01. Frank Foster - The Loud Minority
02. Blue Mitchell - Mi Hermano
03. Harold Land - Up & Down
04. Hadley Caliman - Watercress
05. Buddy Terry - Kamili
06. Harold Land - Ode To Angela
07. Roy Haynes - Senyah
08. Charles McPherson - Charisma
09. Mike Longo - Matrix
10. Johnny Coles - Petits Machins
11. Frank Foster - EW Beautiful People
12. Hadley Caliman - Little One
Of the limited discography offered to us by Jim Pepper, this is his finest contemporary recording, done with the pianist Kenny Werner's trio and several special guests, including John Scofield and Don Cherry. A fine representation of this Native American's work especially as a collaborator, check out the vibrant "Lakota Song," the title track, and especially "Malinyea" in tandem with pocket trumpeter Don Cherry. A reflection of his time in Woodstock at the Creative Music Studio, Pepper creates world jazz fusion with a twist relating to his heritage, something that perhaps nobody else has done, or is capable of. Of course his magnum opus "Witchi-Tai-To" is included in this inspired and inspirational set, which is highly recommended.
02 Ya Na Ho
03 Squaw Song
04 Goin' Down to Muskogee
05 Comin' and Goin'
06 Lakota Song
08 Custer Gets It
The Hilversum Session by Albert Ayler is one of those legendary recordings in free jazz. It was recorded in a Netherlands radio studio in front of a small invited audience, at the end of the Ayler Quartet's European tour on November 9, 1964. The band -- Ayler, Don Cherry, Gary Peacock, and Sunny Murray -- had been playing Ayler's tunes for months and were uncanny in their ability to hear one another and improvise together at that point. It was also the last time the group would record together under Ayler's name as a quartet, and they went out at a peak. The recording itself remained unissued until 1980 when it appeared on an LP on …(amg)
04 Infant Happiness
06 No Name
Billy Bang (born William Vincent Walker; September 20, 1947 – April 11, 2011) was an American free jazz violinist and composer.
2. Valve No.10
3. September 23rd
4. Improvisation For Four
5. Bien-Hoa Blues
6. Holiday For Flowers
7. Lonnie's Lament
Another great, forgotten jazz session, now nearly impossible to find. In 1988, Billy Bang traveled to Italy on the eve of a new European tour with his current quartet, laying down seven tracks for an album which would serve as a shadow tribute album to John Coltrane. A slow, dirge-like rendition of Coltrane's "Lonnie's Lament" closes out the record, while "September 23rd" (Coltrane's birth date) is a spoken poem weaving the titles of numerous Coltrane songs around a few musical quotes. Truth be known, this is the least compelling track on the album, but it's far from awful. Bang has a fierce attack on violin, so much so in fact that he might be more properly considered a "fiddle" player. He's a gifted musician, and yet there's also a wonderful backwoods quality to his sound. Frank Lowe, recently deceased, offers a compellingly original style on tenor saxophone, unmistakeably "new," yet also deeply connected to the past, especially old pre-bop masters like Coleman Hawkins and Ben Webster. His smooth, thoughtful tone is a wonderful contrast to Bang's nimble scratch. Bassist Sirone is an unjustly forgotten, musical player, and Dennis Charles' drumming is a casebook study of jazz interaction. Memorable themes, intense yet never overwhelming soloing, spiritually positive and endlessly creative - this is a great album. Track it down. -Jason Gubbels
5.0 out of 5 stars
Billy Bang-- violin, compositions
Frank Lowe-- tenor sax
Denis Charles -- drums
This set, made in 2007, is the last studio recording Joe Zawinul worked on before his death. It places the great Austrian pianist/composer in front of a mixed-genre chamber orchestra led by young Estonian classical conductor Kristjan Jarvi, and concentrates on the music of Zawinul's later years with his Syndicate, rather than the more famous two-decade reign of Weather Report. The dressing of jazz, improv or fusion ideas in classical music's graceful robes often does few favours to any of the contributing genres, but this is an exception: sustaining the Syndicate's headlong energies while enhancing passing melodic ideas that the erudite Zawinul would sometimes casually toss out. As well as being a composer of enduring themes, Zawinul was one of the great spontaneous creators of the short fill or linking motif, and Jarvi picks those up and burnishes them with everything from flutes and oboes to contrabassoons, while driving drum-patterns and basslines surge along beneath – and Zawinul's talkative vocoder adds his characteristic asides. The folk-dancing energy of Bimoya sets the vibe humming, Syndicate singer Sabine Kabongo supplies spinechilling chants, the Eastern melodies of Sultan are strengthened by the strings, and The Peasant is an ingenious combination of strings, Indian percussion and deep brass. It's a fitting enrichment of Zawinul's magic, by players who clearly appreciate it.
The New York based Absolute Ensemble, conductor Kristjan Järvi, is and 18-piece electro-acoustic ensemble that fuses classical, jazz, rock and funk. Charles Mingus, Miles Davis and Jimi Hendrix have found a place on the bill with Bach, Stravinsky and Schoenberg and the works of new composers whom the band is often the first to promote. They have also performed works by the Beatles, Frank Zappa, John Adams and Michael Daugherty.
«The late Ahmed Abdul-Malik was one of the first musicians to integrate non-Western musical elements into jazz. Best known to jazz listeners as a bassist with Thelonious Monk, Randy Weston, Coleman Hawkins, and many others, he made a few records as a leader, with this one being his most exotic and also the hardest to find. The Brooklyn native was of Sudanese descent; in addition to playing bass on this interesting blend of Middle Eastern instruments with those from the world of jazz, he also plays oud, the forerunner to the lute. The musicians on Malik's eight originals vary from track to track. On the mournful "La Ibky (Don't Cry)," Malik's oud shares the spotlight with a tenor sax (either Benny Golson or Johnny Griffin) plus trumpeter Lee Morgan. "Rooh (The Soul)" features the 72-string kanoon (which is sort of a brittle sounding and much smaller harp) played by Ahmed Yetman, along with Malik's arco bass and the droning violin of Naim Karacand. The Middle Eastern instruments are absent during "Searchin'," which is sort of a hard bop vehicle featuring trombonist Curtis Fuller and Jerome Richardson on flute, along with the tenor sax. "Takseem (Solo)" omits the jazz instruments; the slowness of the variations of the music and rather piercing vocal make it harder for Western ears to comprehend. Not a release of interest to everyone but, for the most part, this fusion of vastly different styles of music is quite enjoyable; it's obvious from the start that the musicians were enjoying themselves as it was recorded. This long out print LP will be difficult to locate.» (AMG)
01 E-Lail (The Night) 02 La Ilbky (Don't Cry) 03 Takseem (Solo) 04 Searchin' 05 Isma'a (Listen) 06 Rooh (The Soul) 07 Mahawara 08 El Ghada [The Jungle]
Ahmed Abdul-Malik Bass, Oud Bilal Abdurrahman Darabeka Curtis Fuller Trombone Benny Golson Sax (Tenor) Johnny Griffin Sax (Tenor) Mike Hamway Darabeka Al Harewood Drums Naim Karacand Violin Lee Morgan Trumpet Jerome Richardson Flute Ahmed Yetman Kanun
The Antique Blacks is a great live date, recorded in 1974 but not released until 1978. This is a smallish band, and features the first recorded evidence of prominent electric rock guitar in the Arkestra, attributed only to "Sly." "Song No. 1" is a groovy sort of space bossa nova, with Sun Ra on rocksichord supported by great percussion as the other players join in. "There Is a Change in the Air/The Antique Blacks" is a Ra poem recited with musical accompaniment as is "The Ridiculous 'I' and the Cosmos Me." "This Song Is Dedicated to Nature's God" is actually a different tune than "To Nature's God" on Live in Egypt, Vol. 1, but is the same sort of upbeat, swinging singalong. "Would I for All That Were" is a short interlude with Moog craziness over an ominous march, which leads into a rousing version of "Space Is the Place." The Antique Blacks is notable for the recited poetry, as well as for the presence of the extroverted Sly, who adds a totally new dimension to the Arkestra sound. This one will be tough to find, but well worth it. - amg
01 - song n1 02 - there is a change in the air 03 - the antique blacks 04 - this song is decicatated to nature's god 05 - the ridiculous ''i'' & the cosmos me 06 - would i for all that were 07 - space is the place
Sun Ra Arranger, Composer, Mini Moog, Rocksichord, Vocals Marshall Allen Percussion, Reissue, Sax (Alto), Vocals Sly Guitar (Electric) Atakatune Conga Danny Davis Sax (Alto) Ahk Tal Ebah Trumpet, Vocals John Gilmore Percussion, Sax (Tenor), Vocals James Jackson Bassoon, Percussion, Vocals Clifford Jarvis Drums, Vocals
01. Afrodisiaca 02. Heavenly Love On A Planet 03. Fodringsmontage 04. This Is Heaven 05. Lakshmi
Ex-New York Art Ensemble member Jon Tchicai goes wild with 25 fellow musicians on this Free Jazz masterpiece from the year of the moon landing. Sonic Youth s Thurston Moore comments: beautiful, baby. BEAUTIFUL! Originally released in 1969.
Personnel: John Tchicai: alto and soprano saxophones, leader (2-5); Hugh Steinmetz: trumpet, leader (1); Willem Breuker: tenor saxophone (1, 4), bass clarinet (2); Pierre Doerge: guitar; Max Brúel: baritone saxophone (1); Theo Rahbek: trumpet, iron claves (2); Mauritz Tchicai: trombone, sousaphone, waterpipe (2); Joergen Thorup: clarinet; Michael Schou: alto saxophone, flute; Kim Menzer: trombone (1), flute (1); Willy Jagert: ophicleide; Bent Hesselman: flute (1); Sune Weimar: alto saxophone; Christian Kyhl: alto and soprano saxophones, triangle (2); Mogens Bollerup: tenor saxophone, petrol can (2); Niels Harrit: tenor saxophone (1), flute (1), saw (1); Ole Kühl: tenor and soprano saxophones; Ole Matthissen: organ, cymbal (2); Ole Thilo: organ, tankcap (2); Steffen Andersen: bass (1); Claus Boeje: drums; Jon Finsen: drums, glockenspiel (2); Anthony Barnett: percussion, tabla (4); Giorgio Musoni: balafon (1), africodrums (1), gong (1); Simon Kopel: tympani (1); J.C. Moses: cowbell (1), bongos (1), percussion (1).
John Martin Tchicai (born April 28, 1936) is a Danish jazz saxophonist. He was one of the earliest European free jazz musicians. He is of Danish and Congolese descent.
Tchicai studied violin in his youth, and in his mid-teens began playing clarinet and alto saxophone, focusing on the latter. By the late 1950s he was travelling around northern Europe, playing with many musicians.
After moving to New York City in 1963, Tchicai fell into the free jazz scene, co-forming the New York Contemporary Five and the New York Art Quartet, and playing on John Coltrane's epochal Ascension, and with Albert Ayler and others on New York Eye and Ear Control.
He returned to Denmark in 1966, and shortly thereafter focused most of his time on music education.
On Aug 30, 1975 his appearance at the Willisau Jazz Festival was recorded and released later that year as Willi The Pig. On this record, he plays with Swiss pianist Irène Schweizer.
Tchicai returned to a regular gigging and recording schedule in the late 1970s. In the early 1980s he switched to the tenor saxophone as his primary instrument. In 1990 he was awarded a lifetime grant from the Danish Ministry of Culture. Tchicai and his wife relocated to Davis, CA (near San Francisco) in 1991, where he has led several ensembles. He was awarded a National Endowment for the Arts fellowship in 1997. He is a member of Henry Kaiser and Wadada Leo Smith's "Yo Miles" band, a loose aggregation of musicians exploring Miles Davis's post-Bitches Brew electric music.
Since 2001 he has been living near Perpignan in southern France. He is currently (2006) experimenting with electronic components in his music.
From Wikipedia, the free encyclopedia Photo by Matt Brown
sorry to be so abstract as to make you wonder about my general state of mental health well-being, but it turns out i'm ok and soon i'll be back soon with all new, non heatwave induced ramblings and fresh, cool brained posts!
The Rise and Fall of the Third Stream is an album by Austrian jazz keyboardist and composer Joe Zawinul, released in 1968. The title refers to the Third stream genre of music, melding classical and jazz.
01. "Baptismal" (William Fischer) – 7:37 02. "The Soul of a Village - Part I" (William Fischer) – 2:13 03. "The Soul of a Village - Part II" (William Fischer) – 4:12 04. "The Fifth Canto" (William Fischer) – 6:55 05. "From Vienna, With Love" (Friedrich Gulda) – 4:27 06. "Lord, Lord, Lord" (William Fischer) – 3:55 07. "A Concerto, Retitled" (William Fischer) – 5:30
* Joe Zawinul - Piano and electric piano * William Fischer - Tenor Saxophone and arrangements * Jimmy Owens - Trumpet * Alfred Brown - Viola * Selwart Clarke - Viola * Theodore Israel - Viola * Kermit Moore - Cello * Richard Davis - Bass * Roy McCurdy - Drums * Freddie Waits - Drums * Warren Smith - Percussion
The state of the second Mahavishnu Orchestra continued to be volatile in 1975, with violinist Jean-Luc Ponty out, keyboardist Gayle Moran replaced by Stu Goldberg, and all string and horn backings removed, leaving just a steaming quartet and this lone remarkable album. The addition of Goldberg, a more interesting musician than Moran, is significant, but the biggest charge is provided by the leader who, in tandem with the latest electronic equipment, turns in some of his most passionately alive playing of the whole Mahavishnu series. The leadoff track, "All in the Family," has fantastic energy and drive, pushed on by Narada Michael Walden's drums and marimba. "Miles Out" has John McLaughlin doing some inspired jamming with his guitar hooked into a "360 Systems Frequency Shifter" (an electronic device with the wildly fluid sound of a ring-modulator), and he moves over to an early guitar synthesizer on "Morning Calls," "Lotus Feet," and the streaking title track. There is some funk residue from Visions of the Emerald Beyond on "Planetary Citizen," yet oddly enough, the so-so soul vocals from Walden on several tracks, and one by bassist Ralphe Armstrong, do not harm the cause, as the playing of the quartet is so fiery. But this somewhat overlooked album would be the last hurrah for the Mahavishnu concept for nearly a decade -- and when it returned, the sounds it produced would bear little resemblance to this power-packed music...AMG
01 All in the Family 02 Miles Out 03 In My Life 04 Gita 05 Morning Calls 06 The Way of the Pilgrim 07 River of My Heart 08 Planetary Citizen 09 Lotus Feet 10 Inner Worlds Pts. 1 & 2
L.A.EXPRESS: SHADOW PLAY CARIBOU RECORDS RELEASED: 1976, USA
01. Nordic Winds (6:04) [Peter Maunu] 02. Double Your Pleasure (2:50) [Peter Maunu] 03. Shadow Play (5:30) [D.Luell, R.Philipe] 04. Chariot Race (2:47) [Victor Feldman] 05. Dance The Night Away (3:03) [Victor Feldman] 06. Velvet Lady (4:15) [John Guerin] 07. Vortex (3:50) [Peter Maunu] 08. Mad Drums And Englishman (Mavro) (5:26) [John Guerin] 09. Silhouette (1:20) [Victor Feldman]
David Luell: tenor/alto/soprano/baritone saxophone Peter Maunu: electric guitar, acoustic guitar Victor Feldman: Fender Rhodes, piano, ARP Odyssey, Hammond organ, concert spectrum, congas, assorted percussion Max Bennett: Fender bass, percussion John Guerin: drums, organ
- ADDITIONAL MUSICIANS - Joni Mitchell: voices (on 1) Paulette McWilliams: voices (on 2,5)
Drummer Billy Cobham is heard on this live set heading an all-star quintet also including Tom Scott on tenor, soprano and lyricon, keyboardist Mark Soskin, guitarist Steve Khan and electric bassist Alphonso Johnson. Although the music is mostly funky and uses plenty of electronics (Scott sounds quite faceless on lyricon), there are some strong solos, particularly from Khan and Scott (when he is on tenor). The six group originals are highlighted by "Bahama Mama," "Some Punk Funk" and "On a Magic Carpet Ride." Due to the amount of variety and spontaneity, Alivemutherforya is superior to most of these musicians' individual projects of the era...AMG
01 "Anteres"-The Star - Billy Cobham 02 Bahama Mama - Alphonso Johnson 03 Shadows - Tom Scott 04 Some Punk Funk - Steve Khan 05 Spindrift - Tom Scott 06 On a Magic Carpet Ride - Billy Cobham
"Music is your own experience, your own thoughts, your wisdom. If you don't live it, it won't come out your horn. They teach you there's a boundary line to music. But, man, there's no boundary line to art." - CHARLIE PARKER