Record Reviews

AMALGAM ~ PRAYER FOR PEACE FMR 096 (Barcode: 649849981417) ~ UK ~ Jazz Recorded: 1969 Released: 2002 Legendary debut album by the superb British Jazz / Improvised Music ensemble AmalgamFind albums by this artist, one of the precursors of British / European Free Jazz scene in the late 1960s and 1970s, founded by saxophonist Trevor WattsFind albums by this artist and including the legendary drummer John StevensFind albums by this artist. Both Watts and Stevens were also founding members of the Spontaneous Music EnsembleFind albums by this artist (SME), which was in some respect the alter ego of Amalgam, whereas SME concentrated on freely Improvised Music, Amalgam used more structured themes, mostly pre-composed, as the basis for their expanded Jazz improvisations. In many respects Amalgam and SME lineups, musical directions and intentions overlapped and the collective recorded legacy of these two groups is an icon of some of the most daring and wonderfully adventurous music ever recorded. This initial lineup of Amalgam was a trio, including the superb bassist Jeff ClyneFind albums by this artist, who is replaced on the title track of this album by another British bass legend Barry GuyFind albums by this artist. The album was originally released on the TransatlanticFind albums on this label label and for many years was on of the most thought after Jazz collector´s items. The music is absolutely stunning from start to finish and what makes this album so special is the inclusion of three versions of the same tune ("Judy´s Smile"), so brilliantly different from each other, that they are a classic example of the gift of improvisational ability. An absolute classic of the genre and a must for any Free Jazz / Improvised Music buff!

CD 1 Recommend To A Friend

NEIL ARDLEY / NEW JAZZ ORCHESTRA ~ ON THE RADIO: BBC SESSIONS 1971 DUSK FIRE 115 (Barcode: 5065001032516) ~ UK ~ Jazz Recorded: 1971 Released: 2016 This is a wonderful archival album from the seemingly bottomless vault of the BBC recordings, which presents two sessions led by British composer / bandleader Neil ArdleyFind albums by this artist. The first session (six tracks) presents the full glory of the New Jazz OrchestraFind albums by this artist (a.k.a. NJOFind albums by this artist) led and conducted by Ardley and the second session (one track) presents a suite-like composition performed by a small Jazz ensemble, which also includes a string section and electronics. The lineup of the New Jazz Orchestra includes the crème de la crème of the British Jazz players at the time: trumpeters Nigel CarterFind albums by this artist, Bud ParkesFind albums by this artist, Harry BeckettFind albums by this artist, Ian CarrFind albums by this artist and Henry LowtherFind albums by this artist, trombonists Derek WadsworthFind albums by this artist, Robin GardnerFind albums by this artist and Michael GibbsFind albums by this artist, tuba player Dick HartFind albums by this artist, saxophonists Don RendellFind albums by this artist, Barbara ThompsonFind albums by this artist, Brian SmithFind albums by this artist, Dave GellyFind albums by this artist and Dick Heckstall-SmithFind albums by this artist, keyboardist Dave GreensladeFind albums by this artist, guitarist Clem ClempsonFind albums by this artist, bassist Jeff ClyneFind albums by this artist, drummer Jon HisemanFind albums by this artist and percussionist / vibraphonist Frank RicottiFind albums by this artist. The small ensemble includes several NJO members and also features bassist Barry GuyFind albums by this artist and the man in charge of the electronic sounds Keith WinterFind albums by this artist. For listeners familiar with the NJO recordings the music presented here will not be unanticipated, as it follows the pattern presented on their studio recordings, which is based on intricate and lavish orchestral arrangements and excellent solos by the orchestra members. The live sound and the raw power of the twenty piece orchestra are of course irresistible and illustrate the supremacy of orchestral music over small ensembles as far as the scale of possibilities is concerned. The orchestra performs two compositions by the lamented pianist / composer Mike TaylorFind albums by this artist, who was already deceased when this music was recorded. Another pleasant surprise is the inclusion of a composition by the legendary Jack BruceFind albums by this artist, who played in the earlier lineup of the orchestra. The presentation of the tunes by the no less legendary Humphrey LytteltonFind albums by this artist is the proverbial cherry on the top. The suite-like piece marks the beginning for Ardley´s interest in electronic music, which started when he met Keith Winter a year before this music was recorded. His future recording will feature synthesizers of course but this early, both technologically and conceptually, meeting between electronic and acoustic sounds is truly fascinating and innovative, especially since it also features a string section. Overall this album is an invaluable historical document of the time and of the British Jazz history, and well deserved thanks go to Peter MuirFind albums by this artist, the man behind the Dusk FireFind albums on this label / Market SquareFind albums on this label labels and to Dave Gelly for the informative liner notes and his first hand experiences. This is an absolute must to all British Jazz connoisseurs, and in fact to all Jazz lovers around the world, especially the young musicians, who should be aware of how much can be learned from music made in the past. Not to be missed!

Updated: 23/05/2018Posted: 31/05/2017

CD 1 Digipak Remastered Recommend To A Friend

BILL DIXON ~ THE COMPLETE REMASTERED RECORDINGS ON BLACK SAINT & SOUL NOTE CAM JAZZ 1009 (Barcode: 8024709115621) ~ USA ~ Jazz Recorded: 1980 - 1998 Released: 2010 This superb Box Set collects all the albums recorded by the legendary American trumpeter / composer Bill DixonFind albums by this artist on the twin Italian independent labels: Black SaintFind albums on this label and Soul NoteFind albums on this label. Dixon needs no introduction to any serious Jazz connoisseur; suffice to say that his output until his death in 2010 epitomizes the idioms of Free Jazz / improvised Music and places him among the leaders of the genre. The music ranges in format from septet to duets with British drummer Tony OxleyFind albums by this artist. Other musicians playing on these nine albums include: trumpeters Arthur BrooksFind albums by this artist and Stephen HaynesFind albums by this artist, saxophonist Stephen HorensteinFind albums by this artist, bassists Alan SilvaFind albums by this artist, Mario PavoneFind albums by this artist, William ParkerFind albums by this artist and British bassist Barry GuyFind albums by this artist (Silva and Pavone / Guy and Parker play as double-bass section), drummers Laurence CookFind albums by this artist and Tony Oxley and others. Remastered, mini-sleeved, and with a great bargain price – this Box Set an absolute must for any serious Jazz collector. Side Note The Italian independent record label Black SaintFind albums on this label was founded by the music critic / author / producer Giacomo PellicciottiFind albums by this artist in 1975. It was taken over by the producer Giovanni BonandriniFind albums by this artist in 1978 and a year later (1979) a sister label, called Soul NoteFind albums on this label, was established. The twin labels were run by Giovanni and later his son Flavio BonandriniFind albums by this artist, until they were sold in 2008 to the Italian KEPACH Music Group, which already owned the CAM JazzFind albums on this label label, and which also bought another Italian independent record label Dischi Della QuerciaFind albums on this label. The mission of the Black Saint / Soul Note labels was to record and document the Free Jazz / Improvised Music / Avant-Garde scene, mostly from the US but also from Europe, which continued between mid 1970s and late 1990s and produced a staggering collection of almost 550 albums recorded by world's most important Jazz innovators active at the time, providing an opportunity to American (mostly Afro-American) musicians, who would have never managed to make these recordings at home, ridden by racism, alienation and closed-mindedness. Without these two labels most of this fantastic human creativity would have been never documented. However, the Black Saint / Soul Note Box Sets produced under the CAM JazzFind albums on this label moniker are an archetypal example of how good intentions turn sour. Although these new editions often bring back to life some of the best music ever made on this planet, which in many cases has been lost in the tides of time and was unavailable on the market for ages, they suffer from an unforgivable disregard to the essence of cultural values and general sloppiness, contrary to human decency, which requires us to treat our cultural legacy with respect and loyalty. These Box Sets have no booklet which presents researched historical background and exact discographical information of the albums included, and most importantly an overview of the music and its meaning and contribution to the Jazz Art form. Although the original LP sleeves are reproduced, the information is in most cases too small to be readable at all. In short the fact that these Box Sets are meant to be inexpensive, does not mean that they have to be cheap!

Updated: 12/04/2020Posted:

CD 9 Mini-Sleeve Box Set Remastered Recommend To A Friend

BOB DOWNES / OPEN MUSIC ~ CROSSING BORDERS REEL RECORDINGS 011 (Barcode: 676868177828) ~ UK ~ Jazz Recorded: 1978 - 1979 Released: 2008 British flautist / saxophonist / composer Bob DownesFind albums by this artist and his Open MusicFind albums by this artist ensemble (a constantly changing group of musical cohorts) were always one of the most interesting acts on the British Jazz scene in the late 1960s / 1970s. Downes participated in many of the pivotal recording made at the time by other bandleaders, but in parallel always led his own ensemble which played the music he composed. His ability to combine melody and Free Improvisation into a unique amalgam was always his forte and his recordings are great examples of the limitless musical efforts, which are typical of the period. This release presents an album, previously unreleased, featuring compositions inspired by a 1973 South American tour, recorded several years later with a great cast of musicians: guitarist Brian GoddingFind albums by this artist, trombonist Paul RutherfordFind albums by this artist, bassists Barry GuyFind albums by this artist, Mark MeggidoFind albums by this artist and Paul BridgeFind albums by this artist and drummers Dennis SmithFind albums by this artist and John StevensFind albums by this artist – all of which are exemplary representatives of the British Jazz scene at its peak. Considering the fact that this music is previously unheard, it seems such a shame it laid hidden from our ears for so long, but as usual all is well that ends well, so here it is finally for us to savor. Downes´ fans need no encouragement to grab this album instantly, but British Jazz fans not familiar with his output should definitely investigate, especially in view of the fact that the melody lines and his amazing flute virtuosity make the improvised passages "easier on the ear" for less experienced listeners.

CD 1 Digipak Recommend To A Friend

BOB DOWNES / OPEN MUSIC ~ DIVERSIONS VOCALION 8434 (Barcode: 765387843427) ~ UK ~ Jazz Recorded: 1970 Released: 2007 Flautist / saxophonist / composer Bob DownesFind albums by this artist was one of the pioneers of the British free-form Jazz. Apart from leading his own groups, most notably the Open MusicFind albums by this artist trio presented here, he also played with Mike WestbrookFind albums by this artist, Keith TippettFind albums by this artist, Ray RussellFind albums by this artist’s Rock WorkshopFind albums by this artist and many others. He was also one of the first musicians to start their own record label, which was called OpenianFind albums on this label, on which this album was originally released. The Open Music trio included, apart from Downes, one of the following bass players: Barry GuyFind albums by this artist, Jeff ClyneFind albums by this artist, Harry MillerFind albums by this artist and Barre PhillipsFind albums by this artist (the first two are present on this recording) and drummer Denis SmithFind albums by this artist. Downes composed all the music and played mostly various flutes, although he was equally fluent playing the alto saxophone. The music is excellent and truly visionary for the time of the recording. The level of interplay between the trio members is exceptional and the virtuosity of the players is exemplary and the album lost none of its vigor and charm over the years. A great example of early British Free Jazz at its best, suitable for most Jazz listeners, as although highly improvisational, the natural flow of the music makes it easily acceptable to most people. The music on this album was used several times as a part of dance show, with the trio performing live and accompanying the dancers. Free Jazz listeners should definitely try this gem.

CD 1 Remastered Recommend To A Friend

SATOKO FUJII ORCHESTRA BERLIN ~ NINETY-NINE YEARS LIBRA 211-047 (Barcode: 4562169330474) ~ JAPAN ~ Avant-Garde Jazz Recorded: 2017 Released: 2018 This is an album by Japanese pianist / composer / bandleader Satoko FujiiFind albums by this artist, one of the most prominent representatives of the contemporary Avant-Garde Jazz activists. The album was recorded with an eleven piece Orchestra Berlin, one of Fujii´s permanent ensembles, which features mostly German musicians, but includes also her Japanese husband, trumpeter Natsuki TamuraFind albums by this artist, French drummer Peter OrinsFind albums by this artist and Polish saxophonist Paulina OwczarekFind albums by this artist. The album presents five extended original orchestral compositions, all by Fujii and is one of the twelve albums Fujii released in 2018 (one every month) to celebrate her 60th Birthday. Her cumulating discography since 1991 includes well over a hundred albums. The music is everything contemporary Avant-Garde Big Band has to offer: composed parts expanded into lengthy improvised passages, several sub-ensembles constantly developing within the frame of the Big Band (duos, trios, etc.) sublime individual soloing and group improvisations and much more. Fujii skillfully uses the entire arsenal at her disposal to continue the splendid tradition of European Avant-Garde Big Bands, which goes several decades into the past, initiated by the British Big Bands led by Barry GuyFind albums by this artist, Mike WestbrookFind albums by this artist and others and later European parallels like Globe Unity OrchestraFind albums by this artist and others. Since contemporary activity in this particular area is rather limited today, Fujii´s recordings are even more important and significant. Of course Avant-Garde Jazz never was music for the masses, and this intellectually challenging offering is of interest to a sadly miniscule group of potential listeners, who are able to appreciate and enjoy it. The faithful aficionados will find this music absolutely stunning of course, which is hardly surprising. Wholeheartedly recommended to the connoisseurs of the genre!

Updated: 12/04/2019Posted: 19/03/2019

CD 1 Mini-Sleeve Recommend To A Friend

TONY OXLEY ~ FEBRUARY PAPERS DISCUS 099 (Barcode: 5051078983028) ~ UK ~ Avant-Garde Jazz Recorded: 1977 Released: 2020 This is a reissue, first time on CD, of an iconic album by British Jazz drummer / composer / bandleader Tony OxleyFind albums by this artist. The album presents seven original compositions by Oxley, recorded by three lineups: a quartet with violinists Philipp WachsmannFind albums by this artist and David BourneFind albums by this artist and bassist Barry GuyFind albums by this artist (two tracks), a trio with Wachsmann and guitarist Ian BrightonFind albums by this artist (two tracks) and finally solo percussion and electronics (three tracks). Oxley held a pivotal position in British Jazz since the mid 1960s, when he became the house drummer at Ronnie Scott´s club in London, which gave him an opportunity to play with the visiting prominent American Jazz stars and top British Jazz musicians. He was highly respected and always considered as truly extraordinary player, with his own perception of the role of drums within the Jazz idiom, but more importantly the concept of Jazz itself and its transformation into Improvised Music, which was developing at the time. Hearing Oxley performing live was for me always an extraordinary experience, regardless of the circumstances. Even within a most "straightforward" mainstream environment, his drumming was always on a different conceptual plane, although he managed to "keep time" perfectly and without a hitch. Since the late 1960s Oxley started to be featured on a long series of revolutionary British Jazz albums recorded at the time, many of which remain as absolutely essential examples of modern British Jazz and serve as unsurpassed achievements of that boisterous creative period, like those recorded with Gordon BeckFind albums by this artist, Howard RileyFind albums by this artist, Alan SkidmoreFind albums by this artist, John McLaughlinFind albums by this artist, John SurmanFind albums by this artist, Michael GibbsFind albums by this artist and others. His recording career as a leader started in 1969 with the release of two albums for CBSFind albums on this label: "The Baptised TravellerFind albums with this title" (1969) and "4 Compositions For SextetFind albums with this title" (1970), which in retrospect are considered as absolute gems of British Jazz discography. Those were followed by the album "IchnosFind albums with this title" (1971) released on RCAFind albums on this label. Following the disappointment with the major labels, which showed no interest in promoting these albums, Oxley joined guitarist Derek BaileyFind albums by this artist and saxophonist Evan ParkerFind albums by this artist as co-founder of the IncusFind albums on this label label, which was one of the first independent artist owned labels in Britain. He recorded two albums for the label: the eponymous "Tony OxleyFind albums with this title" (1975) and finally this, his fifth album as a leader "February PapersFind albums with this title" (1977). The music on this album has nothing to do with Jazz in the conventional meaning of the idiom, but it is a perfectly logical continuation of the musical development that is documented on the four a.m. albums. Oxley breaks the conventional barriers and pushes the envelope towards Avant-Garde, which calls for new forms of expression not related to melody, harmony or even the usual sound expected from the instruments. Such extensive use of electronics was almost completely unheard of at the time of course and although early Improvised Music was already present on the scene, it was rarely as uncompromising and far-fetched as what Oxley decided to capture herein. Although bold spirited, the music offers a delicate, almost intimate sound and allows the listener to absorb every nuance of these performances. The solo percussion / electronics pieces are of course the most surprising ones here. Improvised music is usually about group improvisation, but Oxley is one of the first improvisers to undertake the daring effort to freely improvise on his own, proving that such form of expression is both possible and valid. Listening to this album today, with over four decades of perspective, enables me to extend my appreciation of this momentous historic effort from a new angle. Improvised Music is of course alive and kicking today and I am constantly exposed to a huge number of such recordings. I have to say that most of those contemporary efforts sound pretty pale in comparison to what Oxley managed to capture for posterity then. Despite the limited possibilities, surely compared to what is available today as far as electronic devices are concerned, his imagination and creativity remains unchallenged. Kudos to Martin ArcherFind albums by this artist, the man behind DiscusFind albums on this label Records, for bringing this piece of musical history back to circulation – much appreciated! For Avant-Garde / Improvised Music enthusiasts, this is a Holy Grail!

Updated: 02/01/2021Posted: 03/10/2020

CD 1 Mini-Sleeve Remastered Recommend To A Friend

TONY OXLEY ~ UNRELEASED 1974-2016 DISCUS 129 (Barcode: 5051078993126) ~ UK ~ Free Jazz / Improvised Music Recorded: 1974 - 2016 Released: 2022 This is an archival album compiling recordings by British Jazz drummer / violinist / composer / improviser / electronicist Tony OxleyFind albums by this artist, recorded between 1974 and 2016 with some of the top British / European Avant-Garde musicians. The first three tracks from 1974 present a quintet with bassist Barry GuyFind albums by this artist, trumpeter Dave HoldsworthFind albums by this artist, pianist Howard RileyFind albums by this artist and trombonist Paul RutherfordFind albums by this artist. Although recorded in 1974, the music was much later into the form present on this album in later dates between 2005 and 2020. Next track from 1981 presents a quintet with guitarist Hugh MetcalfeFind albums by this artist, Riley, saxophonist Larry StabbinsFind albums by this artist and violinist / electronicist Philipp WachsmannFind albums by this artist and finally the last track presents a duo with German percussionist Stefan HoelkerFind albums by this artist. All the music was all composed by Oxley. The album is a spectacular showcase of British / European Improvised Music at its best and has very limited to what most people consider as Jazz, sonically exploring interstellar space rather that our humble earthy neighborhood, but obviously preserving the improvising spirit and using sound as a metaphysical medium to express emotion and artistic expression. The three early tracks form 1974 are perhaps the most remarkable, considering the date of recording, which proves that Oxley already at that time was light-years ahead of most the other musical explorers at the time. The absolute freedom from any references and restrictions characterizes these recordings as completely pioneering at the time, and honestly standing up to anything created in Improvised Music ever since. Kudos to Oxley for releasing these recordings from his personal vaults and to Martin ArcherFind albums by this artist for releasing them faithfully on his DiscusFind albums on this label label, making them available to the world. You make us all spiritually richer being able to listen to this music. Overall, this is a tremendously important historical material, which opens yet another window into the musical legacy of one of the most important British / European Improvising Music personas, which are both delightful and enlightening. An absolute must for Improvising Music followers!

Updated: 05/04/2022Posted: 05/04/2022

CD 1 Mini-Sleeve Recommend To A Friend

HOWARD RILEY ~ ANGLE / THE DAY WILL COME HUX 141 (Barcode: 682970001418) ~ UK ~ Jazz Recorded: 1968 - 1970 Released: 2014 This is a reissue of the second and third albums by British Jazz pianist / composer Howard RileyFind albums by this artist, both recorded in a trio format with bassist Barry GuyFind albums by this artist and drummer Alan JacksonFind albums by this artist. Saxophonist / flautist Barbara ThompsonFind albums by this artist plays on one track of the debut album, which presents eight original compositions, all by Riley. The second album presents twelve original compositions, six each by Riley and Guy. These two albums were originally released in 1969 and 1970 respectively, by CBSFind albums on this label (the European branch of ColumbiaFind albums on this label). This reissue is in fact a reissue of the 1999 remastered editions of these two albums, which disappeared from the market immediately following their release. Together with these two albums, CBS, initially under the Realm Jazz moniker and later just as CBS, released also several albums by other British Jazz musicians such as the first two albums by drummer / composer Tony OxleyFind albums by this artist, the first three albums by guitarist Ray RussellFind albums by this artist and debut albums by vibraphonist Frank RicottiFind albums by this artist and saxophonist Elton DeanFind albums by this artist, as well as albums by groups like Rock WorkshopFind albums by this artist, Soft MachineFind albums by this artist and others. All these are exceptional examples of completely non commercial / highly artistic music released by a Major record label, a phenomenon which reflected the spirit of that particular era and lasted for a very brief period of time, sadly never to be repeated again By the time this music was recorded, i.e. by the late 1960s, British Jazz underwent a dramatic transformation, a quantum leap no less, from imitation to innovation. After copying the American Jazz tradition for decades, the post WWII generation rebelled and rapidly found its own methods of expression, embracing such diverse influences as contemporary European Classical music, World-Music and Rock and amalgamating them into a new identity, which would become first modern British Jazz and soon after copied all over Europe, including even the countries behind the Iron Curtain, modern European Jazz. In the aftermath of these remarkable events British Jazz scene was encompassing a diverse rage of stylistic alternatives, from Jazz-Rock and Jazz-World Fusions, via modern mainstream to a whole range of alternative / Avant-Garde experimentation including Free Jazz and Improvised Music. It takes just a brief moment into the first album to realize that Riley belongs to the Avant-Garde oriented group of British musicians, who value freedom of expression and individuality more than convention and acceptance. Even on these two early albums he is already well advanced in his experimentation, keeping melody only as an entry point to his music, which is entirely based on the dialogue (or in this case trialogue) and collective improvisation, rather than on following the chord progressions of standards and keeping regular time signatures. Guy, who was just over twenty years old when this music was recorded, proves to be an ideal partner, a born adventurer and complete nonconformist. His bass playing on these two albums is an encyclopedic textbook of improvised music moves for fellow bassists, developed completely spontaneously and subconsciously. But it is Jackson, who is the biggest surprise on these albums, considering his almost entirely conventional background before these sessions as one of Britain´s most sought after modern mainstream drummers. His wonderful integration with Riley and Guy here is simply sensational and a superb proof of his open-mindedness and musicality. In the years that followed these sessions Riley would record many more wonderful albums in many different settings, but these two albums would always symbolize his individuality and prophetic vision. The early signs of his exceptional abilities, which were about to push the boundaries of music and contribute to its development, influencing generations of players, are clearly evident herein, turning these albums into instant classics. The most startling realization one is faced with, while listening to these two albums, is the fact that not only the music did not age or lost any of its relevance, but it still is right there on the forefront of the musical Art Form, exactly where it was almost fifty years ago. These iconic recordings have earned their position in the Pantheon of British Jazz right from the moment they were recorded, and their unavailability during most of the time that passed since was a crime against culture, somewhat repented by this current reissue.

Updated: 12/04/2019Posted:

CD 2 Remastered Essential Recommend To A Friend

HOWARD RILEY ~ BBC SESSIONS 1968-1970 RHYTHM AND BLUES 100 (Barcode: 5060331753827) ~ UK ~ Free Jazz / Improvised Music Recorded: 1968 - 1970 Released: 2024 This is an archival album, which presents recordings by the brilliant British Jazz pianist / composer Howard RileyFind albums by this artist, recorded with his trio with bassist Barry GuyFind albums by this artist and drummers Jon HisemanFind albums by this artist or Alan JacksonFind albums by this artist. The album presents thirteen tracks, five with the trio with Hiseman recorded in 1968 and eight with the trio with Jackson recorded between 1969 and 1970. Most of the material was composed by Riley or Guy, but there are also a couple of standards and one tune by Annette PeacockFind albums by this artist. The material originates from the first three albums by the trio: “DiscussionsFind albums with this title”, “AngleFind albums with this title” and “The Day Will ComeFind albums with this title”, all essential British Jazz recordings. Riley is by far my favorite British Jazz Avant-Gardist, and his extensive recorded legacy is one of the pillars of the genre. He is mostly known for his work in the classic Jazz piano trio format, like the two trios preset here and the later trio with Guy and Tony OxleyFind albums by this artist. But he recorded in other ensembles with the crème de la crème of the British scene over the years and practically all his albums are instant classics. Sadly, my impression is that he never received the proper recognition as one of the Godfathers of the genre and many of his albums are almost completely unknown. For me, Riley is one of the most remarkable Jazz Artists, blessed by a remarkable ability to think out of the box. Although that specific quality should be integral to all Free Jazz / Improvised Music / Avant-Gardists, in fact is rather a rare quality, and many musicians belonging to these genres repeat patterns rather than inventing them. From the very early days of his career, like on these sessions, Riley’s approach to improvising was completely innovative and unlike anything / anybody else. His playing, completely Free on one hand, is also superbly melodic, on the other, despite how far he moves away from the source / original melody. This is particularly easy to spot in his interpretations of standards, but even more fascination while playing his original compositions. This album is a wonderful document, especially in view of the fact that this music is previously unreleased and offers a superb addition / extension to the three a.m. studio albums by Riley, which are of course also timeless gems. Although reissued, they are not easy to find, and absolutely worth the effort. Overall, this is an absolute must for every British Jazz lover and Avant-Garde Jazz enthusiast, anywhere on this planet. It offers some of the cleverest, most sophisticated and aesthetically satisfying music, which lost nothing of its power and zetz over time, and is still a stunning listening experience!

Updated: 25/09/2024Posted: 25/09/2024

CD 1 Recommend To A Friend

HOWARD RILEY ~ DISCUSSIONS JAZZPRINT 137 (Barcode: 604388682720) ~ UK ~ Jazz Recorded: 1967 Released: 2007 This debut recording by the legendary UK pianist Howard RileyFind albums by this artist was initially released 40 years ago on a tiny label (OpportunityFind albums on this label, owned by producer Chris WellardFind albums by this artist) and has been unavailable for ages, making it a super-rare collector’s item. Riley has been spearheading the UK free jazz scene since the mid-1960, recording regularly over the years and serving as a beacon of musical enlightenment and vision. His exceptional talents as a pianist and composer are truly unrivaled, with the possible exception of his peer Keith TippettFind albums by this artist. On this album Riley is accompanied by the brilliant bassist Barry GuyFind albums by this artist (Spontaneous Music EnsembleFind albums by this artist (SME)), another prominent figure on the UK free jazz scene, who recorded with Riley’s trio on more than one occasion. The person behind the drums is probably the greatest surprise to the visitors of this site, as it is no other than Jon HisemanFind albums by this artist - future leader of ColosseumFind albums by this artist, TempestFind albums by this artist and United Jazz + Rock EnsembleFind albums by this artist (Hiseman’s early jazz career is much lesser know). The trio performs a set consisting of several Riley’s original compositions and a few standards – these well disguised as appropriate for a free jazz setting. Some clearly melodic elements are still present on these tracks, as the adventurous full-blown Avant-Garde was yet to come, but this is a classic of the genre in every sense. The interplay between the three master musicians is phenomenal and considering their tender age (at the time of this recording) this is a monster achievement. Absolutely essential for all free jazz lovers, especially for connoisseurs of the UK branch of the genre.

Updated: 12/04/2019Posted:

CD 1 Remastered Recommend To A Friend

HOWARD RILEY ~ DISCUSSIONS DUSK FIRE 114 (Barcode: 5065001032257) ~ UK ~ Jazz Recorded: 1967 Released: 2015 This is a reissue of the debut album by the seminal British Jazz pianist / composer Howard RileyFind albums by this artist, recorded in a classic piano trio setting with two legendary British Jazz icons: bassist Barry GuyFind albums by this artist and drummer Jon HisemanFind albums by this artist. The original album released in 1968 on the tiny OpportunityFind albums on this label label owned by producer Chris WellandFind albums by this artist had only 99 copies pressed and soon after became a highly sought-after collector´s item. It was reissued semi-legally on CD in 2007 but this is the first proper reissue of this album, which is newly remastered and includes two bonus tracks with previously unreleased recordings by another Howard Riley trio, recorded seven years prior to this album being recorded. The original album presents eight tracks, some of which are originals by Riley and others are the trio´s interpretations of standards, but only keen Jazz connoisseurs will be able to recognize them as such. Riley´s arrival in London in 1967 placed him right at the epicenter of the burgeoning British Jazz scene, which was already developing rapidly since several years. His unusual approach to music, both as a performer and a composer, perfectly suited the "age of change" British Jazz was undergoing at the time, while emancipating itself from a decades-long association with American Jazz, while mostly copying the patterns developed across the pond. A new generation of young British Jazz musicians, Riley amongst them, decided to take matters into their own hands and move along, leaving the American Jazz tradition far behind. Listening to this music almost half a Century after it was recorded clearly shows how European Jazz was about to find its own Avant-Garde, almost unrelated to the American Free Jazz, which more or less completely came to a hold with the death of John Coltrane. The European approach was not based on intense improvisation, which slowly stripped away all melodic content, but on a search which would amalgamate Jazz and contemporary European Classical music 20th Century innovations into a new idiom. The performance of this trio clearly shows what collective improvisation is all about with the musicians behaving as a one three headed body, being in sync rhythmically and mentally at all times. Hiseman, who was about soon after to immerse into Jazz-Rock for the rest of his life, plays here without inhibitions and shows his incredible versatility. Guy sounds on this album as if he played Free Jazz for decades, obviously finding his natural element, which he never left to this day. His virtuosity and inventiveness at such early age (he was 20 years old at the time) is simply phenomenal. In retrospect this is one of the iconic British Jazz recordings, which should be a part of a decent music collection by every British Jazz enthusiast. The fact that this music is available again is nothing short of a miracle. Good job Peter MuirFind albums by this artist, chapeau!

Updated: 12/04/2019Posted:

CD 1 Digipak Remastered Bonus Tracks Recommend To A Friend

HOWARD RILEY ~ FLIGHT FMR 026 (Barcode: 786497181124) ~ UK ~ Jazz Recorded: 1971 Released: 1995 British pianist / composer Howard RileyFind albums by this artist has been a pivotal figure of the modern British Jazz and later Improvised Music since the late 1960s. Completely unorthodox and original, his approach to music making is a complete innovative universe, in which he and some of his close collaborators created the next plane in the history of Jazz in particular and music in general. Although the European Avant-Garde exploded a few years later then the first wave of US Free Jazz pioneers like Ornette ColemanFind albums by this artist, Albert AylerFind albums by this artist, Eric DolphyFind albums by this artist and John ColtraneFind albums by this artist, it developed in a new direction rather than copying or following the path initiated by the US giants. As radical as the US Free Jazz might have appeared at the time, it was after all deeply rooted in the Jazz tradition and in many respects developed as an extension of Bebop. The Europeans, most of them in their twenties when they initiated the European Free Improvisation school, had little, if any, experience playing Bebop and the new direction was developed spontaneously rather than consciously (or sub consciously). The social upheaval and general anti-establishment wave that swept Europe in the late 1960s might have served as a psychological background for these musical developments, as the quest for freedom of expression and rebellion against established musical forms was the central motif of the European Free Improvisation movement. Young European musicians in Britain, Germany, France, Netherlands and even behind the Iron Curtain (Poland, East Germany) decided to take a bold step towards exploration of a new musical universe, unbound by any preconceptions and limitations - harmonic, rhythmic or otherwise. The movement started in the late 1960s but only truly crystallized by the early 1970s, and this album is certainly one of the first focal point of European Free Improvisation. It was Riley’s fourth solo album following his daring debut DiscussionsFind albums with this title from 1967 and two trio albums recorded for CBSFind albums on this label (AngleFind albums with this title & The Day Will ComeFind albums with this title). Exceptionally gifted bassist Barry GuyFind albums by this artist, who was a member of Riley’s trio from the very beginning, took part in all the recordings, and would be his partner for many years to come. However, the decisive factor and the catalyst, which turned this recording into a momentous leap forward was the participation of one of Europe’s most inventive and original drummers – Tony OxleyFind albums by this artist. The resulting trio – Riley / Guy / Oxley – turned out to be an unstoppable musical hurricane of exploration and spontaneous invention beyond anything previously encountered. The album starts with a furious barrage of a 20 minutes long collective improvisation, which moves between trio, duo and solo performances of immense intensity and complexity. Some incredible sounds are extracted from the respective instruments, creating an incredible collage of sonic expressions. In complete contrast, the second part of the album is a complete anti-climax, with the trio performing some contemplative music, quiet and delicate and at times almost lyrical, as on the two ballads. Make no mistakes here – this is not a return to mainstream Jazz. These quiet pieces are as free and improvised as they come, but the fury of expression is subdued here and replaced by the balance between sound and silence, interplay and caressing the instruments. Overall this is a monster album, revolutionary, innovative and groundbreaking. Released originally on the legendary TurtleFind albums on this label label, this reissue finally brings this musical treasure back to life, for all the people who never had the opportunity to hear it at the time. Although Riley would prove to be very prolific and record many exceptional albums in the future, this one is especially dear to my heart, as it opened windows nobody previously knew existed. A musical Magnum Opus, beyond essential!

Updated: 12/04/2019Posted:

CD 1 Remastered Essential Recommend To A Friend

HOWARD RILEY ~ SYNOPSIS EMANEM 4044 (Barcode: 5030243404421) ~ UK ~ Free Jazz / Improvised Music Recorded: 1973 Released: 2000 This is a reissue of the 5th album by British pianist / composer Howard RileyFind albums by this artist, recorded in a trio format with bassist Barry GuyFind albums by this artist and drummer Tony OxleyFind albums by this artist. The album was originally released on the IncusFind albums on this label label, and this reissue presents the entire session with five tracks, as opposed to the original four tracks album. All the music was composed by Riley. By the time this album was recorded, Riley was already recognized as one of the core members of the young British Avant-Garde, which took the scene by a storm, often vehemently opposed by the British Jazz “establishment”, which included traditional / mainstream musicians and most of the Jazz press. But of course the new music was hardly bothered by anybody’s opinion and exploded rapidly, defining a new Jazz aesthetic, inspired, but completely independent from the American Free Jazz scene, and effectively much closer conceptually to what was happening in Europe at the time on both sides of the Iron Curtain. Spearheaded both by musicians and activist (i.e. club owners, small independent record labels and “radical” journalist), the British Jazz Avant-Garde in the 1970s wrote one of the most glorious chapters in the history of British Jazz, and this album is one of numerous examples of what was happening then, and the three musicians taking part in this recording are key figures of that movement; Riley with his trios, Guy with his London Jazz Composers OrchestraFind albums by this artist and Oxley with his quintets an sextets. The collection of the albums recorded by these musicians alone, recorded between late 1960s and mid-1970s is an overwhelming body of exceptional, revolutionary and often prophetic music. Overall, this is a brilliant example of the British Free Jazz / Improvised Music classic period, which lost nothing of its power and striking, innovative out-of-the-box thinking, which became in time an archetypal specimen of the genre. For British Jazz lovers, who include the Avant-Garde milieu in their favorite pleasures, this is an absolute must of course.

Updated: 17/12/2024Posted: 17/12/2024

CD 1 Bonus Tracks Recommend To A Friend

JOHN STEVENS ~ AT THE PLOUGH `79 FMR 215 (Barcode: 649849982766) ~ UK ~ Jazz Recorded: 1979 Released: 2007 British drummer John StevensFind albums by this artist was one of the great heroes of the local scene and a great pioneer of the European Free Jazz / Improvised Music. Together with such distinguished British improvisers as Kenny WheelerFind albums by this artist, Evan ParkerFind albums by this artist, Paul RutherfordFind albums by this artist, Trevor WattsFind albums by this artist, Derek BaileyFind albums by this artist and Barry GuyFind albums by this artist, Stevens laid the foundations of the modern British Jazz revolution in the mid 1960s, when he started his Spontaneous Music EnsembleFind albums by this artist (SME), which he led for many years. SME recorded extensively through the 1970s, when the Improvised Music movement was at its peak. Later on he also recorded with many other European improvising musicians from the continent and continued to record for small independent labels. Stevens died in 1994 (at the age of 54) and left an immense legacy of recorded music, as well as a crucial contribution to the development of the Jazz Art Form. This live recording at the legendary London pub “The Plough”, which served as the meeting place of the Improvised Music scene in the 1970s, captures the John Stevens Trio with saxophone giant Mike OsborneFind albums by this artist and superb young (at the time) bassist Paul RogersFind albums by this artist. The set was recorded on a portable tape machine, which means that the sound quality is limited, but it does not affect the intensity and the brilliance of the music. The trio performs three Osborne originals and three interpretations of Jazz standards, which of course get quite a work-over. All three musicians are simply brilliant and the fans of this music should be grateful it was preserved for posterity, especially in view of the rather limited availability of live material by Osborne. Great to have this lost treasure rediscovered and available for all of us to enjoy. A gem!

CD 1 Digipak Recommend To A Friend

VARIOUS ARTISTS ~ AND DID THOSE FEET… JAZZ IN BRITAIN 52 ~ UK ~ Jazz Recorded: 1971 - 1980 Released: 2023 This archival 2CD album accompanies the book by Duncan HeiningFind albums by this artist of the same title, published by the inexorable Jazz In BritainFind albums on this label label / publishing house, which continues, to the delight of all British Jazz lovers, to bring to light previously unreleased or long forgotten gems from the depths of private archives. The book, subtitled “Six British Jazz Composers”, presents biographies of six pivotal British Jazz figures and the album brings music illustrating their vast achievements. All the music was previously unreleased and all originates from BBC broadcasts. CD1 presents recordings by Michael GarrickFind albums by this artist from 1972, Michael GibbsFind albums by this artist from 1971 and Barry GuyFind albums by this artist from 1971. CD2 presents recordings by John MayerFind albums by this artist from 1972, Keith TippettFind albums by this artist from 1971 and Mike WestbrookFind albums by this artist from 1980. The collective lineup of the musicians performing herein is a magnificent compendium of the who’s who of the British Jazz scene at its most dramatic development period. All the music, except that by Westbrook, originates from the early 1970s, and Westbrook’s activity at that time was also absolutely essential, which means that the editors of this album did not have access to any of his early 1970s material, which would have fitted perfectly. The lineups include an intimate trio, two septets and three large ensembles, and stylistically it moves between delicate lyrical compositions, via orchestral works, Jazz-World Fusion experiments and Free Jazz / Avant-Garde explorations, all this happening at the same time slot, which portrays the British Jazz scene perfectly. I vividly remember the abundance of talent and feverish activity at the time, which meant that selecting an event to go to was often an impossible choice. This album also emphasizes the importance and incredible support by the BBC to the development of music (Jazz but also Rock) at the time. None of this music herein would be available to us today if not for those regular broadcasts and the sublime recording quality of those guys in white coats… Overall, this is a tremendous piece of British Jazz history, absolutely essential to all the fans, and of course a perfect companion to the book, which is also wholeheartedly recommended! British Jazz forever!

Updated: 19/12/2023Posted: 19/12/2023

CD 2 Mini-Sleeve Remastered Recommend To A Friend