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   “A model of independent scholarship, ... reading The Sam Rivers Sessionography is a highly immersive experience.
   It’s in a limited edition of 724 copies. Don’t snooze on it if you’re just going to kick yourself later.”
   —NPR music critic Kevin Whitehead, at pointofdeparture.org

   “A dizzying, stunning achievement of research and scholarship. ... A joyful, sometimes psychedelic experience.”
   —Mike Chamberlain, allaboutjazz.com

   “A Rosetta Stone of insight, and a well-deserved and worthy tribute to an overlooked giant of the music.”
   —Taylor Ho Bynum

   “An incredible piece of work. It’s really something else. Informative and entertaining. ... Anticipating hours of joy.”
   —Barry Altschul

   “Absolutely mind-blowing! So great!” —Mats Gustafsson

   “An essential resource, a trail map for a rare and beautiful landscape of sounds.” —Larry Blumenfeld

   “A tremendous document. ... This book is powerful.” —Jason Moran

   “Lopez’s Sam Rivers sessionography is state of the art.” —Lewis Porter

   “Rick Lopez’s book is by no means a biography. It’s not a discography either, and it’s not a photo documentation.
   And yet somehow it is everything at the same time.
   —Wolfram Knauer review, Jazzinstitut Darmstadt (January 2023)

   “Rick Lopez has done it again!” —James Brandon Lewis

The Glenn Spearman Sessionography (February 14, 1947 - October 8, 1998) A work in progress by Rick Lopez. Document begun September 26, 2000 UPDATES (And extensive reformatting, mostly done now; narrative to add.) Latest, January 22, 2023 ©Photo by Michael Wilderman / JazzVisionsPhotos.com.

Session List :::

• 72.00.00 / Emergency: Homage to Peace (America Records)
• 73.06.15 / Bob REID: The Best of Emergency (Kwela Records)
• 77.07.12 to 07.23 / Incident: Incident (Coreco)
• 78.04.11 / Raphé Malik Quartet [BR] NYC
• 78.05.05 / Glenn Spearman Trio [BR] Berkeley
• 79.03.04 / Raphé Malik Quartet [BR] NYC
• 79.10.10 / Raphé Malik Quartet [AR] Unna
• 79.11.10 / Raphé Malik Quartet [Centering Archival Recording] Unna
• 80.05.14 / Raphe Malik Quartet [BR] NYC
• 81.05.23 + 05.24 / Glenn Spearman: Night After Night (Musa-Physics)
• 82.03.21 / Cecil Taylor Expanded Unit [AR] NYC
• 82.03.18 / Sonny Fortune Sextet [AR] Detroit
• 82.04.11 / Cecil Taylor Expanded Unit [AR] NYC
• 82.04.18 / Cecil Taylor Expanded Unit [AR] NYC
• 82.05.28 / Cecil Taylor Expanded Unit [AR] NYC
• 82.07.03 / Cecil Taylor Unit [AR] NYC
• 86.08.25 / Trio Hurricane: Suite of Winds (Black Saint)
• 88.04.17 / Bill Dixon Ensemble (“Sound Unity Orchestra”) [AR] NYC
• 88.06-07.00 / Paul Murphy: Outward Bound (Omnisonic)
• 88.06.25 Hinds Brothers with Paul Murphy & Glenn Spearman [AVR] Emeryville
• 88.07.02 Hinds Brothers with Paul Murphy, Glenn Spearman, & Kash Killion [AVR] Oakland
• 88.07.16 Hinds Brothers with Paul Murphy, Glenn Spearman, & Kash Killion [AVR] Oakland
• 88.07.23 Hinds Brothers with Paul Murphy, Glenn Spearman, & Kash Killion [AVR] Oakland
• 89.08.02 / Glenn Spearman Quartet [AR] San Francisco
• 90.07.01 / Gregg Simpson: Drum Fire (Condition West)
• 90.09.11 / Glenn Spearman Quartet [BR] Berkeley
• 90.10.28 / Glenn Spearman—John Heward: Utterance (Cadence Jazz Records)
• 90.11.16 / Glenn Spearman Quartet [SB] Oakland
• 90.12.19 / Spearman–Lindgren Trio [Rehearsal Recording] Berkeley
• 91.01.04 / Spearman–Lindgren Duo [Rehearsal Recording] Berkeley
• 91.01.15 / Spearman–Lindgren Duo [Rehearsal Recording] Berkeley
• 91.01.24 / Glenn Spearman Quartet [SB] San Francisco
• 91.02.12 / Spearman–Lindgren Duo [Rehearsal Recording] Berkeley
• 91.02.27 / Spearman–Lindgren Trio [Rehearsal Recording] Berkeley
• 91.04.10 / Cecil Taylor’s Burning Poles Ensemble [AR] Boston
• 91.04.24 / Glenn Spearman Quartet [Unissued Studio Recordings] Upper Marlboro
• 91.04.26 / Glenn Spearman & Raphé Malik Duo [Unissued Studio Recordings] Upper Marlboro
• 91.05.09 to 05.11 / Cecil Taylor and Rada: Live in New York [BVR; AR & AVR] NYC
• 91.06.12 / Raphé Malik 5tet: 21st Century Texts (Free Music Production)
  • (V/A) FMP Story (Free Music Production)
• 91.08.09 / Spearman–Lindgren Trio [Rehearsal Recording] Berkeley
• 91.08.11 / Spearman–Winant–Lindgren Trio [Rehearsal Recording] Oakland
• 91.08.15 / Glenn Spearman Quintet [SB] San Francisco
• 91.08.18 / Spearman–Lindgren Duo with Greg Goodman [AR & SB] Berkeley
• 91.09.12 + 09.13 / Marco Eneidi: The Marco Eneidi Coalition (Botticelli Records)
• 91.09.21 / Raphé Malik Quintet with Glenn Spearman: Sirens Sweet and Slow (Outsounds)
• 91.10.11 + 10.27 / Dennis Warren’s Full Metal Revolutionary Jazz Ensemble: Passport to Freedom (FMRJE)
  • Dennis Warren’s Full Metal Revolutionary Jazz Ensemble: Legacy (FMRJE)
• 91.12.03 / Greg Goodman Band [SB] Berkeley
• 91.12.10 / Greg Goodman Band [SB] Berkeley
• 91.12.14 / Spearman–Lindgren Duo [SB] Berkeley
• 91.12.16 / Glenn Spearman Double Trio [AR] San Francisco
• 92.01.11 / Glenn Spearman Double Trio [AR] San Francisco
• 92.01.14 / Glenn Spearman Quintet [AR] San Francisco
• 92.02.08 / Glenn Spearman Trio with J.R. Routhier [SB] San Francisco
• 92.02.29 / Glenn Spearman Double Trio [SB] Oakland
• 92.03.12 / Glenn Spearman Quintet [SB] San Francisco
• 92.03.19 / Glenn Spearman Double Trio Minus One [SB] Oakland
• 92.04.04 / Glenn Spearman Quartet [SB] Eugene
• 92.05.27 / Spearman–Foley–Lindgren Trio [Rehearsal Recording] Berkeley
• 92.06.13 / Glenn Spearman’s G-Force [AR] San Francisco
• 92.07.06 / Spearman–Foley–Lindgren Trio [BR] Berkeley
• 92.07.18 / Glenn Spearman Double Trio [SB] Nickelsdorf
• 92.07.19 / Raphé Malik Quintet [SB] Nickelsdorf
• 92.08.18 / Glenn Spearman Double Trio [SB] San Francisco
• 92.08.20 + 08.21 / Glenn Spearman Double Trio: Mystery Project (Black Saint)
• 92.11.05 / Glenn Spearman’s G-Force [AR] San Francisco
• 92.12.04 / Glenn Spearman Double Trio [SB] Oakland
• 93.01.24 / Glenn Spearman & James Routhier Duo [AR] San Francisco
• 93.01.31 / Glenn Spearman Trio [SB] San Francisco
• 93.03.00 / Cecil Taylor Birthday Concert [AVR] Boston
• 93.05.14 / Glenn Spearman & Larry Ochs Duo [AR] San Francisco
• 93.06.00 / Lisle Ellis: Elevations (Victo)
• 93.06.11 / ROVA Plus 4 [AVR] San Francisco
• 93.06.12 / Figure Eight [AR] San Francisco
• 93.06.27 / Lisle Ellis Trio and Septet [AVR] San Francisco
• 93.07.09 / Spearman–Lindgren Duo [AVR & SB] Berkeley
• 93.07.24 / Raphé Malik Quintet [AR] Ottawa
• 93.08.28 / Figure 8 (ROVA Plus 4) [SB] Saalfelden
• 93.09.19 / Glenn Spearman Double Trio [SB] Monterey
• 93.10.08 / Glenn Spearman Double Trio: October 8, 1993 (SFSU Poetry Center)
  • Glenn Spearman Double Trio [SB] San Francisco
• 93.10.20 / Glenn Spearman Double Trio [SB] Seattle
• 93.10.21 / Glenn Spearman Double Trio [SB] Vancouver
• 93.10.22 / Glenn Spearman Double Trio [SB] Vancouver
• 93.10.23 / Glenn Spearman Double Trio [SB] Eugene
• 93.11.08 / Glenn Spearman Double Trio: Smokehouse (Black Saint)
  + 93.11.10
• 93.11.09 / Glenn Spearman Double Trio [AR] Emeryville
• 93.11.10 / Glenn Spearman Double Trio: Smokehouse (Black Saint)
• 93.11.14 / Glenn Spearman Quartet [AR] San Francisco
• 93.11.28 / Spearman’s G-Force [AVR] San Francisco
• 93.12.08 / Figure 8 (Rova x 4) [AR] Münich
• 94.00.00 / Glenn Spearman Quartet [AR] Oakland
• 94.01.00 (2) / Figure 8 (Rova x 4) [AR] Oakland
• 94.01.18 / Figure 8 (Rova x 4) [BR] Emeryville
• 94.01.19 / Figure 8 (Rova x 4): Pipe Dreams (Black Saint)
• 94.01.22 / Glenn Spearman Trio [Unissued Studio Recordings] Upper Marlboro
• 94.01.28 / Glenn Spearman Solo [AR] San Francisco
• 94.01.30 / Glenn Spearman Trio [SB] Berkeley
• 94.02.06 / Paul Plimley Trio [AR] San Francisco
• 94.02.15 / Glenn Spearman Double Trio [SB] San Francisco
• 94.03.09 / Glenn Spearman Trio [AR] Sacramento
• 94.05.02 / Marco Eneidi Quartet [BR] Berkeley
• 94.05.03 / Glenn Spearman Trio [SB] San Francisco
• 94.05.00 (1) / Glenn Spearman: Free Worlds (Black Saint)
  + 94.06.00; 94.12.00 (2); 95.06.00 (2)
• 94.05.06 / Glenn Spearman Group [SB] Oakland
• 94.05.00 (2) / Glenn Spearman’s G-Force: Let It Go (Red Toucan)
  • (V/A) amalgam(e) 10 ans de Red Toucan (Red Toucan)
• 94.05.21 / Glenn Spearman’s Double Trio [AR & SB] Victoriaville
• 94.06.00 / Glenn Spearman: Free Worlds (Black Saint)
  + 94.05.00 (2); 94.12.00 (2); 95.06.00 (2)
• 94.06.03 / Lisle Ellis: What We Live Fo(u)r (Black Saint)
• 94.06.30 / (V/A) Rova Saxophone Quartet: Transparent Messenger  ←←Incorrect citation
• 94.08.12 + 08.13 / John Tchicai & the Archetypes [AVR] Santa Cruz
• 94.10.16 / Glenn Spearman Double Trio [SB] Zurich
• 94.10.18 / Glenn Spearman Double Trio [SB] Munich
• 94.10.19 / Glenn Spearman Double Trio [SB] Cologne
• 94.10.20 / Glenn Spearman Double Trio [SB] Basel
• 94.10.22 / Glenn Spearman Double Trio [SB] Nickelsdorf
• 94.10.29 / Glenn Spearman Double Trio [SB] San Francisco
• 94.11.15 + 11.16 / Glenn Spearman Double Trio: The Fields (Black Saint)
• 94.12.00 (1) / Don Paul: Flowers Smell Like Gasoline (no label)
• 94.12.00 (2) / Glenn Spearman: Free Worlds (Black Saint)
  + 94.05.00 (2); 94.06.00; 95.06.00 (2)
• 94.12.11 / Spearman Lindgren Duo [SB] Berkeley
• 95.00.00 (1) / President’s Breakfast: Doo Process (Disc Lexia)
• 95.00.00 (2) / President’s Breakfast: III C (Disc Lexia)
• 95.01.20 / (V/A) Wiretapper 6 Special Edition (WIRE Magazine)
  • Trio Hurricane + 1 [AR] NYC
• 95.01.21 / William Parker & The Little Huey Creative Music Orchestra [Centering Archival Recording] NYC
• 95.06.00 (1) / Urna: Redemption Songs [Unissued Recording]
• 95.06.00 (2) / Glenn Spearman: Free Worlds (Black Saint)
  + 94.06.00; 94.05.00 (2); 94.12.00 (2)
• 95.06.00 (3) / Matthew Goodheart: Sonoluminescence (Nine Winds)
• 95.06.05 / Eneidi, Spearman, Ellis, Robinson: For Our Children (Botticelli Records)
• 95.06.06 (1) / Marco Eneidi º Glenn Spearman: Creative Music Orchestra (Music & Arts)
• 95.06.25 / Glenn Spearman Double Trio [AVR] San Francisco
• 95.10.26 / Cecil Taylor & The Glenn Spearman Orchestra [AR] San Francisco
• 95.11.08 / Surya: Stretching the Edge (Surya)
• 95.12.06 / Rova: John Coltrane’s Ascension (Black Saint)
  • Dave Douglas: Complete Black Saint-Soul Note Recordings: John Coltrane’s Ascension (C.A.M. Jazz)
• 96.01.26 / Glenn Spearman Quintet [BR] Köln
• 96.07.27 / Raphé Malik: The Short Form (Eremite)
• 96.08.15 / William Hooker: Mindfulness (Knitting Factory)
  • (V/A) The Texaco New York Jazz Festival Radio Series Live at The Knitting Factory (Knitting Factory)
• 96.09.07 + 09.14 / Marco Eneidi: Marco Eneidi & The American Jungle Orchestra: S/T (Boticelli)
• 96.10.00 / Surya: Up (Surya)
• 97.01.25 / Marco Eneidi, Glenn Spearman, William Parker, Jackson Krall: Live at Radio Valencia (Botticelli)
• 97.00.00 / Spearman, Eneidi, Malik, Cremaschi, & Powell [Unreleased Studio Recording] Cotati
• 97.05.21 + 05.22 / The Glenn Spearman & John Heward Group: th (CIMP)
  • (V/A) CIMPosium Volume 4
• 97.05.28 / Glenn Spearman’s Trio Hurricane [WKCR-FM Archival Recording]
  • (V/A) Trio Hurricane: Vision One—Vision Festival 1997 Compiled (AUM Fidelity)
  • (V/A) Inside Out in the Open (Asymmetric Pictures)
• 97.06.08 / Glenn Spearman: Blues For Falasha (Tzadik)
• 97.07.26 / Trio Hurricane: Live at Fire in the Valley (Eremite)
• 98.02.18 / Glenn Spearman and Dennis Warren: Duet / Live at the Green Street Grill (FMRJE)
• 98.05.25 / Raphe Malik Quartet: Companions (Eremite)
• 98.07.02 / Matthew Goodheart Trio + One [AR] San Francisco
• 98.07.20 + 07.21 / Glenn Spearman & Dominic Duval: Working With the Elements (CIMP)
  • (V/A) CIMPosium Volume Six #176-190 (CIMP)
• 98.07.25 / Glenn Spearman: First and Last (Eremite)

1968 through 1971 : : :

68.00.00 - “Back in ’68 Spearman used to jam with Charles Moffett, Wilbur Morris and Butch Morris ...
in an Oakland barbecue joint called Native Son.”
[David Rubien “Sunday Notebook” The San Francisco Chronicle July 30, 1989 p.36]


---

69.00.00 - Spearman’s role in the avant-garde scene started in Oakland and Berkeley in the late sixties.” [web resource]

Back in California by 1969, he worked in the Bay Area and Los Angeles with such musicians as Butch and Wilbur Morris,
Donald Rafael Garrett, and Charles Tyler. “The word was out I was this crazy outside cat, overblowing on this horn,”
Spearman says with a laugh, looking back. “I was into that post-Coltrane total free expression.”
—Kevin Whitehead’s bio of Glenn, from the Mystery Project CD


---

70.00.00 - “There’s certainly a rich tradition of improvised music in the Bay Area. The festival’s ‘old-timers’—Ochs, Kaiser, Goodman
and Spearman among them—recall a thriving ’70s scene centered in long-defunct venues such as the Blue Dolphin, Pangaea, Mapenzi,
and the Metropolitan Arts Center.”
[David Rubien “Sunday Notebook” The San Francisco Chronicle 89.07.30, p.36]


---

It was [Donald Rafael] Garrett who tipped Spearman to another tenorist working the same vein. “He said to me, ‘You know who you sound like?
Frank Wright. You gotta check out Frank.’ I hadn’t heard him, so I got his ESP and BYG records. I saw the latter were made in France, and knew
a lot of cats like the Art Ensemble of Chicago and Steve Lacy were over there. So in 1972 I bought a one-way ticket, took my saxophone
and went to Paris. Within two days I found Frank and introduced myself, and we began playing together. I became known as his protege;
he used to call me Frank Wright Jr.” Wright, 12 years Glenn’s senior and a powerful overblower himself, exerted a strong influence on
the younger musician. But Glenn was independently active too; he made two records with bassist Bob Reid’s Emergency, which included
the Django-inspired guitarist Boulou Ferre and Japanese percussionist Sabu Toyozumi. (See 72.00.00 and 73.06.15.)
—Kevin Whitehead’s bio of Glenn, from the Mystery Project CD


---

It has been assumed that the Homage to Peace Emergency LP was recorded in 1973, but several sources, including the re-issue CD
from Emarcy/America, have “1970” as the session date. The release date was July 4, 1973. The liner notes were written in 1971.
How this all jibes with Glenn’s memory of leaving for Paris in “1972” is unclear, just as memories often are. —Rick Lopez

1972 : : :

72.00.00 • Emergency: Homage to Peace

{America CD #08, 980 691-7; Heinrich Smejkal; Roy Morris 04.03.02}

7?.00.00 - “Donald Robinson ... the early 1970’s ... first played with Spearman as a duet partner during this period in Paris.” [www.bayimproviser.com/artistdetail.asp?artist_id=14] 72.00.00 - “He recorded three albums [through the mid-’70s], performed at the Avignon festival and the American Center for Artists, and appeared on French radio and television.” [obscure web resource] 72.12.31 - Emergency: Glenn Spearman (ts, ss), Takashi Kako (p), Boulou Ferré (g), Bob Reid (b), Sabu Toyozumi (dr) / Theatre Ranelagh, Paris, France [Lincoln T. Beauchamp Jr, Too Much UnConvenience, self-published (2017) pp.121 + flyer p.169]

1973 : : :

• 73.00.00 - “Artist-in-residence, leader, and composer for a student orchestra in Rotterdam. For the next few years he toured Europe
  extensively with both his own ensemble and other American and European avant-garde musicians.” [web resource]
• 73.02.03 - Glenn Spearman à l’O.R.T.F.: Spearman (ts), Takashi Kako and Jan Fryderyk Dobrowolski (p), Boulou Ferré (g),
  Bob Reid (b), Sabu Toyozumi (dr) / Salle 105, Paris, France [Jazz HOT #292 March 1973 p.22]

73.06.15 • Bob Reid Presents: The Best of Emergency Kwela Records 30 K 020 (LP) 1976 June 15, 1973 / The Exit Club, Rotterdam, Netherlands  1. Africa is Calling Me (Reid)  2. 500 Miles High (Corea)  3. Jurakudai (Kako)  4. Emergency Theme (Reid)  11:20   6:45  18:00   4:00 Glenn Spearman (ts, ss, rhythm, voc), Takashi Kako (p), Boulou Ferré (g), Bob Reid (b, perc, voc), Sabu Toyozumi (dr) {30 K 020}

• 73.06.16 - Emergency: Spearman (ts), Takashi Kako (p), Boulou Ferré (g), Bob Reid (b), Sabu Toyozumi (dr) /
  Théátre de la Gaité-Montparnasse, Paris, France [Jazz HOT #292 March 1973 p.26]

1974 : : :

1974 through 1977 - Through Wright, Glenn made contacts in Rotterdam, went there for the summer, and stayed four years. He and some
younger Rotterdam players formed a quartet called Incident, which recorded one eponymous album for a little Dutch label. He also renewed
his working relationship with Donald [Rafael] Garrett, by now living in Amsterdam, but Glenn never really clicked with the nutty jazz mavericks
who gravitated to Amsterdam’s Bimhuis. “They thought I was just into a Frank Wright trip, but I had my own evolution going on. I was getting
beyond the overblowing and the harmonic screaming, getting into the jazz literature and getting serious about technique”
—though always
as a means to greater self-expression, not as an end in itself.
—Kevin Whitehead’s bio of Glenn, from the Mystery Project CD

1975 : : :

• 75.06.25 - Zusaan Kali Fasteau (ss, p, shakuhachi, nai, kaval, voc, perc), Glenn Spearman (ts), Rafael Garrett (cl, b), Jay Oliver (dr) /
  Bimhuis, Amsterdam, Netherlands [Zusaan Kali Fasteau]
• 75.07.25 - as above / B-14 Club, Amsterdam, Netherlands [ibid]
• 75.07.26 - as above / Bimhuis, Amsterdam, Netherlands [ibid]
• 75.07.27 - as above / Lantaarn, Rotterdam, Netherlands [ibid]
• 75.08.23 - as above / Bimhuis, Amsterdam, Netherlands [ibid]
• 75.10.30 - as above / Sinkkasten, Frankfurt, West Germany [ibid]
• 75.10.30 to 75.11.01 - as above / Bunker Ulmenwall, Bielefeld, West Germany [ibid]
• 75.11.04 - as above / Wuppertal Museum, Wuppertal, West Germany [ibid]
• 75.11.05 - Zusaan Kali Fasteau (ss, p, voc, perc, misc), Glenn Spearman (ts), Rafael Garrett (cl, b),
  Peter Bastiaan (woodwinds), Jay Oliver (p), Tristan Honsinger (ce) / Bimhuis, Amsterdam, Netherlands [ibid]
• 75.11.08 - Zusaan Kali Fasteau (ss, p, voc, perc, misc), Glenn Spearman (ts), Rafael Garrett (cl, b), Jay Oliver (p) /
  Vestzak Theater, Vlissingen, Netherlands [ibid]

Zusaan Kali Fasteau:
“Jay Oliver alternated on drum set and contrabass (mostly drums), I played piano, voice, cello, nai, kaval and shakuhachi flutes, sanza (thumb
piano), mizmar, moursin, and percussion, and Rafael played contrabass, clarinet, C-flute, shakuhachi and nai flutes, sanza, percussion, and voice.
I don’t think we formally named it, but Rafael considered it ‘The Sea Ensemble + 2,’ sort of Sea Ensemble Quartet. He never actually considered
this a permanent, nor semi-permanent ensemble, as he really preferred our duet, but Glenn was his student in San Francisco and I think he knew
Jay previously too, or maybe it was that Glenn and Jay were buddies. I welcomed the opportunity to enlarge the ensemble with different energies
and instruments. I often asked Rafael, ‘let’s add a (trap) drummer’, but he always said he really didn’t want all that racket going all the time.
He reveled in the sonic openness, unusual sonorities, and spatial freedom of our duet.

He had had a plethora of experiences as first-call bassist for all the bebop stars, and was the best walking bassist around, but was tired of
the musical limits of that format. Rafael, you know, could play the shit out of all the saxophones. Sometimes, backstage where Archie, Pharoah,
or other renowned sax players were, Rafael would pick up their horn (with their permission of course) and just blow them away. But Rafael
didn’t like saxophones; he always preferred the wood sound of clarinets, and although he was a superb ‘silver’ flute player, loved the bamboo
flutes with all his heart (of course, he made his own and taught me and many others to make them), and was never without a bamboo flute
anywhere, usually playing it (walking around the street, on a bus, train, wherever). ...

I just want to add that Rafael was fond of Glenn and enjoyed that 4-tet with him and Jay, he liked that Jay played both bass and drums and could
switch off, giving drum-less space (Rafael held that if we wanted percussion, he and I would supply it ourselves), and Jay could do bass ‘duty,’
freeing Rafael to play clarinet, flutes, etc. (not that Rafael felt that any one instrument was a necessity to make music—he just had his favorites).

The 4-tet played together for about one year. Then, for no particular reason, other than that Jay was based in Switzerland, we were based
in Amsterdam, and I think Glenn was moving around, maybe went back to San Francisco for a while, and we were also traveling a lot,
it dissolved, and Rafael and I resumed our duo. Also we toured a lot with Archie Shepp during those years. (I just wanted to say, there was
no animosity or anything).”

1976 : : :

• No known performances...

1977 : : :

77.07.12 to 07.23 • Incident: Incident Coreco Records 01 (LP) 1977 NED July 12 to July 23, 1977 / Vondelstraat, Amsterdam, Netherlands  1. Spooks (Armfield/Spearman)  2. Herrie (Spearman)  3. Loaded Rough Lunch (Spearman)  4. Incident (Piller)  5. A Music Ensemble (Collective)   8:39   7:42   4:59  10:26  13:36 Glenn Spearman (ts, bcl), Nedly Elstak (tp), Louis Armfield (as, p), Harry Piller (dr) {Coreco 01}

77.00.00 • Cha Cha Shaw: Kingdom Come Folkways Records FTS 32870 (LP) 1979; Kindred Spirits KSRE 6 (LP) 2009 Netherlands —Also KSRE 6 White-label Promo unknown date, likely 1977 / unknown venue, Netherlands  1. Melted Soul  2. Kid Zaro  3. Right On  4. Chain Re-Action  5. Mr. Zip  6. Postage Paid “In regards to the Glenn Spearman discography: There is a tenor sax player identified as ‘Glenn Spears’ on Cha Cha Shaw’s second Folkways LP Kingdom Come issued in 1979. I’ve heard from other collectors that this is in fact Glenn Spearman.” —Wade Kergan correspondence Glenn “Spears” (ts), Brian Ross (as), Charles Cha Cha Shaw (tp, flg, fl), James Greggo and Tom Lee Harris (g), Billy Lyles and Zeid Alleem (p), Frank Clayton and Ronnie Boykins (b), Betsy (cga), Art Blakeley Jr, and Toe Joe (dr) {FTS 32870}

1978 : : :

“By around 1977 1 knew I had to decide whether to go home, or to be here forever. I felt the music going flat: the struggle of playing this music
in America contributes to its fire and passion. Then Frank Wright introduced me to Cecil Taylor, and I knew the next thing for me to do was to
get with the master. We hung out a couple of days, and Cecil asked me, ‘When are you going to come to New York?’ That was it, in 1978 I
moved to New York.” There he woodshedded daily, and worked with Taylor’s trumpeter Raphé Malik: “That got me close to Cecil’s musical
architecture and methodology. Raphé helped me realize how difficult and highly structured that music really is—it’s really the opposite of
free jazz. I wanted nothing more than to be hired by Cecil, but we both knew I wasn’t ready.”
—Kevin Whitehead’s bio of Glenn, from the Mystery Project CD

• 78.02.26 - Raphe Malik Quartet: Malik (tp), Glenn Spearman (ts), William Parker (b), Rashid Bakr (dr) /
  3:00pm, Lower Manhattan Ocean Club, NYC [Village Voice Feb 27 p.46]

78.04.11 • Raphé Malik Quartet [BR—55:00]

 1... compositions/improvisations   55:00

{Anonymous 02.10.28, 05.12.31}

78.05.05 • Glenn Spearman Trio [BR—]

 1... compositions/improvisations

{Berkeley Barb May 5-11 p.11; Oakland Tribune May 5 p.18-E}

• 78.06.08 - Glenn Spearman Trio: Spearman (ts, ss), unknown others... / 9:00pm, Metropolitan Arts Center, San Francisco, CA
  [The San Francisco Examiner Jun 7 p.23]

1979 : : :

79.03.04 • Raphé Malik Quartet [BR—15:00]

{CODA #166 April 1979 p.37; Heinrich Smejkal 02.12.18}

• 79.09.21 - Raphe Malik Quartet: Malik (tp), Glenn Spearman (ts), William Parker (b), Rashid Bakr (dr) / 8:30pm, Environ, NYC
  [The New York Times September 16, 1979 Arts and Leisure Guide p.D37]

79.10.10 • Raphé Malik Quartet [AR—78:27]

{Heinrich Smejkal 02.12.18; Anonymous 04.03.02; Jakob Blumenthal 07.07.21; www.dimeadozen.org/torrents}

• 79.11.02 - Raphé Malik Quartet: Malik (tp), Glenn Spearman (ts), Jay Oliver (b), Steve McCraven (dr, perc) / Bataclan, Paris, France
  [Alex Dutilh, Jazz Hot September-December 1979 p.373]

79.11.10 • Raphé Malik Quartet [Centering Archival Recording—68:44]

{William Parker’s Centering Archive; Ed Hazell 14.01.08}

• 79.11.11 - Raphé Malik Quartet: Malik (tp), Glenn Spearman (ts), Parker (b), Kuwama John Fuller (dr, perc) /
  Jazzgalerie Nickelsdorf, Austria [Bjorn Dirlack 05.08.01; Jazzgalerie Nickelsdorf, The 20th Anniversary Album]

80.05.14 • Raphe Malik Quartet [BR]

{Ed Hazell 10.09.08}

80.08.17 - Raphé Malik & Glenn Spearman Duo: Spearman (ts), Malik (tp) / Konrontation 1980, JazzGalerie Nickelsdorf, Nickelsdorf, Austria [Festival poster, www.rhcourtney-collector.com] 80.11.20 - Raphé Malik Quartet: Malik (tp), Glenn Spearman (ts), William Parker (b), Rashid Bakr (dr) / 8:30pm, Living-Learning Center Commons, University of Vermont, Burlington, VT [The Burlington Free Press Nov 18 p.32] —“Tickets will be available at the door for $1.”

1981 : : :

In 1981, he returned to the Bay Area, where he and future Double Trio drummer Donald Robinson put out a duo LP, Night After Night
[likely a reference to the recording time-frame, as the LP was not released until 1985. —RL] which drew critical comparisons to the
Coltrane/Rashied Ali duets. Then Taylor drafted Spearman for a big band to play eight weeks at Lush Life. That led to a few gigs with
Cecil’s other bands, a seven-piece group which played for dancers, and a six-piece Cecil Taylor Unit including Malik, Jimmy Lyons,
William Parker, and Rashid Bakr “That’s where I got my advanced degree in music,” says Glenn.
—Kevin Whitehead’s bio of Glenn, from the Mystery Project CD

81.05.23 + 05.24 • Glenn Spearman: Night After Night Musa-Physics MP-0001 (LP) 1985 May 23 & 24, 1981 / Arch Street Studios, Berkeley, CA  1. Atlanta  2. Aithien  3. Futura  4. Uran  5. Ictus  12:25   2:22   7:07  13:05   7:16  (ts)  (ts, bcl)  (ts)  (ts)  (ts) Glenn Spearman (ts, bcl, Comp), Donald Robinson (perc) {MP-0001; Igor Danilishen; “LP Focus: Recent Releases” Be-Bop and Beyond, May-June 1985, p.27, Pierre Crépon 17.03.18}

“Spearman then became a member of the Cecil Taylor Unit, and Taylor’s New York-based Big Band and Dance Orchestra.” [web resource]

1982 : : :

“Cecil Taylor, the pianist, will lead a big band, which has been named the Expanded Unit, in a series of engagements at Lush Life. ...
Mr. Taylor said his band would use new material. ‘I have been waiting years to form this band,’ he said, ‘and the book will be all
fresh works.’ The Cecil Taylor Expanded Unit will perform March 7, 14, 21, and 28 at 9:30 and 11:30pm and 1:15am.”
[The New York Times Feb 18, 1982]

• 82.03.07 - Cecil Taylor Expanded Unit: Taylor (p), Jimmy Lyons and Ken Simon (as), Glenn Spearman (ts), Karen Borca (bsn),
  James Newton (fl), Raphé Malik, Butch Morris, and Danny Carter (tp), Craig Harris (tb), Muneer Abdul Fataah (ce),
  William Parker (b), Rashid Bakr (dr) / Lush Life, NYC [New York Magazine March 3 p.111]
• 82.03.14 - Cecil Taylor Expanded Unit: Taylor (p, Comp), Glenn Spearman (ts), David Murray (reeds), Ken Simon (as), Charles Tyler (bar),
  Karen Borca (bsn), James Newton (fl), Raphé Malik, Butch Morris, and Danny Carter (tp), Craig Harris (tb), Muneer Abdul Fataah (ce),
  William Parker (b), Rashid Bakr (dr) / Lush Life, NYC
  
  “Residency on Sundays through a recent two-month stretch.” [More than the four March dates mentioned above.]
  “On this second Sunday, Lyons replaced by Murray ... more than 90-minute set.” [Lee Jeske, Down Beat June 1982 p.59]

82.03.18 • Sonny Fortune Sextet [AR—]

{Anonymous 05.12.31}

82.03.21 • The Cecil Taylor Expanded Unit [AR—76:29]

{CDr; Jan Ström’s Jimmy Lyons, A Sessionography; Village Voice Mar 30 p.59; Heinrich Smejkal}

• 82.03.28 - The Cecil Taylor Expanded Unit: Taylor (p), Jimmy Lyons, Daniel Carter, and Ken Simon (as), Glen Spearman (ts),
  Charles Tyler (bar), Karen Borca (bsn), Raphé Malik and Butch Morris (tp), Craig Harris (tb), James Newton (fl), Muneer Abdul Fataah (ce),
  William Parker (b), Rashid Bakr (dr), André Martinez / Lush Life, NYC
  [New York Magazine March 29 p.118; Jan Ström’s Jimmy Lyons, A Sessionography]
  
  “All hell broke loose ... because of the article that came out the week before, which was an attack on Cecil and the Unit. He was very upset
  with [Stanley Crouch], who then reappeared at the club and was escorted out before the maestro’s show commenced.”
  —André Martinez 02.11.06
  


• 82.04.04 - The Cecil Taylor Expanded Unit: personnel likely similar to 82.03.28 above / Lush Life, NYC
  
  “Every Sunday I was a full-time member of the Band and spent many, many, many hours (and days and years) with the maestro from this
  point on until September ’92. ... There were a lot of changes in the horn section from gig to gig. We rehearsed at the Bell Telephone
  Building in lower Manhattan across the street from the Odeon Cafe, which is still there. We would go there on many occasions to eat
  after rehearsals. ...
  It was at ESP Records [recording studio], Bernard Stollman’s place (as confirmed by Karen Borca) and I would see Jerome Cooper there.
  I missed two of the weekends at Lush Life because I was under contract with Dee Dee Sharp to do some concerts for her and Gamble &
  Huff Productions in Philadelphia. Which was cool with Cecil, as he was always curious about their operations and show productions. ...
  Extensive conversations I had with Cecil ... led to a lot of the new concepts for his upcoming shows. ...
  From this point on Cecil’s shows began to change and become more like productions [with] intros, poetry, dance, chanting. ... Pieces were
  scored as sections where moments of inspiration and melodic romantic-type melodies took place, encores were shortened, but the power
  and creative fury and freedom remained. It was about show and production, layout and format: intro and dance; followed by chant; then
  entrance and set theme; followed by a more intense piece; then a few solos; then a medium piece; followed by an all-out piece—then bring
  it down, then up and out. Then do a small encore, leave, and let them come again for more the next time—Show biz. And it worked very
  well for Cecil, the great entertainer and musician. Some of the other horn players were Steve Coleman, James Newton, and David Murray.”
  [André Martinez Archive 02.10.18-19, 02.10.24]

82.04.11 • The Cecil Taylor Expanded Unit [AR—79:33]

{Jan Ström’s Jimmy Lyons, A Sessionography; New York Magazine April 12 p.98}

82.04.18 • The Cecil Taylor Expanded Unit [AR—45:00]

{Jan Ström’s Jimmy Lyons, A Sessionography}

• 82.04.25 - The Cecil Taylor Expanded Unit: Cecil Taylor (p, Comp), Jimmy Lyons, Daniel Carter, and Ken Simon (as), Glen Spearman (ts),
  Charles Tyler (bar), Karen Borca (bsn), Raphé Malik and Butch Morris (tp), Craig Harris (tb), James Newton (fl), Muneer Abdul Fataah (ce),
  William Parker (b), Rashid Bakr (dr) / Lush Life, NYC [New York Magazine April 26 p.136]
• 82.05.27 - The Cecil Taylor Expanded Unit—Segments: personnel as below / Judson Memorial Church, NYC (see 82.05.28)

82.05.28 • The Cecil Taylor Expanded Unit—Segments [AR—59:42]

{CDr; Jan Ström’s Jimmy Lyons, A Sessionography p.60; André Martinez Archive 02.05.27}

• 82.06.29 + 06.30 - The Cecil Taylor Unit: Taylor (p, Comp), Jimmy Lyons (as), Glenn Spearman (ts), Raphé Malik (tp),
  William Parker (b), André Martinez (perc), Rashid Bakr (dr) / Lush Life, NYC
  [Lush Life schedule, Hot House Vol.1 No.5 July 1982; CODA #185 August 1982 pp.25-6; New York Magazine July 5 p.144]
  “Lester Bowie sat in on one of the gigs.” (06.29 to 07.02) —André Martinez 02.10.18.
• 82.07.01 + 07.02 - The Cecil Taylor Unit: as above / Lush Life, NYC [ibid]
  —André Martinez 02.10.18 confirms all dates (CODA only mentions 06.29 and 06.30).

82.07.03 • Cecil Taylor Unit [AR—74:44]

{CDr; Jakob Blumenthal 07.07.21; André Martinez Archive}

• 82.07.17 - The Cecil Taylor Unit: Taylor (p, Comp), Jimmy Lyons (as), Glenn Spearman (ts), Raphé Malik (tp), William Parker (b),
  André Martinez (perc), Rashid Bakr (dr) / North Sea Jazz Festival '82, 21:45-23:30hr, Dakterras (Roof Terrace), Rotterdam, Netherlands
  [www.northseajazz.com/en/program/1982]
  CODA #184, April 1982 p.36 gives no specific date (Festival duration 82.07.16-18), and has the venue as Congresgebouw, The Hague.
  —The Northsea Archive has no such engagement listed.

1983 : : :

• No known performances...

1984 : : :

“In 1984, he relocated back to the Bay Area while continuing to perform all over North America and Europe.” [web resource]

1985 : : :

• No known performances...

1986 : : :

In 1986, back in the Bay Area, Spearman had a trio with cellist Kash Killion and ex-Lyons drummer Paul Murphy.
—Kevin Whitehead’s bio of Glenn, from the Mystery Project CD


• 86.04.05 - Glenn Spearman Trio: Spearman (ts), Kash Killion (ce), Paul Murphy (dr) / Noe Valley Ministry, San Francisco, CA
  [“Jazz Potpourri: Jazz News; Bay Area News” Be-Bop and Beyond March-April 1986, p.6, Pierre Crépon 17.03.18;
  The San Francisco Examiner Mar 21 p.E-7]

86.08.25 • Trio Hurricane: Suite of Winds Black Saint SN 102 (LP) 1994 IT; 120102-2 (CD) 1994; CAM Jazz Black Saint 120102-2 (CD, disc-on-demand, digital download) 2010 IT August 25, 1986 / Xandor Recording Studios, Orinda, CA  1. North (Murphy)  2. South (Murphy)  3. East (Parker)  4. West (Spearman)  15:22  10:58  18:49   2:18 “In the Summer of 1986 Trio Hurricane formed to perform and record a suite of music dedicated to saxophonist Jimmy Lyons, who had just died. ... The music sat unreleased until 1994.” —Cadence Glenn Spearman (ts), William Parker (b), Paul Murphy (dr) {120102-2; www.camoriginalsoundtracks.com; Cadence Vol.23 no.9 Sep 1997 p.41}

1987 : : :

• 87.05.01 + 05.02 - The New York Free Jazz Quintet: Glenn Spearman (ts), Karen Borca (bsn), Raphé Malik (tp),
  William Parker (b), Paul Murphy (perc) / 10:00pm, Kraine Club Theater, NYC
  [The New York Times May 1; Be-Bop and Beyond, Fall 1987 p.7]

1988 : : :

“[Lisle] Ellis met Spearman four years ago at an avant-garde festival put on by the Knitting Factory in New York.”
[David Rubien “Sunday Notebook: Lisle Ellis—Canadian Bass Player Follows Heart to Jazz” The San Francisco Chronicle June 7, 1992 p.44]

---

88.02.07 - Lynn Kirby: Films & Installations, including the screening of July 25th; Ode to Ms. Bradix and Ms. Brooks Multi-media installation
“With the generous help of: Paula Alexander, Leslie Alperin, Laurie Bernard, Kimberely Disney, Barney Haynes, Karen Holmes,
Kimberely Jennings, Toney Merritt, Stephen Rogers, Glenn Spearman, Dawn Yamada / The Eye Gallery, San Francisco, CA
[www.archive.org/stream/sanfranciscocine88sanfrich/sanfranciscocine88sanfrich_djvu.txt]

---

• 88.04.14 - William Parker Ensemble: Glenn Spearman (ts), Rob Brown (as), Roy Campbell (tp), Parker (b), Rashied Ali and Denis Charles (dr) /
  The 2nd International Sound Unity Festival, 3rd Wave Festival of Jazz, Knitting Factory, NYC
  [New York Magazine April 18 p.148; William Parker 13.10.29]
  —New York Magazine mistakenly had this at Kraine Art Gallery; Michael Wilderman [22.11.13] puts this event at the Knitting Factory.
  
  “On the flyer for the 2nd Sound Unity Festival, there’s a William Parker Ensemble (with Glenn Spearman, no other personnel listed)
  scheduled for 11:30pm at the Knitting Factory. That’s the only ensemble listed under WP’s name—he’s also listed under the Ware Trio
  (there are no personnel listings on the flyer for ... Moondoc’s Jus Grew Orchestra.” —Scott Currie 06.07.10
  
     Photo by Michael Wilderman, Jazzvisionsphotos.com, with permission 12.08.28.

88.04.17 • Bill Dixon Ensemble (“Sound Unity Orchestra”) [AR—]

{Dixonia, a Bio-discography of Bill Dixon, compiled by Ben Young (August 1998, Greenwood Press) / Thoughts, entry R88-0417 p.286}

• 88.04.29 - Glenn Spearman Trio: Spearman (ts), Kash Killion (ce), Paul Murphy (dr) /
  9:00pm & 10:30, Koncepts Cultural Gallery, Oakland, CA [Oakland Tribune Apr 29 p.E-2]
• 88.06.13 + 06.14 - Don Paul (poetry), Glenn Spearman (ts) / North Beach Festival, San Francisco, CA
  “Beat poet Jack Micheline died rather unceremoniously on a BART train earlier this year, but his work, contained in 20-odd volumes
  of poetry, lives on at the North Beach Festival’s poetry stage, which makes reference to his death-in-transit with the theme ‘The Beat
  Rolls On.’ ...
  Jazz poet Ruth Weiss teams up with the Marcus Shelby Trio, and poet/performer Don Paul is accompanied by saxophonist Glenn
  Spearman; chapbooks and other poetry paraphernalia will be sold. The fair’s other distinguishing characteristics include ‘L’Infiorata,’
  a block-long re-creation of famous art, done in flower petals by two teams of Italian artists, and the blessing of the animals by
  Franciscan monks from the Shrine of St. Francis.”
  [“Night + Day,” San Francisco Weekly June 10]

88.06.25 • Hinds Brothers with Paul Murphy & Glenn Spearman [AVR—24:49]

{Peter Hinds 04.01.06 and 13.01.22}

88.07.02 + 07.16 • Paul Murphy: Outward Bound

{George Scala; Tom Lord Discography; Factsheet Five 44, 1991 August; Hinds Bro 22.05.26}

88.07.02 • Hinds Brothers with Paul Murphy, Glenn Spearman, & Kash Killion [AVR—22:51]

{Peter Hinds 04.01.06 and 13.01.22; Paul Murphy, vimeo.com/314974084; vimeo.com/video/68314983;
soundcloud.com/hinds-brothers/paul-murphy-outward-bound-with-kash-killion-john-hinds}

88.07.16 • Hinds Brothers with Paul Murphy, Glenn Spearman, & Kash Killion [AVR—22:05]

 1... compositions/improvisations   

{Peter Hinds 04.01.06 and 13.01.22}

88.07.23 • Hinds Brothers with Paul Murphy, Glenn Spearman, & Kash Killion [AVR—11:15]

 1... compositions/improvisations

{Peter Hinds 04.01.06 and 13.01.22}

• 88.08.00 - Glen Spearman Trio: Spearman (ts), Kash Killion (ce), Paul Murphy (dr) / Concord Jazz Festival, San Ramon, CA
  [Paul Murphy web Bio] —This may be a mistaken approximate date for one of the 89.08.10 appearance. —RL
• 88.10.08 - Glen Spearman Trio: as above / Koncepts Cultural Gallery, Oakland, CA
  [Oakland Tribune Aug 21 “Calendar” p.2; The San Francisco Examiner Oct 7 p.C-23]
• 88.12.01 - Glenn Spearman Trio / The Equinox, Montclair, CA [Oakland Tribune Nov 29 p.C-2]
  “They’ll be appearing there every Thursday night indefinitely.”
• 88.12.08 - Glenn Spearman Trio / The Equinox, Montclair, CA [ibid]
• 88.12.15 - Glenn Spearman Trio / The Equinox, Montclair, CA [ibid]
• 88.12.22 - Glenn Spearman Trio / The Equinox, Montclair, CA [ibid]
• 88.12.29 - Glenn Spearman Trio / The Equinox, Montclair, CA [ibid]

1989 : : :

• 89.01.05 - Glenn Spearman Trio: Spearman (ts), Kash Killion (ce), Paul Murphy (dr) / The Equinox, Montclair, CA
  [The San Francisco Examiner Jan 1 “Datebook” p.14]
  
• 89.01.12 - Glenn Spearman Trio: as above / 9:00pm, The Equinox, Montclair, CA
  [Oakland Tribune Jan 8 “Calendar” p.21; The San Francisco Bay Guardian Jan 11 p.37]
  
• 89.01.19 - Glenn Spearman Trio / 9:00pm, The Equinox, Montclair, CA
  [Oakland Tribune Jan 15 “Calendar” p.21; The San Francisco Bay Guardian Jan 18 p.40]
  
• 89.01.26 - Glenn Spearman Trio / 9:00pm, The Equinox, Montclair, CA [The San Francisco Examiner Jan 22 “Datebook” p.14]
  
• 89.02.02 + 02.09 + 02.16 + 02.23 - Glenn Spearman Trio / 8:30pm to 12:30am, The Equinox, Montclair, CA
  [Running notices in both the Oakland Tribune and The San Francisco Examiner each preceding Sunday]
  
• 89.03.02 + 03.09 + 03.16 + 03.23 + 03.30 - Glenn Spearman Quartet: Spearman (ts), India Cooke (vn), Kash Killion (ce), Paul Murphy (dr) /
  8:30pm to 12:30am, The Equinox, Montclair, CA
  [Running notices in both the Oakland Tribune and The San Francisco Examiner each preceding Wednesday and Sunday]
  
• 89.04.11 + 04.18 + 04.25) - Glenn Spearman Quartet: Spearman (ts), India Cooke (vn), Kash Killion (ce), Paul Murphy (dr) /
  8:30pm to 12:30am, The Equinox, Montclair, CA
  [Running notices in both the Oakland Tribune and The San Francisco Examiner each preceding Sunday]
  —Notice appeared only in The San Francisco Bay Guardian (Apr 19 p.50) for a April 25th appearance.
  


• 89.04.28 - Glenn Spearman Quartet: as above / 8:00pm, Kuumbwa Jazz Center, Santa Cruz, CA
  [Graham Connah 03.02.17 + 03.09; Cadence Vol.15 no.4 April p.92; The Californian Apr 27 “Calendar” p.3B;
  Santa Cruz Sentinel Apr 28 “Spotlight” p.2]
  
  “I put up the money for a Spearman concert in Santa Cruz back in ... 1989, I believe. ... It was on a Friday night, that is the night
  of the week when they presented non-national/local/regional acts. Normally groups played for the door—I put up a guarantee since
  Glenn and crew were coming down from Oakland.” —Graham Connah undated correspondence


• 89.04.30 - Glenn Spearman Quartet / 7:30 & 9:00pm, Koncepts Cultural Gallery, Oakland, CA
  [Oakland Tribune Apr 28 “Weekend!” p.E1]
• 89.05.02 - Glenn Spearman Quartet / 8:30pm to 12:30am, The Equinox, Montclair, CA [Oakland Tribune Apr 30 “Calendar” p.21]
  —This Oakland Tribune listing was the last for the Equinox engagement which began in early December of ’88. —RL
  
• 89.05.19 - The Move Dance Theatre’s “Pieces of a Dream”: with Glenn Spearman (ts) and Paul Murphy (dr), unknown dancers /
  8:00pm, Oakland Ensemble Theatre, Alice Arts Center, Oakland, CA
  [Oakland Tribune May 14 “Calendar” p.16; The San Francisco Bay Guardian May 17 p.43]

89.08.02 • Glenn Spearman Quartet [AR—24:07]

{CDr; Eleanor Lindgren 08.05.09; Larry Kelp “Improvising Musicians Play Straight From the Heart” The Oakland Tribune Jul 30 “Calendar” p.9;
David Rubien “Sunday Notebook: Improvisers Play It by Ear At First Bay Area Fest / 15 Eclectic Acts” The San Francisco Chronicle Jul 30 p.36}

• 89.08.10 - Glenn Spearman Ensemble: Spearman (ts), others unknown... / 21st Annual Concord Jazz Festival,
  “Brown Bag Jazz,” 11:30pm-1:30am, Bishop Ranch 2, San Ramon, CA
  [San Francisco Examiner Jul 21 p.C-21; Oakland Tribune Aug 6 “Calendar” p.9 + p.14]
• 89.08.11 - Glenn Spearman Quartet: Spearman (ts), Kash Killion (ce, b, keys), India Cooke (vn), Donald Robinson (dr) /
  21st Annual Concord Jazz Festival, 8:00-11:00pm, Parkside Hotel, Walnut Creek, CA [Oakland Tribune Aug 6 “Calendar” p.9]
  —Tribune has “Group to be announced.” Reference citing this as the Spearman Quartet group is unknown.

May 17, 1990—Reverend Frank Wright, one of Spearman’s main influences, dies this day in Germany.
—“ The American government was making plans to ship his body back to the US for burial in Mississippi. And that’s the first thing
 America’s ever done for Frank Wright.” [Mark Miller The Globe and Mail Jun 29, 1990 p.C-10]



---

• 90.06.04 - Glenn Spearman Quartet: Spearman (ts), India Cooke (vn), Kash Killion (ce), Donald Robinson (dr) / unknown studio
  —Glenn Spearman letter to Roy Morris 91.07.02 [Roy Morris long-hand correspondence 06.06.19]
  
  “My immediate project is on June 4 recording either the Glenn Spearman Quartet ... or Sextet (the same, plus Lisle Ellis bass,
  and Paul Plimley piano). This is the only definite date. The next could be in June in Vancouver (Lisle Ellis, Paul Plimley,
  and myself, a trio without drums).” —Glenn Spearman
  “I know the quartet at least happened, because years later Glenn mentioned he couldn’t find the tapes!” —Roy Morris
  
  
• 90.06.19 - Glenn Spearman Trio: Spearman (ts), Lisle Ellis (b), “probably Paul Plimley” (p) / California Art Club, Los Angeles, CA
  [Laurence Svirchev 03.12.18]
  —“ A photography exhibition opening.”
• 90.06.22 to 07.02 - Glenn Spearman (ts), Vinny Golia (reeds), Ron Samworth (g), Lisle Ellis and Clyde Reed (b), Claude Ranger (dr),
  others... / duMaurier Jazz Festival, Glass Slipper, Vancouver, British Columbia, Canada
  [Laurence Svirchev 03.12.18; Renee Doruyter “All That Jazz” The Province Jun 28 p.12]
  “[Spearman] has been sitting in nightly...”
• 90.06.28 - Glenn Spearman Trio: Spearman (ts), Lisle Ellis (b), Paul Plimley (p) / duMaurier Jazz Festival,
  9:00pm, Tom Lee Music Hall, Vancouver, British Columbia, Canada
  [ibid; Mark Miller The Globe and Mail Jun 29 p.C-10]
• 90.06.30 - Lisle Ellis Quartet: Glenn Spearman (ts), Paul Plimley (p), Ellis (b), Andrew Cyrille (dr) / duMaurier Jazz Festival,
  2:30pm, Discovery Theatre, Plaza of Nations, Vancouver, British Columbia, Canada [ibid]

90.07.01 • Gregg Simpson: Drum Fire Condition West Productions 001 (CD) 2001 July 1, 1990 / duMaurier Jazz Festival, Yuk-Yuks Comedy Club, Vancouver, BC, Canada  1. The Conversation   20:56 “We re-united—a reunion after first meeting in 1973 in Paris—in Vancouver in 1990, and have recorded a long piece for the du Maurier International Jazz Festival.” —Gregg Simpson Glenn Spearman (ts), Gregg Simpson (dr) {Condition West Productions 001; The Province, Jun 28 p.12; Gregg Simpson 14.12.09; www.citizenjazz.com/article3459057.html}

90.09.11 • Glenn Spearman Quartet [BR—]

{Eleanor Lindgren 08.05.13; Ben Lindgren Recording Archive}

• 90.10.05 - Glenn Spearman & Lisle Ellis Duo: Spearman (ts), Ellis (b) / T.I.M.E. OUT Festival, Euclid Theatre, Toronto, Ontario, Canada

90.10.28 • Glenn Spearman—John Heward: Utterance Dictions DIC001 (CS) 1990 CAN; Cadence Jazz Records CJR 1103 (CD) 1999 October 28, 1990 / Silent Sound Studio, Montreal, Quebec, Canada  1. Tongues  2. The Solidification of Fires  3. Summoning Voices  27:59  15:30  12:43 Glenn Spearman (ts, bells, voc), John Heward (dr, voc, kalimba) {CJR 1103}

90.11.16 • Glenn Spearman Quartet [SR—]

{Eleanor Lindgren 08.05.13; Ben Lindgren Recording Archive; The San Francisco Bay Guardian Nov 14 p.45 + p.49 + p.52}

90.12.19 • Spearman–Lindgren Trio [Rehearsal Recording—]

{Eleanor Lindgren 08.05.13; Ben Lindgren Recording Archive}

1991 : : :

91.01.04 • Spearman–Lindgren Duo [Rehearsal Recording—]

{Eleanor Lindgren 08.05.13; Ben Lindgren Recording Archive}

91.01.15 • Spearman–Lindgren Duo [Rehearsal Recording—]

{Eleanor Lindgren 08.05.13; Ben Lindgren Recording Archive}

• 91.01.17 - Glenn Spearman Quartet: Spearman (ts), Lisle Ellis and Ben Lindgren (b), Donald Robinson (dr) /
  IMPROVCORE at Olive Oil’s Bar & Grill, San Francisco, CA [Improvised Music Association Newsletter April/May 1991]
  “Weekly Thursday night ... (since mid-January).” —IMA Newsletter

91.01.24 • Glenn Spearman Quartet [AVR—47:20]

{DVD; Eleanor Lindgren 08.05.13, Ben Lindgren Recording Archive; Improvised Music Association Newsletter April/May 1991;
The San Francisco Bay Guardian Jan 16 p.43}

• 91.01.31 - Glenn Spearman Quartet: Spearman (ts), Lisle Ellis and Ben Lindgren (b), Donald Robinson (dr) /
  IMPROVCORE at Olive Oil’s Bar & Grill, San Francisco, CA [Improvised Music Association Newsletter April/May 1991]
• 91.02.05 - Glenn Spearman: (no personnel info), possibly the Lisle Ellis Trio with Spearman (ts), Raphé Malik (tp), and Ellis (b) /
  Cafe G Sharp, Montreal, Quebec, Canada [CODA #237 May 1991 p.4]
  “Lisle Ellis programmed the États Soniques Series, 1990-91 at the Bar G-Sharp and thereafter at the Club Continental.”
  —www.thecanadianencyclopedia.com
• 91.02.07 - Glenn Spearman Quartet: Spearman (ts), Lisle Ellis and Ben Lindgren (b), Donald Robinson (dr) /
  IMPROVCORE at Olive Oil’s Bar & Grill, San Francisco, CA [Improvised Music Association Newsletter April/May 1991]

91.02.12 • Spearman–Lindgren Duo [Rehearsal Recording—]

{Eleanor Lindgren 08.05.13; Ben Lindgren Recording Archive}

• 91.02.14 + 02.21 - Glenn Spearman Quartet: Spearman (ts), Lisle Ellis and Ben Lindgren (b), Donald Robinson (dr) /
  IMPROVCORE at Olive Oil’s Bar & Grill, San Francisco, CA [Improvised Music Association Newsletter April/May 1991]
  “Weekly Thursday night ... (since mid-January).” —IMA Newsletter

91.02.27 • Spearman–Lindgren Trio [Rehearsal Recording—]

{Eleanor Lindgren 08.05.13; Ben Lindgren Recording Archive}

• 91.02.28 - Glenn Spearman Quartet: Spearman (ts), Lisle Ellis and Ben Lindgren (b), Donald Robinson (dr) /
  IMPROVCORE at Olive Oil’s Bar & Grill, San Francisco, CA [Improvised Music Association Newsletter April/May 1991]
  “Weekly Thursday night ... (since mid-January).” —IMA Newsletter

---


“I’ve been on the east coast since March this year.” —Glenn Spearman, letter to Roy Morris July 2, 1991
[Roy Morris long-hand correspondence 06.06.19]



---

• 91.03.03 - Glenn Spearman (ts), John Nugent (reeds), Geoff Lapp (p), Densil Pinnock (voc) / CKUT-FM Benefit,
  Redpath Hall, McGill University, Montreal, Quebec, Canada [The Gazette Mar 1 p.C6]
  —No indication of a Spearman ensemble, or if he played with the musicians named above.
• 91.03.06 - Lisle Ellis Trio: Glenn Spearman (ts), Raphé Malik (tp), Ellis (b) / Walker Court, Art Gallery of Ontario, Toronto, Ontario, Canada
  [Mark Miller The Globe and Mail Mar 8 p.C7] —CODA #238 July 1991 p.10 has this date wrongly pegged as 91.03.16.
  “Billed as a solo bass performance, but Ellis turned up with...”
• 91.03.00 - Lisle Ellis Trio: as above / Montreal, Quebec, Canada

91.04.10 • Cecil Taylor’s Burning Poles Ensemble [AR—]

{Program photocopy from Roy Morris Archive}

91.05.09 • Cecil Taylor and Rada: Live in New York [AR—62:16, AVR—, & BVR—]

{CDr; André Martinez Archive 02.05.27, 02.05.31, 02.10 24; New York Magazine May 13, 1991 p.137}

91.05.10 • Cecil Taylor and Rada: Live in New York [AR—62:54, AVR—, & BVR—]

{CDr; André Martinez Archive; New York Magazine May 13, 1991 p.137}

91.05.11 • Cecil Taylor and Rada: Live in New York [AR—, AVR—, & BVR—]

 1... compositions/improvisations

{André Martinez Archive; New York Magazine May 13, 1991 p.137}

• 91.06.09 - Raphé Malik Quintet: Malik (tp, Comp), Glenn Spearman (ts), Brian King Nelson (c-melody sax),
  Larry Roland (b), Dennis Warren (dr) / Ulrichsburg Jazz Festival, Ulrichsburg, Austria
  [Mention in a program for a performance at New England Conservatory of Music (91.04.10); www.jazzatelier.at/va/x7304.htm]

91.06.12 • Raphé Malik 5tet: 21st Century Texts Free Music Production FMP CD 43 (CD) 1992 GER (V/A) FMP Story Free Music Production Musica Jazz FMP MJ 01 (CD) 1996 GER June 12, 1991 / Akademie der Künste, Workshop Freie Musik, Berlin, Germany  1. AB dedicated to A.B. Spellman  2. CC dedicated to Duke Ellington  3. BLUE 2 dedicated to Miles Davis  4. TALK dedicated to Miles Davis  5. COMPANIONS TOO dedicated to Jimmy Lyons  6. IT’s QUIET TIME dedicated to Thelonius Monk  7. EXTENSIONS  15:26   6:50   5:37  14:51   9:06   8:07  14:02 —FMP Story has track 2. Raphé Malik (tp, Comp), Glenn Spearman (ts), Brian King Nelson (c-melody sax), Larry Roland (b), Dennis Warren (dr) {FMP CD 43; FMP MJ 01}

“Glenn spent most of 1991 on the road; among other projects, he appeared with a thundering Taylor nonet at New York’s Knitting Factory
[91.05.09 to 05.11], and did a European tour with Raphé Malik’s quintet, documented on 21st Century Texts (FMP).”
—Kevin Whitehead’s bio of Glenn, from the Mystery Project CD

“Spearman came to the East coast in late June.”


• 91.07.00 - Raphé Malik 5tet: Malik (tp, Comp), Glenn Spearman (ts), Brian King Nelson (c-melody sax), Larry Roland (b), Dennis Warren (dr) /
  Ottawa International Jazz Festival, Confederation Park, Ottawa, Alberta, Canada
  [Program for a performance at Jordan Hall at the New England Conservatory of Music on April 10, 1991.]

91.07.00 • Glenn Spearman & William Parker Duo [BR—]

{William Parker Interview from WKCR Broadcast}

91.08.09 • Spearman–Lindgren Trio [Rehearsal Recording—]

 1... compositions/improvisations

{Eleanor Lindgren 08.05.13; Ben Lindgren Recording Archive}

91.08.11 • Spearman–Winant–Lindgren Trio [Rehearsal Recording—]

{Eleanor Lindgren 08.05.13; Ben Lindgren Recording Archive}

91.08.15 • Glenn Spearman Quintet [SB—]

{Eleanor Lindgren 08.05.13; Ben Lindgren Recording Archive}

91.08.18 • Spearman–Lindgren Duo, with Greg Goodman [AR—34:25 & SB—]

{CDr; Eleanor Lindgren 08.05.13; Ben Lindgren Recording Archive}

“Haven’t done much of any work this summer, been slow for me, just a couple of gigs after a May in which I played about 15 concerts.
Feast or famine, it’s still that way for me.” —Glenn Spearman, letter to Roy Morris 91.09.01
[Roy Morris long-hand correspondence 06.06.19]

91.09.12 + 09.13 • Marco Eneidi: The Marco Eneidi Coalition Botticelli Records BOT1010 (CS) 1994; Botticelli 1010 (CD) 1994 September 12 & 13, 1991, 8:00pm to midnight / Live at No. Bias, North Bennington, VT  1. Albert’s Ghost (Eneidi)  2. Get Out (Eneidi)  3. Diads (Jimmy Lyons)  4. Ode for B.D. (Eneidi)  5. Never (Jimmy Lyons)   1:40   9:50  15:37   8:25  19:27 “A musical happening at the Bennington County Industrial Corporation building here will be recorded [by Cotton Hill Studios] for Silkheart Records.” —Bennington Banner —Article has a quartet without Spearman. Marco Eneidi (as), Glenn Spearman (ts), Raphé Malik (tp), William Parker (b), Jackson Krall (dr) {Botticelli 1010 CD; Bennington Banner Sep 12 p.11 + p.14}

91.09.21 • Raphé Malik Quintet with Glenn Spearman: Sirens Sweet and Slow Outsounds 01972 (CD) 1994 September 21, 1991 / Mapleshade, Upper Marlboro, MD  1. Tenor (Malik)   20:13 —“The 9-21-91 session with Raphe included recordings with Glenn that were not released.” —Michael Wilderman Raphé Malik (tp), Glenn Spearman (ts), Brian Nelson (c-melody sax), Larry Roland (b), Dennis Warren (dr) {Outsounds 01972; Igor Danilishen; Session date Michael Wilderman 08.03.14 + 22.12.03}

91.10.11 • Dennis Warren’s Full Metal Revolutionary Jazz Ensemble: Legacy FMRJE (no catalogue #) (CD) 2004 October 11, 1991 / Vermont Public Radio FM, unknown city, VT  1. FMRJE Live at Vermont Public Radio FM USA   21:06 Glenn Spearman (ts), Tor Yochai Snyder (elg), Larry Roland (b, poetry), Martin Gil (cga, perc), Dennis Warren (dr, timb) {Legacy CDr; Dennis Warren 05.03.12; www.fmrje.com}

91.10.27 • Dennis Warren’s Full Metal Revolutionary Jazz Ensemble: Passport to Freedom

Cassette 1001 (CS) 1991; FMRJE CDr (no catalogue #) 1999 Dennis Warren’s Full Metal Revolutionary Jazz Ensemble: Legacy FMRJE (no catalogue #) (CD) 2004 October 27, 1991 / Platinum Sound Studio, Jamaica Plain, MA —Originally dated November 3.  1. Passport to Freedom  2. Jet Stream  3. Search for Griots  4. Eye in the Heart  5. Future Now Music  6. Chroma  7. Alive & Strugglin’  18:37   5:29   2:08   9:51  12:47   7:59   3:17 —Legacy has tracks 1 and 2. Glenn Spearman (ts), Raphé Malik (tp), Tor Yochai Snyder (elg), Larry Roland (b, poetry), Martin Gil (cga, perc), Dennis Warren (dr, timb) {FMRJE CDr; Dennis Warren; www.fmrje.com}

91.12.03 • Greg Goodman Band [SB—]

{Eleanor Lindgren 08.05.13; Ben Lindgren Recording Archive}

91.12.10 • Greg Goodman Band [SB—]

{Eleanor Lindgren 08.05.13; Ben Lindgren Recording Archive}

91.12.14 • Spearman & Lindgren Duo [SB—]

{Eleanor Lindgren 08.05.13; Ben Lindgren Recording Archive}

91.12.16 • Glenn Spearman Double Trio [AR—92:34]

{Ben Lindgren Recording Archive; 2CDr, track detailing Gerhard Goral 06.05.07; The San Francisco Examiner Dec 15 “Datebook” p.44 + p.53;
Oakland Tribune Jan 13, 1992 p.B2; Jakob Blumenthal 07.07.21; Eleanor Lindgren 08.05.13}

1992 : : :

“Spearman received a ‘Goldie’ award from the San Francisco Bay Guardian in 1992 for taking ‘fringe music to the future.’” [web resource]

92.01.11 • Glenn Spearman Double Trio [AR—42:25]

{Ben Lindgren Recording Archive; CDr; Eleanor Lindgren 08.05.13; Oakland Tribune Jan 5 “7 Days” pull-out, p.2A + Jan 13 review p.B2}

92.01.14 • Glenn Spearman Quintet [BR—47:46]

{CDr; The San Francisco Examiner Jan 14 p.C9}

92.02.08 • Glenn Spearman Trio with J.R. Routhier [SB—]

{Eleanor Lindgren 08.05.13; Ben Lindgren Recording Archive}

• 92.02.22 - Glenn Spearman Double Trio: Spearman (ts), Larry Ochs (reeds), Chris Brown (keys), Ben Lindgren (b),
  Donald Robinson and William Winant (perc) / 9:00 & 10:30pm, Koncept’s Cultural Gallery, Oakland, CA
  [Oakland Tribune Feb 21 p.B1]

92.02.29 • Glenn Spearman Double Trio [SB—]

{Eleanor Lindgren 08.05.13, Ben Lindgren Recording Archive; The San Francisco Examiner Feb 28 p.D15 + D17}

92.03.12 • Glenn Spearman Quintet [SB—]

{Eleanor Lindgren 08.05.13, Ben Lindgren Recording Archive; Igor Danilishen forever}

92.03.19 • Glenn Spearman Double Trio Minus One [SB—]

{Eleanor Lindgren 08.05.13, Ben Lindgren Recording Archive; Igor Danilishen forever; Oakland Tribune Mar 15 p.5A}

92.04.04 • Glenn Spearman Quartet [SB—]

 1... compositions/improvisations

{Eleanor Lindgren 08.05.13; Ben Lindgren Recording Archive}

92.05.27 • Spearman Foley Lindgren Trio [Rehearsal Recording—]

{Eleanor Lindgren 08.05.13; Ben Lindgren Recording Archive}

• 92.06.09 - Lisle Ellis & Glenn Spearman Duo: Spearman (ts), Ellis (b) / Berkeley Store Gallery, Berkeley, CA
  [David Rubien “Lisle Ellis—Canadian Bass Player Follows Heart to Jazz” The San Francisco Examiner Jun 7 “Datebook” p.44]
• 92.06.11 - Glenn Spearman’s G-Force: James Routhier (g), Lisle Ellis (b), Donald Robinson (dr) / Olive Oil’s, San Francisco, CA [ibid]

92.06.13 • Glenn Spearman’s G-Force [AR—59:13]

{CDr, track detailing Gerhard Goral 06.05.07; The San Francisco Examiner Jun 7 p.44}

• 92.06.19 + 06.20 (1) - Spearman, Ellis, and Heward: Glenn Spearman (ts), Lisle Ellis (b), John Heward (dr) /
  du Maurier International Jazz Festival, Glass Slipper, Vancouver, British Columbia, Canada
  [The Province Jun 23 p.C4; Cadence Vol.18 no.8 August 1992, p.20]
  “Reunited to play burning after-hours sets at Vancouver’s jazz festival in 1992.”
  —Kevin Whitehead’s bio of Glenn, from the Mystery Project CD

92.07.06 • Spearman–Foley–Lindgren Trio [BR—59:02]

• University of California, San Diego, Mandeville Special Collections Library, Listening copy SPL-1395

{Mandeville Special Collections; Ben Lindgren Recording Archive; Eleanor Lindgren 08.05.13}

92.07.18 • Glenn Spearman Double Trio [SB—]

{Eleanor Lindgren 08.05.13; Ben Lindgren Recording Archive; www.rova.org;
Chris Brown, Selected Performances from the Mills College Archives at www.mills.edu}

92.07.19 • Raphé Malik Quintet [SB—]

{Digital files, detailed 23.01.22; Ernst Nebhuth 23.01.19}

92.08.18 • Glenn Spearman Double Trio [SB—]

 1... compositions/improvisations

{Jesse Hamlin “Something Else: Daily Datebook” The San Francisco Examiner Aug 18 “Datebook” p.9;
Eleanor Lindgren 08.05.13, Ben Lindgren Recording Archive}

After extensive rehearsals and another half-dozen gigs in California and Europe, the [Double Trio] went into their studio.
—Kevin Whitehead’s bio of Glenn, from the Mystery Project CD

92.08.20 + 08.21 • Glenn Spearman Double Trio: Mystery Project Black Saint 120147-1 (LP) 1993; 120147-2 (CD) 1993 IT August 20 & 21, 1992 / Bay Recording, Berkeley, CA  1. Straight Up, Straight Out (Spearman)  2. Double Image (Ochs)  3. Horus (Spearman)  4. S. D. III (Spearman)  5. Thinking of Frank (Spearman)   7:54  14:40  21:54  12:08  11:16 Glenn Spearman (ts—right channel), Larry Ochs (ts, sss—left channel), Chris Brown (p, DX7), Ben Lindgren (b), Donald Robinson (dr—left channel), William Winant (dr—right channel) {Black Saint 120147-2}

92.08.26 - Glenn Spearman Trio: Spearman (ts, perc), Chris Brown (digital piano), Spirit (dr, perc) / Father Boeddeker Park, The Tenderloin, San Francisco, CA [Dave Anderson 12.02.23] “Spearman began at Mills as a guest lecturer for a freshwoman seminar presented by David Bernstein and Thomas Strychacz in 1992. ‘The minute Glenn started talking,’ said Bernstein, ‘we knew he was a gifted teacher.’ Spearman joined Mills in 1993 and took on the Creative Music Tradition class where he lectured on jazz greats like John Coltrane, Ornette Coleman, Billie Holiday, and Sun Ra. Spearman was also a great help to his colleagues. ‘Glenn helped develop their improvisational skills within a context close to the African American tradition,’ said Bernstein, who regarded Spearman as ‘a mentor for those folks in our department.’” —“Bay Area Artists of the Diaspora: Glenn Spearman,” Mills College Archives at www.mills.edu Cover California Jazz Now October, 1992 / Berkeley Store Gallery Photo by Eleanor Lindgren.

92.11.05 • Glenn Spearman’s G-Force [AR—74:22]

{CDr, track detailing by Gerhard Goral 06.05.07; The San Francisco Examiner Nov 1 “Datebook” p.9}

• 92.11.06 - Three-Way Freeway: Glenn Spearman (ts), Raphé Malik (tp), Don Paul (poetry) /
  8:00pm, Berkeley Gallery Store, Berkeley, CA [The San Francisco Bay Guardian Nov 4 p.52]
• 92.11.13 - “Glenn Spearman Trio”: likely as below / The Luggage Store, San Francisco, CA
  [The San Francisco Examiner Nov 13 p.D17]
• 92.11.15 + 11.22 - Glenn Spearman & Lisle Ellis with Raphé Malik: Spearman (ts), Malik (tp), Ellis (b) /
  8:00pm, Radio Valencia, San Francisco, CA [The San Francisco Bay Guardian Nov 11 p.50 + Nov 18 p.56]

92.12.04 • Glenn Spearman Double Trio [SB—]

 1... compositions/improvisations

{Eleanor Lindgren 08.05.13; Ben Lindgren Recording Archive; The San Francisco Bay Guardian Dec 2 p.68}

1993 : : :

“Sax player Glenn Spearman came to Alan and asked about the availability of Radio Valencia for a last-minute Sunday performance
by visiting trumpet player Raphé Malik. The Malik-Spearman show was so successful that it spawned a Sunday series of Spearman
sessions with various musicians. Spearman still regularly plays Radio Valencia with his bands G-Force and the Glenn Spearman
Double Trio. ... The Sunday experimental and improvisational jazz series is a fixture.”
[Michael Snyder “Sunday Datebook” The San Francisco Chronicle October 16, 1994 p.39]


• 93.01.03 - Glenn Spearman & Lisle Ellis Duo: Spearman (ts), Ellis (b) / 8:00pm, Radio Valencia, San Francisco, CA
  [The San Francisco Bay Guardian Dec 30 p.31]
• 93.01.10 - Glenn Spearman & Donald Robinson Duo: Spearman (ts), Robinson (dr) / 8:00pm, Radio Valencia, San Francisco, CA
  [The San Francisco Bay Guardian Jan 6 p.33 + p.36]
  
  “The Spearman sessions, led by the esteemed saxophonist, composer, and local dynamo of improvised music, ... presents weekly
  duets and trios between said tenorman and a host of bassists, drummers, guitarists, saxophonists, and even the occasional poet.
  The sessions run through Feb. 28.” —The San Francisco Bay Guardian (Jan 6)
• 93.01.17 - Glenn Spearman (ts), Lisle Ellis (b) & Kash Killion (ce) / 8:00pm, Radio Valencia, San Francisco, CA
  [The San Francisco Examiner Jan 17 “Datebook” p.9]

93.01.24 • Glenn Spearman & James Routhier Duo [AR—72:12]

{CDr, track detailing Gerhard Goral 06.05.07}

93.01.31 • Glenn Spearman Trio [SB—]

 1... compositions/improvisations

{Eleanor Lindgren 08.05.13; Ben Lindgren Recording Archive; The San Francisco Examiner Jan 31 “Datebook” p.9}

• 93.02.07 - Glenn Spearman (ts), Ben Lindgren (b), Jack Foley (poetry) / 8:00pm, Radio Valencia, San Francisco, CA
  [Oakland Tribune Feb 7 p.2; Cadence Vol.19 no.3 March 1993 p.4]
  
• 93.02.14 - Glenn Spearman (ts), Lisle Ellis (b), Donald Robinson (dr) / 8:00pm, Radio Valencia, San Francisco, CA
  The San Francisco Examiner Feb 14 “Datebook” p.9; Cadence Vol.19 no.3 March 1993 p.4]
• 93.02.21 - Glenn Spearman (ts), Chris Brown (p, synth), William Winant (perc) / 8:00pm, Radio Valencia, San Francisco, CA
  [The San Francisco Examiner Feb 21 “Datebook” p.9; Cadence Vol.19 no.3 March 1993 p.4]
• 93.02.28 - Glenn Spearman (ts), Larry Ochs (reeds) / 8:00pm, Radio Valencia, San Francisco, CA
  [The San Francisco Examiner Feb 28 “Datebook” p.9; Cadence Vol.19 no.3 March 1993 p.4]

93.03.00 • Cecil Taylor Birthday Concert [AVR—]

 1... compositions/improvisations

{www.the-temple.net/trudy/videos-tapes.html, since removed from the Web}

“A May in which I played about 15 concerts.” —Glenn Spearman, letter to Roy Morris 91.09.01
[Morris long-hand correspondence 06.06.19]

93.05.14 • Glenn Spearman & Larry Ochs Duo [AR—60:20]

{CDr; Master Ochs' correspondence; The San Francisco Examiner May 9 “Datebook” p.14 + May 14 p.D13}

• 93.05.23 - Four Into Three: Spearman (ts, fl), James Routhier (g), Donald Robinson (dr) / Radio Valencia, San Francisco, CA
  [Graham Connah 03.03.12; The San Francisco Examiner May 23 “Datebook” p.9]
• 93.05.28 - Glenn Spearman (ts) & Lisle Ellis (b) Duo / 8:00pm, Berkeley Store Gallery, Berkeley, CA
  [The San Francisco Examiner May 28 p.E13]
• 93.05.30 - Four Into Three: Spearman (ts, fl), James Routhier (g), Donald Robinson (dr) / Radio Valencia, San Francisco, CA
  [The San Francisco Examiner May 30 “Datebook” p.9]
• 93.06.04 - Glenn Spearman (ts) & Donald Robinson (dr) Duo / 8:00pm, Berkeley Store Gallery, Berkeley, CA
  [The San Francisco Examiner Jun 4 p.D13]

93.06.00 • Lisle Ellis: Elevations Les Disques Victo Victo CD027 (CD) 1994 CAN June, 1993 / Mobius Music, San Francisco, CA  1. Ground take 1 (Ellis)  2. Lacuna (dedicated to Jimmy Lyons) (Ellis)  3. Life Cycle (Ellis)  4. Reach (Ellis, McPhee, Cauley, Robinson)  5. P.B.’s Parable (Ellis)  6. Arc (Ellis, McPhee, Cauley, Robinson)  7. Mothers (Albert Ayler)  8. Re: Call (Ellis)  9. Ground take 2 (Ellis)  12:07   6:01   5:15   3:54   4:58   2:47   6:05   8:23  12:08 Glenn Spearman (ts-all except 4,6), Larry Ochs (ts and sss-all except 4,6,7), Joe McPhee (ts-7, ss-all except 4,6,7, tb-4,6), Christopher Cauley (as-all except 7), James Ruthier (elg-3,5,8), Lisle Ellis (b), Donald Robinson (dr) {Victo CD 27}

93.06.11 • ROVA Plus 4 [AVR—50:00]

{Video; Graham Connah 03.03.12; The San Francisco Examiner Jun 11 p.D8 + p.D13}

93.06.12 • Figure Eight [AR—90:00]

 1... compositions/improvisations   90:00

{William Dennehy 03.10.14}

• 93.06.18 - Glenn Spearman (ts) & James Routhier (g) Duo / Berkeley Store Gallery, Berkeley, CA
  [The San Francisco Examiner Jun 18 p.E13]

93.06.27 • Lisle Ellis Trio + Septet [AVR—89:01]

{Video; Graham Connah 03.03.12; Jakob Blumenthal 10.02.22}

• 93.07.08 - President’s Breakfast; Glenn Spearman (ts), Dred Scott (keys, perc), Nate Pitts (b), Click Dark (dr, lead hair) /
  9:30pm, DNA Lounge, San Francisco, CA
  [The San Francisco Examiner Jul 4 “Datebook” p.9 + p.43; Bill Langton 02.12.14]
  “I’m pretty sure we played another time or two...” —Bill Langton

93.07.09 • Spearman–Lindgren Duo [SB— & AVR—]

{Eleanor Lindgren 08.05.13; Ben Lindgren Recording Archive; The San Francisco Examiner Jul 9 p.C2 + D15}

• 93.07.16 - Glenn Spearman (ts) & Carol Isaacs (fl) Duo / Berkeley Store Gallery, Berkeley, CA
  [The San Francisco Examiner Jul 16 p.E13]

93.07.24 • Raphé Malik Quintet [BR—42:37]

{CDr; Heinrich Smejkal 03.07.25; track detailing Gerhard Goral 06.05.07}

“Working in Canada, San Francisco, Austria, Holland, getting around a bit working Double Trio and my new band G-Force,
plus with Raphé Malik Quintet, plus lots of duets, locally about 14 this year. ... I’m here in California, the best scene in improv
in America is the San Francisco Bay Area right now. I’ve worked Great American Music Hall and Slim’s, two big rock houses,
had over 200 people to the Double Trio at Slim’s, mixing with the hip-hop acid-jazz boys. Incredible.”
—Glenn Spearman, letter to Roy Morris 93.08.13
[Roy Morris long-hand correspondence 06.06.19]


• 93.08.09 - Glenn Spearman’s G-Force: Spearman (ts), James Routhier (g), Lisle Ellis (b), Donald Robinson (dr) /
  8:00pm, Yoshi’s Keystone Korner, Oakland, CA [The Sacramento Bee Aug 8 “Encore” p.29]

93.08.28 • Figure 8 (ROVA Plus 4) [SB—84:20]

{2CDr; www.rova.org Time Line; Heinrich Smejkal 02.12.18}

93.09.19 • Glenn Spearman Double Trio [SB—]

 1... compositions/improvisations

{Eleanor Lindgren 08.05.13, Ben Lindgren Recording Archive; Chris Brown, Selected Performances, Mills College Archives at www.mills.edu;
The San Francisco Examiner Sep 14 p.C2 + Sep 19 “Datebook” p.9 + Sep 19 p.C4}

93.10.08 • Glenn Spearman Double Trio: October 8, 1993

• Glenn Spearman Double Trio [SB—]

{Eleanor Lindgren 08.05.13, Ben Lindgren Recording Archive; www.sfsu.edu/˜poetry/archives/s.html; The San Francisco Examiner Oct 8 p.D11 + D17}

93.10.20 • Glenn Spearman Double Trio [SB—]

—Chris Brown’s Selected Performances, from the Mills College Archives at www.mills.edu, has this as 1994 (when Spearman was in Europe).

“The Glenn Spearman Double Trio appeared in a dark loft at the top of the OK Hotel where grunge bands usually play.”

{Eleanor Lindgren 08.05.13, Ben Lindgren Recording Archive; Glenn Spearman at the ROVA Saxophone Quartet Web Site, www.rova.org;
Earshot Jazz v.9 no.9 October 1993 p.4; Down Beat February 1, 1994 p.65}

• 93.10.21 (1) - Larry Ochs & Glenn Spearman Workshop / 2:00pm, Vancouver Community College, Vancouver, BC, Canada
  [The Vancouver Sun Oct 21 p.F9]

93.10.21 (2) • Glenn Spearman Double Trio [SB—]

 1... compositions/improvisations

{Eleanor Lindgren 08.05.13; Ben Lindgren Recording Archive; The Vancouver Sun Oct 21 p.F9}

93.10.22 • Glenn Spearman Double Trio [SB—]

 1... compositions/improvisations

{ibid}

93.10.23 • Glenn Spearman Double Trio [SB—]

{Eleanor Lindgren 08.05.13, Ben Lindgren Recording Archive; Salem Statesman Journal Oct 22 “Rain or Shine” p.16}

93.11.08 • Glenn Spearman Double Trio: Smokehouse Black Saint 120157-2 (CD) 1994 IT —1st Session [See also 93.11.10] November 8, 1993 / Kimball’s Carnival, Emeryville, CA  1. Painted with Lightning  2. Asaph  18:21   4:56 Glenn Spearman (ts—right channel, Comp), Larry Ochs (ts, sss—left channel), Chris Brown (p—right channel), Ben Lindgren (b), Donald Robinson (dr—left channel), William Winant (dr—right channel) {Black Saint 120157-2}

93.11.09 • Glenn Spearman Double Trio [AR & SR—60:03]

{CDr, track detailing Gerhard Goral 06.05.07; Eleanor Lindgren 08.05.13; Ben Lindgren Recording Archive}

93.11.10 • Glenn Spearman Double Trio: Smokehouse

{Black Saint 120157-2}

93.11.14 • John Tchicai’s “Too Many Doors” [AR—8:01]

{Glenn Ito—www.youtube.com/watch?v=O4bbqcMm_mE; The San Francisco Examiner Nov 14 “Datebook” p.9}

From the defunct Opprobrium magazine:
John Tchicai: I organized a series of concerts in 1993 at a small theater in San Francisco’s North Beach district. We did
four weekends there with a different line-up of musicians on each date.
Oppro: I saw one of those afternoon shows when you played with Glenn Spearman and Lisle Ellis—that was really good.
JT: Oh yeah? I liked that one too. I also put on one show at the old Koncepts Kultural Gallery location. We played there
as the Coyote Ensemble. Let’s see, what else.?
[John Tchicai Interview by Mike Trouchon at dcn.davis.ca.us/˜jomnamo/rub_tchicai/page_inter.html]

93.11.28 • Glenn Spearman’s G-Force [AVR—50:00]

 1... compositions/improvisations   50:00

{Video; Graham Connah 03.03.12; The San Francisco Examiner Nov 28 “Datebook” p.9}

93.12.08 • Figure 8 (Rova x 4) [AR—]

 1... compositions/improvisations   74:51

{CDr}

• 93.12.26 - “Glenn Spearman Group with Marco Eneidi”: Spearman (ts), Eneidi (as), probably Lisle Ellis (b),
  Donald Robinson (dr), others? / 9:00pm, Yoshi’s Nightspot, Oakland, CA
  [The Press Democrat Dec 26 “On Q” p.25; The San Francisco Examiner Dec 26 “Datebook” p.14]

1994 : : :

94.00.00 • Glenn Spearman Quartet [AR—49:21]

{CDr, track detailing Gerhard Goral 06.05.07}

94.01.00 (2) • Figure 8 (Rova x 4) [AR—90:00]

 1... compositions/improvisations   90:00

{Anonymous}

94.01.18 • Figure 8 (Rova x 4) [BR—]

 1... compositions/improvisations

{www.well.com/gopher/Communications/KPFA/folios/apr94lis.txt; The San Francisco Examiner Jan 16 “Datebook”p.14;
Cadence Vol.20 no.2 March 1994 p.4}

94.01.19 • Figure 8 (Rova x 4): Pipe Dreams Black Saint 120167-2 (CD) 1994 January 19, 1994 / Bay Studios, Berkeley, CA —Recording date for this session from 94.01.18.  1. Head Count—for Albert Ayler and Pete Townshend  2. LG-[S-DB-J]TV—for Ray Charles and Steve Lacy  3. Tracers—for Anthony Braxton and Morton Feldman  4. Drmes—transcription of traditional Croatian song  5. Triceratops—for Iannis Xenakis and Roscoe Mitchell   3:37  15:31  27:07   2:46  25:24 Larry Ochs (ts, sss, Comp), Glenn Spearman (ts), Bruce Ackley (ts, ss), Dave Barrett (ts, as, sxl), Steve Adams and Jon Raskin (as, bar, sss), Tim Berne (as, bar), Vinny Golia (ss, sss, bar, bsx) {Black Saint 120167-2; Stewart Kremsky, Cadence Vol.20 no.2 March 1994 p.4; www.well.com/gopher/Communications/KPFA/folios/apr94lis.txt}

94.01.22 • Glenn Spearman Trio [Unissued Studio Recordings—]

 1... compositions/improvisations

{Michael Wilderman 22.11.13}

• 94.01.00 - Glenn Spearman Ensemble: Spearman (ts), David Gross (reeds), Raphé Malik (tp), George Langford (b), others... /
  Northampton Center for the Arts, Northampton, MA [Peter Gershon (Signal to Noise) Mar 23, 2003]
  “Glenn came to Hampshire College when I was a student there to teach a January-term class. ... This must have been January of 1994.
  His residency at Hampshire was organized by my classmate, saxophonist David Gross (of the Tautology label). ... The student ensemble also
  featured bassist George Langford, heard on Raphé Malik’s Short Form. I attended the concert presented at the end of the course, which took
  place at the Northampton Center for the Arts. I remember Malik came down from Brattleboro to perform.”
  —Peter Gershon

94.01.28 • Glenn Spearman Solo [AR—24:56]

{CDr; Jesse Hamlin “Daily Datebook: Lively Arts” The San Francisco Examiner Jan 25 p.E2}

94.01.30 • Glenn Spearman Trio [SB—]

 1... compositions/improvisations

{Eleanor Lindgren 08.05.13; Ben Lindgren Recording Archive}

94.02.06 • Paul Plimley Trio [AR—47:34]

{David Rubien “Surprise Hit at Vancouver Fest—Paul Plimley Brings Jazz Wizardry to S.F.” The San Francisco Examiner Feb 6 “Datebook” p.36;
William Dennehy 03.10.14; Jakob Blumenthal 07.07.21}

• 94.02.08 - Glenn Spearman: no personnel details / Hotel Utah, San Francisco, CA [Cadence Vol.20 no.2 February 1994 p.4]

94.02.15 • Glenn Spearman Double Trio [SB—]

 1... compositions/improvisations

{Eleanor Lindgren 08.05.13, Ben Lindgren Recording Archive;
Michael Snyder The San Francisco Examiner Feb 27 “Datebook” p.41}

• 94.03.05 - Glenn Spearman’s G-Force: Spearman (ts), Raphé Malik (tp), James Routhier (g), Lisle Ellis (b), Donald Robinson (dr) /
  Merchant’s, Oakland, CA [Cadence Vol.20 no.4 April 1994 p.107]

94.03.09 • Glenn Spearman Trio [AR—15:30]

{Glenn Ito, www.youtube.com/watch?v=XxivVZ85Y9M}

• 94.03.20 - “Black Birds Boogie In The Black Moonlight,” a performance poem: Wayne Corbitt (poetry, performance), Glenn Spearman (ts) /
  For Black People Series, 7:30pm, La Pena Cultural Center, Berkeley, CA
  [The San Francisco Examiner Mar 18 p.D12 + Mar 20 “Datebook” p.16; Oakland Tribune Mar 20 p.A15]
• 94.03.27 - Larry Ochs (reeds), Glenn Spearman (ts), and Victoria Jordanova (p, harp, elec) / Radio Valencia, San Francisco, CA
  [The San Francisco Examiner Mar 27 “Datebook” p.16]
• 94.04.29 - Glenn Spearman Quartet: Spearman (ts), Lisle Ellis (b), Donald Robinson (dr), + possibly Marco Eneidi (as) or Jame Routhier (g) /
  8:00pm, Mills College, Oakland, CA [The San Francisco Bay Guardian Apr 27 p.58]
• 94.05.01 - Glenn Spearman’s G-Force: Spearman (ts), Raphé Malik (tp), James Routhier (g), Lisle Ellis (b), Donald Robinson (dr),
  + possibly Marco Eneidi (as) / Radio Valencia, San Francisco, CA [The San Francisco Examiner May 1 “Datebook” p.15]

94.05.02 • Marco Eneidi Quartet [BR—]

 1... compositions/improvisations

{www.well.com/gopher/Communications/KPFA/folios/may94lis.txt; The San Francisco Examiner May 1 “Datebook” p.15}

94.05.03 • Glenn Spearman Trio with Marco Eneidi [SB—]

 1... compositions/improvisations

{Eleanor Lindgren 08.05.13; Ben Lindgren Recording Archive; The San Francisco Bay Guardian Apr 27 p.62}

94.05.00 (1) • Glenn Spearman: Free Worlds Black Saint 120207-2 (CD) 2000 IT —1st Session [See also 94.06.00; 94.12.00 (2); 95.06.00 (1)] “Early May,” 1994 / Mobius Music, San Francisco, CA  1. Blare  2. Field Before The Ram  3. Graduation  4. Lyons Roars   9:20  12:26  10:03  11:35 Glenn Spearman (ts, Comp), Marco Eneidi (as), Raphé Malik (tp), “J.R.” Routhier (elg), Lisle Ellis (b), Donald Robinson (dr) {Black Saint 120207-2; Don Paul 06.01.04}

94.05.06 • Glenn Spearman Group [SB—]

 1... compositions/improvisations

{Eleanor Lindgren 08.05.13; Ben Lindgren Recording Archive}

94.05.00 (2) • Glenn Spearman’s G-Force: Let It Go Red Toucan Exuberance Series RT 9308-2 (CD) 1997 CAN (V/A) amalgam(e) 10 ans de Red Toucan Red Toucan Records RT 9325 (2CD) 2004 May, 1994 / Mobius Music, San Francisco, CA  1. Geronimo’s Song (Spearman)  2. July '87 (Spearman)  3. Go Left Out Of Shantiville (Spearman)  4. Short Peace (Spearman)  5. Almost Shaft (Spearman)  6. Mixed Bag (Spearman)  7. Jerry (Frank Wright)  8. Open  14:13   7:40   6:14   4:49  10:55  14:59  14:13    —   (Unissued) —amalgam(e) 10 ans de Red Toucan Sampler has track 3. “There was an eighth (unissued) tune ‘Open.’” —Roy Morris long-hand correspondence 06.06.19 Glenn Spearman (ts), James Routhier (g), Lisle Ellis (b), Donald Robinson (dr) {RT 9308-2; RT 9325}

• 94.05.12 - Glenn Spearman Double Trio: Spearman (ts), Larry Ochs (reeds), Chris Brown (keys), Ben Lindgren (b),
  William Winant (perc), Donald Robinson (dr) / 9:00pm, Kimball’s Carnival (below Kimball’s East), Emeryville, CA
  [The San Francisco Bay Guardian May 4 display ad p.68]

94.05.15 • Glenn Spearman Double Trio [SB—]

{Eleanor Lindgren 08.05.13; Ben Lindgren Recording Archive}

• 94.05.17 - Glenn Spearman Trio: Spearman (ts), Matthew Goodheart (p), Donald Robinson (dr) / 8:00pm, Yoshi’s Nitespot, Oakland, CA
  [The San Francisco Bay Guardian May 15 “Datebook” p.17 + May 17 “CUE” p.3]

94.05.21 • Glenn Spearman’s Double Trio [AR & SBR—59:38]

{CDr, track detailing Gerhard Goral 06.05.07; Chris Brown, Selected Performances, from the Mills College Archives at www.mills.edu;
Eleanor Lindgren 08.05.13; Ben Lindgren Recording Archive}

94.06.00 • Glenn Spearman: Free Worlds

“June 3, or close to that date” 1994 / Mobius Music, San Francisco, CA

{Black Saint 120207-2; Don Paul 06.01.04}

94.06.03 • Lisle Ellis: What We Live Fo(u)r Black Saint 120156-2 (CD) 1996 IT June 3, 1994 / Mobius Music, San Francisco, CA  1. Addressing The Ancestors (Ellis)   3:05 —Spearman only plays on this one of nine tracks on the disc. Glenn Spearman (ts, wood flute), Larry Ochs (ts), Lisle Ellis (b), Donald Robinson (dr) {Black Saint 120156-2}

• 94.06.12 - “Black Birds Boogie In The Black Moonlight,” a performance poem: Wayne Corbitt (poetry, performance), Glenn Spearman (ts) /
  First Annual African American Performance Art Festival, “Local Heroes and Heroines of New Performance,”
  7:00pm, Theater Artaud, The San Francisco, CA [The San Francisco Examiner Mar 17 p.C4; Oakland Tribune Jun 1 “CUE” p.2]

94.06.20 - Jazz In Flight’s Eric Dolphy Birthday Tribute: “Kash Killion, James Newton, John Tchicai, Anthony Brown, others...”
Spearman present? / San Francisco, CA [Cadence Vol.20 no.8 August 1994 p.4 and p.109]

94.06.30 + 07.03 - The Tom Lord Discography has a listing for (V/A) Rova Saxophone Quartet: Transparent Messenger, recorded at
The Plasy Monastery in the Czech Republic on June 30 and July 3 of 1994, and released on CD in 1994 by the Hermit Foundation
(catalogue #AV0057-2 931). Lord lists Spearman (ts), Dave Barrett (ts, as, sxl), Vinny Golia (bar, ss, bsx, ss), and Tim Berne (as, bar),
none of whom are present on this recording which has the quartet of Larry Ochs, Bruce Ackley, Steve Adams, and Jon Raskin.
—Correction from Milos Vojtechovsky, Prague Center for Contemporary Arts, and discogs.com.

• 94.07.13 - Glenn Spearman Solo / Yoshi’s Nitespot, Oakland, CA
  [The San Francisco Examiner Jul 10 “Datebook” p.18; Cadence Vol.20 no.8 August 1994 p.110]

94.08.12 + 08.13 • John Tchicai & the Archetypes [AVR]

 1... compositions/improvisations

{www.the-temple.net/trudy/videos-tapes.html; Santa Cruz Sentinel Aug 12 “Spotlight” p.16; Cadence Vol.21 no.3 March 1995 p.23}

• 94.08.19 - Glenn Spearman Trio: Spearman (ts), Donald Robinson (dr), + unknown other / La Pena Cultural Center, Berkeley, CA
  [The San Francisco Examiner Aug 14 “Datebook” p.17 + Aug 19 p.C13]
• 94.09.25 - Glenn Spearman’s G-Force: Spearman (ts), James Routhier (g), Lisle Ellis (b), Donald Robinson (dr) /
  Radio Valencia, San Francisco, CA [The San Francisco Examiner Sep 25 “Datebook” p.16]
• 94.09.26 - Glenn Spearman Double Trio: Spearman (ts, fl), Larry Ochs (reeds), Chris Brown (keys), Ben Lindgren (b), William Winant (perc), Donald Robinson (dr) /
  10:00pm, DNA Lounge, San Francisco, CA [The San Francisco Bay Guardian Sep 21 p.50]
• 94.10.05 - Marco Eneidi Quartet with Glenn Spearman: Eneidi (as), Spearman (ts, fl), unknown others /
  8:00pm, Yoshi’s, Oakland, CA [The San Francisco Bay Guardian Oct 5 p.72; Oakland Tribune Oct 5 “CUE” p.2]

---



• 94.10.10 - Interplanetary Threnody, a tribute to the myth/science/art of Sun Ra: Peter Apfelbaum (reeds, perc), Eddie Gale (tp),
  Vijay Iyer (p, vn), Miya Masaoka (koto), India Cooke (vn), Kash Killion (ce), Lisle Ellis (b), Trudy Morse (voc) Gino Robair (perc),
  “Joined at several points by Glenn Spearman (ts)” / Yoshi’s, Oakland, CA [Jim Newman 94.10.14; outerspaceways.info/forum/saturn/629]

  “Bay Area jazz did itself proud tonight at Yoshi’s, as this worldwide eclectic band paid tribute to Sun Ra with two completely outside sets.
  The lack of a true rhythm section (both drummers really being percussionists) made things a little slow to get moving at first, but once they
  did, this raged. Highlights included a blazing duo between Killion, who’s dazzling on cello, and Gale on trumpet, with Morse’s scat vocals
  buzzing like a hummingbird around them, a very ’70s Sun Ra solo from Iyer, a fascinating duo between Masaoka’s koto and the bassist,
  and several blazing all-band jams.” —Jim Newman

  —This session included “Chopin’s Prelude in A Major,” with Spearman, Apfelbaum, Gale, Iyer, Cooke, Killion, Ellis, Robair, and Morse.
   “Been away for three months on the road, with very successful performances. Chris Trent helped with the research into Chopin’s Prelude
   in A Major. I found the Chopin piece, distributed it to the John Coltrane Church, where it was performed at a Sunday prayer meeting
   (with Fred Harris at the piano). Again in Oakland at Yoshi’s.” —Trudy Morse
   [Trudy Morse 94.10.17 and 94.11.02 posting outerspaceways.info/forum/saturn/633]

“A five city tour of Europe. ... Ben Lindgren was still the bass player, not Lisle Ellis. I have recordings and photos. —Eleanor Lindgren.
—Chris Brown, Selected Performances from the Mills College Archives at www.mills.edu, and the Glenn Spearman page
 at the ROVA Saxophone Quartet Web Site at www.rova.org both incorrectly list Lisle Ellis on bass for this tour.

94.10.16 • Glenn Spearman Double Trio [SB—]

 1... compositions/improvisations

{Eleanor Lindgren 08.05.09, 08.05.13; Ben Lindgren Recording Archive}

94.10.18 • Glenn Spearman Double Trio [SB—]

 1... compositions/improvisations

{Eleanor Lindgren 08.05.09, 08.05.13; Ben Lindgren Recording Archive; Ernst Nebhuth 16.11.15}

94.10.19 • Glenn Spearman Double Trio [SB—]

 1... compositions/improvisations

{Eleanor Lindgren 08.05.09, 08.05.13; Ben Lindgren Recording Archive}

94.10.20 • Glenn Spearman Double Trio [SB—]

 1... compositions/improvisations

{Eleanor Lindgren 08.05.09, 08.05.13; Ben Lindgren Recording Archive}

94.10.22 • Glenn Spearman Double Trio [SB—]

 1... compositions/improvisations

{Eleanor Lindgren 08.05.09, 08.05.13; Ben Lindgren Recording Archive}

94.10.29 • Glenn Spearman Double Trio [SB—]

 1... compositions/improvisations

{Eleanor Lindgren 08.05.09, 08.05.13, Ben Lindgren Recording Archive; The San Francisco Examiner Oct 28 p.C13}

• 94.11.08 - Glenn Spearman: no personnel details / Rastacan Record’s Dark Circle Lounge, Hotel Utah, San Francisco, CA
  [Cadence Vol.20 no.12 December 1994 p.109]

94.11.15 + 11.16 • Glenn Spearman Double Trio: The Fields Black Saint 120197-2 (CD) 1996 IT November 15 & 16, 1994 / Bay Studios, Berkeley, CA  1. Melts (Ochs)  2. Fields before the Ram (Spearman)  3. Hot (Spearman)  4. Stepping Out (Spearman)  5. Extrapolation of the inevitable (Spearman)  6. Just There (Ochs)  7. Sound Section (Spearman)  15:11  12:39   3:39   9:39   8:59   5:13  21:11 Glenn Spearman (ts—right channel), Larry Ochs (ts and ss—left channel), Chris Brown (p), Lisle Ellis (b), Donald Robinson (dr—right channel), William Winant (dr and tymp—left channel) {120197-2}

94.12.00 (2) • Glenn Spearman: Free Worlds

 1. The Skin She Bears   3:52

{Black Saint 120207-2}

94.12.00 (1) • Don Paul: Flowers Smell Like Gasoline Poems with Free Music, no label # (CD) 199? “Early December,” 1994 / Guerrilla Euphonics, San Francisco  1. Blue Lightning  2. The Skin She Bears  3. Detroit/Crack  4. Boy Breaking on the Old Manhood  11:47   3:49   8:13   3:07 “With Glenn, Donald, and J.R., we usually did a poem twice without break, and by the second pass they entered fully into the words, enlarging it for me, our utterance like a vessel we carried together. ... So: all of these tracks were recorded live-to-DAT (Digital Audio Tape) except ‘Detroit/Crack’ (a coupling of ‘Detroit Breakdown’ and ‘Crack/War Goin’ On,’ on which I overdubbed the vocal.) ... Myles Boisen was the engineer and later overdubbed electric bass (‘Crack/War Goin’ On’).” —Don Paul Don Paul (poetry), Glenn Spearman (ts), James Routhier (elg), Myles Boisen (elb-3), Donald Robinson (dr) {CD; web sources; studio and session date from Don Paul 06.01.04}

94.12.11 • Spearman–Lindgren Duo [SB—]

 1... compositions/improvisations

{Eleanor Lindgren 08.05.09, 08.05.13; Ben Lindgren Recording Archive}

• 94.12.11 - Glenn Spearman Quartet: Glenn Spearman (ts), Donald Robinson (dr), and probably Marco Eneidi (as), J.R. Routhier (g), or...? /
  Radio Valencia, San Francisco, CA [The San Francisco Examiner Dec 11 “Datebook” p.15; Cadence Vol.21 no.1 January 1995 p.109]
  —Cadence had “Clarinet Quartet,” but did not list personnel.

1995 : : :

95.00.00 (1) • President’s Breakfast: Doo Process Disc Lexia DL005 (CD) 1995 unknown date, 1995 / Komotion and Babyreps, Oakland, CA  1. [C] (Click Dark, E. Herrmann)  2. Hard Time (Click Dark)  3. Nefertiti (Wayne Shorter)   5:06  10:59   5:05 Click Dark (dr, samples, dub processing-2,3, perc-1, musique concrete-1, liquid bass-1), Ed Herrmann (musique concrete-1, dub processing-1, analog synth-1), Glenn Spearman (ts-2, ts-3—right channel only, samples of Spearman tenor-1), Kenny Brooks (ts-2—left channel), John Yi (ss, as, and bar-2,3), Scott Jensen (tp-1), Blane Finell (tp-2,3), Squantch (tb-2,3), Will Bernard (g-2,3), Dred Scott (keys and perc-2,3), Nate Pitts (b-2,3), Jeremy Brooks (perc-2,3, samples-2,3), Titus Pierce (turntables-2), C. Burger (rap-1, lyrics-1) {DL005}

95.00.00 (2) • President’s Breakfast: III C Disc Lexia DL017 (CD) 2001 unknown date, 199...? / unknown venue, unknown location —(See note on 94.02.15)  1. Love Supreme III (John Coltrane)   8:39  “After news of his death, I included some samples in the version of “Love Supreme”  (the third movement) as a tribute. I don’t think his contribution can be identified  by anyone except me, the mixer (too dense texturally).” —Bill Langton Click Dark (dr, perc, toys, keys), Glenn Spearman (ts samples), Jim Peterson (as, ss), Chuck McKinnon (tp), Jeff Campbell (bagpipes), Alex Candelaria, Adam Shereborne, and Will Bernard (g), Nate Pitts (b) {DL017; Bill Langton 02.12.14}

95.01.20 • (V/A) Trio Hurricane + 1: Wiretapper 6 Special Edition The WIRE Magazine Issue 200, October 2000 (2CD) UK 2000 Trio Hurricane + 1 [AR—90:21] January 20, 1995 "...before the Little Huey concert." / Knitting Factory Cellar, New York City   Wiretapper 6:  1. Initiation     7:30   Audience Recording:  1. composition/improvisation    26:52  2. composition/improvisation    17:42  3. composition/improvisation     7:23   (split track at 0:58)  4. composition/improvisation    20:02  5. composition/improvisation    15:06 —The WIRETAPPER 6 track is an excerpt of uncertain locale within the Audience Recording. Glenn Spearman (ts), Marco Eneidi (as), William Parker (b), Denis Charles (dr)

{Wiretapper 6 Special Edition; 2CDr Audience Recording; date and venue Marco Eneidi 12.04.06 + 04.07}

95.01.21 • William Parker & The Little Huey Creative Music Orchestra Rehearsal [Centering Archival Recording—84:57]

{William Parker’s Centering Archive; Ed Hazell 14.01.15}

• 95.01.22 - William Parker & The Little Huey Creative Orchestra: as above / Knitting Factory, NYC [ibid]

95.01.24 to 01.29 - Cecil Taylor “three-piece” Unit / 8:00 & 10:00pm, Yoshi’s, Oakland, CA [Oakland Tribune Jan 22 “CUE” p.3]
—ALSO: “Rehearsed a large ensemble that included ROVA, William Winant, Peter Apfelbaum, and others.” Was Spearman present?
 [Cadence Vol.21 no.3 March 1995 p.75]

---

• 95.03.19 - Glenn Spearman Quartet: no personnel details / Radio Valencia, San Francisco, CA
  [San Francisco Examiner Mar 19 “Datebook” p.16]

---

Marco Eneidi & Glenn Spearman & The Creative Music Orchestra

In 1995 Marco returned to the Bay Area and, in collaboration with his long-time friend Glenn Spearman, began to rehearse a 20-plus piece
orchestra. The band rehearsed for over six months and gave performances at the Berkeley Store Gallery [Beanbenders]. From the proceeds
of these concerts they were able to record and issue Creative Music Orchestra (95.06.06) on the Music & Arts label.
[“Marco Eneidi & The Big Band Concept” OUTSIDE Magazine #1 August 1998; Bay Area Improvisers Network]

---

• 95.05.02 - Glenn Spearman Trio: Spearman (ts, p), Marco Eneidi (as), Donald Robinson (dr) /
  10:30pm, Dark Circle Lounge, Hotel Utah, San Francisco, CA
  [“The History of Experimental Music in Northern California,” www.o-art.org; Cadence Vol.21 no.6 June 1995 p.109; Dave Anderson 12.02.23]
• 95.05.07 - Glenn Spearman & Marco Eneidi Creative Music Workshop: no personnel details / Berkeley Store Gallery, Berkeley, CA
  [Cadence Vol.21 no.5 May 1995 p.109; San Francisco Examiner Mar 7 “Datebook” p.16]
• 95.05.14 - Glenn Spearman & Marco Eneidi Creative Music Workshop: no personnel details / Berkeley Gallerie, Berkeley, CA
  [Cadence Vol.21 no.5 May 1995 p.109] —Cadence had this listed this as a weekly event.
• 95.05.21 - Glenn Spearman & Marco Eneidi Creative Music Workshop: no personnel details / Berkeley Gallerie, Berkeley, CA
  [ibid; San Francisco Examiner Mar 21 “Datebook” p.16]
• 95.05.24 - Glenn Spearman & Spirit Duo: Spearman (ts, p), Spirit (dr) / Beanbenders, Berkeley, CA
  [Dan Plonsey, “Reviews of Beanbender’s Shows” and “Past Shows” at www.plonsey.com; San Francisco Examiner Mar 21 “Datebook” p.16]
  “Neither group played more than 40 minutes [double-bill with What We Live], and the Glenn Spearman Trio was actually a duo.”
• 95.05.26 - Wayne Corbitt (poetry, performance), Glenn Spearman (ts) / Koncept Kultural Gallery’s “Jazz In Tongues Festival,”
  8:00pm, Oakland Museum, Oakland, CA [Cadence Vol.21 no.5 May 1995 p.108; Oakland Tribune May 12 “CUE” p.7]
• 95.05.28 - Glenn Spearman Quartet: Spearman (ts), Marco Eneidi (as), Donald Robinson (dr), + unknown other /
  Radio Valencia, San Francisco, CA [San Francisco Examiner Mar 28 “Datebook” p.16]
• 95.05.30 - Glenn Spearman & Marco Eneidi Creative Music Orchestra: no personnel details /
  9:30 & 10:30pm, Dark Cirlce Lounge, Hotel Utah, San Francisco, CA
  [“The History of Experimental Music in Northern California,” www.o-art.org; San Francisco Examiner Mar 28 “Datebook” p.15;
  Cadence Vol.21 no.6 June 1995 p.109]

95.06.00 (1) • Urna: Redemption Songs [Unissued Recording] June, 1995 / Sharkbite Studio, Oakland, CA  1. Crossroads (Raga Bilavel)  2. Where Are You So Far From  3. Solitude (Raga Puriya Kalyan)  4. Finding A Way To Be With You  5. Redemption  13:59  11:07  19:35  15:38   9:24 “Overtly involve at least three popular songs from the Americas into the album’s five-track arc: ‘Crossroads’ as made famous by Robert Johnson, ‘In My Solitude’ as made famous by Billie Holiday, and ‘Redemption Songs’ by Bob Marley.”

“Every performer except Glenn was situated in the live-room of Sharkbite Studio. Ustad Salamat and (the now Ustad) Shafqat sat
side by side, Salamat’s daughter Riffat was behind them on tamboura, Tim Witter on tabla and Zeke Nealy on congas were adjacent
to each other and at a diagonal about 20 feet from the singers, John Baker was with his keyboards in a remove parallel with the
percussionists, and Dhyani with his guitar sat to Riffat’s right. The set-up was like a live, single-mic-in-a-big-room recording except
that Glenn played his saxophone in an isolation-booth.” —Don Paul

{Don Paul 14.09.17, 16.11.26-11.29; YouTube ID# 4JY7cs04L1k}

95.06.00 (2) • Glenn Spearman: Free Worlds

{Black Saint 120207-2; Nate Dorward, Cadence 2003}

95.06.00 (3) • Matthew Goodheart: Sonoluminescence Nine Winds NWCD-0186 (CD) 1996 June, 1995 / Bay Sound Studios, Berkeley, CA  1. Invocation I (Spearman/Goodheart/Ellis/Robinson)   —Homage to the Grandfather   —Confluence  2. In the Water of Emanations (Goodheart/Robinson)  3. Small Study (Goodheart/Ellis)  4. Under Focus—Glenns Lens (Spearman/Goodheart)  5. Refraction Synthesis (Goodheart/Robinson)  6. Condensations (Spearman/Goodheart/Ellis/Robinson)  7. Sound Into Light (Goodheart)  12:22       6:41   7:16   8:25   9:48  16:34   6:41 Matthew Goodheart (p), Glenn Spearman (ts), Lisle Ellis (b), Donald Robinson (dr) {NWCD-0186}

95.06.05 • Eneidi, Spearman, Ellis, Robinson: For Our Children

{Botticelli 1016}

95.06.06 (1) • Marco Eneidi & Glenn Spearman: Creative Music Orchestra

Music & Arts CD-980 (CD, Ltd edition of 500 Copies) 1997 England June 6, 1995 / Sharkbite Studios, Oakland, CA  American Jungle Suite:  1. Hymn Of Creation (Eneidi)  2. Trail of Tears (Eneidi)  3. Ghost Dance (Eneidi)  4. Naked Mirror (Cecil Taylor)  5. Interlude (Eneidi)  6. Student Studies (Spearman)     3:54   3:57  13:34  13:34   7:14  26:48 Glenn Spearman, Brian Pearson, Jessica Jones, and Scott Rosenberg (ts), Marco Eneidi, Sean Odell, and Alex Weiss (as), Elizabeth Grey (cl), Tim White (bcl), Francis Holland (a-cl), Hal Forman and Blaine Finell (tp), Matthew Goodheart (p), James Routhier, Larry Giustino (g), Tara Flandreu and John Ingall (vn), George Cremaschi and Michael Silverman (b), Spirit (dr, African drums, perc), Donald Robinson (dr) {Music & Arts CD-980}

• 95.06.06 (2) - Glenn Spearman Trio: Spearman (ts, p), unknown personnel / 8:00 & 10:00pm, Yoshi’s, Oakland, CA
  [The San Francisco Examiner Jun 4 “Datebook” p.18; Oakland Tribune Jun 6 “CUE” p.3]
• 95.06.21 - Surya: Glenn Spearman (ts), Larry Giustino (elg), George Cremaschi (b), Spirit (dr, perc) /
  Making Waves Music Festival, San Francisco, CA [Dave Anderson 12.02.23]
  “Corner of Market and Montgomery Streets. ... Various bands playing on various corners in Downtown San Francisco.”

95.06.25 • Glenn Spearman Double Trio [AVR—50:00]

{Video; Graham Connah 03.03.12; The San Francisco Examiner Jun 25 “Datebook” p.16}

• 95.07.01 - Glenn Spearman Double Trio: Spearman (ts), Larry Ochs (reeds), Chris Brown (p), Lisle Ellis (b),
  Donald Robinson and William Winant (dr) / du Maurier International Jazz Festival,
  Expo Theatre, Plaza of Nations, Vancouver, British Columbia, Canada [Laurence Svirchev 03.12.18; The Province “Preview” p.B10]
• 95.07.02 - Glenn Spearman Double Trio: as above / du Maurier International Jazz Festival, Studio 16, Vancouver, British Columbia, Canada
  [Chris Brown, Selected Performances, from the Mills College Archives at www.mills.edu;
  Laurence Svirchev 03.12.18; The Vancouver Sun Jun 23 “Pull Out Festival Guide” p.8]
  —Festival Program has “Glenn Spearman Double Quartet”
  —At midnight, so actually 95.07.03. —RL
• 95.08.02 - Glenn Spearman & Marco Eneidi’s Creative Music Orchestra: “22-piece” (no other personnel details) /
  8:00pm, Paradise Lounge and Transmission Theater, San Francisco, CA
  “Earlier this month, a crash involving two fire trucks did significant damage to the avant-garde Mission District cafe and music venue
  Radio Valencia. Co-owner Don Alan promises that the place will be back in action by the fall. While awaiting repair work, Alan and friends
  have organized a benefit to wipe away some unpaid bills that have accumulated since the accident. More than 50 musicians ... will perform.”
  [The San Francisco Examiner Jul 30 “Datebook” p.31; CODA #265 January 1996 p.20]
• 95.08.24 - Glenn Spearman’s G-Force: Spearman (ts), James Routhier (g), Donald Robinson (dr),
  and possibly Marco Eneidi (as) and/or George Cremaschi (b) / 9:00pm, Inn of the Beginning, Cotati, CA
  [The Press Democrat Aug 20 “on Q” p.3]
• 95.09.05 - Glenn Spearman Double Trio: Spearman (ts), Larry Ochs (reeds), Chris Brown (p), Ben Lindgren (b),
  William Winant (perc), Donald Robinson (dr) / 8:00 & 10:00pm, Yoshi&rsqs Nitespot, Oakland, CA
  [The Press Democrat Sep 3 “on Q” p.27; Oakland Tribune Sep 5 “CUE” p.3]
  
• 95.09.17 - Glenn Spearman Double Trio: Spearman (ts), Larry Ochs (reeds), Chris Brown (p), Ben Lindgren (b),
  William Winant (perc), Donald Robinson (dr) / Monterey Jazz Festival, “afternoon,” Garden Stage, Monterey Fairgrounds, Monterey, CA
  [Chris Brown, Selected Performances, from the Mills College Archives at www.mills.edu; The Californian Sep 14 p.1E;
  The San Francisco Examiner Sep 22 p.C17]
• 95.09.22 - Glenn Spearman & Marco Eneidi’s Creative Music Orchestra: (no personnel details) /
  8:00pm, Mills College Concert Hall, Oakland, CA [The San Francisco Examiner Sep 17 “Datebook” p.17]

---

“Spearman’s Double Trio... was nominated by The San Francisco Weekly for a ‘Whammie Music Award’ in 1995.”

---

• 95.10.07 - Glenn Spearman & Marco Eneidi’s Creative Music Orchestra: “22-piece” (no other personnel details) /
  9:00pm, Inn of the Beginning, Cotati, CA [The Press Democrat Oct 6 p.D7]
• 95.10.20 - Move Dance Theatre: Glenn Spearman (ts, bcl) & Donald Robinson (dr) Duo / “Caught in the Act,”
  8:00pm, Laney College Theater, Oakland, CA
  [The San Francisco Examiner Oct 15 “Datebook” p.11; Oakland Tribune Oct 20 “CUE” p.6]

95.10.26 • Cecil Taylor & The Glenn Spearman Orchestra [AR—86:45]

“Two one-and-a-half hour sets of continuous sound and movement.” —Matthew Goodheart “Freedom And Individuality In The Music Of Cecil Taylor.”

Cecil Taylor (p, perc, voc), Glenn Spearman (ts), Marco Eneidi (as), Idris Ackamoor and 10 unknown (reeds), 6 unknown (brass),
Matthew Goodheart (p), Trudy Morse and Ijoema Thomas (voc), 3 unknown (g), India Cooke (vn), Danielle Degrutella and 1 unknown (ce),
4 unknown (b), unknown (koto), unknown (perc), unknown (dr), others?

{2CDr; Larry Kelp “Bay Area Dishes Up Busy Arts Season” The Press Democrat Sep 3 “on Q” p.12;
The San Francisco Examiner Oct 3 “Color” p.33 + Oct 20 p.C13 + Philip Elwood Oct 27 review p.C11}

95.11.08 • Surya: Stretching the Edge Surya SAM-108 (CD) 1996 November 8, 1995 / Shark Bite Studios, Oakland, CA  1. Peace Prayer  2. Panoramic  3. Sun Love  4. Kepler’s Groove  5. C.T.  6. Turned Around  7. Emerging Light  8. Warm  2:24  3:35  4:34  7:10  4:29  4:36  5:16  5:45 Glenn Spearman (ts), Larry Giustino (g, Comp), Stevens St. Clair (b), Spirit (dr, perc) {SAM-108}

• 95.11.16 to 11.19 - Glenn Spearman: no personnel details / “Here Comes Everybody: The Music, Poetry and Art of John Cage,”
  Conference and Festival, Mills College Concert Hall, Oakland, CA
  [Larry Kelp “On Q: Bay Area Dishes Up Busy Arts Season” The Press Democrat Sep 3 “on Q” p.12]
  “Concerts range from the Mills-associated ‘Blue’ Gene Tyranny, Alvin Curran, and Glenn Spearman, to vocal music
  of the 17th century and music of Darius Milhaud (who taught at Mills) and Igor Stravinksy.”
• 95.11.19 - Glenn Spearman & Marco Eneidi’s Creative Music Orchestra: “22-piece” (no other personnel details) /
  8:00pm, Berkeley Store Gallery, Berkeley, CA [The San Francisco Examiner Nov 19 “Datebook” p.15]

John Tchicai Interview by Mike Trouchon, from the defunct Opprobrium magazine:
Oppro: Do you care to mention the Ascension tribute debacle?
JT: Well, John Raskin from the ROVA Saxophone Quartet got hold of me and told me about the idea for the tribute and mentioned
that Glenn Spearman was going to play the part of Coltrane. I said I thought that was a little strange seeing as how Spearman wasn’t part
of the original session and was only a kid at the time we did the recording. I guess ROVA thought about that for a bit and figured it might
be more appropriate for me to play Coltrane’s part. So we made preparations to play the piece and Raskin sent me some of Coltrane’s
charts from the session. He also sent me charts for Coltrane’s ‘Welcome Tune.’ As the date of the tribute came closer, I mentioned that
it would be nice to have a couple of rehearsals to see if we could all work the piece out together and they didn’t think that was such
a good idea. They thought they didn’t have time or something. So that was one stumbling block, and then the idea of recording the tribute,
to be released on CD, came up. This was something that wasn’t mentioned in the beginning, so I asked for some more money—I didn’t ask
for much more, just a little bit. Then Raskin said he'd have to ask Black Saint if this would be okay and then he later said it wouldn’t be
possible for me to get more money. So I said I couldn’t participate in the tribute and they went ahead and did it without me.
[dcn.davis.ca.us/(tilde)jomnamo/rub_tchicai/page_inter.html]

95.12.06 • Rova: John Coltrane’s Ascension

• Dave Douglas: Complete Black Saint-Soul Note Recordings: John Coltrane’s Ascension (Disc 4)
  C.A.M. Jazz Cam BXS 1020CD (6-CD Box remasters) Italy 2012

“An all-star cast of improvising artists in San Francisco may have inadvertently inaugurated a new holiday jazz tradition December 6 at the Great American Music Hall. That’s when they celebrated the 30th anniversary of John Coltrane’s ground- breaking ‘Ascension’ with a powerful rendition of the rarely performed piece in front of a capacity crowd. At the San Francisco show, presented by the Rova Saxophone Quartet and featuring tenor saxophonist Glenn Spearman as concert master, the spirit of holy Trane was alive and well as the 11-piece ensemble—including Rova members Larry Ochs and Bruce Ackley on tenors and Jon Raskin and Steve Adams on altos, with New York trumpeters Raphé Malik and Dave Douglas, pianist Chris Brown, bassists Lisle Ellis and George Cremaschi, and drummer Donald Robinson—surged into a riveting interpretation of the 1965 original. Raskin scheduled only one rehearsal, the night before the performance, to guarantee a high level of spontaneity. ‘It was my understanding that Coltrane didn’t even have a rehearsal for the recording. He came into the studio with scraps of paper.’ The lack of rehearsal time is one reason cited by Sacramento-based tenor saxophonist John Tchicai—one of the original participants in Coltrane’s recording and Rova’s first choice for concert master—for opting out of the performance.” —Dan Ouellette “30 years later, Rova rises to Coltrane’s ‘Ascension.’,” Down Beat

“Never short on audacity, the Bay Area’s ROVA saxophonists ... took it upon themselves in December 1996 to re-enact John Coltrane’s orchestral
free-jazz masterwork ‘Ascension’ on the occasion of its 30th anniversary. Raskin arranged the piece—akin to corralling an ocean.”
—David Rubien

{Black Saint 120180; Oakland Tribune Dec 3 “CUE” p.5; Down Beat March 1, 1996 p.12;
David Rubien “Sunday Datebook” The San Francisco Chronicle May 25, 1997 p.51}

Fred Jung interviews Bruce Ackley, undated, from www.jazzweekly.com/interviews/ackley.htm:
Fred Jung: Coltrane is a god in my house and so I was extremely skeptical. That must have been the prevailing sentiment, did that concern you?
Bruce Ackley: No, and the reason is that I don’t think there are that many people that really know that record well enough or that piece well enough
to have a clear understanding, and if they do, they wouldn’t have any problem with ROVA doing it. But I think that I [felt] like my relationship with
that record goes back so far and it was so significant when I first started playing. I had already known that record inside out. That was a big reason
why I wanted to play. Every one of those solos on there were models for me in terms of my way to go. I can still remember Marion Brown’s motif,
Shepp’s motifs, and of course, Coltrane—and John Tchicai. Each one of them, I studied really closely and had an intimate knowledge with. I didn’t
feel worried about what other people would think. I think that there probably are some dissenters too, but that’s okay. I think we did what we could do.
As Glenn Spearman said, “This is like our Handel’s Messiah. We should do this every year.” We had that attitude about it. He said that we were going
to go out there and do it. This is a sacred piece of music that it is just as much ours as it is anybody else’s. It doesn’t belong to anybody. We're going
to celebrate.
FJ: Why don’t you perform it every year?
BA: That’s a good question, Fred. We talk about it every year, but I don’t think we can really afford the time and energy it takes to mount it.
And then Glenn Spearman’s gone. I think if Glenn were alive, maybe we would. Glenn loved it. I don’t think it’s over. I think we would be
willing to do it over again. And there has been talk on and off.

• 95.12.13 - Glenn Spearman (ts), Marco Eneidi and Jon Raskin (as), Raphé Malik (tp), Chris Brown (p), Lisle Ellis (b), Donald Robinson (dr) /
  Beanbender’s, Berkeley, CA [“Beanbender’s Past Shows” at www.plonsey.com]

---

“Spearman served on the board of directors of New Langton Arts in San Francisco from 1995 to 1996 and lectured at many colleges
and conservatories in New England, Canada and California.”
[Bay Area Artists of the Diaspora: Glenn Spearman, the Mills College Archives at www.mills.edu]

---

• 95.12.19 - Glenn Spearman & Marco Eneidi’s Creative Music Orchestra: (no personnel details) / Hotel Utah, San Francisco, CA
  [The San Francisco Examiner Dec 17 “Datebook” p.18]

1996 : : :

“I had a couple small groups with [Spearman]—one trio with Garth Powell, another one with George Cremaschi, Lincoln Smith,
Oluyemi Thomas, Spirit, and Vinny Golia. I can’t remember the dates, '95-'96 era. The trio with Garth I think was at Studio 4, ...
the larger group was early on in the Venue 9 series. That place had a horrible owner, but lots of great music was there.
I really got along with Glenn and thought we'd play more, but I ended up working closely with Marco.” —Damon Smith 16.11.14

---

In 1996, Berkeley’s Small Press Distribution issued Musaphysics, a book that contains 30 years of Spearman’s poetry and writings about music.

---

• 96.01.09 - Glenn Spearman Double Trio: Spearman (ts), Larry Ochs (reeds), Chris Brown (p), Ben Lindgren (b),
  William Winant (perc), Donald Robinson (dr) / Rastacan Record’s Dark Circle Lounge, Hotel Utah, San Francisco, CA
  [Cadence Vol.22 no.2 February 1996 p.20]

96.01.26 • Glenn Spearman Quintet (Double Trio Minus One) [BR—75:37]

{CDr; Heinrich Smejkal 02.12.18; Chris Brown, Selected Performances, from the Mills College Archives at www.mills.edu}

• 96.02.01 through 96.12.31 - Glenn Spearman, Artist in Residence /
  Headlands Center for the Arts, Golden Gate National Recreation Area, Sausalito, CA
  [www.headlands.org; Holly Blake 09.11.30]

“He had what’s called a live-out residency, meaning he didn’t live on site, but had studio space here. His studio was in Building 952,
otherwise known as The Gym, and consisted of an old basketball court along with a smaller back room and balcony.
In his letter applying for the residency, Glenn cited a need for a space ... where he could concentrate and focus on compositional projects.
He said he had recently started a big band: ‘The Headlands residency is exactly what I am looking for at this stage in my career, a place
to dig deeper through investigation and the solving of musical problems inherent in big-band composition. To be in a community that
is stimulating to the entire artistic process can help me to be more effective, adding some real polish to a lot of the composing I have
to do at home (where my heart is), but oftentimes because of the family obligations can lead to distractions that can be frustrating
when my moments of brilliance are upon me.’”

—Ms. Holly Blake, Residency Manager at Headlands Center for the Arts (See also: 96.04.21 and 96.10.13.)

---

• 96.02.24 - Glenn Spearman’ Double Trio: Spearman (ts), Larry Ochs (reeds), Chris Brown (p), Ben Lindgren (b),
  William Winant (perc), Donald Robinson (dr) / The Stork Club, Oakland, CA [Oakland Tribune Feb 23 “CUE” p.5]
• 96.03.02 - Glenn Spearman: no personnel details / Radio Valencia, San Francisco, CA [Cadence Vol.22 no.4 April 1996 p.124]
• 96.04.02 - Surya with Glenn Spearman: Spearman (ts), Larry Giustino (g, Comp), Stevens St. Clair (b), Spirit (dr, perc) /
  Hotel Utah, San Francisco, CA [The San Francisco Examiner Mar 31 “Datebook” p.19]

---

“In the Spring of 1996 he collaborated with Bay Area filmmaker Lynn Kirby on a video-music performance piece.”
[Joslyn Layne, All Music Guide]

---

• 96.04.21 - “Glenn Spearman and the Surya Quartet”: Spearman (ts), Larry Giustino (g, Comp), Stevens St. Clair (b), Spirit (dr, perc) /
  Open House, 12:00 to 5:00pm, Headlands Center for the Arts, Golden Gate National Recreation Area, Sausalito, CA
  “Glenn took part in two of our three Open House days that year. For the first, on Sunday, April 21, 1996, he performed with his jazz quartet,
  Surya, in a performance he called ‘Draw What You Hear.’ Glenn provided paper and drawing materials for audience members to do just that.
  We have slides of him and Surya playing, with people scattered around on the floor.”
  [Ms. Holly Blake 09.11.30, Residency Manager at Headlands Center for the Arts] —See 96.02.01 for note on Glenn’s Residency.

---

• 96.06.01 - “Words X Music”: Glenn Spearman (ts), James Routhier (g), Lisle Ellis (b), Donald Robinson (dr),
  Kit Robinson and Laura Moriarity (poetry), and “others” / Benefit for New Langton Arts’ literature and music programs,
  8:00pm, New Langton Arts, Oakland Art Gallery, Oakland, CA [San Francisco Examiner May 26 “Datebook” p.17]
• 96.06.16 - “Wordsongs”: Glenn Spearman and Richard Howell (reeds), Wayne Corbitt, Opal Palmer Adisa, and Juan Felipe Herrera (poetry) /
  8:00pm, Pro Arts Gallery, Oakland, CA [San Francisco Examiner Jun 16 “Datebook” p.21; Oakland Tribune Jun 16 “CUE” p.5]
• 96.06.23 - Surya with Glenn Spearman: Spearman (ts), Larry Giustino (g, Comp), Stevens St. Clair (b), Spirit (dr, perc) /
  6:00pm, Cato’s Ale House, Oakland, CA [San Francisco Examiner Jun 21 p.D13 + Jun 23 “Datebook” p.21]
  
• 96.06.26 - Glenn Spearman Double Trio: Spearman (ts), Larry Ochs (reeds), Chris Brown (p), Ben Lindgren (b),
  William Winant (perc), Donald Robinson (dr) / 8:30pm, Beanbenders, Berkeley, CA
  [Dan Plonsey, from “Reviews of Beanbender’s Shows” at www.plonsey.com; San Francisco Examiner Jun 23 “Datebook” p.19]
• 96.06.29 - Surya with Glenn Spearman: Glenn Spearman (ts), Larry Giustino (g, Comp), Stevens St. Clair (b), Spirit (dr, perc) /
  Radio Valencia, San Francisco, CA [San Francisco Examiner Jun 23 “Datebook” p.20; Cadence Vol.22 no.7 July 1996 p.124]
• 96.07.17 - Glenn Spearman (ts), Vinny Golia (reeds), Oluyemi Thomas (bcl), Damon Smith and Lincoln Smith (b), Spirit (dr) /
  8:00pm, Venue 9, San Francisco, CA
  [San Francisco Examiner Jul 14 “Datebook” p.20; San Francisco Weekly Jul 17 “Recordings”; Damon Smith 22.06.04]
  —Cadence (August 1996 p.4) had this as a Spearman/Golia Duo.
  “It was an insane show. ... Vinny was circular breathing, Oluyemi was spinning in circles playing bass clarinet, and Glenn
  had a big ostinato going.” —Damon Smith

96.07.27 • Raphé Malik: The Short Form Eremite Records MTE05 (CD) 1997 July 27, 1996 / Fire in the Valley Festival, Bezanson Auditorium, U. Mass., Amherst, MA  1. Invocation: Spiel City  2. Ray (thine own)  3. Civilization After Coltrane  4. Big G  5. Hightail  6. Gem Stone  7. Grab Bag of Crabs on the Bayou   8:00  10:00  13:03   7:36   4:57   7:16   7:55 Raphé Malik (tp, Comp), Glenn Spearman (ts), George Langford (b), Dennis Warren (dr) {MTE05; Daily Hampshire Gazette Jul 19 p.1 + p.8; The Boston Globe Jul 26 p.C14}

• 96.08.03 - Glenn Spearman Double Trio: Spearman (ts), Larry Ochs (reeds), Chris Brown (p), Ben Lindgren (b),
  William Winant (perc), Donald Robinson (dr) / “CD Release Party,” 7:00pm, Radio Valencia, San Francisco, CA
  [San Francisco Examiner Jul 28 “Datebook” pp.18-19 + Aug 7 p.D13]

96.08.15 • William Hooker: Mindfulness

• (V/A) The Texaco New York Jazz Festival Radio Series Live at The Knitting Factory, Show 4
  A World of Energy [radio sampler in paper sleeves w/ no select #] (6CD) 1998

August 15, 1996 / Slim’s, San Francisco, CA  1. Solemn Breath: Knowledge / In This Earth—Body  2. Flow—RT. 1 [Awake]  3. Principles of Duality  4. Living Organs—Parallel Planes  5. Archetypal Space  20:52   9:54   1:16  20:00   5:19 —The Texaco New York Jazz Festival has an excerpt of 5:57 which fades in and fades out. —LP reissue has two bonus tracks sana Spearman. “Archetypal Space” contains a portion of the track “For the Falling Dream” by Uzezt Plaush, written by Paul Schütze. Glenn Spearman (reeds), DJ Olive (turntables), William Hooker (dr, spoken words) {KFW 213; Texaco CD #4; San Francisco Weekly August 14, 1996}

• 96.08.21 - Don Paul’s o.s.a.d.o.m.a.g.: Don Paul (poetry), Glenn Spearman (ts), Myles Boisen (g), George Cremaschi (b), Donald Robinson (dr),
  others... / Venue 9, San Francisco, CA [San Francisco Examiner Aug 18 “Datebook” p.21]

96.09.07 • Marco Eneidi & The American Jungle Orchestra: S/T Boticelli Records 1012/13 (2CD / ltd. edition 500 copies) 1996 —1st Session [See also 96.09.14] September 7, 1996 / Venue 9, San Francisco, CA  1. Landscapes I + II  2. Last Flight of the Nez Perce (walowa)  21:36   9:38 Marco Eneidi (as, Comp, Cond), Glenn Spearman (ts), Phillip Greenlief (ts, ss, wood flute), Alex Weiss (as), Bruce Ackley (ss), Jon Raskin (bar), Hal Forman (tp), Ron Heglin, Chris Cox (tb), Tom Heasley (tu-1), Matthew Goodheart (p), Tara Flandreu (vn), Damon Smith, George Cremaschi, and Ashley Adams (b), Garth Powell (dr, perc), “Special Guest” Jackson Krall (dr)

96.09.14 • Marco Eneidi & The American Jungle Orchestra:

 + Special Guest ROVA: “ROVA couldn’t, 'cept for Jon and Bruce, which plus Glenn and Greenlief became RAGS.” —Marco Eneidi

{Boticelli 1012/13; Marco Eneidi 09.12.09; Session dates from Phillip Greenlief 09.12.12}

96.10.00 • Surya: Up Surya SAM-118 (CD) 1996 October, 1996 / 135 Bluxome Street, San Francisco, CA  1. Up (Part 1)  2. Up (Part 2)  22:22  24:00 Glenn Spearman (ts), Larry Giustino (g, Comp), Clarence Stephens St. Clair (b), Spirit (dr, perc) {SAM-118}

• 96.10.04 - Glenn Spearman Double Trio: Spearman (ts), Larry Ochs (reeds), Chris Brown (p), Lisle Ellis and (b),
  Donald Robinson and William Winant (dr) / 8:00pm, Kuumbwa Jazz Center, Santa Cruz, CA
  [Santa Cruz Sentinel Oct 4 “Spotlight” p.9 + p.12 + p.14]
• 96.10.13 - Surya: Glenn Spearman (ts), Larry Giustino (g, Comp), Stevens St. Clair (b), Spirit (dr, perc),
  Shantee Rose, Rebecca Sheridan, and Myeongsuk Jeong (dance) /
  Fall Open House, Headlands Center for the Arts, Golden Gate National Recreation Area, Sausalito, CA
  [Holly Blake 09.11.30, Residency Manager at Headlands Center for the Arts] —See 96.02.01 for note on Glenn’s Residency.
  “For the Fall Open House on Sunday, October 13, 1996, Glenn performed with Surya and dancers. ... We also have slide
  documentation of that performance.” —Ms. Holly Blake
• 96.10.25 - Glenn Spearman Double Trio: Spearman (ts), Larry Ochs (reeds), Chris Brown (p), Lisle Ellis and (b),
  Donald Robinson and William Winant (dr) / Venue 9, San Francisco, CA [Cadence Vol.22 no.11 November 1996 p.123]
• 96.11.11 - Glenn Spearman Double Trio: as above / 8:00 and 10:00pm, Yoshi’s Nitespot, Oakland, CA
  [San Francisco Weekly November 6, 1996; San Francisco Examiner Nov 10 “Datebook” p.17]
• 96.12.08 - Glenn Spearman Group: Spearman (ts), Marco Eneidi (as), Matthew Goodheart (p),
  John Schott (elg), Lisle Ellis (b), Donald Robinson (dr) / Beanbenders, Oakland, CA [Dave Anderson 12.02.23]
• 96.12.09 - Surya: Glenn Spearman (ts), Larry Giustino (g, Comp), Stevens St. Clair (b), Spirit (dr, perc) /
  8:00 & 10:00pm, Yoshi’s Nitespot, Oakland, CA [Oakland Tribune Dec 9 “CUE” p.2]

1997 : : :

97.01.25 • Marco Eneidi, Glenn Spearman, William Parker, Jackson Krall: Live at Radio Valencia

{Botticelli 1014}

• 97.01.26 - Marco Eneidi’s American Jungle Orchestra with guests Parker & Krall: Glenn Spearman and Elliot Levine (ts),
  Marco Eneidi (as), William Parker (tu), Jackson Krall (dr), others... / Beanbenders, Berkeley, CA /
  [Dan Plonsey, “Reviews of Beanbender’s Shows,” www.plonsey.com; Phillip Wayne Greenlief 16.11.14;
  Cadence Vol.23 no.1 January 1997 p.18]
  “Eneidi’s Orchestra played one long piece. The group consisted of about seven saxes and clarinets, a chorus of five or six people,
  perhaps five bass players, two drummers, and Parker on tuba. The music consisted of about ten musical fragments for the orchestra,
  and perhaps as many textural fragments for the chorus. Simple as these were, Eneidi wove them together with dexterity, keeping
  things moving, making contrasts, cueing soloists” —Dan Plonsey
• 97.02.11 - Glenn Spearman (ts), Larry Ochs (reeds), Myles Boisen (g), Donald Robinson (dr) / Venue 9, San Francisco, CA
  [San Francisco Examiner Feb 9 “Datebook” p.15]
• 97.02.12 - Glenn Spearman (ts), Larry Ochs (reeds), Donald Robinson (dr) / Radio Valencia Cafe, San Francisco, CA
  [Cadence Vol.23 no.3 March-February 1997 p.124]

97.00.00 • Spearman, Eneidi, Malik, Cremaschi, & Powell [Unissued Studio Recording—50:00]

“All together there are 50+ minutes of music from this session—several short improvised trios with Marco, Garth, and me, and a few longer
composed quintet tracks. Eleventh Hour was set to be released on Music & Arts, and they basically reneged.” —George Cremaschi

{www.youtube.com/watch?v=S6CL9ewD9E8; George Cremaschi 16.11.14}

• 97.03.22 - Matthew Goodheart Trio: Glenn Spearman (ts), Goodheart (p), Donald Robinson (dr) /
  7:30pm, Radio Valencia, San Francisco, CA
  [Cadence Vol.23 no.3 February-March 1997 p.123; San Francisco Examiner Mar 21 p.C13]
• 97.05.18 - ROVA + 4: Glenn Spearman (ts), Larry Ochs (ts, sss), Bruce Ackley (ts, ss), Andy Laster (as, bar),
  John Raskin and Steve Adams (as, bar, sss), Vinny Golia (ss, bar, bsx) / Victoriaville, Quebec, Canada
  [Cadence Vol.23 no.7 p.28; CODA #275, September/October 1997 p.10; Laurence Svirchev 03.12.18]
  “Three compositions by Larry Ochs:” Triceratops; Initials; unknown title.

97.05.21 + 05.22 • The Glenn Spearman & John Heward Group: th CIMP 148 (CD) 1998 (V/A) CIMPosium—Volume 4 CIMP #704 May 21 & 22, 1997 / The Spirit Room, Rossie, NY  1. Irreversible Blues (Spearman)  2. Gathering the Ancestors (Heward)  3. 3 for John (Spearman)  4. Summoning (Spearman/Heward)  5. Arista Africanapata (Spearman)  6. Moment in Time (Duval)  7. Stone Soup (Heward)  8. Initiation (Spearman)  9. The Natural Thing (collective)  10:42   7:51   8:59   5:04   9:30  10:01   6:17   5:39   7:17        (kalimba+voc + dr duo)  (4tet sans DP)      (ts, b, dr trio)  (4tet sans DP) —th has a 3:24 excerpt of track 7.

{CIMP 148; CIMP #704}

97.05.24 - Glenn Spearman & John Heward Duo: Spearman (ts), Heward (dr) / Unitarian Meeting House, Amherst, MA [The Boston Globe May 23 p.D16] Poster by James Burpee, from Signal to Noise Issue #58, Summer 2010 p.28

97.05.28 • (V/A) Vision One—Vision Festival 1997 Compiled AUM Fidelity AUM007/8 (2-CD) 1998 / Ltd. Edition 1,000 copies Glenn Spearman’s Trio Hurricane [WKCR-FM Archival Recording—35:30] (V/A) Inside Out in the Open [Color Film—60:00] Asymmetric Pictures (BETA SP) 2001; ESP 4042 (DVD) 2008 May 28, 1997 / Vision Festival, Angel Orensanz Center, New York City  1. composition/improvisation   22:30  2. composition/improvisation   12:00 Vision One—Vision Festival 1997 Compiled has a 6:30 excerpt titled “Hurricane.” Inside Out in the Open has un unidentified film excerpt of unknown duration. Glenn Spearman (ts), William Parker (b), Paul Murphy (dr) {AUM007/8; www.insideoutintheopen.net/home.htm; WKCR-FM Archive 07.07.31}

• 97.06.22 - Glenn Spearman Trio: Spearman (ts), Matthew Goodheart (p), Donald Robinson (dr) / Berkeley Arts Festival,
  3:00pm, Berkeley Public Library, Berkeley, CA
  [The San Francisco Examiner Jun 22 “Datebook” p.30; Matthew Goodheart Resume at users.lmi.net/~mgheart/resume.html]

97.06.08 • Glenn Spearman: Blues For Falasha Tzadik TZ 7130 (CD) 1999, 2016 June 8, 1997 / Bay Recording, Berkeley, CA  1. The Old Book  2. Rituals  3. Water And Dirt  4. Sounds   2:14   5:26  10:01  28:13 Glenn Spearman (ts, recitation, Comp), Larry Ochs (ts, ss), Chris Brown (p, prep-p), Lisle Ellis (b), William Winant (dr, perc, tym), Donald Robinson (dr, perc) {Tzadik TZ 7130; DMG 16.01.28}

97.07.26 • Trio Hurricane: Live at Fire in the Valley eremite Records MTE10 (CD) 1998 July 26, 1997 / Fire In the Valley Festival, Amherst, MA  1. Initiation (Spearman)  2. Blues for John & Frank (Spearman)  3. Tones for William (Spearman)  4. N.Y.N.Y. (Spearman)  5. The Natural (Spearman/Parker/Murphy)  12:50  10:27  11:41  11:10   5:08 Glenn Spearman (ts), William Parker (b), Paul Murphy (dr) {MTE10; The Boston Globe Jul 25 p.C11}

• 97.06.22 - Glenn Spearman Trio: Spearman (ts), Matthew Goodheart (p), Donald Robinson (dr) / Berkeley Arts Festival,
  3:00pm, Berkeley Public Library, Berkeley, CA
  [The San Francisco Examiner Jun 22 “Datebook” p.30; Matthew Goodheart Resume at users.lmi.net/~mgheart/resume.html]
• 97.09.13 - Susie Ibarra Trio: Glenn Spearman (ts), Chris Brown (p), Ibarra (dr) / 8:00pm, Concert Hall, Mills College, Oakland, CA
  [The San Francisco Examiner Sep 7 “Datebook” p.23]
• 97.10.05 - Glenn Spearman Trio: Spearman (ts), Matthew Goodheart (p), Donald Robinson (dr) / 7:00pm, Radio Valencia, San Francisco, CA
  [The San Francisco Examiner Oct 5 “Datebook” p.19]
• 97.10.29 - Glenn Spearman Double Trio: Spearman (ts), Larry Ochs (reeds), Chris Brown (p), Lisle Ellis and (b),
  Donald Robinson and William Winant (dr) / ROVA 20th Anniversary Celebration, Bimbo’s, San Francisco, CA
  [The San Francisco Examiner Oct 24 p.B11]
• 97.11.08 - RaphéMalik Quartet: Glenn Spearman (ts), Malik (tp), possibly William Parker (b), probably Dennis Warren (dr) /
  8:00pm, Unitarian Meetinghouse, Amherst, MA [Daily Hampshire Gazette Nov 6 p.33 + p.38]
• 97.11.12 - Dennis Warren’s Full Metal Revolutionary Jazz Ensemble: Glenn Spearman (ts), Warren (dr), unknown others /
  Johnny D’s, Boston, MA [Daily Hampshire Gazette Nov 6 p.33 + p.38]

1998 : : :

• 98.01.11 - Matthew Goodheart Trio: Glenn Spearman (ts), Goodheart (p), Donald Robinson (dr) / Benicia, CA
  [Askai Touré “Meeting Celebrates The Life Of Frank Kofsky,” The Militant, Vol.62/No.3 January 26, 1998]
  
  “More than 50 friends, collaborators, and colleagues of Frank Kofsky met here January 11 to celebrate his life. Kofsky, a professor of
  history of California State University at Sacramento, author, and frequent lecturer on jazz, was 62 years old when he died November 19.
  He was the author, among other works, of Black Nationalism and the Revolution in Music, its revised edition John Coltrane and the Jazz
  Revolution of the 1960s, and the forthcoming new book Black Music, White Business: Illuminating the History and Political Economy
  of Jazz, all published by Pathfinder Press.
  Glenn Spearman, a jazz musician and instructor at Mills College in Oakland who was a longtime friend of Kofsky’s, commented that
  ‘Frank knew jazz. He respected and knew the hard way jazz artists have to go in the United States.’”
  —Askai Touré


• 98.01.18 - Glenn Spearman Trio: Spearman (ts), George Cremaschi (b), Donald Robinson (dr) / 2:00pm, Central Library, Berkeley, CA
  [The San Francisco Examiner Jan 18 “Datebook” p.15]
• 98.01.24 - Glenn Spearman’s G-Force: Spearman (ts), Marco Eneidi (as), James Routhier (g), George Cremaschi (b), Donald Robinson (dr) /
  “The Premiere of” The Sweat Shop, San Francisco, CA
  [Craig Matsumoto, The Wedge Page, “Creative Music—Recent History” and “Music Log”; George Cremaschi 16.11.14]
  —Cadence Vol.24 no.2 February 1998 p.140 has venue as “Inside Out.”

---

“The last time I heard from him, Xmas ’97 when he wrote about doing a quartet with Leo Smith in February ’98 as well as G-Force
opening a San Francisco club. The next thing I heard was from Shantee, his wife, of his passing after I’d sent some tapes of his
favorite, Frank Wright.” —Roy Morris 06.06.19

---

• 98.02.07 - Matthew Goodheart Trio + Leo Smith: Glenn Spearman (ts), Smith (tp), Goodheart (p), Donald Robinson (dr) /
  Radio Valencia Cafe, San Francisco, CA [SF Weekly February 11 “Riff Raff”; The San Francisco Examiner Feb 1 “Datebook” p.14]
  —Cadence Vol.24 no.2 February 1998 p.140 has venue as “Inside Out,” same as 98.01.24 above.

98.02.18 • Glenn Spearman and Dennis Warren: Duet FMRJE, no catalogue # (CDr) 2002 February 18, 1998 / Green Street Grill, Cambridge, MA  1. improvisation   30:37  2. improvisation    9:57 Glenn Spearman (ts), Dennis Warren (dr) {FMRJE CDr; Bob Blumenthal “Sound Choice” The Boston Globe Feb 13 p.D18}

• 98.02.23-03.13 - Improvised Music Workshops with Glenn Spearman / Mills College, Oakland, CA
  [Cadence Vol.24 no.2 February '98 p.140]
  “Beginning February 2 ... The guest artists/instructors include LA trumpeter Wadada Leo Smith, ... Oakland saxophone colossus
  Glenn Spearman, ... East Bay violinist India Cooke, ... and ingenious conductor/cornetist Butch Morris. ... Each workshop will
  meet twice a week for three weeks, with a public performance expected to cap each session.”
  —Sam Prestianni, San Francisco Weekly, January 20, 1998
  
• 98.02.25 - Marco Eneidi’s American Jungle Orchestra: Spearman (ts), Eneidi (as), unknown others / Edinburgh Castle, San Francisco, CA
  [Craig Matsumoto The Wedge Page “Creative Music—Recent History”]
• 98.02.26 - Marco Eneidi & Glenn Spearman Sextet: Spearman (ts), Eneidi (as), unknown others, “Double-sax free-jazz attack” /
  10:30pm, The Stork Club, Oakland, CA [ibid]
• 98.03.09 - Marco Eneidi’s American Jungle Orchestra: Spearman (ts), Eneidi (as), unknown others / Luggage Store Gallery, San Francisco, CA
  [ibid; Cadence Vol.24 no.4, April 1998 p.140]
• 98.03.16 - Marco Eneidi’s American Jungle Orchestra: as above / Luggage Store Gallery, San Francisco, CA [ibid]
• 98.03.23 - Marco Eneidi’s American Jungle Orchestra with John Lindberg and Bertram Turetzky—Tribute to David Izenzon:
  Spearman (ts), Eneidi (as), John Lindberg and Bertram Turetzky (b), unknown others / Luggage Store Gallery, San Francisco, CA [ibid]
• 98.03.30 (1) - Marco Eneidi’s American Jungle Orchestra with Special Guest Anthony Brown: Spearman (ts), Eneidi (as),
  Anthony Brown (perc), unknown others / Luggage Store Gallery, San Francisco, CA [ibid]
• 98.03.30 (2) - Marco Eneidi’s Small Ensemble: Spearman (ts), Eneidi (as), unknown others / Luggage Store Gallery, San Francisco, CA [ibid]
• 98.04.19 - Marco Eneidi’s American Jungle Orchestra present William Butler Yeats’ “Deirdre,” directed by Jessica Loos:
  Glenn Spearman (ts), Eneidi and Gianni Gebbia (as), Damon Smith (b), Spirit (perc), others... / Beanbender’s, Berkeley, CA
  [Cadence Vol.24 no.4, April 1998 p.140]
  “When I was volunteering for the Beanbender’s series, I recorded the April 19, 1998 performace of the American Jungle Orchestra.
  I remember Glenn playing that night, and my notes confirm this.” —Michael Zelner 09.12.08
• 98.05.00 - Myles Boisen Guitar Trio: Glenn Spearman (ts), Marco Eneidi (as), Boisen (g) / The Sweat Shop, San Francisco, CA
  [Cadence Vol.24 no.6, June 1998 p.2]
• 98.05.04 - Glenn Spearman Trio: Spearman (ts), Adam Lane (b), Donald Robinson (dr) / “Jazz/Art,”
  7:00pm, South Branch Library, Berkeley, CA [The San Francisco Examiner May 3 “Datebook” p.22]
  “Audience is invited to draw while listening. Drawing materials provided.”
• 98.05.09 - Glenn Spearman Trio: as above / The Sweat Shop, San Francisco, CA
  [Cadence Vol.24 no.6, June 1998 p.2] “Playing the music of Cecil Taylor”

98.05.25 • Raphé Malik Quartet: Companions Eremite Records MTE 034 (CD) 2002 May 25, 1998 / The Vision Festival, Orensanz Art Center, New York City  1. Lyon’s Jump  2. Emblematic  3. Health Food  4. Bend  13:24  10:38   9:53   7:19 “Jimmy Lyons Tribute, and the final Malik/Spearman concert.” —from the liners. Raphé Malik (tp, Comp), Glenn Spearman (ts), William Parker (b), Paul Murphy (dr) {MTE013}

• 98.00.00 (2) - Raphé Malik Quintet: Malik (tp), Glenn Spearman (ts), others... / Albany, NY
  [Peter Gershon (Signal to Noise) March 23, 2003]
  “Sometime in early 1998.”
• 98.05.30 - Jazz Summit: Glenn Spearman (ts), Bill Grove (cl), Raphé Malik (tp), Bob Fenton (p), David Prentice (vn),
  John Heward and Mark Hundevad (dr), “among others” / 9:00pm, Barcode, Toronto, Ontario, Canada
  [“The List: A critical guide to what’s happening” The Globe and Mail May 30; Toronto Star May 28 p.H-7]
• 98.06.13 - Don Paul (poetry) & Glenn Spearman (ts) / North Beach Festival, Poetry Stage, San Francisco, CA
  [San Francisco Weekly June 10, 1998]

  “Son of the Beach Beat poet Jack Micheline died rather unceremoniously on a BART train earlier this year, but his work, contained
  in 20-odd volumes of poetry, lives on at the North Beach Festival’s poetry stage, which makes reference to his death-in-transit with
  the theme ‘The Beat Rolls On.’ Like every other street fair in the city, the North Beach Festival will be jammed with food booths
  and art of questionable merit, but the poetry stage, the only one of its kind among all the city’s fairs, offers a little local color with
  an homage to the North Beach beat scene. Jazz poet Ruth Weiss teams up with the Marcus Shelby Trio, and poet/performer Don
  Paul is accompanied by saxophonist Glenn Spearman; chapbooks and other poetry paraphernalia will be sold. The fair’s other
  distinguishing characteristics include ‘L’Infiorata,’ a block-long re-creation of famous art, done in flower petals by two teams
  of Italian artists, and the blessing of the animals by Franciscan monks from the Shrine of St. Francis. The festival begins at
  10:00am (also Sunday) on the 1200-1500 blocks of Grant, the 500 block of Green, the 1500 block of Stockton, and in Washington
  Square Park, San Francisco, CA. Admission is free.”

• 98.06.25 - Glenn Spearman (ts), John Hinds (ts, ss,, perc), Peter Hinds (perc), Paul Murphy (dr) / Oakland, CA [Peter Hinds 04.01.06]

98.07.02 • Matthew Goodheart Trio + One [AR—60:00]

{Ras Moshe 04.01.16}

• 98.07.06 - Marco Eneidi’s American Jungle Orchestra: Spearman (ts), Eneidi (as), unknown others / Luggage Store Gallery, San Francisco, CA
  [Craig Matsumoto The Wedge Page, “Creative Music—Recent History”]
• 98.07.13 - Marco Eneidi’s American Jungle Orchestra: as above / Luggage Store Gallery, San Francisco, CA [ibid]
• 98.07.16 - Glenn Spearman (ts), John Hinds (ts, ss, perc), Kash Killion (ce), Paul Murphy (dr) / Oakland, CA [Peter Hinds 04.01.06]

98.07.20 + 07.21 • Glenn Spearman & Dominic Duval: Working With the Elements

(V/A) CIMPosium Volume Six #176-190 Creative Improvised Music Projects CIMP #706 (CD) 1999 July 20 & 21, 1998 / The Spirit Room, Rossie, NY  1. Step Up  2. Series Series  3. Augh Oh  4. Legato  5. Sass Bolo  6. Zantackin Down  7. Call Separation  8. Sitting In  9. Senortolo—Back By the Bay   9:32  12:19  11:11   9:10   5:47   5:17   5:32   4:29   3:35 —Track 9 is a Spearman tenor solo; track 5 is a Duval bass solo. Glenn Spearman (ts), Dominic Duval (b) {CIMP #181}

98.07.25 • Glenn Spearman: First and Last Eremite MTE015 (CD) 1999 IT July 25, 1998, 1:00pm / 1998 Fire In The Valley Festival, Amherst, MA —Spearman’s last earth gig/recording...  1. Intertextural Reference (Goodheart)  2. Under the Incalculable Sky,     Listless, Diseased with Stars (collective)  21:10  21:58   “According to Shantee, Spearman was able to fulfill his last wishes, which were to travel by train with his family to Maine and to play his last concert ‘full out’ at the Fire in the Valley Festival in Amherst.” —Bay Area Artists of the Diaspora: Glenn Spearman, Mills College Archives Glenn Spearman (ts), Matthew Goodheart (p), Rashid Bakr (dr) {MTE015; The Boston Globe Jul 23 “Calendar” p.28 + Jul 24 p.D17}

98.08.15 - Marco Eneidi’s Mystery Ensemble: Eneidi (as), unknown others, perhaps Spearman... / The Sweat Shop, San Francisco, CA
[Craig Matsumoto The Wedge Page “Creative Music—Recent History”]

“You may or may not know that Glenn was working on a duo record with Donald Robinson for Michael Ehlers before he died.
This project remains unreleased and in my vault. Inquiries to Ehlers about the fate of this project have gone unanswered.”
—Myles Boisen (Guerrilla Recording) 09.12.08

---


October 7th, 1998 : : :


“I asked him, ‘Are you dying?’ He said, ‘No.’”

—Glenn Spearman’s wife, Shantee, on the night before his death

[Jack Foley, “Glenn Spearman, The Musa-Physics: Myth—Science—Poetics, Ascension Publication,” The Alsop Review]

October 7th, 1998 : : :

A memorial service will be held tomorrow for Glenn Spearman, a saxophonist and composer who for the past decade was a leader
of the Bay Area improvised-music scene. Mr. Spearman died of colon cancer Thursday at his home in Berkeley at the age of 51.

A big man with a big heart and a big sound on the tenor sax, Mr. Spearman was always seeking ways of creating opportunities
for local musicians. He was an enthusiastic instructor as well as a performer and recording artist.

Mr. Spearman was born in New York City to a family saturated in music, thanks mainly to his father, an opera singer. At age 11,
he and his mother moved to Concord, where he later attended Mount Diablo High School. An All-Northern California football player,
he enrolled at Colorado State University on scholarship, later transferring to San Jose State University, where he began playing
saxophone. An acolyte of pioneering free-jazz players such as Albert Ayler and Cecil Taylor, Mr. Spearman performed at several
Bay Area venues in the late ’60s and early ’70s, including the Native Son in Berkeley and Stanford University’s Dinkelspiel Auditorium.
After living and working in Europe for a few years, he returned to the United States in 1978 but continued to perform frequently
in Europe. In 1983, he was hired by Taylor and performed with the eminent pianist for a year. After that, work came more frequently.
In 1990, he received a New England Federation for the Arts Meet the Composer grant, the first of several stipends. That year, he also
formed the Glenn Spearman Double Trio, which would perform in Europe, Canada, and the United States and record three CDs
that have been released and a fourth one that is due out. In 1993, when the local improvised-music scene—an alternative to mainstream
jazz—was blossoming, Mr. Spearman joined the faculty of Oakland’s Mills College to teach creative music tradition, saxophone,
and improvisation. In 1995, he became a visiting professor at Hampshire College in Amherst, Mass., and, in 1996, he was selected as
artist-in-residence at the Marin Headlands Center for the Arts. In the past few years, he has released several CDs under his leadership,
and appeared as a sideman on others. In 1996, he and alto saxophonist Marco Eneidi began leading a large ensemble of local musicians
called the Creative Music Orchestra and released a CD by that name last year. A collection of Mr. Spearman’s poems and philosophy,
Musaphysics, was published last year by Small Press Distribution of Berkeley.

Mr. Spearman is survived by his wife, Shantee Baker Spearman of Berkeley; his mother, Marianne Ellis of Oakland; his father,
Rawn Spearman of Nashua, NH; and four children: Rose Steiger of Rotterdam, Holland; Ahmad and Jihan of Oakland; and Angelica
of Berkeley. He also cared for stepchildren Jessica and Jasper Kingeter of Berkeley. A memorial service at Harris Funeral Home,
1331 San Pablo Ave., Berkeley, will be held at 11:00am tomorrow. Visitation at the Funeral Home is from 3:00 to 6:00pm. today, with
a quiet hour from 6:00 to 7:00pm. A benefit concert/jam session for Mr. Spearman’s family will be held November 21 at the Berkeley
Store Gallery, 2295 Shattuck Ave., Berkeley.

—David Rubien Obituary, The San Francisco Chronicle Oct 10 p.A-21

October 16th, 1998 : : :

Sharon Caya / The Mills College Weekly, October 16, 1998

The Mills community mourns the death of Glenn Spearman, a Mills professor, saxophonist, composer, son, husband, father and
friend to many. Spearman died on Thursday morning, October 8, after a brief bout with colon cancer. His wife, Shantee Baker
Spearman, said “Glenn was sleeping peacefully and died in peace at home, surrounded by his loved ones.” Spearman began at
Mills as a guest lecturer for a freshwoman seminar presented by David Bernstein and Thomas Strychacz in 1992. “The minute
Glenn started talking,” said Bernstein, “we knew he was a gifted teacher.” Spearman joined Mills in 1993 and took on the
Creative Music Tradition class where he lectured on jazz greats like John Coltrane, Ornette Coleman, Billie Holiday and Sun Ra.
Spearman was also a great help to his colleagues. “Glenn helped develop their improvisational skills within a context close to
the African American tradition,” said Bernstein, who regarded Spearman as “a mentor for those folks in our department.”

Bernstein went on to say that “Glenn really did build bridges his whole life between different sorts of people, ... both on a personal
level, a philosophical level, and a musical level.”

An accomplished musician, Spearman began piano lessons at age six and tried a number of instruments before settling on the tenor
saxophone in college. “The first few years, Glenn would say he didn’t know anything about how to play the horn,” said Marco
Eneidi, a friend and colleague. “He just blew really hard and it screamed.”

Spearman spent three years at the University of Colorado before he left school to pursue a career in music. “It was the ’60s and
there was a whole lot of stuff to be dropping out over,” he told reporter Renee Doruyter of the European Jazz Journal in 1992,
“the whole sense of Black pride, power. For me it was a profound time, when I searched for roots and found them in the music.”

He studied with multi-instrumentalist Dave Ellis (his stepfather), master musician Cecil Taylor in New York, and saxophonist
Frank Wright in Paris. “They called him ‘little Frank,’” Eneidi said.

Spearman served on the board of directors of New Langton Arts in San Francisco from 1995 to 1996 and lectured at many
colleges and conservatories in New England, Canada, and California. In addition to writing over 500 compositions for the tenor
sax, he also composed four large orchestral works. He was involved in many free jazz groups, including Glenn Spearman’s
G-Force and The Glenn Spearman Double Trio. ...

Spearman toured extensively in Europe in the 1970s where a greater audience for “free jazz” existed. It was in Paris where he
met his close friend of 27 years, Donald Robinson. Robinson characterized Spearman as a man of passion. “What you saw is
what he was compelled to do,” said Robinson.

While Spearman did not have the same academic training as some of his colleagues, he was well-respected as a serious artist.
“I’m a revolutionary and a rebel,” Spearman once said, “and I just did it my way.” Bernstein said, “to be in the Cecil Taylor
Unit—it’s like getting a P.h.D in improvisation. Glenn was a very advanced virtuoso, a musical thinker and composer.”

Spearman’s father, Rawn Spearman, is a consummate opera artist and a master of Negro spirituals and folklore, according to
J.D. Parran, a visiting music professor at Mills who studied clarinet with Spearman’s uncle, Ohara. Spearman said both men
had a lot in common, including “a high level of sweetness, spirituality, magnetism and a goodness toward his fellow man.
Glenn was the kind of person that a lot of people gathered around.”

This was true at Spearman’s memorial service, as the room overflowed with people. The memorial began with a flood of
organ music by Matthew Goodheart, followed by a powerful solo by long-time friend Raphé Malik. Spearman’s oldest child,
Rose, who, he learned the night before he died, just signed a recording contract with Sony, played a cover of Billie Holiday’s
“Don’t Explain.” Beautiful words were spoken by many, including a closing prayer by close friend and colleague Ben Lindgren.
“Life for Glenn was always deep and spiritual,” said Lindgren, “and he was cliché-free, going for the heart of whatever he
was doing.”

Solos were also performed by Eddie Gale, J.D. Parran, Kash Killion, and Donald Robinson. Then, Shantee, Spearman’s wife,
kissed him softly and passed his tenor saxophone on to his son, Ahmad.

November 21st, 1998 : : :

Paying Tribute to Saxophonist While Glenn Spearman’s death of colon cancer last month at age 51 was a huge loss to the Bay Area’s improvised-music community, the saxophonist’s ethos lives on in many ways—in the audience he helped develop, in the venues that sprang up to serve the audience and, most importantly, in the musicians that carry on the tradition he advanced. Dozens of these artists will participate in a benefit tribute to Spearman at Berkeley’s Beanbender’s on Saturday, with the proceeds going to his family. Spearman was a firebrand on the sax, best known for his unfettered, hurricane-like blowing, a signature of the free-jazz tradition he was schooled in. His gift involved wrapping his improvisational explosions in suite-like structures and using simple, beautiful melodies to ignite a musical conflagration. This balance of improvisation and composition came to fruition in the Glenn Spearman Double Trio, a union of two bands—Spearman’s own Trio, and Room, an avant-garde classical outfit featuring electronics, saxophone, and percussion. Room’s electronics whiz Chris Brown, who plays acoustic piano in the Double Trio and co-directs the Center for Contemporary Music at Mills College, explains: “Room was very into composed structures. Glenn’s idea was you had a series of notes —it could be very simple—and you took off from there. It was totally exhilarating. ... A kind of ecstatic dialogue would take place, where everybody was sort of speaking in tongues, playing more with their bodies than anything else.” When the Double Trio performs at the benefit Saturday, Spearman’s slot will be taken by his brilliant alto-sax-playing colleague Marco Eneidi. The second saxophonist, Larry Ochs, will be out of town, so someone yet to be named will attempt to fill his shoes. The rest of the bill consists of a constellation of bands Spearman either led or played with: an expanded ROVA saxophone lineup, G-Force (featuring Eneidi, Lisle Ellis, James Routhier and Donald Robinson), Matthew Goodheart, Positive Knowledge, J.D. Parran, Vinny Golia, Ben Lindgren, poet Jack Foley, Room’s percussion ace Willie Winant, Kash Killion, and others. Closing the show will be the American Jungle Orchestra, a 30-strong blend of professionals and students taught by Spearman and Eneidi. All present will recall Spearman as someone who pushed them deeper into their music. “We propelled each other,” says Eneidi of his late friend. “We really locked up. I never had that with anybody else.” [David Rubien The San Francisco Examiner Nov 15 “Datebook” p.49]

—“A Tribute Concert for Glenn Spearman ... Featuring ... [in additon to those listed above] Spirit, Oluyemi Thomas, Don Paul,
 Ijeoma Thomas, Jasper Baker, and Ahmad Spearman.”
 [Craig Matsumoto The Wedge Page “Creative Music—Recent History”]

March 6th, 1999 : : :

Glenn Spearman Memorial Concert with Raphé Malik, William Parker... / Unitarian Meetinghouse, Amherst, MA
[Bob Blumenthal “Arts & Film” The Boston Globe, March 5, 1999]

“Other folks who played at the March 6 memorial concert in Amherst were Marco Eneidi, Donald Robinson (who was fucking incredible
that night), Dominic Duval, and myself (I played duo with Duval), and I think Sabir Mateen and John Heward also played.”
—Matthew Goodheart 09.12.15

Glenn Spearman Music Festival, February 13 to 18, 2000 / Mills College Concert Hall, Mills College, Oakland, CA

March 13th : : : Dedication of the Glenn Spearman Archive into the Mills College Library Collection, with a Panel Discussion /
2:00pm, Olin Library, Heller Rare Book Room, Mills College, Oakland, CA

March 14th : : : Double Trio: performance and live recording of Glenn Spearman’s last major composition,
“Nut Dust and Powder before the Altar (Goobers)” performed by the original members of Glenn Spearman’s Double Trio,
including Larry Ochs, Chris Brown, William Winant, Lisle Ellis...”

March 15th : : : The Mills College Contemporary Performance Ensemble under the direction of Fred Frith,
with guest soloists Karen Borca, Oluyemi Thomas, Spirit, and Jack Foley.

March 16th : : : Marco Eneidi’s “OTA Xstatic” with Damon Smith, Marshall Trammell, and Nicco Eneidi;
JD Parran & Shantee Spearman Duo; What We Live: Larry Ochs, Lisle Ellis, Donald Robinson.

March 17th : : : Marco Eneidi, Eddie Gale, Karen Borca, Kash Killion, and Donald Robinson Quintet; Chris Brown Solo piano;
Positive Knowledge: Oluyemi Thomas, Ijeoma Thomas, Spirit; Matthew Goodheart Solo piano.

March 18th : : : Marco Eneidi and the American Jungle Orchestra; 40-piece orchestra with full string section and vocal choir.

[www.bayimproviser.com/events.htm]

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