Famoudou Don Moye - Ari Brown / Live at the Progressive Arts Center ('82/Frame)

Famoudou Don Moye - Ari Brown / Live at the Progressive Arts Center

Side A
Peace (H. Silver)
Blues for Obie

Side B
Mobrosu

Ari Brown tenor sax & alto sax
Famadou Don Moye - sun percussion
Milton Suggs - bass

Recorded on 1982 at Progressive Arts Center Chicago on 1982

Although AACM members' playing not so free. Very soulfull music with full of Afro-American taste.
Ripped from cassette tape.

http://www.multiupload.com/Q80YVS1V9I

Marcello Melis - Free to Dance

MARCELLO MELIS - Free to Dance (Black Saint, 1978)

Marcello Melis: bass
Lester Bowie: trumpet
Fred Hopkins: bass
Sheila Jordan: vocals
Jeanne Lee: vocals
George Lewis: trombone
Don Moye: drums, percussion
Don Pullen: piano
Enrico Rava: trumpet
Gary Valente: trombone
Nana Vasconcelos: percussion

01-Before The Lights Go On
02-Struggle To Be
03-Free to Dance

HERE

ALAN SILVA - SEASONS

Alan Silva and Celestrial Communication Orchestra, The - Seasons (BYG - 1970)

1. Seasons
2. Seasons

Bass, Violon [Electric], Sarangi [Electric] - Alan Silva
Cello - Kent Carter
Cello, Celeste - Irene Aebi
Drums, Percussion - Famoudou Don Moye
Drums, Percussion, Bronte - Jerome Cooper
Piano - Dave Burrell , Joachim Kühn
Producer - Jean Georgakarakos , Jean-Luc Young
Saxophone [Alto], Clarinet - Michel Portal
Saxophone [Alto], Flute - Robin Kenyatta
Saxophone [Soprano] - Steve Lacy
Saxophone [Tenor], Saxophone [Soprano], Flute - Ronnie Beer
Saxophone, Flute, Bassoon - Joseph Jarman
Saxophone, Flute, Oboe - Roscoe Mitchell
Timpani, Percussion - Oliver Johnson
Trumpet - Alan Shorter
Trumpet, Flugelhorn - Lester Bowie
Trumpet, French Horn - Bernard Vitet
Viola [Electric] - Jouk Minor
Violin [Electric] - Dieter Gewissler

This is very outstaindingly gigantic works in its lengthy and numbers of players in free jazz orchestral works. Non-stop over 2 hours and 20 minutes long and participants are as the above. His previous album of Celestrial communication orchestra "Luna Surface" (same in BYG label) is chaotic music. Drastic collective improvisation continues in 30 and several minutes. But this Seasons is different. Parts of Corrective imporvisation, arranged, solos are allocated in calculated manner. Sounds vary in stream of music. Whole work arises unique imagination in listners.

http://rapidshare.com/files/443237801/AS-seasons_mp3.rar

Don Pullen, Joseph Jarman, Don Moye - The Magic Triangle

DON PULLEN, JOSEPH JARMAN, DON MOYE - The Magic Triangle (Black Saint, 1979)

Don Pullen: piano, vocals
Joseph Jarman: clarinet, alto flute, flute, piccolo, soprano & tenor saxophones, vocals
Don Moye: drums & percussion

1. Lonely Child
2. J.F.M. - 3 Way Blues
3. Hippy Dippy
4. What Was Ain't

HERE

Art Ensemble of Chicago - Live at Mandel Hall

ART ENSEMBLE OF CHICAGO - Live at Mandel Hall (Delmark, 1972)

Lester Bowie: Drums (Bass), Flugelhorn, Kelphorn, Percussion, Trumpet
Joseph Jarman: Accordion, Balafon, Bassoon, Bells, Clarinet, Clarinet (Alto), Clarinet (Bass), Conga, Drums, Flute, Gong, Marimba, Multi Instruments, Oboe, Piccolo, Sax (Alto), Sax (Baritone), Sax (Soprano), Sax (Tenor), Sopranino, Vibraphone, Viola, Vocals
Roscoe Mitchell: Bells, Clarinet, Drums, Drums (Steel), Flute, Gong, Horn, Lyre, Multi Instruments, Oboe, Piccolo, Sax (Alto), Sax (Baritone), Sax (Soprano), Sax (Tenor), Tambourine, Vocals, Whistle (Instrument)
Malachi Favors: Balafon, Banjo, Bass, Bells, Gong, Guitar (Bass), Horn, Log Drums, Multi Instruments, Viola, Vocals, Whistle (Instrument), Zither
Famoudou Don Moye: Balafon, Bass, Bells, Bongos, Claves, Clavichord, Conga, Drums, Gong, Horn, Log Drums, Maracas, Marimba, Multi Instruments, Percussion, Viola, Vocals, Whistle (Instrument)

1.Duffvipels/Checkmate/Dautalty/Mata Kimasu

The Art Ensemble of Chicago had just returned to Chicago after several years in Europe when they recorded this continuous 76-minute concert. Drummer Don Moye (who had recently joined the classic avant-garde group) was proving to be a major asset, holding his own with trumpeter Lester Bowie, the reeds of Joseph Jarman and Roscoe Mitchell, and bassist Malachi Favors. Although there are some meandering moments during their lengthy set, the music almost always holds on to one's interest (a humorous drunken march is a high point) and gives listeners a very good idea of how the Art Ensemble sounded in its early days when it was not at all shy about exploring music's outer limits. (from AMG)

HERE

Art Ensemble of Chicago - Chi-Congo

ART ENSEMBLE OF CHICAGO - Chi-Congo (Paula Records, 1973)

Lester Bowie: trumpet, flugelhorn, steer horn, bass drum
Roscoe Mitchell: saxophone, clarinet, flute, percussion
Joseph Jarman: saxophone, clarinet, oboe, flute, guitar, percussion
Malachi Favors: bass, banjo, percussion
Famoudou Don Moye: percussion

1. Chi-Congo
2. Enlorfe Part 1
3. Enlorfe Part 2
4. Hippparippp

You either love or hate these guys. If you believe that jazz is the sound of surprise, then these fellows occupy a special place in your heart. If, like others, you believe jazz is to be taken seriously and played only by men in suits, then this record will drive you batty. True to form, the tunes here have the loose kinetic swing that drives their early records, Ornette-ish funk and Miles-ish bop fractured by the hoots of whistles and the occasional yelp. Beyond everything else, though, is the undeniable fact that these gentlemen are sterling musicians and everything is done for a purpose, exactly when they want it to happen. A wonderful record by a bunch of really great guys.

HERE

Hamiet Bluiett, Marcello Melis, Don Moye - Bars

Hamiet Bluiett: baritone saxophone
Marcello Melis: bass
Don Moye: drums

Trois musiciens, mais une seule voix. Les trois individualités se distinguent clairement autant qu'elles se confondent en UNE seule et unique voix. Les genres se succèdent pour qu'un axe commun à tous les titres apparaisse au fur et à mesure. Les genres et les personnes, ce sont le swing post-bop de Bluiett, les appels à l'insurrection pizzicato et l'archet aux accents parfois furieux de Melis, et enfin la fluctuation de Famoudou: du jazz au rythmes bantous, from ancient to future. 1977: la période bop est définitivement close mais Bluiett ne veut pas réellement en sortir, l'improvisation collective héritée d'Ornette sert alors d'exutoire comme la Great Black Music chère aux membres de l'AACM, le phrasé bop se transforme petit à petit pour finir en cri, le CRI cher aux coltraniens. Mais ce qui permet à Bluiett de se surpasser ici, c'est certainement cette rythmique de taré, ce duo du méconnu Melis avec le fameux batteur de l'AEOC: Don Moye. Le baryton se retrouve en paysage parfois inexploré: la scène européenne surgit avec Melis mais se retrouve écrasée par le continent africain suggéré et invoqué par Famoudou. Et nous, qu'est-ce qu'on a dans l'oreille? des marches insurrectionnelles, des invocations d'esprits, une énergie typique du bop qui n'exprime rien d'autre qu'une puissance vitale prête à exploser (l'explosion sera le free). Mais l'explosion est maîtrisé, ce n'est pas le foutoir comme dans certains AEOC ou dans les premiers enregistrements européens, Bars, c'est le condensé de 15 ans de pratique d'improvisation, l'histoire de l'improvisation entre 65 et 75: un équilibre magnifique qui longe le fil du bop à l'improvisation libre nourrie de la musique noire. C'est cet équilibre qui alimente alors un dialogue magnifique entre nos trois maîtres, dialogue qui n'est pas polyphonique mais laisse quand même une grande place à l'expression de la singularité de chacun, même si ces singularités se fondent finalement en une seule voix, en un seul cri. (from ImprovSphere)

1977 BARS (Musica Records) rapidshare/mediafire