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
01. The Captain's Journey Pt. 2: The Calm/Pt. 2: The Storm 8:02 02. Morning Glory 5:53 03. Sugar Loaf Express 5:05 04. Matchmakers 4:53 05. What Do You Want? 5:27 06. That's Enough for Me 5:24 07. Etude
The Yellowjackets made a splash with their first record, an accessible mixture of jazz, rock, and funk bearing the unmistakable mark of the L.A. session scene that spawned them. In fact, the Yellowjackets had their roots in the sessions for Robben Ford's 1979 album The Inside Story. Russell Ferrante, Jimmy Haslip, and Ricky Lawson all appeared on that album and reenlisted Ford's help for their own debut, with the guitarist's fluid soloing often taking the lead role. As fun an album as it is -- and there are times when the melodies rise to a joyful exuberance that recalls Weather Report's "Birdland" -- Yellowjackets isn't a true fusion record. Ricky Lawson provides rock beats to the material, Haslip's bass work is as funky as it is jazzy, and the arrangements tend to stick with the same groove (as ingratiating as they may be) rather than explore the musical themes like an esoteric jazz band might. The opening "Matinee Idol" is as much the Jackson 5 (one of Lawson's previous gigs) as fusion, "Rush Hour" is jazzy in a Steely Dan sense, while "Sittin' in It" actually borrows from the old funk classic "For the Love of Money." There are some nice, chunky grooves that give the album a sense of substance ("The Hornet," "Imperial Strut"), a wistful track in "It's Almost Gone," and a neat melody tucked into "Priscilla," all of which contribute to the album's charm. But compared to their GRP recordings, the Yellowjackets' debut does seem a little one-dimensional. If you enjoy the smooth, guitar-led jazz from this period (e.g., Earl Klugh, Lee Ritenour), Yellowjackets is worth checking out, both for the upbeat melodies and Ford's seemingly effortless solos...
01 Matinee Idol 02 Imperial Strut 03 Sittin' in It 04 Rush Hour 05 The Hornet 06 Priscilla 07 It's Almost Gone
01.Aurora Part 1 02.Aurora Part 2 03.Imaginary Voyage Part 3 04.Imaginary Voyage Part 4 05.Mirage 06.No Strings Attached 07.Egocentric Molecules
Treat yourself to a piece of JLP history as you are front and center at a live performance recorded in late 1978 during the California leg of the Cosmic Messenger tour. Blistering guitar solos from both Jamie Glaser and Joaquin Lievano, intricate keyboards from Allan Zavod, and powerful "double kick" drumming from Casey Scheuerell. An explosive performance by Ralphe Armstrong on bass, and of course the genius of Jean-Luc Ponty on the electric violin. A great "must have" work of art for all Ponty diehard fans or JLP "newbies".
Billy Cobham: Rudiments: The Billy Cobham Anthology (2001, Rhino)
In 1973 Billy Cobham broke from the Mahavishnu ranks and became a bandleader in his own right, crafting some of the most exciting (and occasionally generic) fusion of the 70s and 80s. He started the ball rolling that year with Spectrum , an Atlantic issue which included Mahavishnu keyboardist Jan Hammer, session bassist Lee Sklar, and young guitar wizard Tommy Bolin. Later gatherings under the titanic drummer's leadership featured keyboardist George Duke, bassists John Williams, Alphonso Johnson and Alex Blake, the Brecker Brothers (trumpeter Randy and reedman Michael), guitarists John Scofield and John Abercrombie, and many others. Rudiments collects some of Cobham's best tracks recorded for the Atlantic label, focusing largely upon his amazing drum skills and respectable compositions.
01. Quadrant 4 02. Stratus 03. Anxiety/Taurian Matador 04. Snoopy's Search/Red Baron 05. All 4 One (outtake) 06. The Pleasant Pheasant 07. Spanish Moss 08. Flash Flood 09. Solarization 10. Lunarputians 11. Moon Germs 12. Total Eclipse
01. Shabazz 02. Some Skunk Funk 03. A Funky Thide Of Sings 04. Panhandler Listen 05. Neu Rock N' Roll (outtake) 06. Life & Times 07. 29 08. Earthlings 09. Hip Pockets - The Billy Cobham/George Duke Band 10. Juicy - The Billy Cobham/George Duke Band 11. Do What Cha Wanna - The Billy Cobham/George Duke Band 12. Arroyo
Guitarist Pat Metheny was a member of vibraphonist Gary Burton's group from 1974-1976, but although he had recorded with Burton twice previously, both of those dates also included guitarist Mick Goodrick. This particular set puts more of a focus on Metheny in a quintet that also includes drummer Danny Gottlieb and both Steve Swallow and Eberhard Weber on basses. Metheny contributed three of the six selections, which are joined by a song apiece from Swallow, Weber, and Chick Corea ("Sea Journey"). Although none of the individual songs caught on, the attractive sound of the post-bop unit and an opportunity to hear Pat Metheny in his formative period make this a CD reissue worth exploring.
01 Sea Journey Corea 9:18 02 Nacada Metheny 4:15 03 The Whopper Metheny 5:32 04 B & G (Midwestern Nights Dream) Metheny 8:26 05 Yellow Fields Weber 7:02 06 Claude and Betty Swallow 6:15
i personally think "Sea Journey" is fuckin' awesome!
1. Tabla Suite 2. Dance of Satan 3. Dialogue 4. Taneous 5. Bleecker Partita
Giuseppi Logan - tenor & alto saxophone, bass clarinet, pakistani oboe Don Pullen - piano Eddie Gomez - bass Milford Graves - drums, tabla
Perhaps its the laid-back anarchy of this session or the unusual instrumentation on some tracks (tabla, Pakistani oboe, strummed piano strings) which situate it more in some childlike hippie bohemia instead of the usual high-energy free jazz idiom. Logan comes off as an Ayler/Coltrane with perhaps limited technique and weaker tone. But altogether the players eventually cohere and the considerable charm of this music emerges. This is also pianist Don Pullen's debut in addition to a rare appearance by free jazz shaman Milford Graves.
Naked Lunch showcases the collaboration between jazz artist Ornette Coleman and Academy Award winning composer Howard Shore(Lord of the Rings trilogy). This jazz soundtrack includes an ensemble collection of Coleman's musicians including J.J. Edwards, Aziz Bin Salem, David Hartley, Barre Phillips, Denardo Coleman and the London Philharmonic Orchestra.
01. Naked Lunch 02. Hauser and O'Brien/Bugpowder 03. Mugwumps 04. Centipede 05. The Black Meat 06. Simpatico/Misterioso 07. Fadela's Coven 08. Interzone Suite 09. William Tell 10. Mujahaddin 11. Intersong 12. Dr. Benway 13. Clark Nova Dies 14. Ballad/Joan 15. Cloquet's Parrots/Midnight Sunrise 16. Nothing Is True; Everything Is Permitted 17. Welcome to Annexia 18. Writeman
Marzette Watts (March 9, 1938, Montgomery, Alabama - March 2, 1998, Nashville) was an American jazz alto saxophonist. He had a brief career in music but is revered for his 1966 self-titled free jazz release.
Watts played piano early in his life, but did not play music regularly in his teens. He studied at Alabama State College, where he was a founding member of SNCC; this association led to his being forced to leave the state at the behest of the governor of Alabama.
He moved to New York, where lived in a loft building on Cooper Square which also had as a tenant Leroi Jones (later Amiri Baraka), with whom he participated in the Organization of Young Men. Watts returned to college in New York, completing his studies in 1962; he then moved to Paris to study painting at the Sorbonne and began playing saxophone for extra money.
Returning to New York in 1963, he studied under Don Cherry and played in his loft and around the city with Jiunie Booth, Henry Grimes, J.C. Moses, and others. He also developed his painting ability, producing work strongly influenced by that of Willem De Kooning.
Marzette's loft attracted many established and up-and-coming musicians, who would hang out and at times play for parties, including Ornette Coleman, Cecil Taylor, Don Cherry, Archie Shepp, and Pharoah Sanders.
In 1965 he decided to devote himself to music more fully, and moved to Denmark for further study. While in New York in 1966, he recorded an album for ESP-Disk, and recorded for Savoy Records in 1968. He wrote film scores and did production work for his own films, eventually abandoning music to work in film and record production.
Later in his life he moved back and forth between Europe and New York, teaching briefly at Wesleyan University. Late in his life he moved to California. He died of heart failure in 1998.
Organic Music Society Don Cherry Caprice RIKS LP 44/50(Sw)(2LPs) June 23, July 4,1971 - July 28,August 14, 1972
Here’s another incredible record by spiritual jazz-man Don Cherry...
Don Cherry (tp, p, vo, perc, harmonium, fl, etc) Nana Vasconcelos (vo, berimbau), Moki (vo, tambura) Helen Eggert (vo, tambura) Christer Bothen (p, guana guitar, etc) Bent Berger (ds, log drums, mridanga, tablas) Tommy Koverhult (fl) Okay Temiz (ds)
1. North Brazilian 2. Elixir 3. Manusha Ragakamboji 4. Relativity Suite Part 1 5. Relativity Suite Part 2 6. Terry's Tune 7. Hope 8. The Creeatorhas A Master Plan 9. Sidhartha 10. Utopia 11. Bra Joe From Kilimanjaro 12. Terry's Tune 13. Resa
Clifford Jordan was a fine inside/outside player who somehow held his own with Eric Dolphy in the 1964 Charles Mingus Sextet. Jordan had his own sound on tenor almost from the start. He gigged around Chicago with Max Roach, Sonny Stitt, and some R&B groups before moving to New York in 1957. Jordan immediately made a strong impression, leading three albums for Blue Note (including a meeting with fellow tenor John Gilmore) and touring with Horace Silver (1957-1958), J.J. Johnson (1959-1960), Kenny Dorham (1961-1962), and Max Roach (1962-1964). After performing in Europe with Mingus and Dolphy, Jordan worked mostly as a leader but tended to be overlooked since he was not overly influential or a pacesetter in the avant-garde. A reliable player, Clifford Jordan toured Europe several times, was in a quartet headed by Cedar Walton in 1974-1975, and during his last years, led a big band. He recorded as a leader for Blue Note, Riverside, Jazzland, Atlantic (a little-known album of Leadbelly tunes), Vortex, Strata-East, Muse, SteepleChase, Criss Cross, Bee Hive, DIW, Milestone, and Mapleshade.
Glass Bead Games - Clifford Jordan
Powerful Paul Robeson The Glass Bead Games Prayer To The People Cal Massey John Coltrane Eddie Harris Biskit Shoulders Bridgework Maimoun Alias Buster Henry One For Amos
1 Pithecanthropus Erectus 10:33 2 A Foggy Day 7:47 (George Gershwin) 3 Love Chant 14:56 4 Profile Of Jackie 3:07 5 Laura 4:52 (David Raskin) 6 When Your Lover Has Gone 2:27 (Einar Aaron Swan) 7 Just One Of Those Things 6:06 (Cole Porter) 8 Blue Greens 11:42 (Teddy Charles)
Disc 2 TT 56:21
1 The Clown 12:29 2 Passions Of A Woman Loved 9:43 3 Blue Cee 7:48 4 Tonight At Noon 5:58 5 Reincarnation Of A Lovebird 8:31 6 Haitian Fight Song 11:57
Disc 3 TT 70:20
1 E's Flat Ah's Flat Too 6:37 2 My Jelly Roll Sou 6:47 3 Tensions 6:27 4 Moanin '7:57 5 Cryin 'Blues 4:58 6 Wednesday Night Prayer Meeting 5:42 7 E's Flat Ah's Flat Too (Alternate Take) 7:16 8 My Jelly Roll Soul (Alternate Take) 11:51 9 Tensions (Alternate Take) 5:30 10 Wednesday Night Prayer Meeting (Alternate Take) 6:56
Disc 4 TT 71:40
1 Prayer For Passive Resistance 8:06 2 Wednesday Night Prayer Meeting 11:54 3 Folk Forms I 11:08 4 What Love? 13:34 5 I'll Remember April 13:39 (DePaul, Johnston, Raye)
Disc 5 TT 67:34
1 Devil Woman 9:38 2 Ecclusiastics 6:55 3 "Old" Blues For Walt's Torin 8:59 4 Peggy's Blue Skylight 9:42 5 Hog Callin 'Blues 7:26 6 Oh Lord Don't Let Them Drop That Atomic Bomb On Me 5:38 7 Passions Of A Man 4:52 8 Wham Bam Thank You Ma'am 4:41 9 Invisible Lady 4:49 10 Eat That Chicken 4:36
Disc 6 TT app. 75:00
1 Charles Mingus interviewed by Nesuhi Ertegun 75:00
All compositions by Charles Mingus unless otherwise noted
Disc 1, 1-5:
Charles Mingus - bass Jackie McLean - alto sax J.R. Monterose - tenor sax Mal Waldron - piano Willie Jones - drums
Disc 1, 5-8:
Teddy Charles - vibes Hall Overton - piano Charles Mingus - bass Ed Shaughnessy - drums
Charles Mingus - bass Shafi Hadi (Curtis Porter) - tenor sax Jimmy Knepper - trombone Wade Legge - piano Dannie Richmond - drums Jean Shepherd - improvised narration on 'The Clown'
Charles Mingus - bass John Handy - alto sax Jackie McLean - alto sax Booker Ervin-tenor sax Pepper Adams - baritone sax Willie Dennis - trombone Jimmy Knepper - trombone Horace Parlan - piano (except 1 and 7) Mal Waldron - piano (on 1 and 7)
Charles Mingus - bass, piano (on 2,3) Eric Dolphy - alto sax, bass clarinet (on 5) Booker Ervin - tenor sax (on 1-5) Ted Curson - trumpet Bud Powell - piano (on 6)
Disc 1, 1-5 January 30, 1956 Audio-Video Studios, New York City Disc 1, 5-8 November 12, 1956 New York City Disc 2, 1 February 13, 1957 Audio-Video Studios, New York City Disc 2: 2-6 March 12, 1957 Atlantic Studios, New York City Disc 3 February 4, 1959 Atlantic Studios, New York City Disc 4 July 13, 1960 Antibes Jazz Festival, Juan-les-Pins, France Disc 5 November 6, 1961 Atlantic Studios, New York City Disc 6 late 1961/early 1962 Nesuhi Ertegun's office, Atlantic Records, New York City
Live at Le Chat Qui Pêche, Paris, France, June 11, 1964. Released March 1, 1993.
Of the four tracks on this final Dolphy concert, only one, the 19-minute Springtime appears to have never been recorded for release. It starts off promisingly with Dolphy ululating on the clarinet. Visions of free jazz appear but soon the composition begins its middle-eastern tempo. It’s the empty desert at midnight and Dolphy’s clarinet wails uncomfortably but his trumpeter and saxophonist continue to stay with tradition giving Springtime its BeBop style.
Had Dolphy more time, perhaps he could have explained his new ideas. Both Donald Byrd and Nathan Davis actually make this music accessible and easy to listen to. They fill in the melody that Dolphy disregarded. The language of discomfort never connects because the pair are busy making everything sound harmonious. They were not alone in misunderstanding Dolphy.
Wikipedia has this comment from John Coltrane: “Although Coltrane’s quintets with Dolphy (including the Village Vanguard and Africa/Brass sessions) are now legendary, they provoked Down Beat magazine to brand Coltrane and Dolphy’s music as ‘anti-jazz’. Coltrane later said of this criticism: ‘they made it appear that we didn’t even know the first thing about music (…) it hurt me to see [Dolphy] get hurt in this thing’.”
The rest of the show contains Dolphy’s earlier compositions from 1960, all very traditional. These “last sessions” have been released several times before in Europe unofficially. They became widespread when CD bootlegs arrived.
01. Springtime 02. 2.45 03. GW 04. Serene
Personnel: Eric Dolphy (as, bcl) Donald Byrd (tr) Nathan Davis (ts) Jack Diéval (pno) Jacques Hess (bass) Franco Manzecchi (dr) Jacky Bambou (congas on 2, 3)
Ornette Coleman (alto sax) Don Cherry (trumpet) Paul Bley (piano) Charlie Haden (bass) Billy Higgins (drums)
Recorded: Los Angeles, CA, October 1958
Recorded during a club gig several months after the sessions for his first commercial recording as a leader (Something Else! on Contemporary Records), this track is a fascinating historical document of Coleman's experiments in stretching the parameters of conventional bebop-based jazz performance. It proves that in the case of Ornette, the origins of so-called free jazz represented more of an evolution than a revolution.
The group is the classic Coleman Quartet plus pianist Paul Bley, and here they explore a Charlie Parker line based on "Perdido" changes. They faithfully include Parker's original intro and tag, and though the horns play a wrong note in the second bar of the A sections, they play it with conviction and repeat it each time. Ornette's solo here should put to rest for good the accusations that he (a) discarded chord changes completely, and (b) couldn't play changes anyway. A striking feature of his solo is how much of Bird's language he used and how well he understood it. It reminds me of the parallel experience of noticing how much verbatim Lester Young was contained in Parker's early work.
Since this was obviously a bootleg recording done on less than ideal equipment, the sound leaves something to be desired, especially as it affects the piano, obviously not a vintage Steinway to begin with. Bley contributes an energetic solo that includes some angular a cappella passages, but it would have been interesting to hear his comping more clearly, as he has always been a player who can exert an enormous amount of harmonic and rhythmic influence over any group he plays in.
1.Klactoveesedstene 2.I Remember Harlem 3.Blessing, The 4.Free
Whatever happened to Eric Kloss? A brilliant player by the time he was 20, Kloss has largely disappeared from the jazz scene since his string of excellent recordings (mostly for Prestige and Muse) stopped in 1981. This particular CD reissue has two complete albums (To Hear Is to See and Consciousness) that feature Kloss with the Miles Davis rhythm section of the period (keyboardist Chick Corea, electric bassist Dave Holland, and drummer Jack DeJohnette); the second session also has innovative guitarist Pat Martino. It is to Eric Kloss' great credit that he keeps up with his more famous sidemen on the adventurous program, which is comprised of his seven originals and one song apiece by Pat Martino, Joni Mitchell, and Donovan ("Sunshine Superman"). The music blends together aspects of the avant-garde and fusion and rewards repeated listenings...AMG
01 To Hear Is to See 02 The Kingdom Within 03 Stone Groove 04 Children of the Morning 05 Cynara 06 Sunshine Superman 07 Kay 08 Outward Wisdom 09 Song to Aging Children 10 Consciousness
Eric Kloss (b. April 3, 1949, Greenville, Pennsylvania) is an American jazz saxophonist.
Blind since birth, Kloss first played professionally in the Pittsburgh area in the 1960s, and played with Pat Martino in 1965; later that year he made his first recordings at age 16 for Prestige Records. He continued to release on Prestige and Muse through the late 1970s, playing with Don Patterson, Jaki Byard, Richard Davis, Alan Dawson, Cedar Walton, Jimmy Owens, Kenny Barron, Jack DeJohnette, Booker Ervin, Chick Corea, Barry Miles, Richie Cole, and Gil Goldstein.
The Heavyweight Champion: The Complete Atlantic Recordings is a 1995 box set by jazz musician John Coltrane. It features all of the recordings Coltrane made for Atlantic Records, spanning January 15, 1959 to May 25, 1961.
During Coltrane’s Atlantic years, he made important recordings such as Giant Steps and My Favorite Things, recorded albums with Milt Jackson, Don Cherry, and Eric Dolphy and made his debut on the soprano saxophone.
CD1 01. Stairway to the Stars 02. The Late Late Blues 03. Bags & Trane 04. Three Little Words 05. The Night We Called It a Day 06. Be-Bop 07. Blues Legacy 08. Centerpiece 09. Giant Steps (alternate version) 10. Naima (alternate version) 11. Like Sonny (alternate version)
CD2 01. Spiral 02. Countdown 03. Countdown (alternate take) 04. Syeeda's Song Flute 05. Syeeda's Song Flute (alternate take) 06. Mr. P.C. 07. Giant Steps 08. Cousin Mary 09. Cousin Mary (alternate take) 10. I'll Wait and Pray 11. I'll Wait and Pray (alternate take) 12. Little Old Lady
CD3 01. Like Sonny 02. Harmonique 03. My Shining Hour 04. Naima 05. Some Other Blues 06. Fifth House 07. Cherryco 08. The Blessing 09. Focus on Sanity 10. The Invisible 11. Bemsha Swing
CD4 01. Village Blues 02. Village Blues (alternate take) 03. My Favorite Things 04. Central Park West 05. Mr. Syms 06. Untitled Original (Exotica) 07. Summertime 08. Body and Soul 09. Body and Soul (alternate take) 10. Mr. Knight
CD5 01. Blues to Elvin (alternate take) 02. Blues to Elvin 03. Mr. Day 04. Blues to You (alternate take) 05. Blues to You 06. Blues to Bechet 07. Satellite 08. Everytime We Say Goodbye 09. 26-2 10. But Not for Me
CD6 01. Liberia 02. The Night Has a Thousand Eyes 03. Equinox 04. Ole 05. Dahomey Dance 06. Aisha 07. Original Untitled Ballad (To Her Ladyship)
CD7 (Outtakes) 01. Giant Steps - take 1 [incomplete] 02. Giant Steps - take 2 [false start] 03. Giant Steps - take 3 [incomplete] 04. Giant Steps - take 4 [incomplete] 05. Giant Steps - take 5 [alternate] 06. Giant Steps - take 6 [false start] 07. Giant Steps - take 7 [incomplete] 08. Naima - take 1 [incomplete] 09. Naima - take 2 [incomplete] 10. Naima - take 4 [false start] 11. Naima - take 5 [alternate] 12. Naima - take 6 [alternate] 13. Like Sonny - rehearsal 1 [false start] 14. Like Sonny - rehearsal 2 [incomplete] 15. Like Sonny - take 1 [false start] 16. Like Sonny - take 2 [incomplete] 17. Like Sonny - take 3 [incomplete] 18. Like Sonny - take 4 [false start] 19. Like Sonny - take 5 [alternate] 20. Like Sonny - take 6 [incomplete] 21. Giant Steps - take 3 [incomplete] 22. Giant Steps - take 6 [alternate] 23. Blues to Elvin - take 2 [false start] 24. Blues to Elvin - take 3 [alternate] 25. Blues to You - take 2 [alternate]
John Coltrane Saxophone (Alto), Saxophone (Soprano), Saxphone (Tenor) McCoy Tyner Piano Reggie Workman Bass Elvin Jones Drums Art Davis Bass Eric Dolphy Flute, Sax (Alto) Freddie Hubbard Trumpet Ralph J. Gleason Liner Notes Dan Hersch Remastering Phil Ramone Engineer Nesuhi Ertegun Producer, Supervisor
The complicated rhythm patterns and diverse sonic textures on Olé are evidence that John Coltrane was once again charting his own course. His sheer ability as a maverick -- over and beyond his appreciable musical skills -- guides works such as this to new levels, ultimately advancing the entire art form. Historically, it's worth noting that recording had already commenced -- two days prior to this session -- on Africa/Brass, Coltrane's debut for the burgeoning Impulse! label. The two discs complement each other, suggesting a shift in the larger scheme of Coltrane's musical motifs. The assembled musicians worked within a basic quartet setting, featuring Coltrane (soprano/tenor sax), McCoy Tyner (piano), and Elvin Jones (drums), with double-bass chores held down by Art Davis and Reggie Workman. Added to that are significant contributions and interactions with Freddie Hubbard (trumpet) and Eric Dolphy (flute and alto sax). Dolphy's contract with another record label prevented him from being properly credited on initial pressings of the album. The title track is striking in its resemblance to the Spanish influence heard on Miles Davis' Sketches of Spain. This is taken a bit further as Coltrane's combo stretches out with inspired improvisations from Dolphy, Hubbard, Tyner, and Coltrane, respectively. "Olé" likewise sports some amazing double-bass interaction. The combination of a bowed upright bass played in tandem with the same instrument that is being plucked has a sinister permeation that assuredly excited Coltrane, who was perpetually searching from outside the norms. The haunting beauty of "Aisha" stands as one of the finest collaborative efforts between Tyner -- the song's author -- and Coltrane. The solos from Hubbard, Dolphy, and an uncredited Tyner gleam from within the context of a single facet in a multi-dimensional jewel. The CD reissue also includes an extra track cut during the Olé sessions. "To Her Ladyship" is likewise on the seven-volume Heavyweight Champion: The Complete Atlantic Recordings box set.
Tracklist CD 1: 01 Tiger Rag 2:34 02 I Saw Stars 2:30 03 Swing 39 3:19 04 I Wonder Where My Baby Is Toni 3:02 05 Crazy Rhythm 2:33 06 Tea For Two 3:14 07 I've Found A New Baby 3:04 08 Stockholm 2:48 09 Younger Generation 2:24 10 Out Of Nowhere 3:16 11 Shine 2:56 12 Undecided 2:31 13 Rose Room 2:44 14 The Man I Love 3:12 15 Echoes Of France (La Marseilla 2:47 16 Liebestraum n 3 3:20 17 Mystery Pacific 2:21 18 The Sheik Of Araby 3:04 19 I've Found A New Baby 2:02 20 Nuages (Take 1) 3:19 21 Liza 2:52 22 What Is This Thing Called Love 2:08 23 Sweet Georgia Brown 3:01 24 Si Tu Savais 2:43 25 Interpretation Swing Du 1er Mo 2:26 26 Vingt Six 2:54 27 Minor Swing 3:14 28 Mabel 4:03 29 My Serenade 3:01 30 Stephen's Blues 3:15 31 Sugar 3:03 32 Sweet Georgia Brown 3:15 33 Swing 39 3:13 34 My Sweet (Take 1) 2:57 35 J'attendrai (Tornerai) 2:33 36 Swing 42 2:27 37 Nocturne 3:14 38 Troublant Bolero 3:40 39 Swing From Paris 2:32 40 What A Difference A Day Made 3:36
Tracklist CD 2: 01 I've Got My Love To Keep Me Wa 2:30 02 Hungaria (Take 1) 2:46 03 Confessin' 2:55 04 Avalon 2:52 05 My Melancholy Baby 2:48 06 Some Of These Days 2:23 07 Hungaria 2:46 08 It Don't Mean A Thing 3:03 09 Oriental Shuffle 2:39 10 Limehouse Blues 2:45 11 Baby 2:38 12 Tears 2:37 13 H. C. Q. Strut 2:57 14 Body and Soul 3:25 15 Chicago 3:26 16 Coquette 3:02 17 Django's Tiger 2:38 18 Embraceable You 3:08 19 Belleville 2:58 20 Alabamy Bound 2:50 21 Honeysuckle Rose 2:46 22 Crazy Rythm 3:00 23 Ol' Man River 2:40 24 I've Found A New Baby 2:36 25 Eveline 2:13 26 Bricktop 3:03 27 How High The Moon (Version 1) 3:00 28 I Love You 3:16 29 Manoir De Mes r ves 4:28 30 Over The Rainbow 2:43 31 Minor Blues 2:43 32 Nature Boy 3:33 33 Night and Day 2:43 34 Djangology 2:46 35 (I Love You) For Sentimental R 3:24 36 It Had To Be You 2:54 37 Just A Gigolo 3:30 38 Billets Doux 2:55 39 Brazil 2:53 40 Them There Eyes 3:02
This single CD has selections from Rahsaan Roland Kirk's final three albums. His work on his last record Boogie-Woogie String Along for Real was quite heroic and miraculous because he had suffered a major stroke that greatly limited his abilities; in fact Kirk had the use of only one of his hands so his playing was sadly restricted. There is a remarkable amount of variety plus a liberal dose of Kirk's humor on this retrospective, ranging from a "Bagpipe Medley" and "Sweet Georgia Brown" (complete with a whistler and Freddie Moore's washboard) to a warm "I'll Be Seeing You" and a tribute to Johnny Griffin, the main influence on Rahssan's tenor sound. For those listeners who do not already have the three LPs, this is a strong best-of sampler of the saxophonist's final period although his earlier recordings are recommended first. This CD concludes with an emotional and rather touching collage that pays tribute to Kirk's genius and mourns his premature death
01 Lunatic Danza 02 Theme for the Eulipions 03 Sweet Georgia Brown 04 I'll Be Seeing You 05 Los Angeles Negro Chorus 06 Serenade to a Cuckoo 07 Bagpipe Medley 08 J. Griff's Blues 09 Mary McLeod Bethune 10 I Loves You, Porgy 11 Hey Babebips 12 In a Mellow Tone 13Dorthaan's Walk 14Watergate Blues 15 Summertime 16 Thunder and Lighting Goodbye
Often considered the last great sideman of Miles Davis, Garrett emerged in the late 1980s and early 1990s as a definitive voice of the alto saxophone. His 2006 release, Beyond the Wall, is inspired by Garrett's journey through China and has the feeling of an album that was a lifetime in the making. With East vs. West underpinnings and a pairing of old (Pharoah Sanders) against new (Garrett), the title track explores these contrasts, yet is still bound together by Coltrane-like spirituality and McCoy Tyner-like musicality. Garrett's intensity might overwhelm some, but his playing on this track exhibits his style at its most inspired level.
01. Calling 02. Beyond The Wall 03. Qing Wen 04. Realization (Marching Toward The Light) 05. Tsunami Song 06. Kiss to the Skies 07. NOW 08. Gwoka 09. May Peace Be Upon Them
Kenny Garrett (alto sax) Pharoah Sanders (tenor sax) Brian Blade (drums) Robert Hurst (bass) Mulgrew Miller (piano)
The best format to get this essential title is the 1999 Rhino Records CD reissue from their Atlantic Jazz Gallery series. Not only have the half-dozen sides from the original 1958 release been thoroughly remastered, but the amended and enhanced running order also contains a trio of otherwise unavailable alternate takes of Monk standards "Evidence," "Blue Monk," and "I Mean You." Otherwise, Art Blakey's Jazz Messengers With Thelonious Monk (1958) is a timeless meeting of the masters. Art Blakey (drums) and his Jazz Messengers — which concurrently include Johnny Griffin (tenor sax), Bill Hardman (trumpet), and Spanky Debrest (bass) — face off with Monk during one of the pianist's most creative and fruitful eras. With such a voluminous back catalog of seminal bop compositions, it is fitting that a majority of the album's material stems from Monk. Each of the performances is given extra emphasis, with both co-leaders unleashing their own respective instrumental articulations behind the equally impressive and expressive Jazz Messengers. Right out of the gate, Hardman's solos during "Evidence" provide a powerful introduction into Monk's slightly off-center piano gymnastics. While they never go directly head to head, each musician is clearly inspired by the other's intensity, as they likewise fuel the freewheelin' and hypnotic rhythm of "In Walked Bud." Blakey's firm hold on the combo can be felt as he unleashes a percussive torrent to commence a woozy "Blue Monk." The lackadaisical melody saunters through some adeptly executed changes from Monk with the Jazz Messengers following an effortless and unyielding swing that slices through the heart of the score. One unquestionable highlight is the frisky "Rhythm-A-Ning," sporting the inimitable brass augmentations and co-leads of Griffin and Hardman. The quirky yet catchy chorus bounces from the dual-lead horn section with the entire arrangement tautly bound by the understated Debrest and Blakey. Griffin's "Purple Shades" is a smartly syncopated blues that is more of a musical platform for the Jazz Messengers than for Monk. That said, the pianist provides an opening solo that alternately shimmers and shudders. Again, Debrest as well as Griffin and Hardman demonstrate their own pronounced capabilities over Monk's otherwise occasional counterpoint...
1. "Evidence" (Thelonious Monk) - 6:46 2. "In Walked Bud" (Monk) - 6:39 3. "Blue Monk" (Monk) - 7:54 4. "I Mean You" (Monk & Coleman Hawkins) - 8:02 5. "Rhythm-A-Ning" (Monk) - 7:20 6. "Purple Shades" (Johnny Griffin) - 7:48 7. "Evidence" [alternate take] (Monk) - 5:30 Bonus track on 1999 CD reissue 8. "Blue Monk [alternate take] (Monk) - 6:59 Bonus track on 1999 CD reissue 9. "I Mean You" [alternate take] (Monk, Hawkins) - 7:34 Bonus track on 1999 CD reissue
* Art Blakey - drums * Thelonious Monk - piano * Johnny Griffin - tenor saxophone * Bill Hardman - trumpet * Spanky DeBrest - bass
The album was produced by Nesuhi Ertegün and engineered by Earl Brown.
Alice Coltrane has lived in the shadow of both her husband and his classic quartet pianist, McCoy Tyner, but she put out some interesting, often religious-based work on Impulse and Warner Bros. in the '60s and '70s. Recorded live in 1978, Transfiguration turned out to be her final album. Here she set aside arrangements of religious chants and returned to the jazz trio format with the formidable combination of drummer Roy Haynes and bassist Reggie Workman. Coltrane's organ and piano work is filled with uniquely turbulent and swirling arpeggios that are the center of attention almost throughout. Originally a double LP, this 83-minute, double-disc effort includes six originals as well as a 36-minute cover of John Coltrane's late-period monster "Leo," which features fine solos from all three players. Issued on CD and remastered for the first time, Transfiguration should help modern audiences revise their opinion on Alice Coltrane's often-overlooked legacy as a jazz player of substance.
Disc: 1 1. Transfiguration 2. Spoken Introduction/One For The Father 3. Prema 4. Affinity
Disc: 2 1. Krishnaya 2. Leo, Part One 3. Leo, Part Two
01 - Goin' down south (7:05) (Sample) 02 - Prints Tie (7:24) (Hutcherson) 03 - Jazz (5:18) (Sample) 04 - Ummh (7:42) (Hutcherson) 05 - Procession (5:40) (Hutcherson) 06 - A Night In Barcelona (7:20) (Land)
Bobby Hutcherson - Vibes, Marimba, Percussion Harold Land - Tenor Sax, Flute, Oboe Joe Sample - Acoustic & Electric Pianos John Williams - Acoustic & Electric Basses Mickey Roker - Drums
Produced by Duke Pearson at UA Studios LA Recording Date: July 15 1970
"Live In Tokyo" captures the Jazz-rock fusion band Weather Report in a stunning performance at Shibuya Hall in January 1972. The band line-up for the concert consisted of Joe Zawinul on pianos, Wayne Shorter on saxophone, Miroslav Vitous on bass, Eric Gravatt on drums and Dom Um Romao on percussion. Segments from this album were released as half of the band's second album "I Sing The Body Electric". On this album however, it is a complete 90-minute performance consisting of five lengthy tracks (four of which are continuous suites containing different pieces). The band was definitely on a musical high during this particular concert displaying a sound that is raw and full of fierce improvisation. Joe Zawinul's keyboard work is at its most experimental here as he modifies his electric piano with a distortion box, wah-wah pedal and a ring modulator. This sometimes gives the impression that there's a guitarist on-stage during the performance when in fact there is no guitar to be heard. His acoustic piano work is also experimental as he sometimes plays it from the inside striking its strings by hand instead of with the keyboard. Miroslav Vitous's bass work is also at its best here, alternating between acoustic and electric. There are several moments during this album (especially in the opening medley) where Vitous grabs the spotlight with his unique style. His work with the bowed bass on "Orange Lady" is particularly strking and haunting. Wayne Shorter's sax playing is at its most free form here. It's not exactly like Ornette Coleman or John Coltrane but it is highly improvisational and momentous. His work on the band's studio albums tends to be more refined and subdued but here, Wayne lets it rip and tear. Drummer Eric Gravatt is a sadly underrated drummer but nonetheless does an outstanding job here. His extended drum solo is the first thing heard on this album. Throughout this performance, he pushes the rhythm with full force. Percussionist Dom Um Romao also has some moments in the spotlight here. Besides spicing up Gravatt's rhythms with various percussive toys, Romao also has a solo moment in the album's second suite using whistles, a thumb piano and using his own body as an instrument. There is a similar moment in the intro to "Orange Lady". Overall, the "Live In Tokyo" performance captures the early Weather Report at its very best. This music is extremely agressive and loud. The other live albums from the band ("8:30" and the recent "Live and Unreleased") are a lot mellower compared to this one. "Live In Tokyo" is definitely an essential title if you're a Weather Report fan. If you're new to the band's music, this may not be the place to start, however it certainly is not unlistenable. This album has yet to be released in the U.S. even after its intial release in Japan over 30 years ago. Hopefully, that will all change in the near future. This is some great music and a great live performance from a great band. Definitely worth checking out
Record One: 1. Medley - Vertical Invader/Seventh Arrow/T.H./Doctor Honoris Causa 2. Medley - Surucucu/Lost/Early Minor/Direction
Record Two: 1. Orange Lady 2. Medley - Eurydice/The Moors 3. Medley - Tears/Umbrellas
CD1: 01 - Vision 02 - Common Mama 03 - The Magician in You 04 - Roussillion 05 - Expectations 06 - Take Me Back 07 - The Circular Letter (For J.K.) CD2: 08 - Nomads 09 - Sundance 10 - Bring Back the Time When (If) 11 - There Is a Road (God's River)
Keith Jarrett: Piano (01 - 06, 08 - 11) String section (01) Tambourine (02, 06, 08, 10) Soprano saxophone (02, 04, 06, 07, 09, 10) Organ (08)
Tracks 03, 06 & 08: Recorded on April 5, 1972 at Columbia Studio E Tracks 01, 05, 10 & 11: Recorded on April 6, 1972 at Columbia Studio B, NYC Track 02: Recorded on April 6, 1972 at Columbia Studio E, NYC Tracks 04, 07 & 09: Recorded on April 27, 1972 at Columbia Studio E
"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