From the album Illusions by Arthur Blythe, recorded at CBS Recording Studios, New York , 1980.
It is surprising how artistically productive altoist Arthur Blythe was during his period on Columbia. Despite the hype and Columbia’s reputation for pressuring artists to play mass-appeal music, Blythe´s recordings for that label are inventive and creative. For this, his third Columbia release, Blythe uses two different groups: an “in the tradition” quartet with pianist John Hicks, bassist Fred Hopkins, and drummer Steve McCall, and a more eccentric unit with guitarist James Blood Ulmer, cellist Abdul Wadud, tuba player Bob Stewart, and drummer Bobby Battle. No matter the setting, the distinctive alto of Blythe is heard in top form on six of his unusual originals. It’s recommended. [source]
Bob Stewart - Tuba
James Blood Ulmer - Electric Guitar
Bobby Battle - Drums
Arthur Blythe - Alto Saxophone
Abdul Wadud - Cello
First track on the album Lady In Satin by Billie Holliday and Ray Ellis & His Orchestra , recorded 19–21 February 1958, released on Columbia same year.
This is the most controversial of all Billie Holiday records. Lady Day herself said that this session (which finds her accompanied by Ray Ellis´ string orchestra) was her personal favorite, and many listeners have found her emotional versions of such songs as “I’m a Fool to Want You,” “You Don’t Know What Love Is,” “Glad to Be Unhappy,” and particularly “You’ve Changed” to be quite touching. [source]
Billie Holiday – Vocal / Ray Ellis – Arranger, Conductor / George Ockner – Violin , concertmaster / David Soyer – Cello / Janet Putnam – Harp / Danny Bank – Flute / Phil Bodner – Flute / Romeo Penque – Flute / Mel Davis – Trumpet / J.J. Johnson – Trombone / Urbie Green – Trombone / Tom Mitchell – Trombone / Mal Waldron – Piano / Barry Galbraith – Guitar / Milt Hinton – Bass / Osie Johnson – Drums / Elise Bretton – Backing Vocals / Miriam Workman – Backing vocals
From the album Intents and Purposes by Bill Dixon, recorded Jan. 17, 1967 in New York City
Since his decisive involvement in 1964′s October Revolution in Jazz and lengthy tenure at Bennington College in Vermont (1968-1995), Dixon has been renowned for his skills as an organizer and an educator rather than his pioneering advancements as an instrumentalist and composer. As a former student of painting as well as music, Dixon’s conceptual organization of sound relies heavily on color, shade and texture, with a keen sensitivity to dynamics—aspects that quickly placed him at the creative forefront of the 1960s New Thing. Originally recorded for RCA when he was 42, Intents And Purposes was Dixon’s third album as a leader, following two efforts for Savoy in 1962 and 1964 that were co-led by tenor saxophonist Archie Shepp.
“Voices” pushes the aesthetic envelope even further, forming a startling alliance between austere classicism and the primal immediacy of ritualized rhythm. Performed by a string-heavy quintet, the lengthy piece features Dixon’s melancholy horn refrains and Lancaster’s otherworldly bass clarinet drifting over haunting string glissandi that eventually trade the sinuous sustain of legato melodies for the polyrhythmic power of tribal drumming. [source]
Bill Dixon – Trumpet, Flugelhorn
Catherine Norris – Cello
Jimmy Garrison – Bass
Robert Frank Pozar – Drums
Byard Lancaster – Bass clarinet