Uploaded July 2008 | Updated September 2026, 1 day ago
Byard Lancaster: 'John's Children'
(It's Not Up to Us, 1968)
Philadelphia jazz musician Byard Lancaster was born in 1942. Primarily an alto saxophonist, Lancaster also plays a wide variety of other reed instruments. After studying at Berklee College of Music, he moved to New York City, where he participated in loft jam sessions with the likes of Archie Shepp and Elvin Jones. In 1965, he was a member of legendary free jazz drummer Sunny Murray's group, and appeared on the album 'Sunny Murray Quintet'.
In 1968, he recorded an album under his own leadership, 'It's Not Up to Us', which was released on the Vortex Label. The record contains mostly original compositions,
with a couple of standards thrown in for good measure. Though Lancaster was associated with the free jazz movement, he's a very eclectic musician (his business card reads 'from a love supreme to the sex machine') and the settings on this record are mostly a little easier on the ear, particularly when the leader is playing flute.
'It's Not Up to Us' is particularly notable for featuring an early appearance by Sonny Sharrock on guitar - he sticks firmly in the background on the ballads, but gets a chance to stretch out elsewhere on the record, producing some truly eerie and fascinating sounds on an extended showcase called 'Satan'. There's even a version of the tune 'Many Mansions', which famously appears on Sharrock's 'Ask the Ages', from 1991. Here its title is 'John's Children'.
The personnel is: Byard Lancaster - flute, alto sax; Sonny Sharrock - guitar; Eric Gravatt - drums; Jerome Hunter - bass; Kenny Speller - conga.
Byard Lancaster: 'John's Children'
(It's Not Up to Us, 1968)
Philadelphia jazz musician Byard Lancaster was born in 1942. Primarily an alto saxophonist, Lancaster also plays a wide variety of other reed instruments. After studying at Berklee College of Music, he moved to New York City, where he participated in loft jam sessions with the likes of Archie Shepp and Elvin Jones. In 1965, he was a member of legendary free jazz drummer Sunny Murray's group, and appeared on the album 'Sunny Murray Quintet'.
In 1968, he recorded an album under his own leadership, 'It's Not Up to Us', which was released on the Vortex Label. The record contains mostly original compositions,
with a couple of standards thrown in for good measure. Though Lancaster was associated with the free jazz movement, he's a very eclectic musician (his business card reads 'from a love supreme to the sex machine') and the settings on this record are mostly a little easier on the ear, particularly when the leader is playing flute.
'It's Not Up to Us' is particularly notable for featuring an early appearance by Sonny Sharrock on guitar - he sticks firmly in the background on the ballads, but gets a chance to stretch out elsewhere on the record, producing some truly eerie and fascinating sounds on an extended showcase called 'Satan'. There's even a version of the tune 'Many Mansions', which famously appears on Sharrock's 'Ask the Ages', from 1991. Here its title is 'John's Children'.
The personnel is: Byard Lancaster - flute, alto sax; Sonny Sharrock - guitar; Eric Gravatt - drums; Jerome Hunter - bass; Kenny Speller - conga.
![Priaulx Rainier - The Bee Oracles (1969)
Priaulx Rainier - The Bee Oracles (1969)
James Oxley (tenor)
Members of the Psappha Ensemble:
Conrad Marshall - flute
Rachael Clegg - oboe
Richard Casey - harpsichord
Benedict Holland - violin
Jennifer Langridge Cello
Mark Heron (conductor)
“Rainier and [Elisabeth] Lutyens admired one another, perhaps for features they shared: independence and determination. In other respects they were unalike. Rainier worked slowly, producing a new work, usually on a small scale, every couple of years. Perhaps because of that, her music seems intensively woven; it is certainly intensively pulsed.
She wrote this work, setting a poem by Edith Sitwell, ‘The Bee-Keeper’, for Peter Pears to sing at the 1969 Aldeburgh Festival. Her choice of accompanying ensemble – flute and oboe, violin and cello, harpsichord – may have been influenced by a work by a composer she admired, Elliott Carter’s Sonata for four of these instruments (omitting the violin). But equally, the bright sharpness of high woodwinds, the glide of the strings and the buzz of the harpsichord, to mention only some of the qualities she draws from this group, all fit the gilded magic of the poem and of its apian subject.
Introducing a broadcast of the work, Rainier mentioned how it is based on two parallel rhythms, one in the vocal line, the other created by the instruments in short patterns to counter or support the vocal rhythm, these producing ‘a honeycomb of sound’. Within that honeycomb, the moments of congruity, when instrumental attacks are lined up to coincide with a sung note, have a particular force.
At the same time, Rainier takes up the poem’s invitation to generate a broad-gauge honeycomb, of formal segments, with each of the different elements given its own variation, the whole interleaved with variations on the opening ‘Incantation’. The result, at once intricate chamber composition and spell, is fascinating, and yet this work, too, has not been heard since 1983.”
(Paul Griffiths, 2013) Priaulx Rainier - The Bee Oracles (1969)](https://i.ytimg.com/vi/Cw416v_cmhk/mqdefault.jpg)
![Alan Bush - Violin Concerto (1948)
Alan Bush – Violin Concerto (1948)
Mareen Smith (violin)
BBC Northern Symphony Orchestra
Bernard Keefe (conductor)
BBC Radio broadcast.
“This concerto is dedicated to Max Rostel, who gave the first performance on the 25th August, 1949. Alan Bush said that the violin is intended to represent the individual; the orchestra, world society. And the work, as it unfolds, suggest the individual struggles and his [sic] final absorption into society for the common good. The concerto is in three movements, which follow each other without a break.” (BBC Broadcast commentary)
“[In ‘The Crisis of Modern Music’ (1946),] Bush explained his so- called ‘thematic’ method of composition which involved the thematic significance of every note written. The common ground this shares with Schonberg’s twelve-note method hardly needs stressing. Indeed, some sort of serial melodic structure can be discerned in many of Bush’s works, for example the Violin Concerto of 1948, which employs twelve-note themes, although in a tonal context. In the slow movement of this work the order of the note series is adhered to quite strictly, but common chords are clearly implied. Thus near the beginning of the slow movement a succession of third, G minor, E major, C minor, B minor and F major appear. There are other, similar common chord forms, a variant of one of which occurs in the first movement in a fanfare-like sequence (D major, B flat minor, E minor and A flat major triads). This sequence is then extensively developed. Such writing is typical of the composer’s movement away from his earlier ‘central-European’ style.
Though the music is continuous, the work is cast in three sections. A short, cadenza-like introduction from the solo violin precedes an interestingly scored orchestral section of pulsating energy. The soloist joins in this exciting episode before introducing an appealing, lyrical section more serious in mood. Over sustained chords the violin soars upwards in a series of rhapsodic passages before a return is made to the pulsating rhythms of the first main section. The slow movement [beginning c. 12:07] is remarkable for the soloist’s cadenza-like passages with orchestral interjections and accompanying figures of subtle significance. The third movement, which imaginatively emerges from the slow movement [beginning c. 21:05], uses material related to the first movement. The music in the finale thus provides a formally satisfying link with what has gone before, helping to create an overall design that is typical of the composer’s musical thinking. (Peter Lamb)
Image: Bust of Alan Bush by Ian Walters Alan Bush - Violin Concerto (1948)](https://i.ytimg.com/vi/D7LZ5CgWOrE/mqdefault.jpg)







![Muhal Richard Abrams The Bird Song Part 1
Muhal Richard Abrams (clarinet) Leroy Jenkins (violin) Charles Clark, Leonard Jones (bass) Thurman Barker (drums) David Moore (poet) [Anthony Braxton (alto saxophone), Maurice McIntyre (tenor saxophone) and Abrams (piano) are heard on the second part of the track (not included in this video)]
June 7th, 1967 // Sound Studios, Chicago, IL (USA)
Released in 1968 on the album Levels and Degrees of Light (Delmark Records)
The recitation here is from poet David Moore, subsequently known as Amos Mor, about whom I can find little information. References to birds might suggest jazz history: allusions to Charlie Parkers nickname, Bird, and to Eric Dolphys mimicking of birdsong in his flute playing; perhaps also, as Ronald Radano suggests (following Ralph Ellison), the bird as in-the-know trickster, even hipster (the word hip perhaps deriving from a Wolof word meaning a person who has opened his eyes), as musician tied to the natural world, away from the urbanised, mechanised world of modern America. This should not be taken as anti-technological primitivism, however: the recording was originally drenched in reverb, at Abrams request, and the combination of this electronic experimentation with Moores words places The Bird Song in a line of African-American modernism fusing magic, quasi-historical Afrocentricity, sci-fi, space travel and apocalypticism Sun Ra, Amiri Baraka, Octavia Butler, Henry Dumas, The Art Ensemble of Chicago.
The version posted here is from the CD re-issue, with the reverb removed: wile this enables us to better appreciate exactly what is going on, musically, and to hear every word of Moores mostly a-capella recitation (one reviewer notes the musical quality of his delivery, with its almost chromatic down-ward swoops), George Lewis argues that much of the works dramatic and emotional impact is lost in the transition dried up, rendered that much less fluid, that much less open. Nonetheless, without access to the original LP, this re-mastered version remains an essential item in any examination of the relation between poetry and free jazz, to be put alongside the likes of Joseph Jarmans Non-Cognitive Aspects of the City, Amiri Barakas Black Art, and Sun Ras songs, declamations and chants. Muhal Richard Abrams The Bird Song Part 1](https://i.ytimg.com/vi/J1NqTw7r0hc/mqdefault.jpg)
![Amiri Baraka with Fred Hopkins & David Murray - Rhythm and Blues (for Robert Williams, in exile)
Recorded at the public debut of David Murrays Big Band at the Public Theatre, New York, 2 July 1978, this audience recording features Baraka in a trio with Murray on tenor saxophone and bassist Fred Hopkins, reading a poem from The Dead Lecturer (1964). Baraka, Murray and Steve McCall made the album New Music-New Poetry in 1982: this is a rare recording of Baraka recording material from an earlier phase in his career.
The poem is dedicated to Robert F. Williams, president of the Monroe, NC chapter of the NAACP, author of Negroes with Guns, and an early advocate of armed resistance against white supremacy of the KKK. Williams went into exile after an attack from white racists, for which he and fellow defendant Mae Mallory were, with the distortion typical of the US imperial state, falsely accused of kidnapping a white couple who had taken shelter with them. The year before, Baraka and Williams were part of a delegation organised by the Fair Play to Cuba Committee who took a trip to Cuba in July 1960, a story Baraka tells in the essay Cuba Libre, which marked an important stage in his political coming to consciousness. The cause of Williams and his fellow defendant, Mae Mallory, who remained in the US, was also taken up in benefit readings by the Umbra Poets Workshop. From Cuba, Williams broadcast the show Radio Free Dixie and continued to agitate against white supremacy, and to link the struggles against colonialism and neo-colonialism in Cuba and on the African and Asian continents to the struggle against US racism. Williams story is told Timothy B. Tysons book Radio Free Dixie (1999).
From the poem:
For the well that marks the burned stores. For the deadly idiot of compromise
who shrieks compassion, and bids me love my neighbor. Even beyond the meaning
of such act as would give all my fathers dead ash to fertilize their bilious
land. Such act as would give me legend, This is the man who saved us
Spared us from the disappearance of the sixteenth note, the destruction
of the scale. This is the man who against the black pits of despairing genius
cried, Save the Popular Song. [...]
I am not moved. I will not move to save them. There is no
melody. Only the foot stomped, the roaring harmonies of need. The
hand banged on the table, waved in the air. The teeth pushed against
the lip. The face and fingers sweating. Let me alone, is praise enough
for these musicians.
Offered solely for educational purposes: please let me know if this infringes anyones copyright, and Ill remove. Amiri Baraka with Fred Hopkins & David Murray - Rhythm and Blues (for Robert Williams, in exile)](https://i.ytimg.com/vi/J1OvF4UBPfA/mqdefault.jpg)