Art Blakey and the Jazz Messengers; McCoy Tyner, Billy Harper, Joony Booth, Billy Hardman and Slide Hampton. Circa 1966. also Woody Shaw - trumpet, Carlos Garnett - tenor and alto saxes, George Cables - piano, Juny Booth - bass and Art Blakey on drums. Circa 1969. Travelling group.

Sonny Simmons: Music of the Spheres ESP 1043 1966 North Country. Joony Booth Bass Michael Cohen Piano Barbara Donald Trumpet Sonny Simmons, Sax (Alto) Bert Wilson Sax (Tenor) James Zitro Drums 1. Resolutions (8:37) 2. Zarak's Symphony (12:45) 3. Balladia (12:42) 4. Dolphy's Days (13:24)

Marzette Watts Ensemble; ESP 1044, Dec. 8, 1966 1. Backdrop for Urban Revolution (18:00) 2. Ia (8:05) 3. Geno (7:34) J.C. Moses-Drums Marzette Watts-Clarinet (Bass), Sax (Soprano, Tenor), Joony Booth-Bass, Norris Jones(sirone)-Bass, Karl Berger-Vibraphone, Henry Grimes-Bass, Byard Lancaster Clarinet (Bass), Sax (Alto), Flute, Sonny Sharrock-Guitar, Clifford Thornton Cornet, Trombone.

Marzette Watts Ensemble Savoy MG12193 USA rec NYC 1968 George Turner-cor Marty Cook-tb Marzette Watts-ts Frank Kipers-vln Bobby Few-p Cevera Jeffers-b Juney Booth-b Steve Tintweiss-b Tom Berge-d J. C. Moses-d Patty Waters-voc Amy Schaeffer-voc Bill Dixon-p
1. Octobre Song 2. Play It Straight 3. F.L.O.A.R.S.S. 4. Medley 5. Lonely Woman 6. Joudpoo

Sunny Murray-Spiritual Infinity Columbia (unissued) NYC early 1968 Clifford Thornton-tp and/or tb; Arthur Jones-as; Frank Wright-ts; Dave Burrell-p; unknown-b; Sunny Murray-d; possibly others Columbia (unissued) NYC early-mid 1968 Clifford Thornton-tp and/or tb; Dewey Redman-as or ts; Frank Wright-ts; Dave Burrell-p; Alan Silva-vln or b; Juni Booth-el-b; Sunny Murray-d; Art Lewis-perc, maracas, carhorn, washboard
Sunny Murray, Interview by Dan Warburton, 3rd November 2000
“whatever happened to your album for Columbia [“Spiritual Infinity”, from 1968, featuring Clifford Thornton, Arthur Jones, Dave Burrell, Alan Silva, Juni Booth, Frank Wright and Art Lewis and “possibly others”]?
That was a great record, but they never put it out. Great orchestration. Matter of fact Frank Wright's first record [third in fact, after the two Wright ESP albums from 1965 and 1967 respectively]. He was in a group with fourteen of the baddest cats in New York, and he played wonderfully to be one of the newest, not being a real academic musician, you know. For that record I did some crazy stuff – I wrote some very nice music for that record. One of the compositions was like an experimental piece, like a John Cage piece – I had a lot of different sound things, and I had a siren. I didn't want the band to know it... I wanted to see their reaction... The band was playing their ass off and I started to work the siren real low rrrrrrrrrr so that only I could hear it. (That's another thing in Helmholtz, playing above and below the audible level... That's why moms and grandmoms say what kids play today is loud, because they're used to listening to the radio at a lower level, and kids today above it...) So I started working the siren, and I raised it rrrrrrrrrr to their level, and when I got to their level – it was a great experience – the whole band heard it together and didn't know what the fuck it was! I was behind them at my drums watching their reaction, and they got hot, their hearts beat faster, I was really messing with 'em RRRRRRRRRR and then THE BAND STOPPED. Nobody could get their breath to challenge this sound... but Frank Wright continued! (Laughs) He continued, I raised it higher, he continued, I raised it higher and finally he stopped, he couldn't continue no more! He says “MURRAY WHAT THE HELL IS THAT MAN?!” I told everybody, it's a siren!

So why the hell didn't Columbia ever put it out? They put some weird stuff out at the time – there's a Burton Greene album on Columbia with Byard Lancaster which is pretty wild...

Mr. Hammond said at that time they were waiting for the right moment. When he gave me the Columbia date he said “Sunny, I like your playing, you remind me of Sid Catlett” and I said, “You hear Sid in me?”….(See below for more…)

Shelly Manne Contemporary S3624 Outside, S 7624 1969 1. River Running 2. Silent Voices 3. High-Flying Phillis 4. Steve 5. For Bean 6. Don't Know (Gary Barone, J.Gross, J.Booth, P.Robinson)

SHELLY MANNE: THE NAVY SWINGS ! This compact disc features 23 selections recorded by Shelly Manne throughout the 1960's for Programs Inc. These recordings were incorporated into the U.S. Navy recruitment show, "The Navy Swings". Selections 2, 3, 21 and 22 feature John Gross, Gary Barone, Mike Wofford and Juney Booth and were recorded in 1970 at United Recorders, Hollywood, CA. 1. It Could Happen to You 2. Teef 3. Steve 4. The King Swings 5. Green Dolphin Street 6. The Champ 7. A Gem from Tiffany 8. Love for Sale 9. Wouldn't You 10. The Breeze and I 11. Speak Low 12. Fan Tan 13. Morris Minor 14. Frank's Tune 15. Summertime 16. Alone Together 17. March of the Siamese Children 18. The Man I Love 19. Softly as in a Morning Sunrise 20. Yesterdays 21. Easy High-Flying Phyllis 22. Here's That Rainy Day 23. The Navy Swings

Monk’s Sidemen: http://www.sojazz.org/monk/pdf/MonkSidemen.pdf 09/20/69 Listed: T. Monk 4. T.Monk4 + B.Bryant Big Band Monterey J.Guerin, J.Booth(b) Monterey Jazz Festival


Charles Brown Legend Bluesway BLS-6039 (LP) 1970 1.Drifting Blues (Brown) 2.All Is Forgiven (Brown/Ervin) 3. Combination (Brown) 4. New Merry Christmas Baby (Brown) 5. I Want to Go Home (Brown) 6. Black Night (Robinson) 7. Rainy, Rainy Day (McGhee) CHARLES BROWN, piano, vocal; Red Holloway, tenor saxophone; Earl Hooker, Mel Brown, guitar; Jimmy Bond or *Arthur ("Joony") Booth, bass; Ed Thigpen, Drums; Dottie Ivory, Vocal (All Is Forgiven, I Want To Go Home). Recorded at Vault Recordings, LA, September 16, 1969.

McCoyTyner Paris Bossa(LIVE1970) w/Azar Lawrence, Juny Booth, W. Fletcher, A. Franco MOON 8534 Moon [It] MCD 034 2

Gary Bartz Harlem Bush Music-Taifa Stereo Milestone MSP 9031 1970] Andy Bey v, Juni Booth b, Nat Bettis perc., Harold White d.

Gary Bartz Harlem Bush Music-Uhuru Milestone, 1971] MSP 9032 Andy Bey v, Ron Carter b, Juni Booth b, Nat Bettis perc., Harold White

Freddie Hubbard: Sing Me A Song of Songmy Atlantic 1576. 1/21/1971 Threnody for Sharon Tate, This is Combat, I Know, The Crowd, What a Good Time for a Kent State, Monodrama, Black Soldier, Interlude I, Interlude II, And Yet, There Could be Love, Postlude, Sequence, Poverty. Freddie Hubbard-tpt, flg, (1-7, 9-10), Junior Cook-tsx (1-4, 7), Kenny Barron-p (1-4, 7), Art Booth-b (1, 3-4, 7), Louis Hayes-d (1, 3-4, 7), Barnard-Columbia Chorus, Daniel Paget-cond (3-4, 8-9), Orchestra, Arif Mardin-cond, org (1-4, 6, 8-9), Ilhan Mimaroglu-syn (1-3, 5-6, 8-10) July 20, 1970 (1, 7) August 10, 1970 (2, 4, 6, 9) Regent Sound Studio NYC

 

 Larry Young-Lawrence of Newark Perception 34 USA rec NYC, Blue Rock Studio 1973 Abdul Shahid-d; JummaSantos-tom-tom, cow bell, cga, whistle, tambourine, hi-hat; Howard T. King-d; James Flores-d; Stacey Edwards-cga; Don Pate-b; James Blood Ulmer-g; Umar Abdul Muizz-cga; Armen Halburian-cga,bells, perc; Diedre Johnson-cel; Juni Booth-b; Art Gore-d,el-p; Abdul Hakim-bongos; Poppy La Boy-perc; Cedric Lawson-el-p; Pharoah Sanders-sax,voc; Dennis Mourouse-sax,el-sax; Charles Magee-el-tp; Larry Young-org, bongos, voc 1. Sunshine Fly Away 2. Khalid of Space Pt. 2-Welcome 3. Saudia 4. Alive 5. Hello Your Quietness (Islands)

Masabumi Kikuchi East Wind [IMPORT] Recorded Jul/3/1974 at Victor Studio,Tokyo Masabumi Kikuchi(p),Terumasa Hino(tp),Kohsuke Mine(ts),Juni Booth(b),Eric Gravatt(ds) Producer:Masaharu Honjo 1.EAST WIND 2.GREEN DANCE (All compositions by M. Kikuchi) Audio CD (December 9, 1998) Eastw; CD JAP 12/09/1998 EASTW:M01122259 EAST WIND/Nippon Phonogram

Takehiro Honda East Wind ,7005, Salaam Salaam 74 1. Minor's Only, 2. Natural Tranquility, 3. Salaam Salaam(Peace). Takehiro Honda(p), Juni Booth(b), Eric Gravatt(ds)

McCoy Tyner; Les Incontournables 1. Song for My Lady 2. Impressions 3. Aisha

MCCOY TYNER SESSION 70: Place: Paris, France. McCoy Tyner p, Azar Lawrence ts, ss, Juny Booth b,

 Wilby Blaine Fletcher d, Antonio Guilhermo de Sousa Franco percussion. Recording:Private recording.Primary Source:McCoy TynerQuintet,Paris Bossa,MoonMCD-034-2. 1. Atlantis (21:05) + applause (0:28) 2. Sahara Love Bossa (18:12)

McCoy Tyner Song Of The New World - Original Jazz Classics OJC 618 CD, A big band featuring Hubert Laws, Joony Booth, Virgil Jones, Cecil Bridgewater, Garnett Brown, Jon Faddis, Dick Griffin, Julius Watkins, Bob Stewart, Sonny Morgan, Sonny Fortune and Alphonse Mouzon. 1. Afro Blue 2. Little Brother 3. The Divine Love 4. Some Day 5. Song of the New World . Mostly new material but does include "Afro Blue" from the Coltrane years. NYC, Apr. 6 & 9, 1973

MCCOY TYNER SESSION 06/16/73-: Place: Moderna Museet, Stockholm Group: McCoy Tyner Quartet: McCoy Tyner p, Recording: Private tape from radio broadcast. Primary Source: 1. Unknown set list. 2. 3. 4. 5. Notes: Tape in the possession of JL.

 

MCCOY TYNER SESSION: July, 1973. Domicile, Munich, Germany. McCoy Tyner: McCoy Tyner piano, Azar Lawrence tenor sax, soprano sax, omit 2, Juni Booth bass omit 2, Alphonse Mouzon drums omit 2 Recording: Recorded for radio broadcast, private tape. Announcement 1. Unidentified Title (18:06) 2. Unidentified Title (8:35) 3. Unidentified Title (21:08)4. Unidentified Title (4:44) 5. Unidentified Title (5:48) (Unissued.)

 

MCCOY TYNER Enlightenment - Milestones MCD 55001 CD, 1973
July 07, 1973. McCoy Tyner p, Azar Lawrence ts, as, fl, Juni Booth b, Alphonse Mouzon d. Suite:1. Genesis 2. The Offering 3. Inner Glimpse 4. Presence 5. Nebula 6. Walk Spirit Talk. One of the great McCoy Tyner recordings. The powerful, percussive and highly influential pianist sounds quite inspired throughout his appearance at the 1973 Montreux Jazz Festival. Azar Lawrence (on tenor and soprano) is also quite noteworthy and there is plenty of interplay with bassist Juney Booth and drummer Alphonse Mouzon.

 

MCCOY TYNER SESSION: July, 1973 Place: Pori Jazz Festival, Pori, Finland Group: McCoy Tyner: McCoy Tyner p, Azar Lawrence ts, ss, Juni Booth, Wilby Fletcher d Recording: Private recording from radio broadcast. Primary Source: 1. Unknown Title (Incomplete.) (9:33) (Unissued.) 2. Unknown Title (Incomplete.) (9:45) (Unissued.)

 

McCoy Tyner: Atlantis 8/31-9/1/74 San Francisco. 01. Atlantis, Tyner 17:45 02. In A Sentimental Mood, Ellington 5:20 03. Makin' Out, Tyner 12:51 04. My One And Only Love, Mellin/Wood 9:46 5. Pursuit, Tyner 9:12 6. Love Samba, Tyner 15:43 Length: 70:37 minutes Label: FANTASY/ MILESTONE Performers Joony Booth: Bass Wilby Fletcher: Drums Guilherme Franco: Perc Azar Lawrence: Sax(Soprano, Tenor) McCoy Tyner: Piano Production Credits Orrin Keepnews :Producer Jim Stern :Engineer Joe Tarantino : Remastering Neil Tesser

 

MCCOY TYNER SESSION: Date: Probably October 1974. Warsaw Jazz Festival, Warsaw, Poland. Musicians: McCoy Tyner Quintet: McCoy Tyner piano, Azar Lawrence tenor sax, soprano sax, Juni Booth bass, Wilby Fletcher drums, Guilherme Franco percussion. Recording from jazz festival. Primary Source: Jazz Jamboree, Volume 2, Polania LP. 1. Walk Spirit - Talk Spirit (24:19)

MCCOY TYNER SESSION 74-10-00: Date: October ??, 1974. Place: Group: Unknown McCoy Tyner p, Recording: Primary Source: Unknown artists, Musa SXL-1181
1. Unknown Titles. 2. 3. 4. 5. Notes: Information for this session from Swing Journal,

MCCOY TYNER SESSION 74-10-27: Date: October 27, 1974. Place: Koncerthauset, Stockholm, Sweden. Group: McCoy Tyner: McCoy Tyner p, Lorens Eiser, ts on 1 & 3, Juni Booth b on 1 & 3, Wilber-Bluer Fletcher d on 1 & 3, Franco Giermo per on 1 & 3. Private tape from radio broadcast. Primary Source: Discussion of McCoy Tyner's music (1:03) a Tyner music example 1. Atlantis (25:00) 2. In a Sentimental Mood (6:19) 3. Walk Spirit - Talk Spirit (24:42) (Unissued.)

MCCOY TYNER SESSION: October 30, 1974. Falkoner Centret, Copenhagen, Denmark: McCoy Tyner Quintet: McCoy Tyner piano, flute, Azar Lawrence tenor sax, soprano sax, Juni Booth bass, Wilby-Bluer Fletcher drums, Antoni Guilherne de Souza Franco percussion. Recording for radio broadcast, private recording. 1. My One and Only Love (Incomplete.) (6:18) (Unissued.) broadcast.

MCCOY TYNER SESSION: November 1974. Place: Torino, Italy. McCoy Tyner piano, Azar Lawrence soprano sax, tenor sax, Juni booth bass, Wilby Fletcher drums, Guilherme Franco percussion. Private recording from radio broadcast. 1. My One and Only Love (12:59)
2. Unidentified Title (28:06) Notes: On this tape there was a third, mystery piece with addition of guitar and electric keyboards(?)

McCoy Tyner Quartet; Concert. Ron Bridgewater, Joe Ford, Jooney Booth, Eric Gravatt. Queen Elizabeth Playhouse, Vancouver, Canada. Mar 6, 1976.

Wildflowers 4) Wildflowers: The New York Loft Jazz Sessions 5/14-23/75. Tranquil Beauty: Hamiet Bluiett- clarinet & baritone saxophone; Olu Dara- trumpet; Butch Campell- guitar; Billy Pastterson-guitar; Juney Booth- bass; Charles Bobo Shaw- drums; Don Moye- drums;


 Hamiet Bluiett Endangered Species 1976 India Navigation Co.
Jumma Santos Bar Sax, fl. Junie Booth b. Olu Dara tp. Phillip Wilson dr.

 Joe Bonner Muse 5114 LP NYC 10/1974 1976 Joe Bonner-p; Linda Sharrock-voc; Juni Booth-b; Billy Harper-ts; Jimmy Hopps-d; Leroy Jenkins-vln

 

CHICO FREEMAN Beyond the Rain OJCCD-479-2 (Contemporary 7640) (LP ~ OJC-479 Chico Freeman was formed in the crucible of music that is his family, under the tutelage of his father Von, a goliath of the tenor saxophone. He was seasoned in Chicago's rhythm and blues arena. His technique was deepened and his mind stretched in the Association for the Advancement of Creative Musicians (AACM). He had met the challenge of drummer Elvin Jones's turbulence. In short, when he made Beyond the Rain in 1977, Freeman had arrived as a leader among the young lions of jazz. This album was an announcement that he knew who he was and where he was going. Accompanied on this leg of his journey by Jones, Hilton Ruiz, and Joony Booth, Freeman's power, control, and eagerness to explore the edges of improvisation created excitement and a sense in the listener that something important was happening. It was….Two Over One, Beyond the Rain, Excerpts, My One and Only Love, Pepe's Samba with Hilton Ruiz, Joony Booth, Elvin Jones, Jumma Santos

 

Elvin Jones Time Capsule. Vanguard VSD 23031(LP). 1977, Bunky Green, George Coleman, Frank Foster, Frank Wess, Ryo Kawasaki, Kenny Barron, Milt Hinton, Jooney Booth, Angel Allende. Jones' live band in 1977 featured Pat LaBarbera, Chico Freeman and Ryo Kawasaki. CD Vanguard 79389, 1977 1. Frost Bite [Ryo Kawasaki] [7:53] 2. Digital Display [Ed Bland] [7:31] 3. Moon Dance [6:20] 4. Time Capsule [8:07] 5. Spacing [10:35][compositions by Bunky Green except where noted]

 

Ernie Krivda Quartet, Live at Rusty's North Coast Jazz Records, 1983 The Cleveland-based North Coast Jazz label, a short-lived but briefly significant record company, captured the underrated but highly original tenor Ernie Krivda during a live quartet gig with pianist Neal Creque, bassist Juny Booth and drummer Paul Samuels in 1981. Krivda really stretches out on two of his originals (the 14-minute "Irv's at Midnight" and the 19-minute "Song of the Moor"), in addition to playing a warm version of "But Beautiful." Krivda's extroverted sound and exploratory style are heard in fine form on this obscure but worthy LP. ~ Scott Yanow

New Morning, Paris, France. Beaver Harris, Concert. Thurs. & Fri. October 13 & 14, 1983, 9:30 pm Beaver Harris-drums, Francis Haynes-steel drums Andrew White-sax, Jooney Booth-bass

Beaver Harris Quartet. Beaver is my name , Wageningen, Holland : Timeless 1987 Performed by the Ismay, my mother -- African drums medley -- Necaumong-us -- It's hard to, but we do -- J.C. Moses. SJP 196; Timeless Beaver Harris Quartet. TIMELESS 196

 

Steve Grossman Way Out East, Vol 1 Red VPA 176, Italy 1987. Steve Grossman (tenor saxophone), Juni Booth (bass), Joe Chambers (drums). Bye Bye Blackbird 2. On Green Dolphin Street 3. I'll Remember April 4. Taurus People 5. Star Eyes 6. There Will Never Be Another You 7. This Time The Dream On Me 8. Four

Steve Grossman Trio Title: Way Out East, Vol. 2 Red VPA 183, Italy 1987. Tenorist Steve Grossman, who played with Miles Davis' electric group in the early 1970s, is in a Sonny Rollins vein throughout this excellent trio outing with bassist Juni Booth and drummer Joe Chambers. The title is a play on Rollins' classic Way Out West album, although most of the material (which includes "Trane's Slow Blues," "Soul Trane" and "Like Someone In Love") actually belongs more to the John Coltrane songbook. Grossman's own tone echoes Rollins while also hinting at his developing personality, and his improvisations are consistently impressive. ~ Scott Yanow

 

Sun Ra & His Intergalaxtic Arkestra.8/29/89Hamburg concert Fabrik, Altona, Hamburg, West Germany. 8/29/89. Private recording, 150 min. (Kruempelmann and Trent) unidentified title (perc) Opus Springtime (Ra) unidentified title (tb) Caravan (Tizol) unidentified title (perc, dance; Gilmore, ts; as) unidentified title (ens) Discipline 27-II / Neptune (perc, dance) Stardust from Tomorrow (Ra) (Tyson, voc) East of the Sun (Bowman) (Gilmore, voc) unidentified blues (Scott, as; Ra, p) Whistle While You Work, Let's Go Fly a Kite, I'm Wishing, Forest of No Return, Daydream (Strayhorn-Ellington), Queer Notions (Hawkins), Yeah Man! (Sissle-Henderson), Blue Lou (Sampson), Someday My Prince Will Come (Churchill-Morey), I Dream Too Much (Kern) /Ra, voc/, Frisco Fog (Carr-Roberts), We Travel the Spaceways / Rocket Number Nine / 2nd Stop Is Jupiter / Outer Spaceways Incorporated (Ra). Michael Ray-tp; Tyrone Hill-tb; Julian Priester-tb; Marshall Allen-as, fl; John Gilmore-ts, cl, timbales, voc; Danny Thompson-bs, fl; Leroy Taylor (Eloe Omoe)-as, bcl; James Jacson-bsn, Ancient Egyptian Infinity Drum; Noel Scott-as, bs; Sun Ra-p, keyb, voc; Arthur E. ("Junie") Booth-eb; Gerald Bruce Edwards-eg; Muneer Abdul Fataah-clo; unknown-b; Earl "Buster" Smith-d; David Pleasant-perc;Jorge Silva-perc, voc; Elson Dos Santos Nascimento-perc, dance, voc; June Tyson-voc, vln, Pat Hall Smith-dance; Cheryl Banks-dance; Arnette DeMille-dance. (Trent, taken from Willisau Festival program; program does not list Jorge Silva, but he is present in the concluding percussion / vocal piece, with vocals in Portuguese; Danny Ray Thompson is listed but left the band just before these concerts.)

Sun Ra & His Intergalaxtic Arkestra. Willisau concert, Willisau, Switzerland. 9/1/89. Private recording, 120 min. (Kruempelmann and Trent), unidentified title (perc; ens; Gilmore, ts), Discipline 27-II (Ra) (as; perc; dance), East of the Sun (Bowman), Frisco Fog (Carr-Roberts), I Dream Too Much (Kern), Queer Notions (Hawkins), Someday My Prince Will Come, Blue Lou (Sampson), Prelude to a Kiss (Ellington), unidentified blues, Yeah Man! (Sissle-Henderson), Let's Go Fly a Kite, We Travel the Spaceways (Ra) (the 1960 version), Stardust from Tomorrow (Ra), Space Is the Place / Outer Spaceways Incorporated / We Travel the Spaceways / Saturn Rings (Ra)
unidentified title (Silva and Nascimento, perc and voc). Michael Ray-tp; Tyrone Hill-tb; Julian Priester-tb; Marshall Allen-as, fl; John Gilmore-ts, cl, timbales, voc; Danny Thompson-bs, fl; Leroy Taylor (Eloe Omoe)-as, bcl; James Jacson-bsn, Ancient Egyptian Infinity Drum; Noel Scott,-as, bs; Sun Ra-p, keyb, voc; Arthur E. (Junie) Booth-eb; Gerald Bruce Edwards-eg; Muneer Abdul Fataah-clo; Peter Kowald-b; Earl "Buster" Smith-d; David Pleasant-perc; Jorge Silva-perc, voc; Elson Dos Santos Nascimento-perc, dance, voc; June Tyson-voc, vln, Pat Hall Smith-dance; Cheryl Banks-dance; Arnette DeMille-dance. (Trent, taken from Willisau Festival program; program does not list Jorge Silva, but he is present in the concluding percussion/ vocal piece, with vocals in Portuguese; Danny Ray Thompson is listed but does not seem to be present. He must have parted company with Ra just before these concerts; Peter Kowald sat in on this occasion.)

Magic Triangle Jazz Series; 1991 Series, U Mass., Billy Bang Sextet: Ahmed Abdullah, Takeshi Yamaguchi, Thurman Barker, Juni Booth, Zen Matsuura

11752 : STEVE GROSSMAN QUARTET feat. Hugh Lawson : Hold The Line : DIW : £16.50 : DIW - Avant - DIW 912 Steve Grossman Quartet Hold The Line HOLD THE LINE - STEVE GROSSMAN (DIW, 1998) Players : Steve Grossman (Sax (Tenor)), Hugh Lawson (Piano), Masahiro Yoshida (Drums, Associate Producer) Tracks: 1. Ray's Idea (Brown/ Fuller) - 8:09 2. Out Of Nowhere (Green/Heyman) - 4:49 3. Wabash (Adderley) - 7:33 4. Night in Tunisia (Gillespie/ Hendricks/Paparelli) - 7:20 5. My Old Flame (Arthur/Coslow)5:53 6. Milestones (Davis) - 5:55 7. There Will Never Be Another You (Mack/Warren) - 4:14 8. Like Someone In Love (Burke/Van Heusen) - 4:50 9. Billie's Bounce (Parker) - 6:43

Free Music Ensemble featuring Juini Booth, cassette, 39 Maher Ave., Toronto, Ont. M6P 1S7 No Sunday-brunch jazz, this: Toronto's Free Music Ensemble plays far-out free jazz with enough energy and controlled chaos to turn the heads of jazz fans and indie-rock kids alike ... and it so happens that trumpeter James Duncan and drummer Mike Gennaro played together in indie combo Skewver before finding their present voice in the late-60's style of Albert Ayler, Ornette Coleman, and especially the final works of John Coltrane. On this three-song cassette, recorded live in November 1994, the Ensemble performs long, expanded versions of tracks that appeared on their 1995 self-titled cassette. James' jerky, frenetic trumpet blends with alto saxman Kenny Baldwin's solos over great washes of sound laid down by Mike and vibe/percussionist Mark Hundevad. The band's regular lineup is joined by veteran free-jazz bassist Juini Booth, whose abstract improvisations add a loose, time-bending quality to the sound - especially on "The Adventures of Sonny", a long, meandering piece that takes up the B-side of the cassette. Here, the quiet interplay between Juini and an uncredited guitarist shines out - carrying the piece from its energetic post-bop beginning into dissonant soundscapes evocative of the late avant-garde guitarist Sonny Sharrock (aha!) and back into the jazz for a mellow finale. Reviewed in broken pencil #3

IRONY BOARD
JAZZ Published on May 12, 1995 © The Buffalo News Inc.

An unusually macabre sample of the typically sardonic recent wisdom of Mose Allison, the all-time avatar of Delta cool and, without question, the greatest white blues singer who ever lived: "If you feel neglected by someone you love/even get rejected when push comes to shove/You think nobody gives a damn what you're going through/Well, one thing you can count on: The earth wants you." When the earth gets him, he has his epitaph ready: "Irony was my albatross." Meanwhile, at age 67, Mose Allison is one of the authentic American heroes. He's one of the great jazz/blues figures and the living link between Willie Dixon on one side and Peter Townshend and Bonnie Raitt on the other. What he sings with his insinuating voice (it's as much humming as singing) is a small world of Mose-ian things. There's autobiography in it ("Young Man's Blues," "Middle-Class White Boy," "Certified Senior Citizen") and social criticism, too ("Everybody's Crying Mercy But They Don't Know the Meaning of the Word," "Your Mind Is on Vacation and Your Mouth Is Working Overtime") and some of the best versions anywhere of others' blues ("The Seventh Son," "Baby Please Don't Go"). Never mind that he's only a middling pianist. Just be thankful he doesn't play the trumpet anymore. He is still not to be missed -- ever. He begins a two-day gig at the Calumet Arts Cafe next Friday.

In a superb jazz week, local favorite singer Mark Murphy holds forth there tonight and Saturday, and bassist Juini Booth's new band, Jazz -- Jazz V.P., plays at 8 this evening in Hallwalls Contemporary Arts Center, 2495 Main St.
-- Jeff Simon

THE NEXT WAVE
JAZZ Published on September 22, 1995 © The Buffalo News Inc.
Hope, they say, springs eternal. So, apparently, does jazz in Buffalo. Just when we all thought the Artpark Jazz Festival had put a cap on big-name jazz in Buffalo, along comes a second wave of jazz in town. The quartet of Boston pianist Michael Shea begins the first annual Fall Jazz Festival of the Calumet Arts Cafe on Wednesday, followed Thursday by a popular group from previous Buffalo appearances, Saffire, the all-female group who bill themselves as "The Uppity Blues Women." On Sept. 30, the Calumet will finish its Fall Jazz Festival with the quartet of pianist Hal Galper featuring tenor saxophonist Jerry Bergonzi. Galper is one of the more grizzled veterans to be found anywhere on the tour. With his gigs accompanying Phil Woods and Cannonball Adderly, Galper has probably circled the globe a few times and played in cities where they never heard of American Express. With all that, this appearance is a local first.

As if that weren't enough, organist Jack McDuff is at the Poor Man's Palace (see the Noteworthy item on Page 16), and great virtuoso Buffalo-resident bassist Juini Booth will celebrate John Coltrane's birthday Saturday with one of his rare solo recitals at 7:30 this evening in the back of Borders Bookstore, 2015 Walden Ave.

No jazz musician of the past 40 years influenced jazz more than Coltrane. Among Juini Booth's gigs in a much-traveled career -- before he came back to Buffalo -- was a stint in the band of Coltrane's immediate heir on the tenor saxophone Pharoah Sanders.
-- Jeff Simon

Slugs Revisited –Nuyorican Poet’s Café, 236 E. 3rd St., music and poetry featuring Junie Booth and poet Jay Ward

Sun Ra & His Intergalaxtic Arkestra. Second Star to the Right (Salute to Walt Disney): Leo LR 230 (CD, 1995) 1. The Forest of No Return [Bruns, Leven] (5:37) 2. Some Day My Prince Will Come [Churchill, Morey] (7:53) 3. 'Frisco Bay [Carr, Roberts] (3:19) 4. I'm wishing [Churchill, Morey] (10:17) 5. Zip a Dee Doo Dah [Allio, Wrubel, Gilbret] (7:26) 6. Second Star to the Right [Fain, Cahn] (9:57) 7. High Ho! High Ho! [Churchill, Morey] (9:06) 8. Whistle While You Work [Chuchill, Morey] (9:06) [total time: 64:13] Sun Ra & His Intergalaxtic Arkestra: Michael Ray-tp, voc; Tyrone Hill,Julian Priester-tb; Marshall Allen-as, fl, cl; Noel Scott-as, fl; Eloe Omoe-as, cl, bcl;James Jacson-bsn, ob, voc; Sun Ra-p, syn, voc; Bruce Edwards-eg; Arthur Joonie Booth-eb; Earl "Buster" Smith-d; Elson Nascimento Santos-surdo, perc; June Tyson-vln, voc. Recorded live at Jazzatelier, Ulrichsberg, Austria, 29 April 1989. This is from the same concert as Stardust from Tomorrow, item 120B (beneath). [–Data from CD leaflet. Added by Moudry]

Sun Ra & His Intergalaxtic Arkestra Stardust from Tomorrow Leo LR 235/ 236 (CD, 1996) Disc 1: 1. Mystery 2. Intro [Sun Ra] (18:07)Untitled I [Sun Ra] (7:30) 3. Blue Lou [Edgar Sampson] (5:52) 4. Prelude in A Major, Op. 28, No. 7 [F. Chopin] (9:38) 5. Untitled II [Sun Ra] (6:20) [total time for disc: 47:27] Disc 2: 1. Discipline 27 [Sun Ra] / I'll Wait for You [Sun Ra] (18:16) 2. Queer Notions [Coleman Hawkins] (2:49) 3. Back Alley Blues [Sun Ra] (9:56) 4. Prelude to a Kiss [Duke Ellington] (4:54)5. Stardust from Tomorrow [Sun Ra] (3:11) 6. Yeah Man! [Noble Sissle, Fletcher Henderson] (3:22) 7. We Travel the Spaceways / Outer Spaceways, Inc / Rocket No. 9 Take Off for the Planet Venus / Second Stop Is Jupiter / Saturn Rings [all: Sun Ra] (8:40) [total time for disc: 51:08; total time for the two disc set: 1:55:21] Sun Ra & His Intergalactic Arkestra: Michael Ray-tp, voc; Tyrone Hill, Julian Priester-tb; Marshall Allen-as, fl, cl; Noel Scott-as, fl; Eloe Omoe-as, cl, bcl; James Jacson-bsn, ob, voc; Sun Ra-p, syn, voc; Bruce Edwards-eg; Arthur Joonie Booth-eb; Earl "Buster" Smith-d; Elson Nascimento Santos-surdo, perc; June Tyson-vln, voc. Recorded live at Jazzatelier, Ulrichsberg, Austria, 29 April 1989. This is from the same concert as Second Star to the Right, item 120A (above 2nd Star). The original sequence of the material in 120A & 120B is unknown. [Data from CD leaflet. Added by Moudry]

Sun Ra Arkestra - Unity Temple, Oak Park, Chicago, 11/1/96. Marshall Allen (leader, alto, flute); Ahrt Jenkins (vocal); Noel Scott (tenor); Charles Davis (bar); James Jackson (bassoon, perc); Kwame Hadi, Fred Adams (trumpet); Tyrone Hill (trombone); Samarai Celestial (drums); Damon Choice (vibes); Elson Dos Santos (perc); Junie Booth (bass); Rollo Radford (el. bass). When There Is No Sun, Discipline 27, Mayan Temples, Fate In A Pleasant Mood, Door Of The Cosmos, Enlightenment; Saturn, Prelude in C Minor; East Of The Sun, Calling Planet Earth; Angels And Demons At Play.

Charles Gayle Ancient Of Days, Knitting Factory Works; ASIN: B00003OP3U 1. Betrayal 2. Risen Eternal 3. Holy Servant 4. Draw Me Nearer 5. New Earth 6. Glorified Love A swingin' affair once again from Mr. Charles Gayle, who, along with David S. Ware, is the preeminent avant-garde tenor saxophone player of the era. Shades of mid-60s ESP-Disk/Impulse havoc abound, but actually this is a more lyrical affair than Gayle's previous two Knitting Factory albums, Kingdom Come and Testaments. On earlier CDs, Gayle seemed to keep reaching and reaching, and while his fortitude was inspiring, it seemed at times groundless. On Ancient of Days, Gayle and his collaborators lay a more solid foundation, which at least brings him back to earth once in a while. Joining Gayle on Ancient of Days is a stellar cast of players, including the spirited pianist Hank Johnson, bassist Juini Booth, and longtime Gayle drummer Michael Wimberly, who evokes outright Elvin Jones-style percussion on "New Earth." Ancient Of Days is a masterpiece of consistent, fire-breathing testimonial. --Joe S. Harrington (Word 97)

Loos Festival Korzo theater, Prinsestraat 42, Den Haag, Netherlands. Artist, 1999.

LAWRENCE "BUTCH" MORRIS CONDUCTION CHRONOLOGY
Conduction No. 110 Brecht Forum, New York, New York 21 April 2000 Jump Festival Orchestra: Edda Kristansdotter (flute), Michael Herbst (oboe), Charles Waters (clarinet), Chris Jonas (soprano sax), Ori Kaplan (alto sax), Assif Tsahar (bass clarinet), Susanne Chen (basson) Jordan Mclean (french horn), Todd Margasak (trumpet), Aaron Johnson , Reut Regev (trombone) Tom Abbs (tuba), Andrew Bemkey (piano), David Brandt (marimba), Andrew Barker (drums) Jessica Pavone (viola), Shiau Shu Yu, Gil Selinger (cello), Jane Wong, Matt Heyner, Juni Booth (bass)
Conduction No. 116 Tonic, New York, New York, 25 August 2000, Jump Festival Orchestra; Michael Herbst (oboe), Chris Jonas (soprano sax), Ori Kaplan (alto sax), Susanne Chen (basson), Jordan Mclean (french horn), Aaron Johnson (trombone), Tom Abbs (tuba), Andrew Bemkey (piano) David Brandt (marimba), Andrew Barker (drums), Jeremy Wilms (guitar), Dylan Williams (viola), Shiau Shu Yu, Gil Selinger (cello), Jane Wong, Juni Booth (bass).
Conduction No.119 Lawrence D. "Butch" Morris (10/26/01) Aaron Davis Hall, Harlem, NY. Violinist Billy Bang, bassist Juni Booth, bassist Wilber Morris (“Butch” Morris’ brother), French hornist Vincent Chancey, pianist Lois Perdomo, percussionist/vibraphonist Warren Smith tenor saxophonist Illhan Ersahin, cellist Okkyung Lee, guitarist Liberty Ellman, violist Stephanie Griffin, cellist Okkyung Lee, oboist Arnold Greenich, and others.

Sun Ra Arkestra under the direction of Marshall Allen at the Knitting Factory New York on September 29, 2000. Featuring Juni Booth on electric bass, Dave Gordon on trumpet, and Craig Haynes on the sacred Djembe from West Africa. Marshall Allen (leader, alto sax, wood flute, EVI), Art Jenkins (vocals, percussion, miniature megaphone), Ya Ya Abdul Majid (tenor sax), Noel Scott (alto sax, percussion), Juni Booth (electric bass), Dave Gordon (trumpet), Haji (trumpet, flugelhorn), Fred Adams (trumpet), Tyrone Hill (trombone), Dave Davis (trombone), Craig Haynes (sacred Djembe from West Africa), Elson Nascimento do Santos (surdo, percussion), Luquman Ali (drums), John Ore (bass), Charles Ellerbee (electric guitar), and Teddy Thomas (conga drums). Face The Music, Greetings From The Century of 21, Space Is The Place, Better Music (Will Create a Better World), That's The Way I Feel Today, Lights On a Satellite, East Of The Sun And West Of The Moon, Watch The Sunrise, Big John Number 2, We Travel The Spaceways/Space Is The Place.
Astro Nation of the United World of Outer Space; If We Can't Go Somewhere Here, Why Can't We Go Somewhere There; Millennium Star; Blue Set; Sophisticated Lady; Number 29; Cosmic Hop; Deputy Hotel; Happy As The Day Is Long; Fate In A Pleasant Mood.

Billy Bang's Vision Strings Vision Festival; Sunday May 27, 2001, Knitting Factory, NY. Billy Bang (violin, conductor); Matt Maneri (viola); Sonya Robinson (violin); Naoko Ono (piano); Okkyung Lee, Shiau-Shu Yu (cello); Juni Booth, Todd Nicholson, Joe Fonda (bass); Robert Zantay (wind synthesizer); Abbey Rader (drums) Arrangements of two Bang compositions (Ben-Hoa Blues and Mystery of the Mekong)

A Vision Against Violence; Dance / Music Duos, Gloria McLean & Juini Booth, Knitting Factory, NY, 5/27/01.

Lawrence "Butch" Morris Conducts New York Skyscraper featuring Juni Booth, Vijay Iyer, Okkyung Lee, Steve Swell, Assif Tsahar. Tuesdays in July, 2002 Bowery Poetry Club, NY.

Kultural Kafe: Ask Your Mama jazz and poetry performance Saturday, July 27, 2002 at 8 pm, and Sunday, July 28 at 4 pm; Langston Hughes Institute; Jefferson Avenue Art Festival. Gregory Davis and bassist Juini Booth, perform Booth’s original jazz score to excerpts from Langston Hughes’ 1961 work of poetry, Ask Your Mama. Spoken word artist Jay Ward, also a Buffalo native, read Hughes’ work with the jazz accompaniment.

Sunny Murray Interview by Dan Warburton, 3rd November 2000
Talking of lost albums, whatever happened to your album for Columbia [“Spiritual Infinity”, from 1968, featuring Clifford Thornton, Arthur Jones, Dave Burrell, Alan Silva, Juni Booth, Frank Wright and Art Lewis and “possibly others”]?

That was a great record, but they never put it out. Great orchestration. Matter of fact Frank Wright's first record [third in fact, after the two Wright ESP albums from 1965 and 1967 respectively]. He was in a group with fourteen of the baddest cats in New York, and he played wonderfully to be one of the newest, not being a real academic musician, you know. For that record I did some crazy stuff – I wrote some very nice music for that record. One of the compositions was like an experimental piece, like a John Cage piece – I had a lot of different sound things, and I had a siren. I didn't want the band to know it... I wanted to see their reaction... The band was playing their ass off and I started to work the siren real low rrrrrrrrrr so that only I could hear it. (That's another thing in Helmholtz, playing above and below the audible level... That's why moms and grandmoms say what kids play today is loud, because they're used to listening to the radio at a lower level, and kids today above it...) So I started working the siren, and I raised it rrrrrrrrrr to their level, and when I got to their level – it was a great experience – the whole band heard it together and didn't know what the fuck it was! I was behind them at my drums watching their reaction, and they got hot, their hearts beat faster, I was really messing with 'em RRRRRRRRRR and then THE BAND STOPPED. Nobody could get their breath to challenge this sound... but Frank Wright continued! (Laughs) He continued, I raised it higher, he continued, I raised it higher and finally he stopped, he couldn't continue no more! He says “MURRAY WHAT THE HELL IS THAT MAN?!” I told everybody, it's a siren!

So why the hell didn't Columbia ever put it out? They put some weird stuff out at the time – there's a Burton Greene album on Columbia with Byard Lancaster which is pretty wild...

Mr. Hammond said at that time they were waiting for the right moment. When he gave me the Columbia date he said “Sunny, I like your playing, you remind me of Sid Catlett” and I said, “You hear Sid in me?” He said, “Yeah.” Later this guy from the New Yorker magazine, Earl S. Wilson, nice guy, came to one of my concerts in the Loft series and put out an article saying I seemed like a regular guy, he didn't know why people were giving me such a hard time, I simply reminded him of Sid Catlett. That was the second time I reminded somebody of Sid Catlett. (Pause) I'll tell you something – I'm sort of influenced a bit spiritually by Sid Catlett. You know, I'd heard very little Sid Catlett, but what I heard I liked. But then I had a crazy experience, dig this, a real serious experience... When I first got a drum set in New York around 1957, I was so happy, I was sharing the apartment we had with a bass player on 3rd Avenue, I came home with the drums, I pushed them all the way down 3rd Avenue (how I got 'em was a friend had a club, and the club got raided, and everybody got busted, so my friend had all these instruments, bass, drums left, and he called me and said “You a drummer. Take 'em.” I packed 'em up, got 'em downstairs, wheeled 'em down 3rd Avenue feeling good!). Got 'em upstairs, set 'em up... and I had one Max Roach record at that time, “Ezz-Thetic” or something, made just after Clifford [Brown] died, when he had Kenny Dorham [this would appear to be “Max Roach Plus 4” on EmArcy from 1957, which features George Russell’s “Ezz-Thetic”]. ... Anyway I played that record, and we took some cheap wine, 35 cents a bottle, “Death Valley”, “Thunderbird” shit, and we cooked it, we heated it up, and we took some nutmeg, a spoonful of nutmeg and then we smoked some J... And I played and I played and I played (nobody complained in those days!), and then I lay on the bed and – this is still clear in my mind – I was so smashed that I began to levitate and honest to God I saw SID CATLETT standing there, and he was like smiling, and I was looking at Sid Catlett and I was tripping and he... dissolved right inside me. I swear today, I'll never forget that. (Pause) And I fell boom back on the bed. I got back on the drums and I was playing, man! And three years later I was playing with Cecil. Six years and I was playing with John. I went up like that in drums, man... I still believe that's still some part of my success, that the spirit of this man has been... not haunting but, part of me. I find now Catlett's spirit is one of the most liberating in music. It's one of those burning bush experiences for me.
http://www.paristransatlantic.com/magazine/interviews/murray.html