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VOLKER KRIEGEL - Spectrum (1971)

July 18, 2016, 10:24 pm
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Tracks

01. Zoom
02. So Long, For Now
03. More About D
04. Suspicious Child, Growing Up
05. Instant Judgement
06. Ach Kina
07. String Revisited

VOLKER KRIEGELguitar & sitar
JOHN TAYLORhohner electric piano
PETER TRUNKbass, electric bass & cello
PETER BAUMEISTERdrums & percussion
CEES SEEpercussion

Music composed by Volker Kriegel
Recorded at MPS-Studio, Villingen, February 1-2, 1971
MPS BIEM/MCPS 06024 9808699 LC - 00979
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VOLKER KRIEGEL - Psichedelic Jazz Guitar 1969-1978

July 19, 2016, 3:41 am
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VOLKER KRIEGEL is one of Europe's pioneering Fusion guitarists. During the sixties, he
left his study of sociology and started his music career instead. In 1968 Kriegel
started playing with American vibraphonist Dave Pike and started his first jazz fusion
group, THE MILD MANIAC ORCHESTRA. In 1971 he released his debut, "Spectrum", which is
considered his finest effort and was a milestone in European fusion.
Later he played guitar on two studio albums by the electric violinist Don "Sugar Cane"
Harris, "Keep On Driving" in 1970 and "Sugar Cane's Got The Blues" in 1971. In 1972 he
released hid second solo album "Inside: Missing Link". Two years later he founded
United Jazz and Rock Ensemble, as well as releasing several quality solo albums,
including "Lift" and "Journal". The United Jazz & Rock Ensemble united many of
Europe's excellent musicians, including Kriegel on guitar, providing most of the rock
sound. He played with the band throughout their 2002 farewell tour and died of cancer
in 2003. Aside from his music career, Kriegel was a writer/illustrator. Some of his best known
works include Der Rock 'n' Roll Konig (The Rock 'n' Roll King) and Olaf dem Elch (Olaf
the Moose).  -  www.progarchives.com

Tracks

01. Spiral Crackers (Hans Peter Ströer)
02. Lift (Volker Kriegel)
03. Three Or Two In Love (Volker Kriegel)
04. Circus Gambert (Volker Kriegel)
05. Let's Say Windmill (Volker Kriegel)
06. Uma Vez Um Caso (Edu Lono)
07. Suspicious Child (Volker Kriegel)
08. But Anyway (Volker Kriegel)
09. Mathar (Volker Kriegel)
10. Funk You Very Much (Volker Kriegel)
11. Zoom (Volker Kriegeel)
12. The Secret Mystery Of Hensh Volker Kriegel)
13. Mild Maniac (Volker Kriegel)

VOLKER KRIEGELguitars, sitar, vocal
WOLFGANG DAUNERsynthetizer
EBERHARD WEBERdouble-bass, cello, bass guitar, ocarina
HANS PETER STRÖERbass, mellotron
ALBERT MANGELSDORFFtrombone
DAVE PIKEvibraphone, percussion, vocal
ZBIGNIEW SEIFERTviolin
ACK VAN ROOYENtrumpet
JOHN TAYLORe-piano
JOHN MARSHALLdrums
RAINER BRÜNINGHAUSkeyboards
And others...

Original recordings 1969 - 1978
jazzclub / MPS 06025 2750809
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MAHAVISHNU JOHN McLAUGHLIN - My Goals Beyond (1970)

July 19, 2016, 9:52 pm
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His profile on the rise after Tony Williams' Lifetime and participation in two landmark Miles Davis recordings (In a Silent Way and Bitches Brew), British guitarist John McLaughlin became a follower of the teachings of Indian guru Sri Chinmoy and adopted the name "Mahavishnu," which would soon adorn the title of the legendary band whose formation was just around the corner (literally in a month, from the notes on Jan Hammer's website) from this album.

My Goals Beyond was really the first album where McLaughlin revealed the full, eye-popping extent of his unassailable virtuosity, showcasing this in an acoustic setting. The album is split into two very distinctive sides. The first side consists of seven solo guitar performances. The songs are double-tracked, McLaughlin laying down accompanying chords over which he executes daredevil leads. Also on a few tracks, there is the addition of cymbals, at times practically subliminal because all ears are on guitar. This was a well-recorded album, and McLaughlin's passion jolts through every bend of the string and wing-footed run up the fretboard. His guitar lends a tender sensitivity to covers of Charles Mingus'"Goodbye Pork Pie Hat" and Davis'"Blue in Green," contrasted against the elasticity and sheer fluidity on such tracks as "Something Spiritual,""Phillip Lane," and "Follow Your Heart" (perhaps the track that is most distinctively McLaughlin in terms of composition).

But as good as the solo guitar side is, it is the other side that I almost always gear it up to whenever I put this CD in the player. "Peace One" and "Peace Two" basically show where the talented musician was soon headed over the next decade with his explorations into Indian music via Mahavishnu Orchestra and Shakti. Here he brings together an eclectic grouping of Western and world musicians: the respected jazz artists Dave Liebman and Charlie Haden, future Mahavishnu enlistees Billy Cobham and Jerry Goodman, the Indian and South American percussionists Badal Roy and Airto Moreira.

These two pieces are beautifully mixed so that you can hear each instrument's contribution quite clearly. My preferred of the two is the dolorous "Peace One," and a funny observation is that due to the interplay between McLaughlin and the gently galloping motions suggested by Cobham and the percussionists, I thought for many years that this piece was in a sprite, very edgy 9/8 beat, before one day it finally hit me that it was really in a much less complicated, lazy 3/4 shuffle. I still like the former interpretation better, though have trouble recapturing it in my head after the 3/4 light bulb went off. "Peace Two" is much more joyful in tone, with a radiant melodic theme. In its twelve minutes, the band takes the time to loosen up on its structure and explore more off the song's main path. Whatever your preference, both "Peace" compositions are sublime works, and evoke the same sense of awe as if walking into a holy garden somewhere in an Eastern land at dawn.

When you put these together, I guess it's not a surprise that this album is regarded as a classic by many. And as impressive as it is, I would say McLaughlin's best work was even still yet to come.  -  Joe McGlinchey




Technically, the acoustic guitar playing on 1970's My Goals Beyond does not approach the skill exhibited on most of John McLaughlin's recordings. Flubbed notes pop up here and there, and although this album is famous for McLaughlin's "solo" renderings of such classic tunes as Mingus'"Good-Bye Pork-Pie Hat," Bill Evans and Miles Davis'"Blue in Green" and his own wonderful composition "Follow Your Heart," Mclaughlin actually pre-recorded the chords and soloed over them.
However, no small amount of flubbing or overdubbing can take away from the fact that this album is a true masterpiece. MGB set standards for acoustic guitar playing which remain today. McLaughlin's soloing and chord playing was a revelation even to those familiar with his electric guitar style. He snapped the steel strings with the confidence of a warrior. His playing was amazingly fast, yet still melodic, and his tune selection was unusually eclectic. He was coming from an entirely new place.
The most impressive performance is the ensemble rendering of McLaughlin's "Peace One." Charlie Haden opens the composition with an infectious bass groove, and the tune features crisp, snapping acoustic guitar and Far Eastern tonal colors. Dave Liebman is especially up front on sax. Other members of the band included future Mahavishnu Orchestra band mates Billy Cobham and Jerry Goodman. Airto and Badal Roy also come along for the joyful ride. Violinist Goodman, in particular, makes some very strong statements.  -  Walter Kolosky

Tracks
01. Goodbye Pork-Pie Hat (C. Mingus)
02. Something Spiritual (D. Herman)
03. Hearts and Flowers (B. Comford)
04. Phillip Lane (J. McLaughlin)
05. Waltz For Bill Evans (C. Corea)
06. Follow Your Heart (J. McLaughlin)
07. Song For My Mother (J. McLaughlin)
08. Blue In Green (M. Davis)
09. Peace One (J. McLaughlin)
10. Peace Two (J. McLaughlin)


JOHN McLAUGHLINguitars
JERRY GOODMANviolin
BILLY COBHAMdrums
CHARLIE HADENbass
AIRTO MOREIRApercussion
BADAL ROYtabla
DAVE LIEBMANsoprano sax
MAHALKSHMI tambura

Recorded July 1970
Douglas Records  DGL  64537


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VASANT RAI - Spring Flower (1976) + Autumn Song (1978)

July 21, 2016, 1:27 am
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Vasant Rai is one of the world’s most acclaimed masters of Indian music.He emerged a virtuoso on the sarod.(The sarod is a 25-string fretless lute.) In 1973, Rai became a visiting professor of music at Columbia University in New York City. He subsequently founded the Alam School of Indian Classical Music in New York, where he now teaches sarod, sitar, flute, violin, guitar, and voice. He lives in the Chelsea district of New York City, and carries on the pure classical tradition of his homeland, expressing the same universal musical spirit as his guru. But meanwhile, Vasant is exploring new directions.
“I am a musician,” he says. “I’m following the traditional ways, but I’m not orthodox to the point where I won’t do other things.” He has, in fact, appeared with electric guitarists Carlos Santana and John McLaughin (in 1974), and is perhaps best known for his remarkable series of “East-West blends” on the Vanguard label-compositions and improvisations recorded with members of the group Oregon. Vasant is currently recording and experimenting with his “fretless guitar,” a self-modified sarod-guitar hybrid.- From Vasant's website

-You have recorded several "East-West blends" recently. As a classical artist, what motivated you to go in this direction?

I would like to offer the best of Indian classical music to as many people as possible. But only about 10 percent of the population would go to listen to Indian music, or any Oriental classical music. That doesn't mean that they don't like it. It's just new for them. I have tried to create something with Western musicians. I have mixed Indian and Western music so audiences hear something Indian when they are listening. When the general listener hears Autumn Song or Spring Flowers (Vanguard LPs), he would hardly know this is something from India.

-Did you compose those pieces and then find Western musicians to suit your needs?

Yes. I composed and then thought, "What instrument would work with this composition?" I thought of violin, cello, or any other continuous sound instrument. Because I play sarod, which is plucked, I wanted a bowed or wind instrument-and drums, of course. I thought if I used tabla the audience would decide, "Oh, this is something Indian." So I included more conga drums. Then I tried many different violinists. They were good, but I wasn't satisfied-they would improvise well but would go far away from the composition. Then I finally got Jerry Goodman. He's a very good violinist who has been classically trained and who also plays jazz. When he played I was satisfied. I called him from Chicago and within a day he "felt it." Collin Walcott of Oregon helped write the staff notation. I also wanted either oboe or alto sax, so I got Paul McCandless from Oregon. He's a wonderful musician; his improvisation was a good match for my composition.

- Ira Landgarten interview for Frets magazine in 1980


Tracks
01. Smile of Goddess Sarasvati
02. Distant Village
03. Spring Wind
04. Guitarist from Unjha
05. Saptak
06. Leaving Home
07. Midnight Meditation
08. Autumn Song
09. Country Wedding
10. Bhairui (Drak-Eyed Girl)
11. Lullaby
12. Late Night Guitar
13. Sunlight Dance

KOKILA RAI  tamboura
MARTIN QUINN  drums
CHARLES KINDLER  violin
ROBERT KINDLER  cello
JERRY GOODMAN  violin (1,3,5,6)
DILIP NAIK  electric guitar
PAUL McCANDLESS  oboe, english horn, french horn
GLENN MOOREdouble bass, piano
COLLIN WALCOTT  tabla, congas, sitar, percussion, bass guitar, madal, mouth bow
VASANT RAI  sarod, guitar, flute, tamboura, piano, swarpeti

All music composed by Vasant Rai

Universe  UV 045  /  Vanguard  VMD  79379 / 79414
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THE WINTER CONSORT - Road (1969)

July 21, 2016, 10:30 pm
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Paul Winter, a pioneerin playing world music and what would become new age, is a bit underrated as a talent scout. This version of his Winter Consort consists of cellist David Darling (a future ECM star) and four musicians who would soon break away to form Oregon: guitarist Ralph Towner, Paul McCandless (heard here on oboe and English horn), bassist Glen Moore, and Collin Walcott on tabla and percussion. With what was arguably his finest group on this CD reissue, Paul Winter takes some fine spots on alto and soprano and leads the colorful folkoriented ensembles. It is a pity he could not have kept this band together longer .- Scott Yanow, All Music Guide


Tracks
01. Icarus (Ralph Towner)
02. Fantasy, Fugue & Ghosts Beads (Mudarra/Bach/Towner)
03. Um Abraco (A Big Hug) (Ralph Towner)
04. Ave Maria Stella/Andromeda (Dufay/Towner)
05. General Pudson's Entrance (Ralph Towner)
06. Come To Your Senses (Darling/McCandless/Moore/Walcott/Towner/Winter)
07. Requiem (David Darling)
08. Africanus Brasileiras (Trad. arr. by P. Winter & Oscar Castro-Neves)

PAUL WINTERsax, percussion
DAVID DARLINGcello, percussion
RALPH TOWNERclassica and 12-string guitar
PAUL McCANDLESSoboe, english horn, percussion
COLLIN WALCOTT tabla, conga, surdos, traps, tambourine
GLEN MOOREbass, percussion

Recorded in concerts at Royce Hall, U.C.L.A., Kilbourn Hall, Eastman School of Music, Rochester, NY, Whiskey A Go-Go, Hollywwod
A & M SP - 4279
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JOHN ABERCROMBIE - Night (1984)

July 23, 2016, 3:49 am
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This surprising 1984 effort from John Abercrombiefinds the guitarist in conversation with Jan Hammer, Jack DeJohnette, and Mike Brecker. The lack of a bassist on this session is not felt; the spaciousness of the music and the masterful playing of all parties involved keep the focus clearly on the melodies, both scripted and improvised. This can best be heard on the title track, a lovely, tear-wrenching ballad. On some of the more up-tempo tracks,  Hammercovers the bass end with his keyboards almost like he is taking part in an organ trio. Unlike the high-velocity fusion that Hammer is best known for in his work with the Mahavishnu Orchestra, Al Dimeola, and elsewhere, his work on Nightis highly subdued. In fact, his playing is one of the most pleasant things about this record. It's nice to hear him doing something other than blaring away at a million miles a minute. He really is an excellent keyboardist, and his range is often underappreciated. However, the excellent compositions by Hammerand Abercrombieare the strongest thing about Night. One of the best is the opener, "Ethereggae," which features an incredible guitar solo over a sparse, haunting synth figure and DeJohnette’s incomparable comping. When Breckeradds his pointed, searching tenor, the despair and loneliness of the music are almost too much to bear. This record is the kind of album that one would like to hear while enjoying a late-night cigarette on the roof of a Manhattan apartment. Moody, atmospheric, and beautiful.  -  Daniel Gioffre




Tracks
1. Ethereggae (Jan Hammer)
2. Night (John Abercrombie)
3. 3 East (John Abercrombie)
4. Look Around (John Abercrombie)
5. Believe You Me (John Abercrombie)
6. Four On One (John Abercrombie)

JOHN ABERCROMBIE  guitar
JACK DeJOHNETTE  drums
JAN HAMMER  keyboards
MICHAEL BRECKER  tenor saxophone

Recorded April 1984 at Power Station, New York

ECM Records  -  ECM  1272
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TERJE RYPDAL - Terje Rypdal (1971)

July 29, 2016, 12:54 am
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AMG:
"...Rypdal originally attended the Technical University in Trondheim to become an electrical engineer, but left to study musicology at the University of Oslo. He later attended the Music Conservatory in Oslo (later renamed the Norwegian State Academy of Music) from 1970-1972, where he studied with composers Finn Mortensen and George Russell. Rypdal was part of Garbarek's quartet for Afric Pepperbird, the saxophonist's debut for ECM in 1970. He made his debut as a composer with Eternal Circulation in 1971, which was performed with by the Garbarek Quartet and the Oslo Philharmonic Orchestra. Rypdal also played with Russell in concert and in the studio, resulting in several offerings including George Russell Presents the Esoteric Circle, and Electric Sonata for Souls Loved by Nature, both issued in 1971. He appeared on Garbarek's sophomore ECM date Sart, and recorded his self-titled debut for the label (he has been there ever since) that same year. Some of his sidemen for the date included Garbarek, bassist Arild Andersen, and pianist Bobo Stenson. This album walked a generous line between free jazz, progressive, psychedelic rock, and more avant-garde classical music. It established Rypdal as a composer and guitarist throughout Europe..."



 Tracks
1. Keep It like That-Tight
2. Rainbow
3. Electric Fantasy
4. Lontano II
5. Tough Enough

TERJE RYPDAL  flute, guitar
JAN GARBAREK  clarinet, flute, tenor saxophone
ECKEHARD FINTI  english horn, oboe
ARILD ANDERSEN  doublé bass, e-bass (1-4)
BÖPRNAR ANDRESEN  e-bass (5)
JON CHRISTENSEN  percussion
INGER LISE RYPDAL  voice
TOM HALVERSEN  Keyboards (3)
BOBO STENSON  Keyboards (1, 2, 4, 5)

Music composed by Terje Rypdal
Recorded August 1971 at Arne Bendiksen Studio, Oslo

ECM Records  -  ECM  1016
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SCOTT COLLEY - Architect Of The Silent Moment (2007)

August 5, 2016, 1:55 am
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If an artist is the sum total of his experiences, then Scott Colley's reach is nearly limitless. In twenty years the bassist has appeared on nearly 150 albums, ranging from mainstream work with Jim Hall and Carmen McRae to more left-of-center projects with Andrew Hill and Greg Osby. His own releases have been migrating towards a more expansive viewpoint. On Architect of the Silent Moment Colley brings together a collection of players who share his appreciation for what's come before, but are just as concerned with what's to come.
His core quartet features two artists who, despite considerable critical acclaim, have yet to achieve the greater recognition they deserve. Trumpeter Ralph Alessi is a consistently adventurous player who, with a rounded tone, lyrical disposition and unforced technique, rivals the better-known Dave Douglas. The increasingly ubiquitous Craig Taborn is an equally instinctive keyboardist whose roots in the tradition are often obscured by his bold and unrestrained mind-set.
Antonio Sanchez, best-known for his work with guitarist Pat Metheny, is a malleable and increasingly in-demand drummer. He's established himself with a broad and stylistically expanding discography in the last decade.
All three are as capable of tackling complex compositional constructs as freer flights of improvisation, and Colley challenges them on both fronts and more. Colley is a fine bassist, with a Dave Holland-like ability to make even the most challenging of shifting meters groove viscerally. But it's his writing (all but two pieces here are his) that makes Architect of the Silent Momentstand out.
"Window of Time is a good example. It starts out in an open-ended modal fashion, with Alessi and saxophonist David Binney (a co-producer who leaves his own unmistakable signature) delivering Colley's knotty theme. Alessi's solo builds over an increasingly tumultuous rhythm section before the tune shifts to a rhythmically displaced backbeat. Adam Rogers' layered guitars, Taborn's B-3 and Alessi's long, rich tones take the tune out, suggesting a different kind of folksy Americana.
Colley makes the complex accessible on the spacious "Masoosong, featuring Gregoire Maret, the most important harmonica player since Toots Thielmans. "Feign Tonal opens with a start-stop post bop theme before dissolving into more angular freedom, only to magically blend the two at its conclusion. Andrew Hill's "Smokestack, on the other hand, starts with an impressionistic duet between Taborn and pianist Jason Moran, before settling into an unexpectedly relaxed take that seamlessly shifts between straight and double-time swing.
The group's modernistic integration of acoustic and electric textures represents an increasingly popular aesthetic. Like his blend of traditional and contemporary harmonic and rhythmic concepts, Colley clearly doesn't believe in mutual exclusivity. The beauty of Architect of the Silent Moment is its unequivocal sense of purpose, which avoids undue consideration and provides everyone with ample room to move.  -  John Kelman 

Tracks
01. Usual Illusion
02. Strip Mall Ballet
03. El Otro
04. architect of the silent moment
05. Masoosong
06. Feign Tonal
07. From Within
08. Smoke Stack
09. Window of time

SCOTT COLLEY  bass
RALPH ALESSI  trumpet
CRAIG TABORN  piano, fender Rhodes, hammons B-3
ANTONIO SANCHEZ  drums
DAVID BINNEY  sax
JASON MORAN  piano
GREGOIRE MARET  harmonica
ADAM ROGERS  guitar

All music by Scott Colley except “Smoke Stack” by Andrew Hill

CamJazz  CAM  5021
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KURT ROSENWINKEL - Intuit (1998)

August 5, 2016, 2:51 am
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Among the current crop of guitarists who are exploring new horizons and gathering an underground following, Ben Monder and Kurt Rosenwinkel are two of the finest players in terms of how they have mastered the tradition and then use that as a launching pad for their own particular tangents. Rosenwinkel has been heard to great advantage lately in a group that he leads at Smalls in New York. He has also been featured with saxophonists Seamus Blake and Mark Turner, two men who also have been lauded for their efforts to usher jazz into the new millennium with style.
All the foregoing brings us to the disc at hand, Intuit, Rosenwinkel's second date as a leader and a major departure from the expected. Instead of what might have made sense for this guitarist, a prickly set of all originals, Kurt opts to explore some well-worn standards, three Charlie Parker lines, and one original from pianist Michael Kanan. So the story goes, Rosenwinkel had been shedding standards with the trio heard here for quite some time and finally decided to catch some of this creative energy on tape. What we end up with is akin to a Keith Jarrett recital of standards. You know, the tunes are familiar, but how they're transformed is something else all together!
Rosenwinkel gets a clean, yet warm sound from his guitar and his improvisations are imbued with the kind of advanced melodic development that marks his writing. Again, if I can push the Jarrett comparison, one gets the sense that Rosenwinkel is at one with the music at hand and even his shorter statements speak volumes to anyone with an ear for standards or jazz guitar. His sidemen certainly do justice to the material and provide great support, but it's really Rosenwinkel who steals the show here. Taken on its own terms, this one comes highly endorsed. It's even further proof, as well, that Rosenwinkel knows his history and is likely to become a force to be reckoned with over the next several years.  -  C. Andrew Hovan


Tracks
01. How Deep Is The Ocean (I. Berlin)
02. Conception I (G. Shearing)
03. Darn That Dream (J. Van Heusen)
04. Dewey Square (C. Parker)
05. When Sunny Gets Blue (Fisher-Segal)
06. Sippin’ At Bells (C. Parker)
07. Epiphany (M. Kanan)
08. Segment (C. Parker)
09. Summertime (Gerswin)
10. Conception II (G. Shearing)

KURT ROSENWINKEL  guitar
MICHAEL KANAN piano
JOE MARTIN  bass
TIM PLEASANT  drums

Recorded August 14 & 15, 1998 at Acoustic Recording Studio, Brooklyn, N.Y.

Criss Cross Jazz   CRISS  1160
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PAOLO FRESU - Live At Casa Del Jazz (2006)

August 7, 2016, 12:48 am
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Italian jazz trumpet and flugelhorn player, arranger and composer. He was born in 1961 in Berchidda, Sardinia.
Notable were his collaborations with Ralph Towner, Uri Caine, Carla Bley, Stefano Bollani and many others.
Fresu also composes for movies, theater plays and other popular media.
His style is based on the Miles Davis hardbop sound of the 50's, but not being a mere imitation he draws inspiration from Mediterranean musical heritage and classical music.


Tracks
1. Another Road To Timbuktu (P. Fresu)
2. Mimì (P. Dalla Porta
3. Elogio Del Discount / take one (P. Fresu)
4. Fellini (P. Fresu )
5. My Man’s Gone Now  (G. & I. Gershwin)
6. Medley
    Lullaby For Ugo (P. Della Porta)
    Ninna Nanna Per Lele (B. Ferra)
7. Stanley Breakfast (B. Ferra)
8. Summertime (G & I Gershwin)
9. Elogio Del Discount / take two (P.  Fresu)

PAOLO FRESU  trumpet, flügelhorn
BEBO FERRA  guitar
PAOLINO DELLA PORTA  bass
STEFANO BAGNOLI  drums

Recorded Live at Casa del Jazz, Rome2006, February 27

Gruppo Editoriale L’ Espresso   CdJ02
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JOE HENDERSON - The State Of The Tenor. Live At The Village Vanguard 1985

August 7, 2016, 8:25 pm
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Blue Note's Doubletime series combines live sessions previously issued on two single albums onto one double CD. One of the first releases was  Joe Henderson’s brilliant tenor sax recital recorded live at the Village Vanguard in 1985. The State of the Tenor, Vols. 1 & 2 features  Henderson backed only by bass and drums in a setting that pays homage to his prime stylistic source,  Sonny Rollins, while displaying his prime skills in an ideal forum. The 14 selections range from customary standards to  Henderson originals, and include compositions by Sam Rivers, Thelonious Monk, Duke Ellington, Charlie Parker, Charles Mingus, and Horace Silver. It is not only a fine trio outing, but a series of performances in which Henderson strips songs to their essence, turning them into his own vision.  -  Ron Wynn

VOLUME 1
1. Beatrice (Rivers)
2. Friday The Thirdteenth (Monk)
3. Happy Reunion (Ellington)
4. Loose Change (Carter)
5. Ask Me Now (Monk)
6. Isotope (Henderson)
7. Stella By Starlight (Young-Washington)

VOLUME 2
1. Boo Boo's Birthday (Monk)
2. Cheryl (Parker)
3. Y Ya La Quiero (Henderson)
4. Soulville (Silver)
5. Portrait (Mingus)
6. The Bead Game (Henderson)
7. All THe Things You Are (Kern-Hammerstein)

JOE HENDERSON tenor saxophone
RON CARTER bass
AL FOSTER drums


Recorded live at the Village Vanguard New York City on November 14, 15 and 16, 1985
BLUE NOTE CDP 7243 8 28879 2 8
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JOE HENDERSON - In Pursuit of Blackness (1973)

August 29, 2016, 1:34 pm
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In Pursuit of Blackness is an album by saxophonist Joe Henderson, released in 1973 on Milestone. It features three tracks recorded in studio in 1971 and two tracks recorded live at the legendary Lighthouse Café in 1970

Tracks
1. No Me Esqueca (Joe Henderson)
2. Invitation (Bronislau Kaper)
3. A Shade of Jade (Joe Henderson)
4. Gazelle (Joe Henderson)
5. Mind Over Matter (Joe Henderson)

JOE HENDERSON tenor sax
CURTIS FULLER trombone
PETER YELLEN alto sax, flute, bass clarinet
GEORGE CABLES electric piano
STANLEY CLARK bass
LENNY WHITE drums
WOODY SHAW trumpet
RON McCLURE bass
TONY WATERS congas


Tracks 1, 3 & 5 recorded New York, May 12, 1971 at Decca Studios
tracks 2 & 4 recorded "live" at The Lighthouse Cafe, Hermosa Beach, California, September 25 and 26, 1970
Milestone MPS - 9034
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DEXTER GORDON - Something Different (1975)

September 1, 2016, 12:21 am
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What is different about this set (recorded in a particularly busy year for Dexter Gordon) is that the veteran tenor is joined by a trio (guitarist PhilipCatherine, bassist Niels Pedersen and drummer Billy Higgins) that does not include a pianist. Otherwise, the music is at the same high quality level and in the same modern bop genre as one would expect. In addition to one of his originals and Slide Hampton's "Yesterday's Mood," Gordon stretches out on some standards, making a classic statement on the ballad "When Sunny Gets Blue." All of his SteepleChase albums (particularly those from the 1975-76 period) are well worth acquiring.  -  Scott Yanow

Tracks
01. Freddie Freeloader (Miles Davis)
02. When Sunny Gets Blue (M. Fisher)
03. Invitation (Bronislaw Kaper
04. Freddie Freeloader [Take 3] (Miles Davis)
05. Yesterday’s Mood [Take 4] (Slide Hampton)
06. Winther’s Calling (Dexter Gordon)
07. Polkadots and Moonbeams (James Van Heusen)
08. Yesterday’s Mood (Slide Hampton)

DEXTER GORDON tenor saxophone
PHILIP CATHERINE  guitar
BILLY HIGGINS  drums
NIELS HENNING ORSTED PEDERSEN  bass

Recorded September 13, 1975

SteepleChase  SCS - 3136
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PIANO TODAY - Red Records 1994

September 1, 2016, 10:46 pm
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Tracks
01. KENNY BARRON con Sphere - Tringle Trinkle (T. Monk)
02. CEDAR WALTON - Theme For Red (C. Walton)
03. JOHN HICKS con Bobby Watson - Dark Days (Bobby Watson)
04. RONNIE MATHEWS - Song For Leslie (R. Methews)
05. ANTHONY DAVIS - Locomotif No. 1 (A. Davis)
06. BENNY GREEN con Jim Snidero - State Of Affairs (Jim Snidero)
07. JAMES WILLIAMS - Focus (J. Williams)
08. FRED HERSCH con Etc - Black Nile (W. Shorter)
09. PAUL BLEY - Late Night Blue (P. Bley)
10. MULGREW MILLER con Jerry Bergonzi - On The Brink (Jerry Bergonzi)
11. MIKE MELILLO - Tears Inside (O. Coleman)

Red Records 1977 - 1994
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DEXTER GORDON - The Apartment (1974)

October 12, 2016, 4:31 pm
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This is a great album from Dexter Gordon's Denmark period, swinging and driving as always. "Antabus" is a real cooker where everyone really tears it up. I think this time period brought out some of Dexter's best, and not long after this he was "rediscovered" upon returning to the U.S. If you want to hear Dexter Gordon swinging in his prime, check this out.

1. The Apartament (D. Gordon)
2. Wee-Dot (J.J. Johnson)
3. Old Folks (D.L. Hill)
4. Strollin' (H. Silver)
5. Candlelight Lady (D. Gordon)
6. Stablemates (B. Golson)
7. Atabus (D. Gordon)

DEXTER GORDON tenor sax
KENNY DREW piano
NIELS HENNING ORSTED PEDERSEN bass
ALBERT "TOOTIE" HEATH drums

Recorded on September 8, 1974
SteepleChase 31025 (Denmark)
http://www.steeplechase.dk/
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DAVID MURRAY - Musica Jazz / Black Saint (1994)

October 12, 2016, 6:36 pm
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1. THE CRAVE (Jelly Roll Morton, arr. Dave Burrell)
      David Murray– tenor saxophone
      Dave Burrell– piano
      Milano December 8, 1993

2. DEWEY’S CIRCLE (David Murray)
      Butch Morris– cornet
      Olu Dara– trumpet
      George Lewis– trombone
      Henry Threadgill– alto saxophone
      David Murray– tenor saxophone
      Anthony Davis– piano
      Wilber Morris– bass
      Steve McCall– drums
      New York, July 25-28, 1980

3. MORNING SONG (David Murray)
      David Murray– tenor saxophone
      John Hicks– piano
      Reggie Workman– bass
      Ed Blackwell– drums
      New York, September 1983

4. MBIZO (Davod Murray)
      Clarinet Summit:
      Alvin Batiste– clarinet
      John Carter– clarinet
      Jimmy Hamilton– clarinet
      David Murray– clarinet, bass clarinet
      Atlanta, March 29, 1987

5. SORROW SONG – take 2 (David Murray)
      David Murray– tenor saxophone
      Dave Burrell– piano
      Milano, December 8, 1993

6. DAVID’S TUNE (David Murray)
      World Saxophone Quartet:
      Julius Hemphill– alto saxophone
      Oliver Lake– alto saxophone
      David Murray– tenor saxophone
      Hamiet Bluiett– baritone saxophone
      Parigi, October 14, 1980

7. REMEMBERING THE CHIEF OF ST. MARY’S (David Murray)
      David Murray– tenor saxophone
      Sonelius Smith– piano
      Wilber Morris– bass
      Rashied Ali– drums
      New York, February 11-12, 1993

8. NEW LIFE (David Murray)
      Olu Dara– cornet
      Bailida Carroll– trumpet
      Craig Harris– trombone
      Vincent Chaney– french horn
      Bob Stewart– tuba
      Steve Coleman– alto saxophone
      John Purcell– alto saxophone, clarinet
      David Murray– tenor saxophone
      Rod Williams– piano
      Fred Hopkins– bass
      Billy Higgins– drums
      Butch Morris– direction
      New York, Sweet Basil, August 1984

9. HOPE/SCOPE (David Murray)
      David Murray– tenor saxophone
      Fred Hopkins– bass
      Steve McCall– drums
      Milano, December 4-5, 1979

10. LOVERS (David Murray)
      Olu Dara– cornet
      Baikida Carroll– trumpet
      Craig Harris– trombone
      Vincent Chaney– french horn
      Bob Stewart– tuba
      Steve Coleman– alto and soprano saxophone
      John Purcell– alto saxophone, clarinet
      David Murray– tenor saxophone
      Rod Williams– piano
      New York, Sweet Basil, August 1984


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JACKIE McLEAN - A Ghetto Lullaby (1973)

October 29, 2016, 1:55 am
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Within a five day period in 1973, altoist Jackie McLean, who had only made one album (a live set) between 1968-72, cut enough material for five records. This worthy set features his intense style in a quartet with pianist Kenny Drew, bassist Niels Pedersen and drummer Alex Riel, recorded live at Montmartre in Copenhagen. Although the material -- Drew's "Callin'," athe ballad "Where Is Love," a pair of William Gault songs and McLean's "Jack's Tune" -- is not all that memorable, the altoist's passionate solos and very distinctive sound uplift the music and make this an advanced hard bop set worth acquiring. -Scott Yanow

McLean plays with great intensity on this album, and it is the Steeplechase recording I return to most often. This music is more straight hard bop than his Blue Note albums of the late 60s, and it shows an experienced player seriously blowing.  -  Drew Fields

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1. Jack's Tune (McLean)
2. Mode for Jay Mac (Gault)
3. Where Is Love? (Barts)
4. Callin' (Drew)
5. A Ghetto Lullaby (Gault)

JACKIE McLEAN alto saxophone
KENNY DREW piano
NIELS HENNING ORSTED PEDERSEN bass
ALEX RIEL drums

Recorded "live" at Montmartre Jazzhus, Copenhagen July 18 & 19, 1973
SteepleChase SCS - 1013 (Denmark)
http://www.steeplechase.dk/
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PETE CHRISTLIEB & WARNE MARSH - Apogee (1978)

October 30, 2016, 12:25 am
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Apogee would never have been released on Warner Bros. if Steely Dan’s Walter Becker and Donald Fagen -- then coming off of Aja -- hadn't produced it. Warner was not in the business of issuing new jazz records at the time. Apogee is an anomaly in many ways. First, it is a Southern California answer to the great titan tenor battle records of the '40s and '50s. Rather than sounding like a cutting contest, it sounds like a gorgeous exercise in swinging harmony and melodic improvisation by two compadres. Pete Christlieb, who was then a member of the Tonight Show Band and played onTom Waits records, is a solid, old-school swinging tenor player whose style comes out of the West Coast school, but whose phrasing feels more like 52nd Street circa 1947. Warne Marsh was already a legend, 20 years older thanChristlieb, a warrior who had developed his own style on the tenor apart from Sonny Rollins, John Coltrane, Dexter Gordon or any of the big stylists. His phrasing and improvisational ideas are outside of time and space because he thwarted the conventions at every turn, yet he remained one of the most rhythmically astute improvisers in jazz history. His time spent with piano and composition genius Lennie Tristano is what laid the groundwork, but by the time Marsh recorded this set he was in a league of his own. With a rhythm section that included Lou Levy on piano, Jim Hughart (another Waits sideman at the time), and Nick Ceroli on drums, the pair engaged a kind of freewheeling, good-time set that remains one of the most harmonically sophisticated recordings to come out of the 1970s. The track selection revolves around the opening track, "Magna-Tism," a jam reworked around the title cut of another like-minded Southern California tenors album from the 1950s called Just Friends by Bill Perkins and Richie Kamuca. Here, Christlieb and Marsh executed their lines -- courtesy of beautiful charts by Joe Roccisano -- with grace, ease, and maverick intensity. There is a playfulness that comes to the front line from the rhythm section that both propels and lures the players into one another's orbits. While the opener offers long and loping dual lines, the intense solo contrasts on "Tenors of the Time," written by Roccisano especially for the session, showcase their wildly divergent solo approaches. Marsh could charge the rhythm section or wind his way around it, while Christlieb's sense of swing was open and hard. When they go after one another at about five and a half minutes into the track, the entire thing breaks wide open and becomes one of the great contrapuntal "singalong" moments in recorded jazz history. Other standouts include the two blowout jam approaches to Charlie Parker's "Donna Lee" and the Kern/Mercer classic "I'm Old Fashioned." But this is not merely some neo-bop exercise in self-congratulation, as evidenced by the radical chromatic reworking of Tristano's "317 E. 32nd" or the melodic extrapolation at the heart of "Rapunzel," composed by Becker and Fagen after theBacharach/Davis tune "Land of Make Believe."  - Thom Jurek


Tracks
01. Marga-tism (Pete Christlieb)
02. 317 E. 32nd (Lennie Tristano)
03. Rapunzel (Donal Fagen, Walter Becker)
04. Tenors Of The Time (Joe Roccisano)
05. Donna Lee (Charlie Parker)
06. I’m Old Fashioned (Jerome Kern, John Mercer)
07. Lunarcy (Lou Levy)
08. Love Me (Burton Lane, Ralph Freed)
09. How About You (Burton Lane, Ralph Freed)

JIM HUGHART  bass
NICK CEROLI  drums
LOU LEVY  piano
PETE CHRISTLIEB  tenor saxophone
WARNE MARSH  tenor saxophone

Recorded at ABC Recording Studio, Los Angeles

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Warner Bros. Records / Rhino Records – 8122 73723
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HENRI TEXIER QUARTET & JOE LOVANO - Paris Batignolles (1986)

October 30, 2016, 12:25 pm
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Bassist Henri Texier leads an all-star quintet bolstered by the presence of special guest Joe Lovano on tenor sax in this live 1986 recording. While Texier either wrote or co-wrote many of the selections, he amply features his musicians while not taking much of the solo spotlight for himself. The leader's energetic post-bop cooker "Zentral Motiv is a potent opener, highlighted by strong solos from Lovano and Louis Sclavis on soprano sax. The eerie "Baton Rouge" is a slow-to-develop group improvisation, with guitarist Philippe Deschepper prominent in the mix and explosive bursts bySclavis on bass clarinet. The four-part suite "Grillage" blends several different contributions by the quintet's members. "Paris Batignolles" is a joyous celebration, with the blend of reeds almost suggesting an accordion. This fun-filled concert is warmly recommended.  -  Ken Dryden


Tracks
1. Zentral Motive (Henri Texier)
2. Baton Rouge (Deschepper/Lovano/Sclavis/Texier)
3. La Louisiane (Joe Lovano)
4. Grillagel Seul Contre Tous/Jall/Grillage/Cavale (Mahieux/Sclavis/Texier)
5. Paris Batignolles (Henri Texier)
6. Noises (Henri Texier)

JACQUES MAHIEUX  drums
JOE LOVANO  tenor saxophone
HENRI TEXIER  doublé bass, cymbals, chinese gong, bendir
PHILIPPE DESCHEPPER  guitar, piccolo-guitar
LOUIS SCLAVIS  bass clarinet, soprano saxophone, baritone saxophone

Recorded live May 21, 1986 at “LE TEMPS DU JAZZ” International Jazz festival of Amiens in le Grande Théâtre de la Maison de la Culture.
LABEL BLEU – LBLC  6506   France


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http://www.label-bleu.com/flash.htm
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STEFANO BOLLANI, ARES TAVOLAZZI - Mambo Italiano (1997)

October 30, 2016, 3:08 pm
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Probably this is the second álbum of Stefano Bollani and was dedicated to Dean Martin. Enthusiastically recomended.


El pianista italiano Stefano Bollani pertenece a esa generación de jóvenes músicos europeos que se siente igualmente identificado con el jazz estadounidense, la música europea y las tradiciones populares, dejando su impronta personal en todo aquello que interpreta. En lugar de apelar a virtuosos efectos, Bollani aplica una pulida técnica sin dejar a un lado su versatilidad y buen sentido del humor. En sus composiciones logra un confortable equilibrio entre melodías claramente delineadas y estructuras abiertas, lo que hace de este pianista un músico imprescindible para el jazz contemporáneo.


Tracks
01. That’s amore (Warren/Brooks)
02. Ev’rybody loves somebody (Taylor/Lane)
03. All in a night’s work (Katz/Roberts)
04. I wish you loue (C. Trenet)
05. La Sicilia (S. Bollani)
06. Buonasera (Sigman/De Rose)
07. Innamorata (Warren-Brooks)
08. I can’t give you anything but love (McHugh/Fields)
09. Ninna Nanna (A. Tavolazzi)
10. I can’t believe that you’re in love with me (Stapt/Clare)
11. Mambo italiano (B. Merrill)
12. Volare [nel blu dipinto di blu) (Modugno-Migliacci)

STEFANO BOLLANI  piano
ARES TAVOLAZZI  bass

Recorded on June 24 and September 15, 1997 at Studio Spazi Sonori, Livorno
Philology Jazz Records   W  141.2
https://www.facebook.com/philologyjazz/
http://www.philologyjazz.it/
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