Jazz Archives

1. The Madness And The Damage Done (5:20)

2. Fisheye (5:08)

3. Exit Sun (8:36)

4. Exit Sun (0:57)

5. HEALTER SKELTER (5:35)

6. The Madness And The Damage Done (3:24)

7. Blackjazz Deathtrance (10:52)

8. Omen (8:46)

9. 21st Century Schizoid Man (8:41)

- Munkeby / Vocal, guitars & Saxophone

- Lofthus / Drums

- Kreken / Bass

- Moen / Keys & Synths 

Although a four-LP Mosaic box set purportedly includes every recording led by the obscure but talented tenor saxophonist Tina Brooks, this 1994 CD has previously unreleased alternate takes of "True Blue" and "Good Old Soul" that Mosaic overlooked. Brooks is teamed with the young trumpeter Freddie Hubbard(on one of his earliest sessions), pianist Duke Jordan, bassist Sam Jones, and drummer Art Taylor for a set dominated by Brooks' originals. None of the themes may be all that memorable ("Nothing Ever Changes My Love for You" comes the closest), but the hard bop solos are consistently excellent.

:::Review by Scott Yanow:::

Tina Brooks - True Blue (1960)

01. Good Old Soul

02. Up Tight’s Creek

03. Theme For Doris

04. True Blue

05. Miss Hazel

06. Nothing Ever Changes My Love For You

Credits

Bass – Sam Jones

Drums – Art Taylor

Piano – Duke Jordan

Recorded By – Rudy Van Gelder

Tenor Saxophone – Tina Brooks

Trumpet – Freddie Hubbard

A great work "Qualia" is ? I absolutely enjoy this sophomore release by Syrinx, and I wish I had known it at the time so I could vote for it the 2009 Top lists. All I can do in the present days, in retrospect, is praise it with all my heart. This French ensemble was quite a big surprise a few years back with their debut effort "Reification", exploring a sort of progressive experimental rock that combined mystic atmospheres and dense, semi-creepy moods; in 2008, "Qualia" retook this interesting trend and instilled a renewed energy into it. As usual, the band's sonic framework is built upon the articulation pondered among the harmonies/leads performed on a much featured acoustic guitar and the driving force driven on by the rhythm section, while the keyboard inputs rigorously fill abundant spaces all over the place. 'Liber Nonacris' opens up the album with agile atmospheres, but eventually, at the 3 minute mark, the sonic development turns to slightly denser grounds. From the onward, the piece evolves in an amazing set of varied themes, abundant yet not overwhelmingly overdone. There are moments in which the keyboard orchestrations assume the leading role in the melodic developments; there is also a mysterious passage in which the bass guitar's interventions get a bigger exposure, in this way adding some stamina to the overall sound. The use of synthesized choral ornaments and emulated mellotron helps to reinforce the recurrent mesmeric ambience. 'Acheiropoietes' features soprano sax in the first passage, which assumes an air of distinction through the unhidden sense of mystery that prevails. The colorfulness portrayed in the subsequent development states a landscape of tension that ends up released during the track's closing section. 'Le Grand Dieu Pan' brings a grayish ambience, properly focused on autumnal textures. The solo piano passage bears a nostalgic beauty, conveniently balanced with the agile section that follows immediately, eventually leading to a majestic display of moderate bombast. Once again, the bass guitar manages to make itself noticed among the whole equilibrated architecture. 'Le Vingt-Et-Unieme Cercle' occupies the album's last 5 ¾ minutes. It is evidently more serene than any of the other preceding tracks, but the overall feel is totally consistent with the spirit of outworld mystery that has assumed control of the musical arrangements in the whole album. The climatic ending may bring some 70s Pulsar memories to some. Well, this was "Qualia", a superb album by one of the best French prog ensembles currently around.

:::Review by Cesar Inca:::

Syrinx - Qualia (2009)

1. Liber Nonacris (19:38)

2. Acheiropoiètes (8:40)

3. Le Grand Dieu Pan (14:45)

4. Le Vingt-et-unième Cercle (5:45)

Credits

- David Maurin / acoustic guitar

- Benjamin Croizy / keyboards

- Samuel Maurin / bass

- Philippe Maullet / drums

Composer John Zorn is a man of many projects, genres and styles. When once asked about styles, in Option, he replied "I'm not afraid of styles; I like them all." He also has a short attention span and because of that his music is a unique aural crosscut of styles—be it avant jazz, classical, cartoon cutups, free improv, computer music—continuously plunging himself into less expected musical territories. Being an intrepid explorer and musical sponge, his wide-ranging interests are so vast and ever-changing that is futile to place him in anything but in a category for himself. It seems that exploration is the motivation and main engine that leads Zorn along his journey to the extreme limits of constant and rigorous research. But not only are his musical interests so wide; his literary and film interests and influences are equally maddeningly broad and diverse, too.

All those references to literary and film interests can mainly be found in the titles of records and compositions. Zorn has found equal inspiration in various literary sources, from crime novels and Japanese manga comic books to occult subjects such as the books of Aleister Crowley, various seekers of the truth and mystics such as G. I. Gurdjieff, the Kabbalah mysticism, and demonology or Gnosticism; in other words, the alternative branch of Christianity. Literary and mystical sources aside, Gnostic Preludes is a fine example of Zorn's unique and fascinating fusion of classical music with western improvisation.

It could have easily been part of his Filmworks series because of its meditative nature. The melody of opening track, "The Middle Pillars" (referencing one of the recommended practices for Sophian initiates) closely resembles the main theme of Filmworks XIII: Invitation to a Suicide (Tzadik, 2002).

Zorn uses the talents of this unusual combination of instruments—harp, vibraphone, bells and guitar—to maximum effect and, as always, he fully engages the performers to be not just dutiful interpreters, but creatively invested collaborators. The sense of beauty lies in the way these instruments are melded in a multi-textured tapestry of sound. Guitarist Bill Frisellis particularly inspired, as his playing shows him being more engaged and focused than he has ever been. Rather than hiding behind his immediately recognizable slow and weaving guitar tones and melodicity, he is more playful and virtuosic. The interplay between vibraphonist Kenny Wollesen, Frisell and harpist Carol Emanuell on "Book of Pleasure" is beautiful, with characteristically minimalistic repetitive motifs on vibes and Frisell providing Dave Gilmour-esque edgy guitar works. It is a gorgeously slow tune with lyrical imagery for the mind and the soul.

"Prelude of Light" continues down this strange yet inviting path. It alters between beautiful backwash of harp and vibes melodies and drones, with Sephardic melodies provided by the intricate guitar. The shimmering nature of the sounds produced on "Diatesseron," "Sounds of the Spheres" and "Circumbulation" creates delicate filigrees that pulsate with absorbing detail. The layered production gives these compositions a hypnotically captivating quality that induces a dreamlike state; the effect is really intoxicating. "Sign and Signal" is another delightful track, featuring beautiful and intricate interplay between Emmanuel and Wollesen's vibes and bells. 

It shimmers with Steve Reich -like pulsating repetitive motifs taken further with Frisell's overtly blissful Sephardic guitar lines. 

It is an infinitely fascinating track that begs to be revisited over and over.

Gnostic Preludes is an intriguing and seductive recording, with a gentle and contemplative feeling that resonates with emotive power. 

It combines the feel of ambiance music with lyrical and melodic prowess seldom seen in Zorn's work. As such, it is a moving work well worth surrendering to.

:::Review by Nenad Georgievski:::

John Zorn - The Gnostic Preludes (2012)

1. Prelude 1: The Middle Pillar 6:39

2. Prelude 2: The Book Of Pleasure 6:06

3. Prelude 3: Prelude Of Light 5:56

4. Prelude 4: Diatesseron 4:35

5. Prelude 5: Music Of The Spheres 8:14

6. Prelude 6: Circumambulation 6:34

7. Prelude 7: Sign And Signal 6:22

8. Prelude 8: The Invisibles 3:35

Credits

Composed By, Arranged By – John Zorn

Guitar – Bill Frisell

Harp – Carol Emanuel

Vibraphone, Bells – Kenny Wollesen

Samaria Celestial is was the drummer for the SUN RA Intergalactic Cosmo Love Adventure Arkestra.  Isis Sun is his first solo outing and acts as a personal tribute to Sun Ra and his unique collection of musical proteges.  The album was almost completely improvised and utilizes numerous complex rhythm tracks, space synth backwash, his brother's wood flute and Samarai's own unique Intergalactic Space Rap.  The package is completed with stunning artwork with full color tray cards, rainbow spiral galaxies, Egyptian temples, resplendent fractals and even an appearance by Sun Ra himself.

For over thirty years, Sun Ra's Intergalactic Arkestra stretched the creative boundaries of avant-jazz. Sun Ra claimed to be from Saturn, and said that he "arrived" on earth to spread the Creator's greatest gift: music. While his outrageous statements gained him attention, it was his talent as a musician and bandleader that earned him respect. Ra was an amazingly gifted musician, but he also surrounded himself with a like-minded, similarly gifted group of musicians. Samarai Celestial played drums for the Sun Ra Arkestra steadily from 1979-1985, and again from 1994 until he passed away in at age 43 in 1997, after a four-year battle with heart disease. 

Celestial credits Ra as one of the greatest musical masters ever, and he dedicated his first solo album, Isis Sun (1995), to the memory of his teacher (Ra passed away in 1992, and the Arkestra continues to tour under the direction of Marshall Allen).

Celestial's music is a far-out cosmic exploration, full of polyrhythms, funky beats, and ear-bending sound experiments. In the liner notes to Isis Sun, Celestial wrote that he was trying to "create something different in music that contained Masterful Elements of the past, present, and future to give my Master thanks for the hours of lessons, dedicated purity, and the development of the omniversal spirit of the arts." The result is a mixture of lightning-fast drumming, free improvisation, and synthesized insanity that both honors Ra's legacy of creative musical expression and highlights Celestial's innovative skill.

:::taken from fromnowherehere.blogspot.com:::

Samarai Celestial - Isis Sun (1995)

1. Sun Ra   14:26

2. Isis Sun   12:26 

3. Unifying Rhythm   20:50

4. Nation Time   15:13 

5. Sun Ra (Edit Version)   7:47

Credits

Bobby Zankel, 

Jason Oettel, 

Rick Iannacone, 

Samarai Celestial, 

Tyrone Hill

Unlike Ornette Coleman—who wanted to blow orthodox jazz form out of the water—John Coltrane and Eric Dolphy initially worked to change the system from within, making music that fit the jazz standards of the time while injecting their own unique spin. This is why Outward Bound, Dolphy's first recording as a leader, is a not-so-distant relative of Coltrane's My Favorite Things(Atlantic, 1960).

On balance, both discs have a conventional base. While Coltrane stuck to the Great American Songbook, Dolphy penned over half the tunes on Outward Bound; even so, those originals mesh perfectly with classics like "On Green Dolphin Street and Charles Greenlea's "Miss Toni. It's the respective opening tracks that separate both discs from the norm. As Coltrane used an innocuous song from The Sound of Music to launch us into space, so does Dolphy use "G.W. to prove Coleman's theory that "you could play sharp or flat in tune.

A fast 4/4 beat drives borderline-dissonant opening salvos from the front line. While the rest of the band lays down beats and fills that would not be out of place on any bop date, Dolphy steps out of the head to blister us with a mind-boggling, lightning-fingered alto solo that threatens to go over a cliff at any moment. Dolphy and his partners maintain this unorthodox balancing act throughout the 1960 session.

At the time, the bass clarinet was nearly unheard of as a lead instrument, but Dolphy uses it to great atonal effect on the zippy "Miss Toni. It also applies a noir-like patina to the opening of "Green Dolphin Street. Dolphy's flute on Rodgers and Hart's "Glad To Be Unhappy is flat and mournful one second, jumping and dancing (and sometimes screaming) the next, but rarely following a predictable path. Jaki Byard is Dolphy's faithful wingman, contributing Monk-laced lines that stay within "acceptable guidelines while tipping the reality a little bit further out.

George Tucker's foundation on bass is key, rooting the music so the other players can create in space. Roy Haynes displays a range as big as all outdoors, playing drums like a machine gun on the blasting "Les one minute, using brushes like an artist on "Green Dolphin Street the next. Freddie Hubbard's trumpet is as empirical as Dolphy's reedwork is existential; the 21-year old Hubbard's solos (particularly on "Les and the bluesy "245 ) show power and control beyond his years. One wonders what would have happened if he'd stayed with Dolphy and not gone off with Art Blakey.

It makes sad sense we lost Coltrane and Dolphy too soon—Trane from cancer, Dolphy of complications from diabetes. Stars burn out, meteors crash... but while they live, they burn oh so bright. Outward Bound is Dolphy's first burst of light, a beautiful and frightening glow that must be experienced.

:::Review by J Hunter:::

Eric Dolphy Quintet - Outward Bound (1960)

1. G.W.

2. On Green Dolphin Street

3. Les

4. 245

5. Glad to Be Unhappy

6. Miss Toni

Credits

Eric Dolphy - alto sax, bass clarinet & flute

Freddie Hubbard - trumpet

Jaki Byard - piano

George Tucker - bass

Roy Haynes - drums

Ted Curson - trumpet

Kenny Drew - piano

Jimmy Garrison - bass

Dannie Richmond - drums

Eberhard Weber's first record remains his most well-known and influential. An ambitious work of what might be called symphonic jazz, The Colours of Chloë helped to define the ECM sound -- picturesque, romantic, at times rhythmically involved, at others minimalistic and harmonically abstruse. Weber at various points combines strings, choir, synthesizer, and small jazz ensemble. It's a brew that can bring to mind some of the progressive rock and fusion of the era, although Weber's vision is a good deal more idiosyncratic than that. The disc is comprised of only four tracks. First is the atmospheric, stage-setting "More Colours," followed by the title track, during which pianist Rainer Brüninghaus and drummer Ralf Hübner become active. Next is "An Evening With Vincent Van Ritz," featuring deft Rhodes chording from Brüninghaus and a flügelhorn solo by Ack van Rooyen. Finally, there's the nearly 20-minute "No Motion Picture" (this was originally side two of the LP), based on a fast, repetitive bass riff that keeps re-emerging throughout the course of the composition. People will disagree about whether The Colours of Chloë stands the test of time, but Weber's aesthetic played a significant role in the creative music of the '70s, attracting a fair share of emulators.

1. More Colours 6:40

Now into its twelfth consecutive year, Zooid can finally lay claim as Henry Threadgill's longest running ensemble, having superseded the tenures of the venerable composer's most celebrated lineups, including Air, Sextett and Very Very Circus. Tomorrow Sunny / The Revelry, Spp is the idiosyncratic chamber group's fourth release for Pi Recordings, which was founded in 2001 to simultaneously release a pair of albums by the esteemed AACM multi-instrumentalist: Everybody's Mouth's a Book, by the electric Make a Move quintet; and Zooid's debut, Up Popped the Two Lips. This Brings Us To, Volume I and II were subsequently issued in 2009 and 2010, after an eight year recording hiatus by the acoustic unit.

As testament to Threadgill's leadership capabilities, Zooid has enjoyed fairly consistent personnel since its inception. Acoustic guitarist Liberty Ellman, trombonist/tubaist Jose Davila and drummer Elliot Humberto Kavee are all original members, with only acoustic bass guitarist Stomu Takeishi not part of the very first incarnation. The most notable difference between this record and the previous two is the addition of cellist Christopher Hoffman, whose inclusion restores Zooid to the sextet configuration documented on its first outing.

For the uninitiated, Zooid is named after "a cell capable of independent motion within a living organism." Threadgill has adapted this concept into a systematic series of rules to govern collective improvisation. Each musician is assigned a separate range of intervals, which facilitates melodic, harmonic and rhythmic independence from the core group, while contributing to the music's overall communal structure. The cumulative effect is a contrapuntal latticework of polyphonic harmonies, kaleidoscopic textures and modulating cross-rhythms.

Sequenced in a series of dramatic arcs, the session vacillates between myriad moods, veering from the simmering fervor of "A Day Off," to the subdued pointillism of "Put On Keep / Frontispiece, Spp." Functioning as a unified cooperative, the individual members' contributions coalesce into a shimmering mosaic, their prismatic statements ebbing and flowing from foreground to background. Some of the most expansive variations come from Hoffman, whose multihued fretwork ranges from sinewy funk on "Tomorrow Sunny" to understated lyricism on "See the Blackbird Now," which also includes dulcet trombone work from Davila and Threadgill's haunting bass flute. The leader's acerbic alto leads the brief avant-blues tone poem "So Pleased, No Clue," his trenchant testimonials setting the stage for the roiling "Ambient Pressure Thereby," which presents the band at its most vivacious, hemmed by strikingly melodic extrapolations from Threadgill and Ellman.

Bolstered by the unswerving dedication of his longstanding sidemen,Tomorrow Sunny / The Revelry, Spp continues the ongoing documentation of Threadgill's Zooid, a consistently fascinating endeavor from one of the most compelling composers of our time.

:::Review by Troy Collins:::

Henry Threadgill - Tomorrow Sunny / The Revelry, Spp (2012)

1. A Day Off (5:50)

2. Tomorrow Sunny (6:30)

3. So Pleased, No Clue (3:34)

4. See the Blackbird Now (9:27)

5. Ambient Pressure Thereby (10:34)

6. Put On Keep/Frontispiece, Spp (6:25)

Credits

Henry Threadgill - Flute, bass flute, and alto saxophone

Liberty Ellman - Guitar

Jose Davila - Trombone and tuba

Christopher Hoffman - Cello

Stomu Takeishi - Bass guitar

Elliot Humberto Kavee - Drums

Existence with the ability of the performance and the composition might be a valuable element. The element always appeared remarkably in the work after she had announced the debut album.

If it borrows her word, the music character is pursued. Or, the possibility to the music created by a minimum unit. They had the flow always calculated as a search for her music.

An overwhelming technology and the idea to make the listener listen by "Another Mind" and "Brain" were Jazz/Fusion that an exactly original quality that was is high. She tries so that may promote the flow further and may complete her original theme by her.

The possibility as the music that she thought about in "Spiral" and Trio might have received one the top. The part where "Movement" and "Quietness" in "Spiral" were had both ..composition.. had been finished about the possession fast and slow walking. And, the woman who drew out the possibility as Trio enough tries to proceed to the next step.

If the inquiring mind of Hiromi is considered of course, the flow that aims at the top further might have been able to be selected, too. However, the plan and the idea that she was always considering in the flow of the activity since "Spiral" that she announced in 2005 and the cultivated idea reach this album with some necessity.

The creation and the idea of the woman who reached a climax in "Spiral" started making the listener pleased to give width to the music character further with the form of the project. This album to which David Fiuczynski that participates in the recording in the debut album receives the guitar as a member and is recorded has the form of the project and the band. David Fiuczynski is a guitar player known by the performances such as Screaming Headless Torsos and Gongzilla. Hiromi was declared to be a fan of Screaming Headless Torsos. And, it will be able to be said that the appointment of David Fiuczynski is inevitable as the idea as the band that she was drawing after it competes in the debut album. To create the tune staring at the performance that four people do for the composition naturally, each musician's capability and ability will be tested. It is said that Hiromi will not do Improvisation to the subject for originally making the tune. It is said that the idea constructed as an impression almost completely will repeat the trial and error. 

The challenge as the complete music character that Hiromi creates might continue exactly. The theme of "Spiral" was a content to make the element of the wave exactly repeated, the life, and the impression in space an embodiment. And, "Time" is included as a theme in this album. People are differences at thinking time and time. Or, it is expressed as an album with the part where the element to make life and the change of people who unconsciously process time an embodiment as music has been given.

"Time Difference" continues the tension from a sublime unison of the piano and the guitar. Ensemble of the band has the flow considerably calculated. The sound of the keyboard also continues her originality. And, the conversation of responding keyboard and guitar will have width as a new possibility as the band. It is ..Jazz/Fusion with the tension.. finished as a complex rhythm is continued.

"Time Out" is a tune of which the element of Funk went out. However, the originality of Hiromi appears everywhere. The performance of the band that answers Ad-Rib of the guitar also contributes well. It carries exactly out the function as the band by introducing the guitar. A progressive element is strongly put out as complex development twining.

"Time Travel" starts from the sound with the anacatesthesia and the line of Bass. The progress of Chord twines round the impression that Jazz is good the flow of Fusion well and gives the tension. The tune might be completely calculated as a composition as the band. 

The piano and the guitar in close relation to legato fast continue the dash feeling. The flow of the chromatic scale has acted well as an impression of the tune, too.

"Deep Into The Night" is a tune with the flow that fast and slow overflows. The part as Jazz has been strongly considerably put out. 

The music character of Hiromi that bases the experience as Trio might act well. The width of the tune extends further with the flow pulled with the part of Fusion that the guitar is good.

Twining of the guitar processed by the effect and the piano of "Real Clock vs. Body Clock=Jet Lag" is impressive. It is a tune where the originality of Hiromi was expressed enough while having both the part of the complexity and the humour. The creation of Hiromi by which this tune also stared at the sound as the band has acted well.

"Time And Space" continues the flow with the anacatesthesia from the sound with the part of mellow. However, the band is given original development everywhere and progresses. It is a tune where the element as the band with a variegated sound was expressed well.

"Time Control,Or Controlled By Time" pulls the band with the melody with a fast piano. Progressive development and the sound are high-quality Jazz/Fusion. The flow that shifts from the flow of an overwhelming unison to Solo of Bass has succeeded as a tune, too. And, it might be a part where Solo of the drum also played the role as the band enough. The flow of an advanced tune exactly contains the possibility of the band enough with development to which the forecast doesn't adhere.

It is a tune where the sound of the keyboard that "Time Flies" is variegated appears. The processing of the sound of a beautiful piano and the keyboard might be along the theme of the album. A good guitar for the flow with the anacatesthesia twines with the piano. The flow that the sound of the band twines round the flow with the anacatesthesia in union will call impression.

"Time's Up" makes the flow from "Time Flies" more chaotic and reports the end of the album. The flow that plays the role of Outro gives reverberations to the entire flow of the album.

The challenge to the music of Hiromi was made an embodiment further by the form of this project.

:::Review by Kazuhiro:::

Hiromi's Sonicbloom - Time Control (2007)

1. Time Difference (6:19)

2. Time Out (6:39)

3. Time Travel (8:37)

4. Deep Into the Night (9:02)

5. Real Clock vs. Body Clock = Jet Lag (5:53)

6. Time and Space (7:56)

7. Time Control, or Controlled by Time (8:29)

8. Time Flies (8:01)

9. Time's Up (0:46)

Bonus track on Japanese release

10. Note From the Past (12:08)

Credits

- Hiromi Uehara / keyboards

- David Fiuczynski / electric and fretless guitar

- Martin Valihora / drums

- Tony Grey / bass

Moondog's second self-titled album (the first one came out in 1956 on the independent jazz label Prestige) was the idiosyncratic composer's first release in 12 years, and it shows how much Moondog's already rich music had matured since 1957's The Story of Moondog. Where Moondog's '50s records were jazz-based, Moondog showcases the composer's orchestral side; producer James William Guercio assembled an orchestra of over 40 musicians from the classical and jazz worlds (including flutist Hubert Laws and bassist Ron Carter), and although the pieces are quite compact -- ranging from the expansive three-part ballet suite "Witch of Endor" to the eight-second spoken poem "Cuplet" -- Moondog uses the expanded range of tonal colors and dynamics impressively. For someone who spent most of his career performing solo on a street corner in Manhattan, Moondog's arrangements on pieces like the jazz-canon's "Stamping Ground" are not only admirably complex, but also richly melodic. Although Moondog is often thought of as a mere exotica novelty, thanks to the composer's eccentricities, it is, in fact, one of the finest third stream jazz albums of its era. The best-known track on this album, "Bird's Lament," was the uncredited basis for dance DJ Mr. Scruff's "Get a Move On," which was used in an extended series of minivan commercials in 2002.

:::Review by Stewart Mason:::

Moondog - Moondog (1969)

A1. Theme 2:35

A2. Stamping Ground 2:36

A3. Symphonique #3 (Ode To Venus) 5:51

A4. Symphonique #6 (Good For Goodie) 2:45

B1. Minsym #1 5:45

B2. Lament I, "Bird's Lament" 1:42

B3. Witch Of Endor 6:29

B4. Symphonique #1 (Portrait Of A Monarch) 2:36

Credits

Baritone Saxophone – Wally Kane

Bass – Alfred Brown, George Duvivier, Louis Hardin, Ron Carter

Bass Clarinet – Ernie Bright

Bassoon – Don Macourt, George Berg, Jack Knitzer, Joyce Kelly, Ryohei Nakagawa, Wally Kane

Cello – Charles McCracken, George Ricci

Cello [Contrabass] – Joe Tekula

Clarinet – George Silfies, Jimmy Abato, Phil Bodner

Composed By, Liner Notes – Louis Hardin

Design – Ron Coro

Engineer – Arthur Kendy, Fred Plaut

English Horn – Henry Shuman, Irving Horowitz

Flugelhorn – Joe Wilder

Flute – Andrew Lolya, Harold Bennett

French Horn – Brooks Tillotson, James Buffington, Ray Alonge, Richard Berg

Percussion – Bob Rosengarden, Dave Carey, Elayne Jones, Jack Jennings

Photography By [Cover] – Don Hunstein

Photography By [Inside] – Fred Lombardi

Piccolo Flute – Harold Jones, Hubert Laws

Producer – Alfred Brown, James William Guercio

Tenor Vocals – Eugene Becker, Raoul Poliakin

Trombone [Bass] – Paul Faulise

Trombone [Tenor] – Buddy Morrow, Charles Small, Tony Studd

Trumpet – Alan Dean, Joe Wilder, Mel Broiles, Teddy Weiss

Trumpet [Bass] – Danny Repole

Tuba – Bill Stanley, Don Butterfield

Tuba [Tenor] – Bill Elton, Bill Stanley, John Swallow, Phil Giardina

Viola – David Schwartz, Emanuel Vardi, Eugene Becker, Raoul Poliakin

Violin – Aaron Rosand, Paul Gershman

Hi Folks!

This series has worn me out, however I hope you enjoyed being trapped into Zeuhl den.

I am going on vacation both to recover a little and rest from blogging for awhile.

Thanks for your comments and visiting.

Have a good one too.

Stay tuned!

jazzlover

Hi Jazzheads!

Today, I am proud to announce that I am starting a new little cycle.

The aim of it, is simply to promote some artist with jazz verve.

If you would like to share your music with others please free to contact me, to be provided with some more details as to how can it be done.

To start off with, I am thrilled to share with you some music of good friend of mine. 

This project is called Cardboard Fingers and is blend of nu-jazz, electronic and ambient.

I hope you will enjoy it and get encouraged to share your music with others.

Cardboard Fingers - Writhing Veracity (2005)

1. intro

2. the smooth

3. evergreen

4. cigarette

5. care

6. dusky

7. inculcation

8. where am i

9. in

10. walking the string

11. which makes you mad

12. the dawn

13. evening song

14. Duke Ellington - hot feet (cf rmx)

15. outro

Credits

dR - all instruments, laptop, mix and production
Cover art by Grzegorz Sadowski

Links

:::Cardboard Fingers - Writhing Veracity Project:::

:::Cardboard Fingers - More info:::

:::Cardboard Fingers - Up-to date Project:::

Hello Everyone!

As I promised, posts with the following links, have been rebuild, so you can enjoy them once more.

However, If you, by any chance, come across any link that does not work, please feel free to let me know,
I will fix it asap.

Alice Coltrane - Universal Consciousness (1971)

Archie Shepp - Kwanza (1969)

Area - Crac! (1975)

Art Blakey & The Jazz Messengers - Moanin' (1958)

Azymuth - Remastered & Remixed (2007)

Billy Cobham - Total Eclipse (1974)

Cannonball Adderley, Miles Davis - Somethin' Else (1958)

Cecil Taylor - Unit Structures (1966)

Charles Mingus - Pithecanthropus Erectus (1956)

Charles Mingus - The Black Saint And The Sinner Lady (1963)

Charlie Haden Liberation Music Orchestra - Not In Our Name (2005)

Chet Baker & Art Pepper - Picture of Heath (1961)

Christian Vander - Vander Et Les Trois Jef (1973)

Daevid Allen - Eat Me Baby I'm A Jelly Bean (1998)

Derek Sherinian - Planet X (1999)

Don Cherry - Brown Rice (1975)

Eric Dolphy - Out To Lunch (1964)

Fela Kuti - Gentleman (1973)

Freddie Hubbard - Straight Life (1970)

Herbie Hancock - Man-Child (1975)

Isotope - Illusion (1975)

Jaco Pastorius - Invitation (1983)

Jean-Luc Ponty - Imaginary Voyage (1976)

Joe Henderson Featuring Alice Coltrane - The Elements (1974)

John Abercrombie - Timeless (1975)

John McLaughlin - Electric Dreams (with The One Truth Band)(1978)

Keith Jarrett - My Song (1978)

Laboratorium - Modern Pentathlon (1976)

Mahavishnu Orchestra - Between Nothingness and Eternity (1973)

Miles Davis - Bitches Brew (1969)

Morphine - Cure For Pain (1993)

Pat Metheny, Ornette Coleman - Song X (1986)

Peter Brotzmann Octet - Machine Gun (1968)

Randy Weston - Tanjah (1973)

Return To Forever - Hymn Of The Seventh Galaxy (1973)

Sam Rivers - Contours (1965)

Soft Machine - Bundles (1975)

Stan Getz - Focus (1961)

Stan Getz - Sweet Rain (1967)

Sun Ra - Nothing Is (1966)

Sun Ra - The Magic City (1966)

Svenska Löd AB! - Hörselmat (1971)

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

Thelonious Monk - Brilliant Corners (1956)

Vienna Art Orchestra - Concerto Piccolo (1980)

Wayne Shorter - JuJu (1964)

Weather Report - Tale Spinnin' (1975)

Yellowjackets - Four Corners (1987)

Zbigniew Namysłowski Quintet - Kujawiak Goes Funky (1975)

ENJOY!

This great Cuneiform album might just be the only recorded trace of SM ever being a quintet, down from a septet (as Nick Evans and Mark Charig both ex-Tippet boys had departed) before reducing to the quartet that will record the Third album (although Dobson will play a bit on it). These tapes are taken from a Jan 04, 1970 concert at Croydon just before one of their numerous tour de France and as opposed to a lot of live albums the quality of these recordings is excellent, probably thanks to Cuneiform even if they admit a bit of doodling about. Dobson still manages to make an impact on the others and is responsible for a scat/flute duo during Backwards. The repertoire they were playing by that time is lot closer to Third than the previous two albums of which only Hibou and We Did It Again are left (and greatly modified) as Wyatt was rather silent with the microphones. Even Moon In June bears no vocals, and the band was in top-notch form for a splendid night of semi improvised high-energy jazz-rock. This is maybe THE live album every SM fans was waiting for.

:::Review by Sean Trane:::

Soft Machine - Noisette (1970)

1. Eamonn Andrews (12:15)
2. Mousetrap (5:24)
3. Noisette (0:37)
4. Backwards (4:48)
5. Mousetrap(reprise) (0:26)
6. Hibou, Anemone And Bear (8:50)
7. Moon In June (6:55)
8. 12/8 Theme (11:25)
9. Esther's Nose Job (14:30)
10. We Did It Again (7:15)

Credits
- Elton Dean / alto sax , saxello
- Lyn Dobson / soprano sax, flute, vocals
- Hugh Hopper / bass
- Mike Ratledge / electric piano, organ
- Robert Wyatt / drums, vocals

Guitarist John Abercrombie was one of the stars of ECM in its early days. His playing on this trio set with bassist Dave Holland and drummer Jack DeJohnette is really beyond any simple categorization. Abercrombie's improvisations are sophisticated yet, because his sound is rockish and sometimes quite intense (particularly on the nearly 11-minute "Sorcery 1"), there is really no stylistic name for the music. Holland contributed four of the six originals while DeJohnette brought in the other two (one of which was co-written with Abercrombie). The interplay between the three musicians is quite impressive although listeners might find some of the music to be quite unsettling. It takes several listens for one to digest all that is going on, but it is worth the struggle.

:::Review by Scott Yanow:::

John Abercrombie, Dave Holland, Jack DeJohnette - Gateway (1975)

1. Back - Woods Song 7:51
2. Waiting 2:10
3. May Dance 11:01
4. Unshielded Desire 4:49
5. Jamala 4:47
6. Sorcery I 10:56


Credits
Bass – Dave Holland
Drums – Jack DeJohnette
Guitar – John Abercrombie

Despite the fact that pianist and composer Paul Bley had been a renowned and innovative jazzman for nearly 20 years, 1973 saw the release of his most mature and visionary work, and one that to this day remains his opus. This is one of the most influential solo piano recordings in jazz history, and certainly one that defined the sound of the German label ECM. Consisting of seven tracks, five of which were composed by Carla Bley (his ex-wife) and Annette Peacock (soon to be his ex-wife), and two originals, Bley showcased his newfound penchant for the spatial pointillism and use of silence that came to define his mature work. In Carla Bley's "Ida Lupino," the pianist took the song's harmonics and unwound them from their source, deepening the blues elements, brushing the Errol Garnerish ostinato with pastoral shades and textures of timbral elegance, and reaching the tonic chords in the middle register just as he forced the improvisation just barely into the abstract with his right hand, percussively slipping in one or two extra notes to highlight the deep lyricism in the tune's body. On his own "Started," Bley illustrates brazenly the deep influences of the Second Viennese School on his sense of harmony and counterpoint. Recalling Arnold Schöenberg's solo piano pieces in their engagement of dissonance and glissando placement, it's still Bley playing jazz and improvising, vamping on his own theme while turning melody and timbre back on themselves for the purpose of complete tonal engagement in the middle register. And in Annette Peacock's "Nothing Ever Was, Anyway," which closes the album, Bley makes full use of an element he employs throughout the recording: space and its ability to create the notion of consonance or dissonance from the simplest of melodies. Here notes appear, related, but just barely, to one another in a more or less linear sequence, and Bley stretches that connection to the breaking point by using his sense of spatial relationship in harmony to silence. He elongates the tonal sustain and allows it to bleed into his next line just enough, as if it were a ghostlike trace of another melody, a another distant lyric, attempting to impose itself on the present one, though it had just since ceased to exist.
Ultimately, what Bley offers is jazz pianism as a new kind of aural poetics, one that treats the extension of the composer's line much as the poet treats the line as the extension of breath. Sheer brilliance.

:::Review by Thom Jurek:::


Paul Bley - Open, to Love (1972)

1. Closer 5:51
Composed By – Carla Bley

2. Ida Lupino 7:31
Composed By – Carla Bley
3. Started 5:13
Composed By – Paul Bley
4. Open, To Love 7:10
Composed By – Anette Peacock
5. Harlem 3:22
Composed By – Paul Bley
6. Seven 7:21
Composed By – Carla Bley
7. Nothing Ever Was, Anyway 6:02
Composed By – Anette Peacock

Credits
Artwork – Barbara Wojirsch
Engineer – Jan Erik Kongshaug
Photography By – Ib Skovgaard Petersen
Piano – Paul Bley
Producer – Manfred Eicher

Liner notes

The album you are holding was recorded in 2003 and its origins go back to a couple of days in July we spent together recording the soundtrack for the TV Theater show (Parasite, directed by Marcin Wrona). As long-time devoted fans of Andrzej Przybielski’s music, after having collaborated with him for a number of years, we remain constantly impressed by his working methods and the way he views life through the prism of improvisation. At the same time, we believe his music has never been fully presented. That is why we dared produce this disk and be his accompanying musicians during the recording sessions. Most of the music recorded here has been made with no previous rehearsals, preparations or agreements, which reflects Andrzej’s working methodology as well as his firm conviction that real music does not require declarations and if it is to come into being, it wilt do so without them – hence the comments made ad hoc in the studio right before recording a given track. In order to underline the rawness of this music we decided to record it using only three microphones, so that each instrument could fill the same portion of space and therefore be equally important as the other two. (Marcin & Bartlomiej Brat Oleś)

About the artists 

Trumpeter Andrzej Przybielski is a legend of Polish Jazz. Although he was probably the most recorded musician in history of Polish Jazz, during his life he has not recorded an album under his own name as a leader. He began performing on the cornet in 1960s, first playing traditional jazz in the band that included Zdzislaw Piernik and Jacek Bednarek. Since mid 60s he became fascinated with jazz avant-garde. In 1968 he was a winner of the first prize in two categories: as a soloist and as a composer, at the Jazz over Odra River Festival. He also won 2nd price in band category with a band called 'Trio Gdansk'. In 1969 he performed at 'Jazz Jamboree Festival' with Andrzej Kurylewicz's Formation of Contemporary Music. In the same year he performed at Pori Jazz Festival in Finland, and at Jazz Frankfurt composer's workshop in Darmstadt. Between 1969-1972 he was a regular member of Wanda Warska's 'Basement Club' band.
In 1972, at the Hybrydy Jazz Club, he cooperated with Helmut Nadolski, Wladyslaw Jagiello, and Andrzej Biezan creating first Polish cult free jazz band - Sesja 72. He partnered with Czeslaw Niemen for recording session of the legendary free-rock-fusion album 'Marionetki'. In 1970s he regularly performed in duo with bassist Helmut Nadolskim, and participated in variety of activities including poetry, recordings of music, theater and film. He also worked with a group SBB.
In the 1980's Przybielski was a leading figure in the blooming avant-garde movement that included Sesja 80, Free Cooperation, Acoustic Action and the Green Revolution. He partnered with Tomasz Stanko for a recording session of the legendary Witkacy-influenced Stanko's 'Peyotl' project. As freejazz-stef blogspot observed, Przybielski 'keeps his notes short, powerful, precise and implicitly rhythmic, with a sound as if he's playing in the same room as you and I, and in that respect almost the exact opposite of what his compatriot Tomasz Stanko does with the instrument'. Tomasz Stanko joked: '...from 'military' personal the one I admire the most is 'major' Andrzej Przybielski'. In this decade he also established his long-term cooperation with the theatre performer Piotr Dudzinski. He also cooperated with National Theatre (Teatr Narodowy), Performer Theatre from Zamosc, and with Scena Teatru Witkacego in Zakopane.
In the next decade (1990's) Przybielski found common language with the younger generation of musicians, including new wave in Polish Jaz: yass (Trupy, Maestro Trytony, Tymon Tymanski, NRD, Mazzoll & Arhythmic Perfection) as well as with rock bands (T-Love, Variete).
In 1997 he joined Tribute To Miles Orchestra, performing and recording with this super group and in many other configurations.
The new millennium was plentiful of various Przybielski's collaborations with all four generations of Polish Jazz scene, including recordings and concerts with Oles brothers, Sing Sing Penelope, Stanislaw Sojka, his own associations, and numerous performances in the larger (Holy Cross Orchestra) and chamber formations (duets, trios). Until the end of his life he has remained very active and creative, full of enthusiasm for the music, always ready for action, always open to all styles and genres.
Andrzej Przybielski passed away on February 9, 2011. His friend and long time collaborator, Wojtek Konikiewicz wrote in his remembrance: 'The memory of Andrzej Przybielski survives not only in music, but also numerous anecdotes and sayings, of which hundreds circulate in jazz environment. He was a man who lived modestly, without requesting privileges for himself, reflecting on his music entirely. Hiss passing is an irreparable loss for the Polish culture - left us the most outstanding Polish jazz trumpet player: a great artist, sensitive, warm and good man'.

*****

Twin brothers Marcin and Bartlomiej Oles (Marcin - bass / Bartlomiej (Brat) - drums) are some the most unique and creative contemporary European musicians now. They are also an accomplished composers, producers and authors of theatrical and film music.
Their projects brake jazz stereotype of rhythmic section and prove that double bass and the drums are sufficient to create music so complete, full of energy and unusual sounds.
Oles brothers were born on the 4th of January 1973, In Sosnowiec (south of Poland) in musical family (father was a conductor). Since their first recording in 2000 they continuously compose, record and perform original music based on a jazz tradition.
Initially fascinated by jazz-rock and electronic music, in early 1990s their attention switched to acoustic jazz that resulted in creation of a formation Custom Quartet with repertoire consisted of jazz standards. After a year the band transformed into Custom Trio which played mainly music composed by Barlomiej. Custom Trio, with a line-up Krzysztof Kapel – sax, Marcin – double bass, Bartlomiej – drums, made its debut in 1999 with an album Mr. Nobody. One year later the group teamed up with legendary polish trumpet player Andrzej Przybielski and recorded their second album CT & Andrzej Przybielski Free Bop. The cooperation was concluded by an album Back Point in 2002.
In 2002 they worked together with Dionizy Piatkowski's festival Era Jazzu, at the international project, which expanded beyond jazz boundaries. The Contemporary Quintet was based on work of polish contemporary composers Grazyna Bacewicz, Witold Lutoslawki and Krzysztof Penderecki, played by German bass clarinet player Rudi Mahall, Romanian pianist Mircea Tiberian and American french horn player Mark Taylor.
Between 2001 and 2003 they cooperated with Mikolaj Trzaska, recording albums Danzinger Strassenmusik (with live street performance), Mikro Music, la Sketch up and Suite for trio + – with guest appearance French trumpet player Jean-Luc Cappozzo.
Marcin's double bass solo album examining, interpreting and saluting the work of Ornette Coleman (Ornette on bass) was released in 2003. Drum solo suite in 12 parts (FreeDrum Suite) by Bartlomiej followed in 2004.
In 2003 they established formation Oles | Jörgensmann | Oles with German clarinet virtuoso Theo Jörgensmann. The trio extensively performs and recorded number of albums for NotTwo, Fenomedia and Hat Hut labels.
In 2005 they invited Ken Vandermark into Michal Rosicki's Sonus Studio Lomianki, and together recorded album of free improvisations titled Ideas.
Their own label - Fenommedia Records, was formed together with Graphic Design Studio Fenommedia in 2005.
In 2007 a new project was created: Marcin & Bartlomiej Brat Oles Duo – one of the most original and unique in their career to date.
The first album by Duo was published in 2008 and new one is planned for 2011.
The music of Oles brothers is a sensation not only on Polish but also on international scale. Their limited to bare essential instrumentation keep their music in the center what has always been essential for jazz - rhythm. On the other hand, their music is composed to the much greater degree, and uses ideas and techniques closer to contemporary chamber music then jazz. Their improvisations are always engaging, their execution flawless. Their keep pushing boundaries of free and improvised music. 

:::Taken from www.polishjazz.com:::

:::Review from freejazz-stef.blogspot:::

Andrzej Przybielski, Marcin Oleś, Bartłomiej Brat Oleś - Abstract (2003)

1. Openscat [04:44]
2. Ride [03:59]
3. Afroblue [04:25]
4. Skok [02:39]
5. Ballada [07:43]
6. Epitafium dla Jacka [06:31]
7. Cherry [05:00]
8. Afroblue II [04:14]
9. Final [04:10]

Credits
Andrzej Przybielski - trumpet, flugelhorn, pocket trumpet
Marcin Oleś - double bass
Bartłomiej Brat Oleś - drums, bells, gong

"We have known Zbigniew Namysłowski so far as a musician of a small ensemble. Indeed his groups had not for years exceeded the size of a quintet, and lately he has even been playing in a quartet. On this record, however, Namyslowski, by writing his pieces for quartet and orchestra, has created for himself and his remarkable colleagues a vast and colourful tonę background. The idea itself is not new; some major jazz and rock groups have been doing such recordings already. What's new in Namyslowski's approach is, I think the way he is treating here the orchestra. It is no longer restricted to play sweeping chords as merely a harmonic background. Being at once arranger and composer he has assigned the symphonic players an exacting task by writing for them the rhythmic patterns typical of contemporary jazz. And one must admit that they fulfil that task for the most part satisfactorily, thereby giving this recording an unusual expression and a refreshing quality of novelty. Julian Cannonball Adderley said on one occasion that Zbigniew Namyslowski was one of the greatest jazz musicians he had ever known. This recording, with its features of genius, made by Namyslowski on the twentieth anniversary of his activities, does confirm this opinion a hundred per cent."

:::Review from liner notes:::

Zbigniew Namysłowski (1977)

01. Pod dobrą godziną (At the Auspicious Hour)
02. Gdy zakwitnie miesiąc maj  (When May Is in  Flower)
03. Mango-boogie
04. Jasmine Flavoured
05. Upływ czasu (The Passage of Time)
06. Przejażdżka na UFO (Flight on an UFO)

Credits
Zbigniew Namysłowski Quartet:

Zbigniew Namysłowski  — alto saxophone,
Sławomir  Kulpowicz  —  piano,
Paweł Jarzębski  -  bass,
Janusz  Stefański  —  drums
&
Marek  Bliziński  —  guitar,
Józef Gawrych  —  percussion,
Wiesław  Kowalewski  —  percussion.

Orchestra conducted  by Zbigniew  Namysłowski.


Notes
Muza SX 1493
1977

Penguin's guide to jazz on CD correctly notes that Freeman was among the first of the avant-garde-leaning players who followed the "New Thing" wave of the '60s to fully embrace the need for tradition and structure. He was -- and remains -- fully capable of pushing the limits of his instrument , particularly on bass clarinet and tenor, but he's also a highly lyrical player and a superb interpreter of ballads. These qualities are strongly displayed in "Spirit Sensitive."
I have the original vinyl, which included six cuts, but I sprung for the CD reissue in order to get the four extra cuts, and it was worth it, particularly for two Coltrane originals Freeman performs (more on those in a minute.)
The album was recorded in 1979 when Freeman was in his 20s, so it's all the more surprising how gentle the sound on this release is, particularly if you are familiar with some of his fiery work from around this period with bassist Cecil McBee (who also appears here.)
From the opening "Autumn in New York" through "You Don't Have to Say You're Sorry," "It Never Entered My Mind," "Close to You Alone" and a superb reading of Horace Silver's "Peace," Freeman renders his material with care, staying close to melody and mood rather than technical showmanship.
Freeman best shows his power on interpretations of two Coltrane tunes, "Lonnie's Lament" and "Wise One." These were two of Coltrane's most introspective compositions and Chico retains their dark colors, but on "Lonnie's Lament," he turns loose on saxophone in a way that Coltrane himself did not on the original. It's a spirited and spirit-filled performance.
John Hicks' piano is a strong plus on "Spirit Sensitive," particularly on the ballads. His lyricism matches Freeman's and he is an attentive accompanist.
The half-star deduction comes about from the drumming. Billy Hart is obviously a fine drummer, but he didn't sound to me in top form on this album. Specifically, he plays a bit "busy" on the ballads; the two-song sequence of "Close to You Alone" and "It Never Entered My Mind" features superb interplay between Freeman and Hicks, but Billy fills up a lot of the space with more work than I thought was necessary, and it gets a little intrusive. By contrast, Don Moye appears on the last two cuts and fares much better, in my opinion, with molding his sound to the rest of the band's.
Although he is a restless spirit who occasionally records a date that doesn't quite connect, Freeman has continued to turn out fine work since this date. "Spirit Sensitive" is an important document of the development of a key modern jazz player.

:::Review by Tyler Smith:::

Chico Freeman - Spirit Sensitive (1979)

1. Autumn In New York 4:15
2. Peace 5:38
3. A Child Is Born 7:41
4. Lonnie's Lament 7:23
5. You Don't Have To Say You're Sorry 4:19
6. Wise One 6:59
7. It Never Entered My Mind 6:19
8. Close Tou You Alone 8:50
9. Carnival 7:35
10. Don't Get Around Much Anymore 4:19

Credits
Bass – Cecil McBee
Drums – Billy Hart, Don Moye (tracks: 9, 10)
Piano – John Hicks
Tenor Saxophone, Soprano Saxophone – Chico Freeman
Vibraphone – Jay Hoggard (tracks: 9)