Record Reviews

NEIL ARDLEY ~ MIKE TAYLOR REMEMBERED DUSK FIRE 103 (Barcode: 5065001032011) ~ UK ~ Jazz Recorded: 1973 Released: 2007 The short and tragic life of pianist / composer Mike TaylorFind albums by this artist, an eccentric genius fallen victim to mental illness / drug abuse, which proved self-destructive and led to his death at the age of 29, is surely worthy a script adaptation for a Martin ScorseseFind albums by this artist movie. Sometimes referred to as “the Syd BarrettFind albums by this artist of British Jazz”, Taylor had close ties with a relatively small group of musicians, like Graham BondFind albums by this artist and the members of his Graham Bond OrganizationFind albums by this artist, which included Jack BruceFind albums by this artist and Ginger BakerFind albums by this artist – soon to be founders of CreamFind albums by this artist. Many people will be surprised to learn that three songs co-written by Ginger and Mike appear on Cream’s Wheels Of FireFind albums with this title album (“Pressed Rat And Warthog”, “Those Were The Days” and “Passing The Time”). Another one of his superb songs – “Jumping Off The Sun” – was recorded by ColosseumFind albums by this artist and appears on several of their albums. Although known intimately by very few people at the time, the legend lives on and periodically the flame of interest is rekindled among the modern British Jazz fans, like in the case of reissue of his only two existing recordings: PendulumFind albums with this title and TrioFind albums with this title. Even fewer people are aware of the spectacular tribute album recorded by Taylor’s musician friends three years after his death. Recorded under the musical direction of another British Jazz legendary figure, composer / arranger / bandleader Neil ArdleyFind albums by this artist, who discovered Taylor’s genius immediately and scored some of his compositions for the New Jazz OrchestraFind albums by this artist when Taylor was still alive. Unfortunately the concert, which was to feature NJO and Mike’s trio never materialized, since Taylor (already very ill at the time) simply missed the gig. Nevertheless Ardley continued to use Taylor’s music as part of the regular NJO repertoire and suggested to Denis PrestonFind albums by this artist, owner of the legendary Lansdowne Studios in London, where most of the pivotal modern British Jazz was recorded, to produce a tribute album to Mike Taylor’s musical genius. Preston, who recorded the two Taylor albums, needed no persuasion and funded the complex and costly project with no hesitation, considering it a most appropriate gesture. Ardley assembled a group of 20 musicians to record this project, sharing the scoring of the music for a large ensemble with others, who were close to Taylor and new him well, like Howard RileyFind albums by this artist, Barbara ThompsonFind albums by this artist and Dave GellyFind albums by this artist. One of the tracks is based on a previously unreleased Taylor quartet recording, with the ensemble overdubbed on top of the original recording, which makes Taylor’s participation in this project almost “in person” as well as “in spirit”. The list of the participating musicians reads like the who’s who of modern British Jazz and includes among others: Ian CarrFind albums by this artist and Henry LowtherFind albums by this artist on trumpet, Chris PyneFind albums by this artist and David HorlerFind albums by this artist on trombone, Ray WarleighFind albums by this artist and Stan SulzmannFind albums by this artist on saxophone, Peter LemerFind albums by this artist and Alan BranscombeFind albums by this artist on piano, Chris LaurenceFind albums by this artist and Ron MathewsonFind albums by this artist on bass, Jon HisemanFind albums by this artist on drums and of course the divine Norma WinstoneFind albums by this artist on vocals. I can’t think of a more appropriate tribute than this one, full of love, dedication and music genius by all the people involved. Considering the fact that this album combines the genius of Taylor’s Jazz composition with the genius of Ardley’s Jazz scoring / arranging, we get (in mathematical terms) a genius squared result – a rare event indeed. Recommending this album would be somewhat similar to recommending someone to read some Joyce or see a van Gogh – completely superfluous. I’m sure you get the drift by now!

CD 1 Remastered Essential Recommend To A Friend

GORDON BECK ~ GYROSCOPE ART OF LIFE 1003 (Barcode: 804640100324) ~ UK ~ Jazz Recorded: 1968 Released: 2002 Pianist / composer Gordon BeckFind albums by this artist, one of the true forefathers of modern British and European Jazz, has been a source of inspiration and musical joy to Jazz connoisseurs since the 1960s. His formidable technique and more importantly overwhelming musicality are completely unique and unrivaled. This, his 4th recording as a leader, deserves a special notice for many reasons. Stylistically it is somewhat atypical to Beck’s usual output, as it marks his exploration of “free form” Jazz, which was enjoying a period of unparalleled prosperity in Britain at the time this album was recorded, with momentous recordings by other British piano giants like Howard RileyFind albums by this artist, Michael GarrickFind albums by this artist, Keith TippettFind albums by this artist and others. However, in Beck’s case the “free form” remains somewhat tamed by his immense love of melody, thus creating one of the most formidable examples of early European “free form”, which even the most conservative Jazz listener can easily savor. This is Beck’s genius, but the credit must also go to his two partners: bassist Jeff ClyneFind albums by this artist and drummer Tony OxleyFind albums by this artist. The trio plays here in complete unity, with telepathic interplay and cohesiveness. Clyne is a monster player, incredibly melodic and with a sublime sense of rhythm and Oxley is a complete genius, the most intelligent and technically proficient drummer to come out of the British Isles. This is a marvelous opportunity to hear Oxley’s work at the time he was still playing “time”, although of course in his very special way of doing so, with the “time” being felt rather that actually played, since he is all over his kit doing stuff that is not recommended to be tried at home. This album was originally released on the tiny MorganFind albums on this label Records (owned by the famous Morgan Recording Studios in London) and disappeared from the shelves soon after, becoming one of the British Jazz most sought after collector’s items. The reissue on Art Of LifeFind albums on this label brings back to life a masterpiece of immense importance, which is an essential piece of the complex musical puzzle created in Britain by the end of the 1960s. I can’t imagine any serious British / European Jazz fan not having this momentous recording in their collection. Beyond essential!

CD 1 Oversampling Remastered Essential Recommend To A Friend

ELTON DEAN ~ THE VORTEX TAPES SLAM 203 (Barcode: 5028386020325) ~ UK ~ Free Jazz / Improvised Music Recorded: 1990 Released: 1992 This is a live album by British Jazz saxophonist / composer Elton DeanFind albums by this artist, recorded at the legendary London’s Vortex club during the five days of the last week of September 1990, each night with a different lineup, four of which are quartets and one is a sextet. The list of the participating musicians reads like the Who’s Who of the British Free Jazz / Improvised Music scene at the time and includes pianists Keith TippettFind albums by this artist and Howard RileyFind albums by this artist, saxophonists Trevor WattsFind albums by this artist, Jerry UnderwoodFind albums by this artist and Simon PicardFind albums by this artist, trombonists Nick EvansFind albums by this artist and Paul RutherfordFind albums by this artist, bassists Marcio MattosFind albums by this artist and Paul RogersFind albums by this artist, drummers Louis MoholoFind albums by this artist, Mark SandersFind albums by this artist, Nigel MorrisFind albums by this artist and Tony LevinFind albums by this artist. The fact that Dean managed to invite all these great musicians to play with him during one week speak volumes about his position on the scene and the respect he earned over the years. The album presents five tracks, three of which are over ten minutes in duration. All the music was composed by Dean. The music is absolutely in sync with what one might have expected from such esteemed players, Free Jazz oriented, full of passion and incredible dialogues between these musicians, who often played with each other in various settings. The incredible intensity of the music still allows for excellent individual contributions to be clearly heard. The sextet (four saxophones) track is a wonderful example of group improvisation, where the mutual respect is fully observed and the saxophone quartet is featured as an organic micro-orchestral unit, later joined by the rhythm section. There is so much superb music on this album, that writing about it is actually pretty redundant, and should simply encourage to grab a copy of this gem, before it completely disappears from the market. British Jazz enthusiasts and even listeners who are aware of Elton Dean only through his association with Soft MachineFind albums by this artist, should make to bold step forward and embrace this facet of Dean’s incredible talent. Overall, this is a monumental document of the British Free Jazz scene by the end of the 1990s, when it was at its absolute peak. The tornado swirl on the album’s cover reflects the power and spirit of the music perfectly and fans of this kind of music should find this album indispensable. Lucky for us this music was captured on tape and released, staying with us for posterity. A true force of Nature!

Updated: 24/06/2023Posted: 24/06/2023

CD 1 Recommend To A Friend

NEW JAZZ ORCHESTRA ~ LE DEJEUNER SUR L`HERBE DUSK FIRE 110 (Barcode: 5065001032981) ~ UK ~ Jazz Recorded: 1968 Released: 2014 This is the second and also the last formal album by the seminal British Jazz Orchestra called New Jazz OrchestraFind albums by this artist or NJOFind albums by this artist for short. Directed by the legendary composer / arranger / bandleader Neil ArdleyFind albums by this artist the NJO was probably the most important singular British Jazz ensemble, which shaped the way British and European Jazz developed in the late 1960s. Despite the fact that the number of people, who are familiar with this epic recording, will hardly fill up an average British pub, it is still one of the best and more importantly revolutionary Jazz albums of all times, certainly as far as British Jazz is concerned. The fact that the album, which was released on LP in 1969 and almost immediately after disappeared from the shelves, had to wait for 45 years for its debut CD reissue confirms its anonymity and obscurity. And yet for the handful of British Jazz enthusiasts it always was the magnum opus of the British Jazz resurgence, when the music emerged for the first time as a truly new Art form, related to but fully independent from the American Jazz tradition. Why "new"? The origin of the name is not entirely clear but NJO was new indeed; it included a new generation of British Jazz musicians, which arrived on the scene mostly in the 1960s and had very little in common with the older "swing" generation, which completely dominated the British scene up to that period, and which was entirely immersed in the American tradition, strengthened by the presence of American bands in Britain during the WWII period. Several Jazz Big Bands and orchestras were active on the British scene since the 1920s and well into the 1960s, some quite excellent and even extraordinary, but those limited the artistic scope to imitating the trends originating across the big pond. The list of British composers / bandleaders includes Ted HeathFind albums by this artist, Syd LawrenceFind albums by this artist, John DankworthFind albums by this artist and numerous others. By the time this album was recorded the NJO was about five years old. In 1965 it recorded its debut album called "Western Reunion London 1965Find albums with this title", which beautifully sums up the first phase of its activity, when the orchestra performed mostly new arrangements of American standards, but the overall sound of the band was already quite unique and stunning. This album was recorded by the second incarnation of the NJO, which included Jack BruceFind albums by this artist on bass (who was already a member of CreamFind albums by this artist at the time), with the regular bassist Tony ReevesFind albums by this artist taking the position of the album´s producer. The rest of the band included: trumpeters Derek WatkinsFind albums by this artist, Harry LowtherFind albums by this artist, Harry BeckettFind albums by this artist and Ian CarrFind albums by this artist, trombonists John MumfordFind albums by this artist, Michael GibbsFind albums by this artist, Derek WadsworthFind albums by this artist and Tony RussellFind albums by this artist, tuba player George SmithFind albums by this artist, saxophonists Barbara ThompsonFind albums by this artist, Dave GellyFind albums by this artist, Jim PhilipFind albums by this artist and Dick Heckstall-SmithFind albums by this artist, vibraphonist Frank RicottiFind albums by this artist and drummer Jon HisemanFind albums by this artist. The album presents eight compositions, five of which are originals composed by NJO members or other British Jazz musicians / composers of the new generation; those are Neil Ardley, Howard RileyFind albums by this artist, Mike TaylorFind albums by this artist, Michael GarrickFind albums by this artist and Michael Gibbs. Two modern American Jazz standards, one by John ColtraneFind albums by this artist and another one by Miles DavisFind albums by this artist are also present, but their arrangements are stunningly removed from the original versions known to most Jazz listeners. The remaining composition is by the French composer of Polish / Jewish origin Alexandre TansmanFind albums by this artist, whose composition receives another highly unusual treatment. The album emerges triumphantly as a masterpiece of composition, arrangement, performance and intelligent music making, all those on top of its being a first of its kind and a beacon for generations to come. Many other superb Big Band / Orchestral British Jazz recordings will follow (Michael Gibbs, Mike WestbrookFind albums by this artist and others), but as great as they were, none of them achieved the same primordial perfection, which marked the birth of British Jazz as documented herein. If anybody wanders about the album´s title (and the title of the opening track) and its humorous sleeve design, Google it up, oh ye ignoramuses, or preferably visit the Musée d´Orsay in Paris and look for the original ;) With the recent parting of Jack Bruce, whom I was honored and lucky to know in person, the reissue of this album is a small solace in his memory and in memory of a generation almost gone…

CD 1 Digipak Remastered Essential 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

DON RENDELL / IAN CARR QUINTET ~ BBC JAZZ CLUB 1965/66 RHYTHM AND BLUES 064 (Barcode: 5060331752202) ~ UK ~ Jazz Recorded: 1965 - 1966 Released: 2020 This is an archival album by the seminal British Jazz quintet co-led by saxophonist / flautist Don RendellFind albums by this artist and trumpeter Ian CarrFind albums by this artist, which also included pianist Michael GarrickFind albums by this artist, bassist Dave GreenFind albums by this artist and drummer Trevor TomkinsFind albums by this artist. The album presents three BBC sessions, one from 1965 and two from 1966, all together sixteen tracks (and seven short introductions by Rendell or Humphrey LittletonFind albums by this artist). On the first session Colin PurbrookFind albums by this artist replaces Garrick and on the second session Jeff ClyneFind albums by this artist replaces Green. These sessions were recorded around the time the quintet recorded and released their first two albums: “Shades Of BlueFind albums with this title” and “Dusk FireFind albums with this title”, and the second session presents five live versions of the material present on the second album. Most of the material consists of original compositions by Rendell, Carr and Garrick, the last being the most prolific contributor to the quintet’s material. A great tune by Howard RileyFind albums by this artist, another by Pat SmytheFind albums by this artist and a couple of standards are also present. These sessions show vividly the giant step the quintet made between recording the debut album with Purbrook on piano in 1964, which was almost completely conventional and Bee Bop oriented, and the second album with Garrick on piano recorded in 1965, where the quintet turns into the amazing modern Jazz ensemble passing the equinox which marks the birth of modern British Jazz. Considering the splendid sound quality of these recordings, the fact that it is the first time they appear on record and that they also include previously never heard material by the quintet, this album is worth its weight in gold, not only to British / European Jazz enthusiasts but all modern Jazz lovers around the world. In view of the relatively limited recorded legacy by this legendary quintet, this stuff is absolutely essential!

Updated: 08/07/2021Posted: 06/07/2021

CD 1 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 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 ~ 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 ~ DUALITY JAZZPRINT 113 (Barcode: 604388474424) ~ UK ~ Jazz Recorded: 1981 Released: 2002 This solo piano recording by the legendary UK pianist Howard RileyFind albums by this artist is one of the cornerstones of his illustrious career, as it crystallizes his approach to improvised music. The duality (as referred to in the album’s title) applies to two quite different avenues the artist travels when he performs his music. The first (as demonstrated by the first track on this album, which is over 20 minutes long) symbolizes the process of spontaneous composition / improvisation, based on some basic preconceived musical ideas, which get developed in the process of free-form improvisation. This type of music making requires a high degree of control of the instrument (something that Riley possesses without a doubt) and an incredible flow of musical ideas transferred instantaneously to the artist’s hands and from there to the piano. The other (as demonstrated by the rest of the tracks on this album) symbolizes more the composer rather than the virtuoso performer, with much shorter pieces, also brilliantly performed, each devoted to a different harmonic / rhythmic idea. In spite of this duality, the album flows beautifully from one piece of music to another, casting a musical spell of rare quality over the attentive listener. As with all demanding music, the more difficult it is the more pleasurable it becomes once the listener submits himself to its charms. Absolutely essential for all free jazz lovers, especially for connoisseurs of the UK branch of the genre.

CD 1 Remastered 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 ~ FOR FOUR ON TWO TWO JAZZPRINT 141 (Barcode: 604388710126) ~ UK ~ Jazz Recorded: 1982 Released: 2008 British pianist / composer Howard RileyFind albums by this artist is one of the most notable precursors of the Free Jazz and Improvised Music, not only in his country, but worldwide. His visionary approach to composing and performing has been a beacon for musicians trying to expand the horizons of the musical world, as we know it, for almost five decades now. This album is a most welcome reissue of a solo piano album dating from the early 1980s, which has been unavailable for much to long. At the time of this recording Riley has already reached a maturity and self-determination, after playing and composing for 25 years, always on edge of the established musical rules, moving outwards. The five pieces are a stellar example of Riley´s extraordinary technique, dynamics and creative thinking. Lovers of his music (sadly few in numbers) and connoisseurs of Improvised Music, will of course cherish this piece of Art, as much as I do.

CD 1 Recommend To A Friend

HOWARD RILEY ~ LISTEN TO HEAR SLAM 2106 (Barcode: 5028386706724) ~ UK ~ Free Jazz / Improvised Music Recorded: 2017 Released: 2017 This is a solo piano album by the British Jazz pianist / composer Howard RileyFind albums by this artist. It presents nineteen relatively short pieces, all but two composed by Riley, with the last two being two takes on the same standard. Riley aged 80 is now in his seventh decade of activity, being a living legend as far as British Avant-Garde / Free Jazz / Improvised Music are concerned, with dozens of albums to his credit, including some of the most iconic recording of these genres in the late 1960s / early 1970s. But he continued to record wonderful music throughout the years and I have always considered him as one of my favorite British Jazz musicians, even if his music always involves intellectual effort and patience, not to mention open-mindedness. This quite recent recording marks (almost) the 50th Anniversary of his debut album. Solo piano albums are the ultimate challenge for Jazz pianists, and most pianists avoid recording solo or do so reluctantly. Riley, however, loves the solo piano idiom and his recorded legacy offers quite a few of solo piano recordings, each of them being a superb document of his immense talent. Perhaps the immediate vis–a-vis with the piano allows him the perfect opportunity to express himself without inhibitions and limitations. Whatever the reason might be, his solo piano recordings are all absolute gems. Despite the fact that Riley plays Free Jazz / Improvised Music, his expressionism always strikes me as completely melodic, as absurd as this might sound. The short melodic sequences and chord progressions in his performances are always (at least for me) absolutely logical and coherent. As a result, even if his music might be considered as difficult, it is never alienating or cacophonic, as often can be the case with Improvised Music. Overall, this is a wonderful album of Free spirited, but exquisitely performed music, which strikes directly into the heart and soul of the listener, if only allowed to do so. The album’s title describes perfectly its contents, as Riley is literally creating note after note, like a painter or sculptor might do, when creating his Art. Wholeheartedly recommended!

Updated: 05/05/2023Posted: 05/05/2023

CD 1 Recommend To A Friend

HOWARD RILEY ~ MAKING NOTES SLAM 230 (Barcode: 5028386023029) ~ UK ~ Free Jazz / Improvised Music Recorded: 1997 Released: 1998 This is a solo piano album by the British Jazz pianist / composer Howard RileyFind albums by this artist. It presents fourteen relatively short pieces, all composed by Riley. Now in his seventh decade of activity Riley is a living legend as far as British Avant-Garde / Free Jazz / Improvised Music are concerned, with dozens of albums to his credit, including some of the most iconic recording of these genres in the late 1960s / early 1970s. But he continued to record wonderful music throughout the years and I have always considered him as one of my favorite British Jazz musicians, even if his music always involves intellectual effort and patience, not to mention open-mindedness. Solo piano albums are the ultimate challenge for Jazz pianists, and most pianists avoid recording solo or do so reluctantly. Riley, however, loves the solo piano idiom and his recorded legacy offers quite a few of solo piano recordings, each of them being a superb document of his immense talent. Perhaps the immediate vis–a-vis with the piano allows him the perfect opportunity to express himself without inhibitions and limitations. Whatever the reason might be, his solo piano recordings are all absolute gems. Despite the fact that Riley plays Free Jazz / Improvised Music, his expressionism always strikes me as completely melodic, as absurd as this might sound. The short melodic sequences and chord progressions in his performances are always (at least for me) absolutely logical and coherent. As a result, even if his music might be considered as difficult, it is never alienating or cacophonic, as often can be the case with Improvised Music. Overall, this is a wonderful album of Free spirited, but exquisitely performed music, which strikes directly into the heart and soul of the listener, if only allowed to do so. The album’s title describes perfectly its contents, as Riley is literally creating note after note, like a painter or sculptor might do, when creating his Art. Wholeheartedly recommended!

Updated: 30/04/2023Posted: 30/04/2023

CD 1 Recommend To A Friend

HOWARD RILEY ~ MORE LISTENING, MORE HEARING SLAM 2109 (Barcode: 5028386713326) ~ UK ~ Free Jazz / Improvised Music Recorded: 2019 Released: 2020 This is a solo piano album by the British Jazz pianist / composer Howard RileyFind albums by this artist. It presents twelve pieces, all but two composed by Riley, with the two being two takes on the same standard. This album is a follow up of the album “Listen To HearFind albums with this title”, recorded a couple of years earlier. All the original pieces are spontaneous improvisations except for one piece which was composed and originally released on Riley’s debut album “DiscussionsFind albums with this title” from 1968. As of time of writing, this is the most recent recording by Riley available on record. Riley aged 80 is now in his seventh decade of activity, being a living legend as far as British Avant-Garde / Free Jazz / Improvised Music are concerned, with dozens of albums to his credit, including some of the most iconic recording of these genres in the late 1960s / early 1970s. But he continued to record wonderful music throughout the years and I have always considered him as one of my favorite British Jazz musicians, even if his music always involves intellectual effort and patience, not to mention open-mindedness. Solo piano albums are the ultimate challenge for Jazz pianists, and most pianists avoid recording solo or do so reluctantly. Riley, however, loves the solo piano idiom and his recorded legacy offers quite a few of solo piano recordings, each of them being a superb document of his immense talent. Perhaps the immediate vis–a-vis with the piano allows him the perfect opportunity to express himself without inhibitions and limitations. Whatever the reason might be, his solo piano recordings are all absolute gems. Despite the fact that Riley plays Free Jazz / Improvised Music, his expressionism always strikes me as completely melodic, as absurd as this might sound. The short melodic sequences and chord progressions in his performances are always (at least for me) absolutely logical and coherent. As a result, even if his music might be considered as difficult, it is never alienating or cacophonic, as often can be the case with Improvised Music. Overall, this is a wonderful album of Free spirited, but exquisitely performed music, which strikes directly into the heart and soul of the listener, if only allowed to do so. The album’s title describes perfectly its contents, as Riley is literally creating note after note, like a painter or sculptor might do, when creating his Art. Wholeheartedly recommended!

Updated: 08/05/2023Posted: 08/05/2023

CD 1 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

HOWARD RILEY / JAKI BYARD ~ R&B SLAM 2100 (Barcode: 5028386633228) ~ UK ~ Free Jazz / Improvised Music Recorded: 1985 Released: 2015 This is a live recording from 1985 of the Jazz piano duo comprising of British Jazz pianist / composer Howard RileyFind albums by this artist and American pianist / multi-instrumentalist / composer Jaki ByardFind albums by this artist. It is the second of two such duo meetings between the two wonderful musicians, which followed a similar one captured on record a year earlier. The album presents just five lengthy tracks, one being a medley of two compositions. Four of these compositions are standards and two are co-composed improvisations by Riley and Byard. On the last rack Byard plays piano and saxophone simultaneously. It is almost impossible to imagine a meeting of two seemingly more contrasting Jazz personalities than these two, with Byard mostly associated with his affinity to Ragtime, Stride and other early Jazz sub-genres and Riley mostly associated with Free Jazz and Improvised Music, and yet, as this beautiful album shows, their work together is absolutely harmonious and coherent. Of course Bayard also had his lesser known Avant-Garde / Free Jazz associations, which come here to full bloom. The music moves stylistically throughout the entire history of Jazz music, spanning a Century, and the transformations between what sounds like two Scott JoplinFind albums by this artist spirts and two Cecil TaylorFind albums by this artist spirits playing together is absolutely astounding. For Jazz listeners, who are astute connoisseurs of the Jazz history, especially piano Jazz, this is a true revelation. Overall, this is a brilliant document of the telepathic communication between two great musicians and a sublime example of the “Art of the Duo” phenomenon, which is an essential listening for all Jazz lovers out there. The live concert is very well recorded, which of course makes listening to this album a true pleasure on the sonic plane as well. Wholeheartedly recommended!

Updated: 26/04/2023Posted: 26/04/2023

CD 1 Recommend To A Friend

HOWARD RILEY / MARIO CASTRONARI / TONY MARSH ~ WISHING ON THE MOON FMR 014 ~ UK ~ Jazz Recorded: 1993 Released: 1995 British pianist / composer Howard RileyFind albums by this artist is primarily known for his numerous improvised solo piano recordings and duets with fellow improvisers, like Keith TippettFind albums by this artist. As one of the greatest pioneers of British / European Improvised Music, he achieved in time a legendary status among his peers and fans alike. In contrast to his solo / duo recording, Riley’s piano trio albums are often reflections of his more lyrical and gentle side, bringing up his Jazz roots. This delightful album is no exception. Supported by two superb musicians, bassist Mario CastronariFind albums by this artist and drummer Tony MarshFind albums by this artist, Riley delivers, what might appear as an almost “conventional” Jazz album. Of course there is nothing conventional about his exceptional improvisational ability or the performances by all three musicians, but the overall effect of the album is more acceptable to a listener, who might find it difficult to face Riley’s “usual” output. Of course some of the pieces on this album are freely improvised and others are melodic, but the album’s immediate “appeal” is magical. This is a great example of masterly performed music, which escapes classification and goes directly to one’s heart. Most warmly recommended, especially to listeners who are not familiar with this great musician and could use this album as an entry point to discover a new world of music.

CD 1 Recommend To A Friend

HOWARD RILEY / ELTON DEAN ~ ONE TO ONE SLAM 234 (Barcode: 5028386023425) ~ UK ~ Free Jazz / Improvised Music Recorded: 1993 - 1999 Released: 1999 This is an album by the British Jazz duo of pianist / composer Howard RileyFind albums by this artist and saxophonist / composer Elton DeanFind albums by this artist, one of several recordings the two great musicians made together. The album presents eight tracks, all recorded live, which originate from two performances captured six years apart. Five of the tracks are co-credited to the two musicians, two are their interpretations of music composed by other Jazz greats and one is their take on a standard. The music is very intensive, partly based on melodic themes but largely improvised, with was the usual modus operandi of this duo, when working together. Both musicians cooperated for many years and offers a very tight rapport, which is beautifully portrayed herein. Dean, who is mostly known for his work as a member of Soft MachineFind albums by this artist and other Canterbury scene ensembles, was in parallel involved with the Improvised Music / Free Jazz scene, which naturally is significantly less popular and widely known. His death in 2006 robbed the British Jazz scene not only of one of its greatest musicians, but also a kind and much loved human being. Overall, this album is an important document of the British Free Jazz / Improvised Music scene in the 1990s, with a superb “Art of the Duo” performances by two brilliant musicians, who took no prisoners in their total approach to the music, and stayed faithful to their aesthetics, disregarding the musical fads and fashions, which came and went over the years.

Updated: 16/04/2023Posted: 16/04/2023

CD 1 Recommend To A Friend

HOWARD RILEY / KEITH TIPPETT ~ INTERCHANGE JAZZPRINT 109 (Barcode: 604388474028) ~ UK ~ Free Jazz / Improvised Music Recorded: 1993 Released: 2001 This is a wonderful album by the British Jazz duo of Avant-Garde pianists Howard RileyFind albums by this artist and Keith TippettFind albums by this artist. It presents a live concert recorded in Bern by the Swiss Radio, which is a continuous spontaneous improvisation lasting for almost an hour and not split into separate tracks, but appearing here as the only track of the CD. This is the third recording in a duo format by these two Master musicians, following the "First EncounterFind albums with this title" (recorded 1981) and "In FocusFind albums with this title" (recorded 1984) and as usual offers some dazzling performances. Completely unrehearsed, the music sounds as if played by one four handed being, with a level of telepathic communication between the two pianists which is mind bugling. Improvised Music can present quite a challenge to the listener, much more so in recorded form than being experienced live, where the direct contact between the artists and the audience is presents and becomes a part of the entire experience. This album, although being incredibly rich and complex, is one of the most accessible of its kind, and can be enjoyed probably by people who had no previous or very little Avant-Garde encounters. Personally I find this album to be one of my favorite recordings by both Riley and Tippett, and although I have very many of their recordings, I find myself returning to this one more often than most of the others. But of course everything these two Magicians recorded over the years is absolutely worth being discovered and kept on the shelf for easy access. Most warmly recommended and although not easily found these days, definitely worth the effort of hunting for a copy – satisfaction guaranteed!

Updated: 02/05/2019Posted: 02/05/2019

CD 1 Recommend To A Friend

HOWARD RILEY / KEITH TIPPETT ~ THE BERN CONCERT FMR 008 (Barcode: 786497263721) ~ UK ~ Jazz Recorded: 1993 Released: 1994 British pianists / composers Howard RileyFind albums by this artist and Keith TippettFind albums by this artist have both been on the forefront of the Avant-Garde musical scene since the 1960s, recording and performing some of the most daring and advanced music originating in Europe. Although each one of them creates quite a different musical universe, they found time and inclination to cooperate as a duo since many years and recorded several albums together. This live performance in Switzerland is considered both by themselves and their fans as a peak of their musical cooperation and constitutes a sublime document of Improvised Music. The sheer power and endless possibilities available by two grand pianos facing each other are simply staggering. The music is all spontaneous and unrehearsed, but it sounds as if these two marvelous musicians played with each other constantly. The ability to listen to each other and complement each other musically is omnipresent here, creating a total that surpasses by far the sum of the ingredients. Listening to the music and moving between delicate and quiet passages to stormy explosions is a journey every music lover should undertake at some stage. The level of interplay and mutual respect these two musicians hold for each other is truly admirable. All that is left for us to do is to float on the wings of this music and let it take us to uncharted territories, having a ride of our life. Superb!

Updated: 12/04/2019Posted:

CD 1 Recommend To A Friend

MIKE TAYLOR ~ PENDULUM SUNBEAM 5034 (Barcode: 5051125503414) ~ UK ~ Jazz Recorded: 1965 Released: 2007 Pianist / composer Mike TaylorFind albums by this artist was the most enigmatic figure on the British Jazz scene in the 1960s. His genius was almost completely unknown to most and just a handful of close friends / musicians had the opportunity to work with him and hear his music. His eccentric personality, which bordered on the mentally unstable and his tragic death at a ridiculous young age cut his career short, leaving a legacy of just two albums, of which this is the first. Anybody listening to this album will surely realize that this is one of the most daring and earliest modern British Jazz recordings and it parallels (in time and complexity) to the most advanced Avant Garde Jazz experiments happening across the Atlantic. Taylor’s unprecedented and unconventional approach to music was so ahead of its time that it’s truly mind-boggling. The quartet playing on this recording includes Taylor on piano, Dave TomlinFind albums by this artist on soprano saxophone, Tony ReevesFind albums by this artist on bass and Jon HisemanFind albums by this artist on drums (the last two were of course to form the band ColosseumFind albums by this artist a few years later). The sound of the quartet is somewhat similar to John ColtraneFind albums by this artist’s legendary quartet, but Taylor plays quite differently than McCoy TynerFind albums by this artist of course. The music includes three Jazz standards (on what used to be Side A) and three original compositions by Taylor (on Side B). The treatment of the standards is an absolute hair-raising experience, with Taylor de-composing / de-structuring the original harmony and re-assembling the pieces together in a completely new way. His original compositions are awesome as well, exposing a new musical universe. The entire album is a knockout from start to finish and listening to it over 40 years after it was recorded should still produce Goosebumps on every sensitive listener’s skin. BTW people unaware of Jon Hiseman’s early Jazz days should check out his recording with another great British pianist Howard RileyFind albums by this artist on Howard’s debut album DiscussionsFind albums with this title. Taylor was about to record only one more album, called simply TrioFind albums with this title, with Jon Hiseman and Jack BruceFind albums by this artist on bass (Bruce was very much involved with the British Jazz scene before his adventure with CreamFind albums by this artist – see Jack’s debut album Things We LikeFind albums with this title), who was a friend of Taylor, as were the other members of the Graham Bond OrganizationFind albums by this artist. Also it’s really strange that Taylor’s fate was in many ways similar to that of Bond’s, both ending their lives in a suicide / accident, following a long period of mental instability. This album is a central piece of the puzzle forming the birth of modern British Jazz and no serious follower of that scene can afford not to have this album in his collection. Beyond essential!

Updated: 06/06/2021Posted:

CD 1 Remastered Essential Recommend To A Friend

BARBARA THOMPSON ~ FIRST LIGHT JAZZ IN BRITAIN 54 (Barcode: 5060774190524) ~ UK ~ Jazz Recorded: 1971 - 1972 Released: 2023 This is an album collecting three archival live recordings / radio broadcasts by the late British Jazz saxophonist / composer / bandleader Barbara ThompsonFind albums by this artist, which present her in various settings with the crème de la crème of the British Jazz musicians active in the early 1970s. As a result, it is a companion album to the tremendous 14CD Box Set “Live At The BBCFind albums with this title” by Barbara Thompson, released in 2020 by RepertoireFind albums on this label Records, offering material uncovered after the Box Set was released. This album, released by the Jazz In BritainFind albums on this label label, is a completely non-commercial release, with all profits from the album going to the Cure Parkinson’s Trust, a moving gesture by all the people involved, including Barbara’s and Jon HisemanFind albums by this artist’s daughter Ana GraceyFind albums by this artist and Jazz In Britain founder John ThurlowFind albums by this artist. We all still mourn Barbara’s and Jon’s untimely departures of course. The first two tracks present the Group EFind albums by this artist, which comprised of (in addition to Barbara) vocalist Pepi LemerFind albums by this artist, pianist Peter LemerFind albums by this artist, bassist Johnny DyaniFind albums by this artist and drummer Laurie AllanFind albums by this artist. The music is Avant-Garde Jazz, with superb vocal parts by Lemer, who sadly is often forgotten, but was one of the most interesting Jazz vocalist of the period. The next three tracks present a suite for a Big Band, called “The Awakening”, co-composed by Barbara and Jon. The band features a dreamy lineup of eleven instrumentalists and a vocalist – no other than my beloved Norma WinstoneFind albums by this artist – which reads like a Who’s Who of the modern British Jazz and is conducted by Neil ArdleyFind albums by this artist. The players are: trumpeters Ian HamerFind albums by this artist, Kenny WheelerFind albums by this artist and Henry LowtherFind albums by this artist, trombonist Derek WadsworthFind albums by this artist, saxophonists Don RendellFind albums by this artist and Barbara Thompson, cellist Charles TunnellFind albums by this artist, pianist Howard RileyFind albums by this artist, vibraphonist Bill Le SageFind albums by this artist, bassist Jeff ClyneFind albums by this artist and drummer Jon Hiseman. The music is absolutely brilliant and very typical of the Big Band recordings recorded at the time by Neil Ardley, Mike WestbrookFind albums by this artist and others. The vocal parts by Winstone are, not surprisingly, my favorite jewels, but the entire suite is simply divine and the fact it was discovered and now released is no less than sensational. The last five tracks are by Barbara’s group JubiabaFind albums by this artist, which comprised of (in addition to Barbara) trumpeters George ChisholmFind albums by this artist and Ian CarrFind albums by this artist, Wadsworth, Le Sage, Peter Lemer, bassist Roy BabbingtonFind albums by this artist, drummer Martin DrewFind albums by this artist and percussionist Trevor TomkinsFind albums by this artist. It presents the early version of the band, which was essentially dedicated to combining Jazz with World Music influences, mostly Latin. As far as I am aware, this is the earliest recordings by Jubiaba captured on tape. Overall, this is an absolute jewel from start to finish and an absolute must to all British Jazz enthusiasts, and in retrospect one of the most surprising and important releases by the Jazz In Britain label so far. The Big Band piece alone is a beacon symbolizing the birth of the modern British Jazz, with everything it stands for: ingenuity, originality, groundbreaking musical thinking and enormous talent. Hats off to everybody involved!

Updated: 26/07/2023Posted: 26/07/2023

CD 1 Mini-Sleeve Recommend To A Friend

KEITH TIPPETT & MATTHEW BOURNE ~ AEOLIAN DISCUS 120 (Barcode: 5051078989624) ~ UK ~ Free Jazz / Improvised Music Recorded: 2019 Released: 2021 This is a wonderful 2CD album, which documents the cooperation between the iconic British Jazz pianist / composer / improviser Keith TippettFind albums by this artist (born 1947) and pianist / composer Matthew BourneFind albums by this artist (born 1977), a representative of the new generation of British Jazz. Although separated by a generation gap, the two improvisers felt wonderfully comfortable playing piano duets, which they did during the last three years (2017 – 2019) of Tippett’s activity, cut short by his untimely death in 2020. The first CD presents eight studio recordings by the duo recorded in July 2019, as well as a solo piece by Tippett, which he composed. The second CD presents a live recording by the duo, also from 2019, which sadly was also the last live appearance by Tippett, which comprises of just two lengthy pieces combined into a one continuous stream of music. All the duo performances (studio and live) are credited to both players. Of course piano duets are hardly surprising as far as Tippett is concerned and his epic recordings with Stan TraceyFind albums by this artist in the 1970s and Howard RileyFind albums by this artist in the 1990s are absolutely classic examples of the “Art of the Duo” in the piano duet idiom. Although completely improvised, this music has a superb feeling of melody, even if only created subconsciously by the listener’s mind, and the gentle and serene interplays are sublime examples of “less is more”, which let the music flow naturally and coherently, both in the case of the studio recordings and perhaps even more so during the concert performance. The mutual respect and telepathic communication these two musicians share is nothing short of astounding. Our great thanks go to Martin ArcherFind albums by this artist, the owner of DiscusFind albums on this label Records, for bringing this superb music out in the open for all of us to enjoy and savor. It would have been unthinkable to let it stay in the vaults, especially in view of the fact that this is Tippett’s final statement. Overall, this is a momentous release, not only as far as British Jazz is concerned, but as a brilliant document of Improvised music, which makes perfect sense, can be listened to repeatedly and is extremely aesthetically pleasing, something that happens very rarely within this genre. Essential listening!

Updated: 10/12/2021Posted: 10/12/2021

CD 2 Mini-Sleeve Recommend To A Friend

VARIOUS ARTISTS ~ TURTLE RECORDS: PIONEERING BRITISH JAZZ 1970-1971 RPM 528 (Barcode: 5013929552807) ~ UK ~ Jazz Recorded: 1970 - 1971 Released: 2015 This is a phenomenal Box Set including the reissues of all three albums released by the legendary British TurtleFind albums on this label label, owned by producer Peter EdenFind albums by this artist, who besides owning the label was also responsible for producing a long list of revolutionary British Jazz albums, which are all classics today and which document the extraordinary explosion of creativity and talent that transformed British Jazz into a new idiom, emancipated from the American Jazz tradition, proudly stepping into a new dimension, which spread rapidly to the European Continent giving birth to European Jazz. Eden´s productions included albums by such pioneering Jazz musicians like Mike WestbrookFind albums by this artist, John SurmanFind albums by this artist, Alan SkidmoreFind albums by this artist, Michael GibbsFind albums by this artist, Norma WinstoneFind albums by this artist and others, as well as no less pioneering Rock / Prog musicians. Most of his productions were originally released on the DawnFind albums on this label and DeramFind albums on this label labels. The three albums included in this Box Set are: "OutbackFind albums with this title" by Mike OsborneFind albums by this artist, "FlightFind albums with this title" by Howard RileyFind albums by this artist and "Pause, And Think AgainFind albums with this title" by John Taylor.Find albums by this artist To read the reviews of these albums please click on their titles. The set also includes a fabulous book "The Turtle Records Story" by Colin HarperFind albums by this artist, which is an excellently written and researched account of Eden´s activity at the time, and which includes may interviews with musicians involved and photographs taken at the time, in short a superb piece of British Jazz history. This is a splendid example of what writing about music is all about. I can hardly imagine a more important document of the pivotal period of the British Jazz than this Box Set. The music is still shockingly expressive, losing nothing of its power and farsightedness over time, the production is exemplary and the listening experience exhilarating. Anybody interested in Jazz who does not own the original LPs should of course get this Box Set ASAP, since not knowing this music is simply criminal. Unless of course someone prefers to listen to the insanely boring American mainstream…

Updated: 26/01/2019Posted: 20/05/2016

CD 3 Mini-Sleeve Box Set Remastered Essential Recommend To A Friend