Presents a tipping point between overt structure and the
freer forms that have characterized his work since.
Bagatellen
(2008)

Aberdeen Angus featuring Harry Beckett, the tune Babyshambles listen to on their tour bus.
Manuscript: For the version heard here a
conventional 'who plays what when' arrangement was
produced. Later arrangements have been derived from a
lead sheet similar to this, but with open collectively
improvised passages between each separate motif.
Featuring
Harry Beckett
(flugelhorn)
Stan Sulzmann (alto & tenor sax)
Nick Evans (trombone)
Karl Jenkins (piano & oboe)
John Marshall (drums)
Graham Collier (bass)
Recording
History
First issued on LP
by Fontana, 1969
First issued on CD by Disconforme, 2000
Remastered and repackaged by
BGO records as part of a 2 CD compilation,
2007
Remastered
by Tom Leader of LCL Digital.
The
Tracks
Down Another
Road A new version was
included in seven's and
eight's,
by
rising star Ben Lamdin's nostalgia 77
and
had over 6,000 plays
on their MySpace page. '[Performing] lost
jazz masterpieces, new group composition and improvisation,
the nostalgia 77 octet are hotly tipped as the new British
jazz explosion.'
In
2007 Universal Japan illegally released this track as part
of a 2 CD compilation by DJ/Producer Jazztronik.
Although I was
pleased, it was a blatant breach of my copyright. When I
complained they paid compensation, but took the album off
the shelves... (This is one episode in a long-running fight
to get Universal to acknowledge that I was reassigned the
rights to three of my early albums in 1996. The full story
will be carried elsewhere in due course.)
Danish Blue
The Barley Mow

Lullaby for a Lonely Child (Composed Karl Jenkins) is included on Gilles Peterson's Impressed, a collection of British jazz from the sixties and seventies, which also included Graham's composition 'Rolli's Tune'** which was decribed by John L. Walters in The Guardian as 'beguilingly complex in execution, but very simple in structure… demonstrates Collier's characteristic knack for creating and sustaining a mood from minimal materials.'
Molewrench

Some Reviews
A record that deserves the highest praise... warmly recommended.
Charles Fox, Radio 3 (1969)
There are many traces of Mingus in his writing … and some of his more lyrical pieces remind me a little of Ellington …But on such influences he has grafted a definite personality and style of his own.
The Times (1969
Collier's stature as an original and imaginative composer is already entirely evident by this stage. The highly effective fusion of sophisticated written structures with fiery, free-influenced soloing has worn well.
Kenny Matheson, Jazzwise (2000)
A great classic.
Philippe Renaud, Improjazz (2000)
The music on this double-disc set leaps out of the speakers with the kind of life, sensitivity and expressionism that’s defined this seminal British musician then, and ever since.
John Kelman, All About Jazz (2007), reviewing the BGO compilation
Chosen as one of the records of the year in 1969 by Ron Brown, Charles Fox and Derek Jewell.
Chosen by Alyn Shipton in 2005 for the eMusic Dozens European Jazz: ‘Collier’s finest and most balanced album’.

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