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NOT IN STOCK
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ARTIST
TITLE
Peace Concert (1964)
FORMAT
CD
LABEL
CATALOG #
ALP 267CD
ALP 267CD
GENRE
RELEASE DATE
9/8/2008
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"A long-lost '60s treasure from the East Coast rescued and produced by Ken Vandermark's father, Stu, The Peace Concert, as performed in 1964 by living legend Joe Maneri (alto) and Peter Dolger (drums) has finally been exhumed and properly buffed for public consumption. This never-before released recording has been mastered from the original tapes, and includes an in-depth interview with Boston's elder statesman of improv, conducted by Stu Vandermark. For those caught unawares, Mr. Maneri is the father of violinist Mat Maneri, and is highly regarded as one of the true pioneers of the 'language' of the alto saxophone (in fact, Joe has also created a surreal, intense spoken dialect all his own, that often accompanies his musical performances). Mr. Vandermark is a long-time co-conspirator, contributor and fixture on Boston's jazz and improvised music scene; he possesses a formidable 'lifetime of listening' knowledge base on these matters. Check into this outer-orbiting destination in the Unheard Music Series galaxy (and find out why these two men's sons turned out so well!) Excerpted from Stu Vandermark's liner notes: 'There are two eventually simultaneous but not always parallel paths to the Joe Maneri musical journey. First, of course, there is the jazz path. It is the trail of the crash and burn Phoenix, somehow always arising. The path of the composer of concert music, initiated with the guidance of Josef Schmid, was not filled with stops and starts as the jazz path was. Here, Joe pursued several theoretical directions in sequence more or less continuously to this day. Separate as the paths have been, they are part of the same musical map. Although the performance in the middle of the night at St. Peter's Church is profoundly predictive of developments in Joe's music in the 1970s and later, it is important to keep the historical context of the duo performance in mind. Among the recordings documenting the new music at that time in New York were Coltrane Live at Birdland (Impulse 50) three years before Interstellar Space (Impulse 9277), Ornette Coleman's At Town Hall 1962 (ESP 1006), and Albert Ayler's My Name Is Albert (Debut 140). Some of this new music was produced via community connections among the pioneers, as in the case of Ornette Coleman and Steve Lacy or Albert Ayler and Cecil Taylor. But many of the new developments were taking place in relative isolation. Joe in 1963, for example, knew virtually nothing of the work of the other pioneers. And yet, what he and Peter Dolger created on that night in St. Peter's Church is certainly of the fabric of the time.'"
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