:::Kujaviak Goes Funky:::

Posted: Friday, 29 February 2008 by jazzlover in Etykiety: , ,
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One of the best, though short-lived groups led by Namyslowski was the 1974-76 Quintet with Karolak, Szukalski, Jarzebski and Bartkowski. These excellent jazzmen were lucky to record, in March 1975, rather unusual music by Namyslowski: the highly original pieces that sparked again the touchy problem of Polish folklore presence in jazz. Namyslowski had already earlier intrigued sensitive listeners with his probably unconscious infusing into his music some characteristics of the Polish Mountainers' folklore ("Siodmawka","Piatawka"),but only now this side of his creative imagination showed itself so strongly.
The centerpiece of this record is the three-movement title composition in 15/8 meter. Here we can enjoy contrasting tempos and moods, mediations and chantings, bass ostinatos, obstinate shifting of two chords, and, in the last section, rock-like repetitive rhythm-patterns, moving back into pensive, melancholy chants that finally fade away to end the piece. But even here the folk colouring stems not form any methodical background studies or intentions.
Namyslowski simply allows his musical nature to pronounce itself freely, and exactly such a spontaneity is what makes it precious from the jazz standpoint.
In "Sad Little Johnny", the first pastoral section is followed by the busy funk rhythms and free sax improvisations. Also in the "Quiet Afternoon" the prolongued and beautiful immersion in poetic meditation finds its momentary contrast in the ragged alto solo, backed by electric piano and drums, after which the music returns to the dreamy mood. "Little Lamb Lost" strayed obviously somewhere in the Polish Tatra Mountains, for in spite of rock rhythms (even with their help) the motifs and scales of Podhale region are very much evident.
:::By Andrzej Schmidt:::

Zbigniew Namysłowski Quintet – Kujaviak Goes Funky (1975)
 
1. Kujaviak Goes Funky (Gesówka, Appenzeller's Dance) [20:15]
2. Smutny Jasio (Sad Little Johny) [07:05]
3. Quiet Afternoon [06:00]
4. Zabłąkana owieczka (Little Lamb Lost) [07:10]

Credits
Zbigniew Namysłowski - alto sax
Tomasz Szukalski - soprano & tenor sax
Wojciech Karolak - electric piano
Paweł Jarzębski - bass

Czesław Bartkowski - drums

:::Planet X:::

Posted: Thursday, 28 February 2008 by jazzlover in Etykiety:
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The first solo album by ex-Dream Theater Derek Sherinian is by far his best one. And I´m not talking only about the incredible musicianship of the four musicians involved (DS on keyboards, Virgil Donati on drums, Brett Garsed on guitar and Tony Franklin on bass), but also about the compositions. Further albums of DS may be as fast and furious (or more) as this one, but IMHO they lack the sense of balance between musicianship and the ability to compose good "tunes" (although this is an instrumental album). Most of the tracks were "built" by DS and Donati, and they go into the fusion genre (the "Atlantis" suite is a masterpiece) more than the prog-metal (some tracks being quite heavy, anyway). To say it in a few words: if you have in high esteem the UK project by Jobson-Wetton-Bruford-Holdsworth (and later with Terry Bozzio) and the two only studio albums they did ("UK" and "Danger Money") and you add something by Emerson Lake and Palmer and Dream Theater, you will have a close idea of how "Planet X" sounds... And Garsed sometimes plays like the incredible Allan Holdsworth! Along with the two Liquid Tension Experiment albums (more adventurous) and the two Transatlantic albums (more classic prog but brilliant), "Planet X" is my favourite Dream Theater side or solo project to date (the first Chroma Key CD is also quite recommendable). A true, awesome and sometimes exhausting sonic adventure!
:::By Jordi Planas:::

Derek Sherinian - Planet X (1999)

1. Atlantis: Part 1-Apocalypse 1470 BC (6:59)
2. Part 2-Sea of Antiquity (4:18)
3. Part 3-Lost Island (5:38)
4. Crab Nebulae (4:07)
5. Box (5:05)
6. Money Shot (4:26)
7. Day In The Sun (4:58)
8. State Of Delirium (2:48)
9. Space Martini (3:47)
10. Brunei Babylon (5:39)

Credits
- Derek Sherinian / keyboards
- Brett Garsed / guitar
- Tony Franklin / bass
- Virgil Donati / Drums

:::Bundles:::

Posted: Wednesday, 27 February 2008 by jazzlover in Etykiety:
5

Soft Machine fans feel this era of the band was a let down. Mike Ratledge, the remaining original member turned the reins over to Karl Jenkins. Many felt all was lost. Too bad for those who couldn't grasp the forward looking music this disc brought to the table.
A young guitarist, fresh from his work with Ian Carr and John Hiseman, Allan Holdsworth arrived to add some fiery solos to a Keyboard/Sax based unit. His incredible speed and unusual melodic creations would bring him to the attention of Tony Williams and Jean-Luc Ponty. Allan's playing is horn-like with smooth legato runs, string skipping accuracy and shifting dynamics.
Many of the tunes are bases for Alan's exhilarating style and fresh approach. The Hazard Profile, an epic, is split into 5 parts. Due to some questionable editing, parts 3 and 4 don't quite jibe in relation to a beginings and endings, rather a break in the central part of a theme, curious. Maybe a re-mastering could play attention to the movements and edit accordingly. Part one sets the stage for introducing the audience to their new found member. Allan solos with such power and finesse. Todays aspiring guitarist would be wise to give this recording serious consideration for a showcase in study. Part two is a piano/acoustic guitar duet, very subdued and peaceful. Parts 3 and 4 give ratledge and Jenkins some room for their keyboard and sax work. Part 5 features another ripping solo from Allan.
Gone Sailing is a way too short exhibition of Allan's acoustic playing. Allan gave up on acoustic guitar a few years later because of his disdain for the string noise created by the guitarist changing postions on the fret board. Too bad. His acoustic playing is beautiful and unusual.
Bundles sounds like many future Holdsworth tunes in melody and compostion. A Strong Melodic pattern followed by a bubbling repeated bass line, which Allan begins creeping along over slowly with little flashes and sparks, building and evolving. Cymbals clatter and snare snaps while kick drum propels the movement and it breaks to the Land of the Bag Snake. Electric piano comps along while Holdsworth plays some of the tasty melodic work that made his 70's sideman work so special and timeless. You get lost in the swirls and sustain. It really doesn't get any better than this. John Marshall's groove is wonderous and at time reminds me of Bruford's jazzier King Crimson work.
The Man Who Waved at Trains and Peff slow things down and are more sax/keyboard influenced. Actually one tune broken in half. Curious editing.... Peff does pick things up a little, but right when it gets interesting the track becomes Four Gongs Two Drums (Curious) continuing the Peff riffage with muted sax and ends in a John Marshall drum solo.
The final track, The Floating World, is what the title suggests, an ambient piece. Obviously Jenkins wanted to put his stamp as the leader here. If I had Allan Holdsowrth in my band, we'd have ended with a flourish not put people to sleep.
:::By Dan Bobrowski:::

Soft Machine – Bundles (1975)
 
1. Hazard Profile Part 1 (9:18)
2. Part 2 (2:21)
3. Part 3 (1:05)
4. Part 4 (0:46)
5. Part 5 (5:29)
6. Gone Sailing (0:59)
7. Bundles (3:14)
8. Land Of The Bag Snake (3:35)
9. The Man Who Waved At Trains (1:50)
10. Peff (1:57)
11. Four Gongs Two Drums (4:09)
12. The Floating World (7:12)

Credits
- Roy Babbington / bass
- Allan Holdsworth / acoustic & electric guitars
- Karl Jenkins / oboe, soprano sax, acoustic & electric pianos
- John Marshall / drums, percussion
- Mike Ratledge / electric piano, organ, synthesizer
+ Ray Warleigh / alto & bass flutes (12)

:::Song X:::

Posted: Monday, 25 February 2008 by jazzlover in Etykiety: , , , ,
3

Guitarist Pat Metheny had long expressed admiration for Ornette Coleman's music, had recorded his compositions, and had worked extensively with bassist Charlie Haden, so a collaboration was not totally unexpected, though who would have guessed that it would be on the Geffen label? Metheny's almost rock star status has worked against him in other partnerships from time to time (notably, his overbearing playing on his project with Derek Bailey, The Sign of 4), but here he happily sublimates his showier instincts and works as sympathetic co-leader, deferring to Coleman's experience and genius. The music itself bears strong similarities to that of Coleman's Prime Time ensembles wherein all players solo at once, bracketed by the themes of the piece. Metheny often manages to be a quite expressive second voice, racing along beside the master saxophonist, offering alternative strategies and never showboating. The tandem percussion team of Jack DeJohnette and Coleman's son Denardo are ferocious when need be, and Charlie Haden is his standard exemplary self. Metheny fans owe it to themselves to listen to some of his most exploratory and least "pastel" playing and, in fact, the album also contains some of Coleman's best work since the mid-'70s.
:::By Brian Olewnick:::

Pat Metheny - Song X (with Ornette Coleman) (1986)

1. Song X 5:36
2. Mob Job 4:07
3. Endangered Species 13:16
4. Video Games 5:17
5. Kathelin Gray 4:13
6. Trigonometry 5:08
7. Song X Duo 3:10
8. Long Time No See 7:39

Credits
Bass - Charlie Haden
Drums - Jack DeJohnette
Drums, Percussion - Denardo Coleman
Engineer - Jan-Erik Kongshaug
Guitar, Guitar [Synth], Producer - Pat Metheny
Saxophone [Alto], Violin - Ornette Coleman

Notes
Recorded "live" December 12-14, 1985 at The Power Station, NYC.
Cover design by Norman Moore,
Photography by David A. Cantor.
Tracks 1, 2, 4 & 8 composed by Coleman, 3, 5, 6 & 7 by Metheny/Coleman.

:::Somethin' Else:::

Posted: Sunday, 24 February 2008 by jazzlover in Etykiety: , , , ,
2


It isn't too difficult to understand why MFSL considered this album to be a worthy candidate for an Ultradisc reissue -- aside from Cannonball Adderley, you have a lineup that includes Miles Davis, Hank Jones, Sam Jones, and Art Blakey. This is a group that could take on a Barry Manilow number and turn it into a jazz masterpiece. MFSL have done the purchaser a favor, too, by including an additional track that was left off the original album. This sixth track, ""Alison's Uncle,"" closes out Somethin' Else on a high note, changing the flow of energy in an interesting way (purists can still finish up on a quieter note, as with the original, by programming ""Dancing in the Dark"" as the final track). In many ways it's a surprise that this track was left off originally -- it's an excellent piece, with Adderley and Davis trading licks and solos while Jones and Blakey keep pace. Blakey also takes some terrific solos. The remastering job is the usual superb MFSL effort, producing clear sound with almost no background noise. Due to the original recording (made in 1958), Davis' trumpet sometimes seems a little shrill and metallic, but it's not an overwhelming problem -- certainly not when you consider Davis' style. Altogether, an excellent addition to any jazz collection
:::By Steven McDonald:::

Cannonball Adderley - Somethin' Else (1958)

1 Autumn Leaves (11:01)
2 Love For Sale (7:06)
3 Somethin' Else (8:15)
4 One For Daddy-O (8:26)
5 Dancing In The Dark (4:07)
6 Alison's Uncle (5:05)

Credits
Bass - Sam Jones
Drums - Art Blakey
Engineer [Recording] - Rudy Van Gelder
Piano - Hank Jones
Producer - Alfred Lion
Saxophone [Alto] - Cannonball Adderley
Trumpet - Miles Davis

Notes
Reissue, 1986.
Produced by Alfred Lion.
Recorded on March 9, 1958.
Recording by Rudy Van Gelder.
Digital Transfer by Ron McMaster.
Cover Design by Reid Miles.
Photo by Francis Wolff.

:::Focus:::

Posted: Saturday, 23 February 2008 by jazzlover in Etykiety:
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This is one of the most unusual and in its own way, experimental albums that Stan pulled off in his long career. Giving Eddie Sauter complete freedom to write a series of tone poems in which he left Stan lots of room to create and improvise on the fly is a stroke fo genius by itself, Stan had NO written parts for himself whatsoever, just his wits, emotions, technique, life experiences and perceptions. Needless to say he navigated these deep waters with extreme intelligence, wit and sensitivity.
The moods run from manic and darn near cartoon like with "I'm Late, I'm Late" (kicked along by a great rhythm section of drummer Roy Haynes and bassist John Neves) to beautiful and contemplative ("Her", Once Upon a Time") to tense and spooky ("Night Rider") and overwhelmingly passionate ("Pan") plus more. The small string orchestra was a stroke of genius by itself and how if fits perfectly with Stan's sound and musicality.
This ain't no Bossa-Nova or straight-ahead swing, it's an entirely different animal altogether, one that if given the chance will grow on you and hold you spellbound, it sure did me.
:::By TheOwl:::

Stan Getz – Focus (1961)

1 I'm Late, I'm Late (8:08)
2 Her (6:08)
3 Pan (3:55)
4 I Remember When (4:57)
5 Night Rider (3:52)
6 Once Upon A Time (4:45)
7 A Summer Afternoon (5:56)

Credits
Arranged By, Composed By - Eddie Sauter
Bass - John Neves
Cello - Bruce Rogers
Conductor - Hershy Kay
Drums - Roy Haynes
Engineer [Recording, Mastering] - Ray Hall
Other [Original Liner Notes] - Dom Cerulli
Photography [Cover] - Pete Turner
Producer - Creed Taylor
Saxophone [Tenor] - Stan Getz
Viola - Jacob Glick
Violin - Alan Martin , Gerald Tarack , Norman Carr

Notes
Reissue, 1984. Originally released in 1961.
Recorded at Webster Hall, New York City, July 14, 28, and September / October, 1961.

:::Crac!:::

Posted: Friday, 22 February 2008 by jazzlover in Etykiety:
1

The third mid-'70s album from Italy's progresssive rock forerunners Area originally appeared on the experimental Cramps label and is reissued here for the first time. Favoring incredibly complex rhythms à la King Crimson, the group's fusion of folk and ethnic music, leftist political diatribe, and free jazz and hard rock coalesces into a distinctive sound further accented by the abstractions of vocalist Demitrio Stratos. His inimitable avant-garde vocal techniques are something to be heard to be believed, and the agility with which the ensemble cuts between genres and motifs is astonishing, deploying techniques way ahead of their time. Laced with high energy and abundant humor, Crac! is a standout concept album in avant-garde and progressive rock scenes, yet somehow neither genre would appropriately house this music. Further evidence of their groundbreaking fusion can be heard on their Maledetti and Arbeit Macht Frei albums.
:::By Skip Jansen:::

Area - Crac! (1974)

1. L'elefante bianco (4:33)
2. La mela di Odessa (6:27)

3. Megalopoli (7:53)
4. Nervi scoperti (6:35)
5. Gioia e rivoluzione (4:40)
6. Implosion (5:00)
7. Area 5 (2:09)

Credits
- Giulio Capiozzo / drums and percussion
- Patrizio Fariselli / electric & acoustic pianos, bass clarinet, percussion, synths
- Demetrio Stratos / vocals, organ, percussion
- Ares Tavolazzi / electric & acoustic basses, trombone
- Paolo Tofani / electric guitar, synths, flute

:::Eat Me Baby, I'm a Jelly Bean:::

Posted: Thursday, 21 February 2008 by jazzlover in Etykiety:
3

Daevid Allen, the impetus for the success of the classic "Flying Teapot," was never impressed with and was often daunted by stardom, though success with Soft Machine and Gong made celebrity something he had to confront. When Allen started out as a poet and musician in the 1950s in his native Melbourne, Australia, the scene was full of the energy that he needed. By 1958 when he discovered the legendary jazz artist Sun Ra, Allen's course was drawn. The inspiration of Sun Ra and the entire mood he brought into the jazz world with his Myth Science Arkestra eventually gave birth to Allen's pursuit with Gong.
According to an article in the Los Angeles Times in June of 1999, reporter Jon Matsumoto noted that "Gong's main support base was always in Europe. The band initially kicked up its heels in Paris in 1970. The brainchild of Australian beatnik and ex-Soft Machine vocalist-guitarist Daevid Allen, Gong was largely an experimental unit that mixed free-jazz improvisation with trippy psychedelic rock, folk and ambient electronic music." But for a group and its creator whose names were not well-known in the United States, Allen managed to survive both obscurity and stardom, still casting his spell with eccentric music for over 30 years.
Allen was born January 13, 1938, in Melbourne, Australia. He talked about his family and upbringing with Mitch Myers of Magnet in 1999. "I'm a third-generation Australian," he explained. "My great-great-grandfather was brought out from England because he had a reputable wood-cabinet business. He was a drunken maniac and would burn up all his money and then go out and make some more and burn it up again. The family never recovered, and our motto has been, `Oh God! No money!' We're all very good at spending money, that's for sure." Though he seemingly came from an offbeat family, his father did try to steer him into a more normal way of life. When Allen was a teenager, his father placed him in a department store as a junior executive. It had a very particular effect on him, even if it was not the intended one. "All that did was show me that the whole commercial system is a complete illusion," he told Myers. "My survival kit has always been to stay away from any big-business organization. If I received all the money that I've earned according to my contracts over the years, I'd be a millionaire instead of having no house and only half a car. People say, `Oh, you're afraid of money.' Wrong. I know exactly what I'm doing. Whenever fame comes too close, I vanish, sabotage, whatever. For this reason, I'm known in the business as a very bad bet, and this suits me fine."
Allen went to England in the early 1960s where he rented a room in Canterbury. The teenage son of the homeowners, Robert Wyatt, would team with Allen a few years later to form Soft Machine. Until then, Allen moved to London where he, Wyatt, and Hugh Hopper started the Daevid Allen Trio, concentrating on free jazz. Few were impressed with the music they created. Though they lost their gigs, they started gaining notoriety. When Allen moved on to Paris shortly afterward, he met some of the famed characters that comprised the Beat movement, and whom writer Jack Kerouac made known through his writings, including the book that was considered the gospel for the some baby boomers, On the Road. In addition to poet Allen Ginsburg, Peter Orlovsky and Brion Gysin--all a part of the Greenwich Village and San Franscisco underground literary movement--William Burroughs had been living in the Beat Hotel. When Burroughs met Allen, he told him he was looking for a jazz band to play during his dramatization of his book called The Ticket That Exploded. Burroughs hired Allen, and the performance happened. According to Allen, "We put on the show and there was the weirdest collection of people in the audience.... Terry Riley [considered one of the "founding fathers" of modern minimalism] came, and we ended up playing together outside in the street with motorscooter motors, electric guitar and poetry. It was wild," Allen told Myers.
In 1964, Allen met Gilli Smyth, his life partner for many years who eventually joined him in Gong as a vocalist. In 1966, after Allen experienced a mystical vision that mapped out his life in detail--including his future musical pursuits-- he formed Soft Machine with Wyatt, Kevin Ayers, and Mike Ratledge. Allen was part of the group for about a year, after which time Gong became his focus. When Gong was formed in 1969, the group lived communally while they made their music. Eventually they moved on to rural England, still living in the same arrangement. "Living communally was very important," Didier Malherbe, Gong saxophonist-flutist, told Matsumoto. "That creates ties on a composition level. It makes things very interesting, obviously. We don't live communally anymore. I live in Paris with my wife. But when we come back with Gong, those ties are still very vivid and lively, and it's a pleasure."
When Gong dissolved in 1980 after a slow dissipation of its momentum, the group still had not realized mainstream success. The breakup process had been gradual, and the group went out with little noise. Allen left for Majorca in 1976 and joined a local acoustic band, Euterpe, on an album called Good Morning. He followed with some solo albums, including About Time, capturing an influence of the newly-emerging punk movement in music. Smyth had left Gong and Allen in 1978 to form her own performance with "Mothergong," which she said represented the feminine side of Gong. In 1981 Allen made it home in time to see his father in Australia before he died. That same year he dropped out of professional music and drove a cab until 1989.
Though not actively creating music, Allen's fans followed him in a cult-like adulation that helped to prompt his return. By 1990, he went on to new projects using the Gong name recognition with Planet Gong and New York Gong. In 1992 the group came together for an official reunion and released Shapeshifter, the first studio album they had done in 14 years. In celebration of their 25th anniversary in 1995, they released an album recorded live at their London Forum concert. For Allen, Gong was as much a spiritual journey as a musical group. "Gong has this supernatural quality for me," he told Myers. "I've had this communication from somewhere else that's been giving me instructions. The instructions say that in the year 2032, there will be a bunch of people from the Planet Gong dimension appearing on [Earth's] physical plane. One thing about Gong is that there's a great deal of playfulness. Usually, with spiritual things, everyone is very solemn, but the whole point about Gong is that we maintain this aura of silliness to get rid of the people who are too serious. However, Planet Gong does exist and they run on the laws of music. Everything they do derives from notes, intervals, scales and octaves. It's very real for me because every day I meditate for hours, and during that period they connect with me and tell me what to do."
Gong original members, Allen, Smyth, Malherbe and bassist Mike Howlett have been joined by newcomers Chris Taylor on drums and guitarist Mark Hewins. As with Allen and his University of Errors, the others have continued to pursue music outside of Gong, yet they have continued to tour together. Many changes throughout the years have been a part of the group's "karma," Malherbe explained. Allen has also been involved in other Gong incarnations including Gong Maison in the late 1980s and Magick Brothers in the early 1990s.
By 1999 Allen and rock archivist and musician Billy James, also known as "Art-Bee," became friends. Allen's work has been the inspiration for James on his own album, Electronic Church Muzik. Also in 1999, Allen continued to make news among his select fans in a small Berkeley, California, club known as Starry Plough. With his "University of Errors," a group of San Francisco Bay area musicians who also go by the name of "Mushroom," Allen continues to build on his past vision. His musical legacy has been described as "psychedelic" by those wound into his unique brand of exploration. The group's drummer Patrick O'Hearn told Myer that, "The thing about Daevid is that he brings out the best in his musicians, and he also lets us play whatever the hell we want."
Whatever else may happen with Gong, Allen remains clear about his own motivation. "For me, the most important thing is the spirit and the spark," he told Myer. "I'm trying to do something unusual, but the actual spirit of what's happening is consistent. From beginning to end, there's that silver line of Gong's spirit that I represent. It remains unchanging, but the clothes do change. I'm all for respecting the inner being rather than getting hung up on the clothes."
Like his master inspiration, Sun Ra, Allen has stayed open to his dream with little regard to what outside forces or audiences would try to do to influence him. His scope pierces deeper and deeper into the essence of a truth he has seen very clearly. He told Jason Rubin in a 1991 interview, as quoted in Contemporary Musicians, volume 24, explaining the Radio Gnome Invisible Trilogy, "There was the first level, which was the playful silliness and just having fun. But it is also the code both for a political manifesto and a spiritual teaching. But what is interesting is that while the story that we told originally appears to be just talking about little green men with pointed hats, every single thing in the Planet Gong mythology has a deeper meaning for those who want to peel away the layers and get to the chocolate center."
:::By Jane Spear:::

 
Daevid Allen - Eat Me Baby, I'm a Jelly Bean (1999)

1. So What 5:05
2. Gold Top 4:16
3. I Can't Get Started 6:12
4. Slow Boat 5:49
5. It Ain't Necessarily So 5:55
6. My Funny Valentine 7:27
7. Au Privave 4:16
8. St. Petersburg Cafe 4:17
9. Salt Peanuts 2:56

Credits
Bass - Larry Steen
Drums - Ndugu Chancler
Executive Producer - Jonny Greene , Shawn Ahearn
Mastered By - Harry Williamson
Other [Artistic Adviser] - Sami Kaneda
Photography [Daevid And His Son Ynys] - John Mc Cormick
Photography, Artwork By [Design] - Peter Hartl
Piano - Eugene Maslov
Producer - Franz Putsch
Saxophone [Alto] - Bloomdido Bad De Grass
Vocals - Daevid Allen

Notes 
Recorded and mixed at Stagg Street Studio, Los Angeles.
Mastered at Spring Studios, Melbourne.
Track 2 inspired by King Pleasure's "My Little Red Top".
Track 3 inspired by Bobby Troupe's version on Capitol Australia CLP040 (MX60400) 10" nonbreakable long playing microgroove, 1956. Words updated from Bobby Troupe's adaptation.
Track 4 inspired by Charlie Parker's original recording live from the Royal Roost, NYC Feb 26, 1949.

:::Dedicated To You, But You Weren't Listening:::

Posted: Sunday, 17 February 2008 by jazzlover in Etykiety:
4

Pianist, composer, arranger, and bandleader Keith Tippett's first album, You Are Here...I Am There, was issued in 1969, and received some notice as the work of an ambitious composer looking for a voice. Apparently, by the time he recorded Dedicated to You, But You Weren't Listening, which was released in 1971, he'd found it in spades. Tippett has become one of the great lights of the British free jazz movement, and for more than 30 years he has led groups of improvising musicians, from two to 40 in number, on some of the most exploratory and revelatory harmonic adventures in musical history -- whether those in America know it or not. The band here is comprised of 11 pieces, including Elton Dean, Robert Wyatt, Nick Evans, Roy Babbington, Gary Boyle, Neville Whitehead, and others. The commitment to jazz here is total, as Tippett grafts the dynamic sensibilities of George Russell, the textural and chromatic palettes of Gil Evans, and the sheer force of Oliver Nelson onto his own palette. The interplay between soloists and ensembles is dazzling -- check "Thoughts for Geoff," with blazing solos by Nick Evans, cornetist Marc Charig, and Tippett himself in a series of angular arpeggios interspersed with chordal elocution. Wyatt's drumming, which opens the record with a bang on "This Is What Happens," is easily the most inspired of his career on record. The nod to Mingus on "Green and Orange Night Park" is more than formal; it's an engagement with some of the same melodic constructs Mingus was working out in New Tijuana Moods. In sum, this is an adventurous kind of jazz that still swings very hard despite its dissonance and regards a written chart as something more than a constraint to creative expression. Brilliant. The CD reissue by Disconforme is fantastic in sound and in package.
:::By Thom Jurek:::

The Keith Tippett Group - Dedicated To You, But You Weren't Listening (1971)

A1 This Is What Happens
A2 Thoughts To Geoff
A3 Green And Orange Night Park
B1 Gridal Suite
B2 Five After Dawn
B3 Dedicated To You, But You Weren't Listening
B4 Black Horse

Credits:
Alto Saxophone, Saxello - Elton Dean
Bass - Neville Whitehead , Roy Babbington
Conga Drums, Cowbell - Tony Uta
Cornet - Marc Charig
Drums - Bryan Spring , Phil Howard , Robert Wyatt
Guitar - Gary Boyle
Piano - Keith Tippett
Producer - Pete King
Trombone - Nick Evans

Notes:
Produced by Pete King for Ronnie Scott Directions.
Engineer: Dave Voyde

:::Nothing Is:::

Posted: Saturday, 16 February 2008 by jazzlover in Etykiety:
2

Sun Ra & His Arkestra issued only a handful of titles on the groundbreaking indie ESP-Disk' label. Each title respectively contains some of their most expressive musical statements to date. The eight cuts on Nothing Is (1970) were documented during live performances at various New York State colleges in the spring of 1966. Ra (piano/clavioline) leads the band through a series of free improvisations and more melodically structured compositions. "Dancing Shadows" evolves out of a chaotic brass and percussive assault with some extended, inspired keyboard runs during the opening. These eventually nestle into a charming upbeat slice of extemporaneous post-bop. Front and center beside Ra are Ali Hassan (trombone), Teddy Nance (trombone), Marshall Allen (alto sax/flute/piccolo/oboe), John Gilmore (tenor sax), Pat Patrick (baritone sax/flute), Robert Cummings (baritone clarinet), James Jacson (flute/log drums), Ronnie Boykins (bass/tuba), Clifford Jarvis (drums), and Carl Nimrod (aka Carl S. Malone/Nimrod Hunt) (sun horn/gong). The leader's solos and accompaniment shimmer with many of the same highly advanced effervescent chord progressions incorporated onto early sides such as "Brainville" or "Transitions." Gilmore, Allen and Patrick playfully blend Eastern-flavored intonations along with Jarvis and a second, albeit uncredited, kit drummer. According to Sun Ra scholars, both Jimmy Johnson (drums) and Roger Blank (drums) toured at various times during the mid-'60s with the Arkestra. "Imagination" includes a brief recitation followed by a full-blown band improv. This undulates over a fast-paced choral mantra of "the second stop is Jupiter" -- a chant which had also been worked into the waning moments of "Rocket #9." The slithery charm of "Exotic Forest" -- featuring a hypnotic oboe lead from Allen -- excels in allowing the mostly percussive contingency of the Arkestra to organically support Boykins equally entrancing contributions. The short piano solo "Sun Ra and His Band from Outer Space" segues into the last lengthy side "Shadow World." Patrickstreamlines his opening solo around the sonic swirl of Jarvis and Ra. The saxophonist then emerges with an unaccompanied blow that demonstrates his perfection in the context of spontaneity. Allen follows with a solitary oboe that borders on maniacal before eventually settling into a final free for all from the entire band. Nothing Is concludes with a mostly Ra driven "Theme of the Stargazers" which develops into an early version of the "Outer Spaceways Incorporated" and "Next Stop Mars" chants. Caveat Emptor! These side have turned up on numerous repackagings, many of which have been transcribed from poor grade vinyl.
:::By Lindsay Planer:::

Sun Ra - Nothing Is (1966)

A1 Dancing Shadows (9:50)
A2 Imagination (1:53)
A3 Exotic Forest (9:50)
B1 Sun Ra And His Band From Outer Space (1:58)
B2 Shadow World (13:48)
B3 Theme of the Stargazers (0:40)
B4 Outer Spaceways Incorporated (1:42)
B5 Next Stop Mars (0:38)

Credits
Bass, Tuba - Ronnie Boykins
Clarinet [Baritone] - Robert Cummings
Drums - Clifford Jarvis
Engineer - David Jones (4)
Log Drum, Flute - James Jacson
Piano, Clavolin - Sun Ra
Saxophone [Alto], Oboe - Marshall Allen
Saxophone [Baritone] - Pat Patrick
Saxophone [Tenor] - John Gilmore
Sun Horn, Gong - Carl Nimrod
Trombone - Ali Hassan , Teddy Nance

Notes
Originally recorded in May, 1966

:::Out To Lunch:::

Posted: Friday, 15 February 2008 by jazzlover in Etykiety: , , ,
5

Out to Lunch stands as Eric Dolphy's magnum opus, an absolute pinnacle of avant-garde jazz in any form or era. Its rhythmic complexity was perhaps unrivaled since Dave Brubeck's Time Out, and its five Dolphy originals -- the jarring Monk tribute "Hat and Beard," the aptly titled "Something Sweet, Something Tender," the weirdly jaunty flute showcase "Gazzelloni," the militaristic title track, the drunken lurch of "Straight Up and Down" -- were a perfect balance of structured frameworks, carefully calibrated timbres, and generous individual freedom. Much has been written about Dolphy's odd time signatures, wide-interval leaps, and flirtations with atonality. And those preoccupations reach their peak on Out to Lunch, which is less rooted in bop tradition than anything Dolphy had ever done. But that sort of analytical description simply doesn't do justice to the utterly alien effect of the album's jagged soundscapes. Dolphy uses those pet devices for their evocative power and unnerving hints of dementia, not some abstract intellectual exercise. His solos and themes aren't just angular and dissonant -- they're hugely so, with a definite playfulness that becomes more apparent with every listen. The whole ensemble -- trumpeter Freddie Hubbard, vibist Bobby Hutcherson, bassist Richard Davis, and drummer Tony Williams -- takes full advantage of the freedom Dolphy offers, but special mention has to be made of Hutcherson, who has fully perfected his pianoless accompaniment technique. His creepy, floating chords and quick stabs of dissonance anchor the album's texture, and he punctuates the soloists' lines at the least expected times, suggesting completely different pulses. Meanwhile, Dolphy's stuttering vocal-like effects and oddly placed pauses often make his bass clarinet lines sound like they're tripping over themselves. Just as the title Out to Lunch suggests, this is music that sounds like nothing so much as a mad gleam in its creator's eyes.
:::By Steve Huey:::

Eric Dolphy - Out To Lunch (1964)

1 Hat And Beard (8:24)
2 Something Sweet, Something Tender (6:02)
3 Gazzelloni (7:22)
4 Out To Lunch (12:06)
5 Straight Up And Down (8:19)

Credits
Bass - Richard Davis
Composed By - Eric Dolphy
Drums - Tony Williams
Producer - Alfred Lion
Saxophone [Alto], Flute, Clarinet [Bass] - Eric Dolphy
Trumpet - Freddie Hubbard
Vibraphone - Bobby Hutcherson

Notes
Recorded on February 25, 1964.

:::Cure for Pain:::

Posted: Thursday, 14 February 2008 by jazzlover in Etykiety:
3

With their cult following growing, Morphine expanded their audience even further with their exceptional 1994 sophomore effort, Cure for Pain. Whereas their debut, Good, was intriguing yet not entirely consistent, Cure for Pain more than delivered. The songwriting was stronger and more succinct this time around, while new drummer Billy Conway made his recording debut with the trio (replacing Jerome Deupree). Like the debut, most of the material shifts between depressed and upbeat, with a few cacophonic rockers thrown in between. Such selections as "Buena," "I'm Free Now," "All Wrong," "Candy," "Thursday," "In Spite of Me" (one of the few tracks to contain six-string guitar), "Let's Take a Trip Together," "Sheila," and the title track are all certifiable Morphine classics. And again, Mark Sandman's two-string slide bass and Dana Colley's sax work help create impressive atmospherics throughout the album. Cure for Pain was unquestionably one of the best and most cutting-edge rock releases of the '90s.
:::By Greg Prato:::

Morphine - Cure for Pain (1993)

1. Dawna 0:43
2. Buena 3:19
3. I'm Free Now 3:24
4. All Wrong 3:40
5. Candy 3:14
6. A Head With Wings 3:39
7. In Spite of Me 2:34
8. Thursday 3:26
9. Cure for Pain 3:14
10. Mary Won't You Call My Name? 2:29
11. Let's Take a Trip Together 3:00
12. Sheila 2:48
13. Miles Davis' Funeral 1:41

Credits 
Backing Vocals - Dana Colley (tracks: 8, 10)
Bass [2-string Slide], Performer [Tritar], Guitar, Organ, Lead Vocals - Mark Sandman
Drums - Billy Conway (tracks: 9, 11) , Jerome Deupree
Engineer - Steve Folsom
Producer - Mark Sandman (tracks: 1, 7, 11, 13) , Paul Q. Kolderie (tracks: 2 to 6, 8 to 10, 12)
Recorded By, Mixed By - Mark Sandman (tracks: 1, 7, 11, 13) , PQK* (tracks: 2 to 6, 8 to 10, 12)
Saxophone [Baritone, Tenor] - Dana Colley
Original drummer Jerome Deupree was replaced by Billy Conway during the recording of this album.

Notes
Recorded and mixed at Fort Apache except tracks 4 and 9, which were mixed at Q Division, and tracks 1, 7, 11, and 13, which were recorded and mixed at Hi-N-Dry.

:::Straight Life:::

Posted: Wednesday, 13 February 2008 by jazzlover in Etykiety: , , , , ,
3

Recorded between trumpeter Freddie Hubbard's better-known classics Red Clay and First Light, Straight Life is actually arguably Hubbard's greatest recording. Hubbard, joined by an all-star group that includes tenor saxophonist Joe Henderson, keyboardist Herbie Hancock, guitarist George Benson, bassist Ron Carter, and drummer Jack DeJohnette, is frequently astounding on "Straight Life" (check out that introduction) and "Mr. Clean," constructing classic solos. The very memorable set is rounded off by the trumpeter's duet with Benson on a lyrical version of the ballad "Here's That Rainy Day." This exciting CD is essential for all serious jazz collections.
:::By Scott Yanow:::
 
Freddie Hubbard - Straight Life (1970)
 
1 Straight Life (17:27)
2 Mr. Clean (13:34)
3 Here's That Rainy Day (5:16)

Credits
Bass - Ron Carter
Drums - Jack DeJohnette
Guitar - George Benson
Percussion - Richard Landrum
Piano - Herbie Hancock
Producer - Creed Taylor
Saxophone - Joe Henderson
Tambourine - Weldon Irvine
Trumpet, Flügelhorn - Freddie Hubbard

Notes
Recorded at Van Gelder Studios, November 16, 1970

:::Four Corners:::

Posted: Tuesday, 12 February 2008 by jazzlover in Etykiety:
1

Taking a cue from Weather Report (not to mention a percussionist, Alex Acuña), the Yellowjackets created more exotic textures for Four Corners, often with the use of Zawinul-like synthesizers from Russell Ferrante. The album otherwise represents a shift toward more traditional jazz, felt profoundly in the rhythm section of Jimmy Haslip and new drummer William Kennedy. The change in strategy is made plain on the opening "Out of Town," which finds everyone rethinking their instrument beyond the smooth jazz of Shades. While the atmospheric production of David Hentschel and the band lends an ominous air to the music, fans may see it as a poor tradeoff for the readily identifiable (and often instantly likeable) melodies of their previous work. Though nothing leaps off of Four Corners screaming "Hum me," sections of it are mesmerizing. "Past Ports" and "Wildlife" in particular absorb the listener into a breathing musical world. The disc isn't a full conversion from smooth jazz; Marc Russo's sax is still as sweet as ever, but on a track like "Open Road" the effect is icing on a spice cake. Haslip provides some noisy patterns that suggest he was striving for more substance; in fact, he and Ferrante seem to duke it out for control of "Postcards," while everyone throws their own wrench into "Room With a View." Four Corners is the product of four separate musicians striving to cultivate their own voice, a journey that discovers some interesting music along the way. That the Yellowjackets wanted to explore beyond the fringes of smooth jazz boded well for the band's future.
:::By Dave Connolly:::
 
Yellowjackets - Four Corners (1987)

1. Out Of Town
2. Wildlife
3. Sightseeing
4. Open Road
5. Mile High
6. Past Ports
7. Postcards
8. Room With A View
9. Geneva
10. Indigo - (CD bonus track)

Credits
Russell Ferrante, keyboards
Jimmy Haslip, basses
Marc Russo, soprano and alto saxophone
William Kennedy, drums and percussion.
Alex Acuna, percussion; Bill Gable, cello and percussion
Brenda Russell, Bill Gable and Jimmy Haslip, vocals on "Wildlife''

:::Electric Dreams:::

Posted: Monday, 11 February 2008 by jazzlover in Etykiety:
1

I was never quite sure what McL tried to do with his One Truth Band, given that the musician list playing on Electric Dreams being roughly the same (taken a few away) than his previous Electric Guitarist album. And if I thought Guitarist lacked any direction, the same can almost be said of Dreams (I think a good part of both albums come from the same sessions), and it is not the B&W artwork floating kitchen utensils photo that will make much a difference, but the tracks are less disparate in this one.
After an acoustic guitar/violin ditty, the album plunges into red-hot fusion batch that takes us to the Bitches Brew and MO days, aptly titled Miles Davis, but the following title track doesn’t give a Fahrenheit of difference in terms of fusion heat, just slower and sounding more Weather Report, if you’ll forget McL’s Spano-Indian guitar in the closing section. The lengthy closer Desire is more in the Pastorius–era of Weather Report with this jazz-funk track taking its sweet time before finally settling in a groove
L&U opens the flipside, taking a while to build up, but once Narada starts singing, the track loses all interest (IMHO, but I never liked sung JR/F), even if buddy Carlos plays a few sliding lines. After the short dronal distortion of Singing Earth, Dark Prince develops more on the ultra-demonstrative RTF (Romantic Warrior-era) with all of the flaws as well as the pure virtuoso performances. The closing Unknown Dissident starts with an ambulance siren driving away, leaving a lost sax (Sanborn) looking for company over Rhodes lines, FretlessJaco-like runs and when finally finding McL’s guitar in a syrupy slow jazz, it draws Uncounted Dividends being locked away in the safe in the outro, walking away and getting shot. Well that’s my alibi and I’m sticking to it….
While not exactly an example of cohesive album, this is much better than the previous EG, but we’re a far cry from the unity of MO albums. Nevermind those considerations, ED is a good jazz fusion album, a product of its time and this is still before McL’s wish to investigate modern technology as he would with the horrible Synclavier. Last recommended stop in McL’s solo discography..
:::By Sean Trane:::
 
John McLaughlin - Electric Dreams (1979)
 
1 Guardian Angels 0:57
2 Miles Davis 4:57
3 Electric Dreams, Electric Sighs 6:30
4 Desire and the Comforter 7:37
5 Love and Understanding 6:41
6 Singing Earth 0:42
7 The Dark Prince 5:20
8 The Unknown Dissident 6:16

Credits
Bass [Fender & Acoustic], Vocals - Fernando Sanders (tracks: 5)
Drums, Vocals - Tony Smith (2)
Electric Piano, Synthesizer [Moog With Steiner Parker Modifications & Prophet], Organ [Hammond] - Stu Goldberg
Engineer [Assistant] - Terry Rosiello
Engineer, Co-producer - John Pace
Guitar [6 +12 + 13 Strings], Acoustic Guitar, Banjo - John McLaughlin
Other [Art Coordination] - Paul M. Martin
Other [Package Coordination] - Gina Campanaro
Other [Product Manager] - Penny Armstrong
Other [Series Coordination] - Amy Herot , Gary Pacheco , M. Berniker , Michael Brooks
Percussion, Cymbal [Amplified Chinese] - Alyrio Lima
Producer - John McLaughlin
Producer [Project] - John Snyder
Saxophone [Alto] - David Sanborn (tracks: 8)
Technician [Digitally Remastered] - Vic Anesini
Violin [Acoustic & Electric] - L. Shankar Written-By - J. McLaughlin (tracks: 1 to 5, 7, 8) , S. Goldberg (tracks: 6)

Notes
Digitally remastered at Sony Music Studios, New York.
Recorded & mixed November and December 1978
at Sound Mixer Studio, New York City.

:::Invitation:::

Posted: Sunday, 10 February 2008 by jazzlover in Etykiety:
5

Electric bassist Jaco Pastorius' Word of Mouth big band made two recordings for Warner Bros. during its short life, of which is this is the superior one. The large ensemble (five trumpets including Randy Brecker, five reeds with solo space for Bobby Mintzer on tenor and soprano, four trombones, two French horns, Toots Thielemans on harmonica, drummer Peter Erskine, percussionist Don Alias, and Othello on steel drum) performs a variety of superior material. Although Pastorius takes his share of solo space, and the sound of a big band backing a bass soloist is rather unusual, he does not excessively dominate the music. Pastorius contributed some of the pieces (most notably "Liberty City"), is showcased on "Amerika," and also plays such tunes as "Invitation," "The Chicken," "Sophisticated Lady," "Giant Steps," and Gil Evans' "Eleven."
:::By Scott Yanow:::

Jaco Pastorius – Invitation (1983) 

1. Invitation 6:57
2. Amerika 1:09
3. Soul Intro/The Chicken 6:49
4. Continuum 4:28
5. Liberty City 4:35
6. Sophisticated Lady 5:17
7. Reza / Giant Steps/Reza (Reprise) 10:23
8. Fannie Mae 2:38
9. Eleven 0:49

Credits
Artwork By [Art Direction] - Simon Levy
Artwork By [Illustration] - Gary Panter
Bass, Producer, Arranged By, Remix - Jaco Pastorius
Drums, Timpani, Gong - Peter Erskine
Engineer [Assistant] - Mitch Gibson , Vince Oliveri , Yoshihisa Watanabe , Yutaka Tomioka
Engineer [Mixing], Remix - Peter Yianilos
Engineer [Recording], Remix - Brian Risner
French Horn - Brad Warnaar , Peter Gordon
Harmonica - Jean "Toots" Thielemans
Percussion - Don Alias
Photography - K. Abe , Shigeru Uchiyama
Remix - Michael Knuckles
Saxophone [Baritone] - Randy Emerick
Saxophone [Tenor, Alto, Soprano] - Alex Foster
Saxophone [Tenor, Soprano] - Bobby Mintzer* , Mario Cruz
Saxophone [Tenor] - Paul McCandliss
Steel Drums - Othello Molineaux
Trombone - Wayne Andre
Trombone [Bass] - Bill Reichenbach (2) , Peter Graves
Trombone, Tuba - David Bargeron
Trumpet - Elmer Brown , Forrest Buchtel , Randy Brecker , Ron Tooley

Notes
Recorded live at Budokan (Tokyo), Yokohama Stadum (Yokohama), Festival Hall (Osaka)

:::Billy Cobham Solo:::

Posted: by jazzlover in Etykiety:
0

:::Man-Child:::

Posted: Saturday, 9 February 2008 by jazzlover in Etykiety: , , , ,
2

Perhaps the funkiest album of Herbie Hancock's early- to mid-'70s jazz/funk/fusion era, Man-Child starts off with the unforgettable "Hang Up Your Hang Ups," and the beat just keeps coming until the album's end. "Sun Touch" and "Bubbles" are slower, but funky nonetheless. Hancock is the star on his arsenal of keyboards, but guitarist Wah Wah Watson's presence is what puts a new sheen on this recording, distinguishing it from its predecessors, Head Hunters and Thrust. Others among the all-star cast of soloists and accompanists include Wayne Shorter on soprano sax, Stevie Wonder on chromatic harmonica, and longtime Hancock cohort Bennie Maupin on an arsenal of woodwinds.
:::By Jim Newsom:::

Herbie Hancock - Man-Child (1975)

1. Hand Up Your Hang Ups (7:26)
2. Sun Touch (5:08)
3. The Traitor (9:35)
4. Bubbles (8:59)
5. Steppin´ In It (8:38)
6. Heartbeat (5:16)

Credits
Bass - Henry Davis , Louis Johnson , Paul Jackson (2)
Drums - Harvey Mason , James Gadson , Mike Clark (2)
Engineer - David Rubinson , Fred Catero , Jack Leahy
Guitar - David T. Walker , Dewayne McKnight
Guitar, Guitar [Voice Bag] - Wah Wah Watson*
Harmonica - Stevie Wonder
Mastered By - George Horn , Phil Brown
Percussion - Bill Summers
Piano, Electric Piano [Rhodes], Clavinet [Hohner D6], Synthesizer [Arp Odyssey], Synthesizer [Pro Soloist], Synthesizer [2600], Synthesizer [String Ensemble], Synthesizer [Oberheim Polyphonic] - Herbie Hancock
Producer - David Rubinson , David Rubinson , Herbie Hancock
Saxophone [Soprano] - Wayne Shorter
Saxophone [Soprano], Saxophone [Tenor], Saxophone [Saxello], Clarinet [Bass], Flute [Bass], Flute [Alto] - Bennie Maupin
Saxophone, Flute - Ernie Watts , Jim Horn
Trombone - Garnett Brown
Trumpet - Bud Brisbois , Jay DaVersa
Tuba, Trombone [Bass] - Dick Hyde

:::The Black Saint and the Sinner Lady:::

Posted: Friday, 8 February 2008 by jazzlover in Etykiety:
3

Some Mingus albums are like a tremendous three-ring circus. You’ll laugh, you’ll cry, you’ll be struck with awe and delight. The music is absorbing, intense, harrowing, beautiful. Drop everything and run to the show, and don’t expect to get anything else done at the same time: this is about as far from background music as it gets. A great Mingus album is a totally involving experience. This is especially true of one of the only jazz albums to have liner notes written by a clinical psychologist: The Black Saint and the Sinner Lady. Mingus chimes in with a peroration of his own, too, including, “I feel no need to explain any further the music herewith other than to say throw all other records of mine away except maybe one other [unnamed].” Anyone tempted to take this advice should be committed to the observation ward at Bellevue Mingus graced with his presence not long before making this record, but the music itself deservedly holds its creator’s high estimation.
The Black Saint and the Sinner Lady is a six-part suite (four CD tracks) recorded in 1963. Impulse has given it the 20-bit treatment; few recordings have been more deserving. This suite is a feast of virtuoso performances, shifting moods and textures, and detailed background work by Mingus’ eleven-piece band. Jerome Richardson is heard to great effect on baritone sax near the beginning of the work; he contributes some beautifully supportive flute (with Dick Hafer) and soprano elsewhere. Quentin Jackson’s trombone work is arresting, and the other hornmen (Rolf Ericson and Richard Williams on trumpets, Don Butterfield on tuba, Hafer on tenor sax as well as flute) are excellent. But the pervasive voice of the entire piece is Charlie Mariano on alto sax. Mariano’s playing is wrenchingly emotional and evocative, conveying pathos, fervor, and undying conviction. But as wonderful as Mariano’s work is here, this is very much a group effort. Especially in the last three sections (CD track four) of the piece, this is music of group interaction. Solo voices emerge from the welter and are drawn back into it. Occasionally the ferocity of each voice clamouring with the others reaches such a furious intensity that it would take just one more step for it to reach the world of the medium-sized group free jazz that would be recorded not long after this album: Albert Ayler’s New York Eye and Ear Control, Coltrane’s Ascension, etc. Then in an instant the ensemble stops on a dime with a unison statement executed with high-energy precision. It is an extraordinary thing to hear.
The rest of the ensemble includes Mingus on bass and, briefly, piano; Jaki Byard on piano; Jay Berliner with a marvellous flamenco guitar bit; and the incomparable Dannie Richmond on drums. This is a masterwork that should be part of any jazz collection, except perhaps of those listeners who prefer that music not challenge, inspire, and move them.
:::By Robert Spencer:::

Charles Mingus - The Black Saint and the Sinner Lady (1963)

1. Track A: Solo Dancer
(Stop! Look! And Listen, Sinner Jim Whitney! 6:39
2. Track B: Duet Solo Dancers
(Heart's Beat and Shades in Physical Embraces) 6:25
3. Track C: Group Dancers
((Soul Fusion) Freewoman and Oh This Freedom's Slave Cries) 7:00
4. Mode D: Trio and Group Dancers
(Stop! Look! And Sing Songs of Revolutions!) 17:25
Mode E: Single Solos and Group Dance
(Saint and Sinner Join in Merriment on Bottle Front)
Mode F: Group and Solo Dance
(Of Love, Pain, and Passioned Revolt, Then Farewell, My Beloved, 'til It's Freedom Day)

Credits
Drums - Dannie Richmond
Engineer - Bob Simpson
Guitar - Jay Berliner
Photography [Cover And Line Photos] - Bob Ghiraldini
Piano - Jaki Byard
Producer - Bob Thiele
Saxophone [Alto] - Charlie Mariano
Saxophone [Soprano, Baritone], Flute - Jerome Richardson
Saxophone [Tenor], Flute - Dick Hafer
Trombone - Quentin Jackson
Trumpet - Richard Williams , Rolf Ericson
Tuba - Don Butterfield
 
Notes
Recorded January 20, 1963.