Massively potent set from two world-beating sound-as-thought proponents, both of whom the world lost far too early. Saxophonist Julius Hemphill was a co-founder of St Louis’ Black Artists’ Group – BAG – and his early recordings, Dogon A.D., Coon Bid’ness et al remain singular and defiantly idiosyncratic explorations of the potential of the saxophone. Kowald is, of course, one of the great European free bassists so this beautifully produced and previously unreleased archival set, recorded in Peter Brotzmann’s home town of Wuppertal in 1987, is nothing short of a goddamn treat. The set is split into three sections, with solo spots from Hemphill and Kowald and a final duo session. Kowald’s solo work is always spell-binding and as a showcase for the dazzling array of techniques and approaches he brings to his instrument it’s a treat. Hemphill always sounds great solo, with a feel for phantom architecture that means all of his improvisations feel implicitly directed. The duo sets are the real meat though, with Hemphill’s high, blues-inflected voice given an umbilical to earth tones and smears of drone through Kowald’s deep, propulsive bass work. Edition of 500 copies. Recommended. 

Massively potent set from two world-beating sound-as-thought proponents, both of whom the world lost far too early. Saxophonist Julius Hemphill was a co-founder of St Louis’ Black Artists’ Group – BAG – and his early recordings, Dogon A.D., Coon Bid’ness et al remain singular and defiantly idiosyncratic explorations of the potential of the saxophone. Kowald is, of course, one of the great European free bassists so this beautifully produced and previously unreleased archival set, recorded in Peter Brotzmann’s home town of Wuppertal in 1987, is nothing short of a goddamn treat. The set is split into three sections, with solo spots from Hemphill and Kowald and a final duo session. Kowald’s solo work is always spell-binding and as a showcase for the dazzling array of techniques and approaches he brings to his instrument it’s a treat. Hemphill always sounds great solo, with a feel for phantom architecture that means all of his improvisations feel implicitly directed. The duo sets are the real meat though, with Hemphill’s high, blues-inflected voice given an umbilical to earth tones and smears of drone through Kowald’s deep, propulsive bass work. Recommended.