1. Improvisation 		1:08:12 

Sam Rivers - saxophone
Dave Holland - bass
Barry Altschul - drums

In 1970, Rivers -- along with his wife, Bea -- opened a studio in Harlem where he held music and dance rehearsals. The space relocated to a warehouse in the Soho section of New York City. Named Studio Rivbea, the space became one of the most well-known venues for the presentation of new jazz. Rivers' own Rivbea Orchestra rehearsed and performed there, as did his trio and his Winds of Change woodwind ensemble. Rivers' trio of the time was a free improvisation ensemble in the purest sense. The group used no written music whatsoever, relying instead on a stream-of-consciousness approach that differed structurally from the head-solo-head style that still dominated free jazz. Much of this early- to mid-'70s music was documented on the Impulse! label.

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1. Ecstacy
2. Bliss
3. Rapture
4. Tingle
5. Paragon

Sam Rivers - tenor saxophone, flute, soprano saxophone, piano
Dave Holland - bass, cello
Barry Altschul - drums

Recorded in Paris, april 18, 1977

As the checks got smaller for jazz musicians, the bands did also. The fewer people to pay, the more profitable the venture. In some ways, this was a tragedy. For other musicians, men like Sam Rivers, it was an opportunity to make the music in his head. Rivers is a giant thinker. While his Blue Note recordings are certainly more accessible to the average listener, it is his remarkable trio output that is the core of his musical thought. Rivers is a player whose playing brooks no argument. There aren't many who can hang, even in a supporting role. There certainly isn't room for other soloists. This is sweeping, grand, muscular music, as regular and jagged as a seismograph, or the jittering of a lie detector. Here, he's supported by two men perfectly suited for their roles, Dave Holland and Barry Altschul. Fine musicians, here they are extensions of the music that pours from Rivers. ---Rob Ferrier, Rovi

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1 	Recognition 	7:03
2 	Commemoration 	3:38
3 	Observance 	7:51
4 	Clarion 	8:27
5 	Declaration 	4:57
6 	Currents 	2:14
7 	Dedication 	5:58
8 	Effusion 	4:02
9 	Laudation 	7:46
10 	Glimpse 	12:01
11 	Heritage 	4:42
12 	Appreciation 	7:39

Sam Rivers - Tenor Saxophone, Soprano Saxophone, Flute, Piano
Doug Mattews - Violin [Bass], Bass, Bass Clarinet
Anthonu Cole - Drums, Tenor Saxophone, Piano

"Celebration" is the title of the latest release by the Sam Rivers Trio, consisting of master musician Sam Rivers, bassist & bass clarinetist Doug Matthews and drummer, pianist & saxophonist Anthony Cole. This 2004 Posi-Tone release was recorded before an audience during a two night stint at the Jazz Bakery (Culver City, CA) in 2003. I saw Sam Rivers sitting in with the Jason Moran Trio not long after the recording of "Celebration" and Rivers was playing sax with the vigor of a man half (or even a third) his age. But as remarkable as Rivers was that night, it's with his own trio that he is at his best. Each member of the Sam Rivers Trio is fluent on multiple instruments which makes for a broad canvas for Rivers to paint his compositions. The music is pure Rivers - abstract and angular, sometimes funky and sometimes swinging. Traditional avant-garde, maybe. A particular highlight for me is the song "Glimpse" with Rivers on piano, backed by bass and drums: starting off with spikey solo piano it grows into a Cecil Taylor-esque torrent of notes and drumbeats, then breaks into a beautiful melody built around McCoy Tyner-type block chords backed by a intensely-swinging rhythm section.

To my knowledge, "Celebration" is the third Trio recording - the previous two being "Concept" and "Firestorm". "Concept" and "Firestorm", also captured live, are great recordings but may be surpassed by "Celebration" if only for the reason that the musical interplay between Rivers, Matthews and Cole has grown over time and the results are more evident on "Celebration". As an example of how cohesive a unit the Sam Rivers Trio has become, they seem to have found a second calling as a support band, backing up Steve Bernstein on his "Diaspora Blues" and David Manson on his "Fluid Motion" recording. In a day when most jazz recordings consist of a bankable 'star' + guests, a recording with such a road-tested, musically-telepathic band is cause for real celebration. --- Douglas T Martin, amazon.com

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1 	Fuchsia Swing Song 	6:03
2 	Downstairs Blues Upstairs 	5:33
3 	Cyclic Episode 	6:58
4 	Luminous Monolith 	6:32
5 	Beatrice 	6:14
6 	Ellipsis 	7:43
7 	Luminous Monolith (Alternate Take) 	6:39
8 	Downstairs Blues Upstairs (First Alternate Take) 	8:10
9 	Downstairs Blues Upstairs (Second Alternate Take) 	7:47
10 	Downstairs Blues Upstairs (Third Alternate Take) 	7:47

Sam Rivers - Tenor Saxophone, Composed By
Jaki Byard – Piano
Ron Carter – Bass
Tony Williams – Drums

Recorded in 1964 immediately after leaving the Miles Davis Quintet, Sam Rivers' Fuchsia Swing Song is one of the more auspicious debuts the label released in the mid-'60s. Rivers was a seasoned session player (his excellent work on Larry Young's Into Somethin' is a case in point), and a former member of Herb Pomeroy's Big Band before he went out with Davis. By the time of his debut, Rivers had been deep under the influence of Coltrane and Coleman, but wasn't willing to give up the blues. Hence the sound on Fuchsia Swing Song is that of an artist at once self-assured and in transition. Using a rhythm section that included Tony Williams (whose Life Time he had guested on), pianist Jaki Byard, and bassist Ron Carter, Rivers took the hard bop and blues of his roots and poured them through the avant-garde collander. The title, opening track is a case in point. Rivers opens with an angular figure that is quickly translated by the band into sweeping, bopping blues. Rivers legato is lightning quick and his phrasing touches upon Coleman Hawkins, Sonny Rollins, Coleman, and Coltrane, but his embouchure is his own. He strikes the balance and then takes off on both sides of the aisle. Byard's builds in minor key, rhythmic figures just behind the tenor. "Downstairs Blues Upstairs" sounds, initially anyway, like it might have come out of the Davis book so deep is its blue root. But courtesy of Byard and Williams, Rivers goes to the left after only four choruses, moving onto the ledge a bit at a time, running knotty arpeggios through the center of the melody and increasingly bending his notes into succeeding intervals while shifting keys and times signatures, but he never goes completely over the ledge. The most difficult cut on the date is "Luminous Monolith," showcases a swing-like figure introducing the melody. Eight bars in, the syncopation of the rhythm sections begins to stutter step around the time, as Byard makes harmonic adjustments with dense chords for Rivers to play off. This is a highly recommended date. Other than on 1965's Contours, Rivers never played quite like this again. ---Thom Jurek, Rovi

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