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)

ANTHONY BRAXTON - Performance (Quartet) 1979 (2007) FLAC (tracks), lossless

This two-Lp set has a continuous 71-minute performance by Anthony Braxton's 1979 quartet, a unit that features the leader on alto, clarinets and contrabass clarinet along with the masterful (and sometimes hilarious) trombonist Ray Anderson, bassist John Lindberg and percussionist Thurman Barker. The group interprets seven of Braxton's compositions (which he outlines in extensive and generally readable liner notes) including a closing and somewhat humorous march. Since the Braxton-Anderson musical partnership did not last all that long and resulted in some real fireworks, this twofer is one that Braxton's fans will want to search for. Scott Yanow
Tracklist :
1    Part I    36:48
2    Part II    34:26
Credits :
Alto Saxophone, Soprano Saxophone, Saxophone [B & E], Clarinet, Bass Clarinet – Anthony Braxton
Double Bass – John Lindberg
Percussion, Xylophone, Gong – Thurman Barker
Trombone, Trombone [Alto], Instruments [Little] – Ray Anderson

ANTHONY BRAXTON - Performance (Quartet) 1979 (2007) FLAC (tracks), lossless

Tracklist :
1    Part I 36:47
2    Part II 34:26
Credits :
Alto Saxophone, Soprano Saxophone [B♭ And E♭], Clarinet, Contrabass Clarinet, Arranged By – Anthony Braxton
Bass – John Lindberg
Percussion, Xylophone, Gong [Gongs] – Thurman Barker
Trombone, Trombone [Alto], Instruments [Little] – Ray Anderson

SAM RIVERS - Waves (1978-2002) FLAC (tracks+.cue), lossless

An explosive late '70s set with underrated composer, multi-instrumentalist, and arranger Sam Rivers leading a strong quartet. While bassist and cellist Dave Holland and percussionist Thurman Barker merged to form a strong, challenging rhythm section, Rivers and Joe Daley, playing tuba and baritone horn, worked together to create instrumental dialogues in sequence. Their array of contrasting voicings, with Rivers on tenor and soprano sax and flute, makes for compelling listening. Ron Wynn
Tracklist :
1    Shockwave    14:41
2    Torch    6:56
3    Pulse    10:22
4    Flux    6:03
5    Surge    6:13
Credits :
Bass, Cello – Dave Holland
Drums, Percussion – Thurman Barker
Tuba – Joe Daley
Tenor Saxophone, Soprano Saxophone, Flute, Piano, Written-By – Sam Rivers

SAM RIVERS - Contrasts (1980) FLAC (tracks+.cue), lossless

Tenor saxophonist Sam Rivers (also heard on soprano and flute) teams up in a quartet with trombonist George Lewis, bassist Dave Holland and drummer Thurman Barker (doubling on marimba) for a date that certainly defies the stereotype of a typical ECM session. The seven Rivers originals, although sometimes having colorful melodies, are quite complex. However, the intriguing and very alert interplay between the brilliant musicians makes the music seem fairly logical and worth exploring by adventurous listeners.  Scott Yanow
Tracklist :
1    Circles    4:19
2    Zip    4:44
3    Solace    6:57
4    Verve    7:12
5    Dazzle    9:16
6    Images    3:54
7    Lines    7:11
Credits :
Double Bass – Dave Holland
Drums, Marimba – Thurman Barker
Producer – Manfred Eicher
Soprano Saxophone, Tenor Saxophone, Flute, Composed By – Sam Rivers
Trombone – George Lewis

THE CECIL TAYLOR UNIT - Live In Bologna (1988) FLAC (tracks+.cue), lossless

Having suffered the passing of longtime musical partner Jimmy Lyons just a year prior, pianist Cecil Taylor enlisted alto saxophonist and flute player Carlos Ward as a replacement for a series of European dates in 1987. Filling out the group were percussionist Thurman Barker and violinist Leroy Jenkins (both veterans of Chicago's trailblazing AACM free jazz collective), as well as bassist William Parker. The new group members proved to be up to Taylor's capricious and galvanizing ways on this Bologna concert recording, not only providing sympathetic support for the pianist's expansive explorations, but also creating uniquely improvised statements of their own. They maintain a high standard throughout the 90-minute concert (the CD version has been edited down for time limitations), shifting from frenetic, full-ensemble runs to slow, primordial stretches of music-making. Barker particularly stands out, adding a multitude of textures and colors on marimba and a variety of other percussion instruments, while Jenkins also impresses with violin work that matches Taylor's own protean playing. For his part, Ward might not be up to the incisive work Lyons produced during his 20-year tenure with Taylor, but he turns in enough engaging statements to blend in nicely with the others. Although this is a great Taylor release, certainly essential for fans, Live in Bologna might not be the best disc for newcomers. Curious listeners should start with either of Taylor's mid-'60s Blue Note discs (Unit Structures and Conquistador), or check out later titles like 1986's live solo piano recording For Olim and his A&M trio date In Floresence. by Stephen Cook  
Tracklist :
1     Live in Bologna 1:09:53
Cecil Taylor
Credits :
Bass – William Parker
Marimba, Drums – Thurman Barker
Piano, Lyrics By [Poetry], Music By – Cecil Taylor
Reeds – Carlos Ward
Violin – Leroy Jenkins

AMINA CLAUDINE MYERS TRIO – The Circle of Time (1983) FLAC (tracks+.cue), lossless

In terms of depth, spirit, originality, and diversity, this is the recording that best brings those vibrant elements of Aminda Claudine Myers' musicianship to ultimate fruition. With bassist Don Pate and drummer Thurman Barker, Myers freely explores jazz, blues, and gospel-tinged creative music in her own inimitable way. All of these six pieces were written by Myers, each showcasing a different side of her joyous persona, making her music deep, listenable, tuneful, and emotional.

Starting off with the hot instrumental modal bop number titled "Louisville," the pianist proves to be a capable, refreshing melodicist in this area, with Pate's complimentary lines to the piano and Barker's crackling drums setting the upbeat pace nicely. "Plowed Fields" has a loose structure with equally peaceful and soulful, tender and poignant motifs. Myers sings the line "seeing the plowed fields, made me want to go barefooted, until my mother spoke of soles (souls?) tied to her feet." "Do You Want to Be Saved?" is an anthem for the ages -- organ and piano strains are overdubbed for this hip, steady tempo gospel blues. Inexorable caravan-like processional pacing for "Christine" has a dual line of Myers cascading piano apreggios with a deft chordal four-bar line that is dramatic and dynamic. Pate's avant bowed bass introduces "The Clock," which has several aspects of time musically represented. Creaking bass, meandering piano, free stride, and completely free segments are featured, and are liable to speed or slow at a moment's notice. "The Circle of Time" further illuminates this with the lyric "time moves by slowly, time moves by quickly." Myers adopts a little girlish falsetto over another patiently slower, steady rhythm, injecting ai-yi-yis in a rather Native American inflection on this song that represents Myers at her creative, free-flowing zenith. This recording and Sings Bessie Smith are must-buy items for fans of this brilliant musician, and iconic signposts for where African-American expressionism can be directed. Michael G. Nastos
Tracklist :
1 Louisville 6:50
Amina Claudine Myers
2 Plowed Fields 7:08
Amina Claudine Myers
3 Do You Wanna Be Saved 8:13
Amina Claudine Myers
4 Christine 8:58
 Amina Claudine Myers
5 The Clock 6:26
Amina Claudine Myers
6 The Circle of Time 6:43
Amina Claudine Myers
Credits :
Thurman Barker - Percussion
Amina Claudine Myers - Composer, Harmonica, Organ, Piano, Vocals
Don Pate - Bass (Electric), Contrabass