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    RAJESH MEHTA - trumpet, custom-designed bass trumpet, hybrid trumpet with various extensions, mutes and objects
    VOJTĚCH HAVEL - cello, viola da gamba tenor (tracks 1 to 10)
    IRENA HAVLOVÁ - viola da gamba alto, prepared piano, Tibetan bells and singing bowls (tracks 1 to 5, 9, 10)


        Group Improvisations
    1 Untitled5:49
    2 Untitled6:12
    3 Untitled7:34
    4 Untitled3:03
    5 Untitled3:41
    6 Untitled3:56
    7 Untitled4:01
    8 Untitled3:00
    9 Untitled5:01
    10 Untitled3:11
         Rajesh Mehta Solo Improvisations
    11 Untitled5:14
    12 Untitled2:51
    13 Untitled2:22
    14 Untitled2:22
    15 Untitled2:57
    16 Untitled2:09
    17 Untitled3:13
    18 Untitled2:46
    19 Untitled2:30


    Recorded at the beginning of October 1997 in two chapels in the Plasy Monastery, Czech Republic
    CD Hermit Foundation – AV 011797

    Time and Space - Liner Notes

    The improvisations on the CD A Day in Benedict were recorded at the beginning of October 1997 in two chapels in the Plasy Monastery in the Czech Republic. Rajesh Mehta's "ragas for trumpet" and improvisations with Vojtech and Irena Havel, recorded over the course of one day, are the distillations of three years' of the trumpetist musical experiments within the St. Benedict Chapel. The improvisations were created specifically to set the chapel's acoustic qualities into full play.

    The meditation chapel, planned to be the main chapel of a never-realized church was dedicated to the founder of the Benedictine Order. It is an oval space designed in the Baroque style around 1711 by the convenes architect Jan Blazej Santini-AichI. The work on the chapel and the entire convent were eventually completed under the supervision of K. I. Dientzenhofer in 1739. The chapel rises to a height of 25 meters and is 12 meters wide. Its architecture and acoustics were designed to amplify liturgical singing and the spoken word, and its interior is among the treasured gems of the Czech Baroque.

    Within the chapel, the whisper of each tone echoes over and over as the sound winds up the elliptical cylinder of the cupola and disappears into the heights of its upper dome. The St. Bernard Chapel, the smaller of the two, located at a corner of the convent, has a briefer tonal echo and clearer acoustics. This is where the CD's improvisations with a prepared piano was performed..

    Mehta uses three types of trumpets and extends their timbres and ranges with added elements (extensions, mutes, paper, water, tubes, and other objects). Vojtech and Irena Havel experiment with the sound and harmonies of stringed instruments (violoncello and viola da gamba) broadening their registers with glissando, flageolets, aliquot tones and percussion. In the recording, Tibetan singing bowls and bells were added to round out the tonal colors. The improvised dialogue among three musicians was inspired by the chapels' sound and spaces. The music that you hear is purely acoustic, played and recorded without playback or electronic devices, and set to the compact disk without digital or analogue corrections in the studio..

    In a typical architectural space, the ringing vibration of lips, breath, brass and stringed instruments, the crash and clang of wood and metal objects function primarily as distinct, simultaneous units: their sounds are heard at the very moment they are made. In spaces that reverberate with echoes, the multiplication of the duration of tone, as it gradually disappears into the spiraling virtual distance, disorients our common perception and experience of time and space. The nymph Echo, residing within the convents' chapels, offers a natural polyphony and dialogue among the musicians' instruments and a hyper-serene inner sound-scape. Baroque architects' sensitivity and knowledge of the harmonic relationships within architectural space is unveiled and animated by the sensitivity of this contemporary music. Mehta's solos and improvisations with the Havels, ranging from delicate whispers to deeply vibrating tones, communicate within various levels of perception and weave together co-mingling layers of sound and time..


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    Paul Dunmall, soprano saxophone, tam tam
    Philip Gibbs, acoustic guitar
    Andrew Ball, piano
    Neil Metcalfe, flute
    Hilary Jeffery, trombone

    DISC A

    1. A very fine gesture  13:30
    2. Iraq  17:57
    3. No angels of mercy  6:51
    4. Angels of mercy  8:17

    DISC B

    1. Tibet  22:12
    2. I'll come back to you as sure as the sun shines  23:41


    Recorded at Victoria Rooms, Bristol.  24 November 2002
    Recorded, mixed and mastered by Jonathan Scott
    Monotype by Paul Dunmall

    Andrew Ball may be a new name to some.  He's more known in the classical world.  It is not often that classical players engage in improvised music.  He's fabulous here.




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    A1. Lullaby
    A2. Exchange

    B1. Beethoven's 9th Symphony
    B2. Schoenberg


    Haruna Miyake, piano
    Yosuke Yamashita, piano

    Recorded at Jean Jean on 5 March 1979

    Victor - KVX-1054

    Vinyl Rip



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    Paul Dunmall, tenor saxophone, harmonica
    Hilary Jeffery, trombone
    Tony Marsh, drums

    1. High bird, low bird  14:15
    2. Dr John's harmonica  23:26
    3. This person is now free  8:42
    4. No choice at all  11:01
    5. Paul Rutherford lives at Simon's  4:04

    Recorded at Victoria Rooms, Bristol.  3 November 2002
    Recorded, mixed, mastered: Jonathan Scott
    Painting: Paul Dunmall

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    A1. The Strut
    A2. Thirsty Soul
    A3. This Is New

    B1. Wistful Moment
    B2. Giant Steps
    B3. Why Did I Choose You?


    Kunimitsu Inaba, bass
    Motohiko Hino, drums
    Masabumi Kikuchi, piano
    Eddie Daniels, tenor saxophone, clarinet
    Terumasa Hino, trumpet


    Recorded on August 4, 1968

    Takt Jazz Series ‎– XMS-10005-CT; CD - COCB-31027

    CD Rip



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    Paul Dunmall, tenor saxophone
    Philip Gibbs, electric guitar
    Hilary Jeffery, trombone
    Tony Bianco, drums

    1. Garganchelopes  56:57

    Recorded at Victoria Rooms, Bristol.  3 November 2002
    Recorded, mixed and mastered by Jonathan Scott
    Painting: Paul Dunmall


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    What, no Dunmall?!!
    Recorded same day as DLE031

    Phil Gibbs, acoustic guitars
    John Adams, electric, acoustic guitars, mandobanjo

    1. Pure finders  29:33
    2. Sharp Alley bloodworms  7:20
    3. Gentleman of four outs  4:33
    4. Gentleman of four inns  3:59
    5. Dance upon nothing  5:29
    6. Seen a mouse  4:16

    Recorded at Victoria Rooms, Bristol.  6 April 2003
    Recorded, mixed, mastered: Jonathan Scott
    Lino cut: Paul Dunmall



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    Paul Dunmall, soprano and tenor saxophones
    Philip Gibbs, guitar, lute guitar
    John Adams, guitar

    1. Can't just be a body  23:18
    2. Blanket of darkness  18:03
    3. Just think and feel  15:04

    Recorded at Victoria Rooms, Bristol.  6 April 2003
    Recorded, mixed and mastered: Jonathan Scott
    Painting: Paul Dunmall


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    Paul Dunmall, tenor and soprano saxophones
    Philip Gibbs, guitar
    Andrew Ball, piano, celeste
    Neil Metcalfe, flute
    Hilary Jeffery, trombone

    1. Newsagents  46:19
    2. A hint of garlick  7:25

    Victoria Rooms, Bristol.  4 May 2003
    Recorded, mixed, mastered by Jonathan Scott
    Monotype by Paul Dunmall

    BTW the spelling of Hilary Jeffery was often wrong on the covers.

    For wightdj who always leaves a comment.  I hope you are enjoying these and it's not overload.

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    Paul Dunmall, E flat and B flat clarinets, dunclart
    Paul Rogers, ALL bass

    1. Log cabins  60:00

    Recorded by Stephen Allen at Muse Studios, University of the West of England.  21 September 2003
    Painting by Paul Dunmall

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    1. Trio 1
    2. Piano Solo
    3. Duo
    4. Trio 2


    Togashi Masahiko, percussion
    Steve Lacy, soprano saxophone
    Yuji Takahashi, piano


    Recorded on Oct 16, 2000 at Hall Egg Farm.

    水牛 Suigyu, Egg Farm ‎– SG013

    CD Rip



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    Paul Dunmall, tenor saxophone, electronic bagpipes
    Tony Irving, drums

    1. Easter  11:56
    2. Cocteau's ghost  5:25
    3. Tourmaline  9:30
    4. Cobos  6:25
    5. Mycenaean  9:20
    6. The beacon  19:00

    Recorded: Lanes End Studio, Farlow.  18 January 1997
    Engineer: Jim Murphy
    Painting: Paul Dunmall

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    Paul Dunmall, soprano saxophone
    Bruce Coates, soprano saxophone

    1. Now Bruce is 31 - then Paul was 31   35:31
    2. Then Lizzie was 4 - now Hat is 4   9:00

    Recorded: University of the West of England  9 November 2003
    Engineer: Stephen Allen
    Artwork pic: Andy Coates

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    Paul Dunmall, saxophones, woodwinds, voice, casio
    Paul Rogers, 7-string A.L.L. bass
    Philip Gibbs, guitars, banjo, toy guitar

    DISC A
    1. Marcellino Jackson  17:01
    2. Mingyar Dondup  12:51
    3. Kun Dun  15:07
    4. Harry Thubneck  15:34

    DISC B
    1. Koot Hoomi  14:36
    2. Vera Ena  13:59
    3. Thubten Dundrop  13:02
    4. Alfie Bass  13:05

    DISC C
    1. Ada Thirkettle  9:27
    2. Nora Bone  14:12
    3. Gordon Pursglove  16:55
    4. Elsie Reynolds  12:40

    DISC D
    1. Fintin Owl  11:27
    2. Jean-Michel Van Schouwburg  24:22
    3. Violet Weednee  10:16
    4. Ronnie Trogladyte  5:54


    Victoria Rooms, Bristol  12/13 February 2004
    Engineered, mixed, mastered: Jonathan Scott
    Painting: Paul Dunmall






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    Valdo O. Williams (March 30, 1928 – July 8, 2010). Played with Charlie Parker in the 50s (Uptown CD) and with Hal Singer in the 60s.
    Was a member of David Avram's trio with Denis Charles which was augmented from time to time with John Ore or Ahmed Abdul-Malik.
    In 1964 his trio played with Bill Dixon at the Cellar Coffee. At another occaison Aylbert Ayler joined a trio with Alan Silva, the drummer Gerald Splivvy McKeever and Williams.
    Barry Altschul's first gigs were with his group.

    "Writers and musicians sometimes talk as if only major players leave the big footprints. But minor players can be key influences, too. Jackie mentions two he knew from his old Harlem neighborhood. By example Ernie Henry (...) Less known was Valdo Williams. In the late '40's, says Jackie, "He was the first guy playing kind of free concept rather than Thelonious, who I thought was always freer then everybody else, even back then. Valdo's solos were very close to what you hear Cecil Taylor playing. When he played a song like 'All The Things You Are,' a blues, or whatever, he would play the correct chords, and accompany all the soloists in the traditional way. But when his solo came, he would stretch out and play against the form. If it was a 36-bar form, he would fill up 36 bars with his chorus, but it wouldn't be based directly on the chords. He would be playing much freer, freer than anybody I'd heard at the time." Williams left New York for Montreal in the early 50's." (Down Beat, October 90, p. 22)
    In an interview with Ben Sidran, McLean says that Sonny Rollins used to know Valdo Williams too. 

    At least one more LP was recorded  by Discovery but it never surfaced.
    In February 1967 the Down Beat magazine (Volume 34,  1967, S. 12) announced a concert of the "New Advanced Jazz Trio".
    Since then his whereabouts are unknown.



    Valdo Williams, piano
    Reggie Johnson, bass
    Stu Martin, drums


    1. Desert Fox     09:50
    2. Bad Manners    11:40
    3. Move Faster    05:52
    4. The Conqueror  16:40

    All tunes by Valdo Williams.

    Recorded in NYC, December 20, 1966.

    SAVOY MG 12188
    (Savoy SV-0238 CD)

    (produced by Bill Dixon?)

    See also an interview where Alan Silva is talking a bit about Valdo Williams > #



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    Paul Dunmall, soprano and tenor saxophones
    Paul Rogers, 7 string ALL bass
    Rhodri Davies, harp
    Philip Gibbs, guitars

    1. Moksha or mocca  7:27
    2. Metallic green electric stun beetles  12:06
    3. A crafty most  25:22
    4. The last shall be last, at last  17:08

    Recorded: Victoria Rooms, Bristol.  17 May 2004
    Engineered, mixed, mastered: Jonathan Scott
    Painting: Paul Dunmall

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    Paul Dunmall, tenor and soprano saxophones, bagpipes
    Simon Thoumire, concertina, bagpipes
    John Edwards, double bass
    Philip Gibbs, guitars

    1. Brothers in music  7:55
    2. Don't lie to me  9:30
    3. Charles Wharles  11:53
    4. Unexpected saint  16:36
    5. The hands are open  2:28
    6. Flesh and bones  4:41
    7. 499 million years ago  4:32

    Victoria Rooms, Bristol.  25 August 2004
    Engineered, mixed, mastered: Jonathan Scott
    Painting: Paul Dunmall  

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    Paul Rogers, 7 string ALL bass
    Andrew Ball, piano
    Philip Gibbs, guitar
    Jonathan Impett, trumpet
    Paul Dunmall, tenor saxophone

    1. Undistracted  16:57
    2. Mind listen to me  15:22
    3. The final hour  15:19
    4. Can't wait to get Om  14:35

    Victoria Rooms, Bristol.  24 October 2004
    Recorded, mixed: Jonathan Scott
    Painting: Paul Dunmall

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    DISC A

    Tony Levin - drums
    Paul Rogers - bass
    Paul Dunmall - tenor saxophone

    1. Don't look down  11:03
    2. One more ledge to overcome  17:23
    3. Music for well being  5:06
    4. T.L.  3:32
    5. What have you seen yourself?  21:09

    Recorded at Lane's End Studio, Farlow.  14 February 2004
    Engineer: Jim Murphy


    DISC B

    Tony Levin - drums
    Paul Rogers - bass
    Paul Dunmall - soprano saxophone

    1. We care about this  28:41
    2. For you, us and them  19:14

    Recorded at Lane's End Studio, Farlow.  15 February 2004
    Engineer: Jim Murphy


    DISC C

    Tony Levin - drums
    Paul Rogers - bass
    Paul Dunmall - alto and tenor saxophones

    1. The big giving  28:57
    2. Deep joy  18:47
    3. The eyes have it  20:18

    Recorded at Lane's End Studio, Farlow.  3 May 1995
    Engineer: Jim Murphy


    DISC D 

    Tony Levin - drums
    Paul Dunmall - soprano and tenor saxophones

    1. The juggler  20:00
    2. One lifetime's work  7:05
    3. Music for the Buddha  9:12
    4. How precious it is  10:00
    5. Courage friends courage  5:14

    Recorded at Lane's End Studio, Farlow.  21 July 2000
    Engineer: Jim Murphy


    Painting: Paul Dunmall

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    Jimmy Lyons, alto saxophone
    Karen Borca, bassoon
    Raphé Malik, trumpet
    Hayes Burnett, bass
    Andrew Cyrille, drums

    1. radio speaker  00:23
    2. unknown title  35:11
    3. unknown title  20:18
    4. radio speaker  02:12



    Recorded at WKCR studio, New York, New York on March 5, 1975.


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