Uploaded January 2010 | Updated September 2026, 1 day ago
Donald Smith - The Magnetic A (Track 5, '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 - The Magnetic A (Track 5, '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.

![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)