Stairway To Heaven The Battle Of Evermore 1 2. The Battle Of Evermore 2 3. The Battle Of Evermore 3 4. The Battle Of Evermore 4 5.
The Battle Of Evermore 5 6. The Battle Of Evermore 6 7. Four Sticks 1 - instrumental 8. Black Dog When The Levee Breaks 1 When The Levee Breaks 2. Heartbreaker - main guitar bleed 1 2. Heartbreaker - main guitar bleed 2 3. Heartbreaker - bass bleed 4. Heartbreaker - drum right bleed 5. Heartbreaker - drum left bleed 6. Heartbreaker - guitar bass drum bleed 7. Heartbreaker - vocals bleed 8. Heartbreaker - vocals and guitar bleed 9. Heartbreaker - multitrack mixdown 1 Ramble On - acoustic guitar bleed 2.
Ramble On - electric guitar bleed 3. Ramble On - guitar overdubs bleed 4. Ramble On - bass bleed 5. Ramble On - drum right bleed with tympani 6. Ramble On - drum left bleed with tympani 7.
Ramble On - vocals bleed 8. Ramble On - vocals and guitar bleed 9. Ramble On - multitrack mixdown 1 Ramble On - multitrack mixdown 2 Ramble On - multitrack mixdown 3 Ramble On - multitrack mixdown 4 Ramble On - multitrack mixdown 5 Jennings Farm Blues 1 thru 5 6.
Jennings Farm Blues 6 - complete basic version 7. Jennings Farm Blues 7 thru 11 Jennings Farm Blues 12 - final take Untitiled guitar instumentals - Bron-Yr-Aur cottage tracks. Babe I'm Gonna Leave You 8 2. Babe I'm Gonna Leave You 9 3. Babe I'm Gonna Leave You 9 complete 4.
You Shook Me 5. Baby Come Home 1 6. Baby Come Home 2 7. Baby Come Home 3 - complete 8. Moby Dick intro outro Sugar Mama Whole Lotta Love - main guitar bleed 2. Whole Lotta Love - guitar overdubs bleed 3. Whole Lotta Love - bass bleed 4. Whole Lotta Love - drum right bleed 5. Whole Lotta Love - drum left bleed 6. Whole Lotta Love - tympani-tambourine bleed 7.
Whole Lotta Love - vocals bleed 8. Whole Lotta Love - vocals overdub bleed 9. Whole Lotta Love - multitrack mixdown 1 Whole Lotta Love - multitrack mixdown 2 Whole Lotta Love - multitrack mixdown 3 Bob Dylan - 50th Anniversary Collection 14 cd mostly soundboards. Mostly soundboards and some fair-poor audience. Pick and choose as you please. There are fade outs in between each track, but some of these recordings are not circulating as soundboards otherwise.
To Ramona 4. Gates of Eden 5. Maybe Someday. This lady is a forgotten star in what is considered the greatest of all big bands with a surfeit of stars.. Baby'; 'House Party' and 'Midnight Special' We don't think we would find many detractors if we were to say that our latest guest artist is probably the most famous jazz Hammond organist in the world.
Smith was incredibly prolific, hmm, perhaps that's where the name came from? He made many classic albums and we at AVID think we have snagged four of his best! Here's a few of the names on these swinging platters. Much the same could have been said of Ronnie Scott that year too. Indeed, when he and his band took to the stage of a tiny pub in the backwaters of Wiltshire on a spring evening in , a one-night stop on an exhaustive nationwide tour, he was in the midst of perhaps the most turbulent time of his life.
Amid fractious personal relationships and an ongoing battle with depression, and surrounded by a jazz scene whose very fabric had changed unrecognisably in a few short years, Scott nevertheless remained one of the UK's great jazz catalysts a central figure around whom much of what was considered newsworthy within the idiom still concentrated.
At forty-seven, the saxophonist was no longer chasing the music's cutting edge; instead he had forged a style very much his own, one which tipped its hat to many of the good and the great who'd graced his own Soho club, but which now boasted even greater authority, maturity and individuality than ever before.
And, despite his off-stage tribulations, he was happy with his band, a hitherto rare instance of a Scott-led line-up lasting more than a few years. Supported by organist Mike Carr and drummer Bobby Gein, he tore the roof off the White Hart, whose 'Jazz at The Icebox' presentations were a magnet for West Country jazz fans, probably unaware that what was undoubtedly just another night's work for him and his hard-grafting colleagues was being caught on tape.
Issued here for the first time, this recording captures Scott doing what he did best: playing no-holds-barred jazz, minus the pressures that came from being a frontman for his own club, or acting as 'support act' to his many American guests. As such, it reveals a Ronnie Scott rarely heard on record, an instrumentalist in full-flow, sounding relaxed yet forthright, and making a mockery of the notion that art must mirror life. Scott may have been sailing stormy waters elsewhere but On A Clear Day finds him at the eye of a creative hurricane.
Packaged with period photos, reminiscences by some of those present on the night, and an in-depth booklet essay by award-winning saxophonist Simon Spillett, this album makes a powerful case for a long-overdue re-evaluation of Ronnie Scott, jazz musician, doubly so in featuring two rare examples for his oft-overlooked soprano saxophone work album notes. This previously unreleased session dates from a period in when the trio was out on tour Over the past 25 years trumpeter and drummer Andy Hague has become well known in Bristol both as a performer and as organiser of weekly jazz venue, The Be-Bop Club.
Besides his jazz activities he has played in many other settings, including albums by the band Portishead and for theatre, TV and film productions. Andy is also a jazz educator having taught under the banner of Bristol Jazz Workshops for over a decade, tutoring on summer schools and acting as an external examiner for the Royal Welsh College of Music and Drama.
With Andy on this album are musicians that he has worked with on many occasions: saxophonist Ben Waghorn is a long-term associate and pianist Jim Blomfield has long been part of Bristol's jazz scene. Both musicians were heard by Clark at the Purcell School of Music some years ago and are currently studying at the Royal Academy of Music. On piano is Elliott Sansom, who recently graduated from Birmingham Conservatoire where Clark regularly teaches and he was also a finalist in the BBC jazz awards.
Recorded in April of , this recording, which is Clark's 15th under his own name, has two original tunes by the horn players and three tunes which allow the musicians to stretch out. In their first year, under Clark's guidance, the quintet have performed at a number of major venues including Ronnie Scott's Club and the Pizza Express, along with festivals such as Swanage and the South Coast Jazz Festival' album notes.
Clark himself encourages everyone and plays with taste, power and precision. I hope he'll keep this group and let it develop and grow. Details : Listen to Pools :. Details : Available in January : Video Introduction :.
Doing a 2-tenor combo with the wonderful Max Ionata seemed like a perfect UK-Italian collaboration, and it was a sheer pleasure from the first note. The quartet was made up with UK virtuoso jazz organist, Ross Stanley.
The session was 'live in the studio' and swinging hard: 5 originals by Dave, 2 by Max, a tricky blues theme by James Williams, a Dizzy Gillespie rhythm changes and an old Italian pop song! Details and Samples : Video of You're Nicked :. Downes' minimal, abstract arrangements of sombre piano meditations and Arthur Russell-esque cello experimentation blend with Gibson's idiosyncratic vocals to create a sense of emotional urgency - a raw, distressing honesty is prevalent throughout the album.
Drawing inspiration from Delta Blues, Icelandic Art Rock and Early Music, the sonic world created is both inviting and menacing, giving the perfect template for Gibson's lyrics of love, loss and the various fuels of the Emotion Machine album notes. Downes' intelligent, resonant semi-abstract sonic sculptures With just Fortner's deft accompaniment to support McLorin Salvant, the two are free to improvise and rhapsodize, to play freely with time, harmony, melody and phrasing.
Thematically, 'The Window' is a meditative cycle of songs about the mercurial nature of love. The duo explores the theme across a wide repertory that includes Richard Rodgers and Stephen Sondheim, the inner-visionary Stevie Wonder, gems of French cabaret, and early Rhythm and Blues, alongside McLorin Salvant's brilliant, original compositions.
Just as a window frames a view - revealing as much as it hides, connecting as much as it separates - each song on the album offers a shifting and discerning perspective on love's emotional complexity.
McLorin Salvant sings of anticipation and joy, obsession and madness, torment and longing, tactics and coyness. Touched at every moment by McLorin Salvant's brilliance, The Window is a dazzling new release from an artist who is surely, to quote Duke Ellington, "beyond category.
Produced by Simon and Roy Halee, who have worked together since the s, the album features a talented cast of musicians who have joined Simon to lend fresh perspectives on 10 of the artist's favorite though perhaps less-familiar songs, drawn from his unparalleled body of work. The reality we experience is a mere creation of our consciousness, but our consciousness creates this reality based on those very same experiences. We are simultaneously the creators of our personal universe and creations of our personal universe.
The Earth side of this album represents the world as I see it outwardly, the world that I am a part of. The Heaven side of this album represents the world as I see it inwardly, the world that is a part of me. Who I am and the choices I make lie somewhere in between. Occasionally, on top of it, there are heavy string orchestrations and chants carried out with a luxuriant opulence that may or not affect the existing idea of nostalgia Even not venturing into new ground, Kamasi remains with an intact and eclectic vision.
Even expecting more from this album, I found that the connection of the group as a whole is never put into question JazzTrail. The swinging flux that persists while Hagan improvises is discontinued in favor of a looser texture, urging pianist Gary Versace to express his ideas against a funk-inclined background Slava Ganelin piano, synths, drums ; Vladimir Homyakov pipe organ.
The State Philharmonic in Chelyabinsk has a huge pipe organ. Vladimir Homyakov is a new name in the catalogue of Leo Records. He plays this pipe organ while Ganelin plays the piano, two synths and drums.
But what kind of music do they play? In his liner notes, Steve Day is trying to persuade us that they play jazz. Jazz or not, but playing seventy minute concert in Chelyabinsk to the ecstatic audience, these two musicians managed to create something very special, new and original. Steve Day calls it 'gigantic creative epic'. Details and Samples : Video :. Not merely because of its musical quality, but also its rarity. Tenor saxophonisdt Stubblefield's five-month tenure with Mingus was previously only the subject of memory..
The entire four-hours-plus of first-generation public-radio recording is presented unedited Still, its a chance to hear solos from some fine but now departed players, as well as such hardy survivors as Green, Williams, King and Taylor Despite being born only half a dozen years before the likes of Miles and Trane, our next guest artist, Stanley Turrentine, became known primarily as a tenor sax giant from a much later generation.
He also became known for playing with two legendary soul jazz organist, the Incredible Jimmy Smith and his wife in the s Shirley Scott. Our four selections feature Stanley playing with organist Shirley Scott and quite a few upcoming future soul jazz legends such as pianist Les McCann, Gene Harris and Herbie Lewis' album notes.
Ultimately the album captures what the Party is all about — why musicians come from all over Europe, the USA and even Australia to take part, and why dedicated fans return year after year' album notes. Moon Palace takes its title from a Paul Auster novel of the same name. It features a selection of Kay's original compositions which evoke the various places and experiences that inspired them, from the leafy streets of Muswell Hill, north London 'Strawberry Terrace' to the jazz Mecca that is Greenwich Village, Manhattan 'Perry Street'.
I heard a lot of amazing music while I was there; it's an incredibly inspiring place to be," says Kay. Moon Palace also reflects Kay's love of the jazz tradition with her quirky arrangement of Charlie Parker's 'Kim' and her moving solo rendition of Hoagy Carmichael's beautiful ballad 'Stardust'. I love his swinging and playful playing, especially in a trio setting," explains Kay.
He is a virtuoso on the bass; every time I play with him he pushes me to play better. Dave and Ferg make a great team. The band is on tour during December click here for details. Andy first met Joe whilst teaching a masterclass at the Royal Conservatoire of Scotland in Later that year, they ran into each other by chance at the Silesian Jazz Festival in Katowice Poland , where Andy saw the band perform, and soon after proposed a collaboration.
In March , Andy joined Square One for a tour of Scotland and two days in the studio to record this album' album notes. In common with the previous two albums she is accompanied by master guitarist Nicolas Meier, who has again co-produced the record with Ducomble Roger Farbey, allaboutjazz. As draws to a close, vocalist and composer Jessica Radcliffe releases her debut album, Remembrance, marking the end of the First World War centenary.
Based on her in-depth study of the devastating event through music, poetry, reports, letters and other historical documents, Radcliffe's original compositions and arrangements create a moving tribute. The album was completed following an emotional visit to the Western Front. I wanted to present something entirely focused on the humanitarian struggles during the conflict. Duke Ellington's sacred concerts had many incarnations, more than the three on the commercial records: The First , The Second and The Third At concerts Ellington often made changes in the proceedings, left out some numbers, and played others, and altered the succession of numbers played.
This was evidenced at Coventry Cathedral on a winter's Monday, February 21st The Coventry concert had its centerpiece in In The Beginning God , but apart from that it was no ordinary sacred concert: Two numbers, Come Sunday and Tell Me It's The Truth would have a vocal on the issued record and in other performances of A Concert of Sacred Music the previous year, but were purely instrumental here and the two numbers following In The Beginning God had no connection to a religious theme.
With him on that day in Coventry Cathedral were some highly professional British vocalists, The Cliff Adams Singers and the baritone singer George Webb, giving the performance a special quality, which the band acknowledged by playing on the top of their game. The concert was filmed for TV, and part of it was telecast.
Two numbers were regrettably omitted from the TV production, but are on this album, a powerful version of Light Montage from Black, Brown And Beige, and the above-mentioned Come Sunday. The concert also includes a premiere and only performance of a new Ellington composition Come Easter, a premiere of another new Ellington piece West Indian Pancake, and one of the first performances of a piece which would become an important part of many concerts during the following years, La Plus Belle Africaine' album notes.
Details and Samples : Review :. It was a whole new world being able to extemporize with words and melody. Then along came Nancy Wilson and Betty Carter of which all these women have been tremendous teachers to me through the recordings they have left with their legacy' Sara Dowling. Her epiphany has probably triggered the kind of heartfelt commitment needed to stand out in an oversubscribed sub-genre, as demonstrated by these intimate straightahead duos In addition, Masters incorporates the unique voice of Anna Mjoll as an orchestral colour, mixing with the instrumental waves in wordless swirls of sound.
The group's big band sound is augmented by bass clarinet and vibes giving the project, at times, an ethereal personality. On this album, Masters applies his prodigious talent for painting brilliant, complex, and satisfying jazz landscapes. Masters has the entire band having fun with his compositions and arrangements where the presence of jazz tradition is as important as it is the modern infiltration.
The aesthetics of his music, built with passages that alternate between the adventurous and the predictable, have the soloists carrying much of the flame' JazzTrail. Although revealing dynamic writing skills, he doesn't record as much as a leader, preferring to disseminate his irresistible sonic zest in projects of likes such as David Binney, Dan Weiss, and Eivind Opsvick or co-leading duos with singer Yoon Sun Choi and quartets Spirals, 40Twenty, Two Miles a Day.
Always leaning on the avant-garde without neglecting traditional forms and sounds, Sacks now convenes a pungent new quintet with provocative saxophonists Ellery Eskelin and Tony Malaby, bassist Michael Formanek, and drummer Dan Weiss, the only one who remained from the former group.
Released on Clean Feed label, Fishes features eleven tracks, five of which are sketchy, relatively short collective improvisations with Carnegie in the title. The ambiguity of these sonic canvases usually comes from two disparate melodic threads created by the reed players, fulminant single-note drives and disarming chords that sometimes lead to whimsical piano textures, and an unimposing bass-drums flux. The creative ideas take either seductively cerebral or emotionally spontaneous forms.
Even though it carries some complexity, Fishes is still an approachable outing from an adventurous pianist in full bloom and at the helm of his own group' JazzTrail. On The Other Side of Air , the members of Snowy Egret - a quintet featuring Ron Miles on cornet, Liberty Ellman on guitar, Stomu Takeishi on bass guitar, and Tyshawn Sorey on drums - create unpredictable fusions within the legitimate compositional aesthetic of the pianist.
The attractive melody, either uttered in unison or counterpoint, is laid over a stealthy bass groove that anchors further sonic layers.
Miles and Melford find the space they need for their respective impromptu discourses; the former enjoys a serene, more rudimentary backing, whereas the bandleader reacts particularly colorful by engaging in busy single-note trajectories, patent rhythmic figures, and harmonic chains filled with tension The tight structures of this jazz-influenced new music encapsulate a fluid amalgam of composition and improvisation that strikes you with the force of thunder.
This is another elegant work from an accomplished pianist' JazzTrail. Saxophonist Tim Armacost, pianist David Berkman and drummer Gene Jackson present individual arrangements full of characteristic inventiveness; and, for the first time in the studio, they are delighted to document bassist Ugonna Okegwo's relationship with the band, a regular on their US tours. It's a recording of remarkable finesse, once again refracting kaleidoscopic colours across old favourites and less-familiar treasures from the jazz heritage.
Having played together for so long, Armacost highlights two key facets: "One is to discover a beautiful standard you haven't heard before; the other is finding something well known, then portraying it differently. So we honour the tradition of this music, representing it authentically, but also creating environments which feel new. Recorded off the back of a week-long tour, the first-take immediacy of these eight sparklers is evident' album notes.
While the bandleader teams up with alto saxophonist Adam Siegel in the frontline, the foundation is entrusted to bassist Michael Bisio and drummer Harvey Sorgen, who effortlessly disseminate swing and shuffle rhythms throughout the recording By blending freedom and lyrical intensity with panache, Pasin and his bandmates provide us with ear-catching moments that are colorful and jubilant at the same extent. He has reached the crest and, before he can think to stop, he is falling. For those few seconds before the wind mercifully sweeps him away, he is in a freefall, in a state of exhilaration, heightened awareness and, perhaps, terror.
Yet, he has committed himself and had to push through the fear in order to soar. For over two decades, guitarist Brandon Ross, bassist Melvin Gibbs and drummer JT Lewis have thrown themselves into making music that is sans genre, infective and overpowering.
Their years of experience playing alongside and driving many of the improvised music, jazz and rock's most celebrated ensembles have prepared them to run this gauntlet, The Terror End of Beauty album notes. By intelligently interspersing moments of opaque obscurity and sheer beauty, Harriet Tubman achieves a perfect balance in its incisive and concise writing. The record, not too dense but not too immediate, never refrains in emotion and rewards in abundance after multiple listenings' JazzTrail.
For the prodigious young pianist, the spirit of his hometown runs deep. As with many of the greats before him, Amaro began playing piano in church aged 12, under the instruction of his father, leader of the church band. As his natural talents became obvious, the young prodigy quickly outgrew his father's instruction. Undeterred, Amaro gigged in bands at weddings and worked in a call centre to fund his tuition.
The transformative moment came at age 15 when Amaro stumbled across a DVD of Chick Corea concert, "he completely blew my mind, I'd never seen anything like it but I knew that's what I wanted to do with a piano". By the age of 22 Amaro was one of the most sought-after musicians in Recife and resident pianist at the legendary jazz bar Mingus. It was during this time he met and begun collaborating with bassist Jean Elton and the pair went in search of a drummer.
Hugo Medeiros joined, and the Amaro Freitas Trio was born. Yes, it's a difficult instrument, which many people do not have access to, but with it you can express everything.
A love letter to his native northeast, Amaro explores its traditional rhythms through the jazz idiom, employing complex mathematical patterns reminiscent of some of the most challenging works by fellow Brazilian masters Hermeto Pascoal, Egberto Gismonti and Moacir Santos. Having already made a name for himself in Brazil, Amaro and his phenomenal band will embark on their first European tour later this year.
All compositions by Amaro Freitas' album notes. He created beautifully dynamic arrangements, inspired not only by the singer-guitarist's melodies, harmonies and rhythms but by his lyrics, too. He sings with the passion of the best classic soul singers, and his instrumental chops stand alongside the most accomplished jazz musicians. Details : Introductory Item : Video :. Johansen drums ; Sofia Jernberg vocals ; Ola Kvernberg violin.
The orchestra belongs to the Mid-Norway Centre of Jazz who initiates and organises new projects. The orchestra is operated as a musicians' pool, so that the orchestra changes as to instrumentation and size from project to project.
This gives room for great width in the repertory. The musicians that have been involved in the orchestra are among Norway's most famous jazz profiles.
Here it performs in mid-band mode, liberally sprinkled with rising young Norwegian jazz stars. On the surface, its certainly a case of saxophonist-plus-big-band - despite Dolphy's presence, the only soloists are the members of the regular quartet The only thing missing from the present minute programme, by comparison with Impulse! Brian Priestly in Jazzwise. Poll Winners - Released: 30th September Verve V , which coupled two superb small group sessions featuring Ella Fitzgerald with pianist Lou Levy, guitarist Herb Ellis, and drummer Stan Levey, among others.
As a bonus, we have added four more studio tracks by Ella backed by Levy, as well as a complete live performance in Hartford' album notes. Four of the five movements from that concert have been added here as a bonus, allowing us to compare the orchestral and small group versions' album notes.
Gillispiana was conceived as a concerto grosso , in which the trumpeter's quintet played as the group of soloists and a massed big band brass section formed the ripieno ensemble EJC have wisely decided.. So what happened to the great tenor saxophonist? Sadly an all too familiar story of the decline of big band jazz audiences followed by serious drug problems.
Ike Quebec had quite an extraordinary split career which either end you look at was remarkable for the jazz men he played with. Utilising some of the finest musicians in British Jazz today, Ant Law has crafted a masterpiece, merging wide-ranging stylistic and genre influences, virtuosic musicianship and melodic accessibility into one career-defining album.
Abounding in warmth and energy, Life I Know is a deeply experienced musical expression of all the influences that surround Ant: his sense of community, culture, human interaction and creative spirit. From thundering, all out metal assaults, to ambient meditations and plaintive melodies, New Life sees Flying Machines pushing the envelope in terms of extremities of dynamics and explorations of form, with a marked leap forward in production values.
What sings out immediately about New Life is Munk's love of playing: not in a shred-tastic way, but in a relish of the many voices the guitar offers him We are lucky to have a new generation of guitarists growing in confidence, and Munk and his band could yet fly furthest' Andy Robson in Jazzwise. The musicians like to make brave, innovative and original musical decisions. Their collective improvisations are like real bursts of energy, shocking contrasts, sudden stylistic changes, eclectic combinations and spontaneous waves.
Each improviser is great, creative and interesting — all of them have unique sound, evocative and bright playing manner, rich musical language and the talent to reveal wide range of different playing techniques, moods, senses and expressions. They do all that by using a masterful and organic fusion of sounds, unusual noises, strange timbres and other elements of musical language. All the pieces are connected together in the most effective, bright, evocative and organic way This album has many effective, gorgeous and interesting duos, solos or trios.
Roaring, passionate and dynamic reeds solos gently fit together with subtle, variable and bright double bass solos, unusual timbres or original, energetic and intensive guitar solos.
Inspiring variety of styles, sounds, expressions, timbres and chords makes an effort to remarkable, luminous and tremendous sound of this album. Avant Scena. The spontaneity of this purely acoustic trio has already captured imaginations, as well as spurring Davies on in its progression. It might be seen as limiting to have no traditional "harmonic instrument" in this line-up—especially with the deeper frequencies of the tenor—but it actually throws melody to the fore, which I like.
And if melody is happening you really can do whatever you want. We create so much space together that it actually encourages me to both compose and play in a different way.
The enduring appeal of Satori is its freedom—a wonderfully exciting and valuable experience. Details and Sample : Introductory Video :. The group have been gigging around London, and recorded a debut album at Livingston Studios in London in July thanks to a successful Crowdfunding campaign.
In an unfortunate stroke of fate, Caroline underwent open-heart surgery in , rendering her unable to perform for several months. During this intense and frustrating period, Scott began composing what would eventually become Khoalesce. It was during this time that she was accepted on the Masters course at Trinity Laban with a full scholarship and set the task of composing and recording an album within a year.
Deciding to incorporate and develop what she had started whilst recovering, Khoalesce is subject to contrasting atmospheres and moods that have influenced the creative process It is a double album: one disc is entitled 'This is Water', and is a collection on tracks 1 to 10 of arrangements of pieces given to Laura for the album from esteemed friends and colleagues, such as Robert Mitchell, Alex Wilson, Nikki Iles, Jason Yarde and Corey Mwamba; and the other disc, entitled 'As Warm As The Sun', is a collection of compositions and improvisations by Laura herself.
This album was developed during a residency at Lyth Arts Centre, in Wick, Scotland, in September ; a few months later, it was sensitively recorded at Steinway Recording by Spencer Cozens. Enough represents a highly personal gathering of musical ideas and intimate emotional journeys, and is an attempt to express this in the solo format. The basis for this album was inspired by Laura reading the sculptor Anne Truitt's journal, 'Daybook', and is an exploration of emotional themes related to the nature of composing and improvising, both as a musician and a mother.
The wider context to both the conception and recording of Enough was an attempt to express the real life challenges outside of music which Laura experienced during that time; this context was explored and brought into focus during the residency, in particular in regards to the relationship between the private and public spheres within creative processes, and the situating of music-making within this album notes.
This CD which teams Ron with a cast of regular Discus Music collaborators is a collision of pure jazz skill happening in real time and studio collage. We hope, even though the music is quite different, that it contains a spark and continuation af the 'arts lab' ethos of Ron's early work with E of E. Now based in Brighton where he is a regular on the leftfield scene, Ron's fluent and highly individual playing seems as able as ever to cross and recross the line between tradition and abstraction with deeply informed ease' album notes.
It embodies an idea which naturally spilt from this music where the audience meet the musicians in a symbiotic middle plane of mutual stimulation.
Being it a thrill for head-banging guitar riffs or the complexity of contrapuntal interweaving melodic lines, this music will induce a comprehensive and contrasting journey.
The choice of musicians was equally important. All of them are extremely open and versatile musicians who understand the music very well and naturally take a lot of liberties both on the written and improvised material.
Seems to be Jordan's debut, although he's the same age as Fielder and 11 years older than Futterman, who recorded his first back in Given that most centers of jazz in the US Southeast tend to mainstream or even retro, this is extreme indeed.
Joel Futterman and Ike Levin: Live in Chicago , Charles Lester Music : Futterman's model as a pianist is no doubt Cecil Taylor -- a connection made even more obvious when he recorded a series of albums with Jimmy Lyons. Here they drop down to a duo for a live set, two pieces: "Rhizome" and "Renewal" Nice that they can slow it down for an occasional respite, and that it's lovely when they do. Charles Gayle Trio: Spirits Before , Silkheart : Tenor saxophonist, originally from Buffalo, moved to New York City in the s, spending many years there homeless, playing on the streets.
Cut his first albums for this Swedish label -- three in one week, including this trio with Sirone on bass and Dave Pleasant on drums -- then finally got some attention in with Touchin' on Trane FMP , a Penguin Guide crown album.
Sounds pretty typical of his s work, but no one could have known that at the time. Rather, one heard echoes of Ayler's holy ghost, with newfound urgency. Charles Gayle Trio: Homeless , Silkheart : Same trio, recorded the same two days as Spirits Before , the CD fleshed out with two extra tracks beyond the LP's four -- originals except for "Life Every Voice" although it's not much more recognizable.
Charles Gayle Quartet: Vol. I'm not sure when Gayle developed his signature interest in scratchy strings, but it's the dominant motif here. While his sax struggles mightly against that backdrop, it rarely breaks out. Dennis Gonzalez New Dallas Sextet: Namesake , Silkheart : Avant trumpet player from Dallas, second album after his superb debut Stefan , a little messier but packed with power -- a second trumpet Ahmed Abdullah , two saxes Charles Brackeen and Douglas Ewart, also on clarinet and flute , with Malachi Favors bass and Alvin Fielder drums.
Trumpet, trombone, two saxes Charles Brackeen and Michael Session , cello, bass, and drums Alvin Fielder, who composed one piece. Seems torn between fancy and free, not all that satisfactory either way. These sessions were first released in by Fontana as The Master Swingers! Dexter Gordon: Dexter Blows Hot and Cool , Essential Jazz Classics : Originally a 9-track album for Dootone -- along with Daddy Plays the Horn also , Gordon's only albums between -- picked up five bonus tracks from two months earlier, with different piano and drums but same bassist Leroy Vinnegar.
A third one can be mapped from his return to the US in , although he recorded regularly while in Denmark, especially for the SteepleChase album named for him. Sextet, the rest of the band nothing special best known are Dolo Coker on piano and Lawrence Marable on drums , but the saxophone is ummistakable. Five covers, stretches of four standards and Lou Donaldson's "Blues Walk. Dexter Gordon: More Power! Seems like he can crank out records at this level whenever he gets the chance.
Leans heavily on bop standards and lights them up. Dexter Gordon: The Panther! Includes a long "Body and Soul," and a relatively short "The Christmas Song" -- especially nice where corny was more likely. Four pieces, just , with the saxophonist playing even less. CD adds a second take of "Milestones. Starts in a good mood, working in one of his trademark quotations early. Shaw is in especially fine form, further inspiration for the conquering hero.
Grupo Mono Blanco: Soneros Jarochos: The Arhoolie Recordings , Arhoolie : Clearly dated, produced by Chris Strachwitz on a trip to Veracruz, with five musicians but only four on the cover, the only constant between here and the new er Smithsonian record the leader Gilberto Gutierrez Silva. The harp gives this a distinctly percussive sound, but sometimes it sounds like the microphone got left in the wrong room. Touches on Ornette; "Ice on Fire" really takes off.
Jim Hobbs Trio: Babadita , Silkheart : Alto sax trio, with Timo Shanko bass and Django Carranza drums , same as his Fully Celebrated Orchestra group -- don't have a recording date, but seems likely this came earlier. Also don't have song credits, but "A Posse" is pure Ornette Coleman -- only one of several distinct impressions he makes. Seems marginal at first, until Bang finds his magic, and the drummer manages to keep up.
Two half-hour pieces plus an closer, nothing sweet to it, the sax caustic, the piano explosive. Steve Lacy Sextet: The Gleam , Silkheart : One of the soprano saxophonist's favorite configurations, with at least six Sextet albums from I dislike Aebi's vocals so much I usually dock Lacy's albums one notch per song.
Not so bad here, but much better when she lays out or just plays violin. Steve Lacy: 5 x Monk 5 x Lacy , Silkheart : Soprano saxophone, solo, five Monk songs, five originals, both sets deliberate and methodical.
Warms up with a sly take on "Take the A Train," followed by two pieces each, winding up with a joint improv, the extraordinary "Fragments I. McLean earns his top billing. Alexander von Schlippenbach: Globe Unity , SABA : Album attributed to the pianist his first , recorded a month after the Berliner Philharmonie concert that launched his famous free jazz ensemble. This could be taken as the founding document of the European avant-garde: might even lead to the conclusion that instead of evolving piecemeal, it erupted in a big bang.
Not sure whether the goosed up mixes increase the appeal or complicate a vibe that was too subtle for me to grasp back then. Either way, some first rate songs. Seems to be his second album after Shekhina in , on Eremite , a trio with William Parker bass and Susie Ibarra drums.
Terrific energy out of the gate, but does wear you down a bit. David S. His quartet, which first recorded in , features Matthew Shipp piano and William Parker bass , with Marc Edwards the drummer. Lots of potential here, at least on the tenor sax tracks, where Ware is a commanding presence, and Shipp's comp rumble is already unique.
Ware Quartet: Oblations and Blessings , Silkheart : Drummer -- the only position that changed over the Quartet's year run -- now Whit Dickey, no doubt brought in by pianist Matthew Shipp, whose trios started with and still feature Dickey. Ware has settled on tenor sax. Sometimes further listening leads me to change an initial grade, usually either because I move on to a real copy, or because someone else's review or list makes me want to check it again:.
A Tribe Called Quest: People's Instinctive Travels and the Paths of Rhythm , Jive : Rechecked this after the remixes above, figuring I had almost certainly underrated it -- if only because I could still recall a number of songs probably thanks to The Anthology , which came out in after they broke up.
Of course, the remixes have a bit more punch, but the flow here shows they were really onto something, and it just took me way too long to appreciate what. And no, not 28 years: I have their next three albums at A-, a slight drop for the 4th, and also highly recommend The Anthology and their reunion album. Streamnotes: July 31, Second largest monthly haul this year. Recent Releases. Sic Vos Non Vobis. Jazz My Two Cents Worth. Really Connecting with the Audience 10 years ago.
Jazz Discography Project. I don't subscribe to the notion that record companies are ripped off by the proliferation of blogs like this one. It is my firm belief that quite the contrary happens i.
Listeners are therefore kindly requested to buy the original music and support artists if they fancy what they hear - remember: if you like it, buy it!Digital III at Montreux is a live album featuring a compilation of performances by Ella Fitzgerald, Count Basie, Niels-Henning Ørsted Pedersen, Joe Pass, and Ray Brown, recorded at the Montreux Jazz Festival. New!!: Count Basie and Digital III at Montreux · See more» Dinah Washington.