A Note from Your Mad Discographer:

    I’ve been deeply involved in the arts since the mid-’70s, but I’ve never known how to monetize my talents. I’ve never had a hint
    of financial savvy; I am—like a clueless child—almost entirely dependent at the age of 69 on next week’s pay-check; and I am
    “unaffiliated” and on my own here. I also get constant feedback from people all over the world who’ve been telling me, lo these
    many decades, that the work I do is invaluable. And so I’m reaching out.
    There are expenses I constantly struggle to meet: website hosting, an Adobe account for the software that makes the website
    and book layouts possible, subscriptions to newspaper archives, and numerous other expenses. Then there are the absurd number
    of hours I feel compelled to spend gathering and organizing and formatting the information that I find.
    I receive a Social Security check that meets just about half of my living expenses, and I drive a tiny school bus part-time for
    a daycare center that barely covers the rest. So if you appreciate the work that I do and are willing and able to help a boy out
    with any amount, either one-time or monthly, I would be most grateful. —RL

    * * * And Another Thing * * * :
    This document has undergone extensive reformatting and editing in the past month. I’ve added lots of dates, upgraded the images,
    and done a proofreading run-through. Still to come: Narrative sections got from interviews, and detailing of unissued sessions.
    (Updated this day, July 31, 2022. —RL)






The
David S. Ware
Sessionography



(November 7, 1949 - October 18, 2012)





A work in progress,
by Rick Lopez.


Document begun April 27, 1998

UPDATES

Latest, July 31, 2022

Photo by Nuno Martins ©2003.




David S. Ware


The Deep Digging; The Incantations; DONATE The Inspirations; All These Words...

David S. Ware Recordings at AUM Fidelity.


The companion William Parker Sessionography.


º APOGEE º the Abdul Hannan Group º

Notes on two source bands and related observations.


Extensive and highly informative interview by William Sacks in Perfect Sound Forever.


Thanks to those who’ve helped.
A brief list posted many years ago during the documents beginnings.
Subsequent credits are listed in individual session entries.


“Our forté is really the extension of the form. We succeed in situations where the platform of the melody
is haunted, where it is inhabited very fully and we each find its spaces around that presence. You know,
there has to be resistance to overcome in the pursuit of free flow, and when the spaces in a motif are not obvious,
when the existing modality seems very complex, that’s a kind of resistance which we know ways of exploring
and finding our way through by listening to one another as we’re thinking about the form..”
—David S. Ware, Interviewed by William Sacks (November 1998), from Perfect Sound Forever


Session List :::

All sessions linked below are to detailed entries for recorded media.
AR = Private or Audience Recording
AVR = Private or Audience Video
BR = Broadcast Recording
BVR = Broadcast Video
SB = Soundboard Recording

Also listed in chronological order within this sessionography and its session entries are play-dates with no known recorded media.
I would appreciate notice of any club dates, concert dates, festival dates, etcetera, that are not listed here.
Please include reference information (i.e. periodical name, issue date, page number), along with any and all relevant details.



  • 68.03.00 / David S. Ware & Gene Y. Ashton: OIC Job Training Film [Soundtrack] Boston
  • 68.00.00 (1) / Christ Gabriel Jazz Missionary Group: Christ Gabriel Jazz Missionary Group (Musicmaster)
  • 68.00.00 (2) / Abdul Hannan: The Third World (RITE)
  • 73.07.03 / Milton Marsh: Monism (Strata East)
  • 73.12.09 / APOGEE [BR] NYC
  • 74.03.12 / Cecil Taylor Big Band [AR] NYC
  • 74.06.14 / Andrew Cyrille & Maono [AR] NYC
  • 75.02.26 / Andrew Cyrille & Maono: Celebration (Institute of Percussive Studies)
    + 75.05.14
  • 75.00.00 / Andrew Cyrille & Maono [BR] NYC
  • 75.05.14 / Andrew Cyrille & Maono: Celebration (Institute of Percussive Studies)
    + 75.02.26
  • 75.07.14 / Andrew Cyrille & Maono [BR] NYC
  • 76.01.30 / Cecil Taylor Unit [AR] Philadelphia
  • 76.02.05 / William Hooker: ...is eternal life (Reality Unit Concepts)
    • William Hooker: LIGHT. The Early Years 1975-1989 (No Business Records)
  • 76.02.00 / Cecil Taylor Unit [AR] NYC
  • 76.03.30 / Cecil Taylor Unit [AR] Los Angeles
  • 76.04.12 / Cecil Taylor Unit [AR] Montreal
  • 76.04.15 / Cecil Taylor Quartet: Michigan State University, April 15th 1976 (Hi Hat Records)
    • Cecil Taylor Unit [BR] Ann Arbor
  • 76.04.20 / Cecil Taylor Unit [AR] NYC
  • 76.04.24 / Cecil Taylor Unit [AR] NYC
  • 76.05.00 / Cecil Taylor Unit [AR] NYC
  • 76.05.23 / Andrew Cyrille & Maono: Junction (Institute of Percussive Studies)
    • Wildflowers 3: The New York Loft Jazz Sessions (Douglas)
    • (V/A) Wildflowers: The New York Loft Jazz Sessions Complete (Knitting Factory)
  • 76.05.28 / Cecil Taylor Unit [AR] Philadelphia
  • 76.06.00 / Cecil Taylor Unit [SB] Brussels
  • 76.06.18 / The Cecil Taylor Unit: Dark to Themselves (ENJA)
  • 76.06.20 / Cecil Taylor Unit [AR & BR] Rotterdam
  • 76.06.23 / Cecil Taylor Unit [SB] Paris
  • 76.06.30 / Cecil Taylor Unit [BR] Hamburg
  • 76.07.03 / Cecil Taylor Unit [AR] Macerata
  • 76.07.09 / Cecil Taylor Unit [AR] Montreux
  • 76.07.10 / Cecil Taylor Unit [AR] La Rochelle
  • 76.07.11 / Cecil Taylor Unit [AR] Nimes
  • 76.07.14 / Cecil Taylor Unit [AR & BR] Bremen
  • 76.12.11 / Cecil Taylor Unit [AR] NYC
  • 77.01.14 / William Hooker Reality Unit [AR] NYC
  • 77.03.21 / 360° Ensemble [BR] NYC
  • 77.04.14 + 04.15 / David S. Ware: Birth of a Being (hat HUT)
    • David S. Ware / APOGEE: Birth of a Being (AUM Fidelity)
  • 77.04.00 (2) / Cecil Taylor Unit [AR] Nimes
  • 77.04.00 (3) / Cecil Taylor Unit [AR] Brussels
  • 77.05.26 / Beaver Harris: African Drums (Owl)
  • 77.06.11 / Cecil Taylor Unit [AR] Wilhelmshaven
  • 77.06.15 / Cecil Taylor Unit [AR] München
  • 77.06.18 / Cecil Taylor Unit [AR] NYC
  • 78.00.00 (1) / Cooper-Moore: Outtakes 1978 (Hopscotch)
  • 78.09.00 / Andrew Cyrille & Maono: Metamusician’s Stomp (Black Saint)
    • (V/A) Black Saint-Soul Note Critics’ Pick Sampler Vol. 3 (Black Saint-Soul Note)
  • 78.09.02 / Andrew Cyrille [AR & BR] Willisau
  • 78.09.30 + 10.01 / David S. Ware: From Silence to Music (PALM)
  • 79.06.30 / David S. Ware Trio [AR] NYC
  • 79.00.00 / Andrew Cyrille & Maono [WKCR Archival Recording] Paris
  • 79.10.14 / Andrew Cyrille & Maono [AR] Burghausen
  • 79.10.15 / Andrew Cyrille & Maono [AR] Innsbruck
  • 80.02.02 / David S. Ware Quartet [BR] NYC
  • 80.03.21 / David S. Ware & T. Nakamura Duo [BR] NYC
  • 80.05.09 / William Parker’s Centering Dance Music Ensemble: Centering—Unreleased Early Recordings 1976-1987 (NoBusiness)
    + 84.06.25
    • David S. Ware, William Parker, & Denis Charles Trio [BR] NYC
  • 80.09.27 / Andrew Cyrille & Maono [AR] Münich
  • 80.10.15 to 10.19 / Andrew Cyrille & Maono: Unissued Hat hut Recording Session
    • Andrew Cyrille & Maono [AR] Paris
  • 80.10.21 + 10.22 / Andrew Cyrille: Special People (Soul Note)
  • 80.11.19 / Andrew Cyrille & Maono [AR] Basel
  • 81.04.31 / David S. Ware Quartet (featuring Beaver Harris) [AR] Paris
  • 81.06.20 / Andrew Cyrille & Maono [SB] Pisa
  • 81.10.01 / David S. Ware & Milford Graves Duo [AR] NYC
  • 81.12.12 / Milford Graves Trio [AR] NYC
  • 84.06.01 / David S. Ware Trio [AR] NYC
  • 84.06.02 / (V/A) Peter Brötzmann ALARM Ensemble: Tones Cross—a Jazzfilm by Ebba Jahn (Film Pals)
  • 84.06.07 / Peter Brötzmann ALARM Ensemble [AR] NYC
  • 84.06.25 / William Parker’s Centering Big Band: Centering—Unreleased Early Recordings 1976-1987 (NoBusiness Records)
    + 80.05.09
  • 85.04.26 / Peter Brötzmann’s Alarm Orchestra [AR & BR] Berlin
  • 85.04.27 / David S. Ware Trio [AR] Berlin
  • 85.04.29 / Peter Brötzmann’s Alarm Orchestra [BR] East Berlin
  • 85.05.01 / Peter Brötzmann’s Alarm Orchestra [AR] Wuppertal
  • 87.12.03 + 12.04 / Ahmed Abdullah: ...and the Solomonic Quintet (Silkheart)
  • 88.04.04 + 04.05 / David S. Ware Trio: Passage to Music (Silkheart)
  • 88.04.17 / Bill Dixon Ensemble ("Sound Unity Orchestra") [AR] NYC
  • 89.01.28 / David S. Ware Trio [AR] Philadelphia, PA
  • 89.12.22 / Cecil Taylor Corona Ensemble [AR] NYC
  • 89.12.23 / Cecil Taylor Corona Ensemble [AR] NYC
  • 90.01.08 to 01.10 / David S. Ware Quartet: Great Bliss Vol. 1 & 2 (Silkheart)
  • 91.12.10 + 12.11 / David S. Ware: Flight of I (DIW)
  • 92.10.14 + 10.15 / David S. Ware: Third Ear Recitation (DIW)
  • 92.10.24 / David S. Ware Quartet [AR] NYC
  • 93.04.30 / David S. Ware Quartet [AR] Ulrichberg
  • 93.06.29 / David S. Ware Quartet [AR] NYC
  • 94.00.00 / David S. Ware: In Motion (Spellbound Films)
  • 94.02.03 / David S. Ware Quartet [AR] NYC
  • 94.04.12 / Rashied Ali Quintet [AR] NYC
  • 94.05.04 + 05.05 / David S. Ware: Earthquation (DIW)
  • 94.05.16 / David S. Ware Quartet [AR] Munich
  • 94.05.17 / David S. Ware Quartet [AR] Konstanz
  • 94.05.19 / David S. Ware Quartet [AR] NYC
  • 94.09.16 / David S. Ware Quartet [AR] NYC
  • 94.10.01 / David S. Ware & Matthew Shipp Duo [AR] Oakland
  • 94.10.22 / David S. Ware Quartet [AR] Philadelphia
  • 94.12.02 / David S. Ware Quartet: Cryptology (Homestead)
  • 95.06.24 / David S. Ware Quartet [AR] NYC
  • 95.07.04 (1) / David S. Ware Quartet [AR] Lyon
  • 95.07.04 (2) / David S. Ware Quartet [AR] Vienne
  • 95.08.26 / David S. Ware Quintet [SB] Saalfelden
  • 95.09.02 / David S. Ware Quartet [AR & BR] Willisau
  • 95.09.27 + 09.28 / David S. Ware Quartet: Oblations and Blessings (Silkheart)
  • 95.09.29 / David S. Ware: DAO (Homestead)
  • 95.10.17 / David S. Ware Quartet [BR] Nancy
  • 96.01.00 / David S. Ware Solo [AVR] NYC
  • 96.02.02 / David S. Ware Quartet [AR] Paris
  • 96.03.23 / David S. Ware Quartet [AR] Pittsburgh
  • 96.03.28 / David S. Ware Quartet [AR] Lyon
  • 96.05.02 + 05.03 / David S. Ware Quartet: Godspelized (DIW)
  • 96.06.19 / Various Artists (David S. Ware Quartet): Knitting Factory What Is Jazz? Festival 1996 (Knitting Factory)
    • (V/A) The Heineken Jazz Groove 1996 (Knitting Factory)
  • 96.06.30 / David S. Ware Quartet [AR & SB] Toronto
  • 96.07.19 / David S. Ware Quartet [AR] Ottawa
  • 96.10.07 / ERROR LISTING ::: See 95.10.17
  • 96.12.02 + 12.03 / David S. Ware: Wisdom of Uncertainty (AUM Fidelity)
  • 97.05.30 / David S. Ware Quartet: Vision Volume One—Vision Festival 1997 Compiled (AUM Fidelity)
    • David S. Ware Quartet [WKCR Archival Recording] NYC
  • 96.06.21 / David S. Ware Quartet [BR] NYC
  • 97.08.22 / David S. Ware Quartet [BR] NYC
  • 97.10.26 / David S. Ware: Live in the Netherlands (Splasc(H) Records)
  • 97.12.11 + 12.12 / David S. Ware: Go See the World (SONY)
    • (V/A) Jazziz On Disc (Jazziz Magazine)
  • 98.05.22 / David S. Ware Quartet [WKCR Archival Recording] NYC
  • 98.10.24 / David S. Ware Quartet [AR] Minneapolis
  • 98.10.28 / David S. Ware [BR] NYC
  • 98.12.11 / David S. Ware Quartets: Live in the World (Thirsty Ear)
    + 03.03.27; 03.06.22
    • David S. Ware Quartet [BR] Chiasso
  • 98.12.28 : See 98.12.11
  • 99.02.27 or 28 / David S. Ware Quartet [AR] NYC
  • 99.03.20 / David S. Ware Quartet [AR] Burghausen
  • 99.03.25 / David S. Ware Quartet [AR] Nimes
  • 99.03.31 / David S. Ware Quartet: Balladware (Thirsty Ear)
    • David S. Ware Quartet [BR] NYC
    • (V/A) The Blue Series Sampler: The 30th Year (Thirsty Ear)
      + 02.05.00; 05.00.00; 06.00.00
  • 99.06.11 / David S. Ware Quintet [AR] NYC
  • 99.08.29 / David S. Ware Quartet [BR & SB] Saalfelden
  • 99.09.15 / Various Artists (David S. Ware SOLO): Knitting on the Roof (Knitting Factory)
  • 99.09.18 / Broadcast date for 99.03.31
  • 99.10.00 / Documentary: David S. Ware, un Film de Arthur Cemin et Romain Wentzo (Circeto Film)
    + 99.10.20 + 10.21; 99.11.05 + 11.06; 99.11.09
  • 99.10.20 + 10.21 / David S. Ware Quartet: Surrendered (Columbia)
    • Documentary: David S. Ware, un Film de Arthur Cemin et Romain Wentzo (Circeto Film)
      + 99.10.00; 99.11.05 + 11.06; 99.11.09
  • 99.11.05 + 11.06 / Documentary: David S. Ware, un Film de Arthur Cemin et Romain Wentzo (Circeto Film)
    + 99.10.00; 99.10.20 + 10.21; 99.11.09
  • 99.11.09 / Muzzik Presents Jazz: David S. Ware Quartet In Concert [Broadcast Video & Radio Recordings] Poitiers
    • Documentary: David S. Ware, un Film de Arthur Cemin et Romain Wentzo (Circeto Film)
      + 99.10.00; 99.10.20 + 10.21; 99.11.05 + 11.06
  • 00.05.14 / David S. Ware Quartet [AR] Philadelphia
  • 00.06.04 / David S. Ware Quartet [AR] NYC
  • 00.07.14 / David S. Ware Quartet [AR] Den Haag
  • 00.11.09 / David S. Ware Quartet [AR] NYC
  • 00.11.15 / David S. Ware Quartet [AR] Sevilla
  • 01.02.26 + 01.27 / David S. Ware Quartet: Corridors & Parallels (AUM Fidelity)
  • 01.05.01 / David S. Ware Quartet [AR] Wien
  • 01.05.04 / David S. Ware Quartet [AR] Huesca
  • 01.05.24 / David S. Ware & Rashid Ali Duo [AR] NYC
  • 01.06.08 / David S. Ware Quartet [AR] NYC
  • 01.07.08 / David S. Ware Quartet [AR] Tivoli
  • 01.07.12 / David S. Ware Interview [BR] NYC
  • 01.08.09 / DJ Wally: Nothing Stays the Same (Thirsty Ear)
  • 01.08.14 / David S. Ware Quartet [BR] Oakland
  • 01.08.17 / David S. Ware Quartet [AR] Seattle
  • 02.03.26 / David S. Ware Quartet [AR] Emilia-Romagna
  • 02.04.12 / David S. Ware & Matthew Shipp Duo [AR] San Francisco
  • 02.06.02 / David S. Ware Quartet [AR] NYC
  • 02.06.06 / David S. Ware Quartet [AR] Burlington
  • 02.07.13 / David S. Ware Quartet: Freedom Suite (AUM Fidelity)
  • 02.07.27 / David S. Ware Solo [AR] Clusone
  • 02.07.28 / David S. Ware Quartet [AR] Clusone
  • 03.03.26 / David S. Ware Quartet [AR] Rome
  • 03.03.27 / David S. Ware Quartets: Live in the World (Thirsty Ear)
    + 98.12.11; 03.06.22
  • 03.06.13 / David S. Ware String Ensemble: Threads (Thirsty Ear)
  • 03.05.22 / David S. Ware Quartet [AR] NYC
  • 03.06.22 / David S. Ware Quartets: Live in the World (Thirsty Ear)
    + 98.12.11; 03.03.27
  • 03.07.09 / David S. Ware Quartet [AR] NYC
  • 04.07.10 / David S. Ware Quartet [AR] Netherlands
  • 04.09.01 / David S. Ware Quartet [BR] Cagliari
  • 04.09.05 / David S. Ware & Matthew Shipp Duo: Live in Sant'Anna Arresi, 2004 (AUM Fidelity)
  • 06.05.01 / David S. Ware Solo [AR] Ravaldino
  • 06.06.18 / David S. Ware Quartet: Renunciation (AUM Fidelity)
    • David S. Ware Quartet [AR & BR] NYC
  • 07.03.24 / David S. Ware Quartet: Live in Vilnius (No Business)
  • 07.07.13 / David S. Ware New Quartet [AR] NYC
  • 07.08.25 / David S. Ware ‘New Quartet’ [BR] Sant'anna arresi
  • 07.11.09 / David S. Ware Trio [AR] Gütersloh
  • 08.05.09 / David S. Ware: Shakti (AUM Fidelity)
  • 08.05.24 / David S. Ware New Quartet: Théâtre Garonne, 2008 (AUM Fidelity)
  • 08.07.11 / David S. Ware ‘New Quartet’ [AR] Rotterdam
  • 09.10.15 / David S. Ware: Saturnian—Solo Saxophones Vol. 1 (AUM Fidelity)
    • David S. Ware: A World Of Sound [Film] (David Lynch Foundation Television)
  • 09.12.02 / David S. Ware Trio: Onecept (AUM Fidelity)
  • 09.12.02 / David S. Ware Trio: The Balance (Vision Festival XV +) (AUM Fidelity)
    + 10.06.27
  • 10.03.13 / David S. Ware: Organica (solo saxophones, volume 2) (AUM Fidelity)
    + 10.11.05
  • 10.06.27 / David S. Ware Trio: The Balance (Vision Festival XV +) (AUM Fidelity)
    + 09.12.02
    • David S. Ware Trio [AR] NYC
  • 10.10.04 / David S. Ware Trio: Live in New York, 2010 (AUM Fidelity Records)
    • David S. Ware Trio [AR] NYC
  • 10.11.05 / David S. Ware: Organica (solo saxophones, volume 2) (AUM Fidelity)
    + 10.03.13
  • 10.11.23 / David S. Ware • Cooper-Moore • William Parker • Muhammad Ali: Planetary Unknown (AUM Fidelity)
  • 11.06.10 / David S. Ware’s Planetary Unknown [BR] NYC
  • 11.08.27 / David S. Ware’s Planetary Unknown: Live at Jazzfestival Saalfelden 2011 (AUM Fidelity)

1964 : : :


  • 64.08.08 - The Westfield New Jersey Community Dance Band featuring David S. Ware: Ware (ts), others unknown / Flushing, NY
    “In 1964, on the same night The Beatles were seatsoaking Shea Stadium, an altogether smaller but no less ecstatic crowd took in Ware’s
    debut gig with The Westfield New Jersey Community Dance Band, who were playing just round the corner from the Fab Four. ‘We were
    right there, playing right next door!’ he laughs. ‘I remember seeing a whole bunch of people, man, a herd of people just rush towards
    the stadium. I guess they were coming in or something. We were playing outside.’”
    [David S. Ware interview/article by David Keenan WIRE #180 February, 1999 p.36]

1967 : : :


  • 67.02.18 - Christ Gabriel Jazz Missionary Group: Freddie Gabriel (Leader, voc, perc, dr, Arr, Comp), David S. Ware (ts),
    Milton Marsh (as), Cedric Lawson (org), Sam Alongi (tp), John McReveley (tb) / “First worship,” Union Methodist Church, Boston, MA
    [LP liners, 68.00.00 (1)]
  • 67.03.00 - Christ Gabriel Jazz Missionary Group: personnel as above / “Second worship,” Newman Hall Student’s Center,
    St. Clemens Roman Catholic Church, Boston, MA [ibid]
  • 67.03.12 - Region II Central Jersey Symphonic Orchestra: James Mate (Cond), Martin Molitz (ce), David S. Ware (b), others... /
    Scotch Plains-Fanwood High School, Scotch Plains, NJ [Article below, The Courier-News Mar 9 p.17 + Mar 13 p.19]

    —David S. Ware, award recipient : : : Image from Adam Lore 17.01.09


  • 67.04.08 - Christ Gabriel Jazz Missionary Group: Freddie Gabriel (Leader, voc, perc, dr, Arr, Comp), David S. Ware (ts),
    Milton Marsh (as), Cedric Lawson (org), Sam Alongi (tp), John McReveley (tb) /
    “Third worship,” Boston University School of Theology, Boston, MA [LP liners, 68.00.00 (1)]
  • 67.06.25 - David S. Ware, scholarship recipient : : :


1968 : : :


68.03.00 • David S. Ware & Gene Y. Ashton: OIC Job Training Film [Soundtrack]

March, 1968 / Boston, MA

 1. composition   approx. 11:00

David S. Ware (ts), Gene Y. Ashton (el-p)

{Cooper-Moore 12.11.25}


“David and I had met at Berklee but we never played together while we were classmates, only after I had left. ... It was late
Winter 1968, early March, in Boston. I was asked to do the the sound track for an OIC film. OIC was basically a jobs-training
program founded by Reverend Dr. Leon H. Sullivan in 1964. A design company in Wellesley, MA, donated the production
of the film. I took a quartet into the studio and recorded about 10 tunes, easy pop kinds of things. The company was somewhat
ho-hum about them. So I asked David to come in and record a duo with me, tenor sax and Wurlitzer electric piano. When they
heard that recording they just about flipped and used it.
The track is about 10 or 11 minutes. It is my belief that it is the first recording and I’m sure the first published recording of
David S. Ware. Thank you very much. I appreciate your work.
Yours Truly, Cooper-Moore (aka Gene Y. Ashton)”


68.00.00 (1) • Christ Gabriel Jazz Missionary Group: Christ Gabriel Jazz Missionary Group

Musicmaster 7157—in the deadwax etching (LP, Limited Edition) 1974

1968 / unknown venues
—“According to the artists’ online bios they were students in the late ’60s, and the intro talks about the memories of Martin Luther King,
 Robert Kennedy, and Malcolm X (so it would have been no earlier than 1968). ... The autograph reads ‘First Album 1974,’ but that’s almost
 certainly the autograph date and NOT the release date.” —Notes, collectorsfrenzy.com/details/121090307480

 A1. Intro
 A2. Christ Child
 A3. Christ Twelve Tone Blues
 A4. Intro
 A5. Fall On Your Knees & Pray
 B1. Christ Church
 B2. Walk On By Faith
 B3. Christ Place        6:25
 B4. Come Sunday



—A live performance, single microphone, of various jazz styles in a worship service environment.

Freddie Gabriel (Leader, voc, perc, dr, Arr, Comp), “Dave” Ware (ts), Milton Marsh (as),
Cedric Lawson (org), Sam Alongi (tp), John McReveley (tb), unknown (b)

{eBay listing January 2016; discogs.com}




APOGEE / the Abdul Hannan Group / Notes on two source bands and related observations : : :

Drummer Marc Edwards:
“As you already know, we rehearsed extensively as a trio. This helped us to develop musically on all levels.
The only tape of Apogee that I know of was done by David and Cooper-Moore. ... I can tell you that it was a performance
in Boston, at the YMCA. Either David or Cooper-Moore have the tapes. The next tape, a studio recording, became the
Birth of a Being record on the then new Hat Hut Record label. If there are any other tapes, they’re unauthorized recordings.
During the early 1970s, while still living in Boston, we came to New York to play at Columbia University’s radio station,
WKCR. I don’t recall the year we did this. Reel to reel tapes recorded Apogee live on the air. We did ... do an interview.
Most of the feedback that we got was that we didn’t talk. It seems listeners were more interested in hearing us speak than
the music. The personnel were David S. Ware, tenor sax, Gene Ashton (Cooper-Moore), piano, and yours truly on drums.
...
A fan tells me that there are two tapes of Apogee at Columbia University’s radio station WKCR [See 73.12.09]. They may confirm my hunch that we played there a second time.”


Cooper-Moore on formative years and APOGEE:
[Interview excerpts from Adam Lore’s beautiful periodical 50 Miles of Elbow Room, Number One.]

“I played flute in a band called the Afro-Jazz Messengers, [which was] led by Jim Riley (who is now known as Jumma
Santos). That band morphed into another one called The Rosewater Foundation. In that band I played the Hammond organ
and wrote all but two of the tunes. Jumma played congas and the tunes were written around that sound. The band was
trumpet, alto, organ, drums, and congas. After many rehearsals we finally got a gig.
A couple months later ... I told him about David S. Ware and how I thought he would add a lot to the band. In steps Ware.
I was even happier than before, writing for three horns. ... Ware had moved back to Jersey, and I told him to come back to
Boston to live with us and form our own band. We needed a drummer.
[Ware] suggested Marc Edwards. Marc couldn’t really play a drum set yet but he was a drummer. He’d done the marching
thing in NYC and had a good sense of technique, was focused, and a hard worker.

I went to Webster’s Dictionary to find a name for the new band. I got no further than the A’s: Apogee. We practiced,
rehearsed, practiced, rehearsed, obsessed about our place in the history of the music, practiced, rehearsed, obsessed. We
created our own concerts. Anywhere that would have us we played. No one wrote for this band. We just started playing
and stopped when we stopped. We never talked about what we were playing.
Apogee was like a marriage. I have never had relationships with other musicians like [I had] with David and Marc. I loved
these people. What we did was very powerful for us. Maybe others didn’t understand us, but for the trio it filled a great
need and a bridge to another place. Later we added a bass player, Chris Amberger, who gave the name ‘tremble time’ to
the hyper-ness in our music.


On HANNAN

“Abdul moved to New York after I had gotten myself a day-job. The last time I saw him, he was playing on the streets. ...
Abdul... experienced hard times in New York and elsewhere.” —Marc Edwards

“This music is important ... due to the significance of Ashton/Cooper-Moore’s innovative style, from which he’s since
evolved something just about as interesting but with a measurably different approach. This doesn’t take away from the
great interactivity and musicianship of this unit either. Whether this group was led by one of the individuals or not is for
them to say. ... Maybe we will get a chance to hear this group again yet... we’d like to find and see tapes of APOGEE
surface and hear them released on CD.”
—Anonymous, 99.03.28

“At the time Ware ... was primarily a part of a [group] known as APOGEE, featuring Gene Ashton (who was later to be
known as Cooper-Moore) as pianist, Chris Amberger on the bass, Marc Edwards on the traps...” —Anonymous, 99.03.28

Chris [Amberger] did perform with Apogee, however, for the record, the band developed largely without a bass player.
This had an enormous impact on my drumming. The times that Chris performed in public with Apogee were [rare]. While
we were in Boston, bass players were always in demand. For that reason, Chris was unable to remain with Apogee as a
permanent member. We were glad to see him make a few gigs with the band on those rare occasions. Raphé Malik heard
Apogee in Boston while we were rehearsing across the street from the New England Conservatory. He can confirm that
David, Gene, and yours truly, spent most of our time together as a trio—not a quartet.” —Marc Edwards

“Abdul Hannan [was] a serious alto saxophonist. ... This recording documented a variety of contexts for his musical ideas,
such as his performance with a steelpan orchestra. ... He used to sell it by himself...” —Anonymous, 99.03.28

“It was truly a self-produced record—and acts of both love and defiance that were performed against the odds. For
example, you’re now just hearing of Abdul Hannan. Why aren’t he and so many others, both known and unknown, now
in our world-view today? ... There were probably only 500 LPs pressed.” —Anonymous, 99.03.31


68.00.00 (2) • Abdul Hannan: The Third World

RITE 3044 (LP) 1968

unknown date, 1968 / Abdul Hannan’s Living Room, Boston, MA

 1. Awareness Part 1
 2. Awareness Part 2
 3. Wind & Wood, Band of Steel
  18:15
  17:30

On “Awareness”:
Abdul Hannan (as, fl, Leader), David S. Ware (ts, Comp), Rollins Ross (reversible-p), Anne “Fields” Brudevold (vn),
Chris Amberger (b), Arnold Clapman (cga), Sheila Azores (Third World Charter)

On “Wind & Wood, Band of Steel”:
The Silver Star Steel Orchestra—Melvin R. Griffith, Captain

Third World LP cover.


All images as received, copyright 1971 Abdul Hannan. Posted here without express permission.


LP Details, Cover & Back.


 “Found your website. Wow. We haven’t seen my dad in years and
 years—do you know where he is at all? Just thought I’d ask.
 Thank you for your kind words and your lovely work on David
 S. Ware, whom I remember (but as you can see from the pic on
 the album cover, I was a wee girl of four or five then...) My mother
 took all those pics! I don’t have the album, but she does, I believe.
 I have a tape someplace. Lots of love.” —Amatul Hannan

{Recording date and place from Anne Dumas; Giorgio Mortarino & Achille Silipo of Splasc(H) Records; others...}



1969 : : :


Berklee Recital

“About 10 years ago I wrote a 50th-anniversary book about Berklee. Among other things, I spent months and months
combing through photos and student concert programs (they didn’t throw out anything, it was a dream come true), and one
day I found a contact sheet of film taken at a student recital. It was dated, and when I cross-checked it with the binders of
recital programs, it turned out to be a David S. Ware quintet with trumpeter Stanton Davis! I tried mightily to find the
negatives, and even tried to get the contact print enlarged, but I never found the negatives and the contact sheet wasn’t
good enough to get a decent print from. I didn’t write the date down (bad Ed, bad Ed), but it would have been from ’68
or ’69 I guess, and Davis is the only other band member that I remember. Was Gene Ashton the pianist I wonder? I also
remember being surprised to see that the program they played was entirely Wayne Shorter tunes. All this stuff is still in
the Berklee archives.” [Ed Hazell 08.04.27]


1970

1980

1990

2000

2010


1973 : : :


501 Canal

“In 1973, Gene Ashton, my godfather—a pianist and multi-instrumentalist who still performs as Cooper-Moore—found a
rundown four-story building at 501 Canal Street, far west of the abundant junk stores and discount electronics shops. He
persuaded some fellow Berklee College of Music colleagues to move from Boston to New York City. Alan lived on the
second floor with one roommate, David S. Ware, the acclaimed saxophonist who went on to play with the pianist Cecil
Taylor and make many celebrated records of his own. In 1974, 501 Canal’s storefront became a performance space known
for its Friday night concerts. While the venue didn’t have a name, it became a seminal part of New York’s downtown loft
jazz scene.”
[Nabil Ayers, “Coming of Age in the Loft Jazz Scene” The New York Times Aug 9, 2018 p.MB1]


Not long after that we all moved to NYC. I found a building on Canal Street. 501 Canal had five floors and the rent was $550
a month. The first floor became a rehearsal/performance space. David S. Ware and Alan Braufman lived together on the
second floor. My family took the third. Chris Amberger took the fourth. The fifth was condemned but was used by my wife
as a pottery studio, for storage, and for musicians who needed a place to stay. There was music all the time, people practicing,
rehearsals, performances, jam sessions, recordings, at all times of the day. Very memorable was waking up every morning to
Trane being played on the stereo upstairs or Ware or Braufman practicing downstairs. I often thought, ‘This must be heaven.’
Here we were, fulfilling the dream. Finally we had arrived, an instant community. My vision was to use the place to break
onto the scene by creating our own scene. Looking back on it all, I see that for me it was a strategy based on insecurity. None
of it went the way I thought it would. People went their own ways.
[Cooper-Moore interview, from Adam Lore’s beautiful periodical 50 Miles of Elbow Room, Number One.]


“Figures from the ’70s haunt spots such as 501 Canal Street, a five-story downtown structure that birthed some of the city’s
current jazz masters 30 years ago. At that time, white flight to the suburbs had emptied out the city, and David S. Ware,
Cooper-Moore, drummer Tom Bruno, and a few others rented an entire building on Canal Street for $550 (today, a single
room there would cost twice as much). It would become one of the focal points of a vibrant scene. Just like Ali’s Alley
and Studio Rivbea, 501 Canal Street was part rehearsal and workshop room, part concert hall and party pad.”
[WIRE #189 November 1999 p.37, from “Undercurrents 11: Generation Ecstasy,” by Tom Roe]


Poor Max

[In early 1973] the quartet was asked by Sonny Rollins to open up for him at the Village Vanguard. The night at the Vanguard
was a highly charged one. The club was filled. We knew that most of those in the audience had not come to hear us but many
had and some others would be receptive [because] we had the endorsements of the Master. We mounted the stage as if it were
a spacecraft and blasted off. Musicians in Sonny’s band and other musician friends of ours were sitting in seats on the side in
back of the stage. I could see them laughing and rocking back and forth. ‘Yeah,’ I thought, ‘They’re digging it.’ I don’t know
how long we had been playing, but the stage lights began flashing on and off. Max (the owner of the Vanguard) was having
a fit and wanted us off. He didn’t like the kind of music we played and made a point of not hiring musicians who played it.
We played until the music stopped. Then something amazing happened. Sonny’s band got on stage and they were so filled
with the energy that Sonny could barely control them. They wanted to go, go, go. Poor Max.
[Cooper-Moore interview, from Adam Lore’s beautiful periodical 50 Miles of Elbow Room, Number One.]


  • 73.00.00 - Apogee: David S. Ware (ts), Gene Ashton aka Cooper-Moore (p), Chris Amberger (b), Marc Edwards (dr) /
    The Village Vanguard, NYC [Cooper-Moore interview, from Adam Lore’s beautiful periodical 50 Miles of Elbow Room, Number One.]

73.07.03 • Milton Marsh: Monism

Strata East SES-19758 (LP) 1975;
Manufactured Recordings MFG-036 (CD; LP) 2016

July 3, 1973 / Media Sound, New York City,

 1. Monism   8:49

—The spoken text is an excerpt from the “Sufi Message (Vol. 2)”
 of Hazrat Inayat Khan

Milton Marsh (Cond, spoken text, Comp), David S. Ware and Bill Cody (ts),
Rene McLean and Joseph Ferguson (as), Reynold Scott (bar),
Frank Williams, Sinclair Acey, Bubbles Martin, and Kamal Abdul-Alim (tp),
Bill Campbell, Charles Stevens, and Bill Lowe (tb), Bill Davis (tu),
Cedric Lawson (p), Don Pate (b), Greg Bandy (perc)

 —“ String Players contracted by cellist Bernard Sennell.”

{SES-19758}


  • 73.08.13 - Apogee: David S. Ware (ts), Gene Ashton aka Cooper-Moore (p), Chris Amberger (b), Marc Edwards (dr) /
    7:30pm, 501 Canal Street, NYC [Village Voice Aug 9 p.80]
  • 73.08.21 - Apogee: as above / 7:30pm, 501 Canal Street, NYC [Village Voice Aug 16 p.96]
  • 73.08.27 - Apogee / 7:30pm, 501 Canal Street, NYC [Village Voice Aug 23 p.96]
  • 73.09.03 - Apogee / 7:30pm, 501 Canal Street, NYC [Village Voice Aug 30 p.88]
  • 73.09.10 - Apogee / 9:00pm, 501 Canal Street, NYC [Village Voice Sep 6 p.88]
  • 73.09.17 - Apogee / 9:00pm, 501 Canal Street, NYC [Village Voice Sep 13 p.104]
  • 73.10.15 - Apogee / 10:00pm, 501 Canal Street, NYC [Village Voice Oct 11 p.112]
  • 73.11.06 - Apogee: David S. Ware (ts), Gene Ashton aka Cooper-Moore (p), Dave Saphra (b), Marc Edwards (dr) /
    9:00pm, Studio RivBea, NYC [Village Voice Nov 1 p.41 + Dec 20 p.67 + Dec 27 p.43]
    —The Voice display ad (Nov 1) has “An Extraordinary Musical Experience—Apogee’s First N.Y. Engagement.”
  • 73.11.13 + 11.20 + 11.27 - Apogee / 9:00pm, Studio RivBea, NYC [ibid]

73.12.09 • APOGEE [BR—51:16]

WKCR-FM (LIVE) Broadcast

December 9, 1973 / Columbia University, New York City

 1. composition    51:12   (incomplete; split track at 48:30, fades out and back in, cuts off at end)

David S. Ware (ts), Gene Ashton aka Cooper-Moore (p), Chris Amberger (b), Marc Edwards (dr)

{CDr, detailing RL 22.07.31; Anonymous 06.01.01; Marc Edwards 14.03.20}


1974 : : :


  • 74.02.07 - Apogee: David S. Ware (ts), Gene Ashton aka Cooper-Moore (p), Dave Saphra (b), Marc Edwards (dr) /
    9:00pm, Studio RivBea, NYC [Village Voice Jan 31 p.61]
  • 74.02.14 + 02.21 + 02.28 - Apogee: as above / 9:00pm, Studio RivBea, NYC [ibid]
  • “William [Parker] I’d been playing with on and off since the mid-’70s, since before my stint with Cecil Taylor, I met him back then.”
    [David S. Ware interview/article by David Keenan, Wire #180 February 1999 p.37]


74.03.12 • Cecil Taylor Unit Core Ensemble [AR—80:19]

March 12, 1974 / Carnegie Hall, New York City

  Suite: TRIBE   80:19   (incomplete, cuts in at beginning, split track at 45:01 and 57:29)
 1. Voices
 2. To Night
 3. Being Body
 4. Black Node
 5. Suns
 6. Weight Fall
 7. Tribe

—There is a shorter version circulating at 58:33, missing the final 23:00+ end section.
—Another version at 85:22 shows first track at 60:29, second at 24:48. —RL

Cecil Taylor (p, Comp), Jimmy Lyons, Bobby Zankel, Jemeel Moondoc, and possibly Luther Thomas (as),
David S. Ware, Hassan Abdullah, Craig Purpura, and Elliot Levin (ts), Ken Simon (ss) Charles Tyler (bar), Karen Borca (bsn), Carla Poole (fl),
Raphe´ Malik, Hannibal Marvin Peterson, Arthur Williams, Steven Lewis, and Kevin Powell—identified elsewhere as “Fitzpatrick” (tp),
Joe Bowie (tb), Sharon Freeman and Richard Schartzberg (frh), David First, Bud Neuber, and third unidentified (g),
Sirone, William Parker, Dave Saphra, and Earl Henderson (b), Andrew Cyrille (tym, perc),
Clifford Sykes (perc), Rashid Bakr, Sunny Murray, and Marc Edwards (dr, perc)

{2CDr; Heinrich Smejkal; Marc Edwards; David First; Bobby Zankel 03.07.11; Jan Ström’s Jimmy Lyons Sessionography}



Naming Names

Anonymous source who attended concert: “1974/0312 was a Tuesday. It’s unlikely there was an unidentified tenor
saxophonist. Frank Lowe was supposed to have been there, but was absent. A Kevin Fitzpatrick never existed as part of
this orchestra. The correct name of the trumpeter was and is Kevin Powell. Luther Thomas was said to have been there.
With Joseph Bowie there, a fellow member of the Black Artists Group, this was quite possible. The unidentified soprano saxophonist may have been Jemeel Moondoc. The unidentified trombonist may have been Craig Harris.”
[via personal email to Jason Hook (CTResearch, www.webmutations.com/ceciltaylor)]


Marc Edwards: “I was one of the drummers in that show. Fellow free jazz drummer, Rashid Bakr was also there playing
traps. As per Cecil’s instructions, we each took turns playing congas and a variety of other instruments that were on the
far side of the stage during the concert. Andrew Cyrille did not play traps. He played tympani and small percussive
instruments. Dave Saphra was in the bass section along with Sirone, William Parker, and Earl Henderson. Frank Lowe
did make some of the rehearsals, but, he didn’t play with the band at Carnegie Hall. About a month before we actually
did the performance, there was a large influx of new musicians that joined the already large ensemble. Since our names
were not printed in the program, it’s tough to recall many of the musicians that were on the stage that night. My apologies
to those that I’m unable to remember.”


Heinrich Smejkal: “In Down Beat 74.02.28 (Vol.41, no.4, pages 9 and 33) is an announcement that the Cecil Taylor
concert was one part of total 15 concerts organized by the New York Jazz Repertory Company [including] the dates of
the concerts. In Down Beat 74.05.09 (Vol.41, no.9, page 29), [there is] a concert review by Gary Giddins, unfortunately
he mentions only a few of the participants. Giddins noted also that ‘many players were recruited from colleges
where Taylor has taught.’”


David First: “[Guitarist] Bud [Neuber] and I were recruited to join Cecil’s ensemble from an ensemble that he had put
together while teaching a series of classes at what was at the time known as Glassboro State Teacher’s College. ... There
were upwards of twenty or so people taking the class—none of whom had either enrolled in the school or paid for the
class. My friend Bud and I had the pleasure of picking CT up from 30th Street Station in Philadelphia twice a week and
driving him (approx 45 minutes) to the school in South Jersey and thus got to spend a lot of extra time talking about
numerous subjects. There was also a ‘class’ concert at Glassboro in May of that year, but it was a bit of a mess, I reckon.
...
I remember hearing a bit of a tape from that night at a guy’s loft, whose name escapes me. He was Cecil’s manager at the
time and a couple of us were staying with him during this period. Somewhere on Greenwich Street in lower Manhattan,
I believe. We would come up twice a week for rehearsals with CT and sleep on the guy’s floor. The ensemble rehearsals
were on Chambers St. also in lower Manhattan.”

Bobby Zankel: “My memories from that period with CT would make a chapter in a book, but I can’t remember how the
music sounded. Carnegie Hall was an excellent band (in spite of my youth) and there was a decent amount of rehersal—a
balance between people accustomed to Cecil’s system/language and New York pros—my strongest memory was coming
back to my music stand after playing a too long solo and being met by Jimmy Lyons’ smile and a pat on the back from
him and Charles Tyler.”


The Cecil Taylor Big Band at Carnegie Hall in New York City, March 12, 1974.
Photos courtesy David First, reproduced with permission. Names added by Anonymous.



  • 74.06.00 - Apogee: David S. Ware (ts), Gene Ashton (p), Dave Saphra (b), Marc Edwards (dr) /
    501 Canal Street, NYC —additional unknown dates.
  • “[501 Canal Street] is owned and occupied by musicians who have formed groups including Apogee, The Bruno Surrealistic Ensemble,
    and the Alan Braufman Quartet. The bands preform on a rotating schedule Friday and Saturday evenings at 9:00pm.”
    [Gary Giddins “Taking Chances at 501 Canal” Village Voice Jun 13 p.68]

74.06.14 • Andrew Cyrille & Maono [AR]

June 14, 1974 / Studio Rivbea, New York City

 1. compositions

David S. Ware (ts), Ted Daniel (tp), Donald Smith (p), William Parker (b), Andrew Cyrille (dr)

{Studio RivBea June 1974 Schedule, The RivBea Archive; Village Voice Jun 13 p.72; Anonymous 02.11.04}


  • 74.06.15 - Andrew Cyrille & Maono: David S. Ware (ts), Art Williams (tp), Cyrille (dr, perc) / 10:00pm, Studio RivBea, NYC
    [Studio RivBea June 1974 Schedule, The RivBea Archive; Village Voice Jun 13 p.72]
  • 74.06.29 - Andrew Cyrille & Maono: as above / RivBea Summer Festival, 10:00pm, Studio RivBea, NYC
    [Village Voice Jun 27 p.54; CODA September 1974 festival report pp.3134; Jazz Hot no issue info, festival report p.17]
  • 74.06.30 - Apogee: David S. Ware (ts), Gene Ashton (p), Dave Saphra (b), Marc Edwards (dr) /
    RivBea Summer Festival, 10:00pm, Studio RivBea, NYC [ibid]

1975 : : :


75.02.26 • Andrew Cyrille and Maono: Celebration

Institute of Percussive Studies Records IPS ST 002 (LP) 1975
—1st session [See also: 75.05.14.]

February 26, 1975 / Ali’s Alley/Studio 77, New York City

 1. Haitian Heritage (Pt. 1)
  a) Voices of the Lineage (Cyrille)
  b) Agowé, Hunto (Cyrille)
   (Spirit in the Drum)
 2. Haitian Heritage (Pt. 2)
  “Levitation” (Cyrille)
 3. Fate (Cyrille)
 4. Gossip (Jimmy Lyons)
 5. Non-Expectation Celebration (Cyrille)

 12:01
  2:46


 12:15
  9:32
  7:25
  9:25

David S. Ware (ts), Ted Daniel (tp), Donald Smith (p),
Romulus Fanceschini (synth), Jeanne Lee (voc),
Elouise Loftin (poet), Stafford James (b),
Alphonse Cimber (Haitian drum), Andrew Cyrille (dr, perc)

{IPS ST 002}


  • 75.03.09 - Andrew Cyrille & Maono: David S. Ware (ts),
    Ted Daniel (tp), Donald Smith (p), Stafford James (b), Cyrille (dr, perc) /
    2:30pm, Sunrise Studio, NYC [Village Voice Mar 10 p.55]

  • 75.03.19 - Andrew Cyrille & Maono: David S. Ware (ts),
    Donald Smith (p), Stafford James (b), Cyrille (dr, perc) /
    7:00pm, Countee Cullen Public Library, NYC
    [Village Voice Mar 17 Centerfold p.61; flyer]
    Voice item has this happening at “7 a.m.,” but I’m deeply skeptical.

75.00.00 • Andrew Cyrille & Maono [BR—70:00]

WKCR-FM, New York

“Spring,” 1975 / Studio Rivbea, New York City

 1. compositions   70:00

David S. Ware (ts), Ted Daniel (tp), Donald Smith (p), Andrew Cyrille (dr, perc)

{Anonymous 02.10.28; WKCR Archive}


    —Another Andrew Cyrille & Maono recording of 21:53 is circulating
     dated “1975,” with musicians credited as David S. Ware (ts),
     Ted Daniel (tp), unknown (elg), Andrew Cyrille (dr, perc),
     at “Ali’s Alley or Studio 77.”

     Roy Morris writes (18.10.30): “I’m fairly certain the 21.53' from
     75.00.00 is not DSW, but my friend Joe Rigby with Francois Nyombo.
     Probably an extension of a WKCR broadcast of a [Philadelphia] gig
     from 77.12.12.”

   —Flyer from the Marc Edwards archive.


75.05.14 • Andrew Cyrille and Maono: Celebration

Institute of Percussive Studies Records IPS ST 002 (LP) 1975
—2nd session [See also: 75.02.26.]

May 14, 1975 / Ali’s Alley/Studio 77, New York City
  • No split session info.
David S. Ware (ts), Ted Daniel (tp), Donald Smith (p), Romulus Fanceschini (synth), Jeanne Lee (voc),
Elouise Loftin (poet), Stafford James (b), Alphonse Cimber (Haitian drum), Andrew Cyrille (dr, perc)

{IPS ST 002}


  • 75.06.22 - David S. Ware and Co.: Ware (ts), others unknown / 5:00pm, 501 Canal Street, NYC [Village Voice Jun 23 p.70]

75.07.14 • Andrew Cyrille & Maono [BR—75:35]

July 14, 1975 / Studio RivBea, New York City
—WKCR-FM Broadcast

 1. composition
 2. composition
 3. composition
  25:41
  43:52   (split track at 20:18)
   9:20

David S. Ware (ts), Ted Daniel (tp), Donald Smith (org, synth), Lisle Atkinson (b), Andrew Cyrille (dr, perc),

{CDr; Peter Losin; anonymous web-listing}


  • 75.12.06 - William Hooker Reality Unit: David S. Ware (ts), Alan Braufman (as), Hooker (dr, perc) / 8:30pm, Focus, NYC
    [Village Voice Dec 8 p.127]

1976 : : :


76.01.30 • Cecil Taylor Unit [AR—88:23]

January 30, 1976 / Foxhole Cafe, Penn University, Philadelphia, PA
—Also circulating with the venue listed incorrectly as “The Empty Foxhole.” —RL

 1. composition   88:23   (incomplete, cuts in at beginning, split track at 42:12, fades out and back in at 83:38)

Cecil Taylor (p, Comp), Jimmy Lyons (as), David S. Ware (ts), Raphé Malik (tp), Joseph Bowie (tb), Marc Edwards or Beaver Harris (dr)

 —Ström has Harris on drums, and this: “Bobby Zankel claims that Charles ‘Bobo’ Shaw was the drummer.”

{2CDr; Philadelphia Daily News Jan 30 p.30; Jan Ström’s Jimmy Lyons, A Sessionography; Ed Hazell 03.03.31}


“I recently met Marc Edwards in NYC and told him about seeing the Cecil Taylor group play in Philly in late January, 1976,
... in the lower part of a large church. It was a chapel, smaller than the main sanctuary, but still pretty large. I also remember
the gigs took place over two nights. I mentioned that there was a trombone player. ... It seemed to be important to Marc that
there was, in fact, a trombone player, ... and [he] asked that I send this info to you. It’s a long time ago, but I do remember a trombone player—an African-American who mostly played in the ensemble passages. I don’t remember who it was.”
—Wally Shoup 02.09.25 + 10.12


“Bowie was in and out of various units around that time, and was part of the original band in ‘A Rat’s Mass.’ Harris was
a frequent sub for Edwards around that time and I’ve never been sure that it’s him on the tape, although it’s likely.
...
Information from: Albert Ayler, Sunny Murray, Cecil Taylor, Byard Lancaster & Kenneth Terroade: On Disc & Tape,
by Mike Hames, photography by Val Wilmer, printed privately by the author with financial assistance of the Arts Council
of Great Britain, January, 1983.” —Ed Hazell


  • 76.01.31 - Cecil Taylor Unit: Taylor (p, Comp), Jimmy Lyons (as), David S. Ware (ts), Raphé Malik (tp), Joseph Bowie (tb),
    Marc Edwards or Beaver Harris (dr) / 9:00 & 11:00pm, New Foxhole Cafe, St. Mary’s Church, Philadelphia, PA
    [Philadelphia Daily News Jan 30 p.30; Jan Ström’s Jimmy Lyons, A Sessionography]

76.02.05 • William Hooker: ...is eternal life

Reality Unit Concepts RUC-444 (2LP) 1981
  • William Hooker: LIGHT. The Early Years 1975-1989
    No Business Records NBCD 82-85 (4-CD Box Set, 1000 copies) 2016 Lth
February 5, 1976 / Langston Hughes Library, Corona, NY

 1. Passages (anthill) [18:46

“Hooker eventually made his recording debut with the 1978 double album Is Eternal
Life
on his own Reality Unit Concepts label. Long out of circulation, it stands as one
of the best-kept secrets of the free jazz underground. ‘It’s a series of duets with
saxophonists David Murray and David S. Ware, and no, I don’t have any copies for
sale, man,’ he deadpans.”
—William Hooker interview/article by David Keenan, WIRE #197 July 2000 p.32

David S. Ware (ts), William Hooker (dr, Comp)

{RUC-444; release date from Down Beat December 1981 p.61; nobusinessrecords.com/NBCD82-85.php}



  • 76.02.26 to 02.29 - Cecil Taylor Unit: Taylor (p, Dir, Comp), Jimmy Lyons (as), David S. Ware (ts), Raphé Malik (tp),
    Joseph Bowie (tb), Beaver Harris (dr) / “A Rat’s Mass,” 10:00pm, La Mama Theatre, NYC [Anonymous]
    —I cannot account for the discrepancy in personnel, nor the additional dates, unseen in the Village Voice issues of that time. —RL

76.02.00 • Cecil Taylor Unit [AR—42:12]

Between February 26 and 29, 1976 / La Mama Theatre, NYC

 1. A Rat’s Mass   42:12

Cecil Taylor (p, voc, Comp), Jimmy Lyons (as), David S. Ware (ts), Raphé Malik (tp), Joseph Bowie (tb), Beaver Harris (dr)

{Anonymous}


  • 76.03.04 to 03.07 - Cecil Taylor Unit: Taylor (p, Dir, Comp), Jimmy Lyons (as), David S. Ware (ts), Raphé Malik (tp), Marc Edwards (dr) /
    “A Rat’s Mass,” 10:00pm, La Mama Theatre, NYC
    [www.lamama.org/archives/year_lists/1976page.htm playlist, no details; Marc Edwards 02.12.23; Village Voice Mar 8 display ad p.94]

Marc Edwards: “Adrienne Kennedy’s ‘A Rat’s Mass’ could be considered a prelude to my entering the Cecil Taylor Unit.
I believe that Rashid Bakr was the drummer whom I replaced. By the time I arrived at the rehearsal space, the play was
already intact, meaning everything was set. Cecil played kettle drums or tympani while I was on the drum kit. During the
play, I began playing loudly. Cecil leaned over and whispered, ‘Keep it down.’ Immediately, I dropped to a softer dynamic
level. There were no problems with dynamics from that moment on.
Raphé later said that whenever I would play something, David would start laughing. At this point, I had been working
hard at my day job. I hadn’t played in public for a while. The play was a different experience. I would love to work in that
environment again. I’m not sure how many nights we performed at the LaMama Theater. Most likely, we did do at least
two nights, with the possible addition of a third night. I’m unable to say for sure.”


  • 76.03.12 to 03.14 - Cecil Taylor Unit: Taylor (p, Dir, Comp),
    Jimmy Lyons (as), David S. Ware (ts), Raphé Malik (tp), Marc Edwards (dr) /
    “A Rat’s Mass,” 10:00pm, La Mama Theatre, NYC
    [Village Voice Mar 8 display ad p.94; The Record Mar 12 p.B9]
  • 76.03.19 to 03.21 - Cecil Taylor Unit: as above /
    “A Rat’s Mass,” 10:00pm, La Mama Theatre, NYC [ibid]

  • 76.03.23 to 03.28 - Cecil Taylor Unit /
    9:00 & 11:30pm, Keystone Korner, San Francisco, CA
    [The San Francisco Examnier Mar 21 “Date Book” p.31]

76.03.30 • Cecil Taylor Unit [AR—120:00]

March 30, 1976 / Royce Hall, UCLA, Los Angeles, CA

 1. composition   60:00
 2. composition   60:00

Cecil Taylor (p, voc, Comp), Jimmy Lyons (as), David S. Ware (ts),
Raphé Malik (tp), Marc Edwards (dr)

{The Los Angeles Times Mar 21 “Calendar” p.50; www.jstor.org/stable/41066903;
Jan Ström’s Jimmy Lyons Sessionography;
The Black Scholar V.8 no.1 “Southern Africa” (September 1976) review pp.53-54}


  • 76.03.31 to 04.04 - Cecil Taylor Unit: Taylor (p, voc, Comp), Jimmy Lyons (as), David S. Ware (ts), Raphé Malik (tp), Marc Edwards (dr) /
    Jazz Room, Oil Can Harry’s, Vancouver, British Columbia, Canada
    [The Vancouver Sun Mar 26 “Leisure & TV Week” p.9A;
    Jan Ström’s Jimmy Lyons Sessionography; Brian Nation 05.04.15]
    —Ström had this as “April, 1976.”



Field Trip

Brian Nation: “Cecil Taylor’s quintet played a week at Oil Can Harry’s sometime [in early April, 1976]. Al Shimokura
was one of the owners of the club and he and I had become friends. I owned a VW van at the time, a nice clean one with
all the seats, and so occasionally I’d help out by picking bands up at the airport. I enjoyed doing this because I didn’t mind
driving and I got to meet many great jazz players. For example, Danny Richmond and I got to be buddies for the week he
was in town with Mingus, and this is something I cherish. ... On the way in from the airport the guys were beside themselves
digging the beauty of the city. It was a gorgeous day, and the North Shore mountains were sharp against the clear blue sky
and looked so close you wanted to stick your head out the window and lick them.

In the band were Raphe Malik, Jimmy Lyons, Marc Edwards, and tenor player David S. Ware. They were here for almost
a week, and even with the daily rehearsals there’d be free time, so I said ‘We can drive up to those mountains in about half
an hour, if you want to go one day I’d be glad to drive you all up there.’

‘Wow! Yeah! Great! I’m in! Let’s do it! Tomorrow, man! Let’s go tomorrow!’

After the gig that night I arranged to pick them all up at the hotel the next day at noon. ‘Not too early, man. Get me at noon.’
Next day at noon I knocked on each door one by one. ‘Who is it? Later, man. I’m sleeping’ And, ‘Go way, I got company!’
Or, ‘Shit man can we do this tomorrow?’ The last door was Ware’s, and he was ‘Ready!’ Dressed up, clean, bright-eyed,
and slick. ...

As I recalled it, Ware had left his home town of Plainfield, New Jersey, and traveled thirty miles to New York City, where
he eventually wound up in Cecil Taylor’s band. Now twenty-six-years old, his entire world had consisted of Plainfield and
Manhattan. He barely knew of mountains and rivers and trees, of open wild spaces, the so-called natural world. This is what
I remembered. It may not be utterly accurate, but I believe it’s close enough to the truth. Now he’s beside me driving up a
coastal highway, water on our left, mountains on our right, and he’s so utterly awed by everything he can barely speak. We
got out at Shannon Falls and hiked up to where we were sprayed by the cascading waters, standing on rocks, hanging on to
trees. He looked upwards with an expression filled with an amazement I can’t begin to describe. We stood there no more
than fifteen minutes, turned around, got in the van, and drove back to town so Ware could make that afternoon’s rehearsal.

Not really much of a story, but one I felt like telling because David S. Ware, whose album Live in the World I’m listening
to as I write, has become one of the strongest, most creative, passionate, and moving improvisors in modern music.

Who knows what lights a certain fire in the creative brains of men?

—Brian Nation, Beat The Devil, at boppin.com/2005/04/david-s-ware.html


76.04.12 • Cecil Taylor Unit [AR—148:28]

April 12, 1976 / Theatre St. Denis, Montreal

 1. composition   45:14
 2. composition   33:34
 3. composition   44:54
 4. composition   24:42

Cecil Taylor (p, voc, Comp), Jimmy Lyons (as), David S. Ware (ts), Raphé Malik (tp), Marc Edwards (dr)

{Jakob Blumenthal 11.08.03}


  • 76.04.13 + 04.14 - Cecil Taylor Unit: Taylor (p, voc, Comp), Jimmy Lyons (as), David S. Ware (ts), Raphé Malik (tp), Marc Edwards (dr) /
    Jazz Showcase, Chicago, IL [Chicago Tribune Apr 11 Sec.6 p.18 + p.23]

76.04.15 • Cecil Taylor Quartet: Michigan State University, April 15th 1976

Hi Hat Records HH 005CD (CD) 2015 UK; Live On Vinyl LOV 2003LP (180-gram vinyl LP) 2017
  • Cecil Taylor Unit [BR—46:15]
    —Original Live Broadcast WCBN-FM for National Public Radio “Jazz Alive”
April 15, 1976 / The Power Center, Michigan State University at Ann Arbor, Ann Arbor, MI
  HH 005CD:
 1. Wavelets Part 1
 2. Wavelets Part 2
 3. Wavelets Part 3
 4. Petals
  
  Broadcast Recording:
 1. Wavelets
  CT announcement
 2. Petals

 1:54
 8:30
22:06
13:49


31:58
 0:28   “Petals, just once through.”
13:50   (incomplete, cuts out)

—Broadcast Recording is of the second set. The piece begins with a drum solo
 (there is a split-second drop-out about 1:00 in); leads into a piano/tenorsax duet;
 [11:00 in] segues into a piano/altosax/drum trio segment; [18:00 in] becomes
 a piano-trumpet duo until ending.
 There is also a version listed as “2 tracks, 48:00.” On this tape the two tracks
 have been somehow reversed. The sound quality (not very good on track 1)
 descends to near horrible on the “unknown title,” and proceeds to the end
 commentary by A.B. Spellman of NPR’s “Jazz Alive.” The 2nd track begins
 and ends with edit cuts. Taylor’s voice is not heard here.
—Reference is also made to another recording at 50:00 (possibly the first set)
 with “Heather” and another unknown title.

Cecil Taylor (p, Comp), Jimmy Lyons (as), David S. Ware (ts),
Raphé Malik (tp), Marc Edwards (dr)

{Broadcast CDr; Marc Edwards for venue info—from The Michigan Daily Apr 16 Vol. LXXXVI No. 161; squidco.com }


Marc Edwards: “We did a torrid [first] set. ... After we finished playing, we were taking a break, and Cecil told us that we
had to do a second show. I was completely burned out. I started off the set doing a drum solo. I don’t recall the breakdowns
that followed. I think Cecil and Jimmy played together, David S. Ware may have soloed by himself or may have performed
as a duo with Malik. It’s hard to recall now. Eventually, the entire band did play together as an ensemble towards the end.”

 [Applause following track one leads to Taylor’s calling out “Petals, just once through. Petals.” The very ending of the track
 is cut off just a few moments before the NPR announcement appears on the inferior recording discussed in the notes. —RL]

Edwards: “I remember the ‘Petals’ composition to this day. Cecil wrote wonderful melodic lines. We had a ball playing that
piece during a tour on the West Coast and later, in Europe. We first performed this song during the band’s one week stay at
the KeyStone Korner in San Francisco.”

[After hearing the tape] “I was under the impression that we were going to do only one set. When Cecil announced we were
going to play some more, I was surprised. The second set begins with a drum solo. ... Cecil’s bands do not generally provide
many opportunities for drum solos. This concert presents a rare chance to hear me in this context. My primary function was
to play behind the band members supporting their musical ideas and concepts. To become a good soloist, one has to solo on
a regular basis. What the fans heard on the second set was the stuff that I play behind the ensemble. Towards the very end of
my solo, I began to get the hang of it. Just as I started moving into a different area, Cecil and David began to play. They had
quietly entered the stage. The audience was great, responding favorably to what I had played. ... The second set, David’s
performance with Cecil was outstanding.
During those days, critics and writers labeled David as just another screaming fiery tenor saxophonist. He is much more than
that. Unlike most free jazz saxophonists, David has far more range and depth. He and Cecil are in fine form, exploring the
musical layers melodically. This a side that many writers couldn’t hear. Jimmy and Raphé followed, each performing in a
similar spirit [during] the second set. Lyons is no longer with us. If he were alive, ... with the knowledge that I now have,
I would know how to support his improvisations better.”


76.04.20 • Cecil Taylor Unit [AR]

April 20, 1976 / Village Vanguard, New York City

 1. composition
 2. composition

—Recording may be the same as 76.04.24.

Cecil Taylor (p, Comp), Jimmy Lyons (as), David S. Ware (ts), Raphé Malik (tp), Marc Edwards (dr)

{Mike Hames; New York Magazine April 26, 1976 p.24; Village Voice Apr 19 p.89 + p.108}


  • 76.04.21 to 04.23 - Cecil Taylor Unit: Taylor (p, Comp), Jimmy Lyons (as), David S. Ware (ts), Raphé Malik (tp), Marc Edwards (dr) /
    Village Vanguard, NYC [New York Magazine April 26, 1976 p.24; Village Voice Apr 19 p.89 + p.108]

76.04.24 • Cecil Taylor Unit [AR]

April 24, 1976 / Village Vanguard, New York City

 1. compositions

Cecil Taylor (p, Comp), Jimmy Lyons (as), David S. Ware (ts), Raphé Malik (tp), Marc Edwards (dr)

{Anonymous 02.11.04 and 02.10.28; New York Magazine April 26, 1976 p.24; Village Voice Apr 19 p.89 + p.108}


76.04.00 • Cecil Taylor Unit [AR—97:06]

April, between the 20th & 25th, 1976 / Village Vanguard, New York City
—Ström has this listed as “May, 1976,” but there are no Vanguard dates for Taylor shortly after this April run, and the Unit is in Europe
 from mid-May on. This is likely one of the Vanguard gigs from late April. —RL

 1. compositions   95:24   (incomplete)

Cecil Taylor (p, Comp), Jimmy Lyons (as), David S. Ware (ts), Raphé Malik (tp), Marc Edwards (dr)

{Jan Ström’s Jimmy Lyons Sessionography}


  • 76.04.25 - Cecil Taylor Unit: Taylor (p, Comp), Jimmy Lyons (as), David S. Ware (ts), Raphé Malik (tp), Marc Edwards (dr) /
    Village Vanguard, NYC [The New York Times Apr 25 p.24-D; Village Voice Apr 19 p.89 + p.108]
  • 76.04.28 - Cecil Taylor Unit: as above / 10:00pm & 12:00midnight, New Foxhole Cafe, St. Mary’s Church, Philadelphia, PA
    [The Philadelphia Inquirer May 23 p.15L]

76.05.23 (1) • Andrew Cyrille and Maono: Junction

Institute of Percussive Studies Records IPS ST003 (LP) 1976;
Why Not/Trio Records PA-7157 (LP) 1977 Jap
  • Andrew Cyrille and Maono [AR]
May 23, 1976 / Studio Rivbea, New York City

 1. Okurimono (Gift From Japan) (Cyrille)
 3. Interlude (Ware/Daniel)
  21:14
   2:19
  (ts, flg, b, dr)
  (ts, tp, b)

Junction 1976 release on IPS has track 1 only, titled as above; 1977 release
 on Why Not/Trio Records have both tracks 1 and 2, with the track 1 title as
 “Notari—variation of Haru no Umi.”
Audience Recording is rumored to be complete.

David S. Ware (ts), Ted Daniel (tp, flg),
Lisle Atkinson (b), Andrew Cyrille (dr, perc)

{IPS ST003; info for Why Not PA-7157 from Marco Negri}


76.05.23 (2) • Wildflowers 3: The New York Loft Jazz Sessions

Douglas/Casablanca NBLP 7047 (LP) 1977; Douglas NBL-87047 (8Trk) 1977;
Douglas RJ-7308 (LP, + Promo) 1977 Jpn; Polydor 815 112-1 (LP) 1983 Fr;
Gravity/Douglas Music 30 00 342 / ARC 384 (CD) 1995 Fr
  • Andrew Cyrille and Maono [AR]
  • (V/A) 2 Wildflowers—The New York Loft Jazz Sessions
    Gravity 30 00 342 (CD) Fr 1995
    —This is not to be confused with “Wildflowers 2.”
  • (V/A) Wildflowers: The New York Loft Jazz Sessions Complete
    Knitting Factory Knit Classics KCR-3037 (3CD) 1999
  • (V/A) Wildflowers: Loft Jazz New York 1976
    Douglas AD-10 (3CD Set) 2005 Fr

 3. Short Short (Cyrille)    7:30   (ts, flg, b, dr)

Audience Recording is rumored to be complete.

—These 3 tracks are all excerpts from the same continuous performance.
 “Short Short” ends with audience applause. —RL

David S. Ware (ts), Ted Daniel (tp, flg),
Lisle Atkinson (b), Andrew Cyrille (dr, perc)

{Douglas NBLP7047; Gravity 30 00 342; KCR-3037; Douglas AD-10}
















76.05.28 • Cecil Taylor Unit [AR]

May 28, 1976, 10:00pm & 12:00midnight / Foxhole Cafe, St. Mary’s Church, University of Pennsylvania, Philadelphia, PA

 1. composition
 2. composition

Cecil Taylor (p, Comp), Jimmy Lyons (as), David S. Ware (ts), Raphé Malik (tp), Marc Edwards (dr)

{Philadelphia Daily News May 28 p.48; Anonymous 02.10.28}


  • 76.05.29 + 05.30 - The Cecil Taylor Unit: Taylor (p, Comp), Jimmy Lyons (as), David S. Ware (ts),
    Raphé Malik (tp), Marc Edwards (dr, perc) / 10:00pm & 12:00midnight (the 29th), 8:00pm (the 30th),
    Foxhole Cafe, St. Mary’s Church, University of Pennsylvania, Philadelphia, PA
    “Since we were in Philadelphia, Sun Ra attended at least one of the shows. I can’t recall if he was there for all three nights.
    Many of the players in his band also came. They really enjoyed the music. These performances drew a sizeable crowd.
    A good audience helps to make things happen.” —Marc Edwards
  • 76.06.00 (Festival 06.04 + 06.05) - The Cecil Taylor Unit: as above / La Courneuve landscape park, Paris, France
    [Le Monde Jun 3, web archive]

76.06.00 • Cecil Taylor Unit [SB—93:00]

June, 1976 / Maison de la Culture, Woluwe St. Pierre, Brussels, Belgium
—Also erroneously circulating as “Cecil Taylor Unit, 1978?, Belgium” —of the first set at 46:00 (fades out).

 1. composition (part 1)   46:20
 2. composition (part 2)   46:20   (incomplete, fades out)

Cecil Taylor (p, Comp), Jimmy Lyons (as), David S. Ware (ts), Raphé Malik (tp), Marc Edwards (dr)

{2CDr; Lukas Lindenmaier to CTResearch Group 05.05.07}


76.06.18 • The Cecil Taylor Unit: Dark to Themselves

Enja Records enja 2084 (LP) 1976 Ger; Soul Posters SP 2092 (LP) 1977 Fr;
Inner City IC 3001 (LP) 1977 [ + lavender banner variant]; Enja RJ7141 (LP) Jap;
Enja R2 79638 (CD) 1990; enja 2084 2 (CD, black or silver disc variants) 1990 Ger;
Enja 2084 2 (CD) [ + 25th Anniversary Series w/ slipcase] 1997 Ger;
Landy Star Music i-381532 (CD) 2005 Rus;
Ward Records (CD, Enja JAZZ Masterpiece, gold obi) 2007 Jap;
Ward Records (SHM-CD, Enja JAZZ Masterpiece, black obi) 2009 Jap;
Solid Records CDSOL-6539 (CD), gold obi) 2014 Jap;
Solid/Enja Records UVJZ-10015 (CD) 2018 Jap;
Solid UVJZ-20038 (CD, B&W obi) 2020 Jap

June 18, 1976 / 17th Yugoslavian Jazz Festival, Ljubljana, Yugoslavia

  ENJ-2084 2:
 1. Streams and Chorus of Seed
  
  ENJA 2084, SP 2092, IC3001
 1. Streams
 2. Chorus of Seed

 61:45

and ENJA R2 79638:
 22:21
 25:21

—Image of Inner City IC3001 LP.

Cecil Taylor (p, Comp), Jimmy Lyons (as), David S. Ware (ts),
Raphé Malik (tp), Marc Edwards (dr)

{R2 79638; SP 2092}


Called Out

Gary Giddins: “I’m afraid it’s necessary to raise some questions about the packaging. There would seem to be two pieces here,
‘Streams’ on side one and ‘Chorus of Seed’ on side two. I believe there are in fact two parts of the same performance. ‘Streams’
ends with an abrupt fade and overdubbed applause (which indicates that we’re supposed to think there are two works here), but
there is little soloing by Taylor and none by Jimmy Lyons. ‘Chorus’ is all Lyons and Taylor.
The ambiguity is exacerbated by a shift in sound balances—side two is far more vibrant and the piano better miked—and theme
variations on ‘Chorus’ which suggest without quite repeating those on ‘Streams.’ A call to Inner City reveals only that they
leased the tapes from German Enza and have no answers.” [Village Voice Aug 15 pp.51-52]

—And all rectified with the 25th Anniversary Series release in 1997. —RL


76.06.20 • Cecil Taylor Unit [AR—71:08; BR—27:21]

June 20, 1976 / Rotterdam Jazz Festival, De Doelen Concert Hall, Rotterdam, Netherlands
—Audience Recordings are also circulating misdated 76.07.20. —RL

  Broadcast Recording:
  Dutch Radio intro
 1. Be a Red Aisle Runner Do a Five C.T. (from “A Rat’s Mass")
  Dutch Radio outro
  
  Audience Recording:
 1. Five C.T.—Be a Red Aisle Runner (from “A Rat’s Mass")
  
   0:48
  27:09
   1:21
  
  
  68:34   (split track, fades out and back in at 43:22)

Cecil Taylor (p, Comp), Jimmy Lyons (as), David S. Ware (ts), Raphé Malik (tp), Marc Edwards (dr)

{CDr of Audience Recording; date confirmed by Marc Edwards; Broadcast info Jan Ström’s Jimmy Lyons Sessionography}


Marc Edwards:Dark To Themselves is well liked by fans of Free Jazz. What most people don’t realize is that the [76.06.18]
concert in Yugoslavia was the first stop of the European Tour. We played in France, Germany, Italy, and Norway, just to name
a few. I’ve always believed that DTT was not our strongest performance. The show that we did in La Rochelle, France, was
incredibly strong. I don’t know if anyone in the audience recorded it. I do recal that Alan Silva made a tape while we were
playing. Alan says that it was great, but, again, I have no way to confirm that. I’ve never heard his tape.

The Rotterdam Concert shows the band in rare form. Listening to the show today, I can only describe my drumming as
relentless. Jimmy Lyons was outstanding. After David’s solo, he began mimicking some of my rhythmic ideas as well as
those of David. Cecil, of course, can do anything. He began picking up on the rhythmic ideas too, throwing them back and
forth. Due to my inexperience, I wasn’t fully able to utilize what Cecil was feeding me. I was still locked into my own
musical ideas. Were I to play with Cecil today, this would be no problem. Experience is the best teacher. Jimmy was very
lyrical, a word that I use to mean that he was playing above his usual melodic concepts. I enjoyed listening to him a lot.
Playing the tape for a second time, I find that I’m drawn to Jimmy’s extensive use of rhythm in this concert.
He sounds great! ... In some ways, this performance eclipses DTT.”


  • 77.06.22 - Cecil Taylor Unit: Taylor (p, Comp), Jimmy Lyons (as), David S. Ware (ts), Raphé Malik (tp), Marc Edwards (dr) /
    Campagne-Première Theater, Paris, France [Le Monde Jun 24, web archive]
    Le Monde names Beaver Harris as the drummer, referencing questionable promo for a gig the month previous.

76.06.23 • Cecil Taylor Unit [SB—82:41]

June 23, 1976 / La Mutualite, Paris, France

 1. composition     44:46
 2. composition     37:55

Cecil Taylor (p, Comp), Jimmy Lyons (as), David S. Ware (ts),
Raphé Malik (tp), Marc Edwards (dr)

{Jan Ström’s Jimmy Lyons Sessionography;
Poster (at right) via Bertrand Gastaut}


76.06.30 • Cecil Taylor Unit [BR—166:39]

June 30, 1976 / Onkel Pö, Hamburg, Germany
—NDR Broadcast
—“The correct title of this now defunkt famous Jazz Club in Hamburg
 was ‘Onkel Pö’s Carnegie Hall.’” —Kai-Martin Mueller

 1. Dumping Petal Point and Sunflowers, Part 1
 2. Dumping Petal Point and Sunflowers, Part 2
 3. Don’t Send Me No Pebbles from Georgia
 4. First Word I-II
  39:24
  30:51   (incomplete)
  43:36   (incomplete)
  57:30   (incomplete)

—Track 3 is another version of 76.06.18’s “Streams and Chorus of Seed.”
—Track 4 also contains further development of some of the same motifs.

  Variant radio broadcast:
 1. German introduction
 2. Don’t Send Me No Pebbles from Georgia, Part 2

   0:20
  20:55




“We played there from June 30 to July 1, 1976 according to the itinerary.” —Marc Edwards

Cecil Taylor (p, Comp), Jimmy Lyons (as), David S. Ware (ts), Raphé Malik (tp), Marc Edwards (dr)

{3CDr; Jan Ström; Marc Edwards; Kai-Martin Mueller}


  • 76.07.01 - Cecil Taylor Unit: Taylor (p, Comp), Jimmy Lyons (as), David S. Ware (ts), Raphé Malik (tp), Marc Edwards (dr) /
    Onkel Pö, Hamburg, Germany [Marc Edwards]

76.07.03 • Cecil Taylor Unit [AR—120:00]

July 3, 1976 / Jazz Festival Macerata, Arena Sferisterio, Macerata, Italy

 1. compositions   120:00

Cecil Taylor (p, voc, Comp), Jimmy Lyons (as), Raphé Malik (tp), David S. Ware (ts), Marc Edwards (dr)

{Luca Barzaghi 03.01.12; Musica Jazz July 1976 p.27, on-line index; Jan Ström’s Jimmy Lyons Sessionography;
Coda #151, October/November 1976, pp.24-25—Festival report, short concert review.}


76.07.09 • Cecil Taylor Unit [AR—43:00]

July 9, 1976 / Casino de Montreux, Montreux Jazzfestival, Montreux, Switzerland

 1. Alougu
 2. Llians
  25:30
  17:30

Le Monde has this, probably poorly translated: “This evening which will appear also the fascinating Cecil Taylor Sextet, which will first
 lose its trumpeter. In jazz festivals, it is well known, a trumpet player has to get lost,” which may mean that Malik was absent. —RL

Cecil Taylor (p, Comp), Jimmy Lyons (as), Raphé Malik (tp), David S. Ware (ts), Alan Silva (b, voc), Marc Edwards (dr)

{Anonymous; Le Monde Jul 16 review, web archive}


76.07.10 • Cecil Taylor Unit [AR—88:04]

July 10, 1976 / unknown venue, La Rochelle, France

 1. composition   88:04   (incomplete, continuous set, split track at 45:40, cuts out at end)

Cecil Taylor (p, voc, Comp), Jimmy Lyons (as), David S. Ware (ts), Raphé Malik (tp), Alan Silva (b, voc), Marc Edwards (dr)

{2CDr; Jan Ström’s Jimmy Lyons, A Sessionography, p.36; Marc Edwards.}


Marc Edwards: “What’s noteworthy about the La Rochelle, France show is the addition of bassist Alan Silva. Alan joined
the band for the Montreux show in Switzerland on July 9, 1976. The band was rehearsing in a secluded area. It turned out
to be not so secluded. One lucky fan heard us playing. He came in and sat down for a free concert. Alan Silva arrived minutes
later. We continued to play with much passion. I turned it up an extra notch or two, just to see how Alan would react. Alan
began playing, adjusting his musical ideas with what the band was playing. My reaction was that Alan was thinking [that]
I was going to get tired and change to an easier level. That didn’t happen! I kept playing harder and harder. Alan was
checking me out closely. I kept playing so hard that Alan started laughing. Cecil was also highly amused by my tactics.
He knew what I was doing.

Drummers tend to be very territorial. If anyone joined the band, I made sure that they played out stuff. On that point, there
was no compromise. For the record, Alan Silva was the only musician to play with the Dark To Themselves Cecil Taylor Unit.
No one sat in at any time. If you hear otherwise, it didn’t happen while I was there. Anything is possible after I left.

This brings us to the La Rochelle performance in France—the next day we flew in a private plane. The plane was small,
having just enough room for us, the musicians, and our instruments. We took only a change of clothes for one day. Our
suitcases arrived later that day. I was uncomfortable in the plane. Raphé and I were in the back seat. My drum case contained
the floor tom-tom and the small tom-tom. The case rested on our laps pressing against our faces. It was quite large. Had the
plane gone down, there was no way for Raphé nor I to save ourselves. We were pinned to the back seat by my drum case.
We were totally in the hands of the Almighty. Luckily, we arrived at La Rochelle without any mishaps.

Jimmy and David were laughing at us throughout the flight. They teased us to no end. After the plane landed, we were taken
to the hotel. We were late getting to La Rochelle. The promoters of the concert wanted us to go to the theater ASAP. I was
hungry. I went to David’s room and told him that I had to get something to eat before we played. David took me to Cecil’s
room and explained the situation. Cecil understood. Within a short time we were at a restaurant eating a lavish meal.
Meanwhile, the promoters were having a fit. The show was not going to start on time. As soon as I had finished eating,
the promoter personally drove me to the theater pronto.

I don’t recall the name of the place. It was a large theater that could also double for showing movies. When I had finished
setting up my drums, Cecil, Jimmy, David, and Raphé arrived. We did a quick sound check. I could hear a concerned crowd
behind the curtains. They were greatly relieved when the curtains went up. Finally, they were going to hear some music.
The tape doesn’t fully capture my performance. At the beginning, I was using brushes. On this day, I was in the zone.
Everything that I played was superb. Jimmy Lyons turned around at one point because he was so impressed with my work
on brushes. Later, I changed to drumsticks and the band took off. Alan really added another voice to the Unit. I wish he had
stayed on longer with the group. Listening to the tape, the band sounds great.

Towards the end of our long set, Jimmy, Raphé, and David started playing together. This is one of the few times that the
three horns improvised freely, other than when they were playing the “heads” (the composition lines). They kept playing on
and on. I thought they would never stop. During this segment, Cecil thought that I was pushing the band. No, it wasn’t me,
it was the horn players. They had gotten into a hard driving mode and locked in. I had no choice but to keep up. That was no
problem. I simply dug in and started to push the group as hard as I could. When we finished playing, the audience was very
enthusiastic. They kept screaming and hollering. We bowed and left the stage. Because I had played so well, Cecil asked
me to go back on stage—by myself. I didn’t want to, but Cecil insisted. As soon as I set foot on the stage, the audience
went nuts! They started screaming again, only this time, their collective voices went up another octave. Words cannot
begin to describe how I felt at that moment. Now I understand why people cry when they receive awards at the music
awards shows. The audience can literally move a person to tears.”


76.07.11 • Cecil Taylor Unit [AR]

July 11, 1976 / Riviera Jazz Summer, Recontres avec la Musique de Jazz, Roman Arena, Nimes, France

 1. Corolla, Stepping Into Sunning
 2... compositions

“The search for the root of the cry by Cecil Taylor Unit, which was joined by bassist Alan Silva (le Monde dated July 4-5 ).”
—This in Le Monde from July 13. —RL

Cecil Taylor (p, Comp), Jimmy Lyons (as), Raphé Malik (tp), David S. Ware (ts), Alan Silva (b), Marc Edwards (dr)

{Le Monde Jul 13, web archive; The San Francisco Examiner Jul 21 p.24; Heinrich Smejkal, from Jazzpodium 7/1976, S.32, Concert schedule}


76.07.14 • Cecil Taylor Unit [AR—120:36 & BR—65:50]

July 14, 1976 / SendeSaal Saal Studio, Bremen, Germany
—Broadcast by Radio Stadt Bremen, Tape #JZ 5288

  Audience Recording:
 1. Winds Alight Stepping Silver
  
  Broadcast Recording:
  broadcast announcement
 1. Winds Alight Stepping Silver (excerpt)
  broadcast announcement [0:29
 2. Winds Alight Stepping Silver (excerpt)
  
  120:36
  
  
   0:39
  29:09
   0:29
  34:39   (incomplete, fades at end)

—Broadcast Recording is also circulating with incorrect dates of 77.03.00 and 77.05.03 (possible broadcast dates).
Jimmy Lyons, A Sessionography: “[Tracks 1 and 2 were] broadcast at different occasions but given the same date and title,
 [indicating] one performance ... broadcast in two parts.”

Cecil Taylor (p, voc, Comp), Jimmy Lyons (as), David S. Ware (ts), Raphé Malik (tp), Marc Edwards (dr)

{Audience 2CDr; Broadcast CDr; Jan Ström’s Jimmy Lyons, A Sessionography Update 02-0130 p.6;
Marc Edwards; Holger Neuhaus; Heinrich Smejkal}


  • 76.07.16 to 07.18 - Cecil Taylor Unit: Taylor (p, Comp), Jimmy Lyons (as), David S. Ware (ts), Raphé Malik (tp), Marc Edwards (dr) /
    1st North Sea Jazz Festival, Carrousel Zaal, Congresgebouw, Den Haag, Netherlands [The Town Talk Jul 15 p.A10]
  • 76.07.00 (1) - Cecil Taylor Unit: as above / Kongsberg Jazz Festival, Kongsberg, Norway
    [Jan Ström’s Jimmy Lyons Sessionography]
  • 76.07.00 (2) - Cecil Taylor Unit / Festival del Jazz, Arles, France
    [Jan Ström’s Jimmy Lyons Sessionography; Musica Jazz October 1976 p.37, on-line index]
  • 76.09.21 to 09.23 - Andrew Cyrille & Maono: David S. Ware (ts), Ted Daniel (tp, flg), Nick DeGeronimo (b), Andrew Cyrille (dr, perc) /
    Ali’s Alley, NYC [Village Voice Sep 20 p.59 + display ad p.112]
  • 76.10.22 to 10.24 - Andrew Cyrille & Maono: as above / Ali’s Alley, NYC [Village Voice Oct 25 display ad p.101]
  • 76.11.20 - Andrew Cyrille & Maono / 3:00pm, Countee Cullen Library, NYC [Village Voice Nov 22 p.126]

76.12.11 • Cecil Taylor Unit [AR—148:24]

December 11, 1976 / Village Gate, New York City

 1. composition   78:48   (split track at 45:14)
 2. composition   69:36   (split track at 44:54)

—1st Set was possibly Broadcast on WKCR.

Cecil Taylor (p, Comp), Jimmy Lyons (as), David S. Ware (ts), Raphé Malik (tp), Beaver Harris (dr)

{2CDr; WKCR Archive; New York Magazine December 13, 1976 p.31; Village Voice Dec 13 p.104}


  • 76.12.12 - Cecil Taylor Unit: Taylor (p, Comp), Jimmy Lyons (as), David S. Ware (ts), Raphé Malik (tp), Beaver Harris (dr) /
    10:00pm, Village Gate, New York City [New York Magazine December 13, 1976 p.31; Village Voice Dec 13 p.97 + 104]
  • 76.12.16 - William Hooker Reality Unit: David S. Ware (ts), Alan Braufman (as), Hooker (dr, perc) / 7:00pm, Columbus Library, NYC
    [Village Voice Dec 20 p.134]

1977 : : :


“Two years later, Ware was a full-time member of Taylor’s orchestra, appearing on the heavyweight Dark To Themselves
and a mysterious 1977 session alongside Beaver Harris, Jimmy Lyons, and Raphé Malik that’s never seen the light of day.”
[David S. Ware interview/article by David Keenan, WIRE #180 February 1999 p.37]
—It’s unclear whether this session included CT, or was a session of Unit members sans CT.


77.01.14 • William Hooker Reality Unit [AR—51:21]

December 21, 1976 / 8:00pm, New York Jazz Museum, New York City

 1. . . . TIME/Within     51:21

David S. Ware (ts), Alan Braufman (as), William Hooker (dr, saw, perc)

{Anonymous 02.11.04; WKCR Archive; Village Voice Jan 17 p.72}


  • 77.01.18 to 01.23 - Cecil Taylor Unit: Taylor (p, Comp), Jimmy Lyons (as), David S. Ware (ts), Raphé Malik (tp), Beaver Harris (dr) /
    Keystone Korner, San Francisco, CA [The San Francisco Examiner Jan 2 “Datebook” p.15]
  • 77.02.08 to 02.12 - Andrew Cyrille & Maono: David S. Ware (ts), Ted Daniel (tp, flg), Nick DeGeronimo (b), Andrew Cyrille (dr, perc) /
    9:30pm, Ali’s Alley, NYC [Village Voice Feb 7 p.82]
  • 77.02.15 to 02.19 - Andrew Cyrille & Maono: as above / 9:30pm, Ali’s Alley, NYC [Village Voice Feb 14 p.90 + Feb 21 p.108]

  • Cecil Taylor solo at New England Life Hall in Boston, MA on March 4 was cancelled.
    [Concert announced, The Boston Globe Feb 24 “Calendar” p.9 + The Berkshire Eagle Mar 3 p.9]


  • 77.03.02 to 03.11 - Cecil Taylor Unit: Taylor (p, Comp), Jimmy Lyons (as), Raphé Malik (tp), David S. Ware (ts), Marc Edwards (dr) /
    Jazz Showcase, Chicago, IL [Chicago Tribune Feb 27 Sec.6 p.20 + Mar 2 Sec.2 p.2 + Mar 6 Sec.6 p.25]
    —Damon Short correspondence to Jason Hook on 04.02.24 had this as 03.07 to 03.11
  • 77.03.19 - Cecil Taylor Unit: as above / “Workshop & Lecture at University of Chicago.” Chicago, IL [ibid]

77.03.21 • Beaver Harris’ 360° Ensemble [BR—51:03]

March 21, 1977 / WKCR-FM Studio, New York City

 1. compositions   51:03

David S. Ware (ts), Hamiet Bluiett (bar), Raphé Malik (tp), Tito Sumpa (perc), Beaver Harris (dr)

{CDr}


  • 77.03.23 to 03.26 - Cecil Taylor Unit: Taylor (p, Comp), Jimmy Lyons (as), Raphé Malik (tp), David S. Ware (ts), Beaver Harris (dr) /
    Vancouver Jazz Society, “Spring ’77 Concert Series,” 9:00pm, Old Heritage Hall, Vancouver, British Columbia, Canada
    [Vancouver Sun Mar 18 display ad p.16; CODA # 156 August 1977 p.29; vancouverjazz.com/vjs/index.php]

  • 77.04.00 (1) - Cecil Taylor Unit: as above / Jazz Showcase, Chicago, IL [Jan Ström’s Jimmy Lyons Sessionography]
    —This is probably the 77.03.02 to 03.11 engagement. There are no listings or other mentions of a Jazz Showcase gig in April. —RL


  • 77.03.29 to 04.03 - Cecil Taylor Unit / Keystone Korner, San Francisco, CA
    [San Francisco Examiner Mar 27 “Date Book” display ad p.6; Oakland Tribune Mar 31 review p.44]

“Apogee started in 1970 and ended when we recorded Birth of a Being in 1977. I raised the money to make the recording,
$1,500 or so. David S. Ware took it to Hat Hut and sold it for $500 under his name, not the name of the band. The explanation
was that the owner of the company wanted it that way. This, of course, upset me [because] to me Apogee was a collective.”
[Cooper-Moore interview, from Adam Lore’s beautiful periodical 50 Miles of Elbow Room, Number One.]


77.04.14 • David S. Ware: Birth of a Being

hat Hut Records HAT-W (LP) 1979 Swz
—1st session [See also: 77.04.15.]
  • David S. Ware / APOGEE: Birth of a Being
    AUM Fidelity AUM096/97—DSW-ARC01 (2CD) 2015
April 14, 1977 / CIRecording, Inc., New York City

 1. Prayer
 2. A Primary Piece #1
 3. A Primary Piece #2
 4. Prayer (alt. take)
 5. Cry
 6. Stop Time
 10:50
 13:45
 11:45
 12:07
 14:06
 17:05

—HAT W has tracks 1, 2, and 3 only.

David S. Ware (ts, Comp),
Gene Y. Ashton aka Cooper-Moore (p),
Marc D. Edwards (dr)

{hat HUT W}


77.04.15 • David S. Ware: The Birth of a Being

hat Hut Records HAT-W (LP) 1979 Swz
—2nd session [See also: 77.04.14.]
  • David S. Ware / APOGEE: Birth of a Being
    AUM Fidelity AUM096/97—DSW-ARC01 (2CD) 2015
April 15, 1977 / CIRecording, Inc., New York City

 1. Thematic Womb (Ware)
 2. Ashimba (Cooper-Moore)
 3. Solo (Ware)
  16:35
  16:35
   6:56
  (ts, p, dr)
  (ts, ashimba)
  (ts)

—HAT-W has track 1.

David S. Ware (ts),
Gene Y. Ashton aka Cooper-Moore (p, ashimba),
Marc D. Edwards (dr)

{hat HUT W}







  • 77.04.22 + 04.23 - Cecil Taylor Unit: Taylor (p, Comp), Jimmy Lyons (as), Raphé Malik (tp), David S. Ware (ts), Marc Edwards (dr) /
    9:30 & 11:30pm, Village Gate, NYC [New York Magazine April 18, 1977 p.109; The New York Times Apr 22 p.C4]

77.04.00 (2) • Cecil Taylor Unit [AR]

April, 1977 / Recontres avec la Musique de Jazz, Nimes, France

 1... compositions

Cecil Taylor (p, Comp), Jimmy Lyons (as), Raphé Malik (tp), David S. Ware (ts), Beaver Harris (dr)

{Heinrich Smejkal: Info from Jazzpodium 7/1976, S.32 (Concert schedule, no details}


77.04.00 (3) • Cecil Taylor Unit [AR]

April, 1977 / Centre Culturel de Woluwe Saint Pierre, Brussels, Belgium
—Noted in an obscure web source as having taken place on April 1.

 1. compositions

—According to Jean-Michel Van Schouwburg this concert took place in late April.

Cecil Taylor (p, Comp), Jimmy Lyons (as), Raphé Malik (tp), David S. Ware (ts), Beaver Harris (dr)

{Jan Ström’s Jimmy Lyons Sessionography}


77.05.26 • Beaver Harris: African Drums

Owl Records OWL 09 (LP) 1978 Fr; OWL 009 (LP) 1978 Fr; OWL 009 018 356 2 (CD) 2002 Fr

May 26, 1977 / Daniel Pascaud’s Studio, Paris, France

 1. African Drums (Harris)   10:15

—2002 CD has OWL 009 and 018 356-2 on CD; OWL 009 018 356 2 on booklet; and 018 356 2 on Digipak spine.

David S. Ware (ts), Beaver Harris (dr)

{OWL 09}


Owl 09 LP
Alternate issue Owl 009 LP

  • 77.00.00 - Cecil Taylor Unit: Taylor (p, Comp), Jimmy Lyons (as), Raphé Malik (tp), David S. Ware (ts), Beaver Harris (dr) /
    Pavilhão Dramático de Espinho, Espinho, Portugal [Jan Ström’s Jimmy Lyons Sessionography; Nuno Martins 04.05.13]
  • 77.05.27 + 05.28 - Cecil Taylor Unit: as above / Sigma JazzFocus, Paris, France [Le Monde Diplomatique Mar 17 p.18]
  • 77.05.27-30 - Cecil Taylor Unit / Moers Festival, Moers, Germany
    [Musica Jazz June 1977 p.25-26, on-line index; Giovanni Corda 04.10.20]

77.06.11 • Cecil Taylor Unit [AR—165:28]

June 11, 1977 / Pumpwerk Kulturzentrum, Wilhelmshaven, Germany

 1st Set
 2nd Set
  90:24   (split track at 60:24, fades out and back in)
  75:04   (fades in)

Cecil Taylor (p, Comp), Jimmy Lyons (as), David S. Ware (ts), Raphé Malik (tp), Beaver Harris (dr)

{Jakob Blumenthal 07.07.21}


77.06.15 • Cecil Taylor Unit [AR—138:16]

June 15, 1977 / Kino Arri (Movie Theater Arri), München, Germany

 Part One of “F (in f sharp)”
 Part Two of “F (in f sharp)”
   85:13   (split track at 74:40)
   53:03

—Fragmented parts of soundcheck, announcements, chatter before the beginning ... have been edited out. In these fragments
 Cecil Taylor announces the composition as “The title is F (Eff), ... is in two parts, ... is ‘F’ ... played in F-sharp.”

Cecil Taylor (p, Comp), Jimmy Lyons (as), David S. Ware (ts), Raphé Malik (tp), Beaver Harris (dr)

{2CDr; H. Lukas Lindenmaier; Jan Carlsson 04.03.28}


77.06.18 • Cecil Taylor Unit [AR—157:51]

June 18, 1977 / Bimhuis, Amsterdam, Netherlands

 1st Set
 2nd Set
  90:31   (split track at 58:07)
  67:20   (split track at 32:27)

“In the summer of ’77 I caught the Cecil Taylor Unit at the Bimhuis club in Amsterdam. The group was over an hour late and the crowd actually
booed as they walked on—Jimmy Lyons, David S. Ware, Raphé Malik, and, to my surprise, Beaver Harris. Beaver’s percussion propelled the
group and Cecil with a virtuosic intensity.” —Rudolph Grey’s liner notes to Blue Humans Live—N.Y. 1980 on Audible Hiss.

Cecil Taylor (p, Comp), Jimmy Lyons (as), David S. Ware (ts), Raphé Malik (tp), Beaver Harris (dr)

{Jakob Blumenthal 07.07.21}


  • 77.07.02 - Andrew Cyrille & Maono: David S. Ware (ts), Ted Daniel (tp), Nick DiGeronimo (b), Cyrille (dr, perc) /
    9:30pm, Ali’s Alley, NYC [Village Voice Jul 4 p.51]
  • 77.07.25 to 07.31 - Cecil Taylor Unit: Taylor (p, Comp), Jimmy Lyons (as), David S. Ware (ts), Raphé Malik (tp), Beaver Harris (dr) /
    Keystone Korner, San Francisco, CA [The Sacramento Bee Jul 21 p.E2; The San Francisco Examiner Jul 24 “Date Book” p.5]
  • 77.08.02 - Cecil Taylor Unit: as above / The Lighthouse, Hermosa Beach, CA
    [The Los Angeles Times Jul 3 “Calendar” p.31 + Jul 17 “Calendar” p.91]

  • 77.00.00 - Cecil Taylor Unit / “Late Summer,” 1977 / Village Vanguard, NYC
    Village Voice issues between July 1st through November 8th have consistent Vanguard schedules which cover a span of 3-4 weeks each,
    and nowhere is there evidence of a CT appearance during this time.
    —Audience Recording exists according to Mike Hames. Jan Ström’s Jimmy Lyons Sessionography has this listed in September (77-0900),
     with “Private tape (audience recording) exists (according to Mike Hames).” as the only reference.


  • 77.09.06 to 09.10 - Cecil Taylor Unit: Taylor (p, Comp), Jimmy Lyons (as), David S. Ware (ts), Raphé Malik (tp), Beaver Harris (dr) /
    Storyville, NYC [New York Magazine September 12, 1977 p.28; Coda November/December 1977 p.31]
  • 77.10.28 + 10.29 - Beaver Harris’ 360° Music Experience: David S. Ware (ts), Hamiet Bluiett (bar, acl, fl), Dave Burrell (p),
    Sunil Garg (sitar), Cecil McBee (b), Beaver Harris (dr) / 9:00pm, Axis in Soho, NYC
    [Village Voice Oct 31 p.88; Coda November/December 1977 p.31]
    —“Margie Pargie,” “Sahara,” others...
  • 77.11.01 to 11.05 - Andrew Cyrille & Maono: David S. Ware (ts), Ted Daniel (tp), Nick DiGeronimo (b), Cyrille (dr, perc) /
    9:30pm, Ali’s Alley, NYC [Village Voice Nov 7 p.63 + p.90]

1978 : : :


78.00.00 (1) • Cooper-Moore: Outtakes 1978

Hopscotch HOP 16 (CD) 2005

unknown dates, 1978 / unknown venues, New York City

 1. ensemble 1 redo, take 9
 2. Trio take 5
 3. ensemble 1 take 2
 4. prayer take 8
 5. ensemble 1 take 1
 6. Trio take 6
  8:00   (ts, tp, didley-bow, dr)
  3:34   (ts, p, dr)
  7:46   (ts, tp, didley-bow, dr)
  5:00   (ts, p)
  8:44   (ts, tp, didley-bow, dr)
  3:52   (ts, p, dr)

—The liners are messed: CD track 2 is listed in liners as track 4; CD track 3 as track 5;
 CD track 6 as track 9; CD track 7 as track 10; CD track 8 as track 1;
 and CD track 9 as track 6.

David S. Ware (ts), Mark Gould (tp),
Cooper-Moore (diddley-bow, p), Kenwood Dennard (dr)

{HOP 16}


  • 78.03.05 + 03.06 - Andrew Cyrille & Maono: David S. Ware (ts), Ted Daniel (tp), Nick DiGeronimo (b), Cyrille (dr, perc) /
    9:30pm, Ali’s Alley, NYC [Village Voice Mar 6 p.84]
  • 78.00.00 (2) - Andrew Cyrille & Maono: David S. Ware (ts), Ted Daniel (tp), Nick DiGeronimo (b), Cyrille (dr, perc) /
    The 100 Club, London, England [Jazz Journal International V.31 no.12 December 1978 p.25]

78.09.02 • Andrew Cyrille & Maono [AR—128:53 & BR—5:55]

September 2, 1978 / Jazz Festival Willisau, Willisau, Switzerland

  Audience Recording:
 1. Sweet Nut
 2. Spiegelgasse 14
  a) Reflections and Restaurants
  b) The Park
 3. 5-4-3-2 (Cyrille)
 4. Metamusician’s Stomp (Cyrille)
  
  Broadcast Recording:
 1. Metamusician’s Stomp, Part 2
  
  27:20
  46:05
  
  
  12:45
  42:43   (incomplete)
  
  
   5:55   (Received as “Meta Music Star, Part 2")

David S. Ware (reeds), Ted Daniel (tp), Nick DeGeronimo (b), Andrew Cyrille (dr)

{2CDr; Jan Ström; Heinrich Smejkal; venue from Pierre-André Monti; CODA October 1978 #163 p.29}


78.09.00 • Andrew Cyrille & Maono: Metamusician’s Stomp

Black Saint BSR 0025 (LP) 1978 It; 120025-2 (CD) 1978 It;
Black Saint 120025-OD (CD) 2009 It
  • (V/A) Black Saint-Soul Note Critics’ Pick Sampler (Vol. 3)
    Black Saint/Soul Note BS/SN-C003 (CD) 1998 It
September, 1978 / Ricordi Studios, Milano, Italy

 1. Metamusician’s Stomp (Cyrille)
 2. My Ship (Kurt Weill)
 3. 5-4-3-2 (Cyrille)
 4. Spiegelgasse 14:
  Reflections+Restaurants
  The Park
  Flight (Cyrille)
   6:41
   7:05
   4:54
  21:14


Critics’ Pick Sampler has track 1.

David S. Ware (ts, fl, foot), Ted Daniel (tp, flg, wood flute, foot),
Nick DeGeronimo (b, foot), Andrew Cyrille (dr, perc, foot)

{Black Saint 120025-2; BS/SN-C003}


78.09.30 • David S. Ware: From Silence to Music

PALM Records PALM 32 (LP) 1978 Fr
—1st Session [See also 78.10.01]

September 30, 1978 / Studio PALM, Paris, France

 1. Blues for a change
 2. In memory of
   9:52
  10:44

David S. Ware (ts, Comp), Jean-Charles Capon (cello)

{PALM 32; split session info from Pierre-André Monti}


78.10.01 • David S. Ware: From Silence to Music

PALM Records PALM 32 (LP) 1978 Fr
—2nd Session [See also 78.09.30]

October 1, 1978 / Studio PALM, Paris, France

 1. It could happen to you (Van Heusen)
 2. Deep Purple (Peter de Rose)
 3. Prelude to a Kiss (Ellington)
 4. From deep within Part I (Ware)
 5. From deep within Part II (Ware)
  7:55
  3:55
  3:53
  2:52
  3:20

David S. Ware (ts)

{PALM 32; split session info from Pierre-André Monti}


  • 78.11.17 + 11.18 - Beaver Harris & the 360° Music Experience: David S. Ware, Ken McIntyre, and Ricky Ford (reeds),
    Albert Dailey (p), Harris (dr, Comp) / The Tin Palace, NYC [Village Voice Nov 20 p.120]
  • 78.12.02 - Andrew Cyrille “Quintet”: David S. Ware (ts), Joe Rigby (reeds), Ted Daniel (tp),
    Nick DeGeronimo (b), Cyrille (dr) / 10:30pm, The Public Theater, NYC [Village Voice Dec 4 p.107]

1979 : : :


  • 79.02.06 to 02.10 - Andrew Cyrille & Maono: David S. Ware (ts), Ted Daniel (tp), Nick DeGeronimo (b), Cyrille (dr) /
    9:30pm, Ali’s Alley, NYC [Village Voice Feb 5 p.85]

79.06.30 • David S. Ware “& Co.” [AR]

June 30, 1979 / Live At Soundscape, New York City

 1. Awareness
 2. Come Sunday
 2. Home at Last

David S. Ware (ts), A. Klapman (b ?), Rashid Bakr (dr)

{Anonymous 06.01.01; Village Voice Jul 2 p.87}


79.00.00 • Andrew Cyrille & Maono [WKCR Archival Recording—20:11]

unknown date, 1979 / Paris, France

 1. Module   20:11

David S. Ware (ts), Ted Daniel (tp), Nick DeGeronimo (b), Andrew Cyrille (dr)

{WKCR-FM Archive 07.07.31}


  • 79.10.13 - Andrew Cyrille & Maono: David S. Ware (ts), Ted Daniel (tp), Nick DeGeronimo (b), Cyrille (dr) /
    Jazzgalerie, Nickelsdorf ["20 years Jazzgalerie Nickelsdorf"]

79.10.14 • Andrew Cyrille & Maono [AR—67:59]

October 14, 1979 / Burghausen, Germany

 1. Abracadabra (Clifford Jordan)
 2. Baby Man (John Stubblefield)
 3. Metamusician’s Stomp (Cyrille)
  20:01
  17:48
  27:02   (split track at 6:56)

David S. Ware (ts), Ted Daniel (tp), Nick DeGeronimo (b), Andrew Cyrille (dr)

{CDr}


79.10.15 • Andrew Cyrille & Maono [AR—126:27]

October 15, 1979 / Innsbruck, Austria

 1. composition   8:27
 2. composition   25:57
 3. composition   29:44
 4. composition   44:32   (split track at 30:15, fades out and back in)
 5. composition   17:42

David S. Ware (ts, voc), Ted Daniel (tp, flg, voc),
Nick DeGeronimo (b, voc), Andrew Cyrille (dr, perc, sanza, voc)

{Norbert Kreutzer 08.03.03}


  • 79.10.16 - Andrew Cyrille & Maono: David S. Ware (ts),
    Ted Daniel (tp), Nick DeGeronimo (b), Cyrille (dr) /
    Jazz Club Sinkkasten, Frankfurt, Germany
    [Jazzpodium 10/1979, S.34, concert review]


  • 79.10.23 - Andrew Cyrille “Quartet”: as above /
    Camden Jazz, Round House, Camden, London, UK
    [Concert poster, www.rhourtney-collector.com]


  • 79.11.30 - Andrew Cyrille & Maono:
    David S. Ware (ts), Joe Rigby (reeds), Ted Daniel (tp),
    Nick DeGeronimo (b), Cyrille (dr) /
    8:30pm, Eisner and Lubin Auditorium, Loeb Student Center,
    New York University, NYC
    [Village Voice Dec 3 p.87]



1990

1970

1990

2000

2010


80.02.02 • David S. Ware Quartet [BR]

February 2, 1980 / Soundscape, New York City
WKCR-FM, Live Broadcast

 1. composition
 2. composition
 3. Angel Eyes
 4. Theme
 5. Somewhere Time
 6. Eleanor Rigby




David S. Ware (ts), Gene Y. Ashton aka Cooper-Moore (p), William Parker (b), Rashid Bakr (dr)

{Cadence Vol.6 no.2 February 1980 p.2; Anonymous 05.12.31; + even more Anonymous correspondence}


80.03.21 • David S. Ware & Tatsuya Nakamura Duo [BR—50:00]

WKCR-FM, Live Broadcast

March 21, 1980 / WKCR-FM, New York City

 1. Come Sunday   50:00

David S. Ware (ts), Tatsuya Nakamura (dr)

{Anonymous 02.10.28 and 06.01.01; Cadence Vol.6 no.2 February 1980 p.2}


80.05.09 • William Parker’s Centering Dance Music Ensemble: Centering—Unreleased Early Recordings 1976-1987

NoBusiness Records NBCD42-47 (6-CD boxed set + book, Limited Editon of 1,000 numbered boxes) 2012
—1st Session: [See also 84.06.25]
 (+ 76.10.24, 77.08.00, 79.05.04, 80.00.00 (1), 80.00.00 (2), 84.06.25, and 87.07.03 in the William Parker Sessionography.) May 9, 1980 / Kiva, New York City

  Centering—Unreleased Early Recordings 1976-1987:
 1. Facing the Sun, One is Never the Same
 2. One Day Understanding (Variation on a theme by Albert Ayler)
 3. Bass Interlude
 4. Tapestry
 5. Rainbow Light
  
  Broadcast Recording:
 1. Facing the Sun One is Never the Same

 24:18
 22:28
  1:55
 16:28
 26:56
  

  5:18   (incomplete, cuts in at beginning, fades out at end)

—Two Sets, with a filmed performance of Parker’s “Corn Meal Suite” (78.00.00) shown during intermission.
—William Parker Archive notes have Program as:
 How Does It Feel?, Sincerity, [Film by Robert Herman], Facing the Sun One is Never the Same, One Day Understanding.

David S. Ware (ts), William Parker (b), Patricia Nicholson (dance), Denis Charles (dr)

{Ed Hazell 12.06.20; nobusinessrecords.com/NBCD42-47.php; CDr; William Parker Interview & Broadcast}




P.Arkhaeology ::: Deep Digging

“Parker produced numerous additional sessions for centering, even printing album covers for two of them, before the scene’s harsh
economic conditions slowed him down. Parker: ‘When my father died I didn’t have $1.50 to go to the Bronx. I had to take these BYG
records and sell them to get money for carfare.’ What would have been his first solo bass record, Soliloquy, is presumed lost forever.”
—Michael Ehlers, eremite.com

Unissued Centering LPs.

“William doesn’t have the tape for Soliloquy any more, not sure of the year. The trio cover is for the David S. Ware, Denis Charles,
WP session that’s issued on the Centering box set [80.05.09 above]. A linoleum block print. Handprinted. The outlines of David,
Denis, and William are based on photographs that were to appear on the back cover of the album. The photos are reprinted
in the Centering box. William said he filled the apartment with the covers to dry, but then couldn’t afford to press the LPs.”
—Ed Hazell 14.03.16 / William Parker’s Centering Archive


80.09.27 • Andrew Cyrille & Maono [AR—117:15]

September 27, 1980 / Jazz Club Unterfahst, Münich, Germany

 1. The Magnificent Bimbo—Circumfusion
 2. You Leave Me Breathless
 3. Special People
 4. The Music in Us
 5. Jamile
 6. High Priest
  20:30
  10:59
  20:45
  26:35
  11:03
  24:34

David S. Ware (ts), Ted Daniel (tp, flg), Nick DeGeronimo (b), Andrew Cyrille (dr)

{2CDr; info from Jean-Marc Foussat; Heinrich Smejkal}


80.10.15 to 10.19 • Andrew Cyrille & Maono: Unissued Hat hut Recording Session

  • Andrew Cyrille & Maono [AR—17:40]
October 15 through 19, 1980 / Le Dreher, Paris, France

  Audience Recording:
 1. composition   17:40   (incomplete, cuts out at end)

David S. Ware (ts), Ted Daniel (tp), Nick DeGeronimo (b), Andrew Cyrille (dr)

{CDr; info from Jean-Marc Foussat}


I Can’t Believe They Recorded the Whole Thing

“Four nights recording, each with three sets, with one night for [sound] check! An Hat hut demand for a live album. I did it.
I bring the 12 tapes (each 45 minutes) to Switzerland. Two month later a Werner phone call from Zürich. There was a sound
problem. I go there. It was a kind of buzz on the whole trumpet sound. Apologise: as sound engineer I didn’t listen it while
recording, or if I did, I didn’t realized that it was so unpleasant, so ugly, so!!! At that second I was as have no more ability
in the thing it was my job, for ever!
The whole thing was erased under my eyes by Werner himself with his hands. And I must return my fee as if nothing has
never happened. Hope you understand. The pure Horror.” —Jean-Marc Foussat’s splendid correspondence


80.10.21 + 10.22 • Andrew Cyrille: Special People

Soul Note SN 1012 (LP) 1981 IT; SN 121012 (CD) IT

October 21 & 22, 1980 / Barigozzi Studios, Milano, Italy

 1. A Girl Named Rainbow (Ornette Coleman)
 2. High Priest (Cyrille)
 3. Fortified Nucleolus (Cyrille)
 4. Baby Man (John Stubblefield)
 5. Special People (Cyrille)
  10:00
   7:42
   5:08
   6:34
   7:00

David S. Ware (ts), Ted Daniel (tp, flg)
Nick DeGeronimo (b), Andrew Cyrille (perc)

{SN 1012}


  • 80.11.11 - Andrew Cyrille & Maono: David S. Ware (ts), Ted Daniel (tp),
    Nick di Geronimo (b), Andrew Cyrille (dr) /
    8:30pm, Club de Musica y Jazz, San Juan Evangelista, Madrid, Spain
    [www.sanjuanevangelista.org]
  • 80.11.12 - Andrew Cyrille & Maono: as above /
    10:30pm, Club de Musica y Jazz, San Juan Evangelista, Madrid, Spain [ibid]

80.11.19 • Andrew Cyrille & Maono [AR—82:14]

November 19, 1980 / Kaserne, Basel, Switzerland

 1. composition
 2. composition
 3. Through The Ages Jehova (Leroy Jenkins)
 4. The Music In Us (Cyrille)
 5. The Higher Self
 6. Confusion
 7. You Leave Me Breathless
  18:18
   6:47
  11:20
  10:44
  17:39
  14:24
  13:02

David S. Ware (ts), Ted Daniel (tp, flg),
Nick DeGeronimo (b), Andrew Cyrille (dr)

{Jakob Blumenthal 11.07.11}



1981 : : :


“Ware was still itching to play. He took two trips to Europe during this period. In 1981 he travelled with a pickup group
featuring ... Cooper-Moore (who shared a house with Ware in the ’70s, occasionally performing under the name Apogee),
Beaver Harris, and Brian Smith.” —David S. Ware interview/article by David Keenan, WIRE #180 February 1999 p.37


  • 81.04.29 + 04.30 - David S. Ware Quartet featuring Beaver Harris:
    Ware (ts), Gene Ashton aka Cooper-Moore (p),
    Brian Smith (b), Beaver Harris (dr) / Jazz Unité, Paris, France
    [Crépon’s Jazz Unité chronology, “Gérard Terronès: Jazz Unité (19811982)”
    Current Research in Jazz Volume 10 (2018), crj-online.org]

81.04.31 • David S. Ware Quartet featuring Beaver Harris [AR—24:23]

April 31, 1981 / Jazz Unité, Paris, France

 1. Bliss Tune (Ware)   24:23

“Somebody in Paris sent it to Adam Lore, who handed it off to me.”
—Cooper-Moore

—Also noted, “unknown titles, 91:00”

David S. Ware (ts), Gene Ashton aka Cooper-Moore (p),
Brian Smith (b), Beaver Harris (dr)

{Crépon’s Jazz Unité chronology, “Gérard Terronès: Jazz Unité (19811982)”
Current Research in Jazz Volume 10 (2018), crj-online.org
CDr of single track; Cooper-Moore 07.01.06; Anonymous 04.03.02;
Cadence June 1981 p.63}


  • 81.05.01 + 05.02 - David S. Ware Quartet featuring Beaver Harris:
    Ware (ts), Gene Ashton aka Cooper-Moore (p),
    Brian Smith (b), Beaver Harris (dr) / Jazz Unité, Paris, France
    [Crépon’s Jazz Unité chronology, “Gérard Terronès: Jazz Unité (19811982)”
    Current Research in Jazz Volume 10 (2018), crj-online.org]

   —Flyer from the Marc Edwards archive.


  • 81.05.06 - David S. Ware Quartet: Ware (ts), Gene Ashton aka Cooper-Moore (p), Brian Smith (b), Beaver Harris (dr) /
    Fasching Club, Stockholm, Sweden [Anonymous 04.03.02; Cadence June 1981 p.63]
  • 81.06.01 - David S. Ware Trio: Ware (ts), Cameron Brown (b), Beaver Harris (dr) /
    The Echanson, Place of the Parlement, Bordeaux, France [Pierre Mons 04.04.26; 12.02.18]

Arnaque!

“I met [Ware] when I recorded [Andrew] Cyrille’s Maono a year before. He was with a very strange guy, named as manager
but who seemed best as a mafioso directly get off a Chester Himes black novel. So this ‘promotor’ wanted to record David
who gave him my address. The recording was ‘Live’ in the Palais des Glaces but it seems that all was an enormous ‘arnaque’ [“scam”].
All was as speedy as a coke line, even my [sound] check—I remember it was a drum problem or something like that and
it was impossible to do a real serious check—and, whenever, it was really important for me (and for him and David) to do
it because it was a direct two-tracks stereo mix, but it was just a not real problem for this manager, many more important
were, that I still ignore. It was no advertising, pictures, etc.: so quite no audience. A very strange gig!
Anyway, I don’t remember why, because it wasn’t usual in those times, I brought my cassette deck with me to do my ‘safety
copy’ cassette during the recording: it’s why I have, still today—I never throw something away, something to ear more that
a memory of it. The concert was just ending that the guy ask me for the master tape. I try to ask for my fee but it was not a
question to talk about at this point, he took suddenly the tape, even ask me sharply for any money he thought I probably
might have (Oh, happy days, I was absolutely broke!) and everybody vanished.” —Jean-Marc Foussat
[—I just love Jean-Marc’s e-mails. —RL]


  • 81.06.07 - David S. Ware Quartet: Ware (ts), Gene Ashton aka Cooper-Moore (p), Brian Smith (b), Harris (dr) /
    Palais des Glaces, Paris, France [Jean-Marc Foussat 02.10.29]

Hammer Time

In April of 1981, I did a six-week tour of Europe with David S. Ware. The band consisted of Ware on tenor and soprano
saxes, Beaver Harris on drums, Brian Smith on bass, and myself on piano. The experience was so awful that when I returned
home I called a friend who helped me push my piano out of the living room, through the kitchen, off of the back porch into
the yard where I then took a sledgehammer and demolished the thing. I then burned the wood, took the sledge and demolished
the cast iron harp and put the pieces and the ashes in barrels to be carted away by the garbage men.”
[Cooper-Moore interview, from Adam Lore’s beautiful periodical 50 Miles of Elbow Room, Number One.]


81.06.20 • Andrew Cyrille & Maono [SB—46:12]

June 20, 1981 / Pisa Jazz Festival, Pisa, Italy

 1. Jamile
 2. composition
 3. Circumfusion—the Magnificent Bimbo
   6:25
  17:50
  20:50   (incomplete, fades out)

David S. Ware (ts, voc), Ted Daniel (tp, voc), Nick DeGeronimo (b), Andrew Cyrille (dr, voc)

{CDr; CODA October 1981 #180 p.34 has Festival time frame as “July.”}


  • 81.06.26 - Andrew Cyrille & Maono: David S. Ware (ts), Ted Daniel (tp), Nick di Geronimo (b), Andrew Cyrille (dr) /
    Soundscape, NYC [New York Magazine Jun 29, 1981 Vol.14 No.26 p.87]
  • 81.06-07.00 - Andrew Cyrille: as above / Kool Jazz Festival, NYC —June 26 through July 5 [Gordon Bock UPI April 13, 1981]

81.10.01 • David S. Ware & Milford Graves Duo [AR—27:30]

October 1, 1981 / Federal Hall, New York City

 1. composition
 2. composition
  21:17
   6:10

David S. Ware (ts), Milford Graves (dr)

{CDr; session date from James Lindbloom}


  • 81.12.01 - David S. Ware & Milford Graves Duo: Ware (ts), Graves (dr) / “December Journal, 1981,”
    Paul Robeson House (Carriage Barn) or Tishman Lecture Hall, Bennington College, Bennington, VT
    [Rutland Daily Herald Dec 4 p.14]

81.12.12 • Milford Graves Trio [AR—100:23]

December 12, 1981 / Soundscape, New York City

 1. composition
 2. composition
 3. composition
  46:08   (incomplete, fades out)
  18:55
  35:21

—Also circulating at 93:22 with 3rd track incomplete—fades out [28:16].

David S. Ware (ts), Hugh Glover (reeds, p), Milford Graves (dr, voc)

{Jakob Blumenthal 07.09.07}


1982 : : :


  • 82.00.00 - David S. Ware: “We [Graves and DSW] played a couple of duos in New York, in the city, and we played
    a couple up in Bennington College in Vermont, he teaches there.”
    —Glenn Good’s interview of David S. Ware on March 11, 1996. Aired on WNUR (89.3 FM, Evanston-Chicago) on March 18, 1996.

1983 : : :


  • No known performances...

1984 : : :


  • 84.05.19 - William Parker’s Centering Ensemble—Extending the Clues: David S. Ware (ts, ss), Daniel Carter and Jemeel Moondoc (as),
    Ricardo Strobert (as, fl), Roy Campbell, Jr (tp), Masahiko Kono (tb), Ellen Christi (voc), William Parker (b), Takeshi Zen Matsuura (perc) /
    “A kind of prelude to the Sound Unity Festival,” 9:30pm, Inroads, NYC
    [Sound Unity Fest schedule/review in Cadence Vol.10 #8 August 1984; Cadence Vol.10 #5 May 1984 p.77;
    CODA #197 August 1984 p.28; Ed Hazell 06.08.21]
    “I was cleaning out the attic and found a flyer for this concert. I wasn’t there for it, I just had a habit of picking up flyers
    whenever I was in NYC and saving them. Admission was $5.” —Ed Hazell

84.06.01 • David S. Ware Trio [AR—44:12]

June 1, 1984 / 1st Sound Unity Festival, C.U.A.N.D.O. Center, New York City

 1. The Elders
 2. Mystery
 3. An Ancient Formula
  20:53
  14:15
   8:48   (incomplete)

David S. Ware (ts, Comp), Brian Smith (b), Beaver Harris (dr)

{CDr; Cadence Vol.10 no.6, June 1984 p.77}


84.06.02 • (V/A) Peter Brötzmann ALARM Ensemble: Rising Tones Cross / a Jazzfilm by Ebba Jahn

Ebba Jahn / Film Pals (VHS) 1985 GER/USA; FilmPals DVD 01 (DVD) 2005 GER

June 2, 1984 / Sound Unity Festival, CUANDO Community Center, New York City

 1. Alarm   5:15   (incomplete)

Rising Tones Cross contains a first excerpt [2:05] which appears at 1:31:30 in; and a second, blistering excerpt [5:15] which appears at 1:33:40.

This ensemble is not listed on the Sound Unity Festival poster shown above and was probably a late addition. —RL

Peter Brötzmann, Charles Gayle, David S. Ware, and Frank Wright (ts), Jemeel Moondoc (as), Roy Campbell Jr. (tp),
Masahiko Kono (tb), Irene Schweizer (p), William Parker and Peter Kowald (b), Rashied Ali (dr)

{Rising Tones Cross}


    Peter Kowald Quartet on 84.06.02 at Sound Unity Festival,
    C.U.A.N.D.O. Community Center, New York City : : :
    An Audience Recording received as “unknown title [45:00] (incomplete)”
    is in wide circulation among traders and consistently
    misidentifies the tenor player as David S. Ware.

    The Kowald Quartet appears in Rising Tones Cross / a Jazzfilm by Ebba Jahn,
    with Charles Gayle (ts), Marilyn Crispell (p), Peter Kowald (b),
    and Rashied Ali (dr) performing “Melting—Lines—Cycle.”
    The Jahn film has an excerpt [5:25] which appears at 56:10 in; and a second
    excerpt [6:45], which includes 1:00 of applause and announcements, at 67:50,
    and matches the track on the Audience Tape. —RL


84.06.07 • Peter Brötzmann ALARM Ensemble [AR—90:15]

June 7, 1984 / Taller Latino-Americano, New York City

 1. composition
 2. composition
 3. composition
  43:48   (incomplete, split track at 42:15, cuts out)
   1:49   (incomplete, cuts in, split track at 1:33, cuts out)
  41:54   (incomplete, cuts in)

Peter Brötzmann, Charles Gayle, David S. Ware, and Frank Wright (ts),
Jemeel Moondoc (as), Roy Campbell Jr. (tp), Masahiko Kono (tb),
Irene Schweizer (p), William Parker and Peter Kowald (b), Rashied Ali (dr)

{2CDr; CODA #197 August 1984 p.29; Anonymous 04.03.02;
Flyer from Ed Hazell archive}


84.06.25 • William Parker’s Centering Big Band: Centering—Unreleased Early Recordings 1976-1987

NoBusiness Records NBCD42-47 (6-CD boxed set + book w/ Essay and Interview by Ed Hazell, Limited Editon of 1,000 numbered boxes) 2012
—2nd Session: [See also 80.05.09]
 (+ 76.10.24, 77.08.00, 79.05.04, 80.00.00 (1), 80.00.00 (2), 84.06.25, and 87.07.03 in the William Parker Sessionography.)

June 25, 1984 / Kool Jazz Festival, Soundscape, Irving Plaza, New York City

  Centering—Unreleased Early Recordings
  Centering Big Band (Extending the Clues)
 1. Ankti (Extending the Clues)
 2. Munyaovi (Cliff of the Porcupine)
 3. Palatala (Red Light of Sunrise)
 4. Lomahongva (Beautiful Clouds Arising)
 5. Tototo (Warrior Spirit Who Sings)
1976-1987:
  
  12:59
  14:46
   4:35
  29:10
  10:58

Daniel Carter, Jemeel Moondoc, and Ricardo Strobert (as), David S. Ware (ts), Charles Tyler (bar), Raphe Malik and Roy Campbell Jr. (tp),
Alex Lodico and Masahiko Kono (tb), Lisa Sokolov and Ellen Christi (voc), William Parker (b), Zen Matsuura (dr)

{Ed Hazell 12.06.20; nobusinessrecords.com/NBCD42-47.php; CODA #197 August 1984 p.29}




1985 : : :


“In 1985, Peter Brötzmann’s protege Peter Kowald joined the ranks, alongside drummer Louis Moholo—a rare showing for
the Euro-jazz wing. ‘I’m not really that familiar with European jazz,’ Ware admits. ‘Well, I’m not taking the time with it,
put it like that.’”
[David S. Ware interview/article by David Keenan, WIRE #180 February 1999 p.37]


  • 85.01.30 - Peter Kowald’s “Collaboration”: David S. Ware (ts), Bill Dixon (tp), Kowald (b), Andrew Cyrille (dr) /
    “Music is an Open Sky” Series, Sweet Basil, NYC
    [Date from New York Magazine February 4, 1995 p.109; CODA #201 April 1985 p.34]
  • 85.02.18 - Peter Kowald Trio + Peter Brötzmann Trio: David S. Ware (ts), Kowald (b), Andrew Cyrille (dr),
    Brötzmann (reeds), William Parker (b), Pheeroan ak Laff (dr) / Carnegie Recital Hall, New York City
    [CODA #201 April 1985 p.34; Grahm Connah 03.03.10]
    “The final sections, when all six musicians played together, was really fun.” —CODA
    “Music Is An Open Sky program ... has an ad on the backside indicating an upcoming show by Ware/Kowald/Cyrille,
    and Brotz/WP/Graves.” —Grahm Connah and Brotz/WP/Graves.” —Grahm Connah

David S. Ware Trio

“1985 I took a trio to Europe. ... Actually it was Peter Kowald, who is a German bass player. And it was supposed to have
been Beaver Harris, but Beaver got sick at the last minute, and ... actually I went through several drummers on that tour.
The drummer was Thurman Barker, who started the tour out.... Then I used Louis Moholo on several of the concerts. It was
really great playing with him. And actually I used another guy whose name I can’t recall, I think he was from San Francisco,
but he happened to be in Europe.”
—Glenn Good telephone interview of Ware, March 11, 1996. Aired on WNUR 89.3 FM, Evanston-Chicago, March 18, 1996.


85.04.26 • Peter Brötzmann’s Alarm Orchestra [AR & BR—79:21]

April 26, 1985 / Workshop Freie Musik, Akademie Der Künste, Berlin, Germany

 1. Alarm
 2. composition
  60:48   (Audience Recording is incomplete; split track at 46:53)
  18:33

Peter Brötzmann (ts, as, cl, Comp), David S. Ware (ts), Larry Stabbins (ts, ss), Toshinori Kondo (tp),
Hannes Bauer and Alan Tomlinson (tb), Curtis Clark (p), William Parker and Peter Kowald (b), Louis Moholo (dr)

{2CDr; www.plosin.com/milesAhead/Tapes.aspx?s=19850426}


  • 85.04.13 - Harris, Kowald, Ware Trio: Ware (ts), Peter Kowald (b), Beaver Harris (dr) / 21:00hr, Sud-des-Alpes, Geneva, Switzerland
    [24 Heures Apr 10 p.47]

85.04.27 • David S. Ware Trio [AR—93:52]

April 27, 1985 / Workshop Freie Musik, Akademie Der Künste, Berlin, Germany

 1. compositions
 2. Prayer
 3. The Elder’s Path
 4. Mystery
 5. An Ancient Formula
 6. composition
  41:57   (continuous performance, segues into track 2)
   7:26   (split track at 4:44)
  19:25
  11:29
   7:36
   4:30

David S. Ware (ts, voc), Peter Kowald (b), Louis Moholo (dr)

{2CDr}


85.04.29 • Peter Brötzmann’s Alarm Orchestra [BR—50:38]

April 29, 1985, Kammerspiele, East Berlin, Germany
—Broadcast GDR

 1. composition   49:23

Peter Brötzmann (ts, as, cl, Comp), David S. Ware (ts, sxl), Larry Stabbins (ts, ss), Toshinori Kondo (tp),
Hannes Bauer and Alan Tomlinson (tb), Curtis Clark (p), William Parker and Peter Kowald (b), Louis Moholo (dr)

{CDr}


85.05.01 • Peter Brötzmann’s Alarm Orchestra [AR—70:40]

May 1, 1985 / Borse, Grenzüberschreitungen, Wuppertal, Germany

 1. composition   69:38

Peter Brötzmann (ts, as), David S. Ware (ts), Larry Stabbins (ts, ss), Toshinoro Kondo (tp, voc),
Johannes Bauer and Alan Tomlinson (tb), Curtis Clark (p), William Parker and Peter Kowald (b), Louis Moholo (dr)

{CDr}


1986 : : :


  • No known performances...

1987 : : :


  • 87.12.01 + 12.02 - Ahmed Abdullah’s Solomonic Quartet: David S. Ware (ts, stc), Abdullah (tp, flg, voc),
    Fred Hopkins (b), Charles Moffett (dr) / Knitting Factory, New York City, two shows each night.

87.12.03 + 12.04 • Ahmed Abdullah: ...and the Solomonic Quintet

Silkheart Records SHLP-109 (LP) 1988 Swd; SHCD-109 (CD) 1990 Swd

December 3 & 4, 1987 / A&R Recording, New York City

 1. African Songbird (Abdullah)
 2. Gypsy Lady (Moffett)
 3. The Search (Abdullah)
 4. Canto II (Abdullah/traditional)
 5. Khaluma (Abdullah/traditional)
 6. The Dance We Do (Abdullah)
 7. Wishbone Suite (Moffett)
 8. The Dance We Do (Abdullah)
  7:03
  4:55
  6:48
  4:54
  7:16
  7:28
  5:27
  8:39   (take 1)

—Track 8 on CD only.

Ahmed Abdullah (tp, flg, voc), David S. Ware (ts, stc),
Masuhjaa (el-g), Fred Hopkins (b), Charles Moffett (dr)

{SHCD-109}


1988 : : :


“During 1988, we played at the New York City Public Library as preparation for the Silkheart Record, Passage To Music.
I contacted the library and set up three gigs. Bassist Dave Saphra made the first gig only. He was replaced by William Parker.”
—Marc Edwards


  • 88.02.24 - Call of Nature Trio: David S. Ware (ts), David Saphra (b), Marc Edwards (dr) /
    6:30pm, New York Public Library, Ninety-Sixth Street Regional Branch, NYC
  • 88.03.01 - Call of Nature Trio: David S. Ware (ts), William Parker (b), Marc Edwards (dr) /
    6:30pm, New York Public Library, Saint Agnes Branch, NYC [Marc Edwards]
  • 88.03.00 - “Ahmed Abdullah with David S. Ware”: Ware (ts), Abdullah (tp, flg) / Knitting Factory, NYC [WIRE #50 April 1988 p.32]
  • 88.03.08 - Call of Nature Trio: David S. Ware (ts), William Parker (b), Marc Edwards (dr) /
    6:00pm, New York Public Library, 115th Street Branch, NYC [Marc Edwards]
  • 88.04.03 - Call of Nature Trio: personnel as above / Knitting Factory, NYC [New York Magazine April 4, 1988 p.179]

“Most of the record was done on the first day. Recording two or three days in a row isn’t the way I like to record. My
experience is that if you have strong musicians, chances are you’ll have 99 percent of the record done during the first session.”
—Marc Edwards


88.04.04 + 04.05 • David S. Ware Trio: Passage to Music

Silkheart Records SHLP-113 (LP) 1988 Swd;
SHCD-113 (CD) 1988 Swd [ + 1998 Reissue]
  • (V/A) Silkheart Sampler—Spirit of New Jazz
    Silkheart Records SHCD-130 (CD) 1990 Swd
April 4 & 5, 1988 / A & R Recording, New York City

 1. An Ancient Formula
 2. Ancient Visitors
 3. Passage to Music
 4. African Secrets
 5. The Elders Path
 6. Phonetic Hymn
 7. Mystery
   6:00
   7:30
  10:46
  10:47
  13:20
   9:00
  11:43
  (ts)
  (sxl)
  (ts)
  (stc)
  (ts)
  (ts)
  (ts)

Spirit of New Jazz has track 1.
Passage to Music LP has tracks 1 through 5.

David S. Ware (ts, sxl, stc, Comp), William Parker (b), Marc Edwards (dr)

{SHCD-113; SHCD-130}


    “The Second International Sound Unity Festival of Third Wave Jazz (the first of its kind in four years) ... from April 12 through 17
    at The Kraine Club Gallery and The Knitting Factory.” —CODA #221 August 1988 pp.36-9

  • 88.04.12 - David S. Ware Trio: Ware (reeds), William Parker (b), Marc Edwards (dr) / The Second International Sound Unity Festival,
    3rd Wave Festival of Jazz, Kraine Art Gallery, NYC
    “We opened the Sound Unity Festival.” —Marc Edwards

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

April 17, 1988, 7:30pm / The Second International Sound Unity Festival, Kraine Art Gallery, New York City

 1. Sisyphus

Bill Dixon (tp, Cond), David S. Ware, Glenn Spearman (ts), Jemeel Moondoc (as), Karen Borca (bsn),
Arthur Brooks, Roy Campbell Jr., and Leo Smith (tp), Bill Lowe (tu),
William Parker and Mario Pavone (b), Laurence Cook (dr)

 —Nioka Workman (ce) mentioned in correspondence from Marc Edwards, but not included in the Dixonia entry.

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


“This was Sound Unity’s closing act to nearly a week of good music.” —Marc Edwards

“Dixon’s ensemble composition, ... was given a single performance after rehearsals at Jemeel Moondoc’s loft on at least the
days of and before the concert. According to Dixon, the piece would have benefited from further and more focused rehearsals:
‘At the first rehearsal, everyone wasn’t there—and they were being paid for these things. At the second one, some of the people
who had been there the day before sent substitutes. I was ready to go right back to Vermont; I can’t deal with that kind of thing
where everyone sight-reads a part, then struts out and does a funny solo, and thinks they’re into something. I come from a
different tradition where a thing has to be definitive.” —LP liner notes to Son of Sisyphus; some details from the leaflets for
the series; also announced in Jazznews (Dublin) July/August 1988.” Dixonia

“An orchestra piece ... that Bill did. And that was a written piece, but again it was approached with a certain amount of adding
spontaneity to it even in the way we came on stage, in a theatrical way, which I related to Cecil. Of course it was Bill Dixon’s
way, which is different, but it’s a very similar approach to letting the individual bring what they have to the music.”
—William Parker [Cadence Vol.16 #12 December 1990 p.11]


  • 88.05.00 - Ahmed Abdullah’s Solomonic Quartet: Abdullah (tp, flg, voc), David S. Ware (ts), Fred Hopkins (b), Charles Moffett (dr) /
    Eindhoven, Netherlands [Ahmed Abdullah 03.08.03; Ware Archive ’07]
  • “Plus Masujaa on guitar, and including an amazing interchange between he and saxophonist Bill Saxton,
    who happened to be touring with Errol Parker.”

1989 : : :


89.01.28 • David S. Ware Trio [AR—46:16]

January 28, 1989, 8:00 & 10:00pm / Painted Bride Arts Center, Philadelphia, PA

 1. Mystery
 2. Ancient Visitors
 3. An Ancient Formula
   20:10
    9:44
   13:50   (short version fades at 1:59)

“[Another, shorter] version includes a piece not on [this Audience Recording]. ... After ‘Ancient Visitors’ on the [shorter] version, you can hear
a break for a tape flip, and then Ware’s unaccompanied beginning for another piece; it cuts off before the theme is stated so I don’t know what
it is. On [this] version, there’s no tape flip after ‘Ancient Visitors,’ and ‘An Ancient Formula’ follows without a break, ... but the solo opening
of the mystery song fragment isn’t present. Total time on the [other, shorter] disc is 34:05.”
—James Lindbloom

“The personnel [listed previously] is incorrect. (Ware, William Parker, and Reggie Nicholson.) It should read [as below]. David and Sirone
played well—however, I did not. Remember, I was still in the process of making a come-back after a ten-year layoff. After that performance,
the fire returned and has been with me continuously. Billy Bang was also on the bill. He had William Parker and Reggie Nicholson in his band.
I don’t recall the other band members. David has never worked with Reggie Nicholson, not to my knowledge.”
—Marc Edwards

David S. Ware (ts, sxl-2), Sirone (b), Marc Edwards (dr)

{CDr, short version at 31:55, detailing James Lindbloom 04.08.21; info from Marc Edwards; The Philadelphia Inquirer Jan 27 “Weekend” p.23;
Philadelphia Daily News Jan 27 p.56}


  • 89.09.05 - David S. Ware “Group”: unknown personnel / 11:00pm, Knitting Factory, NYC
    [Daily News Sep 3 “City Lights” p.18; New York Magazine September 4, 1989 p.88]
  • 89.12.20 + 12.21 - Cecil Taylor Corona Ensemble: Taylor (p, Comp), David S. Ware (ts), John Bruschini (g),
    Evelyn Blakey (voc), William Parker (b), Thurman Barker (mba), André Martinez (dr) / Lush Life, NYC
    [New York Magazine December 18, 1982 p.142; Newsday Dec 23 review p.II-17+20]

89.12.22 • Cecil Taylor Corona Ensemble [AR]

December 22, 1989 / Knitting Factory, New York City

 1. Save the Children

Cecil Taylor (p, voc, Comp), David S. Ware (ts, stc, voc), John Bruschini (g, voc), Evelyn Blakey (voc),
William Parker (b, voc), Thurman Barker (mba, vibes, perc, voc), André Martinez (dr, voc)

{André Martinez Archive; New York Magazine December 18, 1982 p.142; Newsday Dec 23 review p.II-17+20}


89.12.23 • Cecil Taylor Corona Ensemble [AR—100:59]

December 23, 1989 / Knitting Factory, New York City

  First Set
 1. composition   100:59   (split track at 51:26)

Cecil Taylor (p, voc, Comp), David S. Ware (ts, stc, voc), John Bruschini (g, voc), Evelyn Blakey (voc),
William Parker (b, voc), Thurman Barker (mba, vibes, perc, voc), André Martinez (dr, voc)

{2CDr; Anonymous; André Martinez Archive; New York Magazine December 18, 1982 p.142; Newsday Dec 23 review p.II-17+20}


1970

1980

1990

The 21st Century...

2010


90.01.08 to 01.10 • David S. Ware Quartet: Great Bliss Vol. 1

Silkheart Records SHCD-127 (CD) 1991 Sweden

90.01.08 to 01.10 • David S. Ware Quartet: Great Bliss Vol. 2

Silkheart Records SHCD-128 (CD) 1991 Sweden

January 8 to 10, 1990 / Sound on Sound Studio, New York City

    Great Bliss Vol. 1:
  1. Forward Motion
  2. Angular
  3. Bliss Theme
  4. Cadenza
  5. Sound Bound
  6. Mind Time
  7. Saxelloscape One
  8. Thirds
  
    Great Bliss Vol. 2:
  9. One Two Three
 10. Emptiness
 11. Primary Piece III
 12. Saxelloscape Two
 13. The Child Without—The Child Within
 14. Stritchland
 15. Low Strata
 16. Reign of Peace
   
   12:28
    5:50
    8:50
   11:40
   12:00
    4:00
    4:00
   13:50
   
   
   12:00
    4:00
    8:30
    5:00
   10:50
   12:15
    6:20
   11:00
  
  (fl)
  (sxl)
  (ts)
  (stc)
  (sxl)
  (fl)
  (sxl) —Ware solo
  (ts)
  
  
  (stc)
  (fl)
  (ts)
  (sxl) —Ware solo
  (fl)
  (stc)
  (ts)
  (ts)

—The CD liner notes say “does not appear on album” for several of these tracks.
 “Silkheart LP manufacture stopped in a big hurry and those two certainly
 weren’t manufactured. The remarks on the backliner text are there because
 it wasn’t possible to make any changes to the offset films at that late date.”
 —Keith Knox, Silkheart Records

David S. Ware (ts, fl, sxl, stc, Comp), Matthew Shipp (p),
William Parker (b), Marc Edwards (dr, tmp, perc)

{SHCD-128; SHCD-127}




  • 90.05.20 - David S. Ware Quintet: Ware (reeds), Bill Dixon (tp), Matthew Shipp (p), William Parker (b), Marc Edwards (dr) /
    Knitting Factory, NYC
    [Dixonia, a Bio-discography of Bill Dixon, by Ben Young (Greenwood Press 1998)—Round Up the Usual Suspects, entry 90-0520 p.298
    Village Voice May 22 p.119; CODA #233 August 1990 p.36; ]

1991 : : :


  • 91.02.03 - David S. Ware & Matthew Shipp Duo: Ware (ts), Matthew Shipp (p) / 7:00pm, Knitting Factory, New York City
    [Daily News Feb 3 “City Lights” p.14; New York Magazine February 4, 1991 p.82]

91.12.10 + 12.11 • David S. Ware: Flight of I

DIW DIW-856 (CD) JPN 1992; DIW/Columbia CK 52956 (CD) 1992

December 10 & 11, 1991 / The Power Station, New York City

 1. Aquarian Sound (Ware)
 2. There Will Never Be Another You (H. Warren/M. Gordon)
 3. Sad Eyes (A. Jones)
 4. Flight of I (Ware)
 5. Yesterdays (J. Kern/O. Harbach)
 6. Infi-Rhythms # 1 (Ware)
   7:49
   9:29
  11:10
   8:11
   6:51
  17:43

David S. Ware (ts), Matthew Shipp (p),
William Parker (b), Marc Edwards (dr)

{DIW-856}


  • 91.12.19 - David S. Ware Quartet: Ware (reeds), Matthew Shipp (p), William Parker (b), Marc Edwards (dr) /
    11:00pm, Knitting Factory, NYC
    [Daily News Dec 15 “City Lights” p.20; CODA #242 March 1992 p.28; Cadence Vol.17 no.12 December 1991 p.91]

1992 : : :


92.10.14 + 10.15 • David S. Ware: Third Ear Recitation

DIW DIW-870 (CD) 1993 JPN

October 14 & 15, 1992 / Sound On Sound Studio, New York City

 1. Autumn Leaves (Joseph Kosma)
 2. East Broadway Rundown (Sonny Rollins)
 3. Mystic March (Ware)
 4. Angel Eyes (Matt Dennis)
 5. Third Ear Recitation (Ware)
 6. Free Flow Dialogue (Ware)
 7. Sentient Compassion (Ware)
 8. The Chase (Ware)
 9. Autumn Leaves (Joseph Kosma)
  3:42
  9:39
  5:38
  7:17
  4:41
  3:16
  6:45
  9:11
  8:56

David S. Ware (ts), Matthew Shipp (p), William Parker (b), Whit Dickey (dr)

{DIW-870}


Liner notes by Ben Ratliff

One evening after a rehearsal in 1974, David S. Ware lay on his bed in the Canal Street apartment he was sharing with a
few other musicians, and briefly heard the music of the spheres.

“It was just like somebody turned on the radio. I heard music. But it wasn’t coming from anywhere; it was coming from
within me. I heard spontaneous music, accompanied with color. It was multi-rhythmic, that’s for sure. It wasn’t like a tune
where you have one melody accompanied by one rhythm; it was like all encompassing rhythms and melodies, a thousand
or million of ’em going at one time. It was a very short experience, only three to five seconds at the most. Just enough to
let me know that it was there.”

That experience and that music was the indication of something Ware had long been interested in: the idea that music isn’t
created, but lives independently of us, and that we can draw from it to play it when we have the proper knowledge.

“Another way to put it,” he explained to me, “is that there is a universal reservoir of music; music that exists, somewhere
in the in the deep regions of the universe, and I don’t mean out there, I mean in here, within. Myriad creative composers
over the centuries have tapped this reservoir. It’s music that exists already, apart from but connected to our being. It’s my
understanding that all music comes from that place.”

The title of this record, David’s second for DIW, may need a little explanation. All that’s really meant by the “third ear”
is a subtle, more refined sense of hearing. When it’s cultivated, one can begin to hear the “inner music”—the spiritual
language of music. “The refinement of all five senses is an integral part of the spiritual path, and I’m only singling out
the sense of hearing,” he says. “This has to be seen in the overall context of spiritual development. When you grasp the
inner meaning of music, you hear on a level where music takes you somewhere within yourself; it puts you somewhere.”
(The experience above, as you’ve probably guessed, was “in the realm of the third ear.”) A “recitation,” of course, is a
reading of something that already exists—whether it’s tangible (on paper) or intangible (in the mind). So Ware is using
his third ear to tell you what he knows.

The method of Ware’s working quartet—which has changed since his previous DIW recording, Flight of i, only in that
Whit Dickey has replaced Marc Edwards on drums—is nothing if not thorough. The music on this record was in
preparation for five months, an unusually long time for a jazz record or any kind of record. It unfolded over a period
of perhaps fifty rehearsals, gaining delicacy, momentum, and density. Density, in particular, is Ware’s natural inclination:
his tone is among the broadest of tenor saxophonists working today, his lines contain a great amount of notes, and he
prefers a deeply enmeshed ensemble sound as well. “It’s just the way that my nervous system translates to my fingers.
It runs along the same course as my harmonic sense and melodic sense, but more my harmonic sense. There’s no space
in between the notes; it’s like they melt into one another. Each note slides; it blends, it bends, for me.” The final affect
of these pieces is a worked-in feeling; they’re gem-like, like the later Rouault paintings, where whimsical, light-handed
strokes and layers of darker oils aren’t at odds with one another. This music sounds like a felicitous meeting of lifelong
preparation and flashed spontaneity.

Two takes of “Autumn Leaves” are included here not because of subtle differences, but because of basic ones. In the
first, Matthew Shipp comps the melody at a stately pace, staying absolutely true to the textbook; he does not solo. Ware,
meanwhile, is playing what he calls “state-of-the-art” tenor—the territory of highly refined sound. Notice that he’s not
just describing the curve of the melody in his flurries of notes; he’s always playing the changes. And in this piece
especially, Ware’s not just playing the changes, but the overtones of the notes of the melody. In the second version,
Ware opens with a solo and the band enters on a completely different tack: this time Shipp solos right after Ware’s
unaccompanied intro; William Parker develops a plucked solo out of a long arco passage, and then returns to bowing;
and Dickey’s playing is much sparser. Notice Ware’s way of creating tension, especially in the out-chorus of the second
version: he balances an almost ballad-style reading of the melody with a superimposition of his “dense” style. The
positioning of the more reverential version first isn’t necessarily “introductory”—it’s just one of the thousands of ways
of hearing the tune.

When most musicians want to play a Sonny Rollins “standard,” they go for “St. Thomas,” or “Airegin,” or “Oleo”
—something Rollins nailed permanently, something which will never shake off Rollins’ touch. Ware, who learned
circular breathing from Rollins at the age of sixteen, and upon whom Rollins probably made more of an impression than
any other tenor player, went to “East Broadway Run Down,” a piece that’s really just a short, wriggly motif. But it’s the
kind of Rollins piece that directly affected Ware’s own writing. The Ware group takes it at almost twice the tempo
Rollins did (on the album of the same name in 1966), and makes the motif drive like a bullet.

After the first time Ware rehearsed the composition which he was to title “Mystic March,” he went home, listened back
to the tape, and saw an image. “It’s a group of very spiritually advanced human beings moving through space and time.
they’re maintaining their cadence, their march, through all that comes: wars, famines, droughts, going from one age to
another, and they’re maintaining their march, their flow. Whit, playing in a militaristic character as a metaphor for
staying unaffected, isn’t changed by Matthew’s and William’s stride; they’re playing in a slightly different meter. They
do catch him at times, but I wanted Whit to maintain the march and stay strong.”

Ware loves the standard “Angel Eyes” for its melody—another predominantly minor-key melody, like “Autumn Eyes.”
(“The melody is always my guide,” Ware instructed the band before take one. “I don’t care how far out I get, if I’m not
following some part of the melody, then I’m not there.”) But the minor third is one of the basic ingredients of Ware’s
music; even when the melody is technically major, the minor concept runs through all his music, given all the harmonics
and half-tones involved.

The four shorter pieces on the record were originally conceived as parts of three long suites Ware wrote for the record.
Up until the time of recording, Ware rehearsed the band to play the suites in the form he composed them, but at the time
of making the record, Ware reconsidered and found most of the chapters within the suites complete in themselves.
“Third Ear Recitation” is structured from two lines, played by Ware, Shipp and Parker in various positions to each other.
To Ware, the lines “relate like male and female”; the piece is built upon the idea of parallel universes, “realities that both
sustain each other and remain distinct.” “Free Flow Dialogue” is another of Ware’s jolted motif pieces, and it’s a good
game of catch: in it you can hear how Whit Dickey is able to pick up Ware’s rhythms and incorporate them into whatever pattern he’s developing, and vice versa.

The devotional-sounding “Sentient Compassion,” Ware explains, comes with a dedication to “a sentient being named
Willie, who I’m sure will be able to find his way into another body and continue on. Sentient compassion is a must; it
has to be developed in order to alleviate cruelty and thoughtless acts. That won’t happen if you develop a sense of
compassion. You’ll have that connectedness, that knowing that the same life that’s in you is in every other being, so
you’re not going to mishandle life.” Finally, “The Chase” is dedicated to Ware’s friend Beaver Harris, who died in
December 1991—an excellent drummer who firmly believed that tradition could be extended in almost any direction.
“Beaver considered himself to be the link between so-called ‘avant-garde’ drumming and the more straight-ahead styles,”
Ware says. “And I would have to go along with him. Because Beaver could play on what I call a horizontal plane, and
he could also play free. Not that other so-called free drummers could not play horizontally; they could. But whenever
Beaver did it, it seemed like he really loved it. Some cats do it, but they don’t do it because they love it; they do it
because they want people to know that they can play like that. ‘The Chase’ is a horizontal piece; the music is moving
in a horizontal plane.” Ware tends naturally to explain his music in metaphysical terms; another word for the “horizontal
plane” is swing.

David believes it was Beaver Harris who gave him some of his most important disciplinary directives as a musician.
Harris had played with Thelonious Monk, Sonny Rollins, Albert Ayler and Archie Shepp; through Harris’ teaching in
the mid-1970s, David started to become aware that the whole posture of the music changes, depending on what meter
you’re executing it in. To use that kind of logic is one of the cornerstones of modern saxophone playing. By talking
about these things and having acts actually demonstrate them before me, Beaver really made me more aware of this.”

But that music of the spheres—was it Ware’s music?

“No.” He repeated this, softly and unequivocally, eight times. “Like no music I’ve ever heard. But I’ll tell you something,
I’ll tell you this. If you’ve ever checked out symphony orchestras when they tune up on television, well, to me, that is
the most interesting part of the performance. That might give you an idea of it. When I’m listening to an orchestra, and
they’re tuning up?” He sang a note loudly as if a hundred instruments were playing it—sounding a bit like what preachers
call speaking in tongues. “Oh, man! That is the most interesting part, right there!

—Transcribed by Justin James Kau


92.10.24 • David S. Ware Quartet [AR—124:00]

October 24, 1992 / P.S. 122, New York City

 1. compositions   124:00

David S. Ware (ts), Matthew Shipp (p), William Parker (b), Whit Dickey (dr)

{Anonymous; Ben Young, WKCR-FM Archive 07.07.31}


1993 : : :


A David S. Ware Quartet rehearsal

“On the 17th [of April], ... there was a drive from Jamaica to Roulette in the evening in Manhattan where William Parker
led In Order to Survive. ... This also produced the cover art and design for the Black Saint recording (). After that performance, William, lashing the drums to the roof of his vehicle, said he had to get ready for the D.S. Ware Quartet rehearsal in the
morning [of the 17th].”
[Jeff Schlanger, musicWitness®, 01.08.13, 02.04.27]


93.04.30 • David S. Ware Quartet [AR—74:07]

(Possible Radio Broadcast)

April 30, 1993 / Ulrichsberg, Austria

 1. composition
 2. There Will Never Be Another You (H. Warren/M. Gordon)
 3. composition
  57:12
  10:25
   6:30

David S. Ware (ts), Matthew Shipp (p), William Parker (b), Whit Dickey (dr)

{Jan Ström; www.jazzatelier.at/va/x7304.htm}


  • 93.05.08 - David S. Ware Quartet: Ware (ts), Matthew Shipp (p), William Parker (b), Whit Dickey (dr) / Jazzgalerie Nickelsdorf, Austria
    [Bjorn Dirlack 05.08.01; Jazzgalerie Nickelsdorf, The 20th Anniversary Album]
  • 93.06.18 - David S. Ware: “Experimental jazz with” Ware (ts), Douglas Ewart and J.D. Parran (reeds),
    Matthew Shipp and Adegoke Steve Colson (p), Richard ‘shake a Leg’ Thomas (storyteller) /
    Firewall Total Arts Festival, P.S. 122, NYC [New York Magazine June 21, 1993 p.93]

93.06.29 • David S. Ware Quartet [AR—57:10]

June 29, 1993 / What Is Jazz? Festival, 9:15pm, Knitting Factory, New York City

 1. improvisation—Aquarian Sound (Ware)
 2. There Will Never Be Another You (H. Warren/M. Gordon)
 3. Cococana (Ware)—Infi-Rhythms #1 (Ware)
 29:15
  8:15
 19:40

David S. Ware (ts), Matthew Shipp (p), William Parker (b), Whit Dickey (dr)

{Anonymous; Daily News Jun 13 “City Lights” p.25; Newsday Jun 18 Part2N p.92}


  • 93.10.20 - David S. Ware Quartet: Ware (ts), Matthew Shipp (p), William Parker (b), Whit Dickey (dr) /
    Downstairs at The Middle East, Cambridge, MA [The Boston Globe Oct 15 p.62]

1994 : : :


In Motion

“At the peak of his spectacular saxophone career, David S. Ware swapped his life in the spotlights for a job as a cab driver
in New York. Sitting at the wheel, he explains why he renounced fame, but not music. The film makes the influence of the speeding traffic on Ware’s music tangible. David S. Ware is a musician who sounds the truth.”

“Ware wants people to know about a documentary film made about him last year by Dutch filmmaker Coco Schrijber, the
25-minute In Motion, which can be seen in Europe now. ‘I have been lucky enough, come far enough, for someone to see
fit to ask me questions about my life, my experiences. Most of the film was done with me driving a cab around Manhattan
[his rent-paying job since 1981] at night time. The crew was in the cab with me, the cameraman, the soundman, the director.
It’s an encapsulation of your development in half an hour. It was something like a test.’”
WIRE #133 March 1995 p.16, Full-page interview/article by Steve Holtje

“Best Film 1996, 1st prize at the 2nd Concorso Cortometraggioa JazzBlues, Roma, August 1996.”


94.00.00 • David S. Ware: In Motion [Documentary Film]

Spellbound Films, 1994, Colour (35mm—shot on Super16mm, Dolby A stereo, English, 25 frames p/s, 1:1.66) Netherlands
—Première December 11, 1994, International Documentary Film Festival, Amsterdam

unknown dates, 1994 / “at the wheel,” New York City

In Motion   19:00

David S. Ware (driving, talking), Coco Schrijber (Dir, writer), Sander Snoep (writer), Sander Snoep (film), Jan Wouter Stam (sound)

{web listings; Spellbound Films}


94.02.03 • David S. Ware Quartet [AR—121:00]

February 3, 1994, 8:00-11:00pm / Knitting Factory, New York City

 1. compositions   121:00

New York Magazine has this listed as “David S. Ware and Matthew Shipp.”

David S. Ware (ts), Matthew Shipp (p), William Parker (b), Whit Dickey (dr)

{Anonymous; New York Magazine February 7, 1994 p.99}


94.04.12 • Rashied Ali Quintet [AR—105:00]

April 12, 1994 / The Cooler, New York City

 1. composition
 2. composition—announcement
  Second Set:
 3. composition
 4. composition
   6:27
  48:01
  
  29:59
  22:44

David S. Ware (ts), unknown (bar), unknown (p), unknown (b), Rashied Ali (dr)

{Anonymous}


94.05.04 + 05.05 • David S. Ware: Earthquation

DIW DIW-892 (CD) 1994 Jpn

May 4 & 5, 1994 / Power Station, New York City

 1. Canadian Sunset (Eddie Heywood/Norman Gimbel)
 2. Inverse Alchemy (Ware)
 3. Tenderly (Walter Gross/Jack Lawrence)
 4. Ideational Blue (Ware)
 5. Cococana (Ware)
 6. Tenderly (Walter Gross/Jack Lawrence)
 7. Earthquation (Ware)
   7:32
   8:55
   5:35
   8:26
  11:32
   4:45
   9:20

David S. Ware (ts), Matthew Shipp (p),
William Parker (b), Whit Dickey (dr)

{DIW-892}


  • 94.05.14 - David S. Ware Quartet: Ware (ts), Matthew Shipp (p), William Parker (b), Whit Dickey (dr) / Jazzclub Nickelsdorf, Austria
    [Bjorn Dirlack 05.08.01; Jazzgalerie Nickelsdorf, The 20th Anniversary Album —which mistakenly lists Marc Edwards on drums.]

94.05.16 • David S. Ware Quartet [AR—127:00]

May 16, 1994 / Forum Beck, Munich, Germany

 1. Aquarian Sound (Ware)
 2. Angel Eyes (Matt Dennis)
 3. Cococana (Ware)
  2nd Set:
 4. East Broadway Rundown (Sonny Rollins)
 5. Tenderly (Walter Gross/Jack Lawrence)
 6. Earthquation (Ware)
 7. Canadian Sunset (Eddie Heywood/Norman Gimbel)
  31:50
  14:50
  15:37
  
  28:46
  11:08
  14:10
   7:30   (incomplete, cuts in)

Sources have Marc Edwards as the drummer and the date as 94.05.19. Edwards has verified he was not on this session.
Further, Ware’s European representative, Anne Dumas: “The drummer was (like in '93) Whit Dickey and not Marc Edwards.
The day cannot be May 19, because on May 19, the quartet was performing at Théâtre Garonne, in Toulouse, France.” —RL

David S. Ware (ts), Matthew Shipp (p), William Parker (b), Whit Dickey (dr)

{2CDr; Jan Ström; Marc Edwards; Anne Dumas; session date from Heinrich Smejkal}


94.05.17 • David S. Ware Quartet [AR—116:17]

May 17, 1994 / Jazzclub Konstanz, Konstanz, Germany

 1. composition
 2. composition
 3. composition
 4. Aquarian Sound
 5. composition
 6. Autumn Leaves
  32:02
  19:01
   5:48
  13:37
  31:53
  13:56

—The Jazzclub Konstanz archive mistakenly lists Marc Edwards as the drummer. (See 94.05.16 above.)

David S. Ware (ts), Matthew Shipp (p), William Parker (b), Whit Dickey (dr)

{2CDr; jazzclub-konstanz.de/konzerte_89-00.html}


94.05.19 • David S. Ware Quartet [AR—111:00]

May 19, 1994 / Theatre de la Garonne, Toulouse, France
—See 94.05.16.

 1. compositions   111:00

David S. Ware (ts), Matthew Shipp (p), William Parker (b), Whit Dickey (dr)

{Anonymous}


  • 94.06.16 - David S. Ware Quartet: Ware (ts), Matthew Shipp (p), William Parker (b), Whit Dickey (dr) /
    What Is Jazz? Festival, 11:00pm, Knitting Factory, NYC
    [Daily News Jun 12 “City Lights” p.29; New York Magazine June 20, 1994 p.96]
  • 94.06.25 - David S. Ware Quartet: as above / “Adventures In Jazz—Summer of the Saxophone,” 8:00pm, ArtsCenter, Carrboro, NC
    [The Chapel Hill Herald Jun 20 p.5; The Herald-Sun Jun 24 “Preview” p.12; The News and Observer Jun 27 p.10C]
  • 94.08.02 - David S. Ware Solo / Underground Fest ’94, 10:30pm, First Amendment Cafe and Performance Space, Chicago, IL
    [Chicago Tribune Sep 2 Sec.7 p.37; Glenn Good interview of DSW at www.wnur.org/jazz/artists/ware.david/interview.html]

94.09.16 • David S. Ware Quartet [AR—110:00]

September 16, 1994 / Knitting Factory, New York City

 1. compositions   110:00

“There’s a [Ware Quartet] September recording session scheduled for the Knitting Factory label.” —Steve Holtje

Glenn Good of WNUR: I thought I heard something about something on Knitting Factory.
DSW: Yeah, that almost happened. We were in the process, it didn’t quite work out though.

David S. Ware (ts), Matthew Shipp (p), William Parker (b), Whit Dickey (dr)

{Anonymous; Steve Holtje, WIRE #126 August 1994 p.16; www.wnur.org/jazz/artists/ware.david/interview.html}


  • 94.09.00 (1) - David S. Ware Quartet: Ware (ts), Matthew Shipp (p), William Parker (b), Whit Dickey (dr) / San Francisco, CA /
    “A week earlier, ... gig(s) on the West Coast.” [From an interview (94.10.07) and article in Down Beat January 1995 pp.35-37]
  • 94.09.00 (2) - David S. Ware Quartet: personnel as above / ArtsCenter, Carrboro, NC
    “The people in San Francisco last week were so beautiful. ... And in North Carolina! [sits up, excitedly]
    ... Man, I think that was the best gig my group ever played.” —Ware
    [Down Beat January 1995 pp.35-37; Venue and city from Shipp Interview afternoon of concert, in Signal to Noise WXYC March 1997]

94.10.01 • David S. Ware & Matthew Shipp Duo [AR—90:00]

October 1, 1994 / Koncepts Cultural Gallery Presents, Double Up Series, 8:00pm, Laney College Theatre, Oakland, CA

 1. compositions   90:00

David S. Ware (ts), Matthew Shipp (p)

{Gordon Blewis 03.11.04; Oakland Tribune Sep 30 “CUE” p.6; Cadence Vol.20 no.10 October 1994, p.21}


94.10.22 • David S. Ware Quartet [AR—54:27]

October 22, 1994, 8:00 & 10:00pm / Laurie Wagman Hall, University Of The Arts, Philadelphia, PA

 1. composition
 2. composition
 3. Autumn Leaves (Joseph Kosma)
  26:48
  20:42
   6:57

David S. Ware (ts), Matthew Shipp (p), William Parker (b), Whit Dickey (dr)

{Jakob Blumenthal 10.10.26; Jack Lloyd “His Music Runs Deeper Now” Philadelphia Inquirer Oct 21 “Weekend” p.19}


94.12.02 • David S. Ware Quartet: Cryptology

Homestead Records HMS220-2 (CD) 1995

December 2, 1994 / Sound on Sound Studio, New York City

 1. Cryptology:
  a) Solar Passage
  b) Direction: Pleiades
  c) Dinosauria
  d) Cryptology / Theme Stream
  e) Panoramic
  f) The Liberator
  
   6:42
   9:04
  10:03
  14:19
  10:45
  10:44

“Shipp introduced Ware to Homestead’s Steven Joerg, who convinced the
label’s owners to take a chance on avant jazz. The fruits of this new union
included Ware’s Cryptology, recorded in the mid-’90s as the saxophonist
struggled with a severe bout of flu.” —Tom Roe

David S. Ware (ts, Comp), Matthew Shipp (p),
William Parker (b), Whit Dickey (dr)

{HMS220-2; Tom Roe “Undercurrents 11: Generation Ecstasy” WIRE #189 November 1999 p.38}


1995 : : :


  • 95.02.28 - David S. Ware Quartet: Ware (ts), Matthew Shipp (p), William Parker (b), Whit Dickey (dr) /
    8:00 to 11:00pm, Knitting Factory, NYC [New York Magazine February 27, 1995 p.148]
  • 95.03.02 - David S. Ware Quartet: personnel as above / Middle East Downstairs, Cambridge, MA
    [The Boston Globe Feb 23 “Calendar” p.11 + Mar 4 review p.24]
    Cadence (Vol.21 no.5 May 1995 p.4,19) had this mis-dated the 3rd.
  • 95.05.00 (between 05.19-23) - David S. Ware Quartet: Ware (ts), Matthew Shipp (p), William Parker (b), Whit Dickey (dr) /
    Festival International Musique Actuelle Victoriaville, Quebec, Canada
    [John Corbett review WIRE #137 July 1995 p.12; CODA #263 September 1995 p.9; www.fimav.qc.ca/archives/12efimav.html]

95.06.24 • David S. Ware Quartet [AR—55:29]

June 24, 1995, 8:00pm / “What Is Jazz? Festival,” Knitting Factory, New York City

 1. compositions   55:29

David S. Ware (ts), Matthew Shipp (p), William Parker (b), Whit Dickey (dr)

{CDr; Daily News Jun 19 “Now Music” p.29}


  • 95.06.28-07.02 (Festival duration) - David S. Ware Quartet: Ware (ts), Matthew Shipp (p), William Parker (b), Whit Dickey (dr) /
    10th Annual du Maurier International Jazz Festival, Toronto, Ontario, Canada [CODA #264 November 1995 p.6]
  • 95.07.03 - David S. Ware Quartet: Ware (ts), Matthew Shipp (p), William Parker (b), Whit Dickey (dr) /
    Vienne Jazz Festival, Theatre Municipale, Vienne, France [L’Hebdo Jun 29 p.86]

95.07.04 (1) • David S. Ware Quartet [AR—57:00]

July 4, 1995 / “Showcase in a record shop,” Lyon, France

 1. compositions   57:00

David S. Ware (ts), Matthew Shipp (p), William Parker (b), Whit Dickey (dr)

{Anonymous 04.03.02}


95.07.04 (2) • David S. Ware Quartet [AR—56:00]

July 4, 1995 / Vienne Jazz Festival, Theatre Municipale, Vienne, France

 1. compositions   56:00

David S. Ware (ts), Matthew Shipp (p), William Parker (b), Whit Dickey (dr)

{L’Hebdo Jun 29 p.86; Anonymous 04.03.02}


  • 95.07.19 - David S. Ware Quartet: Ware (ts), Matthew Shipp (p), William Parker (b), Whit Dickey (dr) /
    Macintosh New Music Festival, The Cooler, New York City
    [New York Magazine July 17, 1995 p.87; David Kobayashi 20.06.07]

Be Afraid

“I was 19 at the time and had never really heard any free jazz—I had no idea what I was in for! Ware walks out with his
quartet (I’m guessing it was Matthew Shipp, William Parker, and Whit Dickey from your notes of shows from around
that time). Anyway, they blast off into this hellacious set of music. I remember the pianist used his fists on the piano
almost exclusively. The bassist had a little American flag and he wound the stick of the flag into the strings of his bass.
He’d hit the flag and ‘play’ the bass that way.
Ware did his thing as he did. I remember he wore all white except for a black headband. After about 15 minutes he bends
down to the mic in front of him and yells, ‘Shut the mic off, shut the mic off!’ repeatedly for several minutes. My friend
and I left shortly after that. It scared the daylights out of me.”
—David Kobayashi


95.08.26 • David S. Ware Quintet [BR—7:00 & SBR—61:15]

August 26, 1995 / Saalfelden Jazz Festival, Saalfelden, Austria

 1. Oblations and Blessings (Ware)
 2. East Broadway Rundown (Rollins)
  German Radio Broadcast announcement
 3. Infi-rhythms (Ware)
  German Radio Broadcast announcement
  34:29
  17:44
   0:14
   6:38
   0:29

—Received as “2 tracks, 65:00.” With 4 tracks noted: 1, 2, and 2a as “untitled improvisations”; the 3rd as given (and an announcement
 confirms this). Track 1 is in fact an early version of Oblations and Blessings (see 95.09.27); Tracks 2a [7:00] and 2b [18:00] were given
 as untitled improvisations parts 1 & 2, but inspection revealed that 2a was actually a truncated version of 2b. How do these things happen?
 Tracks 1 and 2 are Soundboard; track 3 is Broadcast. Regardless, this a very good quality recording of a blistering performance. —RL
—Also circulating as “1 track, 7:00, stereo” (Broadcast Recording of track 3).

David S. Ware and Charles Gayle (ts), Matthew Shipp (p), William Parker (b), Whit Dickey (dr)

{CDr}


95.09.02 • David S. Ware Quartet [AR—77:58 & BR—66:10]

September 2, 1995 / Willisau Jazzfestival, Festhalle, Willisau, Switzerland
—Broadcast DRS Switzerland

  Broadcast:
 1. composition
 2. Angel Eyes
 3. Cococana
 4. Infi-Rhythms #1
  
  Audience:
 1. composition
 2. composition
 3. composition
 4. composition
 5. composition
 6. composition
 7. composition
  
  31:25   (incomplete)
  12:49
  10:10
  11:42
  
  
  27:13
   7:06
   5:23
   7:12
  19:06
   4:50
   7:06

“The first track is missing the beginning; apparently, the broadcast picked it up a little late, as the DJ is introducing the show
when the tape begins, in media res. It’s one of those frenzied, near-themeless pieces, and without the very beginning, I can’t say
what it is. (It might be “Oblations & Blessings,” given the date.) Note also that “Angel Eyes” begins immediately after a Parker
bass solo; it’s possible that all the preceding material is part of “Eyes,” but I don’t think so: Ware states the theme, then the band
takes solos, then Ware closes it out, indicating to me at least that we’re hearing the whole piece.” —James Lindbloom.

David S. Ware (ts), Matthew Shipp (p), William Parker (b), Whit Dickey (dr)

{CDr; James Lindbloom; CODA #264 November 1995 p.6 has this as “Summer"}


  • 95.09.05 - David S. Ware Quartet: Ware (ts), Matthew Shipp (p), William Parker (b), Whit Dickey (dr) / 21:00hr, Broletto, Varese, Italy
    [La Stampa September 3, 1995 p.42]

95.09.27 + 09.28 • David S. Ware Quartet: Oblations and Blessings

Silkheart Records SHCD-145 (CD) 1996 SWD

September 27 & 28, 1995 / Sound on Sound Studio, New York City

 1. Oblations and Blessings
 2. Riff Unknown
 3. Of Shambala
 4. Fire Within
 5. Manu’s Ideal
 6. Serpents and Visions
  17:05
  10:53
  11:05
  11:07
  10:13
   8:37

David S. Ware (ts, Comp), Matthew Shipp (p),
William Parker (b), Whit Dickey (dr)

{SHCD-145}


95.09.29 • David S. Ware: DAO

Homestead Records HMS230-2 (CD) 1996

September 29, 1995 / Sound on Sound Studio, New York City

 1. Interdao
 2. Motif Dao
 3. Rhythm Dao
 4. Dao Above Sky
 5. Dao Forms
 6. Dao Feel
 7. Dao
   6:22
   9:38
   7:00
   7:36
  18:16
   8:28
  15:20

David S. Ware (ts, Comp), Matthew Shipp (p),
William Parker (b), Whit Dickey (dr)

{HMS230-2}


  • 95.10.14 (Possible cancelled date) - David S. Ware Quartet: Ware (ts), Matthew Shipp (p), William Parker (b), Whit Dickey (dr) /
    8:00pm, Cleo Parker Robinson’s New Dance Theatre, Denver, CO
    [Westword October 11, 1995 p.1; Cadence Vol.21 no.5 May 1995 p.108; Cadence Vol.21 no.10 October 1995 p.123]

95.10.17 • David S. Ware Quartet [BR—32:46]

October 17, 1995 / Nancy, France
—French Radio Broadcast
—This session is also circulating with an incorrect date of 96.10.07—Possibly a broadcast date.

 1. Cococana (Ware)
  French radio announcement
  Cococana—continued (Ware)
 2. composition
  radio announcement
  11:42   (fades out)
   1:22
  14:38   (fades in at beginning)
   6:07
   0:26

—Another version has Cococana at 26:13 with broadcast voice-over at 25:48.

David S. Ware (ts), Matthew Shipp (p), William Parker (b), Whit Dickey (dr)

{CDr of 1st track only; Heinrich Smejkal; James Lindbloom}


  • 95.10.00 - David S. Ware Quartet: Ware (ts), Matthew Shipp (p), William Parker (b), Whit Dickey (dr) / La Tour Rose, Lyon, France
    [Anne Dumas 03.07.10]
  • 95.10.00 - David S. Ware Quartet: personnel as above / Le Duc des Lombards, Paris, France [ibid]
  • 95.10.00 - David S. Ware Quartet / Tourcoing jazz festival, Tourcoing, France [ibid]

1996 : : :


96.01.00 • David S. Ware Solo [AVR—60:00]

January, 1996 / The Kitchen, New York City

 1. improvisations   60:00

—Most of this performance is done as a live soundtrack to “TOAK,” a 16-minute B&W Film, ©1995 by Ariane Lopez-Huici,
 wife of artist Alain Kirili, whose sculpture/installation “Masque” adorns the stage. ALAIN KIRILI élébrations lists two Ware
 performances with the film—the first one is solo, listed as “1996,” and the second is Ware and Mino Cinelu from 97.01.08,
 also at The Kitchen. This book’s bibliography also has two articles listed on Lopez-Huici: Linda Yablonsky in TimeOut
 New York
, January 17-24, 1996 p.28, and Roberta Smith in The New York Times, February, 1996; all of which leads me to
 believe this performance took place in January. Confirmation or corrections welcome. —RL

David S. Ware (ts, voc)

{DVD; James Lindbloom; info from ALAIN KIRILI Célébrations, Christian Bourgois Éditeur, ©1997, France}


  • 96.01.00 - David S. Ware Quartet: Ware (ts), Matthew Shipp (p), William Parker (b), Whit Dickey (dr) / de Werf, Brugge, Belgium
    [Anne Dumas 03.07.10]
  • 96.01.19 - David S. Ware Quartet: as above / Vonk, Tilburg, Netherlands [Anne Dumas 03.07.10; de Volkskrant Jan 19]
  • 96.01.20 - David S. Ware Quartet / Popular, Rotterdam, Netherlands [ibid]
  • 96.01.21 - David S. Ware Quartet / Bimhuis, Amsterdam, Netherlands [Anne Dumas 03.07.10; Sander Piek 05.03.08; www.bimhuis.nl]
  • 96.01.00 - David S. Ware Quartet / Unterfahrt, München, Germany [Anne Dumas 03.07.10]
  • 96.01.24 - David S. Ware Quartet / Moods, Zürich, Switzerland [Anne Dumas 03.07.10; Gabriel Lauber 21.10.18]
  • 96.01.00 - David S. Ware Quartet / Sauschdall, Ulm, Germany [Anne Dumas 03.07.10]
  • 96.01.00 - David S. Ware Quartet / Jazzgalerie, Nickelsdorf, Austria [ibid]
  • 96.01.00 - David S. Ware Quartet / Jubez, Karlsruhe, Germany [ibid]
  • 96.01.00 - David S. Ware Quartet / KFZ, Marburg, Germany [ibid]

96.02.02 • David S. Ware Quartet [AR—204:00]

February 2, 1996 / New Morning, Paris France

 1. compositions   204:00

David S. Ware (ts), Matthew Shipp (p), William Parker (b), Whit Dickey (dr)

{4CDr; Anne Dumas 03.07.10}


  • 96.02.00 - David S. Ware Quartet: Ware (ts), Matthew Shipp (p), William Parker (b), Whit Dickey (dr) /
    Luchtbal, Antwerpen, Belgium [Anne Dumas 03.07.10]
  • 96.02.00 - David S. Ware Quartet: as above / l'Entrepôt, Mulhouse, France [ibid]
  • 96.02.00 - David S. Ware Quartet / Pannonica, Nantes, Nancy, France [ibid]
  • 96.02.00 - David S. Ware Quartet / le petit faucheux, Tours, France [ibid]
  • 96.02.00 - David S. Ware Quartet / Théâtre Garonne, Toulouse, France [ibid]
  • 96.02.00 - David S. Ware Quartet / Théâtre Bacchus, Besançon, France [ibid]
  • 96.02.17 - David S. Ware Quartet / 17:00hr, Café du Soleil, Saignelégier, Besançon, France
    [L’Hebdo Feb 15 p.75; Le Matin Feb 16 p.33]
  • 96.02.00 - David S. Ware Quartet / AJMI, Avignon, France [Anne Dumas 03.07.10]
  • 96.02.00 - David S. Ware Quartet / Conservatoire Perpignan, Perpignan, France [ibid]


  • 96.03.21 - David S. Ware Quartet: Ware (ts), Matthew Shipp (p), William Parker (b), Susie Ibarra (dr) /
    8:00 & 10:00pm, Alvin’s Twilight Bar, Detroit, MI
    [Detroit Free Press Mar 20 p.4C; Cadence Vol.22 no.6 June 1996 p.30]
  • 96.03.22 - David S. Ware Quartet: as above / 10:00pm, Empty Bottle, Chicago, IL
    [Chicago Tribune Mar 21 Sec.5 p.9B + Mar 24 Sec.4 p.11; tisue.net/chicagonow/old1996.html]

Hello Susie

Larry Appelbaum: The last time I saw you was in New York and Whit Dickey was your drummer. How have things changed with your new drummer, Susie Ibarra?
David S. Ware: Susie is working out really fine. She’s been with us now for a year and a half. She’s done a couple of records and she toured Europe with us. What can I say? She understands the language that we’re dealing with, the alphabet that we’re dealing with, here. There was no transition period from one musician to another. She was just right in the flow of what we’re doing. It was an effortless transition.
LA: So you didn’t have to explain anything at all? She just showed up and you hit and everything was cool?
DSW: I had one duet session with Susie. From that, I saw there wouldn’t be any problem. Then we got together with the quartet one time and then we had a little tour.
[Larry Appelbaum interviews David S. Ware, Recorded August 31, 1997 at WPFW-FM]


96.03.23 • David S. Ware Quartet [AR—93:06]

March 23, 1996, 8:00pm / Rodef Shalom Temple, Pittsburgh, PA
—Originally scheduled at Mellon Institute Auditorium.

 1. composition
 2. composition
 3. Tenderly (Walter Gross/Jack Lawrence)
 4. composition
 5. The Liberator (Ware)
 6. Manu’s Ideal (Ware)
  30:41
  11:11
  18:18
   9:18
  14:58
   6:18

—Another recording is circulating with “Manu’s Ideal” incomplete at 1:10.

David S. Ware (ts), Matthew Shipp (p), William Parker (b), Susie Ibarra (dr)

{2CDr; Rick and Sandra MacGlaughlin-Lopez in attendance; Pittsburgh Post-Gazette Mar 22 “Weekend” p.2}


96.03.28 • David S. Ware Quartet [AR—75:41]

March 28, 1996 / A Vaulx Jazz Festival, Vaulx en Velin, Lyon, France

 1. composition
 2. Autumn Leaves (Joseph Kosma)
 3. composition
 4. composition
  37:01
  19:24
  13:12
   6:04

David S. Ware (ts), Matthew Shipp (p), William Parker (b), Sunny Murray (dr)

{Anonymous 04.03.02; Anne Dumas 03.07.10}


96.05.02 + 05.03 • David S. Ware Quartet: Godspelized

DIW DIW-916 (CD) 1997 Jap

May 2 & 3, 1996 / Sound on Sound, New York City

 1. Godspelized (Ware)
 2. Wisdomsphere (Ware)
 3. Inner Temple (Ware)
 4. Wisdom Through Time (Ware)
 5. The Stargazers (Sun Ra)
 6. Eternal Forces of Brahm (Ware)
 7. Godspelized (Ware)
  15:44
   7:55
   6:40
   7:54
  12:26
  11:44
   4:20

David S. Ware (ts), Matthew Shipp (p),
William Parker (b), Susie Ibarra (dr)

{DIW-916}


  • 96.06.07 - David S. Ware Quartet: Ware (ts), Matthew Shipp (p), William Parker (b), Susie Ibarra (dr) /
    Vision Festival, 9:30pm, Learning Alliance, NYC
    [Scott Currie 06.07.10; Peter Watrous The New York Times June 10, 1988]

96.06.19 • (V/A) David S. Ware Quartet: Knitting Factory What Is Jazz? 1996

Knitting Factory Works KFW 195 (CD) 1996
  • (V/A) The Heineken Jazz Groove 1996
    Knitting Factory Works KFW 195-P (CD) 1996 (Liner marking);
    CD marking is KFW 198-P / Promo only
June 19, 1996, 10:30pm / What Is Jazz? Festival, Knitting Factory, New York City

 1. In This Love   8:14

David S. Ware (ts, Comp), Matthew Shipp (p),
William Parker (b), Susie Ibarra (dr)

{KFW 195; Daily News Jun 17 “Now Entertainment” p.28}


  • 96.06.29 - David S. Ware Quartet: Ware (ts), Matthew Shipp (p), William Parker (b), Whit Dickey (dr) /
    10th Annual du Maurier International Jazz Festival (95.06.23-07.02), Toronto, Ontario, Canada
    [Chicago Tribune Jun 9 Sec.7 p.11; Cadence Vol.22 no.7 July 1996 p.2]

96.06.30 • David S. Ware Quartet [AR—76:58 & SBR—70:08]

June 30, 1996 / Rivoli, Toronto, Ontario, Canada

 1. Earthquation (Ware)
 2. Autumn Leaves (Joseph Kosma)
 3. The Liberator (Ware)
 4. encore—Angel Eyes (Matt Dennis)
  36:49
  23:48
   7:03
   6:50

—Soundboard is circulating without encore.
—Contains a lengthy introduction that pegs this as the “late show” of the evening.

David S. Ware (ts), Matthew Shipp (p), William Parker (b), Susie Ibarra (dr)

{CDr}


96.07.19 • David S. Ware Quartet [AR—81:29]

July 19, 1996, 10:30pm / “With an Edge Series,” 16th Annual Ottawa Intl Jazz Festival, National Arts Centre Studio, Ottawa, Ontario, Canada

 1. composition   28:43
 2. composition   19:04   (split track at 17:27)
 3. composition   19:14
 4. composition   14:26

David S. Ware (ts), Matthew Shipp (p), William Parker (b), Susie Ibarra (dr)

{The Ottawa Citizen Jul 18 “Citylights” p.C2 + Jul 22 review p.D8; Torrent site info;
Cadence Vol.22 no.7 July 1996 pp.124-5; Maurizio Ortolani ott.general G-Group 96.06.05}


ADD IMG
  • 96.08.23 - David S. Ware Quartet: Ware (ts), Matthew Shipp (p), William Parker (b), Susie Ibarra (dr) / 9:00pm, Knitting Factory, NYC
    [The RecordAug 23 “Previews” p.27; New York Magazine August 26, 1996 p.141]
  • 96.10.26 - David S. Ware Quartet: Ware (ts), Matthew Shipp (p), William Parker (b), Susie Ibarra (dr) /
    9:00 & 11:00pm, Laurie Wagman Hall, University Of The Arts, Philadelphia, PA
    [Philadelphia Inquirer Oct 25 “Nightlife” p.19+32]
  • 96.11.01 - David S. Ware Quartet: Ware (ts), Matthew Shipp (p), William Parker (b), Susie Ibarra (dr) /
    New York Is Now! Festival, Hot Brass, Paris, France [Anne Dumas 03.07.10; Les Inrocks October 16, 1996]
     “Two evenings (with the new drummer of the quartet: Susie Ibarra)”
  • 96.11.02 - David S. Ware Quartet: personnel as above / New York Is Now! Festival, Hot Brass, Paris, France
    [Lachaud Martine “David S. Ware et David Fiuczynski” L'Express October 31, 1996]
    —Though the schedule lists the Quartet, an item in Paris’ L'Express seems to imply that David Fiuczynski was involved:
     “The first, rough saxophonist [Ware], was a diligent student of Sonny Rollins, the second, the crazy guitarist [Fiuczynski]
     of the Black Rock Coalition. Their meeting will, not doubt, be a breaking and uncontrollable vision of improvised music,
     jazz trash somehow. But ‘from turbulence may arise great clarity,’ said Ware.” —Lachaud Martine
     [He was not involved: “A double-bill.” —David Fiuczynski 14.02.10]

96.12.02 + 12.03 • David S. Ware: Wisdom of Uncertainty

AUM Fidelity AUM001 (CD) 1997

December 2 & 3, 1996 / Sound on Sound, New York City

 1. Acclimation
 2. Antidromic
 3. Utopic
 4. Alignment
 5. Sunbows Rainsets Blue
 6. Continuum
  12:45
   7:47
  15:34
   7:16
   7:41
  11:34

David S. Ware (ts, Comp), Matthew Shipp (p),
William Parker (b), Susie Ibarra (dr)

{AUM001}


1997 : : :


  • 97.01.08 - David S. Ware, Mino Cinelu, Ariane Lopez-Huici / The Kitchen, NYC [Kirili]
    New York Magazine January 20, 1997 p.92 has this as 97.01.18

  • 97.03.00 - David S. Ware Quartet: Ware (ts), Matthew Shipp (p), William Parker (b), Susie Ibarra (dr) /
    Vernouillet Festival, Vernouillet, France [Anne Dumas 03.07.10]
  • 97.03.00 - David S. Ware Quartet: as above / Metz, Les Trinitaires, France [ibid]
  • 97.03.07 - David S. Ware Quartet / Banlieues Bleues Festival, Romaineville, Paris, France [ibid; www.banlieuesbleues.org]
  • 97.03.00 - David S. Ware Quartet / Akut Festival, Mainz, Germany [Anne Dumas 03.07.10]
  • 97.04.30 - David S. Ware Quartet / Knitting Factory, New York City [New York Magazine May 5, 1997 p.115]
  • 97.05.00 - David S. Ware Quartet / Festival Musiques de Jazz et d'Ailleurs, Amiens, France [Anne Dumas 03.07.10]

97.05.30 • (V/A) Vision Volume One—Vision Festival 1997 Compiled

AUM Fidelity AUM007/8 (2-CD) 1998 / Ltd. Edition 1,000 copies
  • David S. Ware Quartet [WKCR-FM Archival Recording—60:00]
May 30, 1997 / Vision Festival, Angel Orensanz Center, New York City

 1. composition    30:00
 2. composition    30:00

Vision One—Vision Festival 1997 Compiled has an excerpt of 8:20 titled “Lockup ’97.”

David S. Ware (ts, Comp), Matthew Shipp (p), William Parker (b), Susie Ibarra (dr)

{AUM007/8; WKCR-FM Archive 07.07.31}


97.06.21 • David S. Ware Quartet [BR—52:32]

June 21, 1997, 10:00pm / Texaco New York Jazz Festival, Knitting Factory, New York City
—WKCR-FM (LIVE) Broadcast
—Also circulating incorrectly dated 97.06.26.

  Broadcast announcement
 1. composition
 2. composition (Ware)
 3. composition (Ware)
  Broadcast announcement
 4. encore
  Broadcast announcement
    1:05
   21:28   (Some copies have a creeping white noise crescendo through the length of this track.)
    7:11
   15:02
    2:21
    4:29
    0:29

David S. Ware (ts), Matthew Shipp (p), William Parker (b), Susie Ibarra (dr)

{CDr; Bob Yeager and Jazz Fest program; Daily News “Hot Stuff” p.3}


97.08.22 • David S. Ware Quartet [BR—79:57]

August 22, 1997 / Panasonic Village Jazz Festival, Knitting Factory, New York City
—“Live on the internet"
—This recording is circulating misdated 97.08.21.

 1. compositions   79:57

David S. Ware (ts, Comp), Matthew Shipp (p), William Parker (b), Susie Ibarra (dr)

{CDr; Zorn-list 97.08.21; The New York Times Aug 15}


  • 97.09.04 - The David S. Ware Quartet: Ware (ts), Matthew Shipp (p), William Parker (b), Susie Ibarra (dr) /
    9:00pm, Cat’s Cradle, Chapel Hill, NC [The Chapel Hill Herald Sep 2 p.2; AUMFidelity posting to Zorn-list 97.08.21]
  • 97.09.05 - The David S. Ware Quartet: as above / 9:00pm, Washington Ethical Society, Washington, DC [ibid]
    “This performance is the group’s debut in our Capitol (will be version of earth atone shake down).”

97.10.26 • David S. Ware: Live in the Netherlands

Splasc(H) Records CDH 825.2 (CD) 2001

October 26, 1997 / Zuid-Nederlands Jazz Festival 1997, De Effenaar, Endhoven, Nederlands

 1. 4th Dimensional     9:24
 2. 5th Dimensional     4:33
 3. 6th Dimensional    10:11
 4. 7th Dimensional    14:59

David S. Ware (ts, Comp)

{CDH 825.2}


97.12.11 + 12.12 • David S. Ware: Go See the World

Sony / Columbia Records CK 69138 (CD) 1998
  • (V/A) Jazziz On Disc Jazziz JZD1098 October 1998 (Magazine & CD) 1998
December 11 &Amp; 12, 1997 / Sound on Sound Studio, New York City

 1. Mikuro’s Blues (Ware)
 2. Lexicon (Ware)
 3. Logistic (Ware)
 4. The Way We Were (Marvin Hamlisch/Alan & Marilyn Bergman)
 5. Quadrahex (Ware)
 6. Estheticmetric (Ware)
 7. Rapturelodic (Ware)
    6:04
   10:22
    9:51
   14:34
    4:42
   11:30
   10:38

Jazziz On Disc has track 1.

David S. Ware (ts), Matthew Shipp (p), William Parker (b), Susie Ibarra (dr)

{CK 69138; JZD1098}


1998 : : :


  • 98.05.00 - David S. Ware: SOLO concert + masterclass / Université Paris VII, France [Anne Dumas 03.07.10]
  • 98.05.00 - David S. Ware Quartet: Ware (ts), Matthew Shipp (p), William Parker (b), Susie Ibarra (dr) /
    Le Mans Europa Jazz Festival, France [ibid]

98.05.22 • David S. Ware Quartet [WKCR-FM Archival Recording—38:40]

May 22, 1998 / Vision Festival, Orensanz Art Center, NYC

 1. composition    32:50
 2. composition     5:50   (with spoken intros & outros by Roy Campbell)

David S. Ware (ts), Matthew Shipp (p), William Parker (b), Susie Ibarra (dr)

{WKCR-FM Archive 07.07.31; 1998 Vision Fest Program; The Journal News May 22 p.8C}


  • 98.06.05-07 - David S. Ware Quartet: Ware (ts), Matthew Shipp (p), William Parker (b), Susie Ibarra (dr) /
    Kerava Jazz Festival, Helsinki, Finland [Anne Dumas 03.07.10; Cadence Vol.24 no.5 May 1998 p.141]
  • 98.06.13 - David S. Ware Quartet: as above / The Texaco New York Jazz Festival, Hudson Tent, Battery Park City, NYC
    [Ben Ratliff “Critic’s Notebook; All Jazz, All June” The New York Times May 29; The Journal News Jun 12 p.8C]
  • 98.07.00 - David S. Ware Quartet / La Villette Jazz Festival, Paris, France [ibid]
  • 98.09.23 - David S. Ware Quartet / Emmanuel Church, Boston, MA
    [The Boston Globe Sep 25 review p.D9; Steven Joerg 98.09.17, Saturn Forum]
    —“The Way We Were,” “Lexicon,” “Mikuro’s Blues,” “Logistic”...
  • 98.09.26 - David S. Ware Quartet / 8:00pm, Nelson Music Room, Duke University, Durham, NC
    [The News and Observer Sep 25 “What’s Up” p.13; Steven Joerg 98.09.17, Saturn Forum]
  • 98.09.27 - David S. Ware Quartet / 8:00pm, USC School of Musical Recital Hall, Columbia, SC
    [The State Sep 25 “Weekend” p.23; Steven Joerg 89.09.17 Saturn Forum]
  • 98.09.28 - David S. Ware Quartet / 8:00pm, First Existential Congregation, Atlanta, GA
    [The Atlanta Constitution Sep 27 p.L3; Steven Joerg 89.09.17 Saturn Forum]
  • 98.10.01 - David S. Ware Quartet / 8:00pm, Cicero’s, St Louis, MO
    [St. Louis Post-Dispatch Oct 1 p.D19; Steven Joerg 89.09.17 Saturn Forum]
  • 98.10.02 - David S. Ware Quartet / 9:00pm, Empty Bottle, Chicago, IL
    [Chicago Tribune Oct 5 review Sec.5 p.2; Steven Joerg 89.09.17 Saturn Forum]
  • 98.10.03 - David S. Ware Quartet / 8:30 & 10:00pm, MacKenzie Fine Arts Center, Henry Ford Community College, Detroit, MI
    [Detroit Free Press Oct 2 p.13D; Steven Joerg 89.09.17 Saturn Forum]
  • 98.10.05 - David S. Ware Quartet / Carnegie Mellon University, Pittsburgh, PA [Steven Joerg 89.09.17 Saturn Forum]
  • 98.10.11 - David S. Ware Quartet / 9:00 & 11:00pm, Fez Under Time Cafe, NYC [ibid; The Journal News Oct 8 p.F27]
    —Most of the pre-concert publicity had this as a two-day engagement on the 8th & 9th.

98.10.24 • David S. Ware Quartet [AR—98:23]

October 24, 1998, 8:00pm / Walker Arts Center, Minneapolis, MN

 1. Aquarian Sound (Ware)
 2. Wisdom Through Time (Ware)
 3. The Way We Were (Marvin Hamlisch/Alan & Marilyn Bergman)
 4. Logistic (Ware)
 5. Mikuro’s Blues (Ware)
 6. Lexicon (Ware)
   35:30
   14:43
   19:11
   14:58
    9:35
    4:25

David S. Ware (ts), Matthew Shipp (p), William Parker (b), Susie Ibarra (dr)

{2CDr; track detailing Jakob Blumenthal; James Lindbloom 14.11.29; Star Tribune Oct 23 p.E4}


98.10.28 • David S. Ware [BR—179:29]

WKCR-FM

October 28, 1998 / WKCR-FM, New York City

 1. Extensive live interview segments with Ware choosing musical selections, etc.    179:29

David S. Ware (showing and telling)

{3CDr}


  • 98.12.08 - David S. Ware Quartet: : Ware (ts), Matthew Shipp (p), William Parker (b), Susie Ibarra (dr) /
    New Morning, Paris, France [Anne Dumas 03.07.10]
  • 98.12.10 - David S. Ware Quartet / Rote Fabrik, Zürich, Switzerland [Gabriel Lauber 21.10.18]

98.12.11 • David S. Ware Quartets: Live in the World

Thirsty Ear THI 57153.2 (3CD) 2005
—1st Session [See also 03.03.27, 03.06.22]
  • David S. Ware Quartet [BR—52:28]
    —RSI Radio Svizzera Internationale (Lugano), Broadcast 98.12.28
    —European Digital Radio (ADR—Astra Digital Radio)
December 11, 1998 / Cinema Teatro, Chiasso, Switzerland

  Live in the World:
 1. Aquarian Sound (Ware)
 2. Logistic (Ware)
 3. The Way We Were (Hamlisch)
 4. Mikuro’s Blues (Ware)
 5. Lexicon (Ware)
 6. The Stargazer (Ware)
  
  Broadcast Recording:
 1. Lexicon (Ware)
 2. Aquarian Sound (Ware)
 3. The Stargazers (Sun Ra)
 4. Mikuro’s Blues (Ware)
   
   31:89
   18:42
   17:43
    9:05
    3:59
   14:36
    
   
    3:36
   31:25
   14:34
    2:53   (incomplete, + band intro)

—Broadcast Recording includes an interview [7:25] of David S. Ware by Jez Nelson from early 1999 done for BBC Radio 3 on 99.09.18.

David S. Ware (ts, Arr), Matthew Shipp (p), William Parker (b), Susie Ibarra (dr)

{THI 57153.2; Anne Dumas; Siegfried Otto; Holger Neuhaus}


1999 : : :


  • 99.01.28 - David S. Ware Quartet: Ware (ts), Matthew Shipp (p), William Parker (b), Susie Ibarra (dr) / 8:00pm, Knitting Factory, NYC
    [The Courier News Jan 28 p.D4]
  • 99.02.06 - David S. Ware Quintet: Ware (ts), Roscoe Mitchell (ss), Matthew Shipp (p), William Parker (b), Susie Ibarra (dr) /
    7:45pm, Queen Elizabeth Hall, London, England
    [WIRE #179 January 1999 p.11 + p.77; The Guardian Feb 6 “The Guide” p.66 + Feb 10 Sec.G2 p.12;
    Anne Dumas 03.07.10; Dick Bowman 04.12.09]

99.02.27 • David S. Ware Quartet [AR—51:04]

February 27, 1999, 20:30 / Hammerstein Ballroom, New York City
—Double-bill with Sonic Youth

 1. Aquarian Sound (Ware)
 2. Lexicon (Ware)
 3. The Way We Were (Hamlisch)
 4. Mikuro’s Blues (Ware)
   21:23
   11:22
   12:10
    5:49

David S. Ware (ts), Matthew Shipp (p), William Parker (b), Guillermo E. Brown (dr)

{CDr; Newsday Feb 25 “Nightbeat” p.C5; The Record Feb 26 “Previews” p.3; The Journal News Feb 26 p.10E}


  • 99.03.13 - David S. Ware Quartet: Ware (ts, stc), Matthew Shipp (p), William Parker (b), Guillermo E. Brown (dr) /
    20:30, Nouveau Theatre Le Chabada, Angers, France [Anne Dumas 03.07.10]
  • 99.03.15 - David S. Ware Quartet: as above / 20:30, Le Site, CE Renault, Le Mans, France [ibid]
  • 99.03.17 - David S. Ware Quartet / “A Banlieues Bleues concert,” Hommage to Roland Kirk,
    20:30, Theatre Gérard Philippe, Saint-Denis, France [ibid]

99.03.20 • David S. Ware Quartet [BR—24:49]

March 20, 1999 / Stadtsaal, Stadtplatz, Burghausen Jazz Festival, Burghausen, Austria

  Broadcast announcement
 1. composition
  Broadcast announcement
    0:17
   24:04   (incomplete, fades in at beginning, fades out at end as new composition begins)
    0:28

David S. Ware (ts), Matthew Shipp (p), William Parker (b), Guillermo E. Brown (dr)

{CDr}


99.03.25 • David S. Ware Quartet [AR—87:31]

March 25, 1999, 22:00 / Nîmes Jazz Festival, L'Odeon, Nimes, France

 1. Aquarian Sound (Ware)
 2. Logistic (Ware)
 3. The Way We Were (Marvin Hamlisch/Alan & Marilyn Bergman)
 4. Mikuro’s Blues (Ware)
 5. Manu’s Ideal (Ware)
   32:21
   18:01
   24:20   (incomplete)
    7:19
    5:30

David S. Ware (ts), Matthew Shipp (p), William Parker (b), Guillermo E. Brown (dr)

{CDr; Anne Dumas 03.07.10}


  • 99.03.26 - David S. Ware Quartet: Ware (ts), Matthew Shipp (p), William Parker (b), Guillermo E. Brown (dr) /
    Theatre de Grenoble, Grenoble, France [Anne Dumas 03.07.10]


  • 99.03.27 - See 99.02.27 / Oddly, the same preview section of the Martin Johnson feature article that had appeared in his “NYC Nights”
    column in Newsday (Feb 5 “Nightbeat” p.C5), made another appearance there on March 25 (also in “Nightbeat,” p.C5). Exact wording,
    just inserted again verbatim. —RL

“They scheduled a recording session the day after they came back to the States. But the fickle finger of fate wagged
at them, for they were all exhausted, effectively wiping out a high energy performance. So after a few futile attempts
to record, the DSW Quartet came to a realization that the only way to match their energy level was in a ballad mode
which caught everyone by surprise.”
[ SOURCE ??? ]


99.03.31 • David S. Ware Quartet: Balladware

Thirsty Ear Blue Series 57132 (CD) 2006
  • (V/A) The Blue Series Sampler—The 30th Year
    Thirsty Ear Records (no issue # ? ) The Blue Series (CD) 2006
  • David S. Ware Quartet [BR—72:44]
    —“Jazz on 3,” BBC Radio 3, London. Broadcast 99.09.18;
     repeat broadcast 00.09.09; repeat abridged 06.02.03, 23:30-1:00
March 31, 1999 / Avatar Studio, New York City

 1. Sentient Compassion (Ware)
 2. Tenderly (Walter Gross/Jack Lawrence)
 3. Angel Eyes (Matt Dennis)
 4. Yesterdays (Jerome Kern/O. Harbach)
 5. Dao Feel (Ware)
 6. Autumn Leaves (Joseph Kosma)
 7. Godspelized (Ware)
    8:25
    9:14
   15:30
   12:23
   10:52
    7:54
    8:30

The Blue Series Sampler—The 30th Year has track 4.

—Broadcast Recording opens with a BBC Introduction, and includes
 a David S. Ware Interview by Jez Nelson [7:34] after track 3.
—Broadcast dated 06.02.03 has tracks 1, 6, 4, and 7 in that order.

David S. Ware (ts), Matthew Shipp (p),
William Parker (b), Guillermo E. Brown (dr)

{CDr; session venue Anne Dumas; session date from Giovanni Corda and Giorgio Mortarino 07.01.06; WIRE #197 July 2000 p.81;
www.bbc.co.uk/radio3/jazzon3/pip/93tzz}


  • 99.05.24 - David S. Ware Quartet: Ware (ts), Matthew Shipp (p), William Parker (b), Guillermo E. Brown (dr) /
    Fourth Annual Vision Festival, 10:00pm, St. Nicholas of Myra Church, NYC
    [Vision Fest 1999 Program; WKCR-FM Archive 07.07.31; Daily News May 21]

99.06.10 • David S. Ware Quintet [AR—66:11]

June 10, 1999 / Bell Atlantic Jazz Festival, Knitting Factory, New York City

 1. composition
 2. composition
 3. composition
 4. Mikuro’s Blues
   22:04
   20:19
   16:22
    6:48

David S. Ware (ts), Alex Lodico (tb), Matthew Shipp (p), William Parker (b), Guillermo E. Brown (dr)

{CDr; Newsday May 23 “Fan Fare” p.D19; Douglas Wolk, “Jazz and Then Some” Village Voice Jun 15}


99.08.29 • David S. Ware Quartet [SB—74:50]

  • David S. Ware Quartet [BR—36:24]
    —Broadcast from ORF, Austria
August 29, 1999 / Jazzfestival Saalfelden, Saalfelden, Austria

  Soundboard Recording:
 1. Aquarian Sound (Ware)
 2. Lexicon (Ware)
 3. The Way We Were
 4. Wisdom Through Time (Ware)
 5. Manu’s Ideal (Ware)
 6. Mikuro’s Blues (Ware)
   
   24:10
   17:30
   12:35
    6:30
    5:27
    5:38

—Broadcast Recording has tracks 1, 5, and 6, with announcements.

David S. Ware (ts), Matthew Shipp (p), William Parker (b), Guillermo E. Brown (dr)

{CDr, both versions; James Lindbloom; Anne Dumas 03.07.10}


99.09.15 • (V/A) Knitting on the Roof, Modern Interpretations of the Classic Musical “Fiddler on the Roof"

Knitting Factory Records KFW-260 (CD) 1999

September 15, 1999 / Knitting Factory, New York City

 1. Far From the Home I Love (Jerry Bock/Sheldon Harnick)   3:02

David S. Ware (ts)

{KFW-260}


99.10.00 • Documentary: David S. Ware, un Film de Arthur Cemin et Romain Wentzo [BVR—24:00]

—Television Broadcast, Circeto Film Productions, in coproduction with MCM Classique Jazz-MUZZIK (2000)
—1st Session: [See 99.10.20 + 10.21; 99.11.05; 99.11.06; 99.11.09]

Early October, 1999 / Rehearsal sessions, New York City

 1. Rehearsals, interviews, footage of New York City   24:00   (at beginning of film)

This 53-minute documentary contains interviews w/ David S. Ware, Matthew Shipp, William Parker, Guillermo E. Brown; Cooper-Moore,
Thurston Moore, Joseph de Paul, Jim Anderson, Michael Brecker, and appearances by Anne Dumas and Branford Marsalis. This footage
of New York City, the rehearsals, and interviews take up the first 24:00; The remainder is studio recording time from the Surrendered
sessions, and tour and concert footage from Strasbourg (99.11.05), Bruxelles (99.11.06), and Paris (99.11.09).

David S. Ware (ts), Matthew Shipp (p), William Parker (b), Guillermo E. Brown (dr)

{DVD; www.circeto.com}


99.10.20+ 10.21 • David S. Ware: Surrendered

Sony/Columbia Records CK 63816 (CD) 2000
  • David S. Ware, un Film de Arthur Cemin et Romain Wentzo
    Circeto Film Productions & MCM Classique Jazz-MUZZIK (2000)
    —TV Broadcast, “Studio time from the Surrendered sessions...”
    —2nd Session: [See 99.10.00; 99.11.05; 99.11.06; 99.11.09]
October 20 & 21, 1999 / Avatar Studios, New York City

 1. Peace Celestial (Ware)
 2. Sweet Georgia Bright (Charles Lloyd)
 3. Theme of Ages (Ware)
 4. Surrendered (Ware)
 5. Glorified Calypso (Ware)
 6. African Drums (Beaver Harris)
    8:28
    5:15
    7:44
    7:58
    6:02
   16:53

David S. Ware (ts), Matthew Shipp (p),
William Parker (b), Guillermo E. Brown (dr)

{CK 63816; DVD; www.circeto.co}


99.11.05 • Documentary: David S. Ware, un Film de Arthur Cemin et Romain Wentzo

—Television Broadcast, Circeto Film Productions, in coproduction with MCM Classique Jazz-MUZZIK (2000)
—3rd Session [See also 99.10.00; 99.10.20 + 10.21; 99.11.06; 99.11.09]

November 5, 1999 / Jazz d'Or Festival at Centre Culturel Strasbourg-Neudorf, Strasbourg, France

David S. Ware (ts), Matthew Shipp (p), William Parker (b), Guillermo E. Brown (dr)

{Video; Anne Dumas 03.07.10; www.circeto.com}


99.11.06 • David S. Ware, un Film de Arthur Cemin et Romain Wentzo

—Television Broadcast, Circeto Film Productions, in coproduction with MCM Classique Jazz-MUZZIK (2000)
—4th Session [See 99.10.00; 99.10.20 + 10.21; 99.11.05; 99.11.09]

November 6, 1999 / Societe Philharmonique de Bruxelles, Halles de Schaerbeek, Bruxelles, Belgium

David S. Ware (ts), Matthew Shipp (p), William Parker (b), Guillermo E. Brown (dr)

{Video; Anne Dumas 03.07.10; www.circeto.com}


99.11.09 • Muzzik Presents Jazz: David S. Ware Quartet In Concert [BR & BVR—58:52]

—Television Broadcast, Circeto Film Productions, in coproduction with MCM Classique Jazz-MUZZIK (2000)
  • Documentary: David S. Ware, un Film de Arthur Cemin et Romain Wentzo
    —Television Broadcast, Circeto Film Productions, in coproduction with MCM Classique Jazz-MUZZIK (2000)
    —5th Session [See 99.10.00; 99.10.20 + 10.21; 99.11.05; 99.11.06]
November 9, 1999 / Théatre de la Ville, Scène Nationale Poitiers, Paris, France

  Broadcast Video:
 1. Aquarian Sound (Ware)
 2. Angel Eyes (Matt Dennis)
  announcement by D.S. Ware
 3. Mikuro’s Blues (Ware)
 4. encore: Manu’s Ideal (Ware)

   26:06
   16:33
    0:35
    8:24
    7:12

According to the CIRCETO website, there is an extended 90-minute version of this concert broadcast which adds “Logistics”
preceding “Angel Eyes,” and “Lexicon” preceding “Mikuro’s Blues.” —RL

David S. Ware (ts), Matthew Shipp (p), William Parker (b), Guillermo E. Brown (dr)

{CDr; Video; www.circeto.com; Anne Dumas 03.07.10}


  • 99.11.11 - David S. Ware Quartet: Ware (ts), Matthew Shipp (p), William Parker (b), Guillermo E. Brown (dr) /
    Horizons Culture at Marche Couvert, Lavellanet, France [Anne Dumas 03.07.10]

1970

1980

1990

The 21st Century...

2010


  • 00.02.03 - David S. Ware class in Jazzchool, Improvisation: A Key to Life is the lesson plan /
    2:00pm to 3:00pm EST, webcast LIVE on www.jazzchool.com, Main Room at the Knitting Factory, NYC
    [Knitting Factory Knotes, Jan/Feb 2000]
  • 00.03.03 - David S. Ware Quartet: Ware (ts), Matthew Shipp (p), William Parker (b), Guillermo E. Brown (dr) /
    9:00 & 11:00pm, Knitting Factory, NYC [The Journal News Mar 2 p.23G; Knitting Factory Knotes Mar/Apr 2000]
  • 00.04.10 - David S. Ware Quartet: as above / Grande Auditório do Centro Cultural de Belém, Lisbon, Portugal
    [Anne Dumas 03.07.10; Nuno Martins 03.11.17]
  • 00.05.06 - David S. Ware Quartet / Bell Atlantic Jazz Festival (Washington, DC), The State Theatre, Falls Church, VA
    [Cadence Vol.26 no.5 May 2000, p.142]

00.05.14 • David S. Ware Quartet [AR—47:00]

May 14, 2000 / Bell Atlantic Jazz Festival, Annenberg Plaza, Annenberg Theatre Complex, University of Pennsylvania, Philadelphia, PA
—This was a free outdoor concert w/ Sex Mob, Flying Neutrinos, and Groove Collective.

 1. Theme of Ages (Ware)
 2. Antidromic (Ware)
 3. Surrendered (Ware)
   18:56
   16:05
   12:01

David S. Ware (ts), Matthew Shipp (p), William Parker (b), Guillermo E. Brown (dr)

{CDr; Jeff Zeitz; Cadence Vol.26 no.5 May 2000, p.140}


  • 00.05.20 - David S. Ware Quartet: Ware (ts), Matthew Shipp (p), William Parker (b), Guillermo E. Brown (dr) /
    Bell Atlantic Jazz Festival, 1:00pm & 3:30pm, Museum of Fine Arts Courtyard, Boston, MA
    [The Boston Globe May 18 “Calendar” p.18 + May 22 review p.B8; Cadence Vol.26 no.5 May 2000, p.140]
  • 00.05.25 - David S. Ware Solo / Fifth Annual Vision Fest, St. Mark’s Place, New Age Cafe, NYC [Vision Fest 2000 Program]
  • 00.05.27 - David S. Ware Quartet: Ware (ts), Matthew Shipp (p), William Parker (b), Guillermo E. Brown (dr) /
    Atlanta Jazz Festival, 6:00pm, Piedmont Park, Atlanta, GA [The Atlanta Voice May 27 p.7B; Cadence Vol.26 no.4 p.141]

00.06.04 • David S. Ware Quartet [AR—51:24]

June 4, 2000 / Bell Atlantic Jazz Festival 2000, “Outside on the steps at Broadway & 116th,” Columbia University, New York City
—Staged in front of Butler Library and broadcast live by WKCR-FM.

 1. Theme Of Ages (Ware)
 2. composition
 3. African Drums (Beaver Harris)
 4. Surrendered (Ware)
   18:51
   11:48
   14:52
    3:49

“An outdoor concert on the beautifully symmetrical, acoustically reasonable south lawn of the Columbia University campus, headlined
by Max Roach and Cecil Taylor, that went a long way toward redefining what such events can achieve, ... performing to a few thousand
young people in the open air presented a challenge, and [the David S. Ware Quartet] rose to it.”
The New York Times Music Critic Ben Ratliff, Jun 6 review

David S. Ware (ts), Matthew Shipp (p), William Parker (b), Guillermo E. Brown (dr)

{CDr; James Lindbloom 03.11.24; The Record Jun 2 “Previews” p.13; www.columbia.edu/cu/pr/00/06/jazzPic.html}


  • 00.06.30 - David S. Ware Quartet: Ware (ts), Matthew Shipp (p), William Parker (b), Guillermo E. Brown (dr) /
    Belfort Théâtre Granit, Maison du peuple, France [Anne Dumas 03.07.10]
  • 00.07.01 - David S. Ware Quartet: as above / Trabendo, Paris, France [ibid]
  • 00.07.02 - David S. Ware Quartet / La Villette Jazz Festival, Paris, France [ibid]

00.07.14 • David S. Ware Quartet [AR—74:35]

July 14, 2000 / North Sea Jazz Festival, Congress Centre, The Hague, Netherlands

 1. Theme Of Ages (Ware)
 2. composition
 3. Yesterdays
 4. African Drums (Beaver Harris)
   26:24   (incomplete, cuts in at beginning)
   18:41   (split track at 18:27)
   11:46  
   16:19   (incomplete, cuts out at end)

David S. Ware (ts), Matthew Shipp (p), William Parker (b), Guillermo E. Brown (dr)

{CDr; Anne Dumas 03.07.10; Photo by Andy Wilson, reproduced with permission.}


  • 00.08.00 - David S. Ware Quartet: Ware (ts), Matthew Shipp (p), William Parker (b), Guillermo E. Brown (dr) /
    Eddie Moore Jazz Festival, Yoshi’s, Oakland, CA [Jazz in Flight Winter 2000; www.jazzinflight.org
    —Festival duration 08.13-08.20
  • 00.08.26 - David S. Ware and Andrew Cyrille / 9:30pm, Old Office, Knitting Factory, NYC

00.11.09 • David S. Ware Quartet [AR—79:42]

November 9, 2000, 8:00 & 10:00pm / Knitting Factory, New York City

  Early Show:
 1. Surrendered (Ware)
 2. Lexicon (Ware)
 3. Angel Eyes (Matt Dennis)
 4. composition
 5. composition

   19:28
   18:38
   16:11
    9:47
   12:15

David S. Ware (ts, synth-4), Matthew Shipp (piano, synth-5), William Parker (b), Guillermo E. Brown (dr)

{CDr; The Record Nov 3 “Previews” p.16; “Rock ‘n’ Roll Rock ‘n’ Roll” New York Press Nov 14}


  • 00.11.00 - David S. Ware Quartet: Ware (ts), Matthew Shipp (p), William Parker (b), Guillermo E. Brown (dr) / Barcelona, Spain
    [Anne Dumas 03.07.10]

00.11.15 • David S. Ware Quartet [AR—75:04]

November 15, 2000 / Seville International Jazz Festival, Teatro Central, Sevilla, Spain

 1. Surrendered (Ware)
 2. Lexicon (Ware)
 3. Autumn Leaves (Matt Dennis)
 4. Bliss Theme (Ware)
 5. Theme of Ages (Ware)
   17:05
   14:06
   15:40
   14:45
   11:42   (incomplete)

David S. Ware (ts), Matthew Shipp (p), William Parker (b), Guillermo E. Brown (dr)

{CDr; Anne Dumas 03.07.10}


2001 : : :


01.02.26 + 02.27 • David S. Ware Quartet: Corridors & Parallels

AUM Fidelity AUM019 (CD) 2001

February 26 & 27, 2001 / Sorcerer Sound, New York City

  1. composition (Ware)
  2. Straight Track (Ware)
  3. Jazz Fi-Sci (Ware)
  4. Superimposed (Ware)
  5. Sound-a-Bye (Ware)
  6. composition (Ware)
  7. Corridors & Parallels (Ware/Shipp)
  8. Somewhere (Ware)
  9. Spaces Embraces (Ware)
 10. Mother May You Rest in Bliss (Ware)
 11. composition (Ware)
    1:20
   10:02
    4:22
    5:58
    3:08
    0:37
    8:59
    3:11
    3:17
    6:07
    1:48

David S. Ware (ts), Matthew Shipp (synth),
William Parker (b), Guillermo E. Brown (dr)

{AUM019}


All About Jazz Direct with Artists / Discussion Board activity:
Clifton’s question: With Ware on Corridors And Parallels, ... how much of the programming by you and Guillermo was
done in real time as the musicians played? How much, before or after the session? ... Most of the settings where chosen by
Ware—it’s his synth—he went out and bought it before the session.
Steven Joerg (producer): “All of the music was recorded live in the studio; as you hear it on the album. Which makes it,
I think, all the more remarkable. A lot of William Parker’s gorgeous arco bass work on this album—wow; yeah. All of the
synth settings were chosen by David prior to the session, though there were some breaks where Matt was fiddling with
different settings, and he might well have played something in like, “bank E:16,” ... that David dug, and we went with it for
a piece. The chimes, shells, and gong you hear are real instruments, and were all sounded by Guillermo. “Jazz Fi-Sci” is an
Acoustic Jazz Trio vs. Synth piece (think about the final scene in “Close Encounters of the Third Kind”; Francois Truffaut’s
character playing the synth being the equivalent of the Acoustic Jazz Trio, and the Alien’s music being the Synth—yeah).
‘Superimposed’s is a ‘trio’ with synth-generated rythym track, and Matt playing the additional percussion and whistles
via the synth keys.”


  • 01.04.27 - David S. Ware Quartet: Ware (ts), Matthew Shipp (p), William Parker (b), Guillermo E. Brown (dr) /
    Radio Svizera, Rete Due Concerti Aula Magna, Lugano, Switzerland [Anne Dumas 03.07.10]
  • 01.04.29 - David S. Ware Quartet: as above / Kleks Festival, Kempten, Germany [ibid]

01.05.01 • David S. Ware Quartet [AR—77:52]

May 1, 2001 / Porgy & Bess, Wien, Austria

 1. Surrendered (Ware)
 2. Lexicon (Ware)
 3. Angel Eyes (Matt Dennis)
 4. Bliss Theme (Ware)
 5. Mikuro’s Blues (Ware)
 6. Jazz Fi-Sci (Ware)
   23:10   (incomplete, cuts in at beginning)
   20:52
   13:54
    7:12
    6:58
    5:46

David S. Ware (ts), Matthew Shipp (p), William Parker (b), Guillermo E. Brown (dr)

{CDr; Anne Dumas 03.07.10}


  • 01.05.02 - David S. Ware Quartet / Cadiz Jazz Festival, Cadiz, Spain [Anne Dumas 03.07.10]
  • 01.05.03 - David S. Ware Quartet / Madrid Jazz Festival, Collegio San Juan Evangelista, Madrid, Spain [ibid]

01.05.04 • David S. Ware Quartet [AR—79:07]

May 4, 2001 / Teatro del Centro Cultural del Matadero, Huesca, Spain
—Also have this session misdated 01.05.05, from a pre-tour announcement.

 1. Aquarian Dream (Ware)
 2. Lexicon (Ware)
 3. Manu’s Ideal (Ware)
 4. Bliss Theme (Ware)
 5. Mikuro’s Blues (Ware)
   31:48
   22:57
   11:49
    5:27
    7:06

David S. Ware (ts), Matthew Shipp (p), William Parker (b), Guillermo E. Brown (dr)

{CDr}


  • 01.05.00 (1) - David S. Ware Quartet: Ware (ts), Matthew Shipp (p), William Parker (b), Guillermo E. Brown (dr) /
    Teatro Principal, Puerto Real, Spain [Anne Dumas 03.07.10]
  • 01.05.00 (2) - David S. Ware Quartet: as above / Universidad de Valencia, Spain [ibid]

01.05.24 • David S. Ware & Rashid Ali Duo [AR—38:21]

May 24, 2001 / Sixth Annual Vision Festival, Knitting Factory, New York City

 1. improvisation    19:28
 2. improvisation    13:13
 3. improvisation     5:38

David S. Ware (ts), Rashid Ali (dr)

{CDr}


01.06.08 • David S. Ware Quartet [AR—55:15]

June 8, 2001, 7:30pm / Sixth Annual Vision Festival, Angel Orensanz Art Center, New York City

 1. composition    14:12
 2. composition    18:57
 3. composition     7:41
 4. composition    12:00

David S. Ware (ts), Matthew Shipp (synth), William Parker (b), Guillermo E. Brown (dr)

{CDr}


  • 01.06.30 - David S. Ware Quartet: Ware (ts), Matthew Shipp (p), William Parker (b), Guillermo E. Brown (dr) /
    Ljubljana Jazz Festival, Krizanke Open Air Theater, Ljulbljana, Slovenia [Anne Dumas 03.07.10]
  • 01.07.04 + 07.06 - David S. Ware Quartet: as above / Jazz by the Sea, Fano Jazzin'n Club, Corte Malatestiana, Fano, Italy [ibid]

01.07.08 • David S. Ware Quartet [BR—76:05]

July 8, 2001, 9:30pm / Along Came Jazz Festival, Anfiteatro di Bleso, Piazza Trento, Tivoli, Italy
—Radio RAI Radio tre, July 8, 2001

  Broadcast announcement
 1. Surrendered (Ware)
 2. Lexicon (Ware)
 3. Angel Eyes (Matt Dennis)
 4. Bliss Theme (Ware)
 5. Mikuro’s Blues (Ware)
    0:31
   24:17
   19:30
   19:49
    5:56
    6:02

David S. Ware (ts), Matthew Shipp (p), William Parker (b), Guillermo E. Brown (dr)

{CDr; La Stampa June 23, 2001 p.33}


01.07.12 • David S. Ware Interview [BR—89:47]

July 12, 2001 / WKCR-FM, New York City

 1. Interview, music selections    89:47

David S. Ware (speaking)

{2CDr}


  • 01.07.24 - David S. Ware Quartet: Ware (ts), Matthew Shipp (p), William Parker (b), Guillermo E. Brown (dr) / Blue Note, NYC
    [Steven Joerg 01.06.25 rec.music.bluenote]
  • 01.07.25 - David S. Ware Quartet: as above / Blue Note, NYC [ibid]

01.08.09 • DJ Wally: Nothing Stays the Same

Thirsty Ear Recordings (The Blue Series) THI 57140.2 (CD) 2003
  • (V/A) The Blue Series Sampler / The Shape of Jazz to Come
    Thirsty Ear Recordings THI 57138.2 (CD) 2003
August 9, 2001 / Sorcerer Sound, New York City

 1. Out of the Blue    4:41

David S. Ware (ts), Peter Gordon (fl, el-fl),
Keef Destefano (samples), Matthew Shipp (p),
William Parker (b), Guillermo E. Brown (dr)

{THI 57140.2; THI 57138.2;
session date and DJ Wally info via FLAM 03.11.06}


  • 01.08.13 - David S. Ware Quartet: Ware (ts), Matthew Shipp (p), William Parker (b), Guillermo E. Brown (dr) /
    Kuumbwa Jazz Center, Santa Cruz, CA [Steven Joerg 01.06.25 rec.music.bluenote]

01.08.14 • David S. Ware Quartet [BR—75:55]

August 14, 2001 / 12th Annual Eddie Moore Jazz Festival, Yoshi’s, Oakland, CA
KPFA-FM

  introduction—Larry Kelp, KPFA-FM DJ
 1. composition
 2. composition
 3. composition
 4. composition
  encore break
 5. encore—Mikuro’s Blues

David S. Ware (ts), Matthew Shipp (p), William Parker (b), Guillermo E. Brown (dr)

{tela.sugarmegs.org; Cadence Vol.27 no.8 August 2001 p.137; Steven Joerg 01.06.25 rec.music.bluenote}


  • 01.08.16 - David S. Ware Quartet: Ware (ts), Matthew Shipp (p), William Parker (b), Guillermo E. Brown (dr) /
    Hollywood Theater, Portland, OR [Steven Joerg 01.06.25 rec.music.bluenote]

01.08.17 • David S. Ware Quartet [AR—95:41]

August 17, 2001 / Earshot Festival, Nippon Kan Theatre, Seattle, WA

 1. Surrendered
 2. Lexicon
 3. Manu’s Ideal
 4. The Stargazers
 5. Bliss Theme
 6. Mikuro’s Blues
   21:12
   18:00
   13:04
   26:04
    8:17
    7:28

David S. Ware (ts, Comp), Matthew Shipp (p), William Parker (b), Guillermo E. Brown (dr)

{2CDr; Cadence Vol.27 no.8 August 2001, p.139}


2002 : : :


    David S. Ware Quartet European Tour, March 19-26

  • 02.03.19 - David S. Ware Quartet: Ware (ts), Matthew Shipp (p), William Parker (b), Guillermo E. Brown (dr) /
    Festival de Jazz Terrassa, 22:00, Nova Cava Jazz, Terrassa, Catalunya, Spain
    [Roger Roca “David S. Ware Accurate and Free-Spirited Music” El Periódico de Catalonia March 23, 2002;
    www.tomajazz.com/clubdejazz/conciertos/david_s_ware.htm; AUM Fidelity mailing; Anne Dumas 03.07.10]
  • 02.03.20 - David S. Ware Quartet: as above / Festival Banlieues Bleues, 8:30pm, Centre Culturel Jean Houdremont, La Courneuve, France
    [AUM Fidelity mailing; Anne Dumas 03.07.10]
  • 02.03.21 - David S. Ware Quartet / 8:30pm, Centre Culturel Charlie Chaplin, Vaulx En Velin, France [ibid]
  • 02.03.23 - David S. Ware Quartet / Vossajazz, Fragtgodsen, Voss, Norway [ibid]
  • 02.03.25 - David S. Ware Quartet / Teatro Antonianum, Padova, Italy [ibid]

02.03.26 • David S. Ware Quartet [AR—88:00]

March 26, 2002, 9:30pm / Cap Creus, Imola, Emilia-Romagna, Italy

 1. compositions    88:00

David S. Ware (ts), Matthew Shipp (p), William Parker (b), Guillermo E. Brown (dr)

{JPaolo (p.z@tiscali.it) 10.03.17}


Freedom Suite

“SFJAZZ presents ‘Freedom Suite’ Reimagined... Sonny Rollins’ 1958 ‘Freedom Suite’ was a powerful call for racial
and cultural justice on the cusp of the Civil Rights Movement. Now, at a time when talk of justice is once again so
prominent in American life, another dominant tenor saxophone voice, David S. Ware—a friend and protégé of Rollins’
since the mid-’60s—comes to SF to perform an updated version of Rollins’ great work, as well as a new work
commissioned by SFJAZZ. (It will be two full sets: first ‘Freedom Suite,’ then...)”
[ SOURCE ??? ]


  • 02.04.11 - David S. Ware Quartet: Ware (ts), Matthew Shipp (p), William Parker (b), Guillermo E. Brown (dr) /
    8:00pm, Yerba Buena Center for the Arts Theater, San Francisco, CA
    [AUM Fidelity mailing; Los Angeles Times Jan 25 p.F38; The San Francisco Examiner Apr 5 p.C7]

02.04.12 • David S. Ware & Matthew Shipp Duo [AR—59:08]

April 12, 2002, 8:00pm / “Earshot Jazz presents a very rare duo performance,” On The Boards Festival, Seattle, WA

 1. composition    47:38
 2. composition     9:23

David S. Ware (ts), Matthew Shipp (p)

{CDr; Earshot Jazz issue No. 4 vol.18, April 2002 pp.3+8, www.earshot.org/zine.cfm; The Bellingham Herald Apr 11 “Take Five” p.12}


  • 02.04.25 - David S. Ware Quartet: Ware (ts), Matthew Shipp (p), William Parker (b), Guillermo E. Brown (dr) /
    9:00pm, Le Weekend, Stirling Tolbooth, Stirling, Scotland [www.instirling.com/whatson/leweek.htm]

02.06.02 • David S. Ware Quartet [AR—53:48]

June 2, 2002, 11:00pm / Vision Festival, St. Peter’s Youth Center, New York City

 1. Freedom Suite (Sonny Rollins)
  part I
  part II
  part III
  part IV
 2. Mikuro’s Blues (Ware)
 3. Bliss Theme (Ware)

   12:56
   10:11
    8:19
    9:04
    8:11
    5:03

David S. Ware (ts), Matthew Shipp (p), William Parker (b), Guillermo E. Brown (dr)

{CDr; The Burlington Free Press Jun 6 “Weekend” p.4; James Lindbloom 03.11.24 + 04.08.21}


02.06.06 • David S. Ware Quartet [AR—79:29]

June 6, 2002 / Discover Jazz Festival, Flynn Space, Burlington VT

 1. Surrendered (Ware)
 2. Freedom Suite (Sonny Rollins)
  part I
  part II
  part III
  part IV
 3. Mikuro’s Blues (Ware)
 4. Bliss Theme (Ware)
   22:44
   
   14:13
   13:16
    9:49
    9:21
    5:48
    4:36

David S. Ware (ts), Matthew Shipp (p), William Parker (b), Guillermo E. Brown (dr)

{CDr; James Lindbloom 03.11.24; The Burlington Free Press Jun 6 “Weekend” p.4}


  • 02.06.07 - David S. Ware Quartet: Ware (ts), Matthew Shipp (p), William Parker (b), Guillermo E. Brown (dr) /
    Sounds For The People Festival, 9:00, Casa del Popolo, La Sala Rossa, Montreal, Quebec, Canada
    [The Gazette May 31 p.C11; CODA #306 Nov/Dec 2002, p.27]
  • 02.06.14 - David S. Ware & Matthew Shipp Duo: Ware (ts), Shipp (p) / Kongsberg jazz festival, Norway [Anne Dumas 03.07.10]

02.07.13 • David S. Ware Quartet: Freedom Suite

AUM Fidelity AUM023 (CD) 2002

July 13, 2002 / Systems Two Studio, Brooklyn, NY

 1. Freedom Suite (Sonny Rollins)
  part I
  part II
  part III
  part IV

    7:05
   11:38
    8:12
   12:30

David S. Ware (ts, Arr), Matthew Shipp (p),
William Parker (b), Guillermo E. Brown (dr)

{AUM023}


02.07.27 • David S. Ware Solo [AR—43:48]

July 27, 2002, 17:00 / Clusone Jazz Festival, Piazza Sant’Anna, Clusone (Ardesio), Italy

 1. composition    34:34
 2. composition     5:37
 3. composition     3:36

David S. Ware (ts)

{Jakob Blumenthal 10.05.19; www.ejn.it/clusonejazz/archivio.htm; Anne Dumas 03.07.10}


02.07.28 • David S. Ware Quartet [AR—64:24]

July 28, 2002 / Clusone Jazz Festival, Clusone, Italy

 1. Freedom Suite (Sonny Rollins)
  part I
  part II
  part III
  part IV
 2. Mikuro’s Blues (Ware)
   
   17:00
   17:09
   10:30
    6:47
    6:47

David S. Ware (ts), Matthew Shipp (p), William Parker (b), Guillermo E. Brown (dr)

{CDr; www.ejn.it/clusonejazz/archivio.htm; Anne Dumas 03.07.10}


  • 02.08.11 - David S. Ware Quartet: Ware (ts), Matthew Shipp (p), William Parker (b), Guillermo E. Brown (dr) /
    Newport Jazz Festival, 3:30pm, Fort Adams State Park, Mercedes-Benz Pavilion, Newport, RI
    [The Boston Globe Aug 9 “Weekend” p.D12 + Aug 12 review p.B11]
    —“The Freedom Suite”
  • 02.08.23 (1) - David S. Ware Quartet: as above / Sant’anna Arresi Jazz festival, Italy
    [Anne Dumas 03.07.10; La Stampa August 23, 2002 p.31]
  • 02.08.23 (2) - David S. Ware Solo / Sant’anna Arresi Jazz festival, Italy [ibid]
  • 02.10.24 - David S. Ware Quartet: Ware (ts), Matthew Shipp (p), William Parker (b), Guillermo E. Brown (dr) /
    “Jazz and Wine of Peace” Festival, Cormons, Italy [ibid]
  • 02.10.28 - David S. Ware Quartet: as above / Belfast festival at Queen’s, Belfast, Ireland [ibid]

2003 : : :


  • 03.03.22 - David S. Ware Quartet: Ware (ts), Matthew Shipp (p), William Parker (b), Guillermo E. Brown (dr) /
    23:00, ARS MUSICA, Bruxelles, Belgium [Anne Dumas 03.07.10, 03.08.23]
    —“The Freedom Suite was performed.”

03.03.26 • David S. Ware Quartet [AR—92:55]

March 26, 2003 / La Palma Rome, Rome, Italy

 1. Surrendered (Ware)
 2. composition
 3. improvisation ?
 4. Mikuro’s Blues (Ware)
 5. Bliss Theme (Ware)
 6. African Drums (Beaver Harris)
    7:35   (incomplete, cuts in)
   18:16
   13:31
    6:23
   20:04
   27:05

David S. Ware (ts), Matthew Shipp (p), William Parker (b), Guillermo E. Brown (dr)

{2CDr; Anne Dumas 03.07.10}


03.03.27 • David S. Ware Quartets: Live in the World

Thirsty Ear THI 57153.2 (3CD) 2005
—2nd Session [See also 98.12.11; 03.06.22]

March 27, 2003 / Teatro Ponchielli, Milano, Cremona, Italy

 1. Elder’s Path
 2. Unknown Mansion
 3. Sentient Compassion4
 4. Co Co Cana
 5. Manu’s Ideal
   25:34
   13:42
    9:24
   12:08
    6:05  —Bonus Track

David S. Ware (ts, Comp), Matthew Shipp (p), William Parker (b), Guillermo E. Brown (dr)

{THI 57153.2}

GRAPHIC??
  • 03.03.29 - David S. Ware Quartet: Ware (ts), Matthew Shipp (p), William Parker (b), Guillermo E. Brown (dr) /
    Jazz Ao Centro “Encontros De Jazz De Coimbra,” Teatro Académico Gil Vicente, Coimbra, Portugal
    [Nuno Martins 03.11.17; www.jazzaocentro.com]
    —Date was previously listed as 03.03.21

—David S. Ware in Coimbra, Portugal, 03.03.29. Photo by Nuno Martins, with permission.


03.05.22 • David S. Ware Quartet [AR—58:17]

May 22, 2003, 8:30p.m. / The VISION Festival 2003, Old St. Patrick’s Youth Center, New York City

 1. compositions    30:15
 2. compositions    21:25
 3. compositions     6:36

David S. Ware (ts), Matthew Shipp (p), William Parker (b), Guillermo E. Brown (dr, perc)

{CDr}


03.06.13 • David S. Ware String Ensemble: Threads

Thirsty Ear Recordings (The Blue Series) THI 57137-2 (CD) 2003
  • (V/A) The Blue Series Sampler—The Shape of Jazz to Come
    Thirsty Ear Recordings THI 57138.2 (CD) 2003
  • DJ Spooky That Subliminal Kid: Celestial Mechanix
    Thirsty Ear THI57148.2 The Blue Series (2-CD) 2004
    —CD2 is an 80-minute continuous mix using samples from this session.
June 13, 2003 / Sorcerer Sound, New York City

  Threads:
 1. Ananda Rotation
 2. Sufic Passages
 3. Weave I
 4. THREADS
 5. Carousel of Lightness
 6. Weave II

    6:39
    9:02
    3:21
   13:01
    9:02
    3:41

   Celestial Mechanix:
 2.13 Ananda Rotation (The DJ Spooky Remix)    2:01  —CD2/Mix-trk13

The Shape of Jazz to Come has track 1.

David S. Ware (ts, Comp)

—Group recording (without David) April 28, 2003
  Matthew Shipp (Korg Triton Pro X: string pads and various piano settings),
  Mat Maneri (va), Daniel Bernard Roumain (vn),
  William Parker (b), Guillermo E. Brown (dr)

“Engineered by FLAM ... Mixed at Mindswerve Studios, NYC late June/early July 2003”

{THI 57137-2; THI 57138.2; session dates Steven Joerg 03.10.08, and FLAM 03.11.06}





  • 03.06.20 - David S. Ware Quartet: Ware (ts), Matthew Shipp (p), William Parker (b), Hamid Drake (dr) /
    Warsaw Jazzdays, Warsaw, Poland [Anne Dumas 03.07.10]
  • 03.06.21 - David S. Ware Quartet: as above / Sarteano Jazz and Blues Festival, Sarteano, Italy [ibid]

03.06.22 • David S. Ware Quartets: Live in the World

Thirsty Ear THI 57153.2 (3CD) 2005
—3rd Session: [See also 98.12.11 & 03.03.27]

June 22, 2003 / Terni in Jazz Fest 2003, Terni, Italy

 1. Freedom Suite (Sonny Rollins)
  part I
  part II
  part III
  part IV
  
  19:13
  17:26
  11:06
  15:01

David S. Ware (ts, Arr), Matthew Shipp (p), William Parker (b), Hamid Drake (dr)

{THI 57153.2}


  • 03.06.24 - David S. Ware Quartet: Ware (ts), Matthew Shipp (p), William Parker (b), Hamid Drake (dr) / Verona Jazz Festival, Italy
    [La Stampa June 24, 2003 p.35; Anne Dumas 03.07.10]
  • 03.06.25 - David S. Ware Quartet: as above / Itinerary Festival, Como, Italy [ibid]
  • 03.07.08 - David S. Ware Quartet: Ware (ts), Matthew Shipp (p), William Parker (b), Guillermo E. Brown (dr) / Iridium Jazz Club, NYC
    [The Record Jul 4 “GO!” p.18; www.iridiumjazzclub.com]

03.07.09 • David S. Ware Quartet [AR—43:14]

July 9, 2003 / Iridium, New York City

 1. Freedom Suite    43:14

David S. Ware (ts), Matthew Shipp (p), William Parker (b), Guillermo E. Brown (dr)

{CDr; The Record Jul 4 “GO!” p.18}


  • 03.07.10 - David S. Ware Quartet: Ware (ts), Matthew Shipp (p), William Parker (b), Guillermo E. Brown (dr) / Iridium Jazz Club, NYC
    [The Record Jul 4 “GO!” p.18; www.iridiumjazzclub.com]
  • 03.11.09 - David S. Ware Quartet: as above / Festival Jazz d’Or at Pole-Sud, Strasbourg, France
    [Philippe Ochem 03.09.16 (Directeur de Jazzdor/Festival de Strasbourg); www.jazzdor.com]
    “The quartet played an extended version of Sonny Rollins’ “Freedom Suite” plus a short encore. The performance
    was not recorded officially, but a private audience recording may exist.” —Lukas Lindenmaier 03.11.13

2004 : : :


  • 04.04.24 - David S. Ware Quartet: Ware (ts), Matthew Shipp (p), William Parker (b), Guillermo E. Brown (dr) / unknown venue, NYC
    [AUMFidelity mailing 04.02.24]

04.05.01 (2) • David S. Ware Quartet [AR]

May 1, 2004, 10:00pm / Vision Saturday Night Series 2004, St. Nicholas of Myra Church, NYC

 1... compositions

David S. Ware (ts, voc, tamb), Matthew Shipp (p), William Parker (b), Guillermo E. Brown (dr)

{Peter Gannushkin 04.02.24; The Record Apr 30 “GO!” p.20}


04.07.10 • David S. Ware Quartet [AR—65:45]

July 10, 2004 / North Sea Jazz Festival, Mondriaan Zaal, The Hague, Netherlands

 1. improvisation—Surrendered—Lexicon
 2. composition
  56:18
   8:10

“The first three pieces are performed as a suite, without interruption. I’d be tempted to call the unidentified title ‘Peace On Earth,’
after Ware’s monologue, but Coltrane already nicked that title. ... I don’t know what the last one is—it’s gorgeous—maybe a new song?”
—James Lindbloom

“A multi-media event. Behind the band was a large screen on which videos of Martin Luther King, John Coltrane (classic quartet), and
Miles Davis (with Coltrane) were shown along with a ‘tickertape’ with the words from Martin Luther King’s ‘I Have a Dream’ speech.”
—Andrew Wilson

David S. Ware (ts, voc, tamb), Matthew Shipp (p), William Parker (b), Gerald Cleaver (dr)

{CDr; Andrew Wilson 04.05.13; James Lindbloom 04.08.21}


04.09.01 • David S. Ware Quartet [BR—71:04]

September 1, 2004 / la XIX edizione di Ai Confini tra Sardegna e Jazz 2004, Piazza Martiri, Sant’Anna Arresi, Cagliari, Italy

  radio intro
 1. composition
 2. composition
 3. composition
 4. composition
  radio outro
    4:14
   21:02
   16:48
   16:41
   11:59
    0:17

David S. Ware (ts), Matthew Shipp (p), William Parker (b), Guillermo E. Brown (dr)

{Norbert Kreutzer 06.10.30; Patrick Pohlmann 05.11.23; Jakob Blumenthal 07.08.02; www.santannarresijazz.it/arresi/programma_festival.htm}


04.09.05 • David S. Ware & Matthew Shipp Duo: Live in Sant’Anna Arresi, 2004

AUM Fidelity AUM100 (DSW-ARC02) (CD, First Edition, 1200 copies, 6-panel digipak) 2016

September 5, 2004 / Ai Confini tra Sardegna e Jazz, Piazza Martiri, Sant’Anna Arresi, Sardinia, Italy

 1. TAO FLOW part 1
 2. TAO FLOW part 2
 3. Encore
   21:06
   20:23
    4:29

David S. Ware (ts), Matthew Shipp (p)

{AUM100 DSW-ARC02}




2005 : : :


  • 05.04.23 - David S. Ware Quartet: Ware (ts), Matthew Shipp (p), William Parker (b), Guillermo E. Brown (dr) / Hungary
    [www.jazzreview.com/forum 05.03.05]
  • 05.04.24 - David S. Ware Quartet: as above / 9:00pm, Porgy & Bess, Vienna, Austria [www.porgy.at]
  • 05.04.25 to 04.27 - David S. Ware Quartet / Hungary [www.jazzreview.com/forum 05.03.05]
  • 05.04.29 - David S. Ware Quartet / Le Mans, France [ibid]

  • Al Confini tra Sardegna e Jazz ::: Master classes and workshops, August 24 to August 31, 2005

    “William Parker, Andrew Cyrille, Gerald Cleaver, Hamid Drake, Henry Grimes, Garrison Fewell, Lewis Barnes, Roy Campbell Jr.,
    Rob Brown, Anthony Braxton, Roscoe Mitchell, Muhal Richard Abrams, Umberto Petrin, Giancarlo Schiaffini, Pat Metheny,
    Marc Ribot, Matthew Shipp, Chad Taylor, David S. Ware, and more.” /
    Sant’Anna Arresi Jazz Festival, Jazz Workshops, Punta Giara, Sant’Anna Arresi, Sardinia, Italy
    [www.santannarresijazz.it/; www.ecn.org/circ.a/index2.htm]


  • 05.10.22 - David S. Ware Trio: Ware, (ts), William Parker (b), Hamid Drake (dr) /
    VII Festival de Jazz de Ponta Delgada, Teatro Micaelense, Sao Miguel Island, Portugal
    [www.teatromicaelense.pt/view.php?id=30]

2006 : : :


06.05.01 • David S. Ware Solo [AR—62:32]

May 1, 2006 / Area Sismica, Ravaldino, Monte, Italy

 1. composition
 2. composition
 3. composition
 4. composition
   19:22
   18:25
   17:36
    7:09

David S. Ware (ts)

{Jakob Blumenthal 10.05.20}


06.06.18 • David S. Ware Quartet: Renunciation

AUM Fidelity AUM042 (CD) 2007

June 18, 2006, 9:00pm / Vision Festival, Angel Orensanz Center, NYC
  • David S. Ware Quartet [AR & BR—50:07]
    BBC-London “Jazz on 3” / Broadcast 06.10.13, 23:30-1:00 (Radio 3)
    —BBC gives incorrect date of 06.06.17.

  Renunciation:
 1. introductions / Ganesh Sound
 2. Renunciation Suite I
 3. Renunciation Suite II
 4. Renunciation Suite III
 5. Mikuro’s Blues
 6. Ganesh Sound (reprise)
 7. Saturnian
  
  Broadcast Recording:
 1. Ganesh Sound
 2. Renunciation Suite I
 3. Renunciation Suite II
 4. Renunciation Suite III
 5. Mikuro’s Blues
   
    8:24
   19:00
    6:47
    7:19   (Shipp/Parker Duo)
    9:15
    4:30
    3:57
   
   
    8:04
   18:27
    6:27
    6:56
    9:00








“The Ware Quartet is scheduled to make its final performance on the closing night of this year’s event.” [WIRE #267 May 2006 p.19]

David S. Ware (ts, Comp), Matthew Shipp (p), William Parker (b), Guillermo E. Brown (dr)

{AUM042; Broadcast CDr; www.bbc.co.uk/radio3/jazzon3/pip/hqjr5; Norbert Kreutzer 06.07.31}


2007 : : :


  • 07.01.12 - David S. Ware Unit: Ware (ts), Mat Maneri (vn, vla), Keith Witty (b), Whit Dickey (dr) /
    Ars Nova Presents, Seraphic Light Series, 8:00pm, International House, Philadelphia, PA
    [The Morning Call Jan 11 p.23; Philadelphia Daily News Jan 12 p.49; www.arsnovaworkshop.com]

    —Photo courtesy Alan Lankin.


  • 07.01.27 - David S. Ware Quartet: Ware (ts), Matthew Shipp (p), William Parker (b), Guillermo E. Brown (dr) /
    Sons d'Hiver, 20:30, Espace Andre Malraux, Le Kremlin-Bicetre, Paris, France [www.sonsdhiver.org]
  • 07.03.11 - David S. Ware Solo / The Stone, NYC [DMG mailing 07.03.01]
  • 07.03.20 - David S. Ware Quartet: Ware (ts), Matthew Shipp (p), William Parker (b), Guillermo E. Brown (dr) /
    La Passerelle, Saint Brieuc, France [www.lapasserelle.info/]
  • 07.03.22 - David S. Ware Quartet: as above / Le Petit Faucheux, Tours, France
    [www.lepetitfaucheux.fr/; tourainesereine.hautetfort.com/archive/2007]

07.03.24 • David S. Ware Quartet: Live in Vilnius

No Business Records NBLP4-5 Limited Edition of 1,000 (2LP) 2009

March 24, 2007 / Russian Drama Theatre, Vilnius, Lithuania

  Side A:
 1. Ganesh Sound (Ware)
  Side B:
 2. Theme of Ages (Ware)
 3. Mikuro’s Blues (Ware)
  Side C:
 4. The Stargazers (Sun Ra)
  Side D:
 5. The Stargazers (Sun Ra)
 6. Lithuanian Whirl (Ware)
 7. Surrendered (Ware)
   
   17:25
   
   15:46
    6:15
   
   22:15
   
    4:45   (continued)
   11:20
    7:18

David S. Ware (ts), Matthew Shipp (p),
William Parker (b), Guillermo E. Brown (dr)

{nobusinessrecords.com/NBLP4-5.php}



  • 07.03.25 - David S. Ware Quartet: Ware (ts), Matthew Shipp (p), William Parker (b), Guillermo E. Brown (dr) /
    Le Cheval Blanc, Schiltigheim, France [www.ville-schiltigheim.fr]

07.07.13 • David S. Ware ‘New Quartet’ [AR—135:05]

July 13, 2007 / Iridium, New York City

 1. composition
 2. composition
 3. composition
 4. composition
 5. composition
 6. composition
 7. composition
   47:14
   15:47
    4:53
   14:13
   22:10
   15:47
    4:48

David S. Ware (ts, tamb), Joe Morris (g), Keith Witty (b), Guillermo E. Brown (dr)

{CDr; Daily News Jul 13 p.49; huppeshyalites.blogspot.com; Jakob Blumenthal 07.07.31}


  • 07.07.14 - David S. Ware Quartet: Ware (ts, tamb), Joe Morris (g), Keith Witty (b), Guillermo E Brown (dr) / Iridium, NYC
    [iridiumjazzclub.com]

07.08.25 • David S. Ware ‘New Quartet’ [BR—54:27]

Augst 25, 2007 / Festival Ai confini tra Sardegna e Jazz 2007, Piazza del Nuraghe, Sant’Anna Arresi, Sardegna
—RAI Radio3 Broadcast

 1. composition    40:47
 2. composition    13:40

David S. Ware (ts), Joe Morris (g), Keith Witty (b), Guillermo E. Brown (dr)

{CDr; www.santannarresijazz.it}


  • 07.11.07 - David S. Ware Solo / 20:30, Spheres, Zürich, Switzerland [www.taktlos.com]

07.11.09 • David S. Ware Trio [AR—48:01]

November 9, 2009, 20:00 / Ehemaliges Jugendzentrum Kaiserstraße 25, Gütersloh, Germany

 1. composition    21:40
 2. composition    15:29
 3. composition    10:51

David S. Ware (ts), William Parker (b), Warren Smith (dr)

{Jakob Blumenthal 09.06.15; www.jazz-in-guetersloh.de}


  • 07.11.11 - David S. Ware Quartet: Ware (ts), Joe Morris (g), William Parker (b), Warren Smith (dr) /
    Auditorium Parco della Musica, Salla Petrassi, Roma, Italy [www.auditorium.com/eventi/4905150]
  • 07.11.12 - David S. Ware Quartet: as above / Porgy and Bess, Vienna, Austria [www.porgy.at/]

2008 : : :


08.05.09 • David S. Ware: Shakti

AUM Fidelity AUM052 (CD) 2008

May 9, 2008 / Systems Two Studio, Brooklyn, NY

 1. Crossing Samsara
 2. Nataraj
 3. Reflection
 4. Namah
 5. Antidromic
 6. Shakti
  a) Durga
  b) Devi
  c) Kali
    9:39
   18:10
   12:38
    8:27
    9:26
    9:33
   
   
   

David S. Ware (ts, kalimba-4), Joe Morris (g, perc-4),
William Parker (b), Warren Smith (dr)

{AUM052; Steven Joerg}


08.05.24 • David S. Ware New Quartet: Théâtre Garonne, 2008

AUM Fidelity AUM113—DSW-ARC05 (CD) 2019

May 24, 2008 / Théâtre Garonne, Toulouse, France

 1. Crossing Samsara, part 1
 2. Crossing Samsara, part 2
 3. Durga
 4. Reflection
 5. Namah
 6. Samsara (reprise)
   15:08
   11:17
   17:41
   11:40
   12:34
    5:05

David S. Ware (ts, Comp), Joe Morris (g),
William Parker (b), Warren Smith (dr)

{AUM113—DSW-ARC05; www.theatregaronne.com; La Dépêche May 21, 2008}


08.07.11 • David S. Ware ‘New Quartet’ [AR—71:23]

July 11, 2008 / Northsea Jazz Festival, Missouri Room, Ahoy, Rotterdam, Netherlands

 1. composition
 2. composition
 3. composition
 4. encore
   18:04
   14:37
   16:48
    2:42

David S. Ware (ts), Joe Morris (g), William Parker (b), Nasheet Waits (dr)

{CDr; www.northseajazz.com}


2009 : : :


09.10.15 • David S. Ware: Saturnian—Solo Saxophones Vol. 1

AUM Fidelity AUM060 (CD) 2008
  • David S. Ware: A World Of Sound [Film—13:36]
    David Lynch Foundation Television 2011
    —Documentary/Interview filmed 2010 through 2011, Directed by Amine Kouider.
     Solo performance footage of Ware at home, and from the Saturnian concert.
      + “Bonus Footage” of an 8 minute piece on saxello, also recorded at home.
October 15, 2009, 8:00pm / “AUM Fidelity presents,” Abrons Arts Center, New York City

 1. Methone
 2. Pallene
 3. Anthe
   14:25
   12:38
   11:42
   (sxl)
   (stc)
   (ts)

“AUM Fidelity showcase featuring David S. Ware, Darius Jones Trio, and William Parker & The Little Huey Creative Music Orchestra. ...
The performances were all recorded by Petr Cancura and filmed by the good folks at the David Lynch Foundation.”

David S. Ware (ts, stc, sxl, Comp)

{AUM060; Steven Joerg 11.08.19; dlf.tv/2011/david-s-ware}



    “A Transplant Patient Finds That the Force Is Still With Him"
    — by Susan Dominus. A splendid article from The New York Times, October 16, 2009.

09.12.02 • David S. Ware Trio: Onecept

AUM Fidelity AUM064 (CD) 2010; Rank & File Records RFS 33203 (2-LP, 500 copy Ltd. Edition) 2011

09.12.02 • David S. Ware Trio: The Balance (Vision Festival XV +)

AUM Fidelity AUM107—DSW-ARCO4 (CD digipak) 2018
1st Session: See also 10.06.27

December 2, 2009 / Systems Two Studio, Brooklyn

  Onecept:
  1. Book of Krittika
  2. Wheel of Life
  3. Celestial
  4. Desire Worlds
  5. Astral Earth
  6. Savaka
  7. Bardo
  8. Anagami
  9. Vata
 10. Virtue
 11. Gnavah
 12. Bodhissatva
 13. Kama

    7:53
    6:31
    6:24
    6:56
   14:54
    4:35
    6:43
    6:50
    4:27
    6:47
    9:06
    5:24
    8:48

Onecept AUM064 has tracks 1 through 9; RFS 33203 has tracks 1 through 11.
The Balance AUM107—DSWW-ARC04 has tracks 10 through 13, in order 13-10-12-11.
 (Tracks 12 and 13 previously available as downloads only with Onecept “with purchase at aumfidelity.com").

David S. Ware (ts, stc, sxl-10,12), William Parker (b), Warren Smith (dr, tym+perc-10-11-12)

{AUM064; AUM107—DSW-ARCO4; www.aumfidelity.com/aum064.html; www.rank-records.com; Timo Wiedenbrueck 11.04.21}



1970

1980

1990

The 21st Century...

2010


10.03.13 • David S. Ware: Organica (solo saxophones, volume 2)

AUM Fidelity AUM070 (CD digipak, Ltd. Edition of 1,000 copies) 2011
—1st Session: [See also 10.11.05]

March 13, 2010, 7:00pm / Brooklyn, NY
—“In a beautiful private residence located in the heart of Park Slope.”

 1. Minus Gravity 1
 2. Organica 1
   16:20
   24:31


David S. Ware (ts, sss)

{AUM070; www.aumfidelity.com; Steven Joerg 10.02.25}


10.06.27 • David S. Ware Trio: The Balance (Vision Festival XV +)

AUM Fidelity AUM107—DSW-ARC04 (CD digipak) 2018
2nd Session: See also 09.12.02
  • David S. Ware Trio [AR—42:38]
June 27, 2010, 9:30pm / Vision Festival, Abrons Arts Center, New York City

  The Balance:
 1. Vision Suite 2010 part 1    15:28
 2. Vision Suite 2010 part 2    14:16
 3. Vision Suite 2010 part 3    12:17
  
  Audience Recording:
 1. improvisation (Dedicated To Bill Dixon And Fred Anderson)   42:38

David S. Ware (ts), William Parker (b), Warren Smith (dr)

{AUM107—DSW-ARCO4; Jakob Blumenthal 10.06.28}


10.10.04 • David S. Ware Trio: Live in New York, 2010

AUM Fidelity Records AUM102/103 (DSW-ARC03) (2CD) 2017
  • David S. Ware Trio [AR—115:44]
October 4, 2010 / Blue Note Jazz Club, New York City

   AUM102: Disc One
  1. #1 A
  2. #1 B
  3. #1 C
  4. #2 A
  5. #2 B
   AUM103: Disc Two
  6. #3
  7. #4 A
  8. #4 B
  9. #4 C
 10. #5
 11. #6 A
 12. #6 B
  
   Audience Recording:
  1. improvisation
  2. improvisation
  3. improvisation
  4. improvisation
  5. improvisation
  6. improvisation

15:21
14:27
 6:42
17:20
 9:04

14:47
14:40
 3:58
 5:25
10:31
 8:38
 8:38


36:19
10:00
14:30
14:41
23:57
16:17
  
  (str)
   "
   "
  (ts)
   "
  
  (str)
  (str)
   "
   "
  (str)
  (ts)
   "
  
  
  
  
  
  
  
  

David S. Ware (ts, str), William Parker (b), Warren Smith (d)

{AUM102/103 (DSW-ARC03); AUM Fidelity 10.10.04; Chris Carville 15.05.14; Steven Joerg 17.06.14}


10.11.05 • David S. Ware: Organica (solo saxophones, volume 2)

AUM Fidelity AUM070 (CD digipak, Ltd. Edition of 1,000 copies) 2011
—2nd Session: [See also 10.03.13]

November 5, 2010, 9:00pm / Umbrella Festival, Elastic, Chicago, IL

 1. Minus Gravity 2
 2. Organica 2
   22:27
   14:12

David S. Ware (ts, sss)

{AUM070; www.aumfidelity.com; umbrellamusic.org; Chicago Tribune Nov 5 “Redeye” p.37}


10.11.23 • David S. Ware—Cooper-Moore—William Parker—Muhammad Ali: Planetary Unknown

AUM Fidelity AUM068 (CD digipak) 2011
November 23, 2010 / Systems Two Studio, Brooklyn, NY

 1. Passage Wudang
 2. Shift
 3. Duality is One
 4. Divination
 5. Crystal Palace
 6. Divination Unfathomable
 7. Ancestry Supramental
 8. Dantien #4
   21:56
    7:34
    7:00
    9:27
    3:40
    9:26
   13:25
    9:39

Planetary Unknown has tracks 1 through 7.
—Track 8 is an “AUM Direct Download Only Bonus Track.”

“Many circles arc around and synch anew here. Major new jazz-forward
band. Mighty, majestic, mackadocious: we’re heading into the studio on
November 23rd.” —Steven Joerg, AUM Fidelity

David S. Ware (ts), Cooper-Moore (p), William Parker (b), Muhammad Ali (dr)

{www.aumfidelity.com; Steven Joerg 10.11.16, 11.06.04}


2011 : : :


11.06.10 • David S. Ware’s Planetary Unknown [BR—43:53]

June 10, 2011, 9:30pm / Vision Festival, Abrons Arts Center, New York City
Broadcast by BBC London

 1. composition
  broadcast announcement
  41:26
   0:11   “Their first-ever gig.”

David S. Ware (ts), Cooper-Moore (p), William Parker (b), Warren Smith (dr)

{CDr; Jakob Blumenthal 11.06.29; Patricia Parker 11.06.03; www.visionfestival.org; Sean Wilkie 12.06.29}


  • 11.06.12 - David S. Ware Solo / 8:00pm, Ward’s Island, St. Andrew-by-the-Lake Anglican Church, Toronto, Ontario, Canada
    [AUMFidelity mailing 11.06.04; torontoisland.org/tabid/157/Default.aspx]
  • 11.06.14 - David S. Ware Solo / Suoni Per Il Popolo Festival, 8:00pm, La Sala Rossa, Montreal, Quebec, Canada
    [AUMFidelity mailing 11.06.04; www.casadelpopolo.com/contents/node/74]
  • 11.06.24 - David S. Ware Solo / 8:00pm, The Stone, NYC [AUMFidelity mailing]
  • 11.06.25 - David S. Ware Solo / 12:10am, Undead Jazzfest, Homage Skate Park, NYC
    [AUMFidelity mailing 11.06.04; www.undeadjazz.com/?page_id=263]

11.08.27 • David S. Ware’s Planetary Unknown: Live at Jazzfestival Saalfelden 2011

AUM Fidelity AUM074 (CD) 2012

August 27, 2011, 23:00 / Jazzfestival Saalfelden, Hauptbuehne, Saalfelden, Austria

 1. Precessional 1    33:15
 2. Precessional 2    19:04
 3. Precessional 3    14:37

David S. Ware (ts), Cooper-Moore (p),
William Parker (b), Muhammad Ali (dr)

{www.aumfidelity.com/aum074.html; www.jazzsaalfelden.com/}

   —Photo below by Ziga Koritnik (with permission)

   

2012 : : :


    June 12, 2012

    “David S. Ware, another foundational artist on AUM Fidelity, was originally scheduled to perform with Planetary Unknown (2011) on this night. The health complications that have arisen on a cyclical basis since his kidney transplant in 2009 are due to the anti-rejection drugs he is required to take, and the fact that he was on dialysis for almost a decade before the operation. As I write this, he is in a hospital stay, to be followed by in-patient stay at a physical rehab center. It was decided in early May that a concert performance in June would not be possible; this is the first time in his four-decade+ career that he has ever had to cancel a concert. All who read this now, please send positive thoughts to him in central New Jersey. Thank you. He will come out the other side of this very difficult time and perform again. DSW’s visage remains featured on the silk-screened poster we made for this event, and he and the group’s astonishing Live in Saalfelden 2011 CD will be fresh back from the pressing plant and available for sale live and direct in June.” —Steven Joerg [www.aumfidelity.com/AUM_15th_Live_Celebrations.htm]


October 18, 2012

“Tonight, a giant has fallen. David S. Ware, the great saxophonist, died tonight, October 18, 2012.
What an incredible loss! What a great musician and spirit! His tremendous sound, his spirit, his music,
is irreplaceable. Music holds Us.”
—Patricia Nicholson Parker / 12.10.18, 10:06pm.


“Dear friends,
It is with great difficulty that I type these words. David’s family has informed me that he passed earlier tonight
at Robert Wood Johnson University Hospital in New Brunswick, NJ. His physical body failed but his spirit was
completely ready to move onward... A giant doesn’t even begin to describe this man. David had a whole lot more
to teach us. I know I had a whole lot more to learn from him, but am elementally and eternally grateful for all
that he offered and revealed in his time here on this earth.
wa 'alaykumu s-salamu wa rahmatu l-lahi wa barakatuh David"
—Steven Joerg, AUM Fidelity / 12.10.18, 11:16pm



Photo from Ars Nova Workshop, Philadelphia, PA

David S. Ware’s tenor

Photo by Nuno Martins, whose work can be seen at Tomajazz.
    January 7, 2013

    Cooper-Moore (solo harp); William Parker (special presentation); Muhammad Ali & Darius Jones Duo; Joe Morris & Warren Smith Duo;
    Andrew Cyrille, Daniel Carter, and Joe Morris Trio; Matthew Shipp, William Parker, Guillermo E. Brown Trio performing compositions
    by David S. Ware / David S. Ware Memorial Service, 7:30pm, Saint Peter’s Church, NYC
    [DMG mailing 12.12.07; Arts for Art 13.01.04]





okay


   For overseas shipping rates, email Rick Lopez: rl@bb10k.com



cebu

For ordering info...

1st Printing Ltd. Ed. released at the 19th Annual Vision Festival in NYC on June 12th, 2014

8.5x11 / 482 pp., 370+ illustrations, 3.2 pounds / $55.00 postpaid in US. Only about 24 copies remain...

I accept Paypal (least preferred because of fees, unless you send as a “gift"), check, m.o., or well-concealed cash.
$55.00 by media mail / Priority in US from Zip Code 16504 will be more dependent on location / Internationals inquire.

Also be available through the AUM Fidelity distribution network

Thanks : : : Assistance, Direction, and Encouragement has come from the following gracious individuals.

  • Mr. David S. Ware
  • James Lindbloom, for copious detailing and guidance, without whom...
  • Anne Dumas, for copious *European* detailing and guidance, without whom...
  • Igor Danilishen
  • John Chacona
  • Gerrit Stolte, European correspondent.
  • R. Lynn Rardin
  • Jason Guthartz
  • Steven Joerg of AUM Fidelity, David S. Ware Management.
  • Alan Schneider, Matthew Shipp Management
  • Jim Johnson
  • Heinrich Smejkal
  • Steve Smith
  • A long slow freight-train full of thanks to Keith Knox of Silkheart Records.
  • Aryeh Oron
  • Dan Given
  • Henry Loess
  • Arjen Gorter [Arjen & Estrella Acosta’s Homepage]
  • William Kenz
  • Tetsuro Kubo and his Jazz and Blues Discography Links Page.
  • Jan Ström
  • George Scala
  • Guy Berard
  • Graham Connah, search advocate.
  • Justin James Kau
  • Francesco Martinelli
  • Siegfried Otto
  • CODA Magazine.
  • Marc Edwards
  • Giorgio Mortarino & Achille Silipo of Splasc(H) Records
  • Paolo Keller
  • Marco Negri
  • Holger Neuhaus
  • Jeff Zeitz
  • Andy Wilson
  • Kai-Martin Mueller
  • Bertrand Guggenheim
  • Paco Fonz-Garcés
  • Adam Lore and 50 Miles of Elbow Room
  • Jack DeGuiseppi
  • Cadence Magazine, the indispensable “Review of Jazz & Blues: Creative Improvised Music.”
Comments, additions, corrections to: Rick Lopez Back to The Vortex home page Back to top of page