GRAHAM COLLIER — Mosaics

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GRAHAM COLLIER - Mosaics cover
4.00 | 2 ratings | 1 review
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Live album · 1971

Tracklist

A1 Piano Cadenza (Including Theme 1) 2:00
A2 Theme 1 (Ensemble) and Flugel Solo 5:58
A3 Duet Flugel and Soprano and Soprano Cadenza (Including Theme 4) 2:51
A4 Theme 2 (Soprano and Rhythm) and Soprano Solo 3:42
A5 Drum Cadenza (Including Theme 2) Into Theme 3 (Ensemble) 4:10
B1 Flugel Cadenza (Including Theme 4) Duet Bass / Flugel 3:48
B2 Theme 6 (Ensemble) and Tenor Solo (Sydor) 5:01
B3 Teno Cadenza (Sydor) and Tenor Duet 2:00
B4 Piano Cadenza Into Theme 2 (Piano and Rhythm) 4:40
B5 Flugel Solo Over Theme 8 in Tenors 6:07

Line-up/Musicians

Bass, Leader – Graham Collier
Drums – John Webb
Piano – Geoff Castle
Tenor Saxophone, Alto Saxophone – Bob Sydor
Tenor Saxophone, Soprano Saxophone – Alan Wakeman
Trumpet, Flugelhorn – Harry Beckett

About this release

Philips 6308 051 (UK)

Recorded live at The Torrington, North Finchley, December 8th 1970

CD Disconforme

Thanks to Sean Trane for the addition and snobb for the updates

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Down Another Road/Songs For My Father/MosaicsDown Another Road/Songs For My Father/Mosaics
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Mosaics by GRAHAM COLLIER (2009-01-01)Mosaics by GRAHAM COLLIER (2009-01-01)
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Deep Dark Centre / Portraits / Alternative Mosaics by GRAHAM COLLIER (2008-08-05)Deep Dark Centre / Portraits / Alternative Mosaics by GRAHAM COLLIER (2008-08-05)
BEAT GOES ON
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GRAHAM COLLIER MOSAICS reviews

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Members reviews

Sean Trane
Definitely a step up from his previous works’ Collier’s Mosaics piece is an impressive mix of written series of themes mixed with a bunch of solo instrumental improvisations. Aside Graham, you’ll find the usual suspects like Beckett, Castle, Wakeman (not Rick) and Webb (not Stan) and finally newcomer (to Collier‘s entourage) Sydor on sax. Recorded live at the tail end of 1970, the album sports an uncharacteristic electronics-as-mosaics Roger Dean artwork.

A slow crescendoing piano opens the album and introduces the Mosaics theme, where you’ll find the typical Collier composing characteristics, a dramatic-sounding background, which is sometimes reminiscent of Spanish music (and the Spaghetti Western soundtracks ala Morricone) and some much freer and sometimes bordering dissonant lead horn instruments. Then there are the solos-proper themselves, which are generally not quite as easy on the eardrums and tend to dampen the aural enthusiasm on an otherwise often-remarkable project. Indeed in this writer’s opinion, while these rather short solo excursions in dissonant or inhabitual scales are generally fine (and even magnified) when accompanied by some tremendous musical foundations from the rest of the band; they fall rather flat on their face when the solo is indeed playing entirely solo, often close to masturbation. However Castle’s piano works, Webb’s drumming and Collier’s bassing (says moi! ;o)) are irreproachable, most of the (very light) blame would be attributed to the horn players, if it wasn’t the zeitgeist.

Overall another excellent Graham Collier album (despite the small reserves about soloing solo instruments), not far from the Nucleus of Ian Carr, not as JR/F either but close enough to be associated to the nascent movement.

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