muzycy:
JULIUS HEMPHILL, alto & soprano saxophone
ABDUL WADUD, cello
ANDREW WHITE, tenor saxophone
CARL GRUBBS, alto & soprano saxophone
DON MOYE, percussion
FRED HO, baritone saxophone
JAMES CARTER, tenor saxophone
MARTY EHRLICH, alto & soprano saxophone, flute
OLU DARAl, trumpet
SAM FURNACE, baritone saxophone, flute
TIM BERNE, alto saxophone
WARREN SMITH,percussion

Black Saint/Soul Note - kolekcjonerskie wznowienia nagrań z katalogu wytwórni, które przez 20 lat wyznaczały kierunki rozwoju muzyki free jazzowej i awangardowej!

Editor's info:
THE COMPLETE REMASTERED RECORDINGS ON BLACK SAINT & SOUL NOTE is a monographic box-set collection aimed at recounting the most beautiful chapters that revolutionised the history of jazz. A deep philological work, beginning with the original recordings on original master tapes, patiently integrally remastered paying strict attention to sound quality.
Composer and saxophonist Julius Hemphill recorded five albums for the Black Saint and Soul Note labels between 1977 and 1993. He began his tenure with Giovianni Bonandrini about a year after founding the World Saxophone Quartet. This box contains those five recordings in glorious, remastered sound

allmusic.com:
Composer and saxophonist Julius Hemphill recorded five albums for the Black Saint and Soul Note labels between 1977 and 1993. He began his tenure with Giovianni Bonandrini about a year after founding the World Saxophone Quartet. This box contains those five recordings in glorious, remastered sound. Raw Materials and Residuals was issued on Black Saint in 1978 and featured Hemphill on alto and soprano saxophone, in the company of Art Ensemble of Chicago drummer and percussionist Don Moye and cellist Abdul Wadud. It features five medium to long compositions of which the real notables are the labyrinthine "Mirrors" and the strange, bluesy, free jazz funk of "G Song." Though his duet album with percussionist Warren Smith, Chile New York, was recorded in May of 1980, it wasn't released until 1998, three years after Hemphill's passing. Its seven pieces are numbered, and though credited as Hemphill compositions, they feel very much like improvisations. Three of these pieces run from just under to just over the 20-minute mark. Flat-Out Jump Suite was recorded a month later. Wadud and Smith appear .......
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