Fitz Gore & The Talismen - Soundnitia (October 15, 2021 Sonorama Records)

This is the first ever reissue of the lost debut LP by Jamaican tenor saxophone player Fitz Gore and his experimental group The Talismen from 1975. The work was originally released on Gore’s GorBra label and delivers an introspective, sensitive form of Spiritual Jazz. Recorded live in West Germany, the personnel are “Shepherd” Fitz Gore with Ulrich Kurth (Piano), Gérard Ebbo (Bass), Philippe Zobda-Quitman (Drums) and Lamont Hampton (Congas). The LP includes versions of John Coltrane’s “Dahomey Dance“ and the Horace Silver classic ‘Song For My Father“. The reissue was carefully remastered in 2021 and features the original cover design with a two page insert of the original notes, completed by the inclusion of Fitz`s poem “Sketches of Pain“.

Original Sleeve Notes by Eberhard Gockel (1975)

"Soundnitia" is the cipher under which the experimental group "The Talismen" constituted in 1974 and made its presence known on the Jazz scene with the first LP. The initiator and spiritus rector of the avant-garde ensemble is the saxophonist Fitz Gore, a "stormer of the valves" and unknown to the augurs of the jazz scene. As a saxophonist and a newcomer, he documents with his ultra-hard sound. Fukara (Swahili) is a clear affinity to the school of "hard blowing" tenor players. In the 1960’s Fitz managed various bands. Firstly, in the south of France, then Paris, which took part in Galas, concerts and film productions, where he made a name for himself primarily as an interpreter of spirituals and Negro folk songs.

Fitz Gore, born on 16th August 1935 in Kingston, Jamaica, has been making music since the age of six. As a member of the school choir, he studied the diatonics of the Gregorian chant and played classical Hawaiian guitar. His favourite composers include Duke Ellington, Sonny Rollins, Richard Wagner and Gil Evans. While establishing himself in the music business, he worked as an actor and writer. Like Charlie Parker before him, for whom the poetics of the Persian lyricist Omar Chajjam was a spiritual leitmotif, the man from Jamaica is a committed poet. The International Book Exchange presented a part of his literary oeuvre.

Fitz Gore draws his ideational impulses from biblical texts, especially from the Psalms of David. Dreams of a new paradise are articulated in his arrangements and compositions. He says, " The music - Soudnitia - has a spiritual fulcrum, which must act or foist with its compelling leverage(s), a form of panacea. To heal, as to vehicle sanctified pastus, hope and joy, to mankind". "Healing" became the code word of the "Talismen”.

Technically and stylistically, Fitz Gore's improvisations are reminiscent of the musical language of Sonny Rollins and Colerman Hawkins, but John Coltrane, Ben Webster, Sonny Grey, Johnny Griffin, Wilton Gaynair and Jo Maka were not without influence. Fitz Gore and pianist Ulrich Kurth began their collaboration in Autumn 1973, performing together for the first time in January 1974 at the Winterfest of Bonn University followed by a guest performance in Strasbourg. In the Autumn of the same year, Fitz Gore engaged two of his former partners, the French bassist Gérard Ebbo and the Martinique-born drummer Philippe Zobda-Quitman and staged the first concert with this quartet in a monastery near Bonn under the lemma "The Talismen".

In the spring of 1975, the American percussionist Lamont Hampton joined the Talismen collective and brought with him a bundle of new musical impulses. The Jazz Studio of the Bonn "Collegium Musicum" served as the experimental laboratory, where they discussed and rehearsed in endless nightly séances. This resulted in the live recording of the concert from June 14th 1975. This became the LP and seems like the product of an alchemist's kitchen. Whether "Toxon" or "Panacee" depends on the dosage. For it is "the dose that makes it, that something is a poison", teaches Theophrastus Bombastus von Hohenheim, known as Paracelsus.

The Musicians:

Ulrich Kurth (Piano) was born on 29.09.1953 in Kaltenkirchen near Hamburg and received eight years of classical piano lessons, most recently at the Cologne Conservatory. As a second and third instrument, he plays the guitar and the flute. Besides Ludwig van Beethoven, his favourite composers include modern classics such as Maurice Ravel, Béla Bartok and Olivier Messiaen. At the age of eighteen, he came to jazz via rock music. Musically he was influenced by Fitz Gore, stylistically by Thelonious Monk, Mal Waldron, Bill Evans and Irvin Rochlin.

Gérard Ebbo, "Prof. Dr. Splüm”, (Bass) was born on 27.11.1942, "in the middle of the last useless war" in Casablanca, Morroco. His favourite bass players are Oscar Pettiford, Ray Brown, Paul Chambers and Charlie Mingus. He is closely associated with the black musicians from the Nuer tribe, who were deported from Sudan to Morocco. As a member of the "Talismen", Gérard Ebbo not only guarantees the crucial rhythmic and harmonic basis, but also provides fundamental impulses for musical coordination.

Philippe Zobda-Quitman (Drums) was born on 08.08.1947 in Martinique. He has been making music since early childhood and later worked as a musician and dancer in France. His musical idols are Alan Dawson and Elvin Jones.

Lamont Hampton (Conga Drums) was born on 07.08.1951 in Indianapolis. He studied with Carlos Santa Cruz and was significantly influenced by the Afro-Cuban drumming style of Chano Pozo.

Singing songs, blasé hymns,

Singing OUR SONGS

Surely echoes hear waves, hear from our strains

In the harvest of T-I-M-E

Since we disharmonise/

Should we not SLUMBER CHORUS

in dischord?

--- MORE PRACTISE??

(from „SKETCHES OF PAIN/ Hymn To a Heart“ by Fitz Gore) 

Concert performance - recorded June 14, 1975 in Arnsberg, West Germany

Fitz Gore (Tenor Sax), Ulrich Kurth (Piano), Gérard Ebbo (Bass),

Philippe Zobda-Quitman (Drums), Lamont Hampton (Congas),

Guest: Dousty Santos (A Go Go) on „Mariella` Amor“

Produced by Fitz Gore and Gisela Braasch, shepherd & spoken words: Fitz Gore, co-leadership: Ulrich Kurth and Gérard Ebbo, cover design: Gisela Braasch

In memory of Fitz Gore,

mastered 2021 by Roskow Kretschmann at Audiomoto, vinyl cut at SST,

producer for reissue: Ekkehart Fleischhammer,

reproduction of original cover design by Gisela Gore:

Patrick Haase aka rab.bit. thanks to Gisela Gore and Fabian Stephenson.

1. Theme - The Man With The Horn

2. Song For My Father

3. My Foolish Heart 09:15

4. Mariella` Amor

5. Dahomey Dance

6. Theme

PREORDER

Fitz Gore & The Talismen - Soundmagnificat (February 2021 Sonorama Records)

Deep spiritual jazz recorded in Germany, performed by Jamaican born saxophone player Fitz Gore and his international group The Talismen, featuring a.o. bassist Gérard Ebbo from Morocco and drummer Philippe Zobda-Quitman from Martinique. This is the first reissue of their second album, released in 1976 by a small private label, including “Delilah” and “Requiem For Julian Cannonball Adderley”. The rare LP comes in a newly mastered version with original cover design and sleeve notes. Fitz Gore`s music is full of tremendous tension and movement between deep seriousness, inwardness and humility; it affects your life, it liberates and heals.

Original sleeve notes from 1976:

„Soundmagnificat“ is the successor to „Soundnitia“ (GorBra Records F 665 532), the first release from the Talismen, an international group with Jamaican Tenor saxophonist Fitz Gore (born1935) as founder, spiritual and musical leader, main soloist. „Soundnitia“ contained concert performances of June, 1975, including compositions by John Coltrane, Horace Silver and one by Gérard „Prof. Dr. Splüm“ Ebbo, bassist of the Talismen.

This second offering from the Talismen is more varied. It has four tracks recorded at four different occasions. It presents Fitz Gore as a singer, a composer, as well as, a tenor saxophonist. The opener, Requiem for Julian „Cannonball“ Adderley, is a moving tribute to a great American artist, the late alto saxophonist „Cannonball“ Adderley. On this track, Hungarian drummer Janos Sudy is heard with the Talismen, for the first time. The playing by the quartet on this slow lament very adequately illustrates the mood of the composition.

For the next piece, a concert performance, Gore selected a gem from the American Negro Song Tradition and he displays a mighty, masculine and soulful voice in Steal Away. An example of a modern artist using an old traditional to express his own inner feelings. Delilah is taken from another concert performance, the same concert as the music on „Soundnitia“. It has extensive playing by Gore, a bass solo by Gérard Ebbo, leading into some exciting conga playing by Lamont Hampton.

The final track, A Sinner Kissed An Angel, was recorded by another tenor player, Wardell Gray, in 1950, but this version is all Gore`s. After the piano introduction, Gore delivers the melody with authority and with an expressive use especially of the high register of his instrument. In his improvisation, Gore`s playing becomes more dissonant. Some of his playing here causes me to think of the way the late Albert Ayler sounded on his first recordings done in Sweden, in the beginning of the 60s. No drums here, but nice accompaniment and solo work of Jochen Paul on vibes.

I met Fitz Gore in Copenhagen in the fall of 1975. We were both listening to the trumpet playing of Harry „Sweets“ Edison at the now defunct Café Montmartre. Prior to that time, I did not know Gore and his music, but listening to his playing on this album and the earlier one, has once more widened my musical horizon. His music has struck some chords within me. „Music is communication“, John Coltrane once said. I feel sure that as you listen to the music of Fitz Gore and his Talismen, you will get the message.

In these notes, I have mentioned a couple of jazz artists and another one ought to be named primarily, because he has meant a lot to Gore: Sonny Rollins. The two met in Paris in 1966. Gore says of Rollins: „He openend my eyes ...big man … phenomenon … my man“. As Sonny Rollins`s artistry, the music of Fitz Gore holds many aspects, some being aggressive and even hysterical, others being those of beauty and peace. As life itself …

(Roland Baggenaes, June 1976)

The music of Fitz Gore, rooted in the blues, is full of tremendous tension and movement between deep seriousness, inwardness, humility and humor, hardness and tenderness; it affects your life, it liberates and heals - a hopeful, a truly groundbreaking, a timeless, a new music - Newsic!

(Gisela Braasch, 1976)

1. Requiem For Julian “Cannonball” Adderley 13:22

2. Steal Away 04:19

3. Delilah 12:10

4. A Sinner Kissed An Angel 08:06

Track 1 recorded 03.06.1976 in Duesseldorf

Fitz Gore (Tenor Sax), Ulrich Kurth (Piano), Gérard Ebbo (Bass),

Janos Sudy (Drums & Gamelan)

Track 2 recorded 18.12.1974 in Bonn

Fitz Gore (Vocals), Ulrich Kurth (Piano), Gérard Ebbo (Bass),

Philippe Zobda-Quitman (Drums)

Track 3 recorded 14.06.1975 in Arnsberg

Fitz Gore (Tenor Sax), Ulrich Kurth (Piano), Gérard Ebbo (Bass), Philippe Zobda-Quitman (Drums), Lamont Hampton (Congas)

Track 4 recorded 27.03.1976 in Bonn

Fitz Gore (Tenor Sax), Ulrich Kurth (Piano), Jochen Paul (Vibraphone), Gérard Ebbo (Bass)

Pre-order

Hans Koller - Minor Meetings 1958 (February 2021 Sonorama Records)

From collectors` archives: Rare or previously unreleased 1958 recordings of “The Hans Koller New Jazz Stars” at the peak of their art, restored from radio tapes and original EPs. Lost work by one of Europe`s leading tenor saxophonists from the Golden Age of cool and modern jazz, feat. A. Mangelsdorff (tb), H. Reinhardt (bars), P. Trunk (b), H. Hammerschmid (p), R. Sehring (dr) - with Zoot Sims (ts) guesting on two tunes (“Zoot Meets Hans”) plus Hans Koller playing in the Orchestra of Eddie Sauter. Comes on vinyl LP and 6-Page-Digipack CD with two unheard bonus tracks.

"Minor Meetings 1958" brings lost or completely unknown recordings by Hans Koller (1921-2003) from the year 1958 back to life. Koller is one of Europe's leading saxophonists of the last century. If one is talking in USA about German jazz musicians, the name of the native Austrian is always present. Already in 1953, the musician and painter from Vienna causes an international sensation, in his quartet or quintet and with an early formation of the "Hans Koller New Jazz Stars". Legendary musicians like pianist Jutta Hipp or trombonist Albert Mangelsdorff belong to the group. They play a European form of cool and modern and the audience is impressed by their high level of playing. For the fans the "New Jazz Stars" become stars in German jazz heaven. In the same year recordings are made for the American Discovery label and the band goes on tour in Germany with the group of Dizzy Gillespie. In 1954/55 Koller can be heard with Stan Kenton, Lee Konitz and Lars Gullin.

He is the first European jazz artist who receives a five-star review from the American jazz magazine DownBeat. In 1957/58 the "New Jazz Stars" are considered to be the most popular modern ensemble from Germany, mostly playing their own compositions and improvisations besides occasional standards. Soundwise, the musicians are based on the work of the “Four Brothers” now and leave the cool jazz of Lee Konitz more and more behind. Inspired by the tenor saxophonist Al Cohn, Hans Koller abandons the cool Lennie Tristano-school and puts the technical brilliance of playing in the background in favor of extravagant melodies. Besides Koller and trombonist Albert Mangelsdorff, who performs at the 1958 festival in Newport and starts his own recording career, composer, arranger and energetic pianist Hans Hammerschmid and highly talented bassist Peter Trunk are the pillars of the band.

In the spring of 1958, the “New Jazz Stars” record "Hard Blues", "I` ll Close My Eyes "and" Back In Paradise” in Baden-Baden. The tracks are released on the small German label Manhattan (EP "Hans Koller Cool Jazz"). Zoot Sims and Koller learn to know each other by working in the orchestra of Benny Goodman at the World Exhibition in Brussels. In August 1958 they play together in a Cologne studio. The resulting tracks "Blues Around Joe" and "Minor Meeting" are released as a German vinyl EP by Brunswick, entitled "Zoot Meets Hans". Both tunes show the brilliant interplay between the American guest artist and Hans Koller, on tenor saxophones ("Blues Around Joe") and clarinets ("Minor Meeting"). Originally entitled "Minor Meeting For Two Clarinets" and meant as a reference to the passion of Lester Young for this instrument, such a modern jazz piece on the clarinet can be considered a true rarity.

All other tracks on this album are previously unknown and hail from the German Jazz Festival in Frankfurt. There Hans Koller does not only perform in a quintet with his "New Jazz Stars" but also thrills the audience as the leader of the saxophone section in the SWF Orchestra of New York composer, arranger and bandleader Eddie Sauter. In 1957/58 the saxophonist regularly appears as a soloist with Sauter while Hans Hammerschmid writes some of his finest compositions for the orchestra. Besides the excellent ensemble performances on 24th of May 1958, the great atmosphere in the audience of the sold out Franz Althoff-Bau in Frankfurt must be mentioned. The "New Jazz Stars" perform at the same venue the following night and more recordings are made. Three tracks of that second evening are released on the Brunswick label in an awful sound and pressing quality (EP "The new Hans Koller New Jazz Stars").

After only one year, Sauter terminates his SWF contract and returns to the United States. Koller takes over the leadership of the “NDR Jazz Workshop” and, as early as in autumn 1958, founds a new quartet with Oscar Pettiford, Attila Zoller and Kenny Clarke. Immediately the group becomes one of the best European jazz combos. A little later, Hans Koller and Albert Mangelsdorff are frequently chosen as "Jazz Musicians of the Year". In English-speaking countries, the expression "Jazz in Kollerland" is established as a synonym of the West German jazz scene. Leonard Feather about Hans Koller in the American jazz magazine Down Beat: “It will come as a shock to many jazz fans to learn that modern jazz of this caliber exists in Germany”. Even today, one cannot better express the merits of Hans Koller for the development of a European jazz scene. 

1. Hard Blues 02:27

2. Hi-Fi 04:14

3. Blues Around Joe 03:29

4. Saba 04:03

5. Sperie`s Drums 06:23

6. Minor Meeting 03:19

7. Lippi's Tune 04:24

8. I`ll Close My Eyes 05:11

9. Back In Paradise 03:20

10. A Girl To Remember 05:54

11. If I Had You 05:53

12. I`ll Never Be The Same 04:28

Tracks 2/ 4/ 5/ 7/ 10/ 11/ 12 previously unreleased, recorded 24.05.1958 at the German Jazz Festival in Frankfurt (Allthoff-Bau, Frankfurt Zoo)

Tracks 3 & 6 recorded 10.08.1958 in Cologne, originally released as “Zoot Meets Hans” on German Brunswick 10814 EPB (vinyl EP)

Tracks 1/ 8/ 9 recorded 26.-28.03.1958 in Baden-Baden, originally released as “Hans Koller Cool Jazz” on Manhattan 66035C (vinyl EP)

Sound restoration, editing and mastering in 2014 at Audiomoto, Berlin.

Pre-order