Uploaded January 2010 | Updated September 2026, 7 hours ago
Donald Smith - Nameless (Track 3, 'Luv', 1976)
Donald Smith (piano) Cecil McBee (bass) Jack de Johnette (drums)
Donald Smith is (correct me if I'm wrong on this) the brother of Lonnie Liston Smith, and appeared on Lonnie's album 'Expansions', singing and playing the flute. 'Luv', from 1976, appears to be his only recording as a leader, though in recent years he has appeared on an album by tenor saxophonist Salim Washington (cimprecords.com/albums/?album=786497571420). (There's also footage, available on youtube, of him playing in Washington's group; this includes a version of Pharoah Sanders' 'The Creator has a Master Plan'). 'Luv' is very different to what one might expect from Smith's appearance in his brother's band; there's not a synthesizer or fusion lick in sight. Instead, this is predominantly modal jazz, with Smith playing some spicy dissonances in the heads (check out in particular the ballad called 'Stillness'), Tyner-style power chords, and frenetic free runs. McBee and Johnette are, as one might expect, a sensitive 'rhythm section' (this is a very co-operative date, with plenty of room for everyone to solo and interact). At times they can be wonderfully delicate (the punctuated silence in the latter part of 'Mystic Man'), at others forceful and rhythmically compelling without being overbearing (the Latin groove of 'Nameless'). I'm going to post the album in its entirety here, as its out of print, and I think it's music that needs exposing. Hopefully this might draw more attention to Smith's music, and we'll hear more from him in the future.
Donald Smith - Nameless (Track 3, 'Luv', 1976)
Donald Smith (piano) Cecil McBee (bass) Jack de Johnette (drums)
Donald Smith is (correct me if I'm wrong on this) the brother of Lonnie Liston Smith, and appeared on Lonnie's album 'Expansions', singing and playing the flute. 'Luv', from 1976, appears to be his only recording as a leader, though in recent years he has appeared on an album by tenor saxophonist Salim Washington (cimprecords.com/albums/?album=786497571420). (There's also footage, available on youtube, of him playing in Washington's group; this includes a version of Pharoah Sanders' 'The Creator has a Master Plan'). 'Luv' is very different to what one might expect from Smith's appearance in his brother's band; there's not a synthesizer or fusion lick in sight. Instead, this is predominantly modal jazz, with Smith playing some spicy dissonances in the heads (check out in particular the ballad called 'Stillness'), Tyner-style power chords, and frenetic free runs. McBee and Johnette are, as one might expect, a sensitive 'rhythm section' (this is a very co-operative date, with plenty of room for everyone to solo and interact). At times they can be wonderfully delicate (the punctuated silence in the latter part of 'Mystic Man'), at others forceful and rhythmically compelling without being overbearing (the Latin groove of 'Nameless'). I'm going to post the album in its entirety here, as its out of print, and I think it's music that needs exposing. Hopefully this might draw more attention to Smith's music, and we'll hear more from him in the future.



![Bill Dixon/Milford Graves Duo 1984
Bill Dixon (trumpet) Milford Graves (percussion)
Recorded at the Top of the Gate (the upstairs performance space above the Village Gate) at 160 Bleecker Street, 27th May 1984. “The concert was produced by Reggie Workman and apparently dedicated to Jesse Jackson in the election year. ‘Graves was going to do a drum solo, but I said: I’ll be there; why dont we do a duet?” (‘Dixonia: A Bio-Discography of Bill Dixon”)
From Kofi Natambu’s poem written following the performance:
“its nonreferential power that wants nothing especially its Self [...]
this stance / that charges charges that charges charges admission to everyone at once”
(The Melody Never Stops’, 1991) Bill Dixon/Milford Graves Duo 1984](https://i.ytimg.com/vi/wGQtizo5TIE/mqdefault.jpg)




![Grachan Moncur III - Angelas Angel I.wmv
Grachan Moncur III & The Jazz Composers Orchestra - Echoes Of Prayer (JCOA Records)
Grachan Moncur III, trombone, voice; Carla Bley, piano; Leroy Jenkins, violin; Carlos Ward, sax, flute; Hannibal Marvin Peterson, trumpet; Stafford Osborne, trumpet; Janice Robinson, trombone; Jack Jeffers, trombone; Perry Robinson, clarinet; Mark Elf, guitar; Keith Marks, flute; Cecil McBee, bass; Charlie Haden, bass; Jeanne Lee, vocals; Mervine Grady, vocals; Titos Sompa, congas, talking drum; Coster Massamba, Frederick Simpson, Malonga Quasquelourd, Jakuba Abiona, percussion; Beaver Harris, drums.
Recorded April 11, 1974 at Blue Rock Studio, New York City
[From Wikipedia]
The Jazz Composers Orchestra was a jazz group founded in 1965 to further avant-garde jazz in New York City. Carla Bley and Michael Mantler were important in its organization and style.
Its origins lay in the Jazz Composers Guild, an organization founded by Bill Dixon which grew out of the series of 1964 concerts in New York, known as the October Revolution in Jazz and subsequent regular performance settings. A big band, formed by Bley and Mantler, became known as the Jazz Composers Guild Orchestra, which made its first record in April 1965. After the demise of the Guild, the big band continued as the Jazz Composers Orchestra. A non-profit organisation was established in 1966, the Jazz Composers Orchestra Association Inc. (JCOA).
The Orchestras first release was Communication in 1965. Their 1968 double-album The Jazz Composers Orchestra (also known as Communications) featured soloists Cecil Taylor, Don Cherry, Roswell Rudd, Pharoah Sanders, Larry Coryell, and Gato Barbieri.
JCOA Records was founded for released from the Orchestra and its members.
Albums included commissioned works by Roswell Rudd, Clifford Thornton, Don Cherry, Leroy Jenkins and Grachan Moncur III.
The groups last performance was in 1975.
Discography
1965: Communication
1968: The Jazz Composers Orchestra (produced by Michael Mantler)
1971: Escalator over the Hill (a chronotransduction by Carla Bley & Paul Haines)
1973: Relativity Suite (produced by Don Cherry)
1973: Numatik Swing Band (produced by Roswell Rudd)
1975: The Gardens of Harlem (produced by Clifford Thornton)
1975: Echoes of Prayer (produced by Grachan Moncur III)
1975: For Players Only (produced by Leroy Jenkins) Grachan Moncur III - Angelas Angel I.wmv](https://i.ytimg.com/vi/ywljvcPx5D4/mqdefault.jpg)

![George E. Lewis - Homage To Charles Parker (Live 1979)
George E. Lewis Quintet - Homage To Charles Parker (excerpt)
Recorded in Moers, Germany on June 2, 1979.
Originally posted at the Inconstant Sol blog in 2015.
George Lewis, trombone
Douglas Ewart, alto saxophone, bamboo-flute, bass clarinet
Wallace McMillan, flute, alto saxophone
Anthony Davis, piano
Richard Teitelbaum, synthesizer
As George Lewis notes in the liner notes to the recorded version of the album, the piece was first performed at the AACMs annual Festival in Chicago, September 1978, with Ewart, Lewis and dancer and choreographer Rrata Christine Jones. Lewis notes that that first part of the piece represents the life of Charles Parker - what is known, what is thought to be known, what is dreamed, heard, and said - and his reality, i.e. birth and death. The second part uses the traditional improvised solo with chordal accompaniment, a form which Charles Parker and other composer-performers have since brought to a rare level of perfection. The music makes loving inferences as to Charles Parkers afterlife, and points to a new appraisal of world music after his life - one in which Afro-American creative music affirms its place as a living, growing, vital part of world culture. As he later remarked: We were doing Afro/Euro-American experimentalism. In Homage, minimalism, electronics and [John] Coltrane’s Peace On Earth got remixed into a kind of fragility.
For this live version, flautist and saxophonist Wallace McMillan, an under-acknowledged member of the AACM, is added to the line-up, and the performance is radically extended from the record (this is an excerpt from an hour-plus version). If the recording emphasises sparser and more beatific gestures Douglas Ewarts solo on the record could in this regard be linked to Marion Brown on Harold Budds Bismillah Rahman Rahim from around the same period this live version is perhaps more clearly tied to the improvisational vocabulary of free jazz and free improvisation, an absorbing and extensive investigation of the further potentials of a piece that is in itself about further potential: what Muhal Richard Abrams called things to come from those now gone. George E. Lewis - Homage To Charles Parker (Live 1979)](https://i.ytimg.com/vi/zCl-ChWHHs0/mqdefault.jpg)