MUHAL RICHARD ABRAMS — Levels And Degrees Of Light (1968-1991) APE (image+.cue), lossless

Levels and Degrees of Light was the first recording under Muhal Richard Abrams' name and was a landmark album that launched the first in a long line of beautiful, musical salvos from the AACM toward the mainstream jazz world. The title track finds Abrams broadly tracing out some of the territory he would continue to explore in succeeding decades, an ethereal, mystic quality (evinced by Penelope Taylor's otherworldly vocalizing and Gordon Emmanuel's shimmering vibes) balanced by a harsh and earthy bluesiness set forth by the leader's piercing clarinet. "The Bird Song" begins with a fine, dark poetry recitation by David Moore (oh! for the days when one didn't approach a poem on a jazz album with great trepidation) before evanescing into a whirlwind of percussion, bird whistles, and violin (the latter by Leroy Jenkins in one of his first recorded appearances). When the band enters at full strength with Anthony Braxton (in his first recording session), the effect is explosive and liberating, as though Abrams' band had stood on the shoulders of Coltrane, Coleman, and Taylor and taken a massive, daring leap into the future. It's a historic performance. The final track offers several unaccompanied solo opportunities, spotlighting Abrams' sumptuous piano and the under-recognized bass abilities of Charles Clark. This is a milestone recording and belongs in the collection of any modern jazz fan. Brian Olewnick
Tracklist :
1    Levels And Degrees Of Light    10:33
2    The Bird Song    23:00
3    My Thoughts Are My Future—Now And Forever    9:43
Credits :
Alto Saxophone – Anthony Braxton (tracks: 2, 3)
Bass – Charles Clark (tracks: 2, 3), Leonard Jones (tracks: 2)
Composed By, Artwork [Cover Art] – Muhal Richard Abrams
Drums – Thurman Barker (tracks: 2, 3), Percussion – (tracks: 1)
Piano – Muhal Richard Abrams (tracks: 3), Piano, Clarinet – (tracks: 2), Clarinet – (tracks: 1)
Tenor Saxophone – Maurice McIntyre (tracks: 3)
Vibraphone [Vibes] – Gordon Emmanuel (tracks: 1, 3)
Violin – Leroy Jenkins (tracks: 2)
Vocals – Penelope Taylor (tracks: 1, 3)
Voice [Poet] – David Moore (tracks: 2)

MUHAL RICHARD ABRAMS ft. AMINA CLAUDINE MYERS – Duet (1981-1993) FLAC (tracks), lossless

Muhal Richard Abrams recorded several memorable and successful duet sessions during the 1970s and '80s. Few covered more territory or were as invigorating as the album with Amina Claudine Myers, a capable player on either organ or piano. Myers discarded the organ for this date, as both she and Abrams used Yamaha C3D pianos. While Myers displayed her gospel and blues influences, Abrams' muscular riffs and solos resulted in exciting dialogues and marvelous complementary, contrasting and dueling passages. This was an intense, yet also swinging, enjoyable session, one in which Abrams displayed the mastery of multiple genres that's distinguished his music, and Myers her distinctive mix of secular and spiritual elements. Ron Wynn
Tracklist & Credits :

ANTHONY BRAXTON - 3 Compositions of New Jazz (1968-1991) FLAC (tracks+.cue), lossless

While it is not as powerful or as revelatory as For Alto, Anthony Braxton's second album for Delmark, 3 Compositions of New Jazz is his debut as a leader and showcases just how visionary -- or out to lunch depending on your point of view -- he was from the very beginning. Recorded nine months after his debut with Muhal Richard Abrams on Levels and Degrees of Light, Braxton's compositional methodology and his sense of creating a band are in full flower. For one thing, there is no use of a traditional rhythm section, though drums and a piano are used. The band is comprised of Leroy Jenkins on violin and percussion, Braxton on everything from alto to accordion to mixer, Leo Smith on trumpet and bottles, and Abrams on piano (and alto clarinet on one track). All but one track -- "The Bell" -- are graphically titled, so there's no use mentioning titles because computers don't draw in the same way. There is a sonorous unity on all of these compositions, which Braxton would draw away from later. His use of Stockhausen is evident here, and he borrows heavily from the melodic precepts of Ornette Coleman. The use of Jenkins' violin as a melodic and lyric device frees the brass from following any kind of preset notion about what should be done. Abrams plays the piano like a percussion -- not a rhythm -- instrument, and colors the textural figures in, while Smith plays all around the open space trying hard not to fill it. This is a long and tough listen, but it's a light one in comparison to For Alto. And make no mistake: It is outrageously forward-thinking, if not -- arguably -- downright visionary. Braxton's 3 Compositions of New Jazz is an essential document of the beginning of the end.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
1    (840M) / Realize 44M / 44M 20:03
Composed By – Braxton
2    N / M488 / 44M / Z / 12:57
Composed By – Braxton
Piano – Muhal Richard Abrams
3    The Bell 10:31
Composed By – Leo Smith
Piano, Cello, Alto Clarinet – Muhal Richard Abrams
Credits :
Alto Saxophone [Alto Sax], Soprano Saxophone [Soprano Sax], Clarinet, Flute, Musette, Accordion, Bells, Snare, Other [Mixer Etc.] – Anthony Braxton
Trumpet, Mellophone, Xylophone, Percussion [Bottles], Kazoo – Leo Smith
Violin, Viola, Harmonica, Bass Drum, Recorder, Cymbal [Cymbals], Slide Whistle – Leroy Jenkins

CREATIVE CONSTRUCTION COMPANY - Creative Construction Company Vols. 1 & 2 (2021) FLAC (tracks+.cue), lossless

In the early '70s, musicians from Chicago with origins in the AACM began to slowly migrate to New York City, sometimes with an intermediary stop in Europe. The Creative Construction Company, which consisted of violinist Leroy Jenkins, multi-reedist Anthony Braxton, trumpeter Leo Smith, and percussionist Steve McCall, had been based in Paris for several years and this concert signaled their U.S. return in a stunning sextet augmented by AACM co-founder Muhal Richard Abrams and legendary bassist Richard Davis. The two album-length compositions are both by Jenkins and showcase two of the "opposite" sides exemplified in the music of AACM outgrowth bands like the Art Ensemble of Chicago. "Muhal" is one of Jenkins' gorgeously heart-rending and plaintive ballad lines with an evocatively longing quality and deep romanticism, and Davis' bass counterpoint is a thing of singular beauty. It serves as a strong framework for some remarkable improvisations, especially that of the composer in rare pyrotechnic mode. But here, as on its companion piece, the emphasis is never on individual soloing but on group interaction; the underlying matrix is always kept full and busy by the use of various "little instruments" beloved by AACM alumni. The second piece, "No More White Gloves," lives up to its title. A furious, churning work, it encapsulates the high energy end of the spectrum as practiced by the late-'60s avant-garde and, among other highlights, features a tumultuous, screaming alto solo by Braxton that ranks with his best work. This live concert, happily captured on tape, provides a wonderful glimpse into what each of these musicians would go on to achieve in ensuing decades, but is also simply a stellar event in and of itself. Very highly recommended. Brian Olewnick  
Tracklist :
1    Muhal (Part I)    19:20
2    Muhal (Part II) (Live Spiral)    17:22
3    No More White Gloves (With Sand Under Your Shoes Doing a Dance) (Part I)    17:31
4    No More White Gloves (With Sand Under Your Shoes Doing a Dance) (Part II)    16:59
Credits :
Alto Saxophone, Soprano Saxophone, Clarinet, Flute, Contrabass Clarinet, Chimes – Anthony Braxton
Bass – Richard Davis
Drums, Percussion – Steve McCall
Piano, Cello, Clarinet – Muhal Richard Abrams
Trumpet, Flugelhorn, French Horn – Wadada Leo Smith
Violin, Viola – Leroy Jenkins

ANTHONY BRAXTON - Creative Orchestra Music 1976 (1987) RM | FLAC (tracks+.cue), lossless

This is one of Braxton's most interesting recordings. Six of his compositions are performed by groups ranging from 15-20 pieces and featuring such soloists as trumpeters Cecil Bridgewater, Leo Smith, Kenny Wheeler and Jon Faddis, baritonist Bruce Johnstone, trombonist George Lewis, reed player Roscoe Mitchell, bassist Dave Holland, pianist Muhal Richard Abrams and Braxton himself. There is a lot of variety on this set. One of the pieces finds Braxton combining free elements with a Sousa-type march while another one looks toward Ellington. There are quite a few memorable moments on this program. Scott Yanow
Tracklist :
1    Piece One 5:10
Alto Saxophone – Anthony Braxton, Seldon Powell
Baritone Saxophone – Bruce Johnstone
Bass – Dave Holland
Bass Trombone – Earl McIntyre
Conductor – Leo Smith
Drums – Warren Smith
Piano – Muhal Richard Abrams
Tenor Saxophone – Ronald Bridgewater
Trombone – Garrett List, George Lewis
Trumpet – Cecil Bridgewater, Jon Faddis, Kenny Wheeler
Tuba – Jonathan Dorn
2    Piece Two 7:36
Bass – Dave Holland
Bass Clarinet – Bruce Johnstone
Bass Trombone – Jack Jeffers
Clarinet – Ronald Bridgewater, Seldon Powell
Contrabass Clarinet – Anthony Braxton
Gong [Gongs], Percussion – Barry Altschul
Percussion – Philip Wilson
Piano – Frederic Rzewski, Muhal Richard Abrams
Soprano Saxophone – Roscoe Mitchell
Synthesizer – Richard Teitelbaum
Timpani, Bass Drum – Warren Smith
Trombone – Garrett List, George Lewis
Trumpet – Cecil Bridgewater, Jon Faddis, Kenny Wheeler, Leo Smith
Tuba – Jonathan Dorn
3    Piece Three 6:43
Alto Saxophone [Alto Sax], Clarinet – Anthony Braxton
Alto Saxophone [Alto Sax], Flute – Seldon Powell
Baritone Saxophone [Baritone Sax], Bass Clarinet – Bruce Johnstone
Bass – Dave Holland
Bass Drum – Frederic Rzewski
Bass Saxophone [Bass Sax] – Roscoe Mitchell
Bass Trombone – Jack Jeffers
Cymbal [Marching Cymbals] – Philip Wilson
Glockenspiel – Karl Berger
Snare [Snare Drum] – Barry Altschul, Warren Smith
Tenor Saxophone [Tenor Sax] – Ronald Bridgewater
Trombone – Garrett List, George Lewis
Trumpet – Cecil Bridgewater, Kenny Wheeler
Trumpet [Solo Trumpet], Conductor – Leo Smith
Trumpet, Piccolo Trumpet – Jon Faddis
Tuba – Jonathan Dorn
4    Piece Four 6:26
Bass Clarinet – Bruce Johnstone
Bass Trombone – Jack Jeffers
Bells, Percussion, Chimes [Orchestra] – Barry Altschul
Cello – Dave Holland
Clarinet – Ron Bridgewater
Drums, Percussion – Philip Wilson
Flute – Seldon Powell
Flute, Bass Saxophone [Bass Sax] – Roscoe Mitchell
Flute, Contrabass Saxophone [Contrabass Sax] – Anthony Braxton
Marimba [Bass Marimba], Chimes [Orchestra] – Warren Smith
Piano – Frederic Rzewski, Muhal Richard Abrams
Trombone – Garrett List, George Lewis
Trumpet – Cecil Bridgewater, Jon Faddis, Kenny Wheeler, Wadada Leo Smith
Tuba – Jonathan Dorn
Vibraphone, Xylophone, Chimes [Orchestra] – Karl Berger
5    Piece Five 7:19
Alto Saxophone [Alto Sax] – Seldon Powell
Alto Saxophone [Alto Sax], Contrabass Saxophone [Contrabass Sax] – Anthony Braxton
Baritone Saxophone [Baritone Sax] – Bruce Johnstone
Bass – Dave Holland
Bass Trombone – Jack Jeffers
Conductor – Leo Smith
Drums – Warren Smith
Piano – Muhal Richard Abrams
Tenor Saxophone [Tenor Sax] – Ron Bridgewater
Trombone – Garrett List, George Lewis
Trumpet – Cecil Bridgewater, Jon Faddis, Kenny Wheeler
Tuba – Jonathan Dorn
Vibraphone – Karl Berger
6    Piece Six 6:40
Alto Saxophone [Alto Sax], Soprano Saxophone [Soprano Sax], Bass Saxophone [Bass Sax] – Roscoe Mitchell
Bass Clarinet – Bruce Johnstone
Bass Trombone – Earl McIntyre
Cello – Dave Holland
Clarinet – Ronald Bridgewater
Conductor – Muhal Richard Abrams
Flute – Seldon Powell
Sopranino Saxophone [Sopranino Sax], Clarinet, Contrabass Clarinet – Anthony Braxton
Trombone – Garrett List, George Lewis
Trumpet – Cecil Bridgewater, Jon Faddis, Kenny Wheeler, Leo Smith
Tuba – Jonathan Dorn
Credits :
Composed By [All Music Composed By], Arranged By [All Music Arranged By] – Anthony Braxton

ANTHONY BRAXTON WITH MUHAL RICHARD ABRAMS - Duets 1976 (1976) lp | FLAC (tracks), lossless

Anthony Braxton took major advantage of his few years with Arista to record a number of projects that, at the time, would have been very difficult to undertake on his own, as their commercial potential was nil. One of these was a duo project with AACM founder and guiding force Muhal Richard Abrams. The results are mixed, with a somewhat ragged approach balanced by enthusiastic playing and an intriguing choice of material. They open with a fine, rollicking version of Eric Dolphy's "Miss Ann" and later launch into, of all things, Scott Joplin's "Maple Leaf Rag." Now, Abrams had been playing and performing Joplin and other ragtime composers for many years, predating the early '70s revival occasioned by the movie The Sting, and he glides through the piece with flair and ease. Braxton, however, seems either uncomfortable playing catch up or, perhaps, simply unwilling to perform the music in a straightforward manner. In any case, it makes for a jerky, awkward rendition. Three of Braxton's compositions are also included, two of which are spare, probing sonic investigations while the last, "Composition 40B," is a hugely fun, pulsing number featuring the composer on his superbly unwieldy contrabass sax. The album closes in lovely fashion with a soft, romantic improvisation by the duo, dedicated to Braxton's wife. Brian Olewnick  
Tracklist :
1     Miss Ann 4:09
Eric Dolphy   
2     37 - 79 - 64 (Opus 60) 9:19
Anthony Braxton   
3     327 (Opus 40p) 7:02
Anthony Braxton   
4     Maple Leaf Rag 3:37
Scott Joplin
5     36 Mk-74 (Opus 62) 13:04
Anthony Braxton
6     Nickie 3:15
Muhal Richard Abrams / Anthony Braxton
Credits :
Alto Saxophone, Sopranino Saxophone, Contrabass Saxophone, Clarinet, Clarinet [E-Flat], Contrabass Clarinet, Liner Notes – Anthony Braxton
Piano – Muhal Richard Abrams

ANTHONY BRAXTON - The Complete Arista Recordings Of Anthony Braxton (2008) 8xCD BOX-SET | FLAC (tracks+.cue), lossless

Since he released the completely solo For Alto in 1968, the accepted image of Anthony Braxton has been that he is more a theoretician and art music composer than a jazz musician. Therefore, it might seem strange that Mosaic Records is giving his Complete Arista Recordings one of their fabled box set treatments. But Braxton is both -- and much more. This set -- as well as the original Arista recordings -- were produced by Michael Cuscuna, Mosaic/Blue Note label head. The sheer scope of these recordings is staggering. What we get in this amazingly detailed collection is the weightiest argument yet for Braxton's range and depth of field as a musical thinker and his role as a pillar of modern jazz. The individual albums -- New York, Fall 1974; Five Pieces, 1975; Creative Orchestra Music, 1976; Duets, 1976; For Trio; The Montreux/Berlin Concerts; Alto Saxophone Improvisations, 1979; For Four Orchestras; For Two Pianos -- showcase him in a rainbow of settings, from quintets and duets, to trios, quartets, and solo; as the leader of a big band, and as a playing conductor. The players are a who's who of the vanguard in both America and Europe: Muhal Richard Abrams, Leroy Jenkins, Kenny Wheeler, Dave Holland, Jerome Cooper, Leo Smith, Cecil Bridgewater, Roscoe Mitchell, George Lewis, Karl Berger, Ursula Oppens, Frederic Rzewski, Phillip Wilson, Henry Threadgill, and many more.

Given the wide variations in track times, sequencing this set to make it even remotely affordable must have been somewhat frustrating. Comparing the track list to the discographical notes, the full context of this is realized. The box is impeccably organized album by album to be sure, but not necessarily in the chronological order of release. An example: on discs one and two, the albums New York, Fall 1974, and its successor, Five Pieces, 1975 are successive, but then Duets, 1976 (with Abrams) was released after Creative Orchestra Music 1976. This is followed by the first four tracks from Alto Saxophone Improvisations, 1979, which continues and is completed on disc three, etc. That said, there is wonderful aesthetic and principled logic involved in the sound and dynamic of the organization of these discs. In other words, even if an original album is split by disc, it makes complete sense. For instance, while some records are split over various CDs, the decision to give For Four Orchestras its own disc (the final one) was a wise one. The package itself is typical Mosaic: high class presentation with an amazing track by track essay by Braxton's student and collaborator Mike Heffley, a brief reminiscence by Cuscuna, a boatload of killer session photographs, and exhaustive discographical and personnel information. The sound is literally pristine and full of warmth. One can hear no flaws from the source material even when A-B'ed against the original LPs; this is even true of the live Montreux/Berlin Concerts.

Most importantly, however, is that this music from Braxton sounds and feels so on time in the 21st century. This is not only true in its scope and vision, but also in what is realized in its execution. Where John Coltrane, and Ornette Coleman expanded the possibilities for new colors and sounds in jazz, less (or no) credit is given to West Coast players like Jimmy Giuffre and Warne Marsh, except in Braxton's sound worlds. His investigations in using the jazz tradition in order to unmake it in terms of tonality, sound, and texture, while preserving its sense of inventive rhythm, melody, harmonic structures, and even swing (check Creative Orchestra Music, 1976), do not feel remotely academic all these decades later. One can hear humor and warmth in the deep paradoxes of a brilliant mind wrestling with the issues of jazz and new music, challenging his own and accepted notions of their accepted places in the world of sonic architecture. Also, in his most direct exercises, there lies the deep expressiveness of his incessant effort to assimilate his discoveries into an ever-expanding organizational system of sound. This is heard, whether it's in his playing of jazz standards or his original compositions. It's there in the process of conception as well as technical articulation. Nothing here feels quaint or nostalgic. Instead, it's revelatory and engaging, inviting and still provocative. The historic reissue of this material adds yet another level if we wish to deepen our understanding of the myriad ways Braxton has enhanced and expanded each of the traditions he's involved himself with.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
New York, Fall 1974    
1-1    Opus 23B    8:51
1-2    Opus 23C    3:11
1-3    Opus 23D    7:04
1-4    Opus 38A    6:27
1-5    Opus 37    8:17
1-6    Opus 23A    5:29
Five Pieces 1975    
1-7    Opus 23H    4:40
1-8    Opus 23G    8:13
1-9    Opus 23E    17:17
1-10    Opus 40M    3:23
2-1    You Stepped Out Of A Dream 7:11
Written-By – G. Khan, M. H. Brown
Duets 1976    
2-2    Miss Ann 4:09
Written-By – Eric Dolphy
2-3    Opus 60    9:19
2-4    Opus 40P    7:02
2-5    Maple Leaf Rag 3:37
Written-By – Scott Joplin
2-6    Opus 62    13:04
2-7    Nickie 3:15
Written-By – A. Braxton, M. R. Abrams
Alto Saxophone Improvisations 1979    
2-8    Opus 77A    7:35
2-9    Opus 77C    6:30
2-10    Red Top 6:15
Written-By – B. Kynard, L. Hampton
2-11    Opus 77D    7:25
3-1    Opus 77E    4:26
3-2    Opus 26F    6:22
3-3    Opus 77F    6:20
3-4    Opus 26B    6:58
3-5    Along Came Betty 8:00
Written-By – Benny Golson
3-6    Opus 77G    5:17
3-7    Opus 26E    6:17
3-8    Giant Steps 6:22
Written-By – John Coltrane
3-9    Opus 77H    7:05
For Trio    
3-10    Opus 76 (Version One) 20:10
Engineer – Jim Dolan
4-1    Opus 76 (Version Two) 21:28
Engineer – Jim Dolan
For Two Pianos    
4-2    Opus 95 For Two Pianos 49:28
Engineer – Carlo Martenet
Creative Orchestra Music 1976    
5-1    Opus 51    5:11
5-2    Opus 56    7:33
5-3    Opus 58    6:44
5-4    Opus 57    6:25
5-5    Opus 55    7:19
5-6    Opus 59    6:41
The Montreux / Berlin Concerts    
5-7    Opus 63    23:32
6-1    Opus 40N    7:48
6-2    Opus 23J    13:59
6-3    Opus 40    7:35
6-4    Opus 6F    8:17
6-5    Opus 40K    15:32
6-6    Opus 6C    10:00
For Four Orchestras    
7-1    Opus 82, Part One    54:04
8-1    Opus 82, Part Two    58:26
All Credits 

ANTHONY BRAXTON — Quintet (Basel) 1977 (2001) APE (image+.cue), lossless

Not released until more than two decades after it was recorded, this collection from a live concert in the late 1970s documents one of Anthony Braxton's most important small groups. Trombonist George Lewis had earlier proved himself to be one of the saxophonist's most exciting partners, and he continues here to overwhelm with his enormous technique coupled with a somewhat uncharacteristic emotional adventurousness. The group was recorded during a period in which Braxton's compositions were still partially rooted in a hard bop aesthetic, though his use of the medium was entirely original and incorporated postmodern concepts. It is a real treat for the two horns to be joined on piano by Muhal Richard Abrams, a seminal player in the history of free jazz and an important early influence on Braxton and Lewis. The pianist regales in the opportunity to spread out with sophisticated, occasionally dense constructs. Another unusual group member, drummer Charles "Bobo" Shaw, energizes the quintet with an aggressive style derived from his days with the St. Louis-based Human Arts Ensemble. All-star bassist Mark Helias rounds out the rhythm section. This super quintet meets expectations, and the historically important set should achieve some sort of critical, if not cult, status. Steve Loewy  
Tracklist :
1    Composition 69 J    16:25
2    Composition 69 N/G    26:02
3    Composition 69 M    12:52
4    Composition 40 B    18:16
Credits :
Alto Saxophone, Sopranino Saxophone, Clarinet, Composed By – Anthony Braxton
Double Bass – Mark Helias
Drums – Charles "Bobo" Shaw
Piano – Muhal Richard Abrams
Trombone – George Lewis

ROSCOE MITCHELL & MUHAL RICHARD ABRAMS - Duets & Solos (1993) FLAC (tracks+.cue), lossless

Tracklist :
1     Scenes And Color (piano Solo) 26:25
Muhal Richard Abrams
2     Ode To The Imagination (Duet 1) 10:19
Muhal Richard Abrams / Roscoe Mitchell
3     Star Night (Saxophone Solo) 14:55
Roscoe Mitchell
4     Reunion (Duet 2): March/Prelude/Dance/Finale 27:42
Muhal Richard Abrams / Roscoe Mitchell
Credits :
Piano – Muhal Richard Abrams (faixas: 1, 2, 4)
Saxophone – Roscoe Mitchell (faixas: 2 to 4)

THE ART ENSEMBLE OF CHICAGO - Fanfare for the Warriors (1974-1998) WV (tracks+.cue), lossless

The Art Ensemble of Chicago's first (and arguably most significant) period concluded with this high-quality studio session, Fanfare for the Warriors. The quintet (trumpeter Lester Bowie, Roscoe Mitchell and Joseph Jarman on reeds, bassist Malachi Favors and drummer Don Moye) provides concise but adventurous performances. High points include Mitchell's "Nonnaah," Bowie's humorous "Barnyard Scuffel Shuffle" and "Tnoona," but all of the selections have their own musical personality. It's a fine showcase for this important avant-garde unit. by Scott Yanow
Tracklist :
1     Illistrum 8:17
Malachi Favors
2     Barnyard Scuffel Shuffel 5:12
Lester Bowie
3     Nonaah 5:44
Roscoe Mitchell
4     Fanfare for the Warriors 7:58
Joseph Jarman
5     What's to Say 4:02
Joseph Jarman
6     Tnoona 6:25
Roscoe Mitchell
7     The Key 1:15
Roscoe Mitchell
Credits :
Alto Saxophone, Tenor Saxophone, Flute – Joseph Jarman
Alto Saxophone, Tenor Saxophone, Piccolo Flute – Roscoe Mitchell
Bass – Malachi Favors
Drums – Don Moye
Illustration [Cover] – Christian Piper
Piano – Muhal Richard Abrams
Trumpet, Flugelhorn – Lester Bowie