Selwyn Lissack:
Facets of the Univers
Goody GY 30006

Recorded: September 1969: London, England

Personnel: Mongezi Feza (tr), Earl Freeman (ab), Selwyn Lissack (drm), Harry Miller (ab), Mike Osborne (as), Kenneth Terroade (ts fl)

Track Listing:
1. Facets of the Univers (SLissack, 22:00)
2. Friendship Next of Kin (SLissack, 23:00)

Background: The career of white South African Selwyn Lissack is a mysterious one. It is unclear when he left, but he was in England in the late '60's. He played in a group with Lol Coxhill; recorded Facets, his only album as a leader; and played on The Sun is Coming Up by Ric Colbeck (whatever happened to him?). He then gave up music and is now a well known sculptor, working mainly on holographic sculpture. This album has a stellar lineup, including alto flamethrower Mike Osborne and fellow South African Harry Miller. It also borrows two participants and the side-long track format of Kenneth Terroade's Love Rejoice (BYG/Actuel, 1969).

Review: Free Jazz is best categorized geographically. Groups like the Spontaneous Music Ensemble and Iskra 1903 cast the mold that will forever be equated with improvisational music from the UK-sparse, understated and often quite tedious. This is definitely not what Facets of the Univers or its players are about. Players like the always intense Mike Osborne, like Harry Miller, who could and did play just about everything with everybody, like Kenneth Terroade, who participated in the American expatriate free jazz scene in Paris well documented on the BYG Actuel series. The approach to extemporization is in fact closer to the Actuel model than one might expect. The brief march-like melody of the title track is merely a jumping off point for various solos, both unaccompanied, and in tandem with others. Lissack plays with an appealing sense of urgency, each line always rolling out towards the next phrase, keeping the music mobile. The piece ebbs and flows as three horns simultaneously ascend to frenzied peaks, then descend into near silence. Side two is more influenced by contemporary classical music in its sparseness. It does not disappoint in energy as the intensity rises steadily for the second half. It is marred by some bizarre spoken word that is unfortunately common to this kind of music. Besides the vocals, the only deficiency is the slightly muddy recording that lessens the impact of the two double basses. The liner notes do not identify the piano player or speaker but it can be safely assumed to be Earl Freeman.

Availability: Facets of the Univers is one of only six jazz releases on the Goody label, and one of the two original releases (along with The Mad Rockers by the KÃƒÂ…Ã…ÅŞhn Bros.). The lineup and obscurity of this record make it potentially quite expensive, the priciest of issues by this label. Collectors of British jazz pursue this album fervently, especially because of the presence of Osborne. For someone as obscure as Lissack, the two albums he appears on are both collector's items. Both are worth getting-Facets and The Sun is Coming Up may not be typical examples of British free jazz but are much more compelling.

Dyani/Temiz/Feza:
Music for Xaba
Sonet SNTF 642, Antilles AN 7035

Recorded: November 2, 1972: Theatre Nine, Stockholm, Sweden

Personnel: Johnny Dyani (ab ap voc), Mongezi Feza (tr perc), Okay Temiz (drm perc)

Track Listing:
1. Idyongwana (VNalazilwana, 9:30)
2. Feelings (JDyani/OTemiz/MFeza, 12:45)
3. Traditional South African Songs (JDyani, 9:10)
4. G–rans S–der (JDyani/OTemiz/MFeza, 11:30)

Background: Dyani and Feza, originally of the Blue Notes, along with Turkish percussionist Temiz recorded this album after Dyani's arrival to Scandinavia from England. Dyani's strong personality leads this record, one of his and Feza's first away from Chris McGregor. It is an intriguing mix of traditional melodies and free improvisation. The inclusion of Temiz, who comes from a different yet equally percussion-rich ethnic background, adds a different approach to the role one would expect to be filled by Louis Moholo.

Review: The four extended pieces on this album are all quite different from each other. "Idyongwana" is mostly percussion, with occasional flute and vocals. Its spiritual quality is a good introduction to the rest of the album. "Feelings" is fast paced hard bop mixed liberally with some avant-garde notions. Feza's tone has the refined quality of a Wheeler yet played with more determination. Dyani's solo is stunning-dense and lightning-quick, yet still beautifully articulated. The third track is an interpretation of tribal melodies by Dyani, who plays piano and sings (Dyani is not the greatest piano player or singer, but he means well). Feza begins by adding flourishes then takes the song over with a celebratory solo. Unfortunately, the album flattens out for the last piece, mainly because of Feza's disoriented playing. Perhaps the chord progression is too simple but it never gets going like "Feelings". Dyani saves it a little with another fantastic solo segment.

Availability: This album should not present much of a challenge to find. It is available frequently from online auctions and may even be found in the bins of open-minded record stores (at least in New York anyway). Most easily obtainable copies are the Antilles reissues, however, found for $10-15. The original release, on the Swedish Sonet label, will take a little longer to track down but will be understandably more expensive, though not outrageously so. Xaba is of most appeal to Dyani fans, as Feza's offerings are somewhat inconsistent, especially on the last track. The music is appealing to both mind and body and, as with most African music, is meant for dancing. There is a second volume of music available from this session, released as Sonet SNTF 824, but never reissued and quite difficult to find. The trio was recorded a month earlier also in Sweden, and released as Rejoice (Cadillac SGS 1017).

Dudu Pukwana & Spear:
In the Townships
Caroline C1504, Virgin 7 90844 1, Earthworks 86402, Atlantic 90844

Recorded: August 25, 1973: The Manor Studios, Oxford, England

Personnel: Mongezi Feza (tr cong perc voc), Harry Miller (ab eb), Bizo Mngqikana (ts perc voc), Louis Moholo (drm perc), Dudu Pukwana (as ap cong perc voc)

Track Listing:
1. Baloyi (DPukwana, 5:00)
2. Ezilalini (DPukwana, 6:25)
3. Zakude (DPukwana, 5:25)
4. Sonia (MFeza, 3:20)
5. Angel Nemali (DPukwana, 5:48)
6. Nobomvu (DPukwana, 3:50)
7. Sekela Khuluma (DPukwana, 3:52)

Background: Dudu Pukwana explores rock music through an African filter on this album of straight ahead pieces. Joining him is Spear-compatriots from the Blue Notes and the Brotherhood of Breath. Less advanced yet no less joyous than his more progressive jazz work, In the Townships shows a different side to Pukwana and his mates, an insight to their musical beginnings in South Africa.

Review: This is a jazz album like an Earth Wind and Fire disc is a jazz album. Simple melodies, even simpler rhythms, and basic horn charts are the modus operandi of this set. A rare album by advanced musicians that a listener can snap his fingers to. Each composition is memorable, particularly "Ezilalini". This is township jive mixed liberally with rock but done by players with much finer pedigrees than the average rock musician. The album is easily digested, the melodies instantly insinuating themselves into the listener's memory. Like old jazz, or old rock for that matter, no one is trying to upstage anyone with their chops. The solos are basic and confined very tightly within the structure of the piece. Pukwana is as much a supporter as a leader supplying reasonable piano or percussion when not on his horn. Miller, one of the finest upright players of the time, sticks mainly to root melodies on his electric. There are no transcendental moments on this album, and anyone expecting a BOB record will be disappointed. However, taken for what it is-a spirited a lively rock record-its exuberance is infectious.

Availability: In the Townships was first released on the relatively obscure Caroline label. It has been subsequently reissued numerous times on different labels, both on vinyl and CD. The original pressing is common enough and should not be priced over $15. It is a strange crossover record that has limited appeal to strict fans of either genre. Fans of the BOB will probably be its only market, if only to complete the recorded output of figures like Pukwana and Feza. While it is available on CD, it probably will not be at your local Sam Goody.

Dollar Brand Duo:
Good News from Africa
Enja ENJ 2048

Recorded: December 10, 1973: Studio Bauer, Ludwigsburg, Germany

Personnel: Dollar Brand (ap voc fl), Johnny Dyani (ab voc perc)

Track Listing:
1. Ntiskana's Bell (Trad., 6:15)
2. Msunduza (DBrand, 4:37)
3. Good News: Swazi-Waya Wa Egoli (DBrand-Trad., 7:25)
4. Adhan & Allah-O-Akbar (Trad., 4:15)
5. The Pilgrim (DBrand, 9:50)
6. Moniebah-The Pilgrim (DBrand, 12:00)

Background: Almost a decade after they separately left South Africa, Brand (aka Abdullah Ibrahim) and Dyani, by this time well established, come together in this recollection of their shared roots. Brand's delicate touch tempers Dyani's robust style. Most tracks on side one have vocals sung in either Xhosa or Arabic. Side one of this album evokes the essence of where these two outstanding musicians came from, while side two shows the direction in which they were going.

Review: Good News from Africa is an album of great spirit and beautiful melodies. "Ntiskana's Bell" features both Brand and Dyani on vocals on this hymn-like piece. "Msunduza" is more playful, Brand switching to wooden flute over almost strumming accompaniment by Dyani. The apogee of the disc is the title track. The opening sounds as if it could be played at a Capetown saloon. A dense bass solo that leads to rich Brand chords and Dyani's furious bowing soon propels it forward. The piece becomes quite atonal before resolving sweetly into the original theme. The side closes with Dyani and Brand singing a traditional Arabic spiritual over sparse piano. The two longer tracks of the flipside are more traditional jazz compositions, both calm ballads that showcase Brand's introspective style and Dyani's capacity for tranquility and tenderness.

Availability: Dollar Brand recorded frequently for the Enja label, in various formats. Much like the rest of the label's catalogue, this album is dependably solid and easy to find for little money. While Brand's recording career has been prolific, he has not had the popular success he may deserve, so records like this (even with the appealing match up with Dyani near the beginning of his career as a leader) are usually bargains. Do not let a budget price tag fool you however-Enja recordings, and this one is no exception, are well worth obtaining. Good News From Africa was re-released on CD by Enja and is presumably still available directly through them (www.enjarecords.com).

Makaya Ntshoko:
Makaya & the Tsotis
Enja ENJ 2042

Recorded: August 6, 1974: SINUS-Studio, Berne, Switzerland

Personnel: Bob Degen (ap), Isla Eckinger (ab), Makaya Ntshoko (drm), Heinz Sauer (as ts except #1 #4)

Track Listing:
1. Ode to Tilman (BDegen, 4:47)
2. Tetralogue (BDegen/IEckinger/MNtshoko/HSauer, 14:30)
3. Bridges (BDegen/IEckinger/MNtshoko/HSauer, 5:18)
4. Neged (BDegen, 5:20)
5. Suspension (BDegen/IEckinger/MNtshoko/HSauer, 7:44)

Background: Makaya Ntshoko is probably one of the least known of the South African transplants. He played in Dollar Brand's trio in South Africa, and in the '70's with Eckinger in Mal Waldron's group, and with Joe McPhee, John Tchicai, Pepper Adams, Hannibal Petersen and NICRA. This is his only album as a leader. Unlike Louis Moholo, his style betrays little of his roots. His group features Albert Mangelsdorff's longtime band mate Heinz Sauer.

Review: Makaya & the Tsotis is a straight-ahead post bop date. Two of the three pieces with Sauer are more adventurous, with a sound like early '60's Blue Note sessions. Ntshoko is a dependable drummer, never dominating his own session, but working nicely in tandem with Eckinger. That the rhythm section had played together before this date works well for the chemistry of the album. Eckinger deserves high praise for his contributions-never flashy but instantly recognizable (for his finest work, see "Rat Now" on Waldron's ECM date Free at Last). Sauer deserves the level of distinction accorded to Peter Br–tzmann, whom he is the equal of in talent. His jagged tone, especially on alto is marvelous. "Bridges", with its insistent rhythm, and Sauer's Kirk-like doubling on tenor and alto is the album's highlight. "Suspension" is also noteworthy-Ntshoko's playing is at its most energetic. The two trio pieces by Degen (one with the title his name spelled backwards) are ineffectual as Degen's playing is not strong enough to lead a group.

Availability: Enja of Germany is one of the most dependable of the European labels. Well-pressed and featuring good leaders with interesting lineups, its early catalogue is consistently satisfying. Few Enja records are difficult to find or particularly expensive. This one may be the hardest to find, since it was never re-released by Enja on CD or probably even bought by many people during its initial pressing. Still, it will not cost more than $15 dollars, and may even be found in the discount bin, since the players are unfairly obscure. Mangelsdorff and Waldron fans should pick it up for important performances by Sauer and Eckinger.

Blue Notes:
In Concert Volume 1
Ogun OG 220

Recorded: April 16, 1977: 100 Club, London, England

Personnel: Johnny Dyani (ab), Chris McGregor (ap), Louis Moholo (drm), Dudu Pukwana (as)

Track Listing:
Medley One: Ilizwi (DPukwana), Abelusi (trad.), Amadoda (LMoholo), Nomsenge (TMbambisa), Magweza (CMcGregor), Ithi-gqi (JDyani), Mhegebe (trad.) (23:45)
Medley Two: Manje (CMcGregor), We Nduna (trad.) (23:10)

Background: The four remaining Blue Notes (Feza having died two years earlier) perform a concert at London's famous 100 Club. This date was recorded for Ogun, fellow South African Harry Miller's label, responsible for issuing seminal British jazz by groups such as SOS, the Mike Osborne Trio, Elton Dean's Ninesense, Keith Tippett's Ark, and artists like Harry Beckett, Lol Coxhill and Harry Miller himself. After Feza's death, the Blue Notes played a tribute concert to their fallen brother (documented on Ogun's 2 LP set Blue Notes for Mongezi) and continued on and off as a quartet. Although titled Volume 1, there is no second volume.

Review: The Blue Notes without the exuberant trumpet of Mongezi Feza take some getting used to. Feza's energy fed off and inspired the rough alto of Pukwana. Without his foil, Pukwana seems a little reserved as does the rest of the group. While the wild dash of earlier albums is missing, the taste and inventiveness more than compensate for it. The two long medleys cover a lot of ground and show off the developed styles of each musician to good effect. The seven pieces of the first side begin with the moody and mid-speed "Ilizwi". This segues into the lighthearted traditional melody of "Abelusi", speeds up courtesy of Moholo's "Amododa", explores some quite free corners for "Nomsenge" and resolves with in a very traditional African vein with "Ithi-gqi" and "Nhegebe", Dyani leading the vocal charge. The feel of each piece is quite different and the segues are so smooth that noticing the beginning of each new song is quite challenging but ultimately unnecessary. Just enjoy it! Side two takes up the same time as side one but with only two extended themes that give extended solo space to McGregor and Pukwana. McGregor's "Manje" is an understated and lovely melody that features vivacious playing by Pukwana and firm support by one of the finest rhythm tandems ever, who are featured on the boppish closing track.

Availability: Ogun releases are similar to MPS recordings in their varied availability and price. Some are everywhere for quite reasonable prices. Others involve extended searches and possibly relatively large price tags. However, the most expensive Ogun record should never cost more than $40; if so-it is overpriced. The priciest albums, as well as the hardest to find, are ones with Blue Note members. The two Brotherhood of Breath records and the live Blue Notes sets are all worth getting, as everything done by these fine musicians is worth hearing, but will usually cost $25-30, possibly slightly more. For some reason though, Ogun releases are not that sought after, so you may be one of the few searching for them.