23]
"...Somebody in Paris sent it to Adam Lore who handed it off to me." —Cooper-Moore

Also noted: "unknown titles, 91:00"

David S. Ware (ts)
Gene Ashton (Cooper-Moore) (p)
Brian Smith (b)
Beaver Harris (dr)

{Primary Source: CD-R; Cooper-Moore 07.01.06; anon. correspondence 04.03.02; CADENCE June 1981 p.63} Complete session at 91' not in my collection.

81.06.20 • Andrew Cyrille & Maono [Soundboard Recording]

June 20, 1981 / Pisa Jazz Festival, Pisa, Italy
    announcement [0:32]
  1. Jamile [6:25]
  2. unknown title [17:50]
    announcement [1:00]
  3. Circumfusion—the Magnificent Bimbo [20:50] (incomplete)
David S. Ware (tenor sax, voice)
Teddy Daniels (trumpet, voice)
Nick DeGeronimo (bass)
Andrew Cyrille (drums, voice)

{Primary Source: CD-R}

!!! NO TRADE !!!

81.10.01 • David S. Ware & Milford Graves Duo [Audience Recording]

October 1, 1981 / Federal Hall, New York City
  1. unknown title [21:17]
  2. unknown title [6:10]
[27:30]

David S. Ware (tenor sax)
Milford Graves (drums)

{Primary Source: CD-R; session date via J. Lindbloom}

81.12.12 • Milford Graves Trio [Audience Recording]

December 12, 1981 / Soundscape, New York City
  1. unknown title [46:08] (incomplete, fades out)
  2. unknown title [18:55]
  3. unknown title [35:21]
[100:23]

David S. Ware (tenor sax)
Hugh Glover (reeds, piano)
Milford Graves (drums, voice)

{Primary Source: Jakob Blumenthal 07.09.07} Not in my collection.

84.06.01 • David S. Ware Trio [Audience Recording]

June 1, 1984 / 1st Sound Unity Festival, C.U.A.N.D.O. Center, New York City
  1. The Elders [20:50]
  2. Mystery [13:55]
  3. An Ancient Formula (incomplete) [8:25]
[46:12]

David S. Ware (tenor sax, Compositions)
Brian Smith (bass)
Beaver Harris (drums)

{Primary Source: CD-R; Cadence Vol. 10 no. 6, June '84 p.77}

84.06.02 (1)


I've included this non-D.S.Ware session so that this error might be corrected: The Audience Recording is in wide circulation among traders, and consistently misidentifies the tenor player as David S. Ware.

Various Artists: Rising Tones Cross / a Jazzfilm by Ebba Jahn
Peter Kowald Quartet
Ebba Jahn / Film Pals (VHS) 1985 GER/USA

[This film also features Peter Kowald Trio; Billy Bang's Forbidden Planet; William and Patsy Parker Ensemble; Charles Tyler Quintet; Don Cherry and Sound Unity Festival Orchestra; Jemeel Moondoc Sextet; Schweizer/Carl Duo; & Peter Brötzmann Ensemble.]
  • Peter Kowald Quartet [Audience Recording]
    Received as "Unknown title [45:00] (incomplete)"
    The excerpts on the Jahn video do indeed match the track on the Audience Recording. —RL
June 2, 1984 / Sound Unity Festival, C.U.A.N.D.O. Community Center, New York City
  1. Melting º Lines º Cycle [45:00] (incomplete)
The video contains a first excerpt [5:25] which appears at 56:10 in; and a second excerpt [6:45], which includes 1:00 of applause and announcements, at 67:50. —RL

Charles Gayle (tenor sax)
Marilyn Crispell (piano)
Peter Kowald (bass)
Rashied Ali (drums)


This video is available from FilmPals.

{Primary Source: Rising Tones Cross; Tape; date via NY Times Sunday 84.05.27}

84.06.02 (2) • Various Artists: Rising Tones Cross / a Jazzfilm by Ebba Jahn
Peter Brötzmann ALARM Ensemble

Ebba Jahn / Film Pals (VHS) 1985 GER/USA; Film Pals 1-2005 (DVD) 2005

[This film also features Peter Kowald Trio; Billy Bang's Forbidden Planet; William and Patsy Parker Ensemble; Charles Tyler Quintet; Don Cherry and Sound Unity Festival Orchestra; Jemeel Moondoc Sextet; Schweizer/Carl Duo; & Peter Kowald Quartet.]

June 2, 1984 / Sound Unity Festival, C.U.A.N.D.O. Community Center, New York City
    milling around, setting up, announcement excerpts [2:05]
  1. Alarm [5:15] (incomplete)
The video contains a first excerpt [2:05] which appears at 1:31:30 in; and a second (BLISTERING!!!) excerpt [5:15] which appears at 1:33:40. —RL

Peter Brötzmann, Charles Gayle, David S. Ware, Frank Wright (tenor sax)
Jemeel Moondoc (alto sax)
Roy Campbell Jr. (trumpet)
Masahiko Kono (trombone)
Irene Schweizer (piano)
William Parker, Peter Kowald (bass)
Rashied Ali (drums)

This video is available from FilmPals.

{Primary Source: Rising Tones Cross}

84.06.07 • Peter Brötzmann ALARM Ensemble [Audience Recording]

June 7, 1984 / Taller Latino-Americano, New York City
    tuning up, announcement [2:13]
  1. unknown title [43:48] (incomplete, split track at 42:15, cuts out)
  2. unknown title [1:49] (incomplete, cuts in, split track at 1:33, cuts out)
  3. unknown title [41:54] (incomplete, cuts in)
    applause and announcement [1:48]
[90:15]

Peter Brötzmann, Charles Gayle, David S. Ware, Frank Wright (tenor sax)
Jemeel Moondoc (alto sax)
Roy Campbell Jr. (trumpet)
Masahiko Kono (trombone)
Irene Schweizer (piano)
William Parker, Peter Kowald (bass)
Rashied Ali (drums)

{Primary Source: anonymous correspondence 04.03.02; CODA #197 August 1984 p.29} Not in my collection.

85.04.26 • Peter Brötzmann's Alarm Orchestra [Audience Recording]

April 26, 1985 / Workshop Freie Musik, Akademie Der Künste, Berlin, Germany
  1. unknown title [79:56] (split track at 46:53, incomplete)
Peter Brötzmann (alto sax, tenor sax, clarinet, composer)
Toshinori Kondo (trumpet)
Hannes Bauer, Alan Tomlinson (trombone)
Larry Stabbins (soprano sax, tenor sax)
David S. Ware (tenor sax)
Curtis Clark (piano)
William Parker, Peter Kowald (bass)
Louis Moholo (drums)

{Primary Source: 2CD-R}

85.04.27 • David S. Ware Trio [Audience Recording]

April 27, 1985 / Workshop Freie Musik, Akademie Der Künste, Berlin, Germany
  1. unknown titles / continuous performance [49:23] (split track, at 46:41) / "Prayer" begins at 41:57
  2. The Elder's Path [19:25]
  3. Mystery [11:29]
  4. An Ancient Formula [7:36]
  5. unknown title [4:30]
[93:52]

David S. Ware (tenor sax; vocals)
Peter Kowald (bass)
Louis Moholo (drums)

{Primary Source: 2CD-R}

85.04.29 • Peter Brötzmann's Alarm Orchestra [Broadcast Recording]
Broadcast GDR

April 29, 1985, Kammerspiele, East Berlin, Germany
    announcement [0:27]
  1. unknown title [49:23]
    announcement [0:46]
[50:38]

Peter Brötzmann (alto sax, tenor sax, clarinet, composer)
Toshinori Kondo (trumpet)
Hannes Bauer, Alan Tomlinson (trombone)
Larry Stabbins (soprano sax, tenor sax)
David S. Ware (tenor sax, saxello)
Curtis Clark (piano)
William Parker, Peter Kowald (bass)
Louis Moholo (drums)

{Primary Source: CD-R}

!!! NO TRADE !!!

85.05.01 • Peter Brötzmann's Alarm Orchestra [Audience Recording]

May 1, 1985 / Borse, Grenzüberschreitungen, Wuppertal, Germany
    announcement PB [1:01]
  1. unknown title [69:38]
Peter Brötzmann (ts, as)
Toshinoro Kondo (tp, voc)
Johannes Bauer, Alan Tomlinson (tb)
Larry Stabbins (ts, ss)
David S. Ware (ts)
Curtis Clark (p)
William Parker, Peter Kowald (b)
Louis Moholo (dr)

{Primary Source: CD-R}

87.12.03
87.12.04 • Ahmed Abdullah: ...and the Solomonic Quintet

Silkheart Records SHLP-109 (LP) 1988 SWD; SHCD-109 (CD) 1990 SWD

December 3 & 4, 1987 / A&R Recording, New York City
  1. African Songbird (Abdullah) [7:03]
  2. Gypsy Lady (Moffett) [4:55]
  3. The Search (Abdullah) [6:48]
  4. Canto II (Abdullah/traditional) [4:54]
  5. Khaluma (Abdullah/traditional) [7:16]
  6. The Dance We Do (Abdullah) [7:28]
  7. Wishbone Suite (Moffett) [5:27]
  8. The Dance We Do (Abdullah) (tk 1) [8:39] *
* CD only.

Ahmed Abdullah (tpt; flgl; voc)
David S. Ware (ts; stritch)
Masuhjaa (el-g)
Fred Hopkins (bass)
Charles Moffett (drums)

{Primary Source: SHCD-109}

Go to the Silkheart webpage for this CD.

88.04.04
88.04.05 • David S. Ware Trio: Passage to Music {1}

Silkheart Records SHLP-113 (LP) 1989 SWD; SHCD-113 (CD) 1989 SWD April 4 & 5, 1988 / A & R Recording, New York City

Drummer Marc Edwards: "Most of the record was done on the first day. Recording two or three days in a row isn't the way I like to record. My experience is that if you have strong musicians, chances are, you'll have 99‰ of the record done during the first session."
  1. An Ancient Formula [6:00] {1,2}
  2. Ancient Visitors [7:30] {1}
  3. Passage to Music [10:46] {1}
  4. African Secrets [10:47] {1}
  5. The Elders Path [13:20] {1}
  6. Phonetic Hymn [9:00] {1} *
  7. Mystery [11:43] {1} *
* SHCD-113 only.

David S. Ware (tenor sax, saxello-2; stritch-4 / Compositions)
William Parker (bass)
Marc Edwards (drums)

The