Record Reviews

JOHN CARTER / BOBBY BRADFORD ~ SEEKING HATOLOGY 620 (Barcode: 752156062028) ~ USA ~ Jazz Recorded: 1969 Released: 2006 This long overdue reissue of the legendary debut album by the quartet led by saxophonist / clarinetist / flautist / composer John CarterFind albums by this artist and trumpeter Bobby BradfordFind albums by this artist, with Tom WilliamsonFind albums by this artist on bass and Bruz FreemanFind albums by this artist on drums, is a tribute to the great era of American Jazz, when groundbreaking music was being created there on momentous scale. The quartet was operating under the cooperative name New Art Jazz EnsembleFind albums by this artist, typical of the period´s social / philosophical climate of unity and cooperation on one hand and high appreciation of individual expression and genius on the other. The music expands the tradition already established by Free Jazz pioneers like Ornette ColemanFind albums by this artist, Eric DolphyFind albums by this artist and John ColtraneFind albums by this artist, but is completely unique and refreshing. Carter´s virtuosity (my favorite being his clarinet playing) and compositional skills place him immediately at the spearhead of the burgeoning musical revolution taking place at the time, a position he would firmly keep up for decades to come. The interplay between Carter and Branford is reminiscent of the superb dialogue between Ornette Coleman and Don CherryFind albums by this artist, but the level of telepathic conversation seems to be even more intimate. The most amazing aspect of the album is its total lack of aggressiveness; the music tickles the intellect constantly rather than banging the listener right on his head in an attempt to create a shock treatment affect, an approach often used by other Free Jazz / Avant-Garde players. As a result the music is listenable even to a less experienced Jazz enthusiast, who might find most of other Free Jazz experimentation too overwhelming or aesthetically shocking. In retrospect this album is a Jazz masterpiece in every respect and a worthy addition to every serious music collection. Having it available again is a true blessing and a new chance to get acquainted with a true lost treasure.

Updated: 12/04/2019Posted:

CD 1 Mini-Sleeve Oversampling Remastered Essential Recommend To A Friend

ORNETTE COLEMAN ~ BEAUTY IS A RARE THING: THE COMPLETE ATLANTIC RECORDINGS RHINO 71410 (Barcode: 081227141028) ~ USA ~ Jazz Recorded: 1959 - 1961 Released: 1993 This magnificent Box Set includes some of the most revolutionary music ever recorded on this planet. Ornette ColemanFind albums by this artist’s music dropped on the jazz scene with the force of an atom bomb by the end of the 1950s. Although other great jazz pioneers, especially John ColtraneFind albums by this artist and Miles DavisFind albums by this artist, were already slowly approaching the free / Avant-Garde jazz idiom, Coleman’s bold and fearless attack on the conventional jazz form was completely radical and innovative, splitting the jazz community immediately into the pro and contra camps, with discussions as heated as they can get. Coleman was ridiculed and called bad names by critics and listeners alike, who failed to comprehend his prophetic statement, and it took many years before this music was widely accepted into the jazz canon and treated with the proper esteem. Recorded between May 1959 and March 1961 (less than 2 years!) this music includes all 9 Coleman’s albums released on Atlantic (The Shape Of Jazz To ComeFind albums with this title, Change Of The CenturyFind albums with this title, This Is Our MusicFind albums with this title, Free JazzFind albums with this title, Ornette!Find albums with this title, Ornette On TenorFind albums with this title, The Art Of The ImprovisersFind albums with this title, TwinsFind albums with this title and To Whom Who Keeps A RecordFind albums with this title), as well as previously unreleased material and selections from Gunther SchullerFind albums by this artist’s Jazz AbstractionsFind albums with this title featuring Coleman. As usual in such Box Sets, the music is presented in chronological recording order. As to the musicians, most of the music was recorded in quartet setting, with Coleman and trumpeter Don CherryFind albums by this artist as the permanent core of the group and various bass / drums rhythm sections, which included Charlie HadenFind albums by this artist, Scott LaFaroFind albums by this artist and Jimmy GarrisonFind albums by this artist on bass and Billy HigginsFind albums by this artist and Ed BlackwellFind albums by this artist on drums. The legendary “Free Jazz” session features a double quartet and includes Eric DolphyFind albums by this artist on bass clarinet and Freddie HubbardFind albums by this artist on trumpet. There is hardly any need to go into the description of the music itself - whole books have been written on the subject and the music is indescribable anyway. What is important however, is the fact that any respectable jazz collection could never be considered comprehensive if it didn’t include this music. Absolutely essential!

Updated: 12/04/2019Posted:

CD 6 Box Set Remastered Bonus Tracks Essential Recommend To A Friend

JOHN COLTRANE ~ THE COMPLETE 1961 VILLAGE VANGUARD RECORDINGS IMPULSE! 232 (Barcode: 011105023221) ~ USA ~ Jazz Recorded: 1961 Released: 1997 When this music was recorded in November of 1961 I was only 10 years old and yet it changed my life forever. Living in (Socialist) Poland, my access to contemporary (at the time) jazz originating in the US was pretty limited and the only beacon of light was the daily Willis ConoverFind albums by this artist’s radio jazz program on Voice Of America, beamed from across the Iron Curtain. Millions of Eastern European listeners would risk freedom (listening to VOA was a criminal act then) to gain freedom, myself included. These broadcasts changed the life of countless people and particularly in Poland would eventually be a dominant factor in the process of forming a burgeoning and extremely fruitful local jazz scene. Many hours of my early childhood were spent with myself standing on a conductor’s podium (e sledge), in front of an imaginary orchestra playing inside the enormous radio (a pre WW II antique). Since classical music was less censored and sponsored by the Establishment, it was there for us to enjoy most of it of very high quality. I remember listening for hours at end to the annual Chopin competition, which was Poland’s most prestigious music event, getting to know his music inside out before I even knew anything about him. My Mother encouraged my “conducting” aspirations warmly, supplementing them with occasional background information. But the discovery of jazz and its strange convoluting patterns and unfamiliar rhythms was a revelation. I just couldn’t get enough of it and every new artist or piece of music was an instant bliss. By the time I was about to hear John ColtraneFind albums by this artist for the first time I was already familiar with the music of Duke EllingtonFind albums by this artist, Count BasieFind albums by this artist, Charlie ParkerFind albums by this artist and Dizzie GillespieFind albums by this artist (thanks to Mr. Conover). Conover, in contrast to many of his peers (who were stuck in be-bop or some earlier jazz sub-genre for the rest of their lives), was remarkably open-minded and understood the genius of Coltrane and his visionary contribution to the development of the Jazz Art form. He therefore featured every new Coltrane album as soon as it was released. So here I was, 10 years old, some time in early 1962, listening to the Village Vanguard sessions – an experience equivalent to a 10,000 Volts electricity shock. My life would definitely be never the same again. I hope these personal reminiscences don’t put you off too much, but I just couldn’t resist the temptation. Taking the time-travel express to now here are my comments about this music from a “45 years later” point of view. In 1961 Coltrane left AtlanticFind albums on this label (his second label, PrestigeFind albums on this label being the first) and signed a contract with Impulse!Find albums on this label, the new and ambitious jazz label run by producer Bob ThieleFind albums by this artist, where he would stay for the rest of his life. Coltrane was already following a path (mostly subconsciously) which would lead him to the edge of the known jazz explorations and beyond. His monumental Atlantic albums like Giant Steps and My Favorite Things were just a glimpse of things to come. Coltrane felt that Thiele would allow him to speed up the process of reaching the quest of musical enlightenment by allowing him total artistic freedom and supporting him all the way and he was of course right. The extensive volume of music recorded for Impulse! in the span of almost 7 years right up to his death would become the most important musical legacy of the 20th Century, so innovative and groundbreaking that it is still a mystery to many contemporary listeners and musicologists today. Coltrane’s first recording for Impulse! (in the spring of 1961) would be the Africa / Brass sessions, an ambitious project involving a large ensemble of the most gifted players on the scene (Freddie HubbardFind albums by this artist, Booker LittleFind albums by this artist, Eric DolphyFind albums by this artist and many others) – see The Complete Africa / Brass SessionsFind albums with this title album, another essential Coltrane release. These sessions introduce several new elements in Coltrane’s music, like Far-Eastern motifs, African rhythms and other ethnic influences. In November of 1961 Thiele decided to record Coltrane live, using the 4 nights booking at the NY club The Village Vanguard (where many jazz albums were recorded live) for this purpose. The booking was for a John Coltrane Quintet and it was only natural that the Quintet would include Eric Dolphy, whom Coltrane knew, respected and played with earlier. The legendary Quartet (with McCoy TynerFind albums by this artist, Jimmy GarrisonFind albums by this artist and Elvin JonesFind albums by this artist) was not entirely crystallized at the time, so Coltrane and Thiele decided to expand the line-up (on some takes) to include an oud player (Ahmed Abdul-MalikFind albums by this artist) and alternative bassist (Reggie WorkmanFind albums by this artist) and drummer (Roy HaynesFind albums by this artist). Since this music was recorded for a future release Thiele (as any produce would do) recorded several takes of each tune, some with an alternating line-up. This 4CDs Box Set includes all the music that was recorded during these four days (mind you not all the music that was played, as some of it was not recorded hence the “complete” being not entirely true) in the exact order it was recorded. This music was to be released later on two albums (Live At The Village Vanguard and The Other Village Vanguard Tapes) as well as parts of other albums (Impressions) and collections. Collected here together for the first time, this is a monumental piece of jazz history and an unforgettable musical experience. Coltrane’s circular breathing technique and his “wall of sound” approach are clearly evident here for the first time in their full glory. The comparison of the different versions of the same tunes are both fundamental and clairvoyant examples of the “one time experience” that every jazz performance essentially is. The power, the vision, the super-human strength of will of the Master and Prophet (please excuse the almost religious references) that Coltrane was, are here for us, his disciples, to discover, study, revere and bequest to future generations. This Box Set is something one has in one’s record collection for life. It is not only timeless, but also constantly evolving in parallel to one’s private (musical) evolution. Listening to it time after time (especially after a long period of abstention) will be revealing and constantly surprising. It is a superb example of great Art, which keeps alive for eternity, adopting itself to the changing cultural surroundings, and therefore being truly eternal. I can’t imagine anybody, who calls himself a music lover, not owning this music, as naive as this might sound, since I believe there is something in it for everybody. Beyond essential!

Updated: 26/01/2019Posted:

CD 4 Box Set Oversampling Remastered Bonus Tracks Essential Recommend To A Friend

JOHN COLTRANE / ERIC DOLPHY ~ EVENINGS AT THE VILLAGE GATE IMPULSE! 602455514189 (Barcode: 602455514189) ~ USA ~ Free Jazz / Improvised Music Recorded: 1961 Released: 2023 This is an archival live album by the American Jazz saxophonist / composer John ColtraneFind albums by this artist, recorded with his classic quartet, with pianist McCoy TynerFind albums by this artist, bassist Reggie WorkmanFind albums by this artist (or Art DavisFind albums by this artist) and drummer Elvin JonesFind albums by this artist, which is expanded here to a quintet with the addition of flautist / saxophonist Eric DolphyFind albums by this artist. The music, recorded in August 1961 during Coltrane’s residency at the NY Village Gate club, disappeared and then was rediscovered recently, offers five lengthy tracks, two of which are Coltrane originals, one is by Benny Carter composition, one is a traditional song and one is a standard. The music is everything one might expect from Coltrane, Dolphy and the rest of the team, full of absolutely stellar performances, with expanded soloing and brilliant dynamics, which sets the mold for early Free Jazz. In comparison to the music recorded by Coltrane at the Village Vanguard, just three months later, which would be way more Free oriented, the music herein is still pretty much melody based. The comparison clearly shows Coltrane’s rapid progression towards the Avant-Garde abstract and Improvised Music, which would engulf his personality in the last few years of his life. The sound quality of this material is very problematic and for music lovers, who are also obsessed with sound quality, most of what can be heard here will probably be very difficult to swallow. The sound is dominated by the boomy drums, which are way up in the mix, and the overall muddy sound, with the piano mostly inaudible and the saxophones sounding like recorded next door. But all things considered, this is John Coltrane and Eric Dolphy we are talking about, and every note recorded by them is Holy Grail as far as Jazz lovers are concerned, so sound quality aside, this is Godly music after all. Overall, this album is as important as every other live album by Coltrane with or without Dolphy, and despite problematic sound quality offers exhilarating early Free Jazz by the Masters of the genre. No matter how many live recordings by Coltrane will pop up in the future, they are all an ultimate Jazz experiences, especially since they are almost the last evidence of Jazz existing in the USA.

Updated: 08/07/2024Posted: 06/01/2024

CD 1 Mini-Sleeve Recommend To A Friend

ERASE ~ NEW AND OLD DREAMS FOR TUNE 0014 ~ POLAND ~ Jazz Recorded: 2012 Released: 2013 This is the debut album by Polish Jazz quartet EraseFind albums by this artist, which consists of saxophonist Gerard LebikFind albums by this artist, bassists Max MuchaFind albums by this artist and Jakub MielcarekFind albums by this artist and drummer Michal TrelaFind albums by this artist. The album presents a live recording at Warsaw´s Pardon To Tu club, which in the last few years managed to establish an honorary position as the home of the Avant-Garde scene in the country´s Capital. The quartet performs five completely improvised pieces attributed to all the four musicians. The quartet presents music, which is naturally associated with the mid 1960s, when Free Jazz was at its artistic peak and musicians like Albert AylerFind albums by this artist, John ColtraneFind albums by this artist, Eric DolphyFind albums by this artist and others bravely broke the ties with Jazz conventions and stepped into uncharted territory to expand the Art Form beyond the known boundaries. However, keeping in mind that all this happened fifty years ago, playing Free Jazz today lost much of its originality, especially in view of the fact that its true pioneers are all dead by now. On the other hand, bands like Erase are needed today to shake up the somewhat stagnant Jazz scene, which often gravitates towards the dreaded retrograde mainstream. Therefore this total and uncompromising music is a welcome wake up call in that respect. Of course Erase has a lot to say on its own account, with the drenched saxophone wall-of-sound effect and the double bass lines and intensive drumming. It is a brutal encounter, which can leave no listener indifferent. Free Jazz is mostly an essence of a live performance and Free Jazz recordings suffer from the same problem that food suffers from, i.e. eating it is quite different than seeing pictures of it. Hearing this concert was probably a momentous experience for those lucky to be there at the time. The recording is only a secondary experience. That does not mean of course that the music is not worth being recorded, on the contrary For Tune made exactly the right decision to include it in their catalogue, simply for what it is: unadulterated explosion of musical energy, which pays tribute to the glorious past. And since nobody else is doing anything remotely similar, even more so! I don´t know if the album´s title is a tribute to the fabulous Old And New DreamsFind albums by this artist ensemble, which by itself was a tribute to Ornette ColemanFind albums by this artist; regardless if this is intentional or not, it is certainly most appropriate.

Updated: 12/04/2019Posted:

CD 1 Recommend To A Friend

JOACHIM KUHN ~ I`M NOT DREAMING / DYNAMICS ART OF GROOVE 80232 (Barcode: 885513802323) ~ GERMANY ~ Jazz Recorded: 1983 - 1990 Released: 2014 This is a reissue of two albums by German pianist / composer Joachim KuhnFind albums by this artist, which were originally released on the German CMPFind albums on this label label, owned and operated by recording legend / producer Walter QuintusFind albums by this artist. After a spell of activity in the Jazz-Rock Fusion idiom in the 1970s, Kuhn returned to experimentation in the Avant-Garde Jazz and contemporary Classical music in the 1980s, and these two albums reflect his work in that decade. "I`m Not DreamingFind albums with this title", recorded in 1983, marks the beginning of the association between Kuhn and Quintus and his CMP label. It was recorded by a quintet, which features two Germans: cellist Ottomar BorwitzkyFind albums by this artist (a Classical musician) and multi-instrumentalist Herbert ForschFind albums by this artist, and two Americans: the legendary trombonist George LewisFind albums by this artist and percussionist Mark NauseefFind albums by this artist (resident in Germany). Together they form a formidable ensemble, which performs seven original compositions by Kuhn. The music is floating somewhere between Free Jazz and contemporary Chamber Classical music, which is based on composed themes but is then expanded by extensive improvised passages. Over thirty years later this music is still as challenging and fresh as it was at the time of the recording, and remains a significant piece of the modern European Jazz history. "DynamicsFind albums with this title", recorded in 1990, is a solo piano album, which presents seven pieces, five of which were composed by Kuhn and two are interpretations of music composed by Eric DolphyFind albums by this artist and Dave LiebmanFind albums by this artist. Again, rather than playing completely improvised music, Kuhn prefers to have a compositional framework to guide him, as he creates his improvisations. Kuhn is of course one of the most important European Jazz pianist and his solo piano albums are always examples of sublime musicality, impeccable aesthetics and of course brilliant technique. This is demanding, serious music, which demands concentration and dedication in order to be fully appreciated and understood, but eventually it is as much rewarding. This reissue brings back to life some of the great European Jazz, that sank into the background in time, but which certainly deserves to be cherished and remembered. Therefore the Art Of GrooveFind albums on this label label deserves to be shown gratitude for their work in this area.

Updated: 12/04/2019Posted: 02/05/2016

CD 2 Digipak Remastered Recommend To A Friend

LA PICHANGA ~ ARRIBA DE LA PELOTA NOT ON LABEL ~ CHILE ~ Jazz Recorded: 2006 Released: 2006 La PichangaFind albums by this artist are a Chilean trio (sax / bass / drums) playing some amazing modern / free Jazz in the best tradition of Ornette ColemanFind albums by this artist and Eric DolphyFind albums by this artist. Two of the members (Edén CarrascoFind albums by this artist – alto sax and Christian BidártFind albums by this artist – drums) are also members in the amazing Akinetón RetardFind albums by this artist ensemble, Chilean most interesting Prog / RIO act. Although Chilean Prog has been making big waves in the last decade, there is very little output from the local Jazz scene and this is a most welcome release. The trio plays all original compositions by the band members and this live recording allows them to stretch out and play their hearts out. The music is quite fascinating, well based in the highly improvised free jazz tradition but also mixing at times rockier rhythms and ethnic themes. Although complex and demanding, this music should be very appealing to a wide array of listeners between pure jazz buffs to RIO enthusiasts. Highly recommended.

CD 1 Digipak Recommend To A Friend

DAVE LIEBMAN / ELLERY ESKELIN ~ RENEWAL HATOLOGY 654 (Barcode: 752156065425) ~ USA ~ Jazz Recorded: 2007 Released: 2008 2nd album by the excellent quartet co-led by legendary US saxophonist Dave LiebmanFind albums by this artist and his somewhat younger colleague saxophonist Ellery EskelinFind albums by this artist, with bassist Tony MarinoFind albums by this artist and drummer Jim BlackFind albums by this artist. The two saxophonists share the leadership on equal footing, playing both individually and collectively with passion and almost telepathic rapport. The material, mostly written by the ensemble members with the exception of one tune composed by Eric DolphyFind albums by this artist, is truly inspiring and moves freely between "straightforward" modern jazz and free improvisation. The technical skills of the musicians are astounding and the collective performances breathtaking. The album is a perfect example of superb contemporary Jazz, which successfully avoids the traps of trying to be "likeable" and stays faithful to the principles of artistic expression and exploration. Liebman´s career is an example of dedication to one´s true vocation and his consistently excellent work over the years is a beacon for future generations of Jazz players, with this album being no exception. A must for any experienced Jazz listener armed with a pair of open ears and adventurous spirit!

CD 1 Mini-Sleeve Oversampling Recommend To A Friend

MILOSC ~ MILOSC AGORA 9788326812972 (Barcode: 9788326812972) ~ POLAND ~ Jazz Recorded: 2008 - 2012 Released: 2012 This is the DVD version of the film "Milosc" by Polish director Filip DzierzawskiFind albums by this artist, which is a documentary about the Polish Jazz ensemble MiloscFind albums by this artist, which was the most influential group on the Polish Jazz scene in the 1990, revolutionizing the approach to Jazz in the country, establishing the Yass sub-genre and most importantly waking up the local scene from the mainstream lethargy, which was overwhelmingly dominating the scene for almost two decades that preceded the 1990s. Milosc was formally founded in April 1988, when the group which included bassist Tymon TymanskiFind albums by this artist and saxophonist Mikolaj TrzaskaFind albums by this artist changed its name to Milosc. Soon after the group was joined by clarinetist Jerzy MazzollFind albums by this artist, who left after a brief stay and then the drummer Jacek OlterFind albums by this artist and pianist Leszek MozdzerFind albums by this artist joined the group creating the core quartet of Tymanski / Trzaska / Olter / Mozdzer, which recorded the group´s debut album. A year later the quartet expanded into the full stable lineup when saxophonist Maciej SikalaFind albums by this artist joined them to create the quintet version of Milosc. After several fruitful years and a series of brilliant albums, two with legendary American trumpeter Lester BowieFind albums by this artist, the group started to disintegrate, when Mozdzer left in 1998 to pursue a solo career, Olter died tragically after a long mental illness and Trzaska left the group in 2001. A year later the group played its last gig and formally announced the end of its activity in July 2002, after fourteen years of existence. The documentary, which was filmed during a four years period (2008-2012) pays tribute to the group´s history and to the individual personalities, focusing on the meeting of the Milosc members organized in order to prepare for a concert by the legendary original lineup, less Olter of course who was replaced by drummer Kuba StaruszkiewiczFind albums by this artist. The documentary moves between the scenes captured during these rehearsals, historic footage and interviews with individual members, speaking their minds out. The director wisely avoids any external commentary, simply presenting the reality portrayed by the camera, leaving the spectator free to reach his own conclusions. Although not a typical documentary by any standard, the film presents a cohesive and intelligent document, which highlights several profound observations about people, music and culture. Milosc was all about freedom. Considering the fact that the group was established at the crucial point of modern Polish political history, when the oppressive Socialistic Regime was about to collapse and Poland was finally to achieve its new political Freedom, Milosc expressed the same feeling of upheaval, but on an artistic plane. Polish Jazz, which exploded with incredible vitality and freedom of expression in the 1960s, slowly ran out of steam as a result of economic and social hardships and by the late 1970s and 1980s it was almost completely devoid of any truly spirited, adventurous, inspired activity and completely immersed into ambitionless mainstream. The young generation of Polish Jazz musicians and fans was about to rebel against this stagnant state of affairs and Milosc was one of the first and most successful demonstrations of this rebellion. Although initially associated with Free Jazz, Milosc never actually played Free Jazz, surely not close to its American origins established by Albert AylerFind albums by this artist, Eric DolphyFind albums by this artist and John ColtraneFind albums by this artist. The group was an amalgam of many musical influences and created a unique and new approach and stylistic expression, which eventually was christened Yass. And Yass was more clear about what it didn´t want to be rather than about what it wanted to be, a rebellion against "pretty" melodic, carefully planned, well defined by harmonic conventions music. No more of that old-fashioned bullshit! Yass was "dirty", imperfect, spontaneous, unconventional and constantly changing, but it did not exclude the element of melody and standard meters. Free? Yes by all means, but definitely not Free Jazz. From the very start Milosc was an impossible combination of conflicting strong personalities and diametrically different musical approaches. Why it managed to exists for such a long time is a mystery and a miracle. But musical miracles do happen and when they do, the listeners are the ones to collect the crops. The musicians, initially euphoric, start to suffer at some point and then simply can´t take it any more. The key conflict inside Milosc was always the clash between Trzaska and Mozdzer: a rebel and visionary and a classically trained hipster. This fundamental conflict was what brought Milosc to its knees, but it wasn´t of course the only factor. Poland and its cultural environment went through a dramatic change following the fall of the Socialist Regime, and a new reality emerged; politically, socially and of course culturally. This new reality opened up new possibilities and closed the lid on many others, which existed earlier. Such dramatic environmental changes have a profound impact on people, and musicians are people after all. The 2008 meeting between the Milosc members, which is the focal theme of this film, shows how profound these changes are, so profound that although they are able to play together, they are unable to communicate as human beings. Separated by an unbreachable chasm Trzaska and Mozdzer are further apart that ever, the former representing the Polish Avant-Garde scene still being its non-formal leader in every sense and the latter representing the absolutely opposite ad-nauseam commercialism; a clash of Titans, which simply has no peaceful solutions. So is this a film about failure? About ideas and values that get outdated? Personally I don´t think so. Yes, sometimes not everything works as planned, but that does not necessarily mean a failure and in some rare occasions failures can be magnificent. I still very much believe that the same values that stood behind Milosc: freedom, pioneering search for artistic truth, personal integrity and the courage to do your own thing, are as much valid today as they have always been. Opportunism and conformism have always been and still are the root of evil. This film is a wonderful piece of musical history, which sheds some light on a much neglected period in the history of Polish Culture. Although perhaps unintended, it also spotlights some profound artistic and ethic dilemmas, leaving the resolutions to the spectators. An absolute must to all Polish Jazz connoisseurs, wherever they might by!

Updated: 12/04/2019Posted:

DVD 1 Digipak Recommend To A Friend

DOM MINASI ~ TAKIN` THE DUKE OUT CDM 1001 (Barcode: 765432100123) ~ USA ~ Jazz Recorded: 2001 Released: 2001 US guitarist / composer Dom MinasiFind albums by this artist is surely one of the most original and innovative Jazz artists active today and hearing his music is a true revelation. A veteran of the NY Jazz scene, Minasi was influenced by the Jazz Giants like John ColtraneFind albums by this artist, Miles DavisFind albums by this artist and Eric DolphyFind albums by this artist, all of which he heard performing live at NY clubs during his adolescence. Very early on Minasi realized that Free Jazz and Improvised Music were something he wanted to do and he’d stay faithful to that decision throughout his entire career. That does not mean he didn’t study the entire tradition of the Jazz genre (with an emphasis on guitarists of course) and even played “straight ahead” Jazz, which he still enjoys to do from time to time, but his true passion is the more challenging highly improvised and boundless facet of Jazz making. Minasi debut recordings as a leader were released in the mid-1970s by the legendary Blue NoteFind albums on this label label, which unfortunately by that time was already taken over by the Majors and attempted to produce mass-market music. Completely disappointed and frustrated by the treatment received from the Music Industry, Minasi decided to abstain completely from recording music, dedicating his time to live performances, teaching, writing and educating. Almost a quarter of a century later he finally made his return as a recording artists and soon after established his own recording label – CDMFind albums on this label Records – which is now his base of operations. This album is the first release on that label and a triumphant return of Minasi to public exposure, spotlighting his amazing talent as a player and improviser. Recorded live at the legendary NY Knitting Factory it features Minasi and his regular trio with the extraordinary bassist Ken FilianoFind albums by this artist and drummer Jackson KrallFind albums by this artist. As the title suggests, the material consists entirely of Minasi’s far-reaching interpretations of classic Jazz standards written by Duke EllingtonFind albums by this artist and Billy StrayhornFind albums by this artist. Hearing this music is a true revelation. Minasi does things with his guitar, which are simply unimaginable, displaying a technique and virtuosity of staggering proportions, as well as amazing improvisational ability. He can be gentle and lyrical one moment and ferocious the next, all in perfect sense and impeccable taste. Guitar lovers can hear the entire history of Jazz guitar playing in his lines, from Wes MontgomeryFind albums by this artist, Barney KesselFind albums by this artist, Larry CoryellFind albums by this artist, John McLaughlinFind albums by this artist and up to Derek BaileyFind albums by this artist. His supersonic speed is breathtaking and overwhelming, but never flashy and always in total control. Filiano is also amazing, both plucking and bowing his heart away, and Krall displays a rare sensitivity and attention, all of which turns them both into ideal partners for the ride. This is an amazing album, which ought to be heard not only by every guitar player on this planet, but also by every true Jazz lover. Considering the fact the American Jazz is now mostly a vast wasteland of meaningless mainstream doodling, a rare oasis like Minasi is especially refreshing. A gem!

CD 1 Digipak Recommend To A Friend

CHARLES MINGUS ~ PASSIONS OF A MAN: THE COMPLETE ATLANTIC RECORDINGS 1956-1961 RHINO 72871 (Barcode: 081227287122) ~ USA ~ Jazz Recorded: 1956 - 1961 Released: 1997 This superb Box Set includes the music Charles MingusFind albums by this artist, one of the most charismatic and outspoken jazz musicians, recorded between January 1956 and November 1961 – almost a six years span. It includes the 6 albums released by AtlanticFind albums on this label (Pithecanthropus ErectusFind albums with this title, The ClownFind albums with this title, Blues & RootsFind albums with this title, Oh YeahFind albums with this title, Tonight At NoonFind albums with this title and the double live album Mingus At AntibesFind albums with this title) as well as the Teddy CharlesFind albums by this artist album Word From BirdFind albums with this title on which Mingus plays bass. Some previously unreleased alternate takes are also included, as well as a long (over 70 minutes) interview with Mingus by Nesuhi ErtegunFind albums by this artist, the producer of all these sessions. This period is considered his most productive and stable and the bulk of his best compositions are included here. He plays bass and piano and the list of names of the musicians playing with him here sounds like a “who’s who” of modern jazz, including Jackie McLeanFind albums by this artist (alto sax), Mal WaldronFind albums by this artist (piano), Dannie RichmondFind albums by this artist (drums), Booker ErvinFind albums by this artist (tenor sax), Eric DolphyFind albums by this artist (alto sax and bass clarinet), Ted CursonFind albums by this artist (trumpet), Bud PowellFind albums by this artist (piano) and many others. This is magnificent music in every respect – Mingus at his peak as composer and bandleader, surrounded by musicians of the highest class creates beautiful collages linking blues, bebop and the emerging free form jazz. I highly recommend to read Mingus’ autobiography “Beneath The Underdog” (one of the most original and striking jazz books ever written) as a companion to this music. Absolutely essential!

Updated: 11/01/2024Posted:

CD 6 Box Set Remastered Bonus Tracks Essential Recommend To A Friend

CHARLES MINGUS ~ BREMEN 1964 & 1975 SUNNYSIDE 1570 (Barcode: 016728157025) ~ USA ~ Jazz Recorded: 1964 - 1974 Released: 2020 This is an archival 4CD album by American bassist / composer / bandleader Charles MingusFind albums by this artist, recorded live in Bremen, Germany. It presents two concert recordings, separated by eleven years, each captured on a 2CD set. The album presents fifteen tracks, five of which are over ten minutes in duration, four are over twenty minutes in duration and two are over thirty minutes in duration. Most of the music is composed by Mingus, two tracks are standards and two others are composed by members of his ensembles. By the time the second concert was captured, Mingus was already suffering from a serious health issues and it is one of his last live recordings. CD1 & CD2 present the Mingus sextet with trumpeter Johnny ColesFind albums by this artist, saxophonists Eric DolphyFind albums by this artist and Clifford JordanFind albums by this artist, pianist Jaki ByardFind albums by this artist and drummer Dannie RichmondFind albums by this artist. CD3 & CD4 present the Mingus quintet with trumpeter Jack WalrathFind albums by this artist, saxophonist George AdamsFind albums by this artist, pianist Don PullenFind albums by this artist and Richmond (the only musician to play on both concerts). The music includes the iconic Mingus’ compositions, spanning his entire career, each and every one in a unique concert version, which depended on the specific lineup, the mood of the concert and of course the leader’s disposition, which means that regardless of how many versions of the same tunes one owns, they are always different, often dramatically different from every other version of the same tune. The two lineups are also very different; the sextet is dominated by the presence of Dolphy, whose hair-rising performances, especially those on flute and bass clarinet, are absolutely stunning, while the quintet might seem more relaxed and settled, but no less intense or sophisticated. Just two months after the concert captured herein, Ayler would be tragically dead, which makes his appearance here one of his last. Overall, this is a monumental piece of Jazz history, which deserves an honorable place in any serious Jazz collection, even if Mingus’ recordings, including live ones, are already proudly present therein. The 1964 concert is a true eye (ear) opener, disclosing the dramatic entry of Free Jazz into the core of the Jazz tradition, but every second of the music captured on this album is true Holy Grail!

Updated: 26/05/2024Posted: 26/05/2024

CD 4 Digipak Remastered Essential Recommend To A Friend

ROSCOE MITCHELL ~ THE COMPLETE REMASTERED RECORDINGS ON BLACK SAINT & SOUL NOTE CAM JAZZ 1036 (Barcode: 8052405141835) ~ USA ~ Free Jazz / Improvised Music Recorded: 1977 - 1995 Released: 2015 This superb Box Set collects recordings by the legendary American saxophonist / composer Roscoe MitchellFind albums by this artist released on the Black SaintFind albums on this label and Soul NoteFind albums on this label labels. It includes nine albums, two of which are duets: "Duets And SolosFind albums with this title" (*) with pianist Muhal Richard AbramsFind albums by this artist and "The Italian ConcertFind albums with this title" with pianist Borah BergmanFind albums by this artist. The album "Shadowgraph, 5 (Sextet)Find albums with this title" (*), released under the name of trombonist / composer George LewisFind albums by this artist and presenting music composed by him, features Mitchell playing on two tracks. The album "SpihumonestyFind albums with this title" (*) released under the name of keyboardist / composer Muhal Richard Abrams and presenting music composed by him, features Mitchell playing on all tracks. The remaining five albums: "3 x 4 EyeFind albums with this title", "The Sound And Space EnsemblesFind albums with this title", "The Flow Of ThingsFind albums with this title", "Live At Knitting FactoryFind albums with this title" and "This Dance Is For Steve McCallFind albums with this title" present various ensembles led by Mitchell, which include notable American improvisers of the period, including guitarist A. Spencer BarefieldFind albums by this artist, trumpeters Hugh RaginFind albums by this artist and Mike MossmanFind albums by this artist, bassist Jaribu ShahidFind albums by this artist, Malachi FavorsFind albums by this artist and William ParkerFind albums by this artist, drummers Tani TibalFind albums by this artist, Steve McCallFind albums by this artist and Vincent DavisFind albums by this artist, saxophonist Gerald OshitaFind albums by this artist, pianists Jodie ChristianFind albums by this artist and Matthew ShippFind albums by this artist and vocalist Tom BucknerFind albums by this artist. All the music (except one track) on these last five albums was composed by Mitchell. Mitchell is best known as one of the founders of the original AACMFind albums by this artist in Chicago in 1965 and then as the founder of The Art Ensemble Of ChicagoFind albums by this artist with Lester BowieFind albums by this artist, Favors, Joseph JarmanFind albums by this artist and later also Don MoyeFind albums by this artist. He was a prolific recording artist, with an impressive list of albums to his credit, both under his name and as a member of the AEOC. These recordings are all excellent examples of his work, which is a completely unique combination of Free Jazz and Improvised Music. His "wall of sound" saxophone technique is a direct continuation of the early American Avant-Garde legacy of Albert AylerFind albums by this artist, Eric DolphyFind albums by this artist and John ColtraneFind albums by this artist. The music is absolutely brilliant and fascinating and connoisseurs of Free Jazz / Improvised Music / Avant-Garde will find it obviously essential. This is definitely an important document of the American Free Jazz movement, which deserves to be preserved for posterity and which should serve as a source if inspiration to the young generation of contemporary Free Jazz artists. The albums marked with (*) were also included in other Box Sets of this series. 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: 05/05/2020Posted: 25/04/2020

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

MUFFINS ~ MANNA / MIRAGE CUNEIFORM 55004 (Barcode: 045775500423) ~ USA ~ Progressive Rock Recorded: 1975 Released: 1991 The MuffinsFind albums by this artist are considered as one of the best US bands playing in the Canterbury style. The group existed between 1974 and 1981 and this is their first and best album. The music is a mixture of classic Canterbury material similar to Soft MachineFind albums by this artist with more RIO influences like these of Henry CowFind albums by this artist and some Avant-Garde jazz like Eric DolphyFind albums by this artist. A true classic.

Updated: 12/04/2019Posted:

CD 1 Recommend To A Friend

OLES BROTHERS / ROB BROWN ~ LIVE AT SJC FENOMMEDIA 008 (Barcode: 5907604327081) ~ POLAND ~ Jazz Recorded: 2008 Released: 2009 This is a trio album by Polish Jazz heroes, brothers Marcin OlesFind albums by this artist (bass) and Bartlomiej OlesFind albums by this artist (drums) collectively known as Oles BrothersFind albums by this artist, joined by American saxophonist Rob BrownFind albums by this artist, one of the most prolific and active NY scene Free Jazz players. The album comprises of seven original compositions, the opening three being parts of a three-part suite. All the music was composed by Bartlomiej Oles except for one tune composed by Marcin Oles. The album was recorded live and is a part of the "Live Series" of releases on the Oles Brothers owned FenommediaFind albums on this label Records. The music is typical contemporary Jazz, which allows for a large degree of freedom and extended improvisation but stays within the pre-composed melodic framework. Brown dominates the album with his very busy way of playing, and the rhythm section supports him marvelously, easy changing tempi back and forth between medium to fast, like true professionals. Although the cooperation between the musicians and the individual statements are without doubt all excellent, personally I enjoy more the moments when the rhythm section plays alone rather than when the saxophone is up front. That laborious wall of sound effect, which is typical of most American Free Jazz players and which unfortunately did not evolve an inch in the last few decades, is already exhausted as far as I am concerned. I mean is anybody able to express more emotion in their music by imitating the prophets like John ColtraneFind albums by this artist or Albert AylerFind albums by this artist or Eric DolphyFind albums by this artist? Brown belongs to a large group of American improvisers, which simply is unable to rejuvenate the idea and move forward. Therefore during the moments when Brown plays sparingly and melodically, as he does on the one before last track, he is truly excellent but when he erupts into the extended, aggressive improvisations, my defense mechanism is fully deployed. All things considered this is a fine modern Jazz album, mostly due to the excellent work done by the rhythm section, which emphasizes the fact that the language of Jazz knows no geographic or political boundaries and it´s all up to people to make music together regardless of their origins. Not very innovative and sometimes a bit unnerving, but something Free Jazz fans should definitely enjoy immensely.

Updated: 02/01/2017Posted:

CD 1 Mini-Sleeve Recommend To A Friend

MIKE PARKER / TRIO THEORY ~ SHINY OBJECTS, DARK PLACES NOT ON LABEL ~ POLAND ~ Jazz Recorded: 2018 Released: 2018 This is the fourth album by American (partly resident in Poland) bassist Mike ParkerFind albums by this artist and his second album with the Trio TheoryFind albums by this artist, which also includes Polish saxophonist Slawomir PezdaFind albums by this artist and American (also partly resident in Poland) drummer Frank ParkerFind albums by this artist. The album presents seven original compositions, all by Mike Parker. The music is melody based modern Jazz, which in contrast to the preceding album with the trio, which was recorded live and presented mostly Free Jazz approach, is much more organized and structured. Of course there is still plenty of improvisation herein, which dominates Pezda´s superb performances, but the overall approach is much more relaxed and "disciplined". The album develops on two separate planes: the energetic and highly complex improvised saxophone parts and the hypnotic rhythmic background created by bass and drums. When combined, these two planes overlap splendidly and the resulting music amalgamates rhythm and melody into one cohesive unity, which is highly emotional and moving. All three players demonstrate highly developed technical skills and understanding of the Jazz idiom. The rhythm section is mostly very powerful and carries the strong beat in a manner closely related to rhythms originating in African Cultures. Pezda is naturally more related to the European approach but his saxophone playing is also strongly related to early Free Jazz Masters like Albert AylerFind albums by this artist and Eric DolphyFind albums by this artist. He certainly emerges on this recording as one of the leading Polish Jazz saxophonists of the young generation. The music on this album is quite different from most other Polish Jazz recordings, which mostly follow a much mellower, melancholic and lyrical trends, whereas here the main tendency is more raw and penetrating, facing the listener right in his face rather than appealing to his intellectual antennae. Mike Parker deserves praise for the wonderful compositions he created for the trio. Overall this is a splendid outing, which is definitely worth being discovered and admired and an important step in the career of the musicians involved. Wholeheartedly recommended!

Updated: 14/12/2018Posted: 14/12/2018

CD 1 Digipak 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

GEORGE RUSSELL ~ SEVEN CLASSIC ALBUMS REAL GONE JAZZ 353 (Barcode: 5036408140425) ~ USA ~ Jazz Recorded: 1959 - 1962 Released: 2012 This is a reissue of the early recordings by the legendary American pianist / composer / arranger / music theorist George RussellFind albums by this artist This set collects recordings made between 1959 and 1962, which present Russell playing with small orchestral ensembles and small combos, introducing elements of his Lydian Chromatic Concept and later Modal Jazz. The six albums included here are: "New York, N.Y.Find albums with this title" from 1959, "Jazz In The Space AgeFind albums with this title" from 1960, "StratusphunkFind albums with this title" from 1960, "George Russell Sextet In K.C.Find albums with this title" from 1961, "Ezz-TheticsFind albums with this title" from 1961, "The Stratus SeekersFind albums with this title" from 1962 and "The Outer ViewFind albums with this title" from 1962. The musicians participating in these recordings include some of the most important American Jazz players at the time, like saxophonists John ColtraneFind albums by this artist and Eric DolphyFind albums by this artist, pianists like Bill EvansFind albums by this artist and Paul BleyFind albums by this artist, bassists Chuck IsraelsFind albums by this artist and Steve SwallowFind albums by this artist and drummers Joe HuntFind albums by this artist and Pete La RocaFind albums by this artist, to mention just a few. Overall this is a fascinating collection of great Jazz music performed by some of the best players at the time, and which has additionally also an enormous historical value. I can’t imagine any true Jazz fan missing this set! Side Note The Real Gone JazzFind albums on this label label releases hundreds of album collections, which include usually between three to eight original albums in a two to four CDs sets. Most of these albums were recorded and released in the 1950s and early 1960s. These collections provide the track lists and lineups of the original albums, but no recording information, liner notes and any background information whatsoever. The label takes advantage of the copyright law in UK, which limited the length of the copyright protection of recorded works to 50 years, after which recorded works become public domain. In 2013 UK implemented a correction of the copyright law extending the protection of recorded works to 70 years (like the rest of Europe), but the correction does not apply retroactively, which means that recordings which entered the 50 years rule prior to January 1, 2013 (i.e. recorded before January 1, 1963) remain public domain. There are two great advantages to these releases: they are really inexpensive and they bring back to life many albums not reissued previously on CD, which means it would cost a collector an arm and a leg to get a copy of them. Many of these albums are absolute gems and essential pieces of Jazz history. The disadvantages are: the lack of proper information, original cover art, combining tracks of several original albums on one CD and the sound quality, which depends on where the label gets the source material. From my experience most of the releases have quite excellent sound quality but I have not listened to all of them and some people have complained about it.

Updated: 27/05/2018Posted: 02/10/2016

CD 4 Remastered Recommend To A Friend

SAMO SALAMON ~ DOLPHOLOGY SAMO ~ SLOVENIA ~ Free Jazz / Improvised Music Recorded: 2021 Released: 2022 This is a solo guitar album by Slovenian Jazz guitarist / composer Samo SalamonFind albums by this artist, which is a tribute to the American Jazz pioneer Eric DolphyFind albums by this artist, with an emphasis on Dolphy’s compositions, which are a lesser known facet of his personality. The 2CD album presents twenty-eight tracks, all played on 6 and 12-string acoustic guitars, except one played on mandolin, all composed by Dolphy. The two versions of the tune “Inner Flight” (see the “Other AspectsFind albums with this title” album by Dolphy) are the closing tracks of each CD. The tunes should sound familiar to avid Jazz fans, although most probably won’t associate them with Dolphy as their composer. Dolphy’s death at the ridiculous young age of 36 cut his career short of course, yet his lasting influence on the development of the Jazz idiom is felt to this very day. Salomon treats Dolphy’s composition with respect and obvious love, moving carefully between pretty straightforward renditions of the basic melody lines and completely improvised approach based on the harmonic structures and beyond. These different stylistic approaches create in intrinsic dynamics within the album’s flow, which otherwise might have been perhaps somewhat monotonous. The music was recorded at Salamon’s home with a simple setup, and offers a clear, pleasant sonic ambience, which exposes the music as nakedly as possible, which is probably the optimal approach in this case. Obviously influenced by the Covid-19 pandemic and travel limitations, Salamon decided to spend his isolation wisely and productively. Salamon’s extensive career and recorded legacy speaks for itself and his obvious talent and dedication to Jazz is also obvious on this album, which involved a lot of work and stamina to produce. Overall, this is a very interesting musical project and a true labor of love, which definitely should be listened to by all serious Jazz enthusiasts around the world. It offers not only a great musical value but a lot of European aesthetics and educational importance. Guitar lovers should find this fascinating as well, and the aspiring young guitar players could learn a lick or two here. Hats off and thanks for the music!

Updated: 16/02/2024Posted: 21/01/2022

CD 2 Mini-Sleeve Recommend To A Friend

HEIKKI SARMANTO SERIOUS MUSIC ENSEMBLE ~ A BOSTON DATE PORTER 4002 (Barcode: 656605854625) ~ FINLAND ~ Jazz Recorded: 1970 Released: 2008 This is one of those albums, which immediately invoke the recurring question: "How many recordings like this one remain hidden and unreleased all over the world?" The fact that it took 38 years for this gem to surface is criminally negligent, to put it mildly, with the only solace being the proverbial better late than never. Finnish pianist / composer Heikki SarmantoFind albums by this artist has been one of my favorite musicians for the last four decades, always awe-inspiring and never disappointing. His life-time achievements indisputably deserve a book-sized biography (unfortunately not written yet) and his role as Europe´s leading Jazz personality and a prominent creator of the emancipated European Jazz is sadly little known outside of a tiny circle of connoisseurs and researches. In fact the entire Finnish music scene often appears to be the one of world´s best hidden secrets, which is amazing in view of the miraculous contribution of Finnish musicians and composers to the Pantheon of the overall human musical culture. Apparently even the most devoted music fans and critics often suffer from chronic narrow-mindedness and Xenophobia, with Americans leading the camp, with pride and remarkable consistency, over the years. Although recorded in 1970, this session does not reflect Sarmanto´s early musical steps. He was 31 years old at the time and already a seasoned musician, with extensive Classical Music education (a graduate of the Helsinki Sibelius Music Academy - the country´s most prestigious musical education institution) and extensive Jazz experience going back almost a decade earlier as member of several Jazz ensembles active on the country´s burgeoning scene. In 1964-65 Sarmanto took part in the recording of Finland´s first modern Jazz album, the legendary "The Modern Sound Of FinlandFind albums with this title" by saxophonist / flautist Esa PethmanFind albums by this artist, and his piano playing on that album already sounds refined and focused. In 1968 Sarmanto was the first Finn to be awarded a scholarship at the Berklee College of Music in Boston, which gave him a chance to get some formal Jazz education (the Jazz department of the Sibelius Academy would be established only in the early 1980s, and of course Sarmanto would be appointed its first department head). Sarmanto used his time in Boston not only to expand his formal Jazz horizons, but also to mingle and play as much as he could on the local Jazz scene, which was quite active at the time. The Berklee students and the local musicians often gigged together and soon enough ensembles were formed. Following a brief home visit in 1969, during which Sarmanto recorded his first album as a leader, a live sextet recording released as "Flowers In The WaterFind albums with this title" (on which Pethman is also featured), he returned to Boston to "wrap up" his Berklee affairs. During that period he formed the quintet, quite accidently, which is often the best way for things to happen, which is featured on this semi-professional recording. The quintet consists of Sarmanto on piano, another Finnish giant, saxophonist / flautist Juhani AaltonenFind albums by this artist, who followed Sarmanto to Berklee but lasted only one semester (without a grant the finances were just against all odds), Czech bassists George MrazFind albums by this artist, who also arrived in Boston on a Berklee grant (together with compatriot pianist Jan HammerFind albums by this artist), escaping the brutal Warsaw Pact forces invasion of their homeland, following the brief "Spring of Prague" in 1969, the first major crack in the Berlin Wall. The remaining two musicians were guitarist Lance GundersonFind albums by this artist and drummer Craig HerndonFind albums by this artist, both Bostonians at the time. The quintet was nicknamed, half-jokingly, The Serious Music EnsembleFind albums by this artist, a name which would stick to several Sarmanto´s groups in the future, featuring the core of this quintet. The three Europeans and two Americans obviously had no difficulty in communicating musically, and it´s hardly surprising that they chose to play mostly Free Form, for several reasons. The air was still reverberating with the sounds of Albert AylerFind albums by this artist, Eric DolphyFind albums by this artist and John ColtraneFind albums by this artist, with the US Free Jazz scene at its peak by the end of the 1960s (unfortunately soon to be almost completely neglected, passing the torch to the Europeans). The limited, if any, rehearsal time the ensemble had before entering the studio, obviously left most of the content to be developed at the spur of the moment, making collective improvisation the only logical path to follow. And perhaps the youthful spirit of rebellion had also something to do with it, considering Berklee´s extreme conservatism, which is legendary even today. Aaltonen, the oldest and most experienced musician on board, already had extensive Free Jazz practice, after playing with Finnish pioneers of the genre, most notably with drummer Edward VesalaFind albums by this artist, and his contributions are the most consistent, with remarkable power of expression, intensity and technical brilliance rivaling the Masters of the genre. The six pieces played during the session, all composed by Sarmanto, are performed in one continuous flow with no gaps between them. Typically, after a briefly stated theme, the musicians enter a series of exchanges, with one, two or even three players soloing simultaneously, with the rhythm section frequently changing the tempo. Most of the material is up-tempo, except for the beautiful ballad, which ends the set (dedicated to Margareth ChaloffFind albums by this artist, the legendary piano teacher), which is the gentlest and most structured piece on the album, featuring the exquisite bass work by Mraz and more typical of Sarmanto´s future output. In many respects the session is quite typical European Free Jazz, resembling many similar musical encounters happening in Europe at the time, especially in the UK, but also in Poland, Germany and the Netherlands. It is quite distinctly different from American Free Jazz, which demonstrates rawer and more spontaneous approach but lacks the European Classical Music background, which is deeply implanted in the minds of European musicians, evident even in the most extreme Improvised Music experiments. In many respects, this session is probably one of the most "European sounding" recordings ever captured at a US studio. It is really interesting to compare this session with the material recorded by the almost identical quintet (exchange Mraz with Heikki´s brother bassist Pekka SarmantoFind albums by this artist) just a few months later and released as Sarmanto´s second (first studio) album "CounterbalanceFind albums with this title" (also reissued on PorterFind albums on this label Records). With Aaltonen playing exclusively flute and Sarmanto switching to Fender Rhodes, this seems to be a completely different group, even if still pretty much in the Free vain. The European influence simply becomes overwhelming, changing the music dramatically. Even if the sound quality of this recording is not up to modern digital standards (the recording was most probably not intended to be commercially released), the musical content and the immense historical importance of this session make it an indispensible document of the highest value. Kudos to Luke MoslingFind albums by this artist, the brave owner of Porter Records, for releasing this treasure and making it available to us, the music lovers, and saving a lost gem from extinction. Sarmanto´s followers worldwide will be obviously delighted to hear this, as should be every connoisseur of good music, especially those who follow the emergence of the modern European Jazz. Brilliant stuff! Visitors' Comments Dr. Rafael Augusto Lara Palmeros One of the most impressive, extraordinary and wonderful work from real modern European Jazz.¡¡Very essential!!. More of five stars.

Updated: 29/09/2017Posted:

CD 1 Recommend To A Friend

HEIKKI SARMANTO ~ EVERYTHING IS IT PORTER 1514 (Barcode: 656605789521) ~ FINLAND ~ Jazz-Classical Fusion Recorded: 1972 Released: 2011 "Everything Is ItFind albums with this title", recorded on September 13 & 14, 1972, was the fourth album released by Finnish pianist / composer Heikki SarmantoFind albums by this artist. Born June 22, 1939 Sarmanto was considered already a "veteran" of the modern Finnish Jazz scene at the time. A graduate of the Sibelius Academy in Helsinki, Sarmanto contributed his talents to multiple local ensembles active on the burgeoning Finnish Capital´s Jazz club scene and participated in several landmark recordings in the 1960s. His earliest recordings (1962) were with saxophonist / flautist Esa PethmanFind albums by this artist as a regular member of his group, culminating with the recording of "The Modern Sound Of FinlandFind albums with this title" (1964), which is considered as the first completely original modern Finnish Jazz album. In the following year Sarmanto recorded the album "For Friends And RelativesFind albums with this title" (1965) as a member of the Christian Schwindt – Otto DonnerFind albums by this artist quintet, also considered as an early milestone of Finnish Jazz. In 1968 Sarmanto was the first Finn to be awarded a scholarship at the Berklee College of Music in Boston, which gave him a chance to get some formal Jazz education (the Jazz department of the Sibelius Academy would be established only in 1983, and of course Sarmanto would be appointed its first department head). Sarmanto used his time in Boston not only to expand his formal Jazz horizons, but also to mingle and play as much as he could on the local Jazz scene, which was quite active at the time. The Berklee students and the local musicians often gigged together and soon enough ensembles were formed. Following a brief home visit in 1969, during which Sarmanto recorded his first album as a leader, a live sextet recording released as "Flowers In The WaterFind albums with this title" (recorded July 8, 1969) he returned to Boston to "wrap up" his Berklee affairs. During that period he formed a quintet, quite accidently, which is often the best way for things to happen, which played mostly Free Jazz based on the heritage of Albert AylerFind albums by this artist, Eric DolphyFind albums by this artist and John ColtraneFind albums by this artist. The quintet recorded a session at a local studio, which was formally released on CD only 38 years later as "A Boston DateFind albums with this title" (recorded September 18, 1970, released 2008) on PorterFind albums on this label Records. The quintet consisted of Sarmanto on piano, another Finnish Giant, saxophonist / flautist Juhani AaltonenFind albums by this artist, who followed Sarmanto to Berklee but lasted only one semester (without a grant the finances were just against all odds), Czech bassists George MrazFind albums by this artist, who also arrived in Boston on a Berklee grant (together with compatriot pianist Jan HammerFind albums by this artist), escaping the brutal Warsaw Pact forces invasion of their homeland, following the brief "Spring of Prague" in 1969, the first major crack in the Berlin Wall. The remaining two musicians were guitarist Lance GundersonFind albums by this artist and drummer Craig HerndonFind albums by this artist, both Bostonians at the time. The quintet was nicknamed, half-jokingly, The Serious Music EnsembleFind albums by this artist, a name which would stick to several Sarmanto´s groups in the future, which featured the core of this quintet. Following his graduation from Berklee Sarmanto returned to Finland, with Gunderson and Herndon following suit (they both decided to live in Finland for a while). Since Mraz opted to stay in the US and Aaltonen already returned to Finland earlier, Sarmanto had four members of his quintet in place. Mraz was replaced by Sarmanto´s brother, bassist Pekka SarmantoFind albums by this artist, and this new lineup recorded Sarmanto´s second (first studio) album "CounterbalanceFind albums with this title" (recorded June 8, 1971 - also reissued on Porter Records). A remarkable album, which features Aaltonen playing flute exclusively and Sarmanto switching to Fender Rhodes, and seems to be recorded by a completely different group, even if still pretty much in the Free Jazz vain. The European influence simply becomes overwhelming, changing the music dramatically. Recorded just three months after "Counterbalance", "Like A FragonardFind albums with this title" (recorded September 14, 1971), the third album by Sarmanto, was the first giant step in Sarmanto´s exceptional musical journey. In contrast to his earlier recordings, which consisted of separate and unrelated musical themes, this is the first time Sarmanto, the composer, undertakes the task of producing a concept album, which consists of a series of compositions connected by one common idea. The result becomes a Jazz Mass, a novel idea, which Sarmanto will pursue again in the future with the extraordinary "New Hope Jazz MassFind albums with this title" (1979). "Everything Is It", which followed a year later, was another giant step in the same direction, but on a grander scale in every direction. The ensemble is expanded into a Big Band; the music includes a fully developed suite in four parts, which lasts for over 28 minutes and two additional pieces, both lengthy as well (7 and 11 minutes); the scope of the compositions now amalgamates elements of Jazz, Folklore and Classical music. In retrospect Sarmanto´s audacity and vision are truly prophetic, since such attempts to create cross-genre music would become commonplace only decades later. The Big Band assembled for this recording is a bona fide Who´s Who of Finnish Jazz at the time and includes the finest soloists, many of which were leaders of their own ensembles. Consisting of three trumpets, two trombones, six saxophones, piano, bass and two drummers (another bold decision by Sarmanto) the Big Band enables the composer a much wider scope of tonal expression, which of course he takes full advantage of. The vocal parts, or the libretto (in English), written by Diana GlassFind albums by this artist, is performed by a young and promising soprano from the Opera of Helsinki – Taru ValjakkaFind albums by this artist. The level of musicianship and individual improvisation is absolutely brilliant and is great evidence of how talented these musicians were. Considering the fact that this complex and challenging music was recorded in just two days emphasizes this fact as well. This is European Jazz at its best, taking the essence of the Jazz spirit and combining it flawlessly with other musical sources to create a perfect amalgam. It remains untouched by the tides of time, a classic. Thanks to Porter Records for making this musical treasure available again! Side Note The above are my liner notes included on this album's artwork. I am honored when asked by the Artists to write liner notes for their albums, always hoping that my words reflect the true spirit of the music. This is also a symbol of our mutual respect and friendship developed over the years. The same is also true when Record Labels ask me to write liner notes for their releases, mostly in the case of reissues of archival albums, which is a symbol of their appreciation of my knowledge and historical perspective and my recognition of their dedication to the preservation of the history of recorded music and the effort to keep human Culture and Aesthetics alive.

Updated: 19/09/2018Posted:

CD 1 Mini-Sleeve Remastered Recommend To A Friend

WOODY SHAW ~ THE COMPLETE COLUMBIA ALBUMS COLLECTION SONY 886979189027 (Barcode: 886979189027) ~ USA ~ Jazz Recorded: 1977 - 1981 Released: 2011 American trumpeter / composer Woody ShawFind albums by this artist is often referred to as the last great innovator of the Jazz trumpet tradition. His incredible technical skills as well as his deep Jazz sensitivity enabled him to create some of the most memorable Jazz moments. Unfortunately his recording legacy as a leader is relatively limited and his death at the ridiculous age of 44 has cut his career tragically short. Over the years he recorded extensively as a sideman and contributed his part to some of the most notable and pivotal Jazz recordings, especially during his stint with the Blue NoteFind albums on this label label in the mid to late 1960s, where he was the "house trumpeter". Shaw´s most important work as a leader was recorded in the late 1970s for ColumbiaFind albums on this label, where he recorded five superb albums which finally awarded him the recognition and appreciation he so much deserved. These recordings allowed his to utilize in full his abilities both as a player and composer, surrounded by a splendid group of musicians. His music often used unusual musical devices, such as polytonality and the pentatonic scale, which Shaw absorbed from his idols like Eric DolphyFind albums by this artist and John ColtraneFind albums by this artist, from the 20th century Classical Music composers as well as from World Music influences. However he was able to utilize those complex and often quite difficult musical ideas and make them sound "easy" and natural to the Jazz environment. The Columbia session were recorded with Shaw leading different combos, from a classic quintet to a tentet and even larger ensembles. The list of participants includes some of the most important Jazz performers active at the time, like trumpeter Charles SullivanFind albums by this artist, saxophonists Joe HendersonFind albums by this artist, Rene McLeanFind albums by this artist, Carter JeffersonFind albums by this artist, Gary BartzFind albums by this artist and others, pianist Onaje Allan GumbsFind albums by this artist, George CablesFind albums by this artist, Mulgrew MillerFind albums by this artist and others. This Box Set includes all the five albums Shaw recorded for Columbia, remastered and expanded with bonus tracks, as well as a sixth bonus CD, which comprises of previously unreleased material recorded at the same Village Vanguard concert, which was partly released as the "Stepping StonesFind albums with this title" album. This is some of the most remarkable Jazz music made in the 1970s and an important piece of the modern Jazz puzzle, which should be listened to by new generations and inspire them to carry the proverbial torch. It should definitely find its place in any serious Jazz record collection.

Updated: 26/01/2019Posted:

CD 6 Mini-Sleeve Box Set Remastered Bonus Tracks Recommend To A Friend

ARIEL SHIBOLET / BETWEEN THE STRINGS TRIO ~ LIVE AT THE TEL AVIV MUSEUM KADIMA COLLECTIVE 13 (Barcode: 634479391576) ~ ISRAEL ~ Jazz Recorded: 2006 Released: 2007 2nd album by Israeli saxophonist Ariel ShiboletFind albums by this artist, this time in cooperation with the Between The Strings TrioFind albums by this artist (Jean Claude JonesFind albums by this artist – bass, Daniel HoffmanFind albums by this artist – violin and Nori JacobyFind albums by this artist – viola), recorded live at the Tel Aviv Museum. The concert includes three parts, starting with a solo soprano saxophone performance by Ariel, continued by a piece by the string trio and concluded by a quartet performance by Ariel with the trio. Over 61 minutes of purely improvised music, challenging and difficult as always, but deeply rewarding to the disciples of the genre. Ariel’s playing is deeply rooted in the tradition of the late period John ColtraneFind albums by this artist, Steve LacyFind albums by this artist and Eric DolphyFind albums by this artist, based on complete control of the instrument, virtuosity and of course relentless passion. The balance between Ariel and the string trio, as well as their cooperative group improvisation is truly inspiring. Contrary to popular opinion improvised music is definitely still alive and kicking, and the fact that it still thrives here in Israel (although abandoned in other places) makes me especially proud, proving the multi-cultural openness of our society.

CD 1 Mini-Sleeve Recommend To A Friend

SOFT MACHINE ~ DROP MOONJUNE 023 (Barcode: 692287902322) ~ UK ~ Canterbury Scene Recorded: 1971 Released: 2008 Australian-born drummer Phil HowardFind albums by this artist stayed with Soft MachineFind albums by this artist just for five months, but his influence on the group´s transition into free improvisation music was tremendous. He recorded just one side of an LP with the group (the first side of "FifthFind albums with this title") and played quite a few gigs in UK and Europe with the band, which included also saxophonist Elton DeanFind albums by this artist (who brought Howard into Soft Machine as a replacement for the departing Robert WyattFind albums by this artist), keyboardist Mike RatledgeFind albums by this artist and bassist Hugh HopperFind albums by this artist. The European gigs included the legendary appearance at the most prestigious European Jazz Festival at the time, the Donaueschingen Musiktage, organized by Joachim BerendtFind albums by this artist. Howard brought into the quartet a ferocious "wall of sound" technique, which drove the quartet to unprecedented peaks of improvised music, only roughly based on themes stated at the start of every tune, very much in the same pattern as all free jazz, which flourished at the time, following the pioneering explorations of John ColtraneFind albums by this artist, Eric DolphyFind albums by this artist and many others. Alas Howard´s days in the band were numbered, as the band was waiting for his replacement, John MarshallFind albums by this artist, to finish his previous engagement with Jack BruceFind albums by this artist. Sadly, following his departure from Soft Machine, very little was heard from this immensely talented drummer, which is a great pity. He can be heard on the Elton Dean´s debut solo album "Just UsFind albums with this title" (a must if you don´t have it yet!). The music included here, all captured live during Soft Machine German tour, which followed the festival appearance, is a premiere example of their immense quality at that time, delivering some of European Jazz mightiest moments, definitely something that can be enjoyed not only by the dedicated fan base, but also by every Modern Jazz lover the world over. This is s brilliant document, which deserves slow and careful digestion with saliva drooling from one´s mouth, sure more than once. God bless the invention of a sound recorder!

Updated: 01/02/2016Posted:

CD 1 Digipak Remastered Recommend To A Friend

DOMINIK STRYCHARSKI ~ FLAUTO DOLPHY FSR 2017/03 (Barcode: 5905279364189) ~ POLAND ~ Avant-Garde Jazz Recorded: 2015 Released: 2017 This is a solo album by Polish Avant-Garde / Jazz recorder player and composer Dominik StrycharskiFind albums by this artist. Recorded live in the legendary and now sadly demolished Pardon To Tu club in Warsaw, Strycharski performs eight pieces, five of which are compositions by Eric DolphyFind albums by this artist, two are original compositions by Strycharski and one is a Mal WaldronFind albums by this artist composition. The recording has a crisp and clear sound quality, which adds significantly to the overall ambience. Performing music composed by Dolphy is always a supreme challenge and doing so on a most unconventional instrument, like the recorder, and playing solo on top of everything is a staggering undertaking. Against all odds Strycharski manages to come out victorious from this adventure, although not entirely unscathed. Strycharski uses a very unconventional method while playing the recorders, quite different from what listeners familiar with the instrument might expect. His playing involves not only the sound produced from the instrument, but also a sound produced by his mouth and throat, which, when combined, with the sound of the recorder produce very striking and surprising results. Of course it´s impossible to describe this phenomenon verbally and only listening to this music will disclose the nature of the beast. This combined human / recorder sound dominates this recording and therefore the listener´s reaction depends first and foremost on his ability to accept this sonic aura, which is by far not obvious. Having crossed the sound barrier so to speak, the listener is exposed to Strycharski´s virtuosity and complete command of the music he creates. By using several different recorders and changing his breathing and phrasing, he manages to produce a plethora of different sounds, which keep surprising the listener time after time. Considering that the music is only occasionally completely free form and most of the time is based on some melodic content, it is relatively accessible beyond the strict Avant-Garde circle of listeners. The most important question is of course what happens once one removes the novelty, sensationalism, pioneering spirit and element of surprise and examines the pure musical content of this recording. Personally I don´t have a clear answer to this wringer. I suppose Dolphy would be the ideal judge of that. Overall this is an unusual, daring and challenging album, which should be of interest to open-minded listeners, who are not afraid to be confronted by a highly individual musical personality, which Strycharski certainly embodies. Definitely worth investigating!

Updated: 12/04/2019Posted: 26/07/2017

CD 1 Mini-Sleeve Recommend To A Friend

FRANK ZAPPA ~ WEASELS RIPPED MY FLESH ZAPPA 3843 (Barcode: 824302384329) ~ USA ~ Avant-Garde Jazz-Rock Fusion Recorded: 1967 - 1969 Released: 2012 This is a reissue / remaster of the 10th album by iconic American guitarist / composer / bandleader / visionary Frank ZappaFind albums by this artist, released originally in 1970. The music was recorded at various live and studio locations between 1967 and 1969. The album presents eleven tracks, all (except one) composed by Zappa. The lineup, in addition to Zappa on guitar and vocals, includes members of the expanded version of Mothers Of InventionFind albums by this artist, which includes a brass section: pianist Don PrestonFind albums by this artist, bassist Roy EstradaFind albums by this artist, drummer Jimmy Carl BlackFind albums by this artist, multi-instrumentalist Ian UnderwoodFind albums by this artist, woodwind players Bunk GardnerFind albums by this artist and Jim SherwoodFind albums by this artist, trumpeter Buzz GardnerFind albums by this artist, violinist Don Sugarcane HarrisFind albums by this artist and several others. The music is mostly instrumental and includes many references to Avant-Garde Jazz (Eric DolphyFind albums by this artist) and Classical Music (Claude DebussyFind albums by this artist, Charles IvesFind albums by this artist and Luciano BerioFind albums by this artist) and features Jazzy improvisations similar to Free Jazz, and has a Jazz-Rock Fusion ambience, which was already very prominent on the earlier albums “Hot RatsFind albums with this title” and “Burnt Weeny SandwichFind albums with this title”. Only one track is Zappa’s arrangements of a Pop song, full of his usual zany humor. Overall, although this music is now over fifty years old, it sounds as fresh as it did when first heard and lost absolutely nothing of its power and everlasting beauty. This album remains an absolute Classic in every respect, which stands proudly as an icon of superb music, which still shines brighter than almost anything else recorded since. Side Note Frank Zappa created a vast recorded legacy during his lifetime, which is continuously being expanded using music recorded and stored in his extensive vault. The albums officially released and approved by Zappa are numbered sequentially in the "Official Release" series, from #001 to the last release so far #126. The albums between #001 to #062 were released during Zappa's lifetime and all the others were released posthumously. There are countless unofficial / bootleg releases on the market as well. Zappa's catalogue was remastered for CD release twice: in 1995 for the RykodiscFind albums on this label releases and again in 2012 for the ZappaFind albums on this label Records / UniversalFind albums on this label releases. The Zappa / Universal program includes 60 releases, which cover the entire catalog released during his lifetime (62 releases, except #013 "200 Motels" and the three Box Sets #043, #046 and #049 called "The Old Masters vol.I / II / III"), and 6 posthumous releases (#064, #065, #067, #068, #093 and #094), which were also included.

Updated: 22/09/2022Posted: 04/02/2022

CD 1 Remastered Recommend To A Friend