Don Pullen - Complete Recordings on Black Saint & Soul Note

Healing Force (1976): DP, p;Capricorn Rising (1975): DP, p; Sam Rivers, reeds; Alex Blake, b; Bobby Battle, dr.Warriors (1978): DP, p; Chico Freeman, ten sx; Fred Hopkins, b; Bobby Battle, dr.Milano Strut (1978): DP, org; Don Moye, dr.The Magic Triangle (1979): DP, p; Joseph Jarman, reeds; Don Moye, dr.Evidence of Things Unseen (1983): DP, p.The Sixth Sense (1985): DP, p; Olu Dara, tpt; Donald Harrison, alto sx; Fred Hopkins, b; Bobby Battle, dr.Anything by Don Pullen, who died in 1995, way too young at the age of 54, worth listening to. He was that good at both things he did: playing piano and writing songs. This collection, from the recording vault of the justly praised Italian jazz label, Black Saint / Soul Note, is a treasure trove of music, some of it clearly superior, all of it interesting but not all of it satisfying.The best of the set is Warriors (1978) session with tenor saxman Chico Freeman and Pullen’s then customary rhythm duo of Fred Hopkins (bass) and Bobby Battle (drums). Freeman is a good partner for Pullen, in sound and playing. His solo lines rip across Pullen’s startlingly original background support, which could flip in a moment from clashing chords to Caribbean lilt. Pullen’s own solo work is superb. This was an interesting time in Pullen’s playing: he didn’t sound like Cecil Taylor but he used many of the same devices Taylor used, and they worked. Not imitator, peer. Hopkin’s bass playing on this album, and on the quintet session with trumpeter Olu Dara and altoist Donald Harrison, is inventive, constantly surprising and ferocious. Listen to him here and you understand what gifts he brought to the trio Air (Threadgill, Hopkins, McCall). I had not listened to much work by drummer Battle before this but he’s a killer on both albums on which he plays.The earliest album in the set is Capricorn Rising (1975) with multi-reed player Sam Rivers, Alex Blake on bass, and Battle on drums. I admire Rivers’s playing but the chemistry does not work on this album. His playing and Pullen’s don’t always jibe. Part of it is tone. Rivers’s sax sound, like Joseph Jarman’s on the 1979 trio album The Magic Triangle (add Don Moye on drums) doesn’t grab the listener like Freeman’s and Harrison’s more robust sound does.The most recent album in the collection is a quintet session from 1985, The Sixth Sense, with Dara, Harrison, Hopkins and Battle. It’s good. It’s just good, and having two horns in the ensemble allows Pullen more breadth in his arranging. (Pullen was a very good arranger.)I could do without the two albums with drummer Moye from 1978/79–a trio session with Jarman the third player and a duet session with Pullen and Moye alone. Moye is an estimable percussionist, as his tenure in the Art Ensemble of Chicago made clear, but he’s never been a drummer I warmed to. (I like drummers who propel the ensemble more directly, I guess.) When you add his AEC co-conspirator Joseph Jarman on the trio session, as usual playing a variety of instruments (tenor, alto, clarinet, flute, alto flute, piccolo), it comes across more as experimentation than a fully realized and gelled set.I am at a loss how to rate the two solo sets, from 1976 and 1983, because I appreciate the playing on them but don’t groove to it. I enjoy Pullen best when he gets to play in ensemble: his background work startles, propels and exults. Playing alone, he sounds more Cecil-like: what I hear is a technically brilliant pianist who is experimenting with approaches. In the process, he lets loose his prodigious technical talents but it’s kind of like I feel about Liszt piano work or a Paganini violin showcase in classical music: it‘s great stuff, but I could do with a little less virtuosity and a little more direct melody.. Fr me, these are albums filled with moments, not albums I like from start to finish.I own a lot of Don Pullen albums. None is a loser, all are brilliant, and many, many, many are over the top good. He was a talent from the start but he really hit his stride in his on-again off-again quartet with tenor sax player George Adams and drummer Danny Richmond. Then between 1990 and 1993, he recorded one good and two glorious albums with his Carib-African influenced quintet, The African-Brazilian Connection (Carlos Ward, alto; Nilson Matta, bass; Guilherme Franco and Mor Thiam, percussion), which was one of the great groups of its day. He recorded one last album in 1994. Then he died. Leukemia. What a loss!

With most of (the late) Don Pullen's albums out of print (especially his Blue Note recordings), this box set will be met with excitement by fans of Pullen, who died relatively early at 53. These albums were all recorded in the 1970's-80's for the Black Saint/Soul Note label. The sound is very good-clean and fairly crisp. The only notes are on the backs of the original album covers, or on the back of the outer box.Pullen falls into that group of pianists like Cecil Taylor, Monk, or Andrew Hill. His attack is similar, but his sound is rooted in more traditional jazz. He plays with an aggressive abandon, but his playing always had a solid foundation of blues/gospel harmonies. From using the backs of his hands in order to play large clusters of notes, he had scars covering the tops of his hands. Even when he was playing "outside" of more straightforward jazz, Pullen always seemed to pull everything back into something recognizable as traditional jazz. His notes may sound outside traditional jazz, but he was somewhat conservative in his playing. That put him more inline with Monk than Taylor. During the "New Thing" period in jazz (1960's), Pullen played with sax/piano player Giuseppi Logan, whose album (on ESP) also features the fantastic Milford Graves on drums, and Eddie Gomez on bass. This album is a perfect example of what the "New Thing" was all about, and gives an early look into Pullen's style."Healing Force" is a fine example of Pullen solo. It's interesting to compare this set with "Evidence of Things Unseen" from several years later. Both sets will have their fans, both have some fine playing ("Tracey's Blues" "Keep On Steppin'", the title track) by Pullen alone."Capricorn Rising" includes long time drummer Bobby Battle, Alex Blake on bass, and (a personal favorite) Sam Rivers on reeds. But here, even though he tries, Rivers sound doesn't seem to blend with Pullen's sound. Rivers, always known as an outside player, can't seem to incorporate his playing with Pullen's. Nonetheless, there's still some very worthwhile music (the title track, "Fall Out") on this album, but hearing Rivers (in comparison to Chico Freeman on "Warriors")) will bring to light the difference between River's freer style and someone more in tune with Pullen's conception of jazz. But the track "Fall Out" is a good example of Pullen's aggressive piano style, along with River's sax and flute work. But this tune would fall flat on it's face except for the bass and drum work of Blake and Battle, respectively. Together they really push this song forward, while holding everything together for the entire 15 minutes. One of the best performances of any of Pullen's groups in this collection."Warriors" is a better fit for Pullen. With Battle, Fred Hopkins on bass, and Chico Freeman on tenor sax, the music attains a tighter level of playing. Pullen and Freeman are seemingly in tune with one another, and the music proves it. Both Freeman and Pullen play fairly tightly, with (thankfully) little open room that needs to be filled up-something Rivers was certainly capable of doing. This album is one of Pullen's better efforts for this label. Both tracks of "Warriors Dance", and "Land of the Pharoahs" show what this band was capable of."Milano Strut", is a duo with Pullen on organ and Don Moye on drums. Pullen's organ creates large masses of sound, and with Moye's percussion the tightly packed music("Communication", the title track) moves and breathes and is pushed along densely woven clusterS of sound. The amount of sound from just two players is a good example of almost intuitive playing."The Magic Triangle" has Joseph Jarman on a number of reeds, and Moye again on drums and percussion. This is about as far into free jazz as Pullen gets-thanks to (especially) Jarman. Individual portions of this album work well, but overall there's a lack of cohesiveness in the band's sound and approach. Try "Lonely Child" and "3 Way Blues" on for size."Evidence of Things Unseen" is Pullen solo. This is the highpoint of this set. This is a fine example of Pullen's more freer style of playing (past Andrew Hill), and his sound is a combination of heavier and lighter note clusters, which blend together into a viscerally exciting album. As I said-a highpoint. The title track, "Victory Dance (For Sharon)", and "Perseverance" are examples of Pullen's talents."The Sixth Sense" finds Pullen with two horns-Olu Dara on trumpet, and Donald Harrison on alto. Battle is back on drums, along with Hopkins on bass. This album is sometimes reminiscent of Mingus (whom Pullen Played with) in the way in which Harrison and Dara incorporate their sound with Pullen's tightly played notes. This particular blend of musicians seem to coalesce into a good sounding album ("In The Beginning", "Gratitude", "All Is Well") of music. Another one of the better sets in this collection.For whatever reason, Don Pullen's discography is in disarray. With so many of his albums difficult to come by, this box set is a true find, and cause for excitement. Pullen deserved better. His style was almost always exciting and full of discovery. Why he isn't held in as high esteem as Cecil Taylor, Monk, and others is a real mystery. Perhaps with this box set more jazz fans will discover his sometimes startling skill as a player of hard edged, free, yet traditional jazz. Another fine release in this series.

the genius of Mr Pollen is evident with every track here i must say i love the way he attachs the piano. i am however disapointed with the liner notes on sleeve its too fine to read.

Great prices fast delivery

Ottimo, come già detto, il lavoro della CAM Jazz che sta ripubblicando (in cofanetti dedicati a vari autori) alcuni album delle etichette Black Saint e Soul Note. Finalmente un po' di album piuttosto rari e da tempo fuori catalogo pubblicati con buona qualità sonora e prezzi più che accessibili.Ho provato il cofanetto di Pullen spinto dalla curiosità che già da qualche anno mi avevano destato i due album di Mingus "Changes One" e "Changes Two". I due "Changes" sono tra gli album più belli dell'ultimo Mingus, e molto del merito è di Pullen, pianista free dal suono decisamente coraggioso e virile.Il box presenta 7 album, i più interessanti sono quelli dove Pullen suona solo: "Healing Force" e "Evidence of Things Unseen".Pur essendo un estimatore di Sam Rivers non ho trovato di particolare interesse "Capricorn Raising" perché non mi sembra che ci sia un linguaggio troppo condiviso tra i due musicisti, malgrado le comuni radici.Quasi trascurabile "Milano Strut" con un lato A per piano e percussioni molto caotico e senza messa a fuoco e un lato B per organo e percussioni un po' troppo d'atmosfera ma con poca sostanza. Esperimento schizofrenico e non riuscito a mio avviso.Degli altri album per quartetto e quintetto segnalo i due più riusciti: "Warriors" con chico Freeman al sax e soprattutto "The Sixth Sense" con Olu Dara alla tromba.Pianismo tra il gospel e il voodoo senza troppe concessioni alle orecchie impreparate ma con momenti di calma. Comunque non per tutti. Se vi piacciono Cecil Taylor, Ran Blake o Matthew Shipp e quel genere di pianoforte allora lo troverete interessante.Media di 3 o 4 stelle al cofanetto.Con un esame più particolare direi 4,5 stelle agli album da solista e all'album per quintetto. Il prezzo è comunque buono per 7 album di buon livello di un pianista molto interessante e poco documentato.

イタリアのレーベル　BLACK SAINT/SOUL NOTE からは、このプーレン（ピューレン）を初めジョージ・アダムス、デヴィッド・マレイなどの佳作が数多く出ていたのだが、軒並み廃盤・入手困難になっていただけに、今回のこのボックス・セットでの再発は嬉しい限りだ。このプーレンのBoxは以下の内容。1.Capricorn Rising 　 pullen-p, sam rivers-saxes,fl, alex blake-b, bobby battle-ds2.Healing Force　 pullen-piano solo3.Warriors　 pullen-p, chico freeman-ts, fred hopkins-b, bobby battle-ds4.Milano Strut　 pullen-p,organ, famoudou don moye-ds,perc,conga5.The Magic Triangle　 pullen-p, joseph jarman-fl,saxes,cl don moye-ds6.Evidence of things Unseen　 pullen-piano solo7.The Sixth Sense　 pullen-p, olu dara-tp, donald harrison-as, fred hopkins-b, bobby battle-dsプーレンはその実力に見合った正当な評価を得る前に１９９５年に５３才で亡くなったと思う。ここではソロの２枚が特に嬉しい。プーレンのピアノは抒情的に美しく、一転フリーフォームのような激しい打鍵も見せるがどちらも音楽的必然性を感じさせる高度に鍛えられたジャズであり、本国アメリカでの録音が少ないのが不思議で仕方がない。むしろヨーロッパや日本での評価が高かったようだ。　わずかにキップ・ハンラハンのamerican claveがその最後の雄姿を捉えている。モイエのドラムとのデュオで演奏される４．Milano Strut.は フリーだが美しい。特に表題曲Milano Strutはたまらない曲だ。（ここではプーレンはオルガンを弾くのだが）　そして次の曲Curve Eleven へ行くのだがこの現代音楽のような曲が美しく感じられるのは何故？しかしこのbox-set の最高の１枚は７．The Sixth Senseではないか？新主流派ジャズの到達点とも言えるような演奏が完璧な形で繰り広げられている！Adams=Pullen双頭バンドの演奏はアダムスのセットの方に収められている。この再発がプーレン再評価の きっかけになって欲しいものだ。