Record Reviews
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  | 3 JAZZ SOLDIERS ~ ODLAMKOWA
NOT ON LABEL ~ POLAND ~ Jazz-Rock Fusion
Recorded: 2011 - 2012 Released: 2012
This is the debut album by the Polish Jazz-Rock / Fusion trio 3 Jazz SoldiersFind albums by this artist, led by the veteran guitarist Krzysztof MisiakFind albums by this artist, with bassist Filip SojkaFind albums by this artist and drummer Grzegorz GrzybFind albums by this artist. Of the twelve tracks on the album, four are original composition by Misiak and the rest are Jazz and Rock standards ranging from Miles DavisFind albums by this artist to the BeatlesFind albums by this artist.
The group is a typical Jazz-Rock power trio with a stronger Rock than Jazz affiliation rhythmically, but the music is mostly improvised, as appropriate for the Jazz-Rock milieu. The guitar is of course the most dominant instrument, leading the music most of the time, with the rhythm section providing all the background and basis for the leader to ride upon. The bassist has very nice chops and the drummer is rock-steady and keeps time, which in these circumstances is exactly what the doctor prescribed.
Misiak is a gifted and very experienced player, who is able to make his guitar sound "retro", which is quite nice and effective. The overall atmosphere of the album is very much the 1970s, which in this case is a good thing. The selection of tunes is versatile enough to present a whole spectrum of guitar bravado, from slow and smoky ballads to up-tempo energetic rockers. The music is funky and enough to dead dance.
There are no great musical innovations or challenges here, this is good time stuff, which is meant to entertain, something music should definitely do, at least occasionally. But being entertaining without being vulgar or overly simplistic is rare these days and this album is just a nice example how to do it.
For guitar aficionados this is a must, especially those, who like the Rocky side of Jazz-Rock / Fusion. Definitely worth investigating!
| | | CD 1 Digipak Recommend To A Friend |
  | ANTHONY BRAXTON ~ CHARLIE PARKER PROJECT
HATOLOGY 612 (Barcode: 752156061229) ~ USA ~ Jazz
Recorded: 1993 Released: 2004
This is a long overdue reissue of the legendary album by American musician / composer / bandleader Anthony BraxtonFind albums by this artist, one of the most iconic figures of the late 20th Century Free Jazz and Avant-Garde music scene and probably the most important Jazz pioneer in the post John ColtraneFind albums by this artist era. The album captures a live recording of the Braxton´s sextet in Switzerland and Germany, with him playing saxophones and clarinet, accompanied by saxophonist Ari BrownFind albums by this artist, trumpeter Paul SmokerFind albums by this artist, pianist Misha MengelbergFind albums by this artist, bassist Joe FondaFind albums by this artist and drummers Han BenninkFind albums by this artist and Pheeroan AkLaffFind albums by this artist (each playing on one of the two CDs). The music is a loving tribute to Bee Bop and includes mostly compositions by the genre´s pioneer Charlie ParkerFind albums by this artist with three tunes by Dizzy GillespieFind albums by this artist and one each by Tadd DameronFind albums by this artist and Miles DavisFind albums by this artist. Braxton re-visits Bee Bop with respect and love, but of course applies his completely unique interpretation of the music, which is, as usual, completely breathtaking. The level of virtuosity in interplay is simply astounding and this album surely deserves an honorable place in any serious Free Jazz collection. The intercontinental meeting of improvising forces and talents works beautifully, soaring to previously undiscovered heights. This is an absolutely essential example of Free Jazz, for those who are connoisseurs of the genre, which is not to be missed, especially for the second time around.
| | Updated: 12/04/2019Posted: | CD 2 Mini-Sleeve Oversampling Remastered Recommend To A Friend |
  | BILL BRUFORD / MICHIEL BORSTLAP ~ IN TWO MINDS
SUMMERFOLD 019 (Barcode: 604388697120) ~ UK ~ Jazz
Recorded: 2006 - 2007 Released: 2007
2nd album by the Jazz duo of legendary UK drummer Bill BrufordFind albums by this artist and Dutch piano virtuoso Michiel BorstalpFind albums by this artist, continuing the wonderful music they made together as documented on the CD and DVD released in 2004. All the music was recorded live in Holland and UK, directly to CD with no overdubs or any studio hanky-panky trickery involved, which makes this even more remarkable. As much as a duo of piano and drums might seem a limited vehicle for creating music, the talent and sheer brilliance of these two musicians proves all the skeptics wrong. There are no limits to human imagination and creativity, which are evidently present here. All the music was co-composed by Bruford and Borstlap except one Miles DavisFind albums by this artist standard. This music needs no recommendations to anyone already familiar with the duo’s abilities, and people who never had the opportunity to savor any of this delightful musical meal are invited to take a mouthful – they’ll never regret it!
| | | CD 1 Recommend To A Friend |
  | RON CARTER ~ ETUDES
WOUNDED BIRD 6214 (Barcode: 664140621428) ~ USA ~ Jazz
Recorded: 1982 Released: 2008
Legendary US bassist Ron CarterFind albums by this artist, one of the great Jazz veterans of the genre and the backbone of countless Jazz recordings, presents here a series of new compositions accompanied by other great musicians: trumpeter Art FarmerFind albums by this artist, saxophonist Bill EvansFind albums by this artist and drummer Tony WilliamsFind albums by this artist. This piano-less quartet might sound slightly unusual at first, but just a few bars into the music it becomes clear that they are s superb unit of Master musicians. Both Farmer and Evans solo with confidence and flair, Williams displays his usual pyrotechnics, which is second to none, and Carter confidently and with virtuosity sets the pace and puts down the backbone at all time. His beautiful tone (excellently recorded) is overwhelming and inspiring. The music includes four compositions by Carter and two by Williams and although it´s not experimental or particularly innovating, is well structured and makes perfect sense musically, allowing plenty of space for soloing. Carter´s solos are of course, as always, full of inspiration and virtuosity and Williams proves to be a perfect partner – well they did play together for many years in the legendary Miles DavisFind albums by this artist second quintet after all. This album is an absolute must for all bass enthusiasts, but every Jazz lover will find plenty of great music here.
| | | CD 1 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 PRESTIGE RECORDINGS
PRESTIGE 888072335936 (Barcode: 888072335936) ~ USA ~ Jazz
Recorded: 1956 - 1958 Released: 2011
This magnificent Box Set combines all the recordings by the greatest Jazz musician of all times, saxophonist / composer John ColtraneFind albums by this artist, recorded for the legendary PrestigeFind albums on this label label. The only Coltrane recordings missing in this set are those he recorded with Miles DavisFind albums by this artist (which are available on the "Chronicle: The Complete Prestige Recordings Of Miles DavisFind albums with this title" Box Set) and therefore this Box Set misses the "complete" element in favor of avoiding unnecessary duplication.
The vast amount of music included here, which fills 16 CDs, was recorded during 25 recording sessions, the first of which took place on May 7, 1956 and the last on December 26, 1958: a period of about two and a half years. Part of the music features Coltrane as a sideman and the rest as a leader. Forty two other players, beside Coltrane, participate in these recordings, a list of names which reads like the encyclopedia of American Jazz in the 1950s.
The Prestige era was a vital part of Coltrane´s ever changing path towards spiritual and artistic unity. His stint with Miles Davis and the sessions collected here were his rite of passage between his early years and his Big Bang, which will occur just a few years later after Coltrane switched from Prestige to AtlanticFind albums on this label and then finally to Impulse!Find albums on this label Coltrane firmly believed in paying the dues and mastering one´s skills before taking the liberty to step across the boundaries of the known musical universe. Although he does not actually cross any boundaries on these recordings, he certainly gets to develop the tools and experience, which are crucial in order to be able to do so. His playing here is simply perfect, any way one looks at it. Technically his phrasing, fluidity, timbre, harmonic progression and the complete control of the instrument (he plays only tenor saxophone on all these recordings) and the rest his musician´s arsenal are simply astounding. Emotionally his music matures and achieves a level of focus previously never encountered. It is quite obvious that without this period the revolutionary developments, which were just around the corner, would have never happened.
These sessions reveal the fact that the intensity of Coltrane´s life as a musician left little time for his talents as a composer to materialize in parallel. The entire Box Set includes only a small number of Coltrane´s original compositions; that aspect of his personality had to wait just a bit longer. However Coltrane discovered the African sources of Jazz during this time, which will become an important part of his future music, his emotional approach to Jazz and a part of his personal philosophy.
In historic perspective this music is a not only a superb synopsis of American mainstream, captured just moments before Free Jazz was about to shatter all the conventions and take it to the next existential level. This is simply the best music, made by the best musicians and therefore eternally a part of the canon of our Culture. And yes, it is also an essential listening experience, as a whole or part by part, chronologically or in reverse order, any way you wish, just please listen! Your life will never be the same again…
| | Updated: 26/01/2019Posted: | CD 16 Mini-Sleeve Box Set Remastered Essential Recommend To A Friend |
  | CHICK COREA / JOHN MCLAUGHLIN ~ FIVE PEACE BAND LIVE
CONCORD 231397 (Barcode: 888072313972) ~ USA ~ Jazz-Rock Fusion
Recorded: 2008 Released: 2009
Pianist Chick CoreaFind albums by this artist and guitarist John McLaughlinFind albums by this artist are both icons of contemporary music. Their activities in the last 40 years span such a vast spectrum of music that only a very few other musicians on this planet can be counted their equals. Corea and McLaughlin both played a crucial role in the revolutionary Miles DavisFind albums by this artist ensemble that gave us "In A Silent WayFind albums with this title" and "Bitches BrewFind albums with this title", and then continued to explore and revolutionize Jazz and Fusion, each with his own numerous ensembles. Although they have performed over the years occasionally as a duo, no formal recordings were issued of these meetings (some of their playing can be heard on the momentous McLaughlin Montreux Box Set). Therefore the forming of the Five Peace BandFind albums by this artist, initiated by Corea after his last Return To ForeverFind albums by this artist reunion tour, is a first time the two Masters play together in a regular band. Of course one immediately assumes that the band should sound as a combination of Return To Forever and Mahavishnu OrchestraFind albums by this artist, but since the early days of Fusion are long gone, Five Peace Band´s concept is completely up to date and modern. With saxophonist Kenny GarrettFind albums by this artist, bassist Christian McBrideFind albums by this artist and drummer Vinnie ColaiutaFind albums by this artist the band is an incredible music making machine, offering the listener an orgy of sound, beautiful expanded improvisations and sophisticated compositions. Most of the material was written by Corea and McLaughlin, but they also pay tribute to their former boss Miles Davis by including some of his music, with another ex-Davis band member Herbie HancockFind albums by this artist present as a guest. There is little need to recommend this album flamboyantly, as any serious music lover surely understands the magnitude of this recording. This is a dream come true and an absolutely essential piece of music!
| | Updated: 26/01/2019Posted: | CD 2 Essential Recommend To A Friend |
  | TONY CROMBIE ~ SEVEN CLASSIC ALBUMS PLUS BONUS EP
REAL GONE JAZZ 430 (Barcode: 5036408156525) ~ UK ~ Jazz
Recorded: 1954 - 1961 Released: 2013
This is a reissue of early recordings by the legendary drummer / composer / bandleader Tony CrombieFind albums by this artist, undoubtedly one of the greatest British Jazz drummers of the first post-WWII generation. Crombie played with the best Swing and Bebop players, including Ronnie ScottFind albums by this artist and John DankworthFind albums by this artist, served as member of the resident house band at Ronnie Scott´s Jazz Club in London and moved on when the British Jazz changed its character, playing with such modernists as Stan TraceyFind albums by this artist. He also had ties with Rock And Roll and Pop, playing among others with the great vocalist Georgie FameFind albums by this artist. He accompanied many American Jazz vocalists upon their visits in the UK. Crombie´s compositions were very popular among Jazz musicians and even Miles DavisFind albums by this artist recorded one of his tunes on his "Seven Steps To HeavenFind albums with this title" album.
The seven albums included here are: "At The Royal Festival HallFind albums with this title" (with Ronnie Scott) from 1956, "Annie By The CandlelightFind albums with this title" (with vocalist Annie RossFind albums by this artist) from 1956, "Man From The InterpolFind albums with this title" (a TV Series Soundtrack) from 1959, "Sweet Wide And BlueFind albums by this artist" from 1960, "Drums! Drums! Drums!Find albums with this title" from 1960, "Whole Lotta TonyFind albums with this title" from 1961 and finally "Twelve Favorite Film ThemesFind albums with this title" from 1961. In addition an EP from 1954 featuring his orchestra is also included.
Overall this is a fascinating collection of great mainstream Jazz music played by the best British musicians at the time, and which has additionally also an enormous historical value. I can’t imagine any true British 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: 01/06/2018Posted: 01/06/2016 | CD 4 Remastered Recommend To A Friend |
  | MILES DAVIS ~ AT CARNEGIE HALL: THE COMPLETE CONCERT
COLUMBIA 65027 (Barcode: 5099706502722) ~ USA ~ Jazz
Recorded: 1961 Released: 1998
It’s good to see that record companies sometimes are able to get a grip and correct the mistakes of the past. ColumbiaFind albums on this label has certainly tried its best to do justice to the magnificent recorded legacy of Miles DavisFind albums by this artist and this album is a part of that effort. This album assembles the complete Miles Davis Quintet / Gil EvansFind albums by this artist Orchestra concert recorded on May 19, 1961 at the Carnegie Hall, putting everything at the original recording order without editing or dubbed applause (the music included here was previously available on two separate albums: Miles Davis At Carnegie HallFind albums with this title and More Music From The Legendary Carnegie Hall ConcertFind albums with this title). This album is of course a perfect companion to the sublime Columbia 6 CDs Box Set The Complete Columbia Studio RecordingsFind albums with this title, especially as the concert was the first time Miles performed with the Gil Evans Orchestra live. 1961 marked an extremely busy and productive year for Miles. Following the departure of John ColtraneFind albums by this artist and Bill EvansFind albums by this artist, the “first” legendary Miles Davis Quintet was history and Miles quickly organized a new Quintet, which was to be his vehicle for an interim period of about two years, until the “second” legendary Quintet was to rise like a phoenix and take Jazz places never dreamt about. The “interim” Quintet included excellent and experienced players: Hank MobleyFind albums by this artist – saxophone, Wynton KellyFind albums by this artist – piano, Paul ChambersFind albums by this artist – bass and Jimmy CobbFind albums by this artist – drums (the last two were remaining members from the “first” Quintet). These players followed their leader with skill and devotion, creating some of the best modern jazz on record. Just one month before this concert the Quintet recorded a magnificent live album In PersonFind albums with this title (which is now available as a 4 CDs Box Set In Person Friday And Saturday Nights At The Blackhawk, CompleteFind albums with this title). The studio album Someday My Prince Will ComeFind albums with this title was recorded just a couple of months before the Carnegie concert recording. The next (and last) studio recording with Gil Evans (Quiet NightsFind albums with this title) was just months ahead. Looking back at this period it becomes plainly evident that Miles was already “miles ahead” in his mind, looking for a new vehicle and a new direction, which would commence shortly with the formation of the new Quintet and the groundbreaking new album ahead (Seven Steps To HeavenFind albums with this title). That of course makes this music no less magnificent, as Miles was destined to be “in transition” for the duration of his entire career. It remains here, recorded for posterity, for us mortals to enjoy (almost 46 years later), loosing absolutely nothing of its relevance and eternal beauty. Miles of course was one of the very few artists, who made a statement with every note they played. As such, these notes are a source of inspiration and joy for those who love this music. Essential!
| | Updated: 26/01/2019Posted: | CD 2 Oversampling Remastered Essential Recommend To A Friend |
  | MILES DAVIS ~ AT NEWPORT 1955-1975: THE BOOTLEG SERIES VOL.4
COLUMBIA 888750819529 (Barcode: 888750819529) ~ USA ~ Jazz
Recorded: 1955 - 1975 Released: 2015
This is the 4th installment of the "Bootleg Series" live recordings by American trumpeter / composer Miles DavisFind albums by this artist, released by ColumbiaFind albums on this label Records. This time the recordings originate from the performances by Davis and his various groups as part of the annual Newport Jazz Festival, which still functions uninterruptedly since its inception in 1954 and served over time as one of the most important icons of American Jazz.
This 4 CD set spans twenty years of performances by Davis at Newport, starting with his appearance as a member of an all-star ad-hoc ensemble in 1955 and ending with his group´s appearance at the 1975 edition of the festival. It also includes two live recordings made in Europe (Germany and Switzerland) during the Newport Festival European tours.
With the exception of the first four tracks on CD 1, which include the above mentioned 1955 performance, which is rather badly recorded and completely banal musically, the rest of this set is, as expected, absolutely brilliant, with every second being completely revealing and historically significant. The 1958 appearance features the legendary first quintet with John ColtraneFind albums by this artist, the 1967-68 appearance features the even more legendary second quintet, the 1969 appearance features the core of the "Bitches BrewFind albums with this title" group, the 1971 appearance features the group with Gary BartzFind albums by this artist and finally the 1973-75 appearances feature the double guitar (Pete CoseyFind albums by this artist and Reggie LucasFind albums by this artist) and no keyboards group with Dave LiebmanFind albums by this artist (or Sam MorrisonFind albums by this artist).
Since the tracks are arranged (almost) chronologically, this set wonderfully depicts the transformation of Davis and his groups during that period, expanding the horizons of Jazz (and music in general) in a radical way, which only an Artist of his vision and prophetic drive could achieve. Considering the fact that most of this music was previously unreleased and the recording quality is quite excellent, this set is simply irresistible to every Davis fan. This music remains absolutely timeless and fresh, completely untouched by the tides of time; the Holy Grail!
| | Updated: 31/12/2024Posted: | CD 4 Digipak Remastered Essential Recommend To A Friend |
  | MILES DAVIS ~ BITCHES BREW (40TH ANNIVERSARY LEGACY EDITION)
COLUMBIA 775150 (Barcode: 886977515026) ~ USA ~ Jazz
Recorded: 1969 Released: 2010
Almost every music lover on this planet is aware of the fact that this is a monumental piece of music, one of the pillars of modern Jazz Art Form and way beyond. I have lived with this music for 40 years now, since the day it was first released and I opened the gatefold double LP to place the vinyl on my record player, starting a musical journey that would last a lifetime. Now, while playing this new edition of the album, I feel the same kind of excitement and elation that always accompanies me when this music is playing. In the years that passed I´ve written extensively about Miles DavisFind albums by this artist and the "Bitches BrewFind albums with this title" album, so I won´t repeat myself. Suffice to say, that for me this is a masterpiece of extraordinary proportions, which gets better with time. I´d like however, to expand on the subject of how this edition compliments "The Complete Bitches Brew SessionsFind albums with this title" Box Set, making it clear that having just one of these two editions is simply not enough. First and foremost, this edition includes the version of the album as originally released on the double LP set 40 years ago. This particular version was elaborately edited, spliced, mixed and cooked by producer Teo MaceroFind albums by this artist, which was often dramatically different from the music actually recorded in the studio by the musicians. Regardless of the fact if one likes or agrees to what Macero did with the music, this is what the world knew as "Bitches Brew" until the appearance of the Box Set. The Box Set does not include any of these particular collages and therefore they are parallel, but far from identical. In addition, this edition includes six previously unreleased pieces of music; the first two being alternate takes from the actual sessions not included in the Box Set (which makes the "complete" part of the Box Set´s title redundant) and the other four being single edits from the album (previously unreleased on CD) – yes ColumbiaFind albums on this label did make singles for the radio from this album – imagine that! If all that is not enough, this set also includes a DVD with the Miles Davis quintet (Miles, Wayne ShorterFind albums by this artist, Chick CoreaFind albums by this artist, Dave HollandFind albums by this artist and Jack DeJohnetteFind albums by this artist) filmed in Copenhagen in November 1969 shortly after this prophetic music was recorded, which alone is worth the price of the entire set. So here we have it – another essential piece of recorded history that everybody simply has to have.
| | Updated: 26/01/2019Posted: | 2CD+DVD 3 Digipak Remastered Bonus Tracks Essential Recommend To A Friend |
  | MILES DAVIS ~ CHRONICLE: THE COMPLETE PRESTIGE RECORDINGS 1951-1956
PRESTIGE 025218440028 (Barcode: 025218440028) ~ USA ~ Jazz
Recorded: 1951 - 1956 Released: 1987
This is a monumental 8CD Box Set, which collects all the recordings by iconic American trumpeter / composer / bandleader Miles DavisFind albums by this artist, recorded for PrestigeFind albums on this label Records between January 17, 1951 and October 26, 1956. The Box Set includes 94 tracks, recorded during 17 sessions, with 34 different musicians, presented exactly in the sequence they were recorded. All the music was remastered for this CD edition of the Box Set from 1987, which was initially released in analogue form in 1980 as a 12LP Box Set.
Considering the fact that there is an endless amount of commentary about this music already written, I’ll only state some personal remarks here.
This Box Set presents the formative Davis’ period, during which he was looking for his personal form of expression. He crossed and zig-zagged Jazz genres with ease, be it Cool, Bebop, Hard Bop, or whatever, just in order to find the sound that represented him regardless of how it was classified. Playing with musicians, who were deeply rooted in one specific genre or idiom made him often uneasy and kept him searching.
On the last three CDs of this Box Set we can hear the Davis’ First Great Quintet, with saxophonist John ColtraneFind albums by this artist, pianist Red GarlandFind albums by this artist, bassist Paul ChambersFind albums by this artist and drummer Philly Joe JonesFind albums by this artist. The quintet was a turning point, as far as Davis was concerned, when his found his very own voice for the first time, largely inspired by Coltrane of course. Following the move to ColumbiaFind albums on this label and eventually with the formation of the Second Great Quartet in 1964, Davis would become completely liberated from the formal stylistic definitions, creating music that was first and foremost his own and beyond any existing style, often coercing critics to invent new style labels to fit his music.
During my conversations with Davis, he often stressed that the tendency of many American Jazz musicians to cling to Bebop as the basis of their music, simply holds them back from developing further (he was, of course, using somewhat less politically correct vocabulary, when making his observations). Davis’ Prestige period, although producing a vast amount of great music, as evident from what is included herein, was a transitional phase, which only towards its end managed to crystalize Davis’ musical personality, and which eventually would lead towards higher planes.
Overall, this Box Set is an essential piece of American Jazz history, which summarizes the first half of the 1950s probably better than most other recordings of that period. As far as Miles Davis is concerned, it is but a taster of his full might, which will explode about a decade later, but nevertheless it is a classic part of the puzzle, which every Jazz fan should be familiar with.
| | Updated: 03/02/2024Posted: 03/02/2024 | CD 8 Box Set Remastered Essential Recommend To A Friend |
  | MILES DAVIS ~ FREEDOM JAZZ DANCE: THE BOOTLEG SERIES VOL.5
COLUMBIA 889853573721 (Barcode: 889853573721) ~ USA ~ Jazz
Recorded: 1965 - 1968 Released: 2016
This is the 5th installment of the "Bootleg Series" recordings by American trumpeter / composer Miles DavisFind albums by this artist, released by ColumbiaFind albums on this label Records. For the first time in this series, the music included here comprises of studio recordings, rather than of live material, as was the practice so far. The music was recorded by the legendary second Miles Davis Quintet, which featured saxophonist Wayne ShorterFind albums by this artist, pianist Herbie HancockFind albums by this artist, bassist Ron CarterFind albums by this artist and drummer Tony WilliamsFind albums by this artist.
The music is presented in its rawest possible form, by simply including entire session reels, which comprise of rehearsals, false starts, partial takes, alternate takes and extensive studio chatter, all captured on tape in real time. The actual master takes follow, demonstrating the final result, which was eventually released on record. The whole concept of this set is to reveal a close inside look at the process of recording music and for people interesting in that process it is of course fascinating and absolutely unique.
Six of the master takes were released as the "Miles SmilesFind albums with this title" album released in 1967 and two were included on the "NefertitiFind albums with this title" album released in 1968. One master take remained unreleased for nine years and was finally included on the "Water BabiesFind albums with this title" album released in 1976. Several other tracks are previously unreleased.
Considering the fact that this music is performed by what is considered by many the ultimate Jazz ensemble to ever walk the face of the earth, every millisecond of this album is worth its weight in gold. The fact that they made mistakes and swore makes them of course human, but the way they play is definitely godlike. Although every devoted Miles fan is familiar with the master take versions of this music, the revelation of the process of their actual making is a deeply moving and for connoisseurs of the second Quintet this is of course an absolute must. For people who have spent huge amount of time in recording studios, like me, this is a close encounter of the fifth kind.
The fact that the music is absolutely sensational is of course obvious, which means that the more we can hear of it the better. The session reels, which are full of pauses and starts, can be a bit difficult for people not used to the studio reality, but are all worth the effort as they include some incredible music delivered once the quintet finally gets into gear and starts sailing full steam ahead.
As all the releases in the "Bootleg Series", this one delivers exactly what expected: previously unheard music, new perspectives, close encounters, historic moments and great memories. One can hardly imagine a more proper tribute to the genius of Miles Davis and the musicians associated with him than this series which takes the music seriously, is well researched, is aesthetically packaged, or in short simply works out wonderfully well. A BIG thank you to everybody involved in making this release a reality. One can only hope for many more installments in the future.
| | Updated: 31/12/2024Posted: 21/01/2017 | CD 3 Digipak Remastered Essential Recommend To A Friend |
  | MILES DAVIS ~ IN BERLIN
COLUMBIA 519507 ~ USA ~ Jazz
Recorded just a couple of months after the 1964 "In Tokyo" album, this is the first recording of the legendary second Miles` quintet. Wayne Shorter replaces Sam Rivers and becomes the permanent member of the quintet for the next few years to take part in the jazz revolution that Miles orchestrated in the second half of the 1960`s. The chemistry of that ensemble is evident form the first note and the performances, although still based firmly in the jazz tradition of years past, obviously point towards the new direction those musicians were to undertake soon after. Absolutely essential!
| | | CD 1 Remastered Bonus Tracks Essential Recommend To A Friend |
  | MILES DAVIS ~ IN PERSON FRIDAY AND SATURDAY NIGHTS AT THE BLACKHAWK, COMPLETE
COLUMBIA 87106 ~ USA ~ Jazz
Recorded live on April 21-22, 1961, this superb Box Set presents the Miles Davis Quintet performing at the San Francisco’s Blackhawk club. Miles has just lost John Coltrane as a member of his (so-called) first great Quintet, which lasted for almost five years. Coltrane’s replacement, saxophonist Hank Mobley, faced an almost impossible task of filling the shoes of the departed Giant, but as these recording prove beyond any doubt, he was up to the challenge and ready and with the brilliant rhythm section consisting of Wynton Kelly on piano, Paul Chambers on bass and Jimmy Cobb on drums this particular Quintet turned out to be one of the most intense, hard-swinging and brilliant ensembles ever led by Miles. Although short-lived, it is documented on this momentous recording for posterity. When presented with great music the best thing a producer can do is to start the tape rolling and keep it rolling. This is exactly what this recording is all about – a complete record of the music as it happened during those two nights, no fiddling around, no editing, no splicing – 100 % proof great Jazz. The entire ensemble delivers an unbelievable explosion of attack and bravado, Miles plays some of his best solos ever, Mobley counter-attacks with ferocious, yet highly melodic improvisations of his own and the ever-so-elegant Kelly mixes his romantic harmonies and intense vamping behind the horns. Chambers and Cobb provide the rock solid, yet highly imaginative pulsation driving the entire ensemble like a chronometer and managing the intricate rhythm changes with precision and elegance. This is Jazz at its best – ass kicking and inspired. Thank God for the invention of the tape recorder – as I was 10 years old when this magnificent music was recorded, I would have solemnly missed this music if it was lost forever – now I can enjoy it as if it’s happening right now. In the 45 years since this music was recorded, it lost absolutely nothing of its aesthetic and intellectual value; en contraire it sounds so much better when compared to the endless oceans of musical boredom surrounding us in the form of (most) contemporary musical feeble-mindedness. Absolutely essential food for the mind and soul.
| | Updated: 26/01/2019Posted: | CD 4 Box Set Remastered Bonus Tracks Essential Recommend To A Friend |
  | MILES DAVIS ~ LIVE IN EUROPE 1967: THE BOOTLEG SERIES VOL.1
COLUMBIA 886979405325 (Barcode: 886979405325) ~ USA ~ Jazz
Recorded: 1967 Released: 2011
The Miles DavisFind albums by this artist second quintet is often considered the ultimate Jazz ensemble of all times. With saxophonist Wayne ShorterFind albums by this artist, pianist Herbie HancockFind albums by this artist, bassist Ron CarterFind albums by this artist and drummer Tony WilliamsFind albums by this artist as his partners, trumpeter / composer Davis was pushing music light-years ahead during the three and a half years this quintet existed (1965-1968). The studio albums recorded by the quintet (see "The Complete Columbia Studio Recordings Of The Miles Davis Quintet 1965-68Find albums with this title") are absolute masterpieces, which are totally timeless and unparalleled in their depth and perfection.
However, it was on stage that this ensemble really created its best work. Sadly, the recorded legacy of live performances by this quintet is not very extensive and therefore this release, which brings us 3 CDs and a DVD of previously unreleased live material by this quintet, is worth its weight in gold to every Davis connoisseur. Recorded (and filmed) during the quintet´s European tour in October / November 1967, this music and the film were all captured within a period of eleven days, which means that we get a clearly focused picture of what they were doing at the time.
After playing together for almost three years, the quintet was at the absolute peek of their creative powers, completely focused and intimately linked together by telepathic musical understanding. Listening to these live performance confirms all this, but also much more. It ultimately shows how creative these players were, even when performing a fixed set of compositions evening after evening. Davis, firmly in the lead, gives the cues to move from one composition to another or a change of tempo, but allows the individual musicians complete freedom. It is this freedom, which is the most striking and significant element omnipresent here, almost shocking in its power. Large portions of this music could be easily taken from a Free Jazz concert, even though the basic concept is still anchored in mainstream.
Collective improvisations often have all five members of the quintet playing at different tempi, scales and themes at the same time, somehow miraculously making a perfect sense. Personally I´ve always found the young Tony Williams to be the most striking personality in this ensemble, with his perception of rhythm more radically different and innovative than the other quintet members. A careful listener will be able to hear Williams play four different rhythms simultaneously, each played by one of his limbs. This barrage of sound is the most striking drumming imaginable, and an almost mystical experience.
It would be ridiculous to recommend this release, at it goes without saying that all modern Jazz listeners should find it absolutely essential and an obligatory part of their collections. Since the subtitle suggests that this is just the first in a series of previously unreleased Miles Davis recordings, all I can say is Halleluiah!
| | Updated: 20/05/2018Posted: | 3CD+DVD 4 Digipak Remastered Essential Recommend To A Friend |
  | MILES DAVIS ~ LIVE IN EUROPE 1969: THE BOOTLEG SERIES VOL.2
COLUMBIA 887254185321 (Barcode: 887254185321) ~ USA ~ Jazz
Recorded: 1969 Released: 2013
Although it never reached the acclaimed status of the first and second legendary Miles DavisFind albums by this artist quintets, this was in fact the third quintet, with saxophonists Wayne ShorterFind albums by this artist being the only link to the previous group and pianist Chick CoreaFind albums by this artist, British bassist Dave HollandFind albums by this artist and drummer Jack DeJohnetteFind albums by this artist being the "new boys on the block". Unfortunately, in contrasts to its importance as the interim vehicle, which served Miles during the period of his most radical transformation, this quintet never recorded in the studio, leaving behind only live recordings, most of which were never previously released and appear officially here for the first time.
After all this was the group that Miles toured with in 1969, after completing the seminal "In A Silent WayFind albums with this title" album and while he was recording the world-shattering "Bitches BrewFind albums with this title" tour de force. Shorter, Corea and Holland played on the former album and Shorter, Corea, Holland and DeJohnette played on the latter, so the links are obvious. The material herein presents two live appearances separated by a period of mere four months (July 1969 – November 1969), but musically the gap is enormous, with the earlier recording still anchored in the "In A Silent Way" mood, while the later are all "Bitches Brew" and beyond.
Miles cognoscenti will find here music, which is the closest to Free Jazz he ever played. Miles was never really part of the Free Jazz movement, going in different direction, which was his very own. But this quintet and Corea especially, were at the heart of the Free scene at the time. Corea used Holland and DeJohnette on his sublime "The Complete `Is` SessionsFind albums with this title" album, which was recorded at that exact time, and he and Holland will later form the A.R.C.Find albums by this artist trio and CircleFind albums by this artist quartet, both seminal Free Jazz ensembles. Miles gives Corea and the rest of the quintet space to stretch out, playing his parts splendidly as ever, even though it´s not exactly his "natural habitat", thus portraying him quite differently from the "iron fist" dominant leader status he was usually considered to be.
The music is sublime from start to end, completely untouched by time and filling a large gap in the recorded history of Miles Davis and his music, at its most pivotal period. The fact that we had to wait so long for this stuff to be released is beyond criminal, but as usual "better late than never" is the only solace. There are some slight sound imperfections, but considering this music was recorded live almost 45 years ago, this is completely meaningless. The DVD is sensational as well, both the audio and video contents, and constitutes a highly important document of the Miles Davis saga.
Of course this is an absolute must in any serious Miles Davis collection and hats off to ColumbiaFind albums on this label for keeping this legacy alive, even if the do it for the money. Brilliant stuff!
| | Updated: 20/05/2018Posted: | 3CD+DVD 4 Digipak Remastered Essential Recommend To A Friend |
  | MILES DAVIS ~ MERCI MILES! – LIVE AT VIENNE
WARNER 603497844616 (Barcode: 603497844616) ~ USA ~ Jazz-Funk Fusion
Recorded: 1991 Released: 2021
This is an archival album by the legendary American Jazz trumpeter / composer / bandleader Miles DavisFind albums by this artist, recorded with his last sextet featuring saxophonist Kenny GarrettFind albums by this artist, keyboardist Deron JohnsonFind albums by this artist, lead bassist FoleyFind albums by this artist, bassist Richard PatersonFind albums by this artist and drummer Ricky WellmanFind albums by this artist. The 2CD album presents eight tracks, with only one track co-composed by Davis, two tracks composed by Marcus MillerFind albums by this artist, two others by PrinceFind albums by this artist and the remaining three by other composers. The last track features the band only without Davis. The sound quality is somewhat murky and boomy, but excusable.
The music was recorded on July 1, 1991 during the last Davis’ European tour and just over two months before his untimely death. A week later (July 8) Davis performed the legendary concert with the orchestra led by Quincy JonesFind albums by this artist, which revisited his recordings with Gil EvansFind albums by this artist, and which was released on record as “Miles & Quincy Live At MontreuxFind albums with this title”, which makes it the one before last live recording by Davis. The music remained unreleased for thirty years!
Regardless of the heated discussion if Miles was still playing Jazz at this stage of his career, which IMHO in completely ridiculous, the music was alive and kicking and the individual performances scorching, especially those by Davis himself, who plays relatively lengthy soli herein, in contrast to many other live performances, many of which I was lucky to witness, where he contributed limited solo parts. The team of much younger musicians, a trick of the trade Davis used throughout his entire career, revitalized the music and the energy and vigor present here is undeniably stunning, especially at the crescendo moments. But as usual, the intimate, quiet trumpet solo parts, where the band is only audible in the far background, are the absolute pinnacles as far as I am concerned.
Overall, this is another document of the timeless career of Jazz Giant Miles Davis, which captures some of his last moments on stage. Perhaps it does not present anything previously unheard, but it certainly is a faithful reflection of his Art and for Davis’ completists, as well as for those of his fans, who enjoyed his most Funky, Groovy moments, this is an absolute must!
| | Updated: 21/01/2024Posted: 21/01/2024 | CD 2 Mini-Sleeve Recommend To A Friend |
  | MILES DAVIS ~ MILES AT THE FILLMORE 1970: THE BOOTLEG SERIES VOL.3
COLUMBIA 887654338129 (Barcode: 887654338129) ~ USA ~ Jazz
Recorded: 1970 Released: 2014
This is the 3rd installment of the "Bootleg Series" live recordings by American trumpeter / composer Miles DavisFind albums by this artist, released by ColumbiaFind albums on this label Records. The recordings in this set originate mainly from the performances at the Fillmore East by the Miles Davis septet during four consecutive nights between June 17 and June 20, 1970. Three additional tracks originate from an earlier Miles Davis sextet performance at Fillmore West on April 11, 1970, recorded just a few days after Columbia released "Bitches BrewFind albums with this title" (on March 30, 1970), which changed the face of music forever.
The sextet and septet were the post-"Bitches Brew" working groups, which featured saxophonist Steve GrossmanFind albums by this artist, keyboardist Chick CoreaFind albums by this artist and Keith JarrettFind albums by this artist (in the septet only, first double keyboards group by Miles), bassist Dave HollandFind albums by this artist, drummer Jack DeJohnetteFind albums by this artist and percussionist Airto MoreiraFind albums by this artist. Except for Grossman and Jarrett all the other musicians took part in the recording of "Bitches Brew".
The music is of course a direct follow up to the studio versions of these tunes and Davis makes no attempt to "ease up" or compromise the music and its intrinsic freedom and improvised nature, even though the Fillmore venues were at the time the Mecca and Medina of American Rock. Davis considered his music to be an integral part of the revolutionary wave of music created at the time, typically ignoring ridiculous genre divisions, and the audiences seem to share his attitude wholeheartedly.
Live recordings are always the best opportunity to check out the authenticity and integrity of musicians and these recordings are a great proof of the fact that the "Bitches Brew" magic really happened in the studio as a result of superb playing and visionary leadership, rather than post-production work by Teo MaceroFind albums by this artist. The overall level of the individual performances is of course incredibly high and inspired, full of intensity and virtuosic mastery.
Although the Fillmore West tracks suffer from some sound quality plight, this music is an absolute must to all Miles Davis fans. The four consecutive nights at Fillmore East present a similar set list, but the actual performances are so dramatically different that listening to them opens up a whole new way of comprehending the music of Miles Davis and understanding the concept of Jazz and its unique nature.
Four and a half decades later this music still kicks ass as only very few other sound sculptures are able to, and hopefully will continue to do so in the decades to come. Spearheading the Golden Decade, Miles Davis justifies his Godly status in full.
| | Updated: 31/12/2024Posted: | CD 4 Digipak Remastered Essential Recommend To A Friend |
  | MILES DAVIS ~ MILES IN FRANCE 1963 & 1964: THE BOOTLEG SERIES VOL.8
COLUMBIA 198028016728 (Barcode: 198028016728) ~ USA ~ Jazz
Recorded: 1963 - 1964 Released: 2024
This is the 8th installment of the “Bootleg Series” recordings by American trumpeter / composer / bandleader / visionary Miles DavisFind albums by this artist, released by ColumbiaFind albums on this label Records. It presents mostly previously unreleased material by Davis, captured during the early days of the legendary second quintet, recorded live in France. It follows the previous installment in the series, which was released in 2022 and offers 6 CDs of live material.
CD1 to CD4 present three full concerts recorded on July 26, 27 and 28, 1963 during the Antibes Jazz Festival, a total of twenty-seven tracks, performed by Davis, saxophonist George ColemanFind albums by this artist, pianist Herbie HancockFind albums by this artist, bassist Ron CarterFind albums by this artist and drummer Tony WilliamsFind albums by this artist.
The material recorded on July 27, 1963 (appearing here partly on CD2 and on CD3) was previously released on the “In EuropeFind albums with this title” album, in several versions, often edited, as well as on some compilations. This is the first time the full concert can be heard in its original form.
CD5 & CD6 present two full concerts recorded on October 1, 1964 during the Paris Jazz Festival, a total of ten tracks, performed by Davis, saxophonist Wayne ShorterFind albums by this artist, Hancock, Carter and Williams.
The music offers a wonderful glimpse on the development of the second quintet. The concerts, separated by just over a year, and with Shorter joining the quintet, show how the music takes a quantum leap forward, as does the young Williams, who offers some truly brilliant drumming displays. Coleman, an excellent musician by all means, was simply too much rooted in the Bebop tradition, while Davis was trying to push the boundaries of the genre.
Overall, as usual with any archival material by Miles Davis, the music is absolutely Godly, stressing again his unshaken position as the greatest Jazz musician of all time. Although the music does not reveal any surprising elements, it affirms his status, and for every Davis’ follower on this planet is absolutely essential.
| | Updated: 31/12/2024Posted: 31/12/2024 | CD 6 Mini-Sleeve Box Set Remastered Essential Recommend To A Friend |
  | MILES DAVIS ~ RUBBERBAND
RHINO 603497850785 (Barcode: 603497850785) ~ USA ~ Jazz-Pop Fusion
Recorded: 1985 - 1986 Released: 2019
This is an album by iconic American Jazz trumpeter / composer Miles DavisFind albums by this artist, recorded in late 1985 / early 1986, following Davis’ departure from ColumbiaFind albums on this label and new contract with Warner Bros.Find albums on this label, which was supposed to release the album at the time, but scrapped it, releasing the legendary “TutuFind albums with this title” a year later. As such, the album was often referred to as “the lost Miles Davis album”, until its release thirty-four years later, although some of the material was used on the last Davis’ album “Doo-BopFind albums with this title”. The album presents eleven tracks and features various studio musicians and singers, some of which are co-credited as authors of the music, in addition to Jazz musicians appearing on some tracks, like guitarist Mike SternFind albums by this artist, saxophonist Bob BergFind albums by this artist, keyboardist Adam HolzmanFind albums by this artist and others. The album cover features one of Miles Davis’ paintings.
The music has very little to do with conventional / traditional Jazz per se, and marks Davis’ interest in Funk, Soul and Rap. The overall result is an amalgam of various Pop trends, spiced up by Davis’ incredible (as always) trumpet playing on top.
Warner Bros. decision to scrap the album was completely justified at the time, as releasing the album would have damaged Miles’ Jazz reputation, surely in the eyes of his followers, which were not prepared for such radical change in style and sound. “Tutu” offered a much milder and more Jazz oriented alternative and opened the way to the “new” Miles Davis, and the albums that followed created a new image, which was embraced in time by most of his followers. Additionally, the album suffers from some production / sound problems, which were solved on those later albums.
Overall, the album emphasizes the pioneering spirit of Miles Davis and his vision, which was always way ahead of the music scene, as in this case. His trumpet playing is as Godly as ever and most of the music here reflects perfectly the ever-evolving path he threaded, often quite alone. The album definitely deserves to be a part of the definitive Miles Davis collection!
| | Updated: 12/03/2022Posted: 12/03/2022 | CD 1 Mini-Sleeve Recommend To A Friend |
  | MILES DAVIS ~ SEVEN STEPS: THE COMPLETE COLUMBIA RECORDINGS OF MILES DAVIS 1963-1964
COLUMBIA 90840 ~ USA ~ Jazz
This is the 3rd chapter in the ColumbiaFind albums on this label’s epic series of Miles DavisFind albums by this artist Box Sets, which is a monumental reissue project of recordings by the most important Jazz musician of the 20th century. Recorded mostly live during 1963 & 1964, the music documents the so-called in transition period of Miles between his two legendary Quintets. Miles was, as always. In search of the next step he wanted to take musically and was searching for the right musicians who could accompany him in his journey. Therefore, although this set includes music performed by a constantly changing line-up, the crystallization of the second great Quintet is well documented here, with Ron CarterFind albums by this artist (bass), Tony WilliamsFind albums by this artist (drums), Herbie HancockFind albums by this artist (piano) and finally Wayne ShorterFind albums by this artist (sax) gradually joined his group. All the other musicians playing with Miles here (George ColemanFind albums by this artist and Sam RiversFind albums by this artist on sax, Victor FeldmanFind albums by this artist on piano and Frank ButlerFind albums by this artist on drums) were admirable of course, but somehow lacked the special chemistry Miles required from his players.
The music contained here was originally released on the following albums: “Seven Steps To HeavenFind albums with this title”, “In EuropeFind albums with this title”, “My Funny ValentineFind albums with this title”, “Four & MoreFind albums with this title”, “In TokyoFind albums with this title” and “In BerlinFind albums with this title”. As usual, a plethora of previously unreleased tracks and tracks released on other albums and various compilations is also included, all present in full chronological order.
All of the material is painstakingly remastered and sounds superbly. Of course all this stuff is heavenly and although the musical progress here is slow, every note played by Miles is absolutely right on. There is a lot of tension in the air as Miles tests the ground for the next leap, pushing his musicians to the limit. The youngster Williams re-defines the meaning of Jazz drumming here, with more freedom and space than ever heard before, even with the parallel Free Jazz drummers. Hancock’s highly evolved musicality and deep sense of melody is already quite evident and Carter’s powerful and precise bass cements the entire concept together.
This stuff is as essential to any Jazz lover as air and water are to his physical existence. The box packaging is as lavish and extravagantly beautiful, as all the other items in this series, with extensive liner notes, detailed discography and many superb photographs.
A special note to collectors:
The initial release of all the Miles Davis Box Sets in this reissue series is packaged in an exquisite metal-bound (except chapter 5 which is cardboard-bound) frame housed in a hard cardboard CD-sized slipcase (except for chapters 1 & 8 which have a metal slipcase). Once the initial release is sold out, the CDs are repackaged in a tall-box digipak book format. Naturally the tall-box issues have a much lower retail price tag. All the initial release CD-sized issues become priceless collectors’ items in time.
| | Updated: 11/01/2024Posted: | CD 7 Box Set Oversampling Remastered Bonus Tracks Essential Recommend To A Friend |
  | MILES DAVIS ~ SKETCHES OF SPAIN (50TH ANNIVERSARY LEGACY EDITION)
COLUMBIA 43949 (Barcode: 886974394921) ~ USA ~ Jazz-World Fusion
Recorded: 1959 Released: 2009
It is extremely hard to believe that this masterpiece is half a century old! Hearing it today reveals therefore that trumpeter Miles DavisFind albums by this artist and arranger / conductor Gil EvansFind albums by this artist were both visionaries, in addition to their supreme musical sensitivity and revolutionary approach to music expansion. Combing Jazz with non-Western Classical music, in this case the magnificent "Concierto de Aranjuez" by Joaquin RodrigoFind albums by this artist (originally a concerto for guitar and orchestra, arranged for trumpet by Evans), was a bold step and one of the first examples of Jazz-World Fusion. Sure enough some American critics and fans hated it from day one, using the "usual" intelligent argument: "This is not Jazz". But Jazz it was, a magnificent new form of Jazz, where the lyrical composition and brilliant (and not less lyrical) interpretation by Miles just fit together like a dream. The muted trumpet played by Miles turns into a magical / mystical mythological flute, luring the listener into the music, completely intoxicated by the sound. I could go on and on about the music, but what´s the point, just grab it and listen. The original LP was extended for this special addition with a whole second CD of bonus material, including studio outtakes and the only live performance of this music with Davis and Evans. Totally essential!
| | | CD 2 Digipak Remastered Bonus Tracks Essential Recommend To A Friend |
  | MILES DAVIS ~ THAT`S WHAT HAPPENED 1982-1985: THE BOOTLEG SERIES VOL.7
COLUMBIA 194398638522 (Barcode: 194398638522) ~ USA ~ Jazz
Recorded: 1982 - 1985 Released: 2022
This is the 7th installment of the “Bootleg Series recordings by American trumpeter / composer / bandleader / visionary Miles DavisFind albums by this artist, released by ColumbiaFind albums on this label Records. It presents previously unreleased material by Davis, captured during the period following his return to recording and performing after a five years long hiatus (1975-1980). It follows the previous installment in the series, which was released in 2018 and offers 3 CDs of studio and live material.
CD1 presents material recorded during the “Star PeopleFind albums with this title” sessions in late 1982 and early 1983, with saxophonist Bill EvansFind albums by this artist, trombonist J.J. JohnsonFind albums by this artist, guitarist Mike SternFind albums by this artist, bass guitarist Marcus MillerFind albums by this artist, drummer Al FosterFind albums by this artist and percussionist Mino CineluFind albums by this artist. Additionally, two tracks are from the “DecoyFind albums with this title” sessions from 1983, with guitarist John ScofieldFind albums by this artist, bass guitarist Darryl JonesFind albums by this artist, drum programing by Robert Irving IIIFind albums by this artist and Cinelu.
CD2 presents material recorded during the “You`re Under ArrestFind albums with this title” sessions between January 1984 and January 1985, with saxophonist Bob BergFind albums by this artist, Scofield or John McLaughlinFind albums by this artist, Irving (on keyboards), Jones, Foster or Vince Wilburn, Jr.Find albums by this artist on drums and percussionist Steve ThorntonFind albums by this artist.
CD3 presents a live recording from July 7, 1983 captured at the Montreal Jazz Festival, with Scofield, Evans, Jones, Cinelu and Foster.
The music is all by Davis, except for the interpretation of a Cindy LauperFind albums by this artist song, and illustrates the transition period between the decades of recording for Columbia, with the last three albums on that label, and the explosive career of the “new” Miles Davis following his signing with Warner Bros.Find albums on this label and the release of “TutuFind albums with this title”, and the last years of his life (1986-1991).
Overall, as usual with any archival material by Miles Davis, the music is absolutely Godly, stressing again his unshaken position as the greatest Jazz musician of all time. Although the music does not reveal any surprising elements, it affirms his status, and for every Davis’ follower on this planet is absolutely essential.
| | Updated: 31/12/2024Posted: 26/10/2022 | CD 3 Mini-Sleeve Box Set Remastered Recommend To A Friend |
  | MILES DAVIS ~ THE CELLAR DOOR SESSIONS 1970
COLUMBIA 93614 (Barcode: 827969361429) ~ USA ~ Jazz
Recorded: 1970 Released: 2005
It would be incredibly presumptuous to write any kind of serious musical review of this music in a limited format, so I’ll only stick to the very basics here. The music contained in this set was recorded live on December 16-19, 1970 in a dinky little Washington, DC club called “Cellar Door”. Why would Miles play in such a venue at all remained a mystery (one of many around Miles’ life and work), as he could easily sell out any concert hall in the US. In retrospect it now becomes obvious that Miles simply wanted a sort of limited exposure live recording opportunity to record his new band, which was yet another change of direction in his career. Following the groundbreaking Bitches BrewFind albums with this title and Jack JohnsonFind albums with this title sessions, Miles decided to strip down his ensemble to the bare minimum and concentrate on a more rock / funk oriented sound. Miles was always intensely attentive to everything that was happening around him musically and his frequent performances at the Fillmore venues exposed him to scores of rock bands, which enjoyed immense popularity with the crowds. Miles concluded that he could easily play music, which would be as acceptable to the rock crowds as the rock music they were accustomed to, hell he could do it better! This sessions prove that he was absolutely right. For the new group Miles kept Keith JarrettFind albums by this artist on electric piano, since Keith was already at ease with rock oriented material he played in his earlier stints. He also kept Jack DeJohnetteFind albums by this artist on drums, as John could rock better that any of the rock drummers around, considering his immense talent and technique. The saxophone spot was taken by Gary BartzFind albums by this artist (Steve GrossmanFind albums by this artist was having serious drug-related problems), a young and extremely capable player who sounded remarkably similar to John ColtraneFind albums by this artist, but felt comfortable with the funky rhythms. The biggest change (and surprise) was the bass spot, which Miles assigned to the tender MotownFind albums on this label (yes – the Jackson 5Find albums by this artist!) electric bassist Michael HendersonFind albums by this artist. Henderson’s pulsating funky rhythms set the essence for these sessions, not only serving as a rock solid foundation upon which the musicians are free to develop their improvisations, but also being the glue that keeps the music together. The quintet of Davis, Bartz, Jarrett, Henderson and DeJohnette play on all the 6 CDs in this set. The Brazilian percussionist Airto MoreiraFind albums by this artist joins the quintet on the 3rd day (expanding it to a sextet) and is heard on 4 CDs. Moreira’s contribution to Miles’ music deserve a chapter in itself - in these sessions he skillfully adds color and polyrhythmic accents, always with taste and precision. On the last day the group is extended to a septet with John McLaughlinFind albums by this artist joining in on his fire blazing electric guitar, like there is no tomorrow. This truly turns the whole ensemble into the “greatest fucking rock band you ever heard”, to quote Miles. McLaughlin is in his usual great form, which means he is just way ahead of anything else done at that time on guitar. What about Miles himself? Let me just say that he plays some of his best notes ever on these sessions, full of vigor, passion and inspiration. What else can I say here? This music is beyond comparison, beyond criticism, beyond all the bullshit people say about music… If you didn’t hear it you simply don’t exist - musically that is ;).
| | | CD 6 Box Set Oversampling Remastered Bonus Tracks Essential Recommend To A Friend |
  | MILES DAVIS ~ THE COMPLETE BITCHES BREW SESSIONS
COLUMBIA 90924 (Barcode: 827969092422) ~ USA ~ Jazz
Recorded: 1969 - 1970 Released: 2004
This is the 6th chapter in the Columbia’s epic series of Miles Davis Box Sets, which is a monumental reissue project of recordings by the most important Jazz musician of the 20th century. This lavish Box Set contains one of the most influential albums in the history of music at its fullest form. The sessions took place between August 1969 and February 1970 and the term "revolutionary" does not even begin to describe the music. Miles invented completely new musical forms as he went along, crystalizing Jazz / Rock Fusion, expanding Free Jazz and re-defining Modern Contemporary Music. This is a pure work of a genius every step of the way and this music will last for eternity. Heavenly!
| | Updated: 26/01/2019Posted: | CD 4 Box Set Oversampling Remastered Bonus Tracks Essential Recommend To A Friend |
  | MILES DAVIS ~ THE COMPLETE BITCHES BREW SESSIONS
COLUMBIA ~ USA ~ Jazz
This lavish 4 CD box brings one of the most influential albums in the history of music at its fullest form. The sessions took place between November 1969 and February 1970 and the term `revolutionary` does not even begin to describe the music. Miles invented completely new musical forms as he went along, crystalizing Jazz / Rock Fusion, expanding Free Jazz and re-defining Modern Contemporary Music. This is a pure work of a genius every step of the way and this music will last for eternity. Heavenly!
| | | CD 4 Box Set Oversampling Remastered Bonus Tracks Essential Recommend To A Friend |
  | MILES DAVIS ~ THE COMPLETE COLUMBIA STUDIO RECORDINGS OF THE MILES DAVIS QUINTET 1965-68
COLUMBIA 90925 (Barcode: 827969092521) ~ USA ~ Jazz
Recorded: 1965 - 1968 Released: 2004
This is the 4th chapter in the ColumbiaFind albums on this label’s epic series of Miles DavisFind albums by this artist Box Sets, which is a monumental reissue project of recordings by the most important Jazz musician of the 20th century. This set presents the complete studio output recorded by the legendary quintet between January 1965 and June 1968, which included Wayne ShorterFind albums by this artist (tenor saxophone), Herbie HancockFind albums by this artist (piano), Ron CarterFind albums by this artist (bass) and Tony WilliamsFind albums by this artist (drums). During this three and a half years period this quintet was the most important jazz ensemble in the world and also the most stable musical environment Miles ever enjoyed, which enabled him to push the boundaries of music ever further, slowly changing the face of jazz from the bee bop and Hard Bop traditions into the free style Fusion, which was to emerge as the next step of his visionary path. The sessions included here were released on the following albums and compilations: E.S.P.Find albums with this title, Miles SmilesFind albums with this title, SorcererFind albums with this title, NefertitiFind albums with this title, Miles In The SkyFind albums with this title, Filles De KilimanjaroFind albums with this title, Water BabiesFind albums with this title, Circle In The RoundFind albums with this title and DirectionsFind albums with this title. As to the music – anything I can say here will be completely banal in view of the sheer genus of this masterpiece. Not only is this some of the most essential music recorded in the 20th Century, but even every individual note played here is essential. This icon is a must in every respectable music collection.
| | Updated: 26/01/2019Posted: | CD 6 Box Set Oversampling Remastered Bonus Tracks Essential Recommend To A Friend |
  | MILES DAVIS ~ THE COMPLETE IN A SILENT WAY SESSIONS
COLUMBIA 65362 ~ USA ~ Jazz
This is the 5th chapter in the Columbia’s epic series of Miles Davis Box Sets, which is a monumental reissue project of recordings by the most important Jazz musician of the 20th century. This set presents the complete sessions which originally resulted in the "In A Silent Way" album. The material was recorded over a 6 months period (September 1968 through February 1969) and clearly shows the new direction Miles was shifting into, after his legendary second Quintet was expanded and a new circle of musicians was selected by the Master to take with him the journey into the (then) unknown territory (Joe Zawinul on keyboards, John McLaughlin on guitar, Chick Corea on electric piano and Dave Holland on bass). Tony Williams on drums, Wayne Shorter on sax and Herbie Hancock on electric piano stayed from the second Quintet and also play on these sessions, which means that Miles used three keyboards players simultaniously in some takes. The music is much more spacey, atmospheric and further removed from the strict Jazz format, clearly pointing towards the Fusion explosion, which was to errupt on "Bitches Brew" - the next revolutionary album. This is some of the best music ever created on this planet and absolutely essential!
A special note to collectors:
The initial release of all the Miles Davis Box Sets in this reissue series is packaged in an exquisite metal-bound (except chapters 5 & 8 which are cardboard-bound) frame housed in a hard cardboard CD-sized slipcase. Once the initial release is sold out, the CDs are repackaged in a tall-box digipack book format. Naturally the tall-box issues have a much lower retail price tag (except for chapter 5). The initial CD-sized issues become all priceless collectors’ items in time.
| | Updated: 26/01/2019Posted: | CD 3 Box Set Oversampling Remastered Bonus Tracks Essential Recommend To A Friend |
  | MILES DAVIS ~ THE COMPLETE JACK JOHNSON SESSIONS
COLUMBIA 86359 ~ USA ~ Jazz
Recorded: 1970
This is the 7th chapter in the ColumbiaFind albums on this label’s epic series of Miles DavisFind albums by this artist Box Sets, which is a monumental reissue project of recordings by the most important Jazz musician of the 20th century. Recorded between February and June 1970 this monumental document defines “Electric Jazz” – anything recorded since, be it Jazz, Rock or Fusion, has its roots here. These almost five hours of music remained mostly unreleased till this set was issued, as the original A Tribute To Jack JohnsonFind albums with this title album contained less than 10 % of the music included herein. Although a few other “cooked” albums included snippets of this music (Live-EvilFind albums with this title, Get Up With ItFind albums with this title, DirectionsFind albums with this title and Big FunFind albums with this title) they were never available in their full form. By the time this material was recorded Miles’ approach to creating music changed dramatically: he was more of a captain giving the crew a general direction as to where he wanted to go, ratter that a navigator concerned with the exact details as to the course taken. An enormous amount of freedom was granted to the stellar collection of participants (Keith JarrettFind albums by this artist, Herbie HancockFind albums by this artist, Chick CoreaFind albums by this artist – keyboards, Steve GrossmanFind albums by this artist, Bennie MaupinFind albums by this artist, Wayne ShorterFind albums by this artist – saxes, Dave HollandFind albums by this artist, Ron CarterFind albums by this artist, Michael HendersonFind albums by this artist – bass, John McLaughlinFind albums by this artist, Sonny SharrockFind albums by this artist – guitar, Jack DeJohnetteFind albums by this artist, Gene PerlaFind albums by this artist – drums, Airto MoreiraFind albums by this artist, Hermeto PascoalFind albums by this artist – percussion) and for the first time Miles promoted John McLaughlin to be the primary soloist, much more dominant than his trumpet. McLaughlin of course was up to the job and presents some incredible guitar playing, firmly establishing the electric guitar as the leading instrument in instrumental music for the years to come. His fearless ventures into the uncharted territory of Fusion and even Rock would become a beacon for generations of guitar players, a source of inspiration and a vital learning tool. The unrestrained, almost jam-like atmosphere of the sessions inspired all the participants to search for the best they could achieve and the resulting music is simply phenomenal. This is visionary and groundbreaking, Promethean and pioneering musical creation, an absolute must to any Jazz fan that takes his music seriously..
A special note to collectors:
The initial release of all the Miles Davis Box Sets in this reissue series is packaged in an exquisite metal-bound (except chapter 5 which is cardboard-bound) frame housed in a hard cardboard CD-sized slipcase (except for chapters 1 & 8 which have a metal slipcase). Once the initial release is sold out, the CDs are repackaged in a tall-box digipack book format. Naturally the tall-box issues have a much lower retail price tag. All the initial release CD-sized issues become priceless collectors’ items in time.
| | Updated: 26/01/2019Posted: | CD 5 Box Set Oversampling Remastered Bonus Tracks Essential Recommend To A Friend |
  | MILES DAVIS ~ THE COMPLETE ON THE CORNER SESSIONS
COLUMBIA 06239 (Barcode: 886970623926) ~ USA ~ Jazz
Recorded: 1972 - 1975 Released: 2007
This is the 8th (and apparently the last) chapter in the ColumbiaFind albums on this label’s epic series of Miles DavisFind albums by this artist Box Sets, which is a monumental reissue project of recordings by the most important Jazz musician of the 20th century. Recorded between March 1972 and May 1975 this the music includes everything Miles recorded for Columbia before his 5 years of retirement from recording due to health problems, before resuming his career in 1980. The inventory is pretty amazing: 4 years, 16 sessions, 21 musicians and over 6 hours of groundbreaking music, which although rarely given credit for it, changed to face of music for years to come. Incorporating Funk, Fusion, World Music, Rock, Soul and of course Jazz, this music re-defined the basic conceptions of the musical universe. Anything recorded later on this planed could be traced back to some extent to these sounds, be it Hip-Hop, Rock, Electronic and Ambient Music, House, and Dance, including of course contemporary Jazz and Fusion. The music is completely groove oriented, with very little (and often without) melody, with a loose and completely atmospheric jamming over a repetitive and hypnotic rhythms, created masterly by bassist Michael HendersonFind albums by this artist, continuing the direction initiated on The Cellar Door Sessions 1970Find albums with this title. Miles on trumpet, Dave LiebmanFind albums by this artist, Carlos GarnettFind albums by this artist and Bennie MaupinFind albums by this artist on saxes, Chick CoreaFind albums by this artist and Herbie HancockFind albums by this artist on keyboards, John McLaughlinFind albums by this artist, Reggie LucasFind albums by this artist and Pete CoseyFind albums by this artist on guitars, Jack DeJohnetteFind albums by this artist and Al FosterFind albums by this artist on drums and quite a few other players contribute to this heavenly music, under the Master’s spiritual leadership. The music included here appeared in various edited forms on the albums: On The CornerFind albums with this title, Big FunFind albums with this title and Get Up With ItFind albums with this title, but most is heard here for the first time. It is almost impossible to describe how far out and pioneering this music is. It presents not only a completely new sound and approach to performing music, but also a new way to create music as a flow of the subconscious creative process. Over 30 years after it was recorded, it still sounds revolutionary and poignant, as it undoubtedly will continue to sound in the days to come. I can’t imagine anybody who calls himself a music lover not to own this music and listen to it periodically to recharge his or her emotional batteries. Beyond essential!
A special note to collectors:
The initial release of all the Miles Davis Box Sets in this reissue series is packaged in an exquisite metal-bound (except chapter 5 which is cardboard-bound) frame housed in a hard cardboard CD-sized slipcase (except for chapters 1 & 8 which have a metal slipcase). Once the initial release is sold out, the CDs are repackaged in a tall-box digipack book format. Naturally the tall-box issues have a much lower retail price tag. All the initial release CD-sized issues become priceless collectors’ items in time.
| | Updated: 26/01/2019Posted: | CD 6 Box Set Oversampling Remastered Bonus Tracks Essential Recommend To A Friend |
  | MILES DAVIS ~ WARSAW CONCERT 1983
IMMORTAL 104243 (Barcode: 8712177056620) ~ USA ~ Jazz-Rock Fusion
Recorded: 1983 Released: 2010
The importance of this music stretches far beyond the fact that this is music played by the great Miles DavisFind albums by this artist during the last decade of his life, when his playing was rejuvenated and full of creative powers again. This unique recording was captured during the Warsaw´s Jazz Jamboree festival, Easter Europe´s most important Jazz even for several decades during the Socialist regime. In fact Warsaw´s JJ was almost the only Jazz Festival where Eastern European Jazz enthusiast could hear Western Jazz musicians live. The fact that the JJ festival was able to bring Miles Davis over, during a renewed peak of his world popularity and against all odds (economic, political, etc.), is a miracle and the fascinating story behind the scenes is worthy of a movie script. I´ve been privileged to be a part of this story, but that is well beyond the scope of these notes. The music presents Miles accompanied by an ensemble of young and talented musicians, which consists of saxophonist Bill EvansFind albums by this artist, guitarist John ScofieldFind albums by this artist, keyboardist Robert Irving IIIFind albums by this artist, bassist Darryl JonesFind albums by this artist, drummer Al FosterFind albums by this artist and percussionist Mino CineluFind albums by this artist. They play the material that Miles preferred at the time, which is funky rhythmically, but quite complex harmonically. There is plenty of space for extended improvisations, with Miles playing more than he did in a long time, blowing the listeners away every time. In retrospect the music sounds as good today as it did at the time, which once again confirms Miles´ genius and prophetic vision of music. Since this is not a part of the Miles´ Columbia output, it is much more difficult to find. Great stuff!
| | | CD 2 Digipak Recommend To A Friend |
  | MILES DAVIS / JOHN COLTRANE ~ THE COMPLETE COLUMBIA RECORDINGS 1955-1961
COLUMBIA 90922 (Barcode: 827969092224) ~ USA ~ Jazz
Recorded: 1955 - 1961 Released: 2004
This is the 1st chapter in the ColumbiaFind albums on this label’s epic series of Miles DavisFind albums by this artist Box Sets, which is a monumental reissue project of recordings by the most important Jazz musician of the 20th century. Recorded between October 1955 and March 1961 the music includes everything Miles recorded for Columbia with his legendary first quintet and sextet. John ColtraneFind albums by this artist, Cannonball AdderleyFind albums by this artist and Hank MobleyFind albums by this artist on saxes, Bill EvansFind albums by this artist, Red GarlandFind albums by this artist and Wynton KellyFind albums by this artist on piano, Paul ChambersFind albums by this artist on bass and Philly Joe JonesFind albums by this artist and Jimmy CobbFind albums by this artist on drums are the protagonists on these legendary sessions, creating this heavenly music, under the Master’s spiritual leadership. The music included here appeared on the albums: ’Round About MidnightFind albums with this title, MilestonesFind albums with this title, Kind Of BlueFind albums with this title and Someday My Prince Will ComeFind albums with this title, as well as on numerous compilation albums released later. There is little that I need to say about the music herein, as almost every Jazz lover is acquainted with at least the “Kind Of Blue” album, being the most widely sold Jazz recording of all times. The combination of the geniuses of Miles and Trane turn these sessions into a fundamental and quintessential Jazz experience, which serves as a model for all generations of Jazzman to come. Both of them were constantly on a spiritual quest to expand both their performing skills, taking them beyond the humanly possible, as well as crossing musical planes uncharted and visionary. Although created by humans, this music is worthy of Gods and should it have happened a few thousands of years earlier, it would be probably heard on the mount Olympus. I simply can’t imagine anybody not owning this music and listening to it repeatedly, as it is timeless and everlasting. Beyond essential!
| | Updated: 26/01/2019Posted: | CD 6 Box Set Oversampling Remastered Bonus Tracks Essential Recommend To A Friend |
  | MILES DAVIS / JOHN COLTRANE ~ THE FINAL TOUR: THE BOOTLEG SERIES VOL.6
COLUMBIA 889854483920 (Barcode: 889854483920) ~ USA ~ Jazz
Recorded: 1960 Released: 2018
This is the 6th installment of the "Bootleg Series" recordings by American trumpeter / composer Miles DavisFind albums by this artist, released by ColumbiaFind albums on this label Records. It presents a document of the last tour by the legendary first Miles Davis Quintet, which included saxophonist John ColtraneFind albums by this artist, pianist Wynton KellyFind albums by this artist, bassist Paul ChambersFind albums by this artist and drummer Jimmy CobbFind albums by this artist. The live recordings, captured during the quintet´s European Tour organized by Norman GranzFind albums by this artist, who was the most important American Jazz impresario between the 1940s and 1960s and a notable record producer, include two concerts in Paris on March 21, 1960, two concerts in Stockholm on March 22, 1960 and one concert in Copenhagen on March 24, 1960. A short Miles Davis interview is also included. This is the first legitimate commercial issue of this material; numerous earlier bootlegs of the same material have been flooding the record market for years.
After spending five years with Davis, Coltrane was feeling restless and tired of the setup and during this tour he informed Davis that he will be leaving the quintet upon its return from the European Tour captured here. Coltrane´s feverish move forward was already taking him away from the music played by the quintet, which although brilliant in every way was stuck in the Bebop and Cool traditions, in favor of more Free oriented music, which was already evident on his recording as a leader on AtlanticFind albums on this label Records ("Giant StepsFind albums with this title" was recorded almost a year before the music here was captured) and later on the revolutionary albums on Impulse!Find albums on this label Records, which changed the Jazz idiom forever. Davis would change his approach to music only about four years later with the formation of the second Miles Davis Quintet, which will also have a major influence on the future of Jazz, namely by developing the Jazz-Rock Fusion.
Coltrane´s playing, as captured here, is simply Godly in every respect. It marks clearly the direction he was moving into and his lengthy explorations and often atonal squeaks and long convoluted solos are in complete contrast to Davis´ and the rest of the quintet members´ playing, which at times is a bit embarrassing in its simplicity. The audiences seem to have no problem whatsoever with Coltrane´s explorations and he is enthusiastically cheered after each solo, which is hardly surprising as Scandinavian musicians and audiences (same goes for the rest of Europe, including behind the Iron Curtain) at the time were already slowly moving forwards the next phase of the Jazz history.
The music is a mixture of Davis originals and standards and we get four versions of Davis´ classic "So What" and two versions of "All Blues", all ranging between ten and fifteen minutes in duration, as well as three versions of Bronislaw KaperFind albums by this artist´s "On Green Dolphin Street", all about fifteen minutes long and two versions of Richard CarpenterFind albums by this artist´s "Walkin´", also about fifteen minutes each. This means of course that the Davis / Coltrane connoisseurs are able to compare and analyze the differences in the soloing on each of the repeated tunes, and of course those are quite dissimilar to each other.
Undoubtedly this music is a tremendous document of its era and marks the peak of the American Jazz tradition, but at the same time it is as well a sign of an end of that era. Sadly the American Jazz tradition would get stuck more or less in that gear for the next decades, with no significant development in sight, except for Free Jazz / Improvised Music spearheaded by Coltrane and Fusion spearheaded by later Davis ensembles, which were about to peak a decade or so later and from then on would be as dormant as the traditional American Jazz.
Of course for Davis / Coltrane lovers this is absolutely essential material and a must have in their collections. Even if people already own the bootlegged releases of this material, this new remastered and beautifully packaged release and the included booklet are definitely worth the price of this set. Essential stuff!
| | Updated: 31/12/2024Posted: 20/05/2018 | CD 4 Digipak Remastered Essential Recommend To A Friend |
  | JACK DEJOHNETTE ~ MADE IN CHICAGO
ECM 2392 (Barcode: 602537809356) ~ USA ~ Jazz
Recorded: 2013 Released: 2015
Although born, raised and musically educated in Chicago, pianist / Master drummer / composer / bandleader Jack DeJohnetteFind albums by this artist left the Windy City and moved on to the Big Apple in 1966, leaving behind his schoolmates and bandmates from the Chicago loft scene. He soon got involved with such pivotal Jazz figures like Charles LloydFind albums by this artist, Bill EvansFind albums by this artist, Stan GetzFind albums by this artist, Miles DavisFind albums by this artist and Keith JarrettFind albums by this artist, and later on led many of his own ensembles, living one of the most fulfilling and artistically creative lives in American Jazz history.
In the meantime his Chicago cohorts: pianist Muhal Richard AbramsFind albums by this artist and saxophonists Roscoe MitchellFind albums by this artist and Henry ThreadgillFind albums by this artist became the core of the AACM, one of the most important American Jazz platforms, which gave birth to countless revolutionary recordings and kept the American Jazz developing and expanding the boundaries set by the stale mainstream traditionalism.
The celebrations of DeJohnette´s seventieth birthday created the opportunity to bring DeJohnette together again with Abrams, Mitchell and Threadgill. The specially formed quintet was formed by adding the Chicago born and based bassist Larry GrayFind albums by this artist and the quintet recorded the music presented here live. They perform six original compositions, two of which are by Mitchell, one each by Abrams, DeJohnette and Threadgill and one is credited to all five quintet members.
People familiar with the recordings by the Chicago scene musicians will find this music pretty familiar stylistically and the AACM aesthetic prevails throughout, with long, slowly developing themes and extended improvisations setting the tone. The melodic threads, stated usually after a moody preamble, are then extensively improvised upon, only to be repeated by the end of each track. There is a lot of space and freedom in this music, which allows all the musicians to state their own ides as well as exchange ideas with the other members of the quintet.
This is definitely not the kind of music that DeJohnette usually plays outside of this specific project and his ability not only to blend in but also contribute significantly to the overall result is truly remarkable. His incredible sensitivity, elegance and technical brilliance are here right in the open, for the listener to enjoy.
As much as this album celebrates DeJohnette´s lifetime achievements, even more so it celebrates the Chicago Jazz scene, which is undoubtedly the most creative and adventurous center of ambitious music in the USA, burgeoning with inventiveness and passion, not only amongst the older generation but also involving many your Jazz and Improvising Music artists. Should this album prompt more listeners to plunge deeper into Jazz Made in Chicago, DeJohnette added another milestone to his magnificent career.
| | | CD 1 Slipcase Recommend To A Friend |
  | ESKAUBEI & TOMEK NOWAK QUARTET ~ BEDZIE DOBRZE
FOR TUNE 0058 (Barcode: 5902768701456) ~ POLAND ~ Jazz-Rap Fusion
Recorded: 2014 Released: 2015
This is a very interesting album, which amalgamates Rap and Jazz; a concept that has been attempted many times before, but rarely turned out to be a success. Polish rapper Bartlomiej SkubiszFind albums by this artist (a.k.a. EskaubeiFind albums by this artist) combines forces with a Jazz quartet led by trumpeter Tomek NowakFind albums by this artist, which also includes keyboardist Kuba PluzekFind albums by this artist, bassist Alan WykpiszFind albums by this artist and drummer Filip MozulFind albums by this artist. A few guests appear on selected tracks. The album presents eleven original songs, all composed by Nowak (with the exception of one tune which includes music composed by Pluzek) and with lyrics by Eskaubei (with the exception of two song lyrics written by the a.m. guests). The album also includes the radio edit of the title song as a bonus track.
Rap and Jazz are seemingly two completely contrasting Art Forms. Rap focuses on the spoken word, which attempts to deliver a message, and which uses music as a background stimuli, mostly rhythmically, with the melody part being usually pretty limited, repetitive and ornamental rather than substantial. Jazz on the other hand is all about complex melodic and harmonic structures and unlimited improvisation. The Jazz & Poetry idiom successfully managed to combine spoken word and Jazz music since the 1950s but Rap & Jazz, as already mentioned above, has been much less consistent and successful in trying to present a contemporary artistic attempt of amalgamating spoken word and Jazz.
When analyzing a Rap & Jazz project, like the one here, I usually try to separate the contents into two separate planes and than estimate the level of correlation between them. In this case my feelings are as follows:
The Rap part, i.e. the strength of the lyrics and their delivery (sadly limited to Polish speaking audiences only) is cohesive, intelligent and moving. The subject matter touches upon many of the problems we all encounter in our lives, like social injustice, personal relationships, morality, hypocrisy of the media and the pitiful state of music industry. The delivery is emotional, clearly understandable and above all classy.
The music is also quite excellent: funky, melodic, uplifting and intelligent. The performances are excellent with Nowak´s trumpet delivering many scorching solos and Pluzek playing a beautiful soulful electric piano, like a true pro, also delivering several heartwarming solos. The rhythm section is the backbone of this music, keeping the beat and pushing the groove rolling. This music could have easily stand on its own (without the Rap on top), producing an excellent Funk-Groove-Soul-Jazz album.
But of course most importantly these two layers placed upon each other produce the best Polish Rap Jazz effort so far. This result is hardly accidental, in view of one of the album´s songs, in which Eskaubei tells about the deep influence of Miles DavisFind albums by this artist on his artistic creation. Overall this is a most enjoyable, aesthetically pleasing piece of music, which puts a smile on the listener´s face. Warmly recommended!
| | Updated: 31/01/2017Posted: | CD 1 Recommend To A Friend |
  | BILL EVANS ~ ALBUM (EXPANDED EDITION)
COLUMBIA 64963 (Barcode: 5099706496328) ~ USA ~ Jazz
Recorded: 1971 Released: 1996
The history of jazz is crowned by a small pantheon of stellar figures, which are (more or less) unequivocally accepted as the most prominent contributors to the development of the genre. Miles DavisFind albums by this artist and John ColtraneFind albums by this artist are members of that exclusive club and so is Bill EvansFind albums by this artist, the most influential jazz pianist ever.
Since Evans’ biography is available from many sources, I won’t go into it here, so here are just a few personal comments: Although Evens played in a variety of settings, he surely deserves the title of inventor of the piano trio, a format in which most of his exceptional work was done. Over the years Evans led a series of legendary trios with the most eloquent bass and drums players, primarily noticeable for the phenomenal and telepathic level of interplay between the trio members. His (fortunately) numerable trio recordings are not only a document of his exceptional sensibility and lyricism as a player and composer, but also cornerstones of musical collaboration. Starting from the first trio (1959) with Scott LaFaroFind albums by this artist and Paul MotianFind albums by this artist and up to the last moments of his life (1980) with Marc JohnsonFind albums by this artist and Joe LaBarberaFind albums by this artist, the trio recording have always been the safest bets on musical delight one might ever take when buying a jazz album.
This particular album, recorded with legends Eddie GomezFind albums by this artist on bass and Marty MorellFind albums by this artist on drums, is very important in Evans’ history. It includes his first contributions on the electric piano (a custom-made version of the Fender Rhodes), which he will explore more extensively later in his career. It also includes exclusively his own compositions, as opposed to his treatments of jazz standards, which were earlier the bulk of his recording material. This was the first of the only two albums Evans recorded for ColumbiaFind albums on this label – the other (“Living Time”) still awaiting a proper reissue. I can’t imagine anybody who loves jazz (or in fact anybody who loves music) ignoring this album, so if you still don’t have it – now is your chance. Absolutely essential!
| | Updated: 01/03/2024Posted: | CD 1 Remastered Bonus Tracks Essential Recommend To A Friend |
  | GIL EVANS ~ SVENGALI
RHINO 081227372026 (Barcode: 081227372026) ~ USA ~ Jazz
Recorded: 1973 Released: 2003
American (Canadian born) pianist / composer / arranger / bandleader Gil EvansFind albums by this artist was always a beacon of inspiration and a forward thinking innovator, one of the few music individuals that kept pushing Jazz to and beyond its limits. He came to fame after working with Miles DavisFind albums by this artist in the late 1950s and early 1960s, but he continued to produce extraordinary pieces of music until his death in 1988. This album presents a live recording of Evans and his orchestra, performing six extended pieces arranged by him. This reissue includes a full version of one of the tracks as a bonus track, which appears in a shortened version on the original album.
The music on this album presents a superb amalgam of cross-genre influences, encompassing all Jazz sub genres from Free to Jazz-Rock Fusion, bonded together by intricate orchestral arrangements, which no one else but Evans could create. The six pieces vary in style and atmosphere, but the album maintains a cohesive musical approach and the overall result is simply stunning. It is evident that the explosion of Jazz-Rock Fusion influenced Evans, who on this album embraces the (then) new development, including electric instruments in the orchestra, and doing it brilliantly and lovingly. Just a year later Evans will make the ultimate Fusion recording of his career, when the orchestra will record an album of Jimi HendrixFind albums by this artist music.
The list of musicians participating on this album includes guitarist Ted DunbarFind albums by this artist, tuba player Howard JohnsonFind albums by this artist, saxophonist Billy HarperFind albums by this artist, trumpeters Richard WilliamsFind albums by this artist and Marvin PetersonFind albums by this artist, electric bassist Herb BushlerFind albums by this artist and many others. The individual solos and the overall orchestral performances are all extraordinary and deeply inspiring. The inclusion of synthesizer player David HorowitzFind albums by this artist and his parts on this album are nothing short of prophetic.
In retrospect this is one of the classic recordings of the era, which continues to be completely relevant to this very day, as well as a beautiful document of the Genius of Gil Evans. Every true Jazz connoisseur should have a copy of this album in his collection.
| | | CD 1 Remastered Bonus Tracks Recommend To A Friend |
  | GIL EVANS / ORCHESTRA ~ PLAYS THE MUSIC OF JIMI HENDRIX (EXPANDED EDITION)
RCA 63872 (Barcode: 090266387229) ~ USA ~ Jazz-Rock Fusion
Recorded: 1974 - 1975 Released: 2005
Pianist / composer / arranger / bandleader Gil EvansFind albums by this artist was surely one of the most forward-thinking and open-minded Jazz Masters, who were able to overcome the typical American Jazz snobbery and keep their ears wide-open to anything of interest that was happening outside of the genre´s stifling ramparts. His revolutionary work with Miles DavisFind albums by this artist, one of the first examples of cross-genre music making and amalgamation of World Music elements into Jazz earned him his initial glory and recognition, but Evans remained a pioneer for the rest of his life. He was also the first Jazz personality to recognize and publically acknowledge his admiration of the talents of Jimi HendrixFind albums by this artist, not only as an exceptional guitarist but also as a great composer. Evans approached Hendrix with a cooperation proposal, which Jimi accepted wholeheartedly, but alas Jimi´s untimely death turned all plans into unfulfilled dreams. However, in spite of the disappointment, Evans decided to pay tribute to the genius of Hendrix by recording this exceptional album of arrangements of music composed by Hendrix, performed by his orchestra. This stunning example of Jazz-Rock Fusion is completely different from most other efforts pursued at the time worldwide and demonstrates a perfect marriage between Jazz and Rock in the orchestral realm. The orchestra, which included mostly young and up-coming Jazz virtuosi, features such illustrious players as guitarists John AbercrombieFind albums by this artist and Ryo KawasakiFind albums by this artist, trumpeters Lew SoloffFind albums by this artist and Marvin PetersonFind albums by this artist, saxophonists David SanbornFind albums by this artist and George AdamsFind albums by this artist, drummers Bruce DitmasFind albums by this artist and Tony WilliamsFind albums by this artist and many more. Hearing the music of Hendrix in this fantastic setting is an exceptional musical expedition, especially for people who are familiar with the original recordings by Hendrix. Evans finds new hidden facets in this music, which only a great musician can discover, and shares them with the listener, taking him on a journey of discovery. This expanded edition presents all the material on the original LP in unabridged form and adds alternative takes as bonuses. Exceptional stuff and a must for any true music lover!
| | | CD 1 Digipak Remastered Bonus Tracks Recommend To A Friend |
  | JOE FARRELL ~ ORIGINAL ALBUM CLASSICS
SONY 888750636829 (Barcode: 888750636829) ~ USA ~ Jazz-Rock Fusion
Recorded: 1970 - 1975 Released: 2015
This Box Set collects five of the six albums recorded by brilliant American flautist / saxophonist / composer Joe FarrellFind albums by this artist and released between 1970 and 1975 on the legendary CTIFind albums on this label Records label. They are: his debut as a leader and first album "Joe Farrell QuartetFind albums with this title", the second "OutbackFind albums with this title", the fourth "Penny ArcadeFind albums with this title", the fifth "Upon This RockFind albums with this title" and the sixth "Canned FunkFind albums with this title". His third album "Moon GermsFind albums with this title" was separately reissued on CD in 2001 by SonyFind albums on this label. Farrell joined the first incarnation of Return To ForeverFind albums by this artist in 1972 and took part in the recording of their first two legendary albums. The music presented on these five albums falls quite neatly into two separate categories: the first two albums are complex modern Jazz / Jazz-Rock Fusion and even include some Free Form moments, whereas the next three albums are Groove / Funk oriented.
The first album ("Joe Farrell Quartet") is especially noteworthy, as it is one of the most important and beautiful documents of the era. Farrell´s quartet, which also included pianist Chick CoreaFind albums by this artist, Bassist Dave HollandFind albums by this artist and drummer Jack DeJohnetteFind albums by this artist (all from Miles DavisFind albums by this artist electric band) is augmented by the presence of guitarist John McLaughlinFind albums by this artist on two tracks, turning the resulting quintet into a mighty power of Nature. It is worthwhile to compare these tracks with McLaughlin´s debut album "ExtrapolationFind albums with this title" or the Jack BruceFind albums by this artist album "Things We LikeFind albums with this title", which also features McLaughlin. Together these three a.m. albums contain some of the most important and powerful music ever made.
The second album places Farrell alongside Corea again, but this time with bassist Buster WilliamsFind albums by this artist and legendary drummer Elvin JonesFind albums by this artist, with whom Farrell recorded a series of superb albums for the Blue NoteFind albums on this label label between 1968 and 1971. It presents superb modern Jazz and Fusion, played by Masters of the trade. Together with the third album ("Moon Germs"), which is not present in this Box Set, which features Herbie HancockFind albums by this artist on piano, Stanley ClarkeFind albums by this artist on bass and again Jack DeJohnette on drums, and of course his numerous recordings as a sideman, Farrell established his position as one of the leading figures on the US scene.
The remaining three albums document the transition Farrell made from modern Jazz / Fusion into Jazz-Funk, which is characterized by more emphasis on melodic content and Funk / Groove rhythmic patterns. Although many of Farrell´s fans had a hard time getting used to this new musical direction, his work in that genre was always top notch, with impeccable musicianship and wonderful compositions. He cooperated with several top players specializing in that specific area, like guitarist Joe BeckFind albums by this artist, bassist Herb BushlerFind albums by this artist and others. In retrospect these albums are classics of the genre, sound superbly fresh today and honestly had very little true competition by anybody else over the years.
Farrell, who sadly died in 1986, aged just 48, was definitely an exceptional player and composer, who contributed immensely to American Jazz by constantly searching for new way of expression, ignoring genre constrains and mainstream thinking. This Box Set is an essential listening to every Jazz / Fusion fan on this planet.
Side Note
The "Original Album SeriesFind albums with this title" by Warner Bros.Find albums on this label, the "Original Album ClassicsFind albums with this title" by SonyFind albums on this label, the "5 Original AlbumsFind albums with this title" by UniversalFind albums on this label, the Box Sets by RhinoFind albums on this label and other similar releases 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 for the essence of cultural values and general sloppiness, contrary to human decency, which requires as to treat our Cultural Legacy with respect and loyalty.
The Box Sets produced under these monikers have no discographical information whatsoever about the lineups, musician names, composers, lyricists, dates and places of recording, original release data and even basic copyright data (the last is strictly illegal BTW). Although the original LP sleeves are reproduced, they are often edited and information (which would be in most cases too small to be readable) is removed. Most importantly these Box Sets don't include any booklet offering a historical background and perspective about the Artists and the Music, which are extremely important and vital to the preservation of our Culture and passing the knowledge to the next generations.
In short the fact that these Box Sets are meant to be inexpensive, does not mean that they have to be cheap. Considering the fact how many times this music has been sold over and over again by the labels, this is a crying shame!
| | Updated: 05/04/2024Posted: | CD 5 Mini-Sleeve Box Set Remastered Recommend To A Friend |
  | MAYNARD FERGUSON ~ M. F. HORN 3 / M. F. HORN 4 & 5 - LIVE AT JIMMY`S
VOCALION 8429 (Barcode: 765387842925) ~ CANADA ~ Jazz
Recorded: 1973 Released: 2006
Following an almost five years long exile in the UK, trumpeter / bandleader Maynard FergusonFind albums by this artist returned to the US in 1973. His new producer for ColumbiaFind albums on this label was no other than Teo MaceroFind albums by this artist, famous for his long association with Miles DavisFind albums by this artist.
The album "M. F. Horn 3Find albums with this title" was still recorded mostly in UK and featured the same incredible big band that played with Ferguson on "M. f. HornFind albums with this title" and "M. F. Horn 2Find albums with this title" and only the finishing touches were done in NY. Stylistically the album is also quite similar to its predecessor, presenting powerful version of Jazz-Rock Fusion with brass, brilliantly arranged and splendidly executed.
The next album, a double recorded live in NY, was to be his ultimate recording. Fronting a great big band, which included several European players who played on his previous albums, as well as new American players, Ferguson plays brilliantly, pushing the band to unbelievable heights. The material selected for the recording is more mainstream Jazz than the distinctive Jazz-Rock Fusion predecessors, but the high energy and dominant rhythm section create a special blend, which is quite different from traditional American big band music.
This was Ferguson’s finest hour and his future attempts to capture wider audiences by performing covers of popular hits were sadly less memorable. This stuff is it – sheer genius at work and a must for any big band enthusiast.
| | Updated: 17/04/2020Posted: | CD 2 Remastered Recommend To A Friend |
  | MAYNARD FERGUSON ~ M. F. HORN 4 & 5 – LIVE AT JIMMY`S
BGO 1307 (Barcode: 5017261213075) ~ CANADA ~ Brass Rock
Recorded: 1973 Released: 2017
This is a reissue of the album by Canadian Jazz trumpeter / composer / bandleader Maynard FergusonFind albums by this artist, recorded live at the famous NY club "Jimmy´s". Originally released as a double LP, this was the last chapter of the "M. F. HornFind albums with this title" series and marks the end of Ferguson´s British adventure, and his return to the US. The album was produced by the legendary ColumbiaFind albums on this label producer Teo MaceroFind albums by this artist, known for his work with Miles DavisFind albums by this artist and producer of countless other seminal Jazz recordings.
This album includes ten expanded arrangements of popular songs, Jazz standards and original material, brilliantly performed by Ferguson and his band, which included three British players who took part in the recording of the earlier "M. F. Horn" albums: saxophonist Andy MacintoshFind albums by this artist, pianist Pete JacksonFind albums by this artist (who plays electric piano here and contributed two original compositions) and drummer Randy JonesFind albums by this artist. Saxophonists Ferdinand PovelFind albums by this artist from Netherlands and Bruce JohnstoneFind albums by this artist from New Zealand are also among the band members with the rest of the players being Americans.
This album marks almost the end of Ferguson´s love affair with the Brass Rock / Jazz-Rock Fusion, which would be finalized by the recording of "ChameleonFind albums with this title" album a year later. The rest of Ferguson´s 1970s recordings on Columbia will be more commercially oriented, but still full of great performances and excellent music.
Overall this album is a great piece of the Ferguson´s recorded legacy, which is certainly worth being remembered. It finalizes the wonderful Brass Rock / British Big Band period, which is certainly a pinnacle of his creativity, and a superb addition to the idiom, and which has a lasting value. Wholeheartedly recommended!
| | Updated: 18/04/2020Posted: 18/04/2020 | CD 1 Slipcase Remastered Recommend To A Friend |
  | MACIEJ FORTUNA ~ LOST KEYS
FM 002 ~ POLAND ~ Jazz
Recorded: 2009 Released: 2010
This is the debut album as a leader by Polish Jazz trumpeter Maciej FortunaFind albums by this artist, recorded with his quartet, which comprises of pianist Przemyslaw RaminiakFind albums by this artist, bassist Andrzej SwiesFind albums by this artist and American drummer Frank ParkerFind albums by this artist. Fortuna has been one of the recognized talents on the local Jazz scene for a few years and this recording serves as the "formal" act of entering the major league of Polish Jazz musicians. The quartet performs nine original compositions, seven of which are credited to all four band members; of the two remaining one is by the pianist and the other by the bassist.
The music fits perfectly the modern Jazz mainstream, but is very interesting and aesthetic, with beautiful melodic themes and perfect arrangements. The execution is also absolutely first class, from start to finish. Most solos are performed (not surprisingly) by the leader and the pianist, but the rhythm section is firmly present throughout, playing confidently, accurately and with a lot of imagination. Pianist Raminiak is definitely one of the best among the young generation of Polish Jazz players, which erupted in the last couple of years forcing its way towards the top and his other recordings (with his RGGFind albums by this artist trio) are all worth investigating. As to the leader, his playing is both beautiful and perfect in every respect, with great sense of melody and technical proficiency.
Stylistically Fortuna is still distilling and purifying his personal and unique voicing, with his many influences even now quite apparent – mostly Miles DavisFind albums by this artist and other American Bop players, but also several notable Europeans. Of course every young Polish trumpeter is expected to follow and is judged by comparison to the mentor of Polish trumpet – Tomasz StankoFind albums by this artist, which of course is not fair and quite absurd. Even if Fortuna should in the future lean more towards less structured music, his voice and sound will be his own, so let´s give him a fair chance. It definitely sounds as we´ll hear quite a lot about him in the future.
This is definitely a brilliant debut album, which should make all the participating musicians proud. Wholeheartedly recommended!
| | | CD 1 Digipak Recommend To A Friend |
  | PETER FRAMPTON ~ ALL BLUES
UNIVERSAL 602577644245 (Barcode: 602577644245) ~ UK ~ Blues-Rock
Recorded: 2019 Released: 2019
This is the 17th solo album by legendary British guitarist / vocalist / songwriter Peter FramptonFind albums by this artist, recorded with his regular band, which includes keyboardist Rob ArthurFind albums by this artist, guitarist Adam LesterFind albums by this artist, drummer Dan WojciechowskiFind albums by this artist and bassists Glenn WorfFind albums by this artist or David LabruyereFind albums by this artist. Several guest musicians appear on selected tracks. The album presents ten tracks, all Blues classics and obviously Frampton’s favorites.
Following almost six decades of music career as member of The HerdFind albums by this artist and Humble PieFind albums by this artist, and a solo artist since 1971, which produced, among others, one of the top live Rock albums of all time, the iconic “Frampton Comes AliveFind albums with this title”, Frampton returns to his youth influences, paying tribute to the Blues. The selection of songs is impeccable and his abilities as a guitarist and vocalist, despite the diagnosed illness, are still absolutely stunning. The Blues was always an essential part of his musical persona, and this album proves why.
An interesting choice of including Miles DavisFind albums by this artist’ “All Blues”, as one of the covers and the album’s title, which gests a sensational rendition herein, emphasizes the omnipresence of the Blues in all forms and shapes of music.
Overall, this is a wonderful Blues Rock album, with superb guitar work, heartfelt vocals and a tinge of nostalgia, which no Blues fan ignore. Chapeau bas to one of the heroes of my youth, who still kicks ass way more convincingly that anybody half his age, despite the fact that our days are numbered!
| | Updated: 21/02/2024Posted: 21/02/2024 | CD 1 Recommend To A Friend |
  | BOB GLUCK ~ INFINITE SPIRIT: REVISITING MUSIC OF THE MWANDISHI BAND
FMR 398 (Barcode: 649849982254) ~ USA ~ Jazz
Recorded: 2015 Released: 2016
This is a fascinating album by American pianist / composer / electronic music performer and composer / educator / writer and a former Rabbi Bob GluckFind albums by this artist, recorded in a quartet setting with trumpeter Eddie HendersonFind albums by this artist, bassist Christopher Dean SullivanFind albums by this artist and drummer Billy HartFind albums by this artist, which as the title suggests, revisits the music performed and recorded by the Herbie HancockFind albums by this artist sextet, often called the Mwandishi Band after the title of their seminal album "MwandishiFind albums with this title", the first of three albums the ensemble recorded, which includes also "CrossingsFind albums with this title" and "SextantFind albums with this title". Hancock formed this band in the early 1970s after he left the Miles DavisFind albums by this artist group, where he played for many years.
Gluck wrote and published the book entitled "You´ll Know When You Get There: Herbie Hancock And The Mwandishi Band", where he analyzes the music and it´s hardly surprising he also created a musical facet of his fascination with this subject. By drafting two of the original members of the sextet: Henderson and Hart to take part in this project, Gluck is able to get as close to the source of this music as possible, without engaging Hancock himself of course. The album presents just five lengthy pieces, two of which were composed by Hancock, two others by Bennie MaupinFind albums by this artist (one features an introduction composed by Gluck) and just one is an original composition by Sullivan, which means that most of the music originates from the Mwandishi output.
The overall modus operandi, i.e. openness, lengthy improvisations, minimalism and introspection, and above all an atmospheric approach to music creation, which of course is a much more European way of doing things, and finally the use of electronics (which on the original recordings was created by Patrick Gleason) lead to what Gluck obviously intended: a revisit of the Mwandishi music, but also a tribute to one of the most fascinating chapters of the American Jazz idiom, and sadly perhaps one of the last contributions to the genre originating on US soil.
The music is of course everything one might hope for. Brilliantly performed by all four participants, it flows elegantly and yet also passionately from start to finish, leaving the listener wishing for more when the music is over. Despite their age Henderson and Hart are still very much the Masters they always were, Sullivan provides the anchor for the music with his steady pulsations, and his original composition fits the Mwandishi music ideally. Gluck´s piano and electronics create the frame which defines the melodic and harmonic structures and he wisely eschews imitating Hancock in any way, making his own statements.
Overall this is an album which besides presenting some fascinating music has also an educational message and pays tribute to the glorious history of the Jazz idiom. Highly recommended!
| | Updated: 29/04/2016Posted: 29/04/2016 | CD 1 Digipak Recommend To A Friend |
  | ANTONI GRALAK ~ GANGA
AUDIO CAVE 2017/011 (Barcode: 5905669566377) ~ POLAND ~ Jazz-Rock-World Fusion
Recorded: 2017 Released: 2017
This is an album by renowned Polish trumpeter / composer / bandleader Antoni GralakFind albums by this artist, one of the most colorful and fascinating figures on the independent / Avant Garde / anti establishment Polish music scene, who participated in many musical projects like Tie BreakFind albums by this artist, Free CooperationFind albums by this artist, Young PowerFind albums by this artist, GraalFind albums by this artist, YesheFind albums by this artist and others. Completely unpredictably, as always, this album finds Gralak, who plays trumpet, bass guitar and keyboards, in the company of three Indian musicians who play tabla, sitar and shehnai (Indian reed instrument) respectively and Polish percussionist Zbigniew BrysiakFind albums by this artist. The album presents eight original compositions, all by Gralak.
The music is heavily influenced by ethnic Indian musical motifs, incorporating Jazz improvisations, Drum & Bass, electronics and other elements, creating a fascinating amalgam of melodies and rhythms, which sounds exotic, vibrant and exciting. The folkloristic, innate to Indian music, improvisations intertwine with Gralak´s Jazzy playing quite naturally and create a cross-cultural dialogue. Parts of this music bring forward a reminiscence of the Miles DavisFind albums by this artist sessions featuring Badal RoyFind albums by this artist, which also showed some Indian influence, albeit much more subtle than here.
Of course Indian music is never simplistic and its meditative nature requires attentive listening and submission, which is not easy to a Western ear, even when slightly dressed up in Western ornament. Some listeners might find this music somewhat monotonic in the long range, but hopefully the majority will be able to embrace it and enjoy it in full, as it surely deserves to reach as many listeners as possible.
Overall the album shows another facet of the multitude of Gralak´s talents and musical worlds, which always was his personal signature. The restless search for new discoveries and diverse environments is the trademark of progress in Art in general and in music in particular, and Gralak deserves the title of the Great Wanderer probably more than most of his Polish contemporaries.
If anybody can sit still while listening to this album, he is either in coma or dead already ;)
| | Updated: 17/12/2018Posted: 21/03/2018 | CD 1 Digipak Recommend To A Friend |
  | GRIFFITH PARK COLLECTION ~ THE GRIFFITH PARK COLLECTION 2 IN CONCERT
WOUNDED BIRD 6262 (Barcode: 664140626225) ~ USA ~ Jazz
Recorded: 1982 Released: 2008
2nd album by an ad-hoc US Jazz super-group Griffith Park CollectionFind albums by this artist, which was put together by drummer Lenny WhiteFind albums by this artist and included trumpeter Freddie HubbardFind albums by this artist, saxophonist Joe HendersonFind albums by this artist, pianist Chick CoreaFind albums by this artist and bassist Stanley ClarkeFind albums by this artist – all Masters of the trade and veteran American Jazz Giants. White is the link between all these players, as he previously played in Henderson´s and Hubbard´s bands and of course he was a member of Return To ForeverFind albums by this artist with Corea and Clarke.
The quintet is in many respects similar to the V.S.O.P.Find albums by this artist quintet, which in turn was modeled after the famous second Miles DavisFind albums by this artist quintet. They play modern Jazz, strongly based on the Bebop tradition, but pushing the boundaries into modal and sometimes Free Form. Following the recording of their only studio album, the band performed several concerts, which produced these live recordings, which are more relaxed and much expanded, with fearsome long solos. The music is all original by the quintet members except for two standards, performed superbly with flair and breathtaking virtuosity, as expected from these great musicians. This album was unavailable for almost two decades and it´s great to have it back in circulation. A must for modern Jazz lovers!
| | | CD 2 Recommend To A Friend |
  | HERBIE HANCOCK ~ FAT ALBERT ROTUNDA
WARNER BROS. 47540 (Barcode: 093624754022) ~ USA ~ Jazz-Rock Fusion
Recorded: 1969 Released: 2001
Herbie HancockFind albums by this artist’s solo career (apart from his work done with his Mentor Miles DavisFind albums by this artist, with whom he stayed for over five years as the member of the legendary second quintet) produced an overwhelmingly diverse body of work which positions him as one of the Giants of 20th Century music. After recording a series of excellent and immensely influential albums on the Blue NoteFind albums on this label label in the 1960’s, Hancock switched to Warner Bros.Find albums on this label where he recorded just three albums, this one being the first of these.
Recorded shortly after Hancock left the Miles Davis group, it contains music he wrote for a TV series, rearranged for a jazz sextet. The funky approach was Hancock’s first attempt to play around with funk (influenced among others by the revolutionary work done with the genre at that time by Sly & The Family StoneFind albums by this artist). This started a love affair that would be extensively developed a few years later after Hancock switched labels again, this time to ColumbiaFind albums on this label. He plays the Fender Rhodes electric piano exclusively leaving the acoustic piano aside for a few years until the formation of the V.S.O.P.Find albums by this artist quintet. The funky arrangements are extremely clever and exquisitely performed by the sextet, which includes Joe HendersonFind albums by this artist on flute and sax, Johnny ColesFind albums by this artist on trumpet, Garnet BrownFind albums by this artist on trombone, Buster WilliamsFind albums by this artist on bass and Albert HeathFind albums by this artist on drums. The music sounds beautifully fresh and vibrant today, loosing nothing of its original charm and magic. A timeless classic!
| | | CD 1 Digipak Remastered Recommend To A Friend |
  | HERBIE HANCOCK ~ MWANDISHI
WARNER BROS. 47541 (Barcode: 093624754121) ~ USA ~ Jazz-Rock Fusion
Recorded: 1971 Released: 2001
Following his departure from the Miles DavisFind albums by this artist quintet, Herbie HancockFind albums by this artist established his own sextet, which would serve as his musical vehicle in the next step of his explorations. The sextet included Eddie HendersonFind albums by this artist on trumpet, Benny MaupinFind albums by this artist on bass clarinet and flute, Julian PriesterFind albums by this artist on trombone, Buster WilliamsFind albums by this artist on bass and Billy HartFind albums by this artist on drums.
Hancock recorded three revolutionary and visionary albums with this group, before changing his chameleon-like path again, this time into funk. These three albums were MwandishiFind albums with this title and CrossingsFind albums with this title released on Warner Bros.Find albums on this label and his ColumbiaFind albums on this label debut SextantFind albums by this artist. The extraordinary music present on these albums is the next step in the future of Jazz, the creation of a multi-genre Fusion, which “genetically spliced” Jazz with Rock, Funk and World Music, creating a new musical universe.
In fact one should see these recordings in the right perspective, comparing it to the music Miles Davis was creating (from Bitches BrewFind albums with this title onward) and his disciples: John McLaughlinFind albums by this artist with Mahavishnu OrchestraFind albums by this artist, Joe ZawinulFind albums by this artist and Wayne ShorterFind albums by this artist with Weather ReportFind albums by this artist and Herbie Hancock with his sextet. All this music (created roughly at the same time) falls beautifully into place supplementing the big picture. Of course one should always credit it as much to its wonderfully talented creators as to their Mentor Miles Davis.
The music on Mwandishi is beautifully atmospheric. The unusually (for Jazz) long tracks (one over 21 minutes and the two others over 10 minutes long) leave plenty of space for group improvisation and generous solo space for all the musicians. Hancock sticks to the electric piano, by now mastering the instrument to perfection. He composed two of the tracks and Priester the remaining one. A few guest musicians, including SantanaFind albums by this artist’s percussionist Jose AreasFind albums by this artist and drummer Leon ChanclerFind albums by this artist contribute their input. This music can be heard time after time, revealing new emotions and hidden treasures every time. An essential classic!
| | | CD 1 Digipak Remastered Essential Recommend To A Friend |
  | HERBIE HANCOCK ~ SEXTANT
COLUMBIA 64983 (Barcode: 5099706498322) ~ USA ~ Jazz-Rock Fusion
Recorded: 1972 Released: 1998
SextantFind albums with this title was Herbie HancockFind albums by this artist’s debut album for ColumbiaFind albums on this label (an association that would last for three decades) and the 3rd part of his sextet album trilogy, which started with MwandishiFind albums with this title and CrossingsFind albums with this title recorded for Warner Bros.Find albums on this label The sextet’s lineup (Eddie HendersonFind albums by this artist on trumpet, Benny MaupinFind albums by this artist on bass clarinet and flute, Julian PriesterFind albums by this artist on trombone, Buster WilliamsFind albums by this artist on bass and Billy HartFind albums by this artist on drums) remained steady for all three albums, which of course contributed to the phenomenal level of interplay they were able to achieve. Musically the album continues the path set by its predecessors, with long atmospheric compositions, which allow a lot of space for collective and individual improvisations. Hancock composed all the music on this album and again included in the recording the electronic music pioneer Patrick GleasonFind albums by this artist, who plays the Moog synthesizer. The music continues the direction pioneered by Miles DavisFind albums by this artist, with modal compositions and usage of electric instruments, but is spiced it with the addition of African rhythms and funk (to be expanded in the next edition of his group and the recording of the legendary Head HuntersFind albums with this title album), creating a highly expressionist soundscapes of rare beauty. Visionary music and another essential classic!
| | | CD 1 Remastered Essential Recommend To A Friend |
  | HERBIE HANCOCK ~ THE COMPLETE COLUMBIA ALBUM COLLECTION 1972-1988
SONY 886977240829 (Barcode: 886977240829) ~ USA ~ Jazz
Recorded: 1972 - 1988 Released: 2013
This monumental Box Set (31 albums, 3 of which are double CDs) presents the recording legacy of American keyboardist / composer / bandleader Herbie HancockFind albums by this artist during his most productive and groundbreaking two decades, in which his albums were released by ColumbiaFind albums on this label (and SonyFind albums on this label in Japan). Columbia was Hancock´s third record label; his initial recording career (1962-1969) was spent with the legendary Blue NoteFind albums on this label label, where he recorded a series of brilliant and pioneering albums as a leader and dozens of albums as a sideman, many of which are considered as part of the canon of Jazz recordings. After a short period of recording for the Warner Bros.Find albums on this label label (1969-1972) he signed with Columbia, which was quite natural considering that Hancock was a member of the second legendary Miles DavisFind albums by this artist quintet (1963-1969) and took part in many projects Davis led after the quintet disbanded, all of which were recorded for Columbia. Several of the albums in this box, which were originally released only in Japan, make their appearance outside of Japan for the first time.
The content of this Box Set emphasizes the incredible musical versatility and truly chameleonic nature of Hancock as an Artist. He plays in many settings, from solo keyboards, duos (with Chick CoreaFind albums by this artist for example), trios (with Ron CarterFind albums by this artist and Tony WilliamsFind albums by this artist) and ensembles like the pioneering Jazz-Funk Headhunters or the incredible V.S.O.P.Find albums by this artist quintet, which followed in the steps of the second Miles Davis quintet, with trumpeter Freddie HubbardFind albums by this artist replacing Davis and the rest of the players being the original quintet members. It also shows Hancock as a composer of soundtracks ("Death Wish" and "Round Midnight") and his affiliation with World Music.
Musically the box covers an incredibly wide cross-genre musical plateau, covering such varied areas as modern Mainstream, Jazz-Rock Fusion, Jazz-Funk Fusion, Jazz-Soul Fusion, electronic and ambient music, orchestral music, Jazz-Classical Fusion and any other. Hancock´s exceptional talent as a composer is exposed here in the fullest and confirms his status as one of the most influential and revolutionary Jazz musician ever. His skills as a player are of course completely unparalleled and have served as a model for generations of young musicians all over the world.
It wouldn´t be an exaggeration to state that this box contains some of the most important Jazz recordings made to date and as a legacy its value is absolutely priceless and unique. It is of course worth every penny of this reasonably priced and beautifully packaged Box Set, even if one owns some of these albums separately already. Grab the box and give the older versions to your friends; they will surely be grateful and thank you.
This is an absolutely essential piece of Jazz history, music history and human Cultural legacy, which is way beyond recommendation. Simply a must!
| | Updated: 26/01/2019Posted: | CD 34 Mini-Sleeve Box Set Remastered Essential Recommend To A Friend |
  | HERBIE HANCOCK ~ THE PIANO
COLUMBIA 87083 (Barcode: 5099708708320) ~ USA ~ Jazz
Recorded: 1978 Released: 2004
As hard as it is to believe, this is the debut solo piano recording by Jazz Giant Herbie HancockFind albums by this artist. Aged 38 at the time of this recording, Hancock was at that time already a worldwide Jazz star with a resume, which only a very few other Jazz musician could produce. His recordings with Miles DavisFind albums by this artist, V.S.O.P.Find albums by this artist and his projects as a leader include some of the finest Jazz music ever recorded, yet strangely he seldom attempted to perform solo piano pieces. Therefore this recording is a milestone and a rare document of the illustrious career of this great musician.
Recorded in Japan, this album was initially only released on the Japanese market, It took 26 years to have it finally released worldwide (the usual record companies bullshit), which is a true crime. The only consolation comes as the bonus tracks available on this issue. The original album included seven tracks (this issue adds four alternate versions), three of which are standards and four are original compositions by Hancock. His delivery is of course divine, breathtakingly beautiful and deeply touching. Hancock always had the incredible gift to utilize his extraordinary technical skill to express his deep lyricism and emotional insightfulness, which are even more evident on these recordings, considering him sitting alone at the piano. This is an absolute must for every piano-loving music connoisseur.
| | | CD 1 Bonus Tracks Recommend To A Friend |
  | BILLY HART ~ ALL OUR REASONS
ECM 2248 (Barcode: 602527866314) ~ USA ~ Jazz
Recorded: 2011 Released: 2012
This is the debut album on the legendary ECMFind albums on this label label by veteran American drummer / composer Billy HartFind albums by this artist, who is one of the greatest drummers in Jazz history, although he is rarely mentioned by critics. He was a part of many pivotal Jazz recordings over the years with such great musicians as Wes MontgomeryFind albums by this artist, Herbie HancockFind albums by this artist, Stan GetzFind albums by this artist and of course Miles DavisFind albums by this artist. Unfortunately his recordings as a leader are relatively rare. This is the second album by his recent quartet, which includes saxophonist Mark TurnerFind albums by this artist, pianist Ethan IversonFind albums by this artist and bassist Ben StreetFind albums by this artist. Hart, Iverson and Turner all contribute compositions on this album and the quartet performs them with elegance and flair, which is usually identified with European Jazz, which is probably the reason behind ECM´s decision to include this music in their catalogue. This is modern Jazz at its best, firmly based in the tradition and expanding it towards new territory. Beautiful stuff!
| | | CD 1 Slipcase Recommend To A Friend |
  | JIMI HENDRIX ~ ELECTRIC LADYLAND (EXPANDED EDITION)
SONY 762164 (Barcode: 886976216429) ~ USA ~ Classic Rock
Recorded: 1968 Released: 2010
3rd and last album by the greatest guitar player that ever walked on the face of the earth, Jimi HendrixFind albums by this artist, which continued to revolutionize the fate of Rock music as we know it. Following the release of the two stunning albums a year earlier ("Are You ExperiencedFind albums with this title" and "Axis: Bold As LoveFind albums with this title"), Hendrix and his British partners: Noel ReddingFind albums by this artist on bass and Mitch MitchellFind albums by this artist on drums, explored the unchartered territories of Rock beyond anything tried previously, even by the boldest explorers of the genre. In the meantime Hendrix also got exposed to many other musical explorations beyond Rock, mainly to the pioneering Jazz-Rock experimentations of Miles DavisFind albums by this artist, which influenced him deeply and were supposed to culminate in actual cooperation, which sadly never materialized. In making this milestone recording, Hendrix fused together everything he knew up to this point of his musical development, the early Blues influences, the Psychedelic music of the British Underground Scene, the new Jazz feel and even Avant-Garde sound experimentation, producing what would become one of the true icons of musical achievement, a timeless tour de force, a magnum opus and a work of a genius. The album also marks the first time Hendrix involved other musicians apart from the trio, like Steve WinwoodFind albums by this artist, Al KooperFind albums by this artist and others. One could easily write a whole book just about this album, analyzing its musical values as well as its historical significance, but in all honesty listening to it is all that matters. I have been doing just that for the last 42 years since I got my sweaty hands on the shiny double LP for the first time. It´s been a faithful companion in bad times and good times, never letting me down. It still sounds prophetic, every time I listen to it. This new edition, newly remastered, adds a specially filmed DVD, which explores the process of creating this album. Need I say more?
| | Updated: 12/04/2019Posted: | CD+DVD 2 Digipak Remastered Essential Recommend To A Friend |
  | KRZYSZTOF HERDZIN ~ DANCING FLOWERS
FUSION 001 (Barcode: 5907564258012) ~ POLAND ~ Jazz-Rock Fusion
Recorded: 2001 Released: 2005
This album by Polish keyboardist / composer / arranger Krzysztof HerdzinFind albums by this artist presents yet another aspect of his seemingly universal musical personality. It is basically a Funk album, which consists of seven instrumentals and three songs, all composed by Herdzin. The arrangements, especially those involving the horn section, have some proximity to Jazz, but overall it is a Pop album with some Jazz-Rock Fusion elements.
The music is performed by an excellent team, which includes guitarist Marek NapiorkowskiFind albums by this artist, bassists Zbigniew WegehauptFind albums by this artist (in a rare appearance on bass guitar), Filip SojkaFind albums by this artist and Miroslaw WisniewskiFind albums by this artist and drummers Cezary KonradFind albums by this artist, Grzegorz GrzybFind albums by this artist and Michal DabrowkaFind albums by this artist and horn players like saxophonists Michal KulentyFind albums by this artist, Marek PodkowaFind albums by this artist and Mariusz MelczarekFind albums by this artist and several others. The vocals are handled by three young Pop vocalists, two female and one male, all of them quite unimpressive
The music is based on the American Funk model, which was developed in the 1970s / 1980s by a plentitude of mostly African American musicians, especially the archetypical Earth, Wind & FireFind albums by this artist, but also by many partly Jazz oriented artists like George DukeFind albums by this artist, Stanley ClarkeFind albums by this artist, Grover Washington, Jr.Find albums by this artist and even Miles DavisFind albums by this artist and Herbie HancockFind albums by this artist during some periods of their extensive careers. Herdzin presents his version of Funk, which is based more on the melodic content than the rhythmic progression and is therefore somewhat softened, or simply more European. Herdzin often states that anything he does is by no means inferior to whatever the Americans are doing, and to tell the truth he is often correct when saying so, but on the other hand as it was once so adequately put: "White Man Can´t Jump" and Funk is after all about "jumping" more than anything else. When asked if he ever played Funk, Herdzin can most certainly answer positively, following this recording.
Overall this is a well done, pleasant album (except for the vocal tracks), which is ideal for driving on sunny days (pretty rare in Poland) with the volume up and a pretty blonde beside you. Enjoy!
| | | CD 1 Recommend To A Friend |
  | DAVE HOLLAND ~ EXTENSIONS
ECM 1410 (Barcode: 602517758421) ~ UK ~ Jazz
Recorded: 1989 Released: 2008
British bassist / composer Dave HollandFind albums by this artist is undoubtedly one of the greatest Masters of his trade. From his role as a member of the Miles DavisFind albums by this artist ensembles at their most revolutionary transition period through his work with other distinguished Jazz musicians and his work as a leader, Holland emerges as a pillar of stability and inventiveness combined into one Genius. This brilliant album presents Holland in somewhat unusual setting, with a quartet comprising of US musicians: saxophonist Steve ColemanFind albums by this artist, guitarist Kevin EubanksFind albums by this artist and drummer Marvin SmithFind albums by this artist, which means that the music includes a certain measure of Funk, which is not what Holland´s music is associated with normally. However, the leader and the group emerge victorious (as expected), with the music being fresh and artistically perfect, not allowing the Funk to dominate it, but cleverly incorporating it within. Holland, Coleman and Eubanks contribute two compositions each, and this highly spirited and brilliantly played music is a delightful musical experience. Superb stuff!
| | | CD 1 Mini-Sleeve Recommend To A Friend |
  | HUSMO HAV ~ WAVES
DUGNAD 030 ~ NORWAY ~ Jazz-Funk Fusion
Recorded: 2020 Released: 2021
This is the second album by the Norwegian Jazz quartet Husmo HavFind albums by this artist, led by trumpeter Thomas Husmo LitleskareFind albums by this artist and including keyboardist Marte EbersonFind albums by this artist, bassist Stian Andreas Egeland AndersenFind albums by this artist and drummer Tore FlatjordFind albums by this artist. The album presents five original compositions, three by the leader and one each by Eberson and Andersen. The total playing time of the album is just under 23 minutes, which is even under EP timing, not to mention a full album.
The music is a continuation of the path taken on the debut album, but is less contemplative and definitely more straightforward, with simple melodic themes and steady rhythmic background, which overall is way less attractive than the debut and almost touches on danceability.
The sound, which features the muffled / husky trumpet and the keyboards producing ambient layers of harmonic atmospheric ambience, backed by the steady work of the rhythm section, still works fine and has a lot of potential, but on this album simply does not takes off to fulfill that potential. The proximity to the late electric Miles DavisFind albums by this artist period is a dangerous and treacherous road, since obviously the Master simply stands alone on that pedestal.
Overall, sadly this album does not fulfill the hopes seeded by the debut. Perhaps the release was premature, as the short playing time might suggest, but I still keep my fingers crossed for the next one.
| | Updated: 19/08/2021Posted: 19/08/2021 | CD 1 Mini-Sleeve Recommend To A Friend |
  | INNERCITY ENSEMBLE ~ III
ISTANT CLASSIC 047 ~ POLAND ~ Jazz-Rock-World Fusion
Recorded: 2015 Released: 2016
This is the third album by Polish Improvised Music group Innercity EnsembleFind albums by this artist, which consists of trumpeter Wojciech JachnaFind albums by this artist, guitarists Jakub ZiolekFind albums by this artist and Artur MackowiakFind albums by this artist, drummer Tomasz PopowskiFind albums by this artist, percussionists Rafal IwanskiFind albums by this artist and Rafal KolackiFind albums by this artist and Radek DziubekFind albums by this artist, who is in charge of electronics. In fact all the members play a plethora of different, mostly percussive, instruments on this album, which is characterized by this powerful percussive sound. Together they perform seven original compositions, which are not credited on the album´s packaging and therefore are assumed to be co-composed / improvised by all seven members of the band.
For improvised music this album is remarkably well organized, with clear melodic themes and steady, although polyrhythmic intense percussive background. The music is beyond simple classification, as it mixes many diverse genres, like Jazz, Ethno, Jungle, Ambient and many other flavors, but the important thing is of course that the result sounds beautifully coherent and highly fascinating. The music creates a trance-like atmosphere, which absorbs the listener completely, taking him away from reality into an imaginary world of its own.
Jachna plays most of the solo parts and his heartwrenching performances are the absolute centerpiece of this album. In the course of just a few years Jachna established his position as one of the most creative Polish trumpeters on a scene exploding with talent and fiercely competitive. Music connoisseurs with a developed imagination could envisage this music as "Miles DavisFind albums by this artist in a jungle".
But of course the rest of the band also contributes beautiful sound vistas and percussive backgrounds, which are rich in textures and intricate details. Although there is a certain element of repetition, the mantra-like parts are never long enough to become boring and are always ornamented by a multitude if minimalistic musical gems.
Overall this is a beautiful and fascinating piece music, which explores and probes uncharted territory, as music always should. This is definitely something ambitious music livers should enjoy immensely and as such is wholeheartedly recommended!
| | Updated: 11/11/2016Posted: 11/11/2016 | CD 1 Recommend To A Friend |
  | PEDRO ITURRALDE / PACO DE LUCIA ~ FLAMENCO JAZZ
MPS 4029759097389 (Barcode: 4029759097389) ~ SPAIN ~ Jazz-World Fusion
Recorded: 1967 Released: 2014
This is a reissue of a little known album by Spanish saxophonist Pedro IturraldeFind albums by this artist and his quintet, which also included Italian trombonist Dino PianaFind albums by this artist, German pianist Paul GrasslFind albums by this artist, Swiss bassist Erich PeterFind albums by this artist and German drummer Peer WyborisFind albums by this artist. The quintet was joined by the very young Spanish guitar player Paco De LuciaFind albums by this artist (19 years old at the time), who would later on achieve an enormous artistic success as a solo artist. Together the sextet performs four extended compositions, two originals composed by Iturralde and two arrangements of Flamenco pieces composed by the great Spanish composer Manuel de FallaFind albums by this artist.
Conceived by the legendary producer Joachim BerendtFind albums by this artist, this is one of the earliest and most striking examples of Jazz-World Fusion in European Jazz, which retains all of its beauty and elegance to this very day. Of course Miles DavisFind albums by this artist and Gil EvansFind albums by this artist recorded "Sketches Of SpainFind albums with this title" a few years earlier, producing a classic example of the genre, but this album merges Jazz and the folkloristic elements much more naturally and symbiotically.
The music allows plenty of space for all the participants to play stretched solos and the listener is fully exposed to their abilities. Iturralde plays some very proficient statements and his sound and phrasing incorporates a distinctive Spanish flavor. De Lucia is brilliant as always and his acoustic guitar emits an unstoppable cascade of notes. Overall the music is simply wonderful from start to finish and manages to move and excite, displaying elegance and grace of rare quality.
Jazz-World Fusion connoisseurs should rejoice having the opportunity to grab a copy of this album, which was out of print for decades. Hopefully it will be discovered by the young generation of music lovers and musicians alike, as it a true classic example of the idiom.
Side Note
The legendary German MPSFind albums on this label (Musik Produktion Schwarzwald) label, founded by Hans Georg Brunner-SchwerFind albums by this artist (HGBS) in 1963, first as SABAFind albums on this label Records and later on from 1968 as MPS Records, was the most important independent European record label, which had an enormous contribution to the development of European Jazz. For many years MPS cooperated with the legendary German producer / author Joachim BerendtFind albums by this artist, my Friend and Mentor, whose visionary approach and open-mindedness brought the crème de la crème of the Jazz (in the broadest meaning of the word) musicians from all over the world to the label. Between 1963 and 1983 MPS produced about five hundred albums, many of which are among the most important Jazz recordings on this planet.
In 1983 the MPS catalog was sold to UniversalFind albums on this label, which sadly resulted in all those artistic treasures to almost disappear from the face of the earth – a situation not only tragic but culturally criminal. Universal reissued a part of the MPS albums (probably 128 titles) on CD between 1999 and 2011 under the "Most Perfect Sound Edition" moniker.
Since 2008 the German Promising MusicFind albums on this label label released some of the MPS recordings, but at a very slow pace.
In 2014 the German company Edel AG bought the MPS catalogue from Universal and released a series of 25 MPS albums on CD with a new slipcase graphic design, which brought all those excellent albums back to life. In 2015 Edel AG started to record and release new albums under the MPS moniker. In 2016 Edel AG released a series of 10 classic MPS albums on CD, which were beautifully remastered and re-packaged, presenting the original artwork and liner notes, as well as new liner notes and photographs. An obvious labor of love, these reissues are what the MPS catalogue truly deserves. This project was continued in 2017 with another series of 10 classic MPS albums released on CD. In later years some new reissues were released sporadically.
Over the years many SABA / MPS albums were reissued in Japan, which is often the only available source for these albums today, but that is a story in itself.
| | Updated: 27/05/2018Posted: 21/05/2016 | CD 1 Slipcase Remastered Recommend To A Friend |
  | KEITH JARRETT ~ BYE BYE BLACKBIRD
ECM 1467 (Barcode: 731451307423) ~ USA ~ Jazz
Recorded: 1991 Released: 1993
US pianist / composer Keith JarrettFind albums by this artist was of course a member of the Miles DavisFind albums by this artist ensembles at the most pivotal period of their existence, and therefore his association with Miles surely influenced his future development. This album, recorded immediately (two weeks later) after Miles Davis died, is a loving tribute to the Great Master. Accompanied by his regular trio: bassist Gary PeacockFind albums by this artist and drummer Jack DeJohnetteFind albums by this artist; Jarrett performs eight compositions, six of which were often performed and recorded by Miles and two new compositions dedicated to him. The performances are of course stellar, as usual for this trio, and the album is a must for any serious Jazz connoisseur. Miles remembered!
| | | CD 1 Recommend To A Friend |
  | KEITH JARRETT / JACK DEJOHNETTE ~ RUTA AND DAITYA
ECM 1021 (Barcode: 731451377624) ~ USA ~ Jazz
Recorded: 1971 Released: 1993
This is an early collaboration between US pianist / composer Keith JarrettFind albums by this artist and drummer Jack DeJohnetteFind albums by this artist, which will later on evolve into world´s most famous Jazz trio with the addition of bassist Gary PeacockFind albums by this artist. The music herein was privately recorded by these two musicians while they were still members of the Miles DavisFind albums by this artist ensemble. Following the release of Jarrett´s "Facing YouFind albums with this title" album on ECMFind albums on this label, he offered ECM these recordings and the label released them willingly. The music is mostly co-composed by Jarrett and DeJohnette, with just a few compositions credited to Jarrett alone. The atmosphere is intimate and quite free, evidently mostly improvised, as appropriate for the period. Jarrett plays both acoustic and electric piano and this is one of the latest recording where he was using electric piano, soon to be totally dedicated to the acoustic piano. DeJohnette plays wonderfully and the duo setting emphasizes his unusual approach to rhythm and his truly amazing musicality and ability to listen to his partners. This is a great chapter, although relatively unknown, in the history of these great musicians. A must!
| | | CD 1 Recommend To A Friend |
  | JAZZ CONSTRUCTION ~ JAZZ CONSTRUCTION
MTS 014 ~ POLAND ~ Jazz-Rock Fusion
Recorded: 2008 Released: 2009
This is the debut album by the young Polish Jazz quintet Jazz ConstructionFind albums by this artist, which comprises of saxophonist Marcin KaniaFind albums by this artist, guitarist Krzysztof LenczowskiFind albums by this artist, pianist Wawrzyniec PrasekFind albums by this artist, bassist Jacek KaliszewskiFind albums by this artist and drummer Wojciech BylicaFind albums by this artist. Lenczowski also plays cello in the string quartet, which accompanies the group. The album presents eight original compositions, five of which were composed by Lenczowski and three by Prasek. The album was recorded at the wonderful Studio Tokarnia with Jan SmoczynskiFind albums by this artist at the console, which of course is immediately audible, as the sound quality is gorgeous.
Although the music is quite diverse stylistically, the overall ambience presiding is that of melodic Jazz-Rock Fusion. The guitar, which stands out as the most effective solo instrument, is sonically very close to the classic early Pat MethenyFind albums by this artist sound, round and slightly melancholic, but always very effective. Each of the guitar solos on this album is a masterpiece of construction and a perfect example of showmanship by Lenczowski. But his colleagues are not far behind and they all display formidable technique and feel for the music. As usual with young Polish Jazz groups one keeps wondering how it´s possible for such young players to sound so mature.
The group displays its Jazz roots by offering a couple of tunes, which are clever tributes to Jazz Giants like John ColtraneFind albums by this artist and Miles DavisFind albums by this artist and their overall approach is also Jazzier than most Fusion groups. The individual contributions of all the band members are truly praiseworthy. Overall, although hardly groundbreaking, this is a very solid debut effort, which features excellent original music and first-class performances, which are as good if not better from most similar material released anywhere in the world.
For some strange reason this album slipped under my radar at the time of its release, but it´s never too late to acknowledge a worthy effort. Very well done gentlemen!
| | | CD 1 Digipak Recommend To A Friend |
  | WOJCIECH KAROLAK ~ EASY! (POLISH JAZZ VOL.81 DELUXE)
MUZA 1081 (Barcode: 5907783420818) ~ POLAND ~ Jazz-Rock Fusion
Recorded: 1974 Released: 2005
This relatively little known but excellent album presents Polish Jazz keyboardist / composer / arranger / bandleader Wojciech KarolakFind albums by this artist in a relaxed atmosphere and in company of the crème de la crème of the Polish Jazz musicians of the period that he cooperated with on many occasions before. The idea was to present a less complex / sophisticated music performed by top Jazz players, but in retrospect the result surely surpassed all the intensions and expectations and this is definitely some of the best of his work. Recorded at a time when the Jazz-Rock Fusion in Poland was rapidly developing and achieving the peak of its creativity, spearheaded by Michal UrbaniakFind albums by this artist and his group, of which Karolak was a member. It is hardly surprising therefore that this album includes many of the characteristics of the early 1970s Polish Fusion, which of course in term was strongly influenced by the pioneering and groundbreaking work done by Miles DavisFind albums by this artist at the time, which served as a model to the entire worldwide music community. Although perhaps more melodic than the Urbaniak´s recordings, this album has plenty of innovative moves, like the usage of early synthesizers, electric piano and of course his organ, excellent brass arrangements on some tunes and superb soloing by the musicians involved, which include trumpeter Tomasz StankoFind albums by this artist, saxophonists Zbigniew NamyslowskiFind albums by this artist, Janusz MuniakFind albums by this artist and Tomasz SzukalskiFind albums by this artist, drummer Czeslaw BartkowskiFind albums by this artist and many others. Karolak composed seven of the eight tracks on this album with one track being contributed by the great Jan Ptaszyn WroblewskiFind albums by this artist. Lovers of Polish Jazz should be rejoiced by the fact that this album was reissued as part of the extended legendary Polish Jazz series. A must!
| | | CD 1 Digipak Remastered Recommend To A Friend |
  | EERO KOIVISTOINEN ~ THE FRONT IS BREAKING
LOVE 188 ~ FINLAND ~ Jazz-Rock Fusion
Recorded: 1976
Apart from Edward VesalaFind albums by this artist, Eero KoivistoinenFind albums by this artist is probably the most well known Finnish jazz musician outside of his native country, due to his US residency and numerous recordings around the world. Deeply influenced by John ColtraneFind albums by this artist, he started his jazz adventure playing free jazz in cahoots with Edward Vesala and Pekka SarmantoFind albums by this artist as early as 1964 (which was about the time European free jazz was developing fiercely). Later on he moved away from free jazz and concentrated more on structured and carefully composed music. By the time this album was recorded, the jazz world was deeply involved in the Jazz-Rock Fusion explosion, following Miles DavisFind albums by this artist’ pioneering work in the field and later on groups like John McLaughlinFind albums by this artist’s Mahavishnu OrchestraFind albums by this artist. Inspired by these developments, Koivistoinen decided to record a fusion album, for which he composed the music. The carefully assembled a dreamy combo to record the music, in which he gathered the best Scandinavian musicians from both the jazz and Progressive Rock genres, including Esko RosnellFind albums by this artist (drums) and Olli AhvenlahtiFind albums by this artist (piano) – Finland / jazz, Jukka TolonenFind albums by this artist (guitar – Tasavallan PresidenttiFind albums by this artist) and Pekka PohjolaFind albums by this artist (bass – WigwamFind albums by this artist) – Finland / Prog and Wlodek GulkowskiFind albums by this artist (keyboards) and Georg WadeniusFind albums by this artist (guitar – Blood, Sweat & TearsFind albums by this artist) - Sweden (well Gulkowski was a Polish refugee) / Fusion. The result is surely one of the best, most sophisticated and musically uplifting fusion albums ever recorded and an absolute must for any fan of the genre. This was to be the only fusion album Koivistoinen would record, as he returned to “pure” jazz soon after.
| | | CD 1 Oversampling Remastered Essential Recommend To A Friend |
  | WOJCIECH KONIKIEWICZ / FREE FUNK TRIO ~ LIVE AT RURA 1982
GAD 091 (Barcode: 5903068120237) ~ POLAND ~ Jazz-Rock Fusion
Recorded: 1982 Released: 2019
This is an archival album presenting a live concert recording by Polish Jazz keyboardist / composer Wojciech KonikiewiczFind albums by this artist and his Free Funk TrioFind albums by this artist, which also included bassist Mieczyslaw JureckiFind albums by this artist and drummer Jacek RatajczykFind albums by this artist. Recorded at the legendary Wroclaw Jazz Club Rura, it presents eight original compositions, all by Konikiewicz.
To properly understand the historic perspective of this recording it is important to remember that this music was recorded just a few months after Martial law was imposed in Poland in December of 1981, in a desperate attempt of the Socialist regime to quench growing social and political unrest in the country. As usual in Poland, political dictatorship was always challenged by the country´s intelligentsia and Artistic circles, and although Cultural activities were severely limited and heavily censored, they became a primary form of resistance to the oppression. Some of that anger and frustration is evidently expressed by these young (at the time) musicians in their display of wild energy and complete disregard of authority, as much musical as political.
The music is a raw mixture of Funk, Punk, Jazz, Rock and Groove, which will become the modus operandi for Konikiewicz for years to come and which was obviously influenced the late period stylistic explorations of Miles DavisFind albums by this artist, who remains a major influence on Konikiewicz to this very day. Fate decided that Davis played at the Jazz Jamboree Festival in Poland just over a year after this music was recorded, immediately after the Martial law was lifted in 1983.
Although the trio format might seem somewhat limiting for such explosive musical adventure, Konikiewicz and his cohorts squeeze the proverbial lemon to the max under the circumstances, giving everything, both musically and emotionally, they have to offer. Konikiewicz on acoustic piano and the Fender Rhodes is in charge of the melodic content, but his percussive playing goes hand in hand with the dynamic rhythm section, which takes care of the groove, with occasional outbursts of frenzy solo parts featuring the fretless bass and the drums.
There is no doubt that the Free Funk Trio was a formative ensemble in the musical career of Konikiewicz. The same kind of attitude present here, which eschews pompous mannerisms and fake pretentiousness, will be his musical compass in the years to come, when he was involved in some the most important Polish Jazz projects during the 1980s and 1990s, alas hardly ever scoring any real-time recognition for his efforts. It was also the same attitude that ostracized him from the established domesticated Polish Jazz establishment, causing him to be active mostly on the fringe scene, refusing to compromise and sell out; an attitude which makes me proud to call him my friend.
Overall this album is an important piece of the Polish Jazz history, which is brought back to life by the excellent GAD Records label, which never fails to nail the forgotten gems and expand our horizons. It is most educational and certainly warmly recommended!
| | Updated: 18/06/2019Posted: 18/06/2019 | CD 2 Remastered Recommend To A Friend |
  | LEE KONITZ ~ THE COMPLETE REMASTERED RECORDINGS ON BLACK SAINT & SOUL NOTE
CAM JAZZ 1011 (Barcode: 8052405140074) ~ USA ~ Jazz
Recorded: 1984 - 1992 Released: 2011
This superb Box Set collects all the albums recorded by the legendary US saxophonist / composer Lee KonitzFind albums by this artist on the twin Italian independent labels: Black SaintFind albums on this label and Soul NoteFind albums on this label. Konitz needs no introduction to any serious Jazz connoisseur; suffice to say that from the early days with Lennie TristanoFind albums by this artist and than Miles DavisFind albums by this artist to this very day he never stopped developing and astounding his audiences. Being a very prolific musician and bandleader, Konitz recorded a vast number of albums over the years cooperating with the most distinguished Jazz musicians around the globe. His virtuosic sax playing and excellent compositions are always a source of great musical joy. The musicians playing on these five albums include: drummer Billy HartFind albums by this artist, pianist Kenny WernerFind albums by this artist, bassist Ron McClureFind albums by this artist, bassist Marc JohnsonFind albums by this artist, drummer Adam NussbaumFind albums by this artist and many others. Remastered, mini-sleeved, and with a great bargain price – this Box Set an absolute must for any serious Jazz collector.
Side Note
The Italian independent record label Black SaintFind albums on this label was founded by the music critic / author / producer Giacomo PellicciottiFind albums by this artist in 1975. It was taken over by the producer Giovanni BonandriniFind albums by this artist in 1978 and a year later (1979) a sister label, called Soul NoteFind albums on this label, was established. The twin labels were run by Giovanni and later his son Flavio BonandriniFind albums by this artist, until they were sold in 2008 to the Italian KEPACH Music Group, which already owned the CAM JazzFind albums on this label label, and which also bought another Italian independent record label Dischi Della QuerciaFind albums on this label.
The mission of the Black Saint / Soul Note labels was to record and document the Free Jazz / Improvised Music / Avant-Garde scene, mostly from the US but also from Europe, which continued between mid 1970s and late 1990s and produced a staggering collection of almost 550 albums recorded by world's most important Jazz innovators active at the time, providing an opportunity to American (mostly Afro-American) musicians, who would have never managed to make these recordings at home, ridden by racism, alienation and closed-mindedness. Without these two labels most of this fantastic human creativity would have been never documented.
However, the Black Saint / Soul Note Box Sets produced under the CAM JazzFind albums on this label moniker are an archetypal example of how good intentions turn sour. Although these new editions often bring back to life some of the best music ever made on this planet, which in many cases has been lost in the tides of time and was unavailable on the market for ages, they suffer from an unforgivable disregard to the essence of cultural values and general sloppiness, contrary to human decency, which requires us to treat our cultural legacy with respect and loyalty.
These Box Sets have no booklet which presents researched historical background and exact discographical information of the albums included, and most importantly an overview of the music and its meaning and contribution to the Jazz Art form. Although the original LP sleeves are reproduced, the information is in most cases too small to be readable at all. In short the fact that these Box Sets are meant to be inexpensive, does not mean that they have to be cheap!
Visitors' Comments
Christopher Brice
Lovely - led me to areas of Konitz´s work I did not know
| | Updated: 12/04/2020Posted: | CD 5 Mini-Sleeve Box Set Remastered Recommend To A Friend |
  | KUTIMAN ~ KUTIMAN
MELTING POT 047 (Barcode: 673793304725) ~ ISRAEL ~ Jazz-World Fusion
Recorded: 2005 Released: 2007
1st album by young Israeli composer / multi-instrumentalist Ophir KutielFind albums by this artist a.k.a. KutimanFind albums by this artist. Although the young generation of Israeli musicians active in the 21st Century already proved time and again that they are capable of producing some amazing music in the Electronic, Rock, Prog and Jazz genres (as witnessed on the numerous CDs found on my site), most of them are deeply influenced by the European classical music tradition and American Rock and Jazz. What the local scene lacks (or rather lacked until this album) almost completely is music, which boasts groove, such as Funk, Soul or Afro-beat. Therefore this album comes as such a delightful surprise, filling the missing gap completely. This Jewish boychik has enough groove to shake the entire country’s butt and a soul as black as the heart of Africa. Of course it all didn’t come from thin air – Ophir did a lot of listening to the right kind of music, which can be traced (but only as influences, not as imitations) in his music: Sly & The Family StoneFind albums by this artist (There’s A Riot Goin’ OnFind albums with this title), Herbie HancockFind albums by this artist’s late 1970’s Funk explorations, late Miles DavisFind albums by this artist (TutuFind albums with this title), African Master musician Fela KutiFind albums by this artist (obvious name reference here) and a lot of Ambient, Lounge and Psychedelic music. All these influences come together, and Ophir’s individual approach glues them into a new and fascinating amalgam. This music although far from trivial or simplistic, hits you right in the place where your soul happens to be located and engulfs you completely, making your body to sway in the process. Although Ophir plays most of the instruments on the album, which BTW is also brilliantly produced, he invited some local musicians and vocalists to take part. These include members of the local Funk band Funk’n’steinFind albums by this artist and the local diva KarolinaFind albums by this artist. Whatever your musical preferences, this music just can’t leave you cold, and if it does (God forbid) then you probably have no soul at all. Absolutely great fun!
| | | CD 1 Recommend To A Friend |
  | ZBIGNIEW LEWANDOWSKI ~ ZBIGNIEW LEWANDOWSKI
GAD 121 (Barcode: 5903068120770) ~ POLAND ~ Jazz-Rock Fusion
Recorded: 1983 Released: 2020
This is a reissue of the debut album by Polish Jazz drummer / composer / bandleader Zbigniew LewandowskiFind albums by this artist, originally released on the legendary PoljazzFind albums on this label label. The music was recorded in 1983 during two sessions separated by several months, with two lineups. The first lineup was a quintet which included alongside Lewandowski also iconic trumpeter Andrzej PrzybielskiFind albums by this artist, saxophonist Piotr BaronFind albums by this artist, guitarist Pawel ScieranskiFind albums by this artist and bass guitarist Krzysztof ScieranskiFind albums by this artist. The second lineup was extended to an octet and included also saxophonist Andrzej OlejniczakFind albums by this artist, second bass guitarist Mieczyslaw JureckiFind albums by this artist and percussionist Jose TorresFind albums by this artist. The original LP presented six tracks but this remastered edition was expanded by two additional tracks from the first session, previously unissued. All the compositions were by the musicians participating in the recording except for one standard.
The music, influenced by the revolutionary work of Miles DavisFind albums by this artist, has a distinct Fusion tinge, but is very far from an attempt to copy the great Master. Przybielski, aged thirty-nine at the time of the recording, was already Poland´s most idiosyncratic Jazz musician and trumpet Genius. He displays the full range of his abilities, and the fact that the music is Fusion oriented, offers a rare opportunity to hear him in that specific idiom, rather than within his "usual" Avant-Garde environment. His performances on this album are amongst the most extensive documents of his playing, including his weird sense of humor. In retrospect this album emphasizes the devastating loss Polish Jazz suffered with his untimely death in 2011. I had the immense luck and pleasure to produce the album "The Book Of JobFind albums with this title", just a couple of years after this recording was made, which also featured Przybielski at his absolute best.
Baron, only twenty-two years old at the time, also contributes wonderfully to the album´s overall ambience, offering his compositions, most of the arrangements and excellent soloing. The rest of the players were already more experienced and their professionalism and obvious talents are clearly evident in the resulting music.
Overall this is a momentous recording, perhaps one of the most important Polish Jazz albums from the 1980s, and beyond. Polish Jazz / Fusion fans should be grateful to GADFind albums on this label Records for resurrecting this gem and saving it from oblivion. Brilliant stuff!
| | Updated: 23/09/2020Posted: 23/09/2020 | CD 1 Remastered Bonus Tracks Recommend To A Friend |
  | DAVE LIEBMAN ~ COLORS
HATOLOGY 600 (Barcode: 752156060024) ~ USA ~ Jazz
Recorded: 1998 Released: 2003
Although rarely in the limelight, American saxophonist / composer Dave LiebmanFind albums by this artist has been one of the most consistently outstanding Jazz musicians in the last four decades. From his recordings with Miles DavisFind albums by this artist in the early stages of his career and later on as a leader of his own groups, his outstanding contribution to modern music is unquestionable. His stylistic versatility, deeply aesthetic approach to music as an Art Form and obvious virtuosity, all these combined with his charming personality (which I´ve been privileged to witness first hand) amalgamate into a unique and exceptional Artist. This album presents Liebman "in flagrante delicto", metaphorically making love to his instrument while performing a set of solo pieces. Unaccompanied solo performances are always the "naked truth", which exposes the artist totally and is completely unforgiving towards any attempts to fake artistry. Liebman has nothing to hide of course; on the contrary his solo statements are even more powerful than his performances with other musicians. This is his second solo recording, preceded by the album "The TreeFind albums with this title" recorded in the early 1990s. As usual, Liebman forays into uncharted territory with his beautiful vistas, charming the listener like a snake trainer and keeping him in trace. This incredible music, in spite of being potentially difficult, works like a charm and I can´t imagine any sensitive listener not falling under its spell. Brilliant stuff!
| | | CD 1 Mini-Sleeve Oversampling Recommend To A Friend |
  | DAVE LIEBMAN ~ THE DISTANCE RUNNER
HATOLOGY 628 (Barcode: 752156062820) ~ USA ~ Jazz
Recorded: 2004 Released: 2005
Although rarely in the limelight, American saxophonist / composer Dave LiebmanFind albums by this artist has been one of the most consistently outstanding Jazz musicians in the last four decades. From his recordings with Miles DavisFind albums by this artist in the early stages of his career and later on as a leader of his own groups, his outstanding contribution to modern music is unquestionable. His stylistic versatility, deeply aesthetic approach to music as an Art Form and obvious virtuosity, all these combined with his charming personality (which I´ve been privileged to witness first hand) amalgamate into a unique and exceptional Artist. This album presents Liebman "in flagrante delicto", metaphorically making love to his instruments (soprano and tenor saxophones and flute) while performing a set of solo pieces live at the Willisau Jazz Festival (Switzerland). Unaccompanied solo performances are always the "naked truth", which exposes the artist totally and is completely unforgiving towards any attempts to fake artistry. Liebman has nothing to hide of course; on the contrary his solo statements are even more powerful than his performances with other musicians. This is his third solo recording, preceded by the album "The TreeFind albums with this title" recorded in the early 1990s and "ColorsFind albums with this title" recorded in 1998. As usual, Liebman forays into uncharted territory with his beautiful vistas, charming the listener like a snake trainer and keeping him in trace. This incredible music, in spite of being potentially difficult, works like a charm and I can´t imagine any sensitive listener not falling under its spell. Brilliant stuff!
| | | CD 1 Mini-Sleeve Oversampling Recommend To A Friend |
  | MAHAVISHNU ORCHESTRA ~ LIVE AT THE BERKELEY COMMUNITY THEATER NOVEMBER 9, 1972
RENAISSANCE 901 (Barcode: 630428090125) ~ UK ~ Jazz-Rock Fusion
Recorded: 1972 Released: 2024
This is an archival live album by the original lineup of the legendary Fusion group Mahavishnu OrchestraFind albums by this artist, led by British guitarist / composer / bandleader John McLaughlinFind albums by this artist, with American violinist Jerry GoodmanFind albums by this artist, Czech keyboardist Jan HammerFind albums by this artist, Irish bassist Rick LairdFind albums by this artist and American (born in Panama) drummer Billy CobhamFind albums by this artist. The 2CD album presents nine lengthy tracks, taken form the group’s debut album “The Inner Mounting FlameFind albums with this title” and the not yet released at the time second album “Birds Of FireFind albums with this title”. All the music was composed by McLaughlin except one tune composed by Miles DavisFind albums by this artist.
The album is an incredible document of the way Mahavishnu Orchestra sounded and performed in their early days, with an obvious emphasis on improvisation. Two of the tracks are over twenty minutes in duration and another three well over ten minutes, which naturally allows for extensive soloing and group improvisation, which is rarely heard on the group’s studio albums. Although McLaughlin is at the epicenter of the performances, Goodman and Hammer get plenty of opportunity to show their improvising chops, as does the rhythm section of course.
Listening to the music over fifty years later plainly shows that the early 1970s were Fusion’s finest hours and everything since then was a slow degradation of the genre. McLaughlin freshly out of Miles Davis group is in absolute top form, and shows that he was the Godfather of Jazz-Rock Fusion after experimenting with improvisation while still living in UK and playing with Graham BondFind albums by this artist, Brian AugerFind albums by this artist and others and perfecting his stellar stylistics with Tony WilliamsFind albums by this artist and Miles Davis. It’s worthwhile to mention that the two pivotal American Jazz-Rock Fusion groups of the time, Mahavishnu Orchestra and Weather ReportFind albums by this artist, had more European input / influence than American, which is hardly surprising.
Overall, this is an immensely important historical document of the Jazz-Rock Fusion genre, which shows one of the most interesting, innovative and influential bands, recorded live and at the full splendor of its powers. Despite the sound quality, which is not ideal, but allows a painless listening experience, the quality of the music is monumental and the retrospective opportunity to relive these moments is an absolute bliss, lasting for two whole hours! Essential!
| | Updated: 11/11/2024Posted: 11/11/2024 | CD 2 Essential Recommend To A Friend |
  | MAHAVISHNU ORCHESTRA ~ THE COMPLETE COLUMBIA ALBUMS COLLECTION
SONY 886979303423 (Barcode: 886979303423) ~ UK ~ Jazz-Rock Fusion
Recorded: 1971 - 1973 Released: 2011
To make things perfectly clear before we go any further, this Box Set includes music recorded by the first version of the seminal ensemble Mahavishnu OrchestraFind albums by this artist, which lasted for about a couple of years between 1971 and 1973 and released three albums on ColumbiaFind albums on this label. Subsequent versions of Mahavishnu Orchestra continued to release albums on Columbia, but those are not included here and will hopefully be released in the future as a separate Box Set.
British guitarist / composer John McLaughlinFind albums by this artist arrived at the epicenter of the revolutionary Jazz scene quite by chance, via his old friend bassist Jack BruceFind albums by this artist and his first American employer drummer Tony WilliamsFind albums by this artist, which eventually led to McLaughlin joining the Miles DavisFind albums by this artist group and playing a crucial role in creating the groundbreaking music Davis was forging at the time. Prompted by Davis, while still a part of his group, McLaughlin formed his first ensemble, which in retrospect turned out to be one of the most extraordinary Jazz-Rock Fusion ensembles, setting an example so powerful that now, over forty years later, it still reverberates and is being used as a definition of the genre.
Mahavishnu Orchestra was extraordinary in many ways. It brought together musicians from many different countries and cultural backgrounds: American violinist Jerry GoodmanFind albums by this artist, Czech keyboardist Jan HammerFind albums by this artist, Irish bassist Rick LairdFind albums by this artist and Panamanian drummer Billy CobhamFind albums by this artist, all virtuosi on their respective instruments. Such aggregation of talent is of course beneficial for the music, but can prove to be strenuous as far as personal relationships are concerned. Also, as far as the musical direction was concerned, McLaughlin and the ensemble had to create their own environment, as they were walking on a path, which was previously undiscovered.
McLaughlin had complete freedom while with Davis, which enabled him to stretch out and play expanded solos without any harmonic or rhythmic restrictions. Mahavishnu Orchestra was completely opposite: precise and sharp like a razor blade, with everything clicking on a beat and often following a neck-breaking speed. It is evident McLaughlin struggled with this new framework initially, only to conquer it gloriously. He composed almost all the music the ensemble played, with just an occasional contribution by Hammer, Goodman and Laird.
After recording and releasing the first two albums ("The Inner Mounting FlameFind albums with this title" and "Birds Of FireFind albums with this title"), the group recorded a third studio album, which was scrapped and laid hidden in the vaults, only to be released twenty six years later as "The Lost Trident SessionsFind albums with this title". A live recording at NY Central Park, called "Between Nothingness & EternityFind albums with this title", became the group´s third and last album recorded by the first lineup.
This Box Set includes the four a.m. albums and a bonus CD, which comprises of previously unreleased additional material from the live recording, which became the third album. There is also one earlier live recording added as a bonus track on the first album.
Of course this music is so brilliant and so important, that recommending it any further is simply superfluous. It is an absolute classic and a timeless ingredient of music history, which should be an essential cornerstone of any music collection.
| | Updated: 26/01/2019Posted: | CD 5 Mini-Sleeve Box Set Remastered Bonus Tracks Essential Recommend To A Friend |
  | WYNTON MARSALIS ~ J MOOD
WOUNDED BIRD 4308 (Barcode: 664140430822) ~ USA ~ Jazz
Recorded: 1986 Released: 2007
Following the departure of saxophonist Branford MarsalisFind albums by this artist, trumpeter Wynton MarsalisFind albums by this artist tightened his group into a quartet. The decision at the time not to replace Branford with another saxophonist and create a trumpet quartet, seemingly a more limited musical vehicle, was a completely conscious one and as far as Wynton was concerned he needed to concentrate the attention totally on his performances, polishing his technique and pushing his skills as player and composer beyond anything previously witnessed. The quartet with excellent new pianist Marcus RobertsFind albums by this artist, bassist Robert HurstFind albums by this artist and drummer Jeff WattsFind albums by this artist became an incredibly tight unit, able to deliver music of the highest quality and always challenging the listener with its virtuosity and intelligence. Wynton´s compositions became more flexible and presented a wider scope of emotional delivery. This album presents a gentler, more lyrical Wynton, playing mostly his original compositions, most of which are slow tempo ballads. The relaxed and almost lush atmosphere of the music brings up gentle memories of some of the early Miles DavisFind albums by this artist work, but Wynton plays more around with the sound as opposed to Miles dance with timing. The rhythm section is simply perfect. Roberts arises as one of the greatest pianist of the era, which he later proved time after time on his solo recordings, delivering incredible solos and superb accompaniment. Hurst and Watts keep the timing like an atomic clock, but allow enough of creative delivery to keep the music interesting not only on the melodic level, but on the rhythmic level as well. Overall this is a "perfect" Jazz album in every sense – everything is just right on and everything clicks in perfect harmony. Although rarely mentioned as a classic Jazz recording, perhaps due to the fact that it lacks the groundbreaking element of radical innovation, nevertheless this is a Classic (with a capital C), worthy of a honorable place in any serious Jazz collection.
| | | CD 1 Essential Recommend To A Friend |
  | WYNTON MARSALIS ~ THINK OF ONE
WOUNDED BIRD 8641 (Barcode: 664140864122) ~ USA ~ Jazz
Recorded: 1983 Released: 2007
Whereas the eponymous debut album by American trumpeter / composer / arranger / bandleader Wynton MarsalisFind albums by this artist was somewhat a mixed affair, comprising of two different recording sessions with two different rhythm sections, this, his second album, is a well tempered affair. Finally heading his own permanent quintet, with brother Branford MarsalisFind albums by this artist on saxophones, the wonderful pianist Kenny KirklandFind albums by this artist, bassist Phil BowlerFind albums by this artist (or Ray DrummondFind albums by this artist on half of the tracks) and drummer Jeff WattsFind albums by this artist, Marsalis in truly in his element, firmly holding the reins of a leader. With Miles DavisFind albums by this artist influence still looming in the background, Wynton´s trumpet playing shows first signs of his lyrical side with less emphasis on the technical brilliance and more relaxed flow. He contributes three original compositions and the rest of the material includes a Kirkland and Drummond (one each) originals and standards by Thelonious MonkFind albums by this artist and Duke EllingtonFind albums by this artist. Wynton and Branford play well together, although a tension between the brothers was about to develop soon after, as a result of Branford´s tendencies towards more free-form improvisations while Wynton demanded a more conservative approach. Overall this is an incredibly solid album with no weak moments, flowing seamlessly from one tune to another, with brilliant soloing and tight but inventive rhythm section work. The 1980s were after all the age of the great return, when the two decades of experimentation first with Free form and improvised music and later with Jazz-Rock Fusion was pretty much over, leaving the Jazz musicians to re-invent modern Jazz using solid and well established ground while pushing the boundaries of virtuosity to the limit or perhaps beyond the limit – no other musician at the time was better at it than Wynton Marsalis and his crew. A classic!
| | | CD 1 Recommend To A Friend |
  | WYNTON MARSALIS ~ WYNTON MARSALIS
WOUNDED BIRD 7574 (Barcode: 664140757424) ~ USA ~ Jazz
Recorded: 1981 Released: 2007
American trumpeter / composer / arranger / bandleader Wynton MarsalisFind albums by this artist is probably the most identifiable Jazz personality worldwide in the last three decades – Mr. Jazz himself! With Miles DavisFind albums by this artist and lately also Freddie HubbardFind albums by this artist no longer with us, Marsalis is also the greatest trumpet player still standing. Sometimes it seems that the responsibility that comes with these honorable positions appear to be just too much for Marsalis to handle, as he has been in the epicenter of a huge controversy concerning his personality, his public statements and even his musical achievements. It was all Guns (of appraisal) and Roses (of admiration) at first – everything just clicked for Marsalis: a prestigious recording contract with ColumbiaFind albums on this label Records, a massive PR campaign for his albums, Grammy nominations and awards and every other conceivable musical award in US and abroad (including the first ever Pulitzer Prize for music) and finally the appointment as Artistic Director of the "Jazz at Lincoln Center", a cushy and extremely well paid job, all these and more turned out to be just too much for his enemies (and he has many of those) to swallow. To say the truth, Marsalis has a mouth, which does not fall much behind his mouth´s extension, the trumpet. The man just loves to voice his opinions, and some of these are quite provocative and extremely controversial, all this on top his always highly stylish wardrobe and often snobbish behavior. All the above make Marsalis an easy target for hatred and criticism, mostly by bigots, short-sighted critics and most of all envious competitors. To tell the truth, I don´t dive a damn. For me, Marsalis was always, from day one, an example of a total musician. He not only has a tremendous gift, but he both feels and understands music, a rare combination with only a handful of musicians around the globe truly possess. His ability to perform and compose Jazz and Classical music only emphasizes his musical versatility and profound effort to study, learn and apply the acquired throughout his entire life. His love of early Jazz, from the Blues, the New Orleans Masters, Louis ArmstrongFind albums by this artist and up to Beboppers like Thelonious MonkFind albums by this artist, and in parallel his disrespect towards Fusion and Free Jazz are fine by me. Not everybody has to love every kind of music and even not all kinds of Jazz… as long as they do whatever they do in such magnificent fashion as he does with his music, time after time. So here comes this album, his debut solo recording. As already mentioned, Marsalis is a perpetual student, and this was just his first step, so obviously he was relaying heavily on what he knew then, which for a trumpet player means one thing: Miles Davis. In many respects this album is a direct bridge between the classic Davis recording with the second quintet, almost two decades earlier. Although his quintet does not perform any of Miles Davis compositions or even tunes from the Master´s regular repertoire, the sound and stylistic approach is quite obvious. Emphasized by the fact that about a half of the album´s tracks feature that very same quintet´s rhythm section – Herbie HancockFind albums by this artist on piano, Ron CarterFind albums by this artist on bass and Tony WilliamsFind albums by this artist on drums, and Wynton´s brother Branford MarsalisFind albums by this artist sounds remarkably like Wayne ShorterFind albums by this artist on his saxophones, the associations just keep flowing. Is it imitation? Hell no! Not even in the slightest, although Marsalis would be called a Davis imitator from now no, even when he completely changed his modus operandi on the trumpet as he went along. Again, who gives a damn? This is a magnificent album, full of superb performances and uplifting music, masterly played from start to finish. Period! And when one remembers that Marsalis was just 20 years old when this album was recorded… give me a break… this is a revelation. But Marsalis was a fast learner and his subsequent recordings will surpass this album, as good as it is, by far. Maturity has this effect on people; they just get better with what they do in time, provided of course that they are as talented as Wynton Marsalis.
Side Note: The fact that Columbia dropped from its catalogue almost the entire recorded output by Wynton Marsalis is a sad and tragic testimony of our times. Columbia made a lot of money from his albums for decades, but considering the state of the music industry, there are no sentiments left. This reissue is released on the Wounded BirdFind albums on this label label; kudos to the label owner for keeping great music alive!
| | Updated: 01/06/2018Posted: | CD 1 Essential Recommend To A Friend |
  | PIOTR MATUSIK ~ TRIBUTE TO CHICK COREA
REGIO 602547470744 (Barcode: 602547470744) ~ POLAND ~ Jazz
Recorded: 2014 Released: 2015
This is the debut album by young Polish Jazz pianist / composer Piotr MatusikFind albums by this artist, and as the title suggests it is dedicated to the music of Chick CoreaFind albums by this artist, featuring six Corea classic compositions. The album was recorded in a quartet setting, which includes also saxophonist Jakub ChojnackiFind albums by this artist, bassist Dariusz ZiolekFind albums by this artist and drummer Adam BuczekFind albums by this artist.
Obviously it´s not difficult to understand why a young and aspiring pianist would choose Chick Corea as his role model; after all Corea is one of the greatest and most revered Jazz musicians in all times and a brilliant, often visionary pianist / composer. However, recording an album consisting entirely of Chick Corea´s compositions as a young pianist´s debut album is a hazardous and honestly a questionable decision. It takes years of experience to understand and than tackle the complexity and depth of Corea´s compositions, way beyond the sheer ability to play them.
The easiest way to look at it would be to compare each of the compositions featured on this album with the original initial versions of the same compositions as recorded by Corea himself. The album starts with "Now He Sings, Now He SobsFind albums with this title" from the album by the same name recorded by Corea in March 1968, shortly before he started playing with Miles DavisFind albums by this artist. It was recorded by a trio with Miroslav VitousFind albums by this artist on bass and Roy HaynesFind albums by this artist on drums and marked the beginning of Corea´s most Avant Garde, adventurous and experimental period. At the time of its release the album was completely revolutionary, original and groundbreaking. Now the version of the same composition heard on this album sounds like lounge Smooth Jazz, easy on the ear and of course completely trivializing the original music, which hardly goes well with the "tribute" intention. A similar analysis of all the rest of the album reveals sadly more or less a similar pattern.
Let´s get something straight here: these four musicians can play well, even exceptionally well. They are schooled and trained and they know their notes and chords and harmonies. And yet it all comes to nothing as far as creative, ambitious music making is concerned. This album is a terrible mistake, a waste of energy and a lack of direction. Playing someone else´s music in a watered down version is definitely not a way to go by a young and aspiring musician.
Of course the future is still very much ahead of these musicians, and anything can happen. It is my duty to point them in a right direction, even if this is a seemingly cruel and painful way to do it. Better luck next time.
| | Updated: 17/12/2018Posted: | CD 1 Recommend To A Friend |
  | BENNIE MAUPIN ~ THE JEWEL IN THE LOTUS
ECM 1043 (Barcode: 602517232501) ~ USA ~ Jazz
Recorded: 1974 Released: 2007
This great and unfortunately little known album by US reedman Bennie MaupinFind albums by this artist is a superb example of the artistic freedom extended to musicians by the legendary ECMFind albums by this artist label. Maupin is of course known from his input to the revolutionary music recorded by Miles DavisFind albums by this artist and later by the Herbie HancockFind albums by this artist sextet and in fact this album was recorded shortly after the recording of the three so called "MwandishiFind albums with this title" albums and later the immensely successful "Head HuntersFind albums with this title". The core members of Hancock´s sextet are here: Hancock himself on piano and electric piano, Buster WilliamsFind albums by this artist and bass, Billy HartFind albums by this artist on drums, augmented by trumpeter Charles SullivanFind albums by this artist and percussionists Frederic WaitsFind albums by this artist and Bill SummersFind albums by this artist. The music, all composed by Maupin, is deeply meditative and low key, but full of beauty and reflection. There is ample space for improvisation and interplay, all of which is done with great care and restraint, but the overall result aesthetically perfect. Perhaps not an "easy" album to listen to, especially for the first time, but music without challenge is not really worth pursuing, is it?
| | | CD 1 Oversampling Remastered Recommend To A Friend |
  | JOHN MCLAUGHLIN ~ INDUSTRIAL ZEN
VERVE 983932 (Barcode: 602498393284) ~ UK ~ Jazz-Rock Fusion
Recorded: 2006 Released: 2006
Here it is at last – the finest album recorded in the 21st century! As lofty and far-fetched as this might sound, I’m ready to defend this statement for as long as it takes. This masterpiece by the legendary guitarist is a complex, multi-layered work of art. On one hand it is contemporary in every sense, especially as far as the overall sound is concerned, on the other hand however it is also an amalgam of John McLaughlinFind albums by this artist’s entire life as a musician, including every style, genre, direction and sound he played over the years, all of these synthesized into an integral new entity. For people familiar with McLaughlin’s illustrious career it should be quite easy to recognize the familiar elements: the spontaneity of the Miles DavisFind albums by this artist sessions, the fire of Mahavishnu OrchestraFind albums by this artist, the grace of his solo work on acoustic and electric guitar and of course his sensitivity and openness to other cultures as demonstrated in ShaktiFind albums by this artist and Remember ShaktiFind albums by this artist. Every note here is original and yet every note also has traces and links to something accomplished in the past. As far as the sound and instrumentation are concerned, these are completely new to McLaughlin. As the title of the album suggests, he uses plenty of electronics here – synth-guitar, keyboards and even drums are used to produce a plethora of both foreground and background electronic sounds, somewhat similar to the so-called “Industrial” sound used in Rock, but of course infinitely more complex and interesting. In addition, the album is very rhythmic and percussive, with two drummers and percussion players present simultaneously on most tracks. To achieve the maximal effect McLaughlin uses different players on various tracks and the list is most impressive: Mark MondesirFind albums by this artist, Vinnie ColaiutaFind albums by this artist, Dennis ChambersFind albums by this artist, Gary HusbandFind albums by this artist – drums; Otmaro RuizFind albums by this artist, Gary HusbandFind albums by this artist – keyboards; Bill EvansFind albums by this artist, Ada RovattiFind albums by this artist – sax; Matthew GarrisonFind albums by this artist, Hadrien FeraudFind albums by this artist – bass; Zakir HussainFind albums by this artist – tabla; Shankar MahadevanFind albums by this artist – vocals. This superb group of musicians supports their Master with love and devotion, which is evident, every step of the way. Another very interesting aspect of this album is that it seems McLaughlin is paying homage to the greatest Fusion ensemble in history – Weather ReportFind albums by this artist. Two of the tracks are explicitly named after WR members: “For Jaco” (Jaco PastoriusFind albums by this artist) and “Wayne’s Way” (Wayne ShorterFind albums by this artist) but also the entire sound and feel of the album reflects very closely the feel of WR albums. I had a distinct feeling as if listening to a new album by an expanded version of WR including guitar. Perhaps something that was meant to happen but never did (i.e. WR playing with McLaughlin) finally materializes here? Fusion Karma? Whatever the Gods intended is besides the point here; one thing is sure: to create such divine music McLaughlin surely had to have a measure of godly intervention / inspiration. Bless you John for giving us such a wonderful musical gift. You do make life endurable again with your beacon clearly showing the direction to ships sailing the oceans of musical ennui.
| | | CD 1 Essential Recommend To A Friend |
  | JOHN MCLAUGHLIN ~ THE HEART OF THINGS
VERVE 539153 (Barcode: 731453915329) ~ UK ~ Jazz-Rock Fusion
Recorded: 1997 Released: 1997
Since the late 1960’s John McLaughlinFind albums by this artist’s career enfolded like a continuous success story, moving from one musical hilltop to another: recording with Miles DavisFind albums by this artist, leading the Mahavishnu OrchestraFind albums by this artist, world music excursions with ShaktiFind albums by this artist, etc. – all remarkable achievements. Keeping a position “in the lead” for so many years is never easy, but McLaughlin manages to deliver an amazingly consistent high quality output time after time with elegance and grace. This album is no exception and presents the genius player / composer at his best again. Listening to this album raises almost immediately an attempt to compare the music and the group of musicians playing it to the Mahavishnu Orchestra. Although never formally called by that name, it is indeed a direct continuation of the work McLaughlin did with Mahavishnu about 20+ years earlier – electric Fusion. Of course this group is more mature, slightly more jazz oriented, and definitely much more relaxed and laid back, all for the good. Not that the fire and passion of the original Mahavishnu wasn’t fantastic – it definitely was, but it often ventured into moments of havoc and confusion, which are completely absent here. McLaughlin uses on this recording a set of seasoned and experienced players: saxophonist Gary ThomasFind albums by this artist (one of the most talented players of the new generation and the jazziest player in this group), keyboards player Jim BeardFind albums by this artist and drummer Dennis ChambersFind albums by this artist, both veteran fusion players and finally the youngest member – Matthew GarrisonFind albums by this artist on bass (son of the legendary bass player Jimmy GarrisonFind albums by this artist from John ColtraneFind albums by this artist’s quartet). McLaughlin composed all the music on this album, and the result should be equally appealing to both jazz and fusion fans. Highly recommended!
| | | CD 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!
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  | NILS PETTER MOLVAER ~ SWITCH
OKEH 888837477420 (Barcode: 888837477420) ~ NORWAY ~ Smooth Jazz
Recorded: 2013 Released: 2014
Norwegian award winning trumpeter / composer Nils Petter MolvaerFind albums by this artist continues his stream of releases with this album recorded with fellow Norwegian musicians: drummer Erland DahlenFind albums by this artist, guitarist Geir SundstolFind albums by this artist, keyboardist Morten QvenildFind albums by this artist and sound engineer / programmer Jan Marius AareskjoldFind albums by this artist. The album includes ten original compositions, all (assumingly) by Molvaer. Following his association with the ECMFind albums on this label label, first with the excellent band MasqualeroFind albums by this artist and then as a solo artist recording two albums, he left ECM in pursue of a wider exposure and commercial success.
The music is an amalgam of Jazz trumpet and electronics, Rock and ambient influences. The muted trumpet sound, derived from the late period Miles DavisFind albums by this artist sound, the melancholic and atmospheric melodic themes, typical of Scandinavian music and the ambient electronic soundscapes create an overall slick mixture, which is easily accessible by a wide range of audiences, aged between fifteen and eighty five, predominantly female.
This album is quite similar to several Molvaer´s preceding albums and it is difficult to see any real progress or direction where this music is going. Although in the early days of his musical career Molvaer seemed to have a great potential and was seen as an upcoming force in European Jazz, his later career pushed him towards the role of a trumpet playing Kenny GFind albums by this artist, with a slightly more ambitious attitude.
Of course there is nothing wrong with this kind of music per se, and with enjoying it. Personally I find it "much ado about nothing", but what do I know? I really tried to like it this time, but alas it is simply boring.
| | | 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 |
  | NEW JAZZ ORCHESTRA ~ WESTERN REUNION LONDON 1965
VOCALION 8427 (Barcode: 765387842727) ~ UK ~ Jazz
Recorded: 1965 Released: 2006
The New Jazz OrchestraFind albums by this artist (a.k.a. NJOFind albums by this artist) was a big band directed by bandleader / arranger / composer Neil ArdleyFind albums by this artist and consisted of the best up-coming Jazz players on the British scene at the time: Ian CarrFind albums by this artist – trumpet, Paul RutherfordFind albums by this artist – trombone, Trevor WattsFind albums by this artist – sax, Barbara ThompsonFind albums by this artist – sax, Tony ReevesFind albums by this artist – bass, Jon HisemanFind albums by this artist – drums and many more.
Ardley ran the orchestra with an “iron fist” and in time turned it into a perfectly well oiled ensemble, which was able to perform even the trickiest arrangements with a breeze. His outstanding arrangements of classic Jazz pieces are all masterpieces of rare beauty and sophistication and he manages to get out of the band so much more that an average US big band playing similar material. Of course the soloist, who are all quite outstanding, add another dimension to the overall sound, which is truly heavenly.
This is the first album by NJO and includes mostly standards by American (Miles DavisFind albums by this artist, John LewisFind albums by this artist) and British composers, but one of Ardley’s compositions is also included. Ardley, who was an admirer of Gil EvansFind albums by this artist, developed a distinctive orchestral (rather than traditional big band) sound with NJO, using the various sections of the band to complement each other’s sound and tonality.
The overall effect is absolutely stunning and this is one of my all time favorite big band albums. This is essential listening to all big band fans and recommended to all Jazz listeners out there. A true gem!
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  | TED NOVAK ~ RURAL CRISIS
NOT ON LABEL ~ POLAND ~ Jazz-Rock Fusion
Recorded: 2014 Released: 2014
This is the debut album by Polish guitarist Ted NovakFind albums by this artist, recorded with a trio which also includes Polish Jazz veterans: bassist Krzysztof PacanFind albums by this artist and drummer Pawel DobrowolskiFind albums by this artist. The album presents eight compositions, seven of which are Novak originals and the remaining one is a Miles DavisFind albums by this artist tune. The music was recorded at the excellent Studio Tokarnia with Jan SmoczynskiFind albums by this artist presiding, as usual, at the console. This is the first heavily electric production that comes to my attention recorded at Studio Tokarnia, which usually excels at acoustic music, and once again I must raise my hat to Mr. Smoczynski for his incredible skills as a sound magician.
From the first note heard on this album the listener is exposed to an unfamiliar electric guitar sound, which is pretty original and surprising. After many decades, where the music scene was under complete guitar domination, one is sure that everything that is possible to do with a guitar was already done, but apparently the surprises never cease to pop up. However after a couple of tunes the guitar tone and sound effects get absorbed by our brain and we get back to a quite familiar world of heavy Fusion, which although has some improvisational elements, is much closer to Rock than to Jazz, especially rhythmically.
Guitar pyrotechnics are unfortunately a very perilous and slippery ground; how much of it is sheer genius and how much is just a show off and boring repetitious doodling? It´s for the listener to decide in every specific case, and those opinions will probably vary quite a bit. Personally I must say that I have heard all of this before, after all I was lucky to hear Jimmy HendrixFind albums by this artist, Mahavishnu OrchestraFind albums by this artist and all other significant guitar players in person and at their prime. But does it mean that this album has no merit at all? Not at all, I´m quite sure that many guitar aficionados will absolutely love the distorted, echoing guitar screams to bits. Combined with the unusual sound, superb rhythm section and excellent sound quality, this album is actually a lot of fun.
But the album has its drawbacks: with just slightly over half an hour of music it is hardly a full CD and should really be treated as an EP, especially if someone is going to buy it (if that happens at all any more). The Fusion listeners might find it too Rocky and the Rock listeners might find it too complicated. Life is a bitch…I´m already waiting for the next adventure!
| | | CD 1 Digipak Recommend To A Friend |
  | OLES BROTHERS & PIOTR ORZECHOWSKI ~ WATERFALL
AUDIO CAVE 2020/011 (Barcode: 5908298549094) ~ POLAND ~ Jazz
Recorded: 2019 Released: 2020
This is the debut album by a "dream come true" Polish Jazz piano trio, which combines the forces of the brilliant rhythm section comprising of twin brothers Marcin OlesFind albums by this artist on bass and Bartlomiej OlesFind albums by this artist on drums (collectively known as Oles BrothersFind albums by this artist) with one of Poland´s most idiosyncratic, expressive and open-minded pianists Piotr OrzechowskiFind albums by this artist. It is therefore not surprising that the expectations from the music produced by this trio reach the zenith as far as Polish Jazz scene is concerned.
As the subtitle of this album ("Music Of Joe Zawinul") discloses, the subject of the album is the music composed by Austrian composer / keyboardist Josef Joe ZawinulFind albums by this artist, who left Austria in 1959 and moved to where Jazz "was happening", soon to become one of the most prominent musicians on the American scene, playing with Cannonball AdderleyFind albums by this artist and then Miles DavisFind albums by this artist, before forming the revolutionary ensemble Weather ReportFind albums by this artist and later Zawinul SyndicateFind albums by this artist.
Despite his success in America, Zawinul was in many respects a tragic figure as his European background and musical tradition never truly allowed him to integrate within American Jazz. Over the years he composed a superb body of music that attested to his European foundations, which was never fully understood by his fellow musicians at the time. Therefore the recognition of the European spirit in the music of Zawinul, which is fully recognized and openly stated by the creators of this album, offers an important historical and intellectual testimonial beyond the musical layer. This approach leads of course to a completely novel and unprecedented interpretation of Zawinul´s music, dominant to such extent that most music listeners familiar with these compositions in their original recorded form will probably not recognize these compositions easily (if at all) on this album.
As a result, the listeners are exposed to a completely new depth and beauty of Zawinul´s compositions, a presentation which deserves a highest respect for its ingenuity and boldness, qualities that are not surprising in case of Oles Brothers and Orzechowski.
The performances are of course absolutely stellar, with every single note and sound perfectly placed within the musical kaleidoscope. The clarity of the sound and the total involvement of these three musicians is absolutely phenomenal, standing apart from almost everything else one can find on record elsewhere. It seems that the magic touch of Oles Brothers and Orzechowski combined becomes not only a sum of their sublime qualities but rather their product
A word of warning for listener´s expecting anything like what Zawinul´s music sounded originally – this album demands a completely different level of involvement, concentration and open-mindedness.
Of course this is an immediate favorite as far as I am concerned, and as the year (dreadful 2020) nears its most welcome ending, this album jumps straight into the small heap of top albums of the year. It is a true revelation and I feel proud to be able to call the makers of this magnificent music my Friends. Thank you, as always!
| | Updated: 19/12/2020Posted: 19/12/2020 | CD 1 Digipak Recommend To A Friend |
  | HERMETO PASCOAL ~ HERMETO
FAR OUT 07 (Barcode: 5065007965214) ~ BRAZIL ~ Jazz-World Fusion
Recorded: 1970 Released: 2023
This is a reissue / remaster of the debut album as a leader by the Brazilian Jazz multi-instrumentalist / composer / bandleader Hermeto PascoalFind albums by this artist, recorded in NY with some top American Jazz musicians, like woodwinds players Joe FarrellFind albums by this artist and Hubert LawsFind albums by this artist, trumpeters Thad JonesFind albums by this artist and Ernie RoyalFind albums by this artist, bassist Ron CarterFind albums by this artist and the Royal Brazilian Jazz couple: vocalist Flora PurimFind albums by this artist and drummer / percussionist Airto MoreiraFind albums by this artist, who moved to the US in the late 1960s, and who also co-produced the album. The album presents eight tracks, seven of which are original compositions by Hermeto Pascoal and one is by his older brother Jose Netto PascoalFind albums by this artist, all brilliantly arranged and orchestrated by Hermeto Pascoal, who plays keyboards and flute.
The music is a divine example of early Jazz-World Fusion, with brilliant and intricate orchestral arrangements, which were completely different from what the usual American Orchestral Jazz sounded like. The sophistication and wild imagination that Pascoal incorporated in his music amazed the American musicians who were exposed to it, including Miles DavisFind albums by this artist, who regarded Pascoal as a musical genius, and rightly so.
The album sounds amazingly fresh and contemporary, despite the fact that it is more than five decades old, and still offers today much to be learned from, not to mention of course an exquisite listening experience, full of sublime melodic themes, typical Brazilian touches and superb soloing by the players.
Overall, this is a true classic Jazz-World Fusion album, which deserves to be heard and remembered, and which offers exceedingly original musical approach to orchestral Jazz. It is great to see the album available again, and hopefully it will be discovered by new generations of listeners. Personally I just can’t get enough of this music, with the CD playing on “repeat” mode. Kudos to Far Out Recordings for bringing this gem back to life!
| | Updated: 22/04/2023Posted: 22/04/2023 | CD 1 Digipak Remastered Recommend To A Friend |
  | HERMETO PASCOAL ~ VIAJANDO COM O SOM
FAR OUT 200 (Barcode: 5060211503535) ~ BRAZIL ~ Jazz-Rock-World Fusion
Recorded: 1976 Released: 2017
This is a sensational archival album by the Godfather of Brazilian Jazz, multi-instrumentalist / composer / bandleader Hermeto PascoalFind albums by this artist. Recorded in 1976, this album remained unreleased for over forty years, only to be finally made available thanks to the fact that a copy of the original session recording was miraculously kept by keyboardist Lelo NazarioFind albums by this artist. Pascoal recorded this album following his return to Brazil, after spending some time in the US playing and recording among others with Miles DavisFind albums by this artist and another Brazilian expatriate Airto MoreiraFind albums by this artist. Pascoal is accompanied by a group of young Brazilian musicians, called Grupo Vice VersaFind albums by this artist, which consists of keyboardist Lelo Nazario, his brother drummer Zé Eduardo NazarioFind albums by this artist, saxophonists Nivaldo OrnelasFind albums by this artist, Mauro SeniseFind albums by this artist and Raul MascarenhasFind albums by this artist, guitarist Toninho HortaFind albums by this artist, bassist Zeca AssumpcaoFind albums by this artist and female vocalist Aleuda ChavesFind albums by this artist. The album presents just four lengthy pieces, three of which are original compositions by Pascoal and one is an arrangement of a Brazilian folklore theme. The sound quality of the recording is exceptional and sounds as if it was recorded recently, which is truly remarkable. The extensive liner notes describe the historic circumstances of this recording session and other background information, including photographs, for which the record label is to be praised.
The music is a wonderful amalgam of Jazz, World and Improvised Music, which incorporates the Jazz and Jazz-Rock idioms with the riches of Brazilian music, weaving a unique tapestry, which is typical of Pascoal´s brilliant achievements. The vigor, dynamics and enthusiasm characterizing the contributions by these young players is strongly felt, balancing Pascoal´s more lyrical and contemplative approach, again creating magnificent tension and feeling of urgency.
The extensive nature of these tracks allows ample opportunity for the musicians to contribute impressive solos and both individual and group improvisations. The music is light-years ahead of its time and sounds as contemporary and exciting as the best music recorded today, which places it instantly in the "classic" category.
Like all great band leaders Pascoal cultivated generations of young musicians, who later on became leaders of their own. Following this session the Nazario BrothersFind albums by this artist, Senise and Assumpcao would create the Grupo UmFind albums by this artist, the first bona fide Brazilian Jazz-Rock-World Fusion ensemble, which greatly influenced the local scene for years to come. Of course many other players in his groups over the years were about to follow a similar path.
This is an absolute essential piece of history, not only of Brazilian Jazz, but of the entire Jazz-Rock-World Fusion idiom, which still plays a central role on the contemporary scene. As such it should become an integral part of every serious album collection, owned by true music connoisseurs. The fact that this music had to wait for so long to be released is a great pity, but alas at last we can all enjoy it. Essential!
| | Updated: 01/01/2018Posted: 01/01/2018 | CD 1 Remastered Essential Recommend To A Friend |
  | ROLLING STONES ~ IN MONO
ABKCO 018771834526 (Barcode: 018771834526) ~ UK ~ Classic Rock
Recorded: 1963 - 1969 Released: 2016
This spectacular Box Set collects all the mono recordings by the seminal British group The Rolling StonesFind albums by this artist, which include the group´s early UK and US albums and a new one CD collection of non-album tracks. The Box Set includes altogether fifteen CDs, beautifully packaged in mini-replicas of the original albums and includes a booklet telling the story of the music in this Box Set.
People are of course divided into three groups: those who loved The Rolling Stones, those who loved The BeatlesFind albums by this artist, and of course the vast majority, who don’t know what I am talking about. The Stones and The Beatles competed for the love and attention of the music lovers in the 1960s, and then the Beatles were gone and Stones are still very much on. They were always diametrically different – the Stones were always about the Blues, and everything they ever played derived from their love of the Blues. The Beatles had never anything to do with the Blues and they were all about nice tunes that everybody could hum along.
The Stones went through several phases during the 1960s, which this Box Set covers in detail. They moved form the early Blues influences into Rhythm And Blues, and then into Psychedelia. By the end of the decade they managed to crystallize their songwriting, which resulted in an a stream of everlasting songs, which are as relevant and musically perfect today as they were fifty years ago, since true Art is completely immune to the tides of Chronos.
And what´s all this Mono madness you ask? Well most of the music recorded before and during the 1960s was in fact recorded and mixed into a mono (one channel) mass reproduction format, which was the format the artists and the producers approved. The stereo format was treated as an option and took over the market only by the end of the 1960s. Therefore the music, as heard here, is how it was meant to be heard in the first place, Capish?
This Box Set follows previous box-sets and of other reissues of early albums by artists like Miles DavisFind albums by this artist or Bob DylanFind albums by this artist, and of course The Beatles, released in their original mono format, all of which are breathtakingly beautiful, both as historical documents and spectacular pieces of 20th Century Culture.
Although definitely not cheap, this Box Set is an absolutely essential piece of Rock history and I can´t imagine any serious Rock lover / collector who can resist this offer.
| | Updated: 08/05/2023Posted: 09/06/2017 | CD 15 Mini-Sleeve Box Set Remastered Essential Recommend To A Friend |
  | TERJE RYPDAL ~ ODYSSEY – IN STUDIO & IN CONCERT
ECM 2136/38 (Barcode: 602527945668) ~ NORWAY ~ Jazz-Rock Fusion
Recorded: 1975 - 1976 Released: 2012
This magnificent Box Set includes, for the first time, the complete content of the seminal album "OdysseyFind albums with this title" recorded by Norwegian guitarist / composer Terje RypdalFind albums by this artist and his quintet and released originally as a double LP (ECM 1067/68). In addition to Rypdal the quintet also included trombonist Torbjorn SundeFind albums by this artist, keyboardist Brynjulf BlixFind albums by this artist, electric bassist Sveinung HovensjoFind albums by this artist and drummer Svein ChristiansenFind albums by this artist. This Box Set also includes a third CD entitled "Unfinished Highballs", with the previously unreleased live recordings by the same group (less the trombonist) accompanied by the Swedish Radio Jazz GroupFind albums by this artist, which incorporated some of the best Swedish Jazz players at the time. "Odyssey" comprises of eight pieces, all composed by Rypdal, the longest of those being over 23 minutes long. "Unfinished Highballs" presents seven additional compositions by Rypdal, which do not appear on "Odyssey".
The music of "Odyssey", strongly influenced by the great modern Classical composer György LigetiFind albums by this artist, who composed some of the music included in the soundtrack of the celebrated "2001: A Space Odyssey" movie (hence the connection), combines also many influences from other genres, like Jazz (Miles DavisFind albums by this artist) and Rock (Jimmy HendrixFind albums by this artist). Although it certainly defies known genres, and perhaps defines a genre of its own, in retrospect it is certainly one of the earliest major efforts to create Ambient music, which moves somewhere between contemporary Classical on one hand and Jazz-Rock on another. It is certainly one of the rare cases where the word "unique" in truly and completely justified.
In retrospect this music is way ahead of its time, as perhaps only now some music listeners are mature enough and experienced enough (myself included) to appreciate the prophetic nature of this music. Ambient music "happened" only decades later and then most of it was nowhere near the magnificence of this music included herein. Rypdal´s screaming guitar backed by organ and trombone and propelled by the electric rhythm section are a universe of sound, which remains unchallenged.
The famous sound of Rypdal´s guitar is best defined by this album, as it can be heard in many different settings, from painting atmospheric soundscapes to soloing furiously on top of a Rocky rhythmic pattern. The legendary "Rolling Stone" piece, which closes the album (and was omitted from the first single CD reissue), is perhaps one of the most remarkable Jazz-Rock anthems ever recorded.
The release of "Unfinished Highballs" is a true cherry topping, as it presents a completely new perspective of Rypdal´s music. Although Rypdal was no stranger to the Big Band setting (see for example his recordings with George RussellFind albums by this artist) this time we can hear his music being performed by a Big Band, which is quite another story. The power of a Big Band takes the music to a new territory, which is more Jazzy that the music of "Odyssey", but retains the Rypdal spirit. Rypdal will return to the Big Band only 33 years later, with the recording of "Crime Scene".
This is an absolute must for any faithful follower of European Jazz and Jazz-Rock and Jazz-Classical Fusions. This is a milestone recording, which remains as fresh as on the day it was recorded, with most of it still quite futuristic. An absolute gem!
| | Updated: 26/01/2019Posted: | CD 3 Mini-Sleeve Box Set Bonus Tracks Recommend To A Friend |
  | SANTANA ~ CARAVANSERAI
COLUMBIA 511128 (Barcode: 5099751112822) ~ USA ~ Jazz-Rock Fusion
Recorded: 1972 Released: 2003
4th album, which reflects clear change of direction for the band (and the bandleader in particular) and initiating the entrance of SantanaFind albums by this artist into the world of Fusion. Following three phenomenally successful albums and a clearly defined style (perfected by five years of recording and touring) mixing rock with Latin and Jazz rhythms, the band was now in a turmoil, being torn apart by two conflicting tendencies. Some of the band members wished to continue the same path (stylistically) and others (especially Carlos SantanaFind albums by this artist) wanted to move on to the next phase. In the period shortly preceding the recording of this album Carlos was exposed to two new major cultural influences. Fellow guitarists Larry CoryellFind albums by this artist and John McLaughlinFind albums by this artist introduced Carlos to the teachings of Guru Sri ChinmoyFind albums by this artist and he embraced these with passion. Santana’s drummer Michael ShrieveFind albums by this artist inaugurated Carlos into the burgeoning world of (then) contemporary jazz and Fusion of Miles DavisFind albums by this artist, Herbie HancockFind albums by this artist, Weather ReportFind albums by this artist and Mahavishnu OrchestraFind albums by this artist, which he immediately fell in love with. All these new influences pushed Carlos further and further away from the old Santana style into Fusion, which would soon result in the collapse of the original line-up and the creation of a new band. CaravanseraiFind albums with this title is a crossroads album for the band, with several members playing here for the last time. Organist Gregg RolieFind albums by this artist and guitarist Neal SchonFind albums by this artist would leave soon after to form JourneyFind albums by this artist and new members, notably keyboards player Tom CosterFind albums by this artist and bassist Doug RauchFind albums by this artist would join. Since the album includes all of these wonderful players, the resulting music is truly exquisite. The dual lead guitar front line drives the melodic material to stratospheric heights and the expanded percussive rhythm section provides a soaring background. In spite of the “in transition” mood, the albums sounds cohesive and provides an uplifting musical continuum. The album was to be followed shortly by the divine Carlos Santana / John McLaughlin duet album Love, Devotion, SurrenderFind albums with this title and a series of outstanding albums like WelcomeFind albums with this title, IlluminationsFind albums with this title (with Alice ColtraneFind albums by this artist) and LotusFind albums with this title. An absolute classic!
| | | CD 1 Remastered Recommend To A Friend |
  | CARLOS SANTANA / JOHN MCLAUGHLIN ~ LOVE DEVOTION SURRENDER
COLUMBIA 63593 (Barcode: 074646359327) ~ USA ~ Jazz-Rock Fusion
Recorded: 1972 Released: 2003
This is the most quintessential Fusion album of all times. Although sadly neglected and almost forgotten (both by critics and listeners) over the years, it stands out as a beacon of musical enlightenment for posterity. The album came to be as a result of many parallel events and personal / musical paths crossings. Carlos SantanaFind albums by this artist and John McLaughlinFind albums by this artist became close after becoming disciples of Guru Sri Chinmoy. Although they were both aware of each other’s work before this musical cooperation, they operated in quite separate musical areas. McLaughlin at this point had already a glorious career stretch behind him with his pioneering work on the UK Jazz-Rock scene, his revolutionary work with Miles DavisFind albums by this artist, the visionary contributions in the Tony WilliamsFind albums by this artist LifetimeFind albums by this artist and of course his brilliant Mahavishnu OrchestraFind albums by this artist output. Santana’s roots were deep into Latin music and rock, but he was rapidly transforming his musical focus into jazz and Fusion. Influenced by his band’s drummer Michael ShrieveFind albums by this artist, who was a jazz buff, Carlos discovered a new musical world and was swallowing everything he could lay his ears on. This included the works of Mahavishnu Orchestra, of which he was a devoted fan, but also the work of Miles Davis and John ColtraneFind albums by this artist. The actual get together was most probably orchestrated by ColumbiaFind albums on this label’s chief Clive DavisFind albums by this artist (both Santana and Mahavishnu Orchestra were signed by Columbia Records), suggesting a John Coltrane tribute album featuring both guitarists. The album was recorded almost immediately after Santana finished recording the pivotal CaravanseraiFind albums with this title album, which marked a series of dramatic changes both in the band’s musical direction (a move towards jazz and Fusion) and personnel changes (the forming of Santana Mk. II). A meeting of two great talents is always a dangerous affair, and this one could have proven either disastrous or absolutely divine – fortunately the latter did happen. The reason it did turn out to be such a success is twofold: First the musicians truly loved Coltrane’s music and felt the spiritual side of it (Coltrane went through a process of soul searching and seeking enlightenment in Eastern beliefs as well). Coltrane’s “A Love Supreme” is really a musical mantra very similar to a Hindu chant, which of course is as much a spiritual music as it ever gets. The beautiful “Naima” (the other Coltrane composition featured here) is also deeply spiritual, as are the two McLaughlin’s compositions and the traditional chant, which serves as the base for the remaining track of the album. Having established the musical / spiritual base of the session the rest was up to the participating musicians, which (again) most fortunately turned out to be ideal. Both Santana and McLaughlin brought with them associate musicians – Carlos brought selected members of his band (Armando PerazaFind albums by this artist – congas, Doug RauchFind albums by this artist – bass and Michael Shrive – drums) and John brought Mahavishnu Orchestra members (Billy CobhamFind albums by this artist – drums and Jan HammerFind albums by this artist – drums(!)). Veteran jazz drummer Don AliasFind albums by this artist was also invited, but the greatest and perhaps most crucial role was entrusted upon the organ player Larry YoungFind albums by this artist – John’s former partner in Lifetime. Young provides the foundation and glue, which makes this session work. With two lead guitarists exchanging licks at the speed of light and the super-power expanded rhythm section pulsating mercilessly, this session would have never worked without Young’s brilliant work. He fills the spaces, provides the balance and the sanity, the ground on which the soloist are able to build their sky-high towers. Of course the main attraction is the spectacular work by the two soloists, so different and yet so completely complimentary of each other. Santana’s sublimely melodic feel (truly unparalleled to this very day) and McLaughlin’s extraordinary improvisational abilities just merge into one continuous flow of musical bliss. Their exchanges are in perfect harmony, not competing but supplementing each other – fire and grace incarnate. This remastered edition enhances the originally muddy sound tremendously and the two bonus tracks are priceless. There is nothing but Love of music, Devotion to talent and Surrender to divinity on this album, the Mother of all Fusion albums! Beyond essential!
| | | CD 1 Remastered Bonus Tracks Essential Recommend To A Friend |
  | HEINZ SAUER ~ IF (BLUE) THEN (BLUE)
ACT 4111 (Barcode: 614427411129) ~ GERMANY ~ Jazz
Recorded: 2009 Released: 2012
This is a re-edition of a wonderfully intimate album by the veteran (born 1932) German saxophonist / composer Heinz SauerFind albums by this artist, which consists of a series of duo pieces with two brilliant German pianists: Michael WollnyFind albums by this artist (born 1978) and Joachim KuhnFind albums by this artist (born 1944), separated by time as members of two distinct generations, but united by their musical creativity. Each of the pianists performs eight duos with Sauer, which are partly spontaneously improvised and partly based on standards, most of those by Miles DavisFind albums by this artist. Sauer recorded several duo albums with Wollny, but this is first encounter with Kuhn in a duo setting.
The music moves between freely improvised pieces and improvisations based on familiar melodic themes, but the overall atmosphere is full of fragile melancholy and introvert meditation. Sauer´s unique sound and blowing technique creates a magic atmosphere, which is supported by the piano as a frame of reference. At times it seems that the saxophone and the piano are both improvising on separate planes and than these planes intersect and collide creating a new multidimensional universe of sounds.
This music is a superb manifestation of European Jazz at its most elusive and mystic manifestation, where the musicians play minimalistic phrases separated by moments of silence and weaving a tapestry of complex, subtle pieces, which sound like soundtracks of imaginary movies. It is as aesthetically aloof from the Jazz tradition as humanly possible, and yet it is entirely Jazz based, simply existing on a celestial rather than earthly plane.
Overall this is surely one of the most fascinating examples of the "Art of the Duo" Jazz recordings, which deserves an honorary place in every respectable music collection. This kind of music can be listened to repetitively, with a good chance of discovering previously hidden treasures with each consecutive visit. Obviously I recommend it wholeheartedly to all serious Jazz connoisseurs and followers of the European Jazz scene. A true Gem!
| | Updated: 04/04/2016Posted: 04/04/2016 | CD 1 Digipak Recommend To A Friend |
  | WAYNE SHORTER ~ THE COMPLETE COLUMBIA ALBUMS COLLECTION
SONY 886979202429 (Barcode: 886979202429) ~ USA ~ Jazz-Rock-World Fusion
Recorded: 1971 - 1988 Released: 2011
There are very few Jazz musicians, who can claim being at the epicenter of the most innovative and creative music making for decades and also be called one of the greatest Jazz composers, but saxophonist / composer Wayne ShorterFind albums by this artist certainly is one of them. His role as a member of the legendary second Miles DavisFind albums by this artist quintet and than as co-founder and co-leader of the no less legendary Weather ReportFind albums by this artist are already more significant than the achievements of most other musicians, but Shorter also has a most impressive solo career, which spans from the late 1950s to now, i.e. for over half a century.
Shorter´s recordings as a leader, which were chronologically released on the Vee-JayFind albums on this label, Blue NoteFind albums on this label, ColumbiaFind albums on this label and VerveFind albums on this label labels present a magnificent body of work both as a performer and a composer. The Blue Note recordings, eleven albums released between 1964 and 1970 and recorded while he was a member of the Miles Davis quintet, are perhaps the most impressive and pivotal as far as Jazz development is concerned, but all the others are also great showcases of his talent.
Shorter recorded four albums for Columbia; one in 1974 and the other three in the late 1980s, all of which are included in this Box Set. The first album, ("Native DancerFind albums with this title") recorded with the brilliant Brazilian musician / composer Milton NascimentoFind albums by this artist is the most memorable and impressive of the Columbia recordings and a beautiful example of Jazz-World Fusion at its best. In addition to several great Brazilian musicians playing on the album, including Airto MoreiraFind albums by this artist, it also features Herbie HancockFind albums by this artist on piano. The other three albums are somewhat Fusion oriented and feature different lineups of first class musicians, especially keyboard players like Chick CoreaFind albums by this artist, Stu GoldbergFind albums by this artist, Jim BeardFind albums by this artist, Patrice RushenFind albums by this artist, Geri AllenFind albums by this artist and others and of course almost exclusively the superb compositions by Shorter.
This Box Set also includes two bonus CDs, which collect all Weather Report tracks, which were composed by Wayne Shorter and recorded during the group´s entire lifespan. Although not adding anything new, these CDs present a great historic document of Shorter´s contribution as a composer to the group´s monumental accomplishments.
This Box Set is a must to all Wayne Shorter fans, especially in view of the fact that the individual albums have been out of print for ages. The musical content is of course top notch in every respect, a part of the legacy of a great musician, which deserves to be heard and remembered!
| | Updated: 26/01/2019Posted: | CD 6 Mini-Sleeve Box Set Remastered Recommend To A Friend |
  | SING SING PENELOPE / ANDRZEJ PRZYBIELSKI ~ STIRLI PEOPLE – IN JAZZGA
MONOTYPE 022 (Barcode: 5908310927084) ~ POLAND ~ Jazz-Rock Fusion
Recorded: 2008 Released: 2009
This phenomenal recording presents a somewhat unlikely cooperation between young Polish ensemble Sing Sing PenelopeFind albums by this artist and the dark prince of Polish Jazz Avant-Garde, genius trumpeter / composer Andrzej PrzybielskiFind albums by this artist (now sadly departed). Sing Sing Penelope, formed by Polish drummer / composer Rafal GorzyckiFind albums by this artist also includes brilliant trumpeter Wojciech JachnaFind albums by this artist, saxophonist Tomasz GlazikFind albums by this artist, keyboardist Daniel MackiewiczFind albums by this artist and bassist Patryk WeclawekFind albums by this artist. They recorded three albums since the mid-2000s, all of which are excellent, and this is their fourth release. Przybielski was a key figure on the Polish Avant-Garde scene since the 1960s, and his scarce, but mostly brilliant recorded legacy is a prime example of the Eastern-European Jazz at its most creative best. The music created by the young members of the ensemble and the veteran trumpeter is a wonderful surprise, completely unexpected not only due to the age and musical background differences but mainly because of the vibrancy and vitality of the result, which resembles the power and verve of the early electric Miles DavisFind albums by this artist ensembles. The sound is very modern and up to date, mostly up tempo and sometimes quite Rock oriented, but always within the Jazz aesthetic and always simply radiant. Of the seven composition presented on the album Przybielski is credited with three, another three are co-credited to him and the group and the last one is by the group. The most striking feature of the album is of course the double trumpet front line, which is simply phenomenal. Jachna already proved his ability as a player on several albums featuring his unique talents and playing alongside a genius such as Przybielski must have proven a unique inspiration, which is evident from the result. Przybielski himself simply plays beautifully all the way and this recording is definitely one of his best moments. As much as two saxophones lineups are very popular in Jazz, a two trumpets ones are almost inexistent, which is a great pity, as this recording proves beyond any doubt. But of course all the participants of this recording deserve to be praised, as everybody contributes towards the unprecedented success. Overall this is one of the strongest Polish Jazz albums recorded recently and a grand memorial to the talents of Andrzej Przybielski, who received almost no recognition before his untimely and tragic death. Definitely a must to every connoisseur of Polish and Eastern-European Jazz!
| | Updated: 12/04/2019Posted: | CD 1 Mini-Sleeve Recommend To A Friend |
  | SLY & THE FAMILY STONE ~ A WHOLE NEW THING (LIMITED DELUXE EDITION)
EPIC 90277 (Barcode: 827969027721) ~ USA ~ Classic Rock
Recorded: 1967 Released: 2007
1st album by one of the most important and influential US bands from the late 1960s and early 1970s. Sly & The Family StoneFind albums by this artist were pioneers on all fronts, musical, social and political. They were the first fully integrated group with Black and White, Men and Women musicians playing side by side. They were the first group to develop Funk as a fully-fledged musical genre. They were one of the first Pop / Rock acts to use a brass section as an integral part of the group. Later on they would also spearhead the political protest (in which many rock musicians participated) against segregation and the Vietnam War. The group had an immense influence on the US music scene, far beyond the Rock circles and earned many admirers and supporters among such distinguished musical figures as Miles DavisFind albums by this artist. Their legendary Woodstock appearance was one of the highlights of the festival. In short, they were one of the cornerstones of the US musical scene.
This debut album firmly belongs to the Flower Power movement of the San Francisco scene, mixing elements of soul, funk, psychedelic influences and jazz. The different ethnic backgrounds of the members created an amalgam of styles that was truly unique and groundbreaking. The music was eclectic and sophisticated way beyond what was happening on the music scene at the time, using jazzy brass arrangements and vocal harmonies in a way never previously attempted. This beautiful new edition includes splendid liner notes and ultra-rare bonus tracks. A beautiful trip down the memory lane!
| | | CD 1 Digipak Remastered Bonus Tracks Recommend To A Friend |
  | STEVE SMITH ~ FLASHPOINT
MASCOT 7175 (Barcode: 8712725717522) ~ USA ~ Jazz-Rock Fusion
Recorded: 2005 Released: 2005
Veteran Fusion drummer Steve SmithFind albums by this artist combines forces with three other extraordinary musicians to form one the best Fusion ensembles ever. Legendary saxophonist Dave LiebmanFind albums by this artist needs no introduction and his exceptional work since his days with the Miles DavisFind albums by this artist group has always been a beacon of innovation and excellence in the jazz world. The same can be said about the legendary bassist Anthony JacksonFind albums by this artist, whose illustrious career includes playing with Chick CoreaFind albums by this artist, Michel PetruccianiFind albums by this artist and countless other jazz stars. The fourth member of the band, Turkish keyboards player Aydin EsenFind albums by this artist, is the only relatively unknown musician in the group, but his performances and compositions prove beyond any shadow of a doubt that he belongs to the same class of musicianship with his three companions. The music is simply breathtaking and overwhelming from the very first moment this record starts playing to the very last note. The music (written mostly by Liebman and Esen) is rich in textures and incredibly intense. The performances are stellar, with one solo chasing another. The entire session just flows beautifully, simultaneously filling the listener with energy and stimulating his intellect. Definitely one of the strongest, cleverest and most fulfilling Fusion albums recorded in the 21st Century. Wholeheartedly recommended!
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  | SOFT MACHINE ~ THIRD (EXPANDED EDITION)
SONY BMG 687293 (Barcode: 828768729328) ~ UK ~ Canterbury Scene
Recorded: 1970 Released: 2007
3rd album by Soft MachineFind albums by this artist, originally released as a double LP. Although basically a trio at this point (Robert WyattFind albums by this artist, Hugh HopperFind albums by this artist & Mike RatledgeFind albums by this artist) they use a horn-section to expand the sound of the band, which includes among others Elton DeanFind albums by this artist (soon to be a full time SM member) and Jimmy HastingsFind albums by this artist (brother of Pye HastingsFind albums by this artist from CaravanFind albums by this artist). The music is of course one of the most pivotal recordings of the era and widely accepted as one of the greatest epics of Prog and Canterbury music, with brilliant improvisations and incredibly strong writing. Almost entirely instrumental, with Wyatt`s occasional scatting, this album marks the band’s transition from early psychedelic pop / rock to Jazz-Rock and later eventually to free jazz. With constantly changing lineup the band managed in the span of just a few months, between late 1969 and early 1970, to create an entirely new genre in itself, as nothing else done by any other band would ever sound similar to Soft Machine (of that period). This music is as revolutionary and groundbreaking as the stuff Miles DavisFind albums by this artist was creating at the time on the other side of the pond, and equally brilliant. The beautiful new edition adds a full bonus CD, which contains a live recording at the Royal Alert Hall (August 1970), done by the BBC (a trademark of sonic quality), previously unreleased. An absolute masterpiece, beyond essential!
| | | CD 2 Oversampling Remastered Bonus Tracks Essential Recommend To A Friend |
  | STANKO – MAKOWICZ UNIT ~ STANKO – MAKOWICZ UNIT FEATURING CZESLAW BARTKOWSKI
B.FREE 6097 ~ POLAND ~ Free Jazz / Improvised Music
Recorded: 1975 Released: 2016
This is a reissue of the little known album by the Polish Jazz ensemble Stanko – Makowicz UnitFind albums by this artist, released originally by a small independent German label JGFind albums on this label Records. It is one of the two albums this ensemble recorded, the other one being the eponymous album released by the legendary Polish label PoljazzFind albums on this label, which to this day was not reissued on CD. On this album the ensemble is a trio with Tomasz StankoFind albums by this artist on trumpet, Adam MakowiczFind albums by this artist on electric piano and Czeslaw BartkowskiFind albums by this artist on drums, whereas the Poljazz album was recorded by a quartet with Pawel JarzebskiFind albums by this artist on bass. Both albums have a completely different set of tunes on them. On this album the ensemble performs seven tunes, two each by Stanko and Makowicz, one credited to all three members of the ensemble and the remaining two being standards one each by John ColtraneFind albums by this artist and Miles DavisFind albums by this artist. The album´s artwork does not specify the date or place of the recording, except for stating that it was recorded in 1975, same as the Poljazz album. Since there is no applause one can assume it is a studio recording. Chronologically this album was recorded shortly before Stanko recorded his first album for ECMFind albums on this label ("BalladynaFind albums with this title" recorded December 1975), which was the jumpstart of his international career.
The music is typical of Stanko´s mid 1970s period, which marked his beautiful amalgamation of melody and Free Jazz excursions, dominated by his "dirty" hoarse sound, which was his trademark for many years. Makowicz, who was one of the leading pianists on the Polish scene at the time, before he left for the US, was an ideal partner for Stanko in this particular setup, using the electric piano he embraced while being a member of the Michal UrbaniakFind albums by this artist´s Fusion groups. Bartkowski, also a leading figure on the Polish scene, was a Master drummer and felt perfectly comfortable in any stylistic setting, supports the duo amicably.
Although the recording quality and the overall sound of this album is not as good as one might have hoped for, it is definitely perfectly acceptable, in contrast to what some "critics" wrote about this album over time. The same, or even more strongly, is valid as far as the musical contents and the playing are concerned, which are absolutely superb. This is one of the most intimate Stanko recordings ever, and his trumpet playing is leading the music boldly and authoritatively.
In retrospect this is a tremendous piece of history of the Polish / European Jazz and of course of Stanko´s contribution to the genre, as the leading Free Jazz trumpeter of the period. For Polish Jazz connoisseurs and Stanko followers this album is an absolute must have of course.
| | Updated: 28/04/2018Posted: 28/04/2018 | CD 1 Digipak Recommend To A Friend |
  | TOMASZ STANKO ~ A I J
POLONIA 103 ~ POLAND ~ Jazz
Recorded: 1982 Released: 1997
This magnificent album by Polish trumpeter / composer Tomasz StankoFind albums by this artist includes the rest of the music recorded at the same session, which produced the superb "Music 81Find albums with this title" album. As with all great and prophetic Jazz Masters, Stanko´s music was evolving constantly and by the time this session was recorded in 1982, he was ready to leave behind the Avant-Garde / Free Jazz / experimental music, which dominated his first period (late 1960s to late 1970s) and gradually move forward towards new things, which would include mostly Jazz-Rock Fusion and Jazz-Electronic experiments, which of course were all as advanced and adventurous as anything else he made earlier.
That second period, which lasted roughly the whole decade of the 1980s, is well documented by the albums released during that time, each and every one of them indisputably a masterpiece in retrospect. This interim session between Stanko´s first and second period is especially interesting, as in many respects it both summarizes the first period and clearly leads the way towards the next. The music is surprisingly "straight-forward" (if such description is at all possible in connection with Stanko´s music) and conventional. Performed by a classic quartet with pianist Slawomir KulpowiczFind albums by this artist, bassist Vitold RekFind albums by this artist and the fabulous drummer Czeslaw BartkowskiFind albums by this artist, it moves stylistically somewhere between John ColtraneFind albums by this artist´s early 1960´s quartet and Miles DavisFind albums by this artist second quintet, mixing clear melody lines with complex improvisations. The performances are absolutely stellar, with Stanko´s trumpet shredding the air, beautiful and extremely sensitive piano work a la McCoy TynerFind albums by this artist, strong and steady bass and virtuosic drumming, which not only drives the music forward but also adds endless flamboyant ornamentations.
Of course in retrospect we know now that Stanko was to return to a similar format a decade and so later with his superb quartet, but at the time this music was completely unprecedented on the Polish scene. There are very few Jazz albums worldwide, which come close to the perfection and vision of the music herein, therefore this is definitely an absolute must for any serious Jazz connoisseur, Polish Jazz collector and anybody with a pair of open ears. Beyond essential!
| | Updated: 12/04/2019Posted: | CD 1 Slipcase Essential Recommend To A Friend |
  | TOMASZ STANKO ~ C.O.C.X.
POLONIA 088 (Barcode: 5904542687888) ~ POLAND ~ Jazz-Rock Fusion
Recorded: 1983 Released: 2008
This great album by Polish trumpeter / composer Tomasz StankoFind albums by this artist marks his entry into the second period of his career, which is an almost complete about face in comparison to his earlier work, which was mostly associated with Free Jazz. During the next decade (1980s) Stanko will record primarily with young musicians, often associated with Rock rather than with Jazz, creating a unique (as always) brand of Jazz-Rock Fusion. This album, recorded in a quartet setting with guitarist Apostolis AnthimosFind albums by this artist (of SBBFind albums by this artist fame), bassist Witold SzczurekFind albums by this artist and percussionist Jose TorresFind albums by this artist, presents a series of beautiful melodies, which are performed in a pretty straight-forward manner, with Stanko and Anthimos exchanging licks and improvising on top of a steady rhythm section work. Hardcore Free Jazz / Avant-Garde enthusiasts might find this music "strange" and simplistic, but honestly it is far from being trivial at any point. It is simply different, and Stanko, as an artist, should be without doubt allowed some slack to move forward and change direction, same as Miles DavisFind albums by this artist and others did. His trumpet playing is a s virtuosic as always, and nothing beats Stanko playing a ballad – absolutely nothing! At the time of its release the album was received coldly and reluctantly by most of the local critics, who used the weathered "going commercial" arguments, without truly understanding the nature of the change. In retrospect this album is a valuable addition to Stanko´s musical heritage, which has very few competitors. Brilliant stuff!
| | Updated: 12/04/2019Posted: | CD 1 Slipcase Recommend To A Friend |
  | TOMASZ STANKO ~ LEOSIA
ECM 1603 (Barcode: 731453169326) ~ POLAND ~ Jazz
Recorded: 1996 Released: 1997
Polish trumpeter / composer Tomasz StankoFind albums by this artist, one of the great Lions of European Jazz, now in his fifth decade of the tireless journey dedicated to discovering uncharted territory. Despite his advanced age, his powers as a player and composer seem to be ever growing and in contrast to Miles DavisFind albums by this artist, with whom he is often compared (a comparison, which in most cases makes no sense whatsoever) he still retains the position of the main soloist on his albums and his compositions are more detailed intricate than ever and as much melodically and harmonically advanced as always. This incredible album, dedicated to his late Mother, finds Stanko again in the company of Swedish musicians: pianist Bobo StensonFind albums by this artist and bassist Anders JorminFind albums by this artist and surprisingly in first-time cooperation with British drummer Tony OxleyFind albums by this artist – probably the greatest living drummer on this planet, who unfortunately records ever so rarely. Stanko´s compositions on this album are more melodic and lyrical than usual, perhaps in view of the fact that he intentionally wished to concentrate on melody here. The quartet is perfect together, with Stenson and Jormin fitting the bill perfectly, being both extremely melodic players themselves. Oxley, as usual, is simply outstanding, ornamenting the music with his idiosyncratic approach to rhythm and the role of percussion in Jazz, but keeps his outbursts well in the overall framework of the music. This is phenomenal music, some of the best ever made on this planet, and if anyone tells you differently, he´s simply deeply confused. An absolute must!
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  | TOMASZ STANKO ~ LONTANO
ECM 1980 (Barcode: 602498773802) ~ POLAND ~ Jazz
Recorded: 2005 Released: 2006
Legendary Polish trumpeter / composer Tomasz StankoFind albums by this artist, one of the great Lions of European Jazz, now in his fifth decade of the tireless journey dedicated to discovering uncharted territory, is definitely still in top form. This is the third album with his all Polish quartet, which includes brilliantly talented young Polish Jazz musicians: pianist Marcin WasilewskiFind albums by this artist, bassist Slawomir KurkiewiczFind albums by this artist and drummer Michal MiskiewiczFind albums by this artist. Although separated from his quartet members by decades (chronologically), Stanko is in perfect harmony with them, mentally, keeping his youthfulness, energy and creativity. Compared to Miles DavisFind albums by this artist, who played progressively less and less during his late period, Stanko is still the main soloist in his groups, with his unique tone and expressionism untouched by age. His music remains majestic, mystical and deeply penetrating, as always, and this album is again a superb addition to his magnificent legacy. Absolutely brilliant stuff and a must to any serious Jazz aficionado!
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  | TOMASZ STANKO ~ MATKA JOANNA
ECM 1544 (Barcode: 731452398628) ~ POLAND ~ Jazz
Recorded: 1994 Released: 1995
Polish trumpeter / composer Tomasz StankoFind albums by this artist, one of the great Lions of European Jazz, now in his fifth decade of the tireless journey dedicated to discovering uncharted territory. Despite his advanced age, his powers as a player and composer seem to be ever growing and in contrast to Miles DavisFind albums by this artist, with whom he is often compared (a comparison, which in most cases makes no sense whatsoever) he still retains the position of the main soloist on his albums and his compositions are more detailed intricate than ever and as much melodically and harmonically advanced as always. This incredible album, finds Stanko again in the company of Swedish musicians: pianist Bobo StensonFind albums by this artist and bassist Anders JorminFind albums by this artist and surprisingly in first-time cooperation with British drummer Tony OxleyFind albums by this artist – probably the greatest living drummer on this planet, who unfortunately records ever so rarely. This is the first of the two albums Stanko recorded with this quartet. The album is dedicated to the Polish film director Jerzy KawalerowiczFind albums by this artist, whose film "Matka Joanna Od Aniolow" (1961) was a groundbreaking masterpiece of the Polish post-WWII cinema. The music was composed mostly by Stanko, but also co-composed by the quartet members and includes one composition by Oxley. This is one of the last albums, on which Stanko´s compositions are very sparse and the music is mostly freely improvised. The quartet is perfect together, with Stenson and Jormin fitting the bill perfectly, being both greatly gifted players. Oxley, as usual, is simply outstanding, ornamenting the music with his idiosyncratic approach to rhythm and the role of percussion in Jazz, but keeps his outbursts well in the overall framework of the music. This is phenomenal music, some of the best ever made on this planet, and if anyone tells you differently, he´s simply deeply confused. An absolute must!
| | | CD 1 Recommend To A Friend |
  | TOMASZ STANKO ~ MUSIC 81 (POLISH JAZZ VOL.69)
MUZA 969 ~ POLAND ~ Jazz
Recorded: 1982 Released: 2004
Probably the most famous Polish musician worldwide, Tomasz StankoFind albums by this artist, acheived a legendary status as a virtuoso trumpet player of the same maginutude as Miles DavisFind albums by this artist. An original member of the legendary Kszysztof KomedaFind albums by this artist Quintet and a founding father of Polish Jazz, Stanko never allowed himself to become stagnant and his ever evolving musical style has been at the very front of modern jazz since 4 decades. This album presents him in the best form, playing with young musicians (except drummer Czeslaw BartkowskiFind albums by this artist - another veteran) and as usual playing his wonderful compositions, which range from minimalistic fiffs to beautifully lyrical melodies. A true gem!
| | | CD 1 Digipak Oversampling Remastered Recommend To A Friend |
  | TOMASZ STANKO ~ PEYOTL - WITKACY
POLONIA 037/038 (Barcode: 5904542687307) ~ POLAND ~ Jazz-Rock Fusion
Recorded: 1984 - 1986 Released: 2004
This is probably the most significant recording by Polish trumpeter virtuoso / composer Tomasz StankoFind albums by this artist, surely at least among his Polish recordings before his later ECMFind albums on this label period. Following Miles DavisFind albums by this artist, Stanko switched to Jazz-Rock Fusion (albeit a decade later) and his 1980s output with his FreelectronicFind albums by this artist ensemble is radically different from the Free Jazz he played in the 1970s. This double album consists of one studio recording and one live recording, both expressing Stanko´s power as a performer and a composer to the max. The studio album, which was compiled over a period of two years, presents music composed by Stanko at the period when he was experimenting with hallucinogens and was deeply influenced by the writings of the Polish mystic / philosopher / Avant-Garde artist WitkacyFind albums by this artist (Stanislaw Ignacy Witkiewicz), who was also an early experimenter with drugs. Text excerpts from Witkacy´s book about drugs are recited and closely incorporated into the fascinating music, which floats over a repetitious hypnotic vamp and layers of electronic keyboard sounds. The highlight of this album is undoubtedly the inclusion of a second genius trumpet player, Andrzej PrzybielskiFind albums by this artist, who exchanges licks with Stanko in a brilliant manner. The fact that Stanko invited Przybielski to participate in this recording is a testimony of how highly he regarded his unbelievable talent. Other musicians participating in these recordings are: keyboardists Janusz SkowronFind albums by this artist and Tadeusz SudnikFind albums by this artist, guitarist Apostolis AnthimosFind albums by this artist, bassist Witold SzczurekFind albums by this artist, and drummer Zbigniew BarysiakFind albums by this artist. The recitation is by the great actor Marek WalczewskiFind albums by this artist. In retrospect the fact that this music was recorded almost 30 years ago seem incomprehensible, as it so much more advanced that almost any music done these days. Stanko´s genius definitely reaches here one of its great peaks, which luckily for us was captured for posterity. Sadly this album is probably little known by his worldwide fan base, as it is very difficult to find, which of course is a shame. If one must own just one Stanko album, this is it, at least as far as I´m concerned. Absolute unadulterated genius!
| | Updated: 12/04/2019Posted: | CD 2 Essential Recommend To A Friend |
  | TOMASZ STANKO ~ SOUL OF THINGS
ECM 1788 (Barcode: 044001637421) ~ POLAND ~ Jazz
Recorded: 2001 Released: 2002
Legendary Polish trumpeter / composer Tomasz StankoFind albums by this artist, one of the great Lions of European Jazz, now in his fifth decade of the tireless journey dedicated to discovering uncharted territory, is definitely still in top form. This is the first album with his all Polish quartet, which includes brilliantly talented young Polish Jazz musicians: pianist Marcin WasilewskiFind albums by this artist, bassist Slawomir KurkiewiczFind albums by this artist and drummer Michal MiskiewiczFind albums by this artist. Although separated from his quartet members by decades (chronologically), Stanko is in perfect harmony with them, mentally, keeping his youthfulness, energy and creativity. Compared to Miles DavisFind albums by this artist, who played progressively less and less during his late period, Stanko is still the main soloist in his groups, with his unique tone and expressionism untouched by age. His music remains majestic, mystical and deeply penetrating, as always, and this album is again a superb addition to his magnificent legacy. Absolutely brilliant stuff and a must to any serious Jazz aficionado!
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Christopher Brice
Label this one "Essential"!
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  | TOMASZ STANKO ~ SUSPENDED NIGHT
ECM 1868 (Barcode: 602498112441) ~ POLAND ~ Jazz
Recorded: 2003 Released: 2004
Legendary Polish trumpeter / composer Tomasz StankoFind albums by this artist, one of the great Lions of European Jazz, now in his fifth decade of the tireless journey dedicated to discovering uncharted territory, is definitely still in top form. This is the second album with his all Polish quartet, which includes brilliantly talented young Polish Jazz musicians: pianist Marcin WasilewskiFind albums by this artist, bassist Slawomir KurkiewiczFind albums by this artist and drummer Michal MiskiewiczFind albums by this artist. Although separated from his quartet members by decades (chronologically), Stanko is in perfect harmony with them, mentally, keeping his youthfulness, energy and creativity. Compared to Miles DavisFind albums by this artist, who played progressively less and less during his late period, Stanko is still the main soloist in his groups, with his unique tone and expressionism untouched by age. His music remains majestic, mystical and deeply penetrating, as always, and this album is again a superb addition to his magnificent legacy. Absolutely brilliant stuff and a must to any serious Jazz aficionado!
| | | CD 1 Slipcase Recommend To A Friend |
  | MIKE STERN ~ STANDARDS (AND OTHER SONGS)
WOUNDED BIRD 2419 (Barcode: 664140241923) ~ USA ~ Jazz-Rock Fusion
Recorded: 1992 Released: 2007
6th album (5th on Atlantic) by American guitarist / composer Mike SternFind albums by this artist, who has been one of the most prominent figures in the Jazz and Fusion fields for the last three decades. His virtuoso performances and excellent writing are a source of musical joy and his consistently superb standards serve as a model, followed by generations of young guitarist around the world. On this album Stern tackles (for the first time) Jazz compositions by other composers (Chick CoreaFind albums by this artist, Miles DavisFind albums by this artist, John ColtraneFind albums by this artist and others), adding three compositions of his own. Accompanied by a superb group of musicians, which includes trumpeter Randy BreckerFind albums by this artist, bassist Jay AndersonFind albums by this artist and drummer Al FosterFind albums by this artist, this session clearly shows Stern´s deep ties with Jazz and profound understanding of the Jazz tradition. This is classic Fusion and Stern´s guitar playing is simply overwhelmingly excellent, with great flow, emotion and technical virtuosity. A must for any Fusion enthusiast!
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  | MIKE STERN ~ UPSIDE DOWNSIDE
WOUNDED BIRD 1656 (Barcode: 664140165625) ~ USA ~ Jazz-Rock Fusion
Recorded: 1986 Released: 2007
American guitarist / composer Mike SternFind albums by this artist has been one of the most prominent figures in the Jazz and Fusion fields for the last three decades. His virtuoso performances and excellent writing are a source of musical joy and his consistently superb standards serve as a model, followed by generations of young guitarist around the world. Stern first came to the attention of the music lovers in the mid 1970s as the lead guitarist for the then current lineup of Blood, Sweat & TearsFind albums by this artist. Later on he joined drummer Billy CobhamFind albums by this artist and played on several of his exceptional Fusion albums, finally to be featured in the Miles DavisFind albums by this artist comeback ensemble in 1981. After two years with Miles, Stern let to join Jaco PastoriusFind albums by this artist and again participate in some revolutionary Fusion recordings, only to rejoin Miles in 1995 for another year. That year marked Stern´s first release as a leader, with his album "NeeshFind albums with this title" scoring enthusiastic reviews, but gaining little public attention as it was released on a small obscure label. In 1986 Stern signed with AtlanticFind albums on this label, subsequently releasing 10 excellent albums on the label until he left in 2001. This album is the Mike Stern´s 1st release on Atlantic, which remains to this day as one of the greatest classic Fusion albums of all times. With the help of keyboardist Mitch FormanFind albums by this artist, saxophonist Bob BergFind albums by this artist, bassist Mark EganFind albums by this artist, drummer Dave WecklFind albums by this artist and several guest musicians (including Jaco Pastorius), Stern lies down a model for modern Fusion, with great melodies, superb guitar lead lines and rhythmic versatility. Constantly moving between atmospheric ballads and soaring neck-breaking races, there is not one dull moment on this album and it lost absolutely nothing of its initial impact. This is an absolute must for every Fusion enthusiast as well as guitar freak on earth. A must!
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  | MIKE STERN ~ WHO LET THE CATS OUT?
HEADS UP 3115 (Barcode: 053361311520) ~ USA ~ Jazz-Rock Fusion
Recorded: 2006 Released: 2006
One of the pioneers of Fusion, Mike SternFind albums by this artist ranks this day among the best guitar players. Throughout his illustrious career, since his Miles DavisFind albums by this artist days and up to now, Stern released a long series of excellent solo album (this is his 15th release as a leader) and was very prolific as a sidemen taking part in hundreds of projects. His playing always borders elegantly between Fusion and Jazz, occasionally emphasizing one genre or another. This album presents a perfect mixture of both genres and includes players from both genres as well, such as Roy HargroveFind albums by this artist – trumpet, Chris Minh DokyFind albums by this artist – bass, Dave WecklFind albums by this artist – drums, Anthony JacksonFind albums by this artist – bass and many others. Stern wrote all the music and plays some mighty guitar here, with traces of Pat MethenyFind albums by this artist sound, but overall quite original and technically brilliant. This is a true fun album and I wholeheartedly recommend it to all fusion-heads.
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  | STOL PANSKI ~ GADAJACE DRZEWO
ZBIG 001 ~ POLAND ~ Jazz-World Fusion
Recorded: 1996 Released: 1997
This is the only album by Polish Jazz ensemble Stol PanskiFind albums by this artist, led by guitarist / composer Zbigniew KunkowskiFind albums by this artist, which also featured trumpeter Andrzej PrzybielskiFind albums by this artist, flautist / saxophonist Janusz SmykFind albums by this artist, keyboardist Slawomir KulpowiczFind albums by this artist, bassist Krzysztof ScieranskiFind albums by this artist, drummer Michal ZduniakFind albums by this artist, vocalist Joachim JankoFind albums by this artist, violinist Henryk GembalskiFind albums by this artist, saxophonist Aleksander KoreckiFind albums by this artist and several other players. Some of these players used to be a decade earlier members of the legendary ensemble Free CooperationFind albums by this artist. The album presents seven original compositions, all composed by Kunkowski and arranged by Kulpowicz. There is also a hidden / undocumented track, which follows the seventh tracks, which is a free improvised piece.
Musically the album presents a fascinating amalgam of Jazz with Groove, Funk and World Music. Most of the music consists of a simple melody line played over a repetitive groove and serving as a background for extensive improvisations by the soloists. The main and most impressive soloist is of course the legendary trumpeter Andrzej Przybielski, who plays on this album some of the most coherent and beautiful solos in his entire career, which bridge between his free improvising tendencies and the melodic approach he uses here. Especially impressive are his muted trumpet parts, which easily compare to those played by Miles DavisFind albums by this artist. Since every note of the Przybielski legacy is utterly sacred, this album is an absolutely must to every follower of the Polish Jazz trumpet heritage.
Overall this album is one of the hidden gems in the Polish Jazz discography, which disappeared from the shelves shortly after being released almost two decades ago and never reissued. True Polish Jazz fans should make every effort to get hold of a copy, at all costs.
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  | JOHN SURMAN / ALAN SKIDMORE / TONY OXLEY ~ JAZZ IN BRITAIN `68-`69
VOCALION 8418 (Barcode: 765387841829) ~ UK ~ Jazz
Recorded: 1968 - 1969 Released: 2006
Saxophonists John SurmanFind albums by this artist and Alan SkidmoreFind albums by this artist and drummer Tony OxleyFind albums by this artist are three of the most distinguished representatives of the burgeoning British Jazz scene in the late 1960s and 1970s. Each of them has a most impressive recorded legacy from that period and of course in the years to follow. This album, initially released in 1972, collects five stunning and previously unreleased outtakes, recorded at several sessions involving these three musicians, most of which originate from the sessions for Skidmore’s debut album. Each and every one of these tracks is absolutely superb, and considering the fact these are outtakes, this is ample evidence of the unbelievably high standard of the music at the time. The first track presents the unaccompanied saxophone trio comprising of Alan Skidmore (tenor), Mike OsborneFind albums by this artist (alto) and John Surman (baritone), which would later become known as S.O.S.Find albums by this artist and record albums under that name. On the next track the lineup is expanded to an octet with the addition of Harry BeckettFind albums by this artist (flugelhorn), Malcolm GriffithFind albums by this artist (trombone), John TaylorFind albums by this artist (piano), Harry MillerFind albums by this artist (bass) and Alan JacksonFind albums by this artist (drums). The third track is actually recorded in two parts, with a personnel change between the two parts: part one is a quartet (Surman, Taylor, Miller & Jackson), that features a rare appearance of Surman on piano, and part two a quintet (Skidmore, Wheeler, Taylor, Miller & Oxley) introducing Kenny WheelerFind albums by this artist (trumpet) and Tony Oxley (drums). The remaining two tracks are recorded by the same quintet. Surman composed three of the pieces and his fellow saxophonist John WarrenFind albums by this artist composed another one. The music is absolutely divine from start to finish in every respect – the compositions, the solos and the interplay are all breathtaking. My personal favorite is the incredible work by Oxley, by far one of the most innovative and inventive drummers in Jazz. Oxley’s approach at the time is somewhat similar to the incredible work done by the young Tony WilliamsFind albums by this artist, when he joined the Miles DavisFind albums by this artist quintet. Overall this is one the finest examples of British Jazz ever recorded and an absolutely essential document of the era.
| | | CD 1 Remastered Essential Recommend To A Friend |
  | TATVAMASI ~ DYLIZANS SIEDMIU
AUDIO CAVE ~ POLAND ~ Jazz-Rock Fusion
Recorded: 2014 Released: 2016
This is the third album by Polish ensemble TatvamasiFind albums by this artist, led by guitarist / composer Grzegorz LesiakFind albums by this artist. On this album the quintet lineup, which also included trumpeter Jan MichalecFind albums by this artist, saxophonist Tomasz PiatekFind albums by this artist, bassist Lukasz DownarFind albums by this artist and drummer Krzysztof RedasFind albums by this artist, was expended to a septet with the addition of Brazilian saxophonist Yedo GibsonFind albums by this artist and Spanish percussionist Vasco TrillaFind albums by this artist. The album presents just three expanded original compositions (two lasting over twelve minutes and one over sixteen minutes), all composed by Lesiak. The album was recorded shortly after the recording of their previous album a couple of years back and released only now.
The music is as unexpected as one might expect from Tatvamasi, presenting a wonderful amalgam of Rock, Funk, Free Jazz, Psychedelia, World, Electronic and Ambient influences. The three tracks are extended jams, which basically provide a platform for all the participants to play extended solos over a steady beat. Most of the solos by brass instruments are pretty Free Jazz oriented, while the guitar playing is more Rocky and Ambient. Several musicians solo simultaneously, conversing between themselves and getting involved into group improvisation. The guitar solos take the music back on track and serve as a buffer between the multilayered Jazzy parts. As usual this music simply shuns classification. To listeners familiar with the work of Miles DavisFind albums by this artist, this music is conceptually similar to the Miles "electric period", which featured electric guitar as a centerpiece of his ensembles.
It seems that this album is more of an experimental recording of a pre-planned jam session rather than a full-fledged new studio album by the ensemble, which is hopefully following soon. Nevertheless it is a superb piece of music, which has very few equals in its category in Poland or anywhere else for that matter.
The music, being pretty esoteric, might not be easily accessible to a wide audience and is definitely way to open and Jazzy for the average Fusion fans, but on the other hand it offers so much more intellectual stimuli that an effort to listen to it open-headedly is definitely worthwhile. Wholeheartedly recommended!
| | Updated: 31/10/2016Posted: 31/10/2016 | CD 1 Mini-Sleeve Recommend To A Friend |
  | TIE BREAK ~ TIE BREAK (BOX SET)
NOT ON LABEL ~ POLAND ~ Jazz-Rock-World Fusion
Recorded: 1984 - 1995 Released: 2014
This incredible Box Set is a long overdue tribute and homage to Tie BreakFind albums by this artist, one of Poland´s most important ensembles in the country´s modern music history, a cult phenomenon known mostly only to insiders and a cradle of the Polish rebellious musical underground, which kept the flame of uncompromised Artistic expression burning for decades, while the rest of the scene was drowning in opportunistic nothingness and anticultural shite.
Of course analyzing the importance of Tie Break is impossible without explaining the political, social, economic and historical background of Poland during the period spanning about three decades from the early 1970s to the late 1990s, which is the period when the ensemble was active in one form or another. However, as usual, a scope of a music review is definitely way too limited to even attempt such a challenging task, therefore my references to these subjects will be naturally limited. It is important to remember that these were the most tumultuous years for the Polish People, and amongst them Polish Artists, which saw a gradual but dramatic transformation from the darkest pits of Socialist Regime to a free Democratic society, a process of unparalleled National trauma and Social upheaval.
Tie Break hails from Czestochowa, a provincial Polish town (which happens to be the birthplace of my Father), famous as one of Poland´s most important religious centers, with the Pauline Monastery of Jasna Gora and its Black Madonna painting drawing millions of Catholic pilgrims every year from the world over. Even during the darkest times of the Socialist Regime the town kept being flooded by pilgrims, to the dismay of the ruling party officials. In order to change the town´s image a huge steel mill and other industrial enterprises were constructed in the area, which caused a rapid expansion of the town (and of course massive pollution). In retrospect Czestochowa had its share of unholy activities, with dozens of Beat and Rock groups active in the city since the late 1960s, and the early days of Tie Break are largely a result of this background, leading to the formation of the ensemble in the late 1970s. Music was, after all, a most popular method of escapism for young people living at the time on both sides of the Iron Curtain. The need to escape reality was as strong in the case of deep economic depression in the West as it was in the case of oppressive ideology in the East.
The group went through many personnel changes during its early days, but eventually the core crystallized around four musicians: trumpeter Antoni GralakFind albums by this artist, saxophonist Mateusz PospieszalskiFind albums by this artist, guitarist Janusz Yanina IwanskiFind albums by this artist and bassist Marcin PospieszalskiFind albums by this artist. The booklet accompanying this Box Set lists twenty three musicians, who cooperated with the ensemble for various periods of time over the years. The music of Tie Break was a completely unique and immediately recognizable amalgam of Rock, Funk, Jazz, Avant-Garde and World Music influences, which was light-years ahead of its time and kept developing constantly during the time of its existence.
In parallel to their activities with Tie Break, the ensemble members also took part in other revolutionary enterprises on the local scene, like the legendary Free CooperationFind albums by this artist ensemble or the Young PowerFind albums by this artist ensemble, and appeared under different monikers playing more Rock oriented material, such as the SvoraFind albums by this artist group with vocalist Stanislaw SojkaFind albums by this artist or the WooBooDooFind albums by this artist group. And yet in spite of their obvious talents and brilliant music-making the musicians of Tie Break and the ensemble itself were left to vegetate on the very outskirts of the local scene, with obvious animosity and dislike from almost everybody connected to the music scene: media, record labels, press and even fellow Jazz musicians, especially those mainstream veterans who felt threatened by their innovative and uncompromising approach to music.
Tie Break had to wait for over ten years to record their debut album, the eponymous live album recorded in 1988 and released a year later, and recorded only four proper albums altogether during their career. Although their music was mostly instrumental, they used sometimes lyrics in an imaginary gibberish language. Their fourth and last album was an outstanding Jazz & Poetry project, which featured the great vocalist of Greek origin, Jorgos SkoliasFind albums by this artist, singing poems written by the priest / poet Jan TwardowskiFind albums by this artist.
Listening to the music of Tie Break brings on in retrospect the obvious influences that shaped the ensemble´s creations: first and foremost the improvisational freedom of John ColtraneFind albums by this artist, which seems to be the most significant ingredient linking the ensemble members, but there are also obvious shades of the late Miles DavisFind albums by this artist bands with their heavy Funk, as well as contemplative Indian music, tribal chants and other folkloristic elements. And of course above all there is the omnipresent spice of craziness, madness, artistic folly and zaniness, which turn the music from being just great into being divine. Some music critics credit Tie Break for being precursors of Yass, but personally I don´t support this line of thought. Yass was motivated mainly by protest and revolt against old ways (of Jazz), whereas Tie Break were simply inventing new Jazz in a most positive way they could think off, in complete disregard of commercialism, opportunism and fads of fashion, as appropriate for true anarchists, and as most anarchist they never achieved fame and fortune, but they managed to expand the borders of our culture more than most others, for which they deserve our eternal gratitude.
This Box Set includes remastered versions of the four Tie Break albums and three additional CDs with archive and radio recordings by Tie Break, Svora and WooBooDoo. Beautifully packaged and accompanied by a gorgeous booklet with original artwork and in-depth interviews with Tie Break members, this is obviously a labor of love and finally a much deserved retrospective of one of Poland´s most meaningful musical contributors. This is an absolute must to any serious Polish Jazz or Polish Culture connoisseur.
| | Updated: 12/04/2019Posted: | CD 7 Digipak Box Set Remastered Bonus Tracks Essential Recommend To A Friend |
  | DANIEL TOLEDO ~ ELAPSE
NOT ON LABEL (Barcode: 889211081240) ~ ECUADOR ~ Jazz
Recorded: 2014 Released: 2014
This is the debut album by Ecuadorian bassist / composer Daniel ToledoFind albums by this artist, recorded in a classic piano trio setting with excellent Polish Jazz pianist Piotr OrzechowskiFind albums by this artist and British drummer Joshua WheatleyFind albums by this artist. The album presents five original compositions by Toledo and one standard composed by Miles DavisFind albums by this artist.
Orzechowski is of course one of the top young Jazz pianist in his country and in the last few years his activities have been documented mainly in the role of a solo piano player, therefore this recording should be of great interest to all Polish Jazz fans.
Toledo emerges on this debut recording as an excellent bassist of a highly personal style, which is characterized by groovy pulsations, which are usually produced by electric bass guitar rather than by the upright bass, and a danceable attitude, which most probably has its roots in his South American roots. But he is definitely also a highly talented composer and his tunes serve as ideal vehicles for the trio to explore and develop the basic melody lines into lengthy improvisations.
Naturally the pianist draws most of the listener´s attention, as he is the main soloist here. Toledo made a wise choice combining forces with Orzechowski, as there are very few such versatile and skillful pianists as him. It´s a pleasure to hear Orzechowski keep the groove and funky feel of this album alive, even on the slow pieces, which display a more lyrical approach.
Wheatley fits the bill perfectly, supporting the bass with his steady rhythmic patterns, keeping time and at the same time allowing for a lot of rhythmic fluidity, which makes the music much more interesting. This approach is strongly felt on the trio´s interpretation of the Miles Davis composition, which is given a highly unusual treatment.
Overall this is definitely a superb debut effort, as well as one of the most personal / unique albums that I happened to listen to in 2014. Hopefully this trio will produce more of such gems in the future. I can´t wait to see where it will all lead to. Nice work Gentlemen!
| | | CD 1 Digipak Recommend To A Friend |
  | TRIBUTE TO MILES ORCHESTRA ~ LIVE
WARNER MUSIC POLAND 039842388922 (Barcode: 039842388922) ~ POLAND ~ Jazz
Recorded: 1998 Released: 1998
This is the only album by Polish Jazz ensemble Tribute To Miles OrchestraFind albums by this artist (a.k.a. TTMOFind albums by this artist), led by keyboardist / composer Wojciech KonikiewiczFind albums by this artist, which also featured trumpeter Andrzej PrzybielskiFind albums by this artist, saxophonist Mariusz MielczarekFind albums by this artist, guitarist Janusz Yanina IwanskiFind albums by this artist, bassist Marcin PospieszalskiFind albums by this artist, drummer Radek MacinskiFind albums by this artist and percussionist (usually keyboardists) Piotr IwickiFind albums by this artist. The album, which was recorded live at the legendary Akwarium club in Warsaw, presents six compositions, five of which are by Miles DavisFind albums by this artist and one is by Konikiewicz (dedicated to Davis).
Musically the album presents the style Miles Davis utilized during the last period of his career, when he switched to Warner Bros. and released the world shattering "TutuFind albums with this title", presenting a combination of Funk and electronic music, which at the time was as innovative as every other giant step Davis took during his career. The Polish Jazz musicians handle the Funk rhythmic challenge formidably and paraphrasing on the "white man can´t jump" - white man definitely can Funk! There are plenty of superb solos and passionate moments, as well as interesting arrangements of earlier Davis compositions transcribed into the Funky style. The remarkable bass playing, which is the basis upon which this music is built, is the core element of its success. But all the participants are contributing extraordinarily and the overall result is way beyond what one might expect.
The most thrilling and astonishing facet of this album is the presence of trumpeter Andrzej Przybielski, who is ordinarily associated with the Free / Avant-Garde Polish scene. This is surely the most "conventional" recording that Przybielski ever took part in and his sound and imitation of the Miles Davis phrasing are simply marvelous. The invitation of Przybielski to participate on this album was a prophetic and bold move by Konikiewicz, who is therefore credited for showing us a face of the legendary trumpeter that we never knew about and is preserved here for posterity.
There is no doubt that the idea behind this album was influenced by the two Miles Davis visits in Poland, in 1983 and in 1988 (I attended that concert), which are generally accepted as life changing experience for the Polish Jazz scene, both collectively as a community and individually as directly influencing the local musicians. The second visit, which happened shortly before Poland was finally released from the grip of the Socialist regime, was a symbol of a changing reality, which at the time was just around the corner (pun intended).
The album suffers from some minor sound quality problems due to the recording conditions, but those are completely negligible in view of the musical contents and the historic significance of this album. The fact that this album disappeared from the shelves almost immediately after it was released and was never reissued is a crying shame.
| | Updated: 12/04/2019Posted: | CD 1 Recommend To A Friend |
  | MICHAL URBANIAK ~ FOR WARSAW WITH LOVE
AGORA 5903111493684 (Barcode: 5903111493684) ~ POLAND ~ Jazz-Rap Fusion
Recorded: 2019 Released: 2019
"Jazz is (*) the music of the oppressed black working class in capitalist America". This is the slogan that enabled Polish Jazz musicians to play and flourish behind the iron curtain, when the above definition was softened following Stalin´s death (1953) from its original form, which also included "the product of the degeneration presented as" in the place of the asterisk above. Expression of solidarity by the Polish working class with the "black working class in capitalist America" was allowed by playing Jazz. Of course Polish Jazz musicians – including our hero saxophonist / violinist Michal UrbaniakFind albums by this artist – were never a part of the working class, but that was the beauty of the whole thing. Polish intelligentsia and the artistic bohemian class in particular, which included filmmakers, Jazz musicians, actors, poets and other undesirable riffraff, were absolute Masters in fooling the system and its censorship apparatus into believing in their legitimacy as representatives of the working class and their conformity with the official Socialist Party policies.
Urbaniak and a few of Polish Jazz pioneers visited the US in 1962 and he fell head over heels in love with the "original" American Jazz. From that moment on his primary life´s desire was to move to NY and become part of the local scene, which he consistently pursued and eventually achieved in 1973, together with his wife at the time, vocalist Urszula DudziakFind albums by this artist. His NY residency was crowned by a recording contract with Columbia and release of several brilliant and groundbreaking albums and a brief stint with the legendary Miles DavisFind albums by this artist. His talent and intensive work schedule earned him many friends among the American (and not only) musicians, which explains how he managed to get on this album a string of stars like drummer Lenny WhiteFind albums by this artist, bassist Marcus MillerFind albums by this artist, pianist Herbie HancockFind albums by this artist, guitarist David GilmoreFind albums by this artist, rapper Walter WestFind albums by this artist and others.
Eventually Urbaniak, like many other Polish Jazz musicians who tried their luck in the US, returned to Poland, which in the meantime managed to free itself from the shackles of the Socialist regime, and resumed his activity on the local scene, retaining of course his NY ties. His keen senses and sharp ears enabled him to select some of the best Polish Jazz musicians, mostly members of the young generation, and invite them to take part in this project, like pianist Michal TokajFind albums by this artist, keyboardists Jan SmoczynskiFind albums by this artist, Michal WroblewskiFind albums by this artist and Marek PedziwiatrFind albums by this artist and others.
Formally this album is a tribute to the city of Warsaw, commemorating the 75th Anniversary of the tragic Warsaw Uprising against the Nazi German occupation and the album was issued by the Warsaw Uprising Museum. To be honest I completely fail to see any connection and for me this is not a tribute to Warsaw but a tribute to NY and contemporary American music scene. It offers a mixture of Rap, Hip-Hop, Groove, Blues and a bit of Jazz, with a distinct Afro-American feel, which to people familiar with Urbaniak´s current activity is hardly surprising. Most of the music is attributed to Urbaniak, but there are also two classic Jazz standards dressed up to fit with the rest of the album. And yes, it offers a lot of superb playing on the way.
The album proves that Urbaniak wishes to stay relevant and up to date with contemporary trends, which is certainly more than other musicians of his group age are doing. It has a strong Jazz tinge, but certainly is not meant as a Jazz album per se; and why not? Urbaniak does not have to justify his musical choices to anybody, and his extensive legacy proves that he paid his dues and can do whatever he wants to do. The "critics", who dismissed this album outright, fail to see the point here – it is up to the musician to play what see thinks is right and it is up to the listener to decide if he wishes to listen / buy the album. Urbaniak is simply well beyond scrutiny by self proclaimed "critics" – he has been around for long enough to ignore this bullshit.
It was a pleasure to meet Michal again a couple of month ago at the after party of the Singer Festival, where he gave me an autographed copy of this album. Nigel KennedyFind albums by this artist, the star of the final concert and an accomplished musician by all standards, looked at Michal with love and admiration deserved by an older Master… certainly good enough for me. Even if this music is not exactly my glass of vodka, if this is what he wants to play, who am I to tell him otherwise? Respect!
| | Updated: 11/11/2019Posted: 11/11/2019 | CD 1 Digipak Recommend To A Friend |
  | MICHAL URBANIAK ~ FUSION III
WOUNDED BIRD 3542 (Barcode: 664140354227) ~ POLAND ~ Jazz-Rock-World Fusion
Recorded: 1975 Released: 2012
This is a reissue of the third (and last) US album by Polish Jazz violinist / composer Michal UrbaniakFind albums by this artist, released originally on the ColumbiaFind albums on this label label in 1975. In retrospect it is also one of the best Fusion albums ever recorded on this planet. Urbaniak, a veteran of the Polish Jazz scene, first came to prominence as the member of the legendary groups led by the Godfather of Polish Jazz, pianist / composer Krzysztof KomedaFind albums by this artist. While with Komeda, Urbaniak played the saxophone and switched to violin only after founding his own group in the late 1960s, when he also changed his musical direction from Modern / Free Jazz to Fusion, inspired by the groundbreaking innovations created at the time by Miles DavisFind albums by this artist.
In his group he included his wife, the extraordinary singer Urszula DudziakFind albums by this artist and together they quickly developed a completely unique type of Fusion, which was light years ahead of anything else happening in that genre at the time anywhere in the world. Mixing Jazz, Rock, Folklore and Avant-Garde vocals, they established a completely new approach to composition and multilayered complexity, as documented on the two albums the group recorded as part of the legendary "Polish Jazz" series of albums, which was simply brilliant.
Frustrated by the state of affairs in his country, which suffered under a Socialist Regime and harsh economic conditions, Urbaniak, like most of his colleagues, constantly looked for an opportunity to leave Poland and establish a career behind the Iron Curtain. He managed initially to record a couple of albums in West Germany for the SpiegeleiFind albums on this label label, but the real break came when Columbia offered him a recording deal. He and his wife left Poland and settled in the USA, as did several other Polish Jazz musicians at the time, like his ex group member pianist / composer Adam MakowiczFind albums by this artist for example.
The three albums Urbaniak recorded for Columbia (and several more for other US labels, especially the dazzling "Funk FactoryFind albums with this title" album recorded shortly after this one and also reissued on Wounded BirdFind albums on this label) were outstanding and simply much better than anything the local scene could muster, but unfortunately Urbaniak´s US career never really took off, same as the careers of all other Polish Jazz musicians who tried to make it there, in spite of their immense talents. The reason was simply the narrow-mindedness of the US Jazz community (listeners and critics alike), which considered Jazz to be exclusively an American Art Form and failed to recognize anything originating outside of the US as artistically valid and meaningful, even if it hit them in the face.
On this album Urbaniak is accompanied by top US Fusion players like guitarist John AbercrombieFind albums by this artist, bassist Anthony JacksonFind albums by this artist and drummer Steve GaddFind albums by this artist, as well as Polish compatriot keyboardist Wlodek GulgowskiFind albums by this artist. Guitarist Larry CoryellFind albums by this artist guests on one track, guitarist Joe CaroFind albums by this artist guests on another and Polish vocalist Bernard KafkaFind albums by this artist guests on yet another track. Drummer Gerald BrownFind albums by this artist replaces Gadd on two tracks. Dudziak´s vocals are simply out of this world and alone are worth listening to this album repeatedly.
Urbaniak wrote almost all the dazzling music except for three tracks: a Dudziak improvisation, a superb composition by Polish saxophonist Zbigniew NamyslowskiFind albums by this artist, which fits this album´s mood like a glove and one tune by Gulgowski.
As already said, this is timeless, heavenly, unparalleled music, which I´ve been listening to in the last almost 40 years without any trace of getting tired by it any time soon. This is an absolutely essential Fusion music, and anybody who has not heard this music does not know the true meaning of Fusion. God bless Wounded Bird for finally releasing this divine album on CD!
| | Updated: 11/09/2019Posted: | CD 1 Essential Recommend To A Friend |
  | MICHAL URBANIAK / GROUP ~ LIVE RECORDING (POLISH JAZZ VOL. 24)
MUZA 924 ~ POLAND ~ Jazz-Rock Fusion
Recorded: 1971 Released: 2004
This is a reissue of the first album on the legendary "Polish Jazz" series by the Polish saxophonist / violinist / composer / bandleader Michal UrbaniakFind albums by this artist. This live recording presents this phenomenal Polish Jazz artist in the state of transition. Not only is his music moving away from the modern Jazz into early electric Fusion, but he also changes his primary instrument from saxophone to violin. His quartet includes the great pianist Adam MakowiczFind albums by this artist, who was the first to introduce electric keyboards in the Polish Jazz. In many respects this music is as revolutionary on the Polish jazz scene as the things Miles DavisFind albums by this artist did on the global one. A superb document and a visionary creation.
| | Updated: 08/09/2019Posted: | CD 1 Digipak Oversampling Remastered Recommend To A Friend |
  | MICHAL URBANIAK ORGANATOR ~ D-DAY IN TOMASZOW
FOR TUNE 0171 (Barcode: 5906395808878) ~ POLAND ~ Jazz
Recorded: 2019 Released: 2024
This is a live album by Polish Jazz saxophonist / violinist / composer / bandleader Michal UrbaniakFind albums by this artist, one of the Godfathers of the modern Polish Jazz scene and one of a few Polish Jazz musicians, who managed to develop a career in the US, including even a short stint with Miles DavisFind albums by this artist. The music was a recorded by a quintet, which includes another Polish Jazz legend and Urbaniak’s collaborator for many years, pianist / organist Wojciech KarolakFind albums by this artist, which sadly marks one of Karolak’s last live appearances before his untimely death in 2021. The rest of the quintet comprises of trumpeter Piotr WojtasikFind albums by this artist, guitarist Gabriel NiedzielaFind albums by this artist and American, resident in Poland, drummer Frank ParkerFind albums by this artist. The album presents six tracks, three of which are original compositions by Urbaniak and three are standards. Karolak’s presence hints as to the quintet’s moniker chosen for this quartet.
As appropriate for a live album, the tracks are extended, all bar one lasting for over twelve minutes, which of course offers a splendid opportunity for musicians to solo at length, and which is highly enjoyed by the audience. Urbaniak displays his incredible virtuosity on the violin, which actually was his second instrument, as his early career was devoted to the saxophone. During this concert he plays the saxophone on three tracks. Karolak’s Hammond playing is absolutely delightful, and he was always a completely reliable player of great imagination and most importantly superb taste. The rest of the team also performs splendidly, supporting the two veterans amicably and with obvious respect.
Urbaniak’s compositions are obviously the more interesting material, especially his reference to the fusion of Polish Folklore elements with Jazz, which brought him fame in the 1970s, when he recorded the series of three such Fusion albums (“FusionFind albums with this title”, “AtmaFind albums with this title” and “Fusion IIIFind albums with this title” for ColumbiaFind albums on this label Records in the US), which were revolutionary and visionary at the time and still remain as some of the most rewarding example of this genre. Karolak played on the first two of these albums.
Overall, this is a wonderful snapshot of two Polish Jazz greats in action, which captures them at full swing, to the delight of the concert audience, and now also available as a lasting reminder of their talent. For Polish Jazz lovers this is obviously a must have item, and as usual kudos to the For TuneFind albums on this label label for keeping these memories alive.
| | Updated: 13/02/2025Posted: 13/02/2025 | CD 1 Digipak Recommend To A Friend |
  | VARIOUS ARTISTS ~ FUSION FOR MILES: A BITCHIN` BREW
MASCOT 7166 (Barcode: 8712725716624) ~ USA ~ Jazz-Rock Fusion
Recorded: 2005 Released: 2005
This is the 3rd project in the series of Fusion tributes, conceived, produced and arranged by Jeff RichmanFind albums by this artist. This time he is paying tribute to the Big Boss himself, Miles DavisFind albums by this artist. Ten compositions by Miles Davis are given a modern fusion treatment, each featuring a different guitarist. The inspiration comes of course from the electric jazz period of Miles, around Bitches BrewFind albums with this title, which of course featured John McLaughlinFind albums by this artist – the same man who was paid a tribute by Richman’s previous project. The rhythm section this time consists of Vinnie CalaiutaFind albums by this artist – drums, Alphonso JohnsonFind albums by this artist – bass and Larry GoldingsFind albums by this artist – organ. Ex- Miles Davis saxophonist Dave LiebmanFind albums by this artist provides the link to the original music and the featured guitarists include Mike SternFind albums by this artist, Bill FrisellFind albums by this artist, Bill ConnorsFind albums by this artist, Pat MartinoFind albums by this artist, Bireli LagreneFind albums by this artist, etc. “Conventional” lovers of Miles Davis might find this treatment a bit bold, but fusion fans will definitely enjoy every minute of this.
| | | CD 1 Digipak Recommend To A Friend |
  | VARIOUS ARTISTS ~ POLISH RADIO JAZZ ARCHIVES VOL.26
POLSKIE RADIO 2058 (Barcode: 5907812247119) ~ POLAND ~ Jazz
Recorded: 1965 Released: 2016
This is the twenty-sixth installment in the series of releases initiated by the Polish Radio, which presents archive Jazz recordings from the radio vaults. Radio recordings are always a fabulous source of remarkable material, and as far as Polish Jazz history is concerned, the Polish Radio, which was a state monopoly for 45 years, recorded over time a plethora of invaluable material, which apart from the albums released by the Polskie Nagrania record company (also a state monopoly), is the only available additional source of Polish Jazz recordings. For many years Polish Radio recorded concerts presented during Poland´s most important Jazz venues, including the annual Jazz Jamboree Festival and many other festivals as well.
The tracks presented here were recorded live in December 1965 during the eighth Jazz Jamboree Festival in Warsaw and are the first volume of a collection of tracks from that event.
The first five tracks present the great British vocalist Annie RossFind albums by this artist, who revolutionized the vocal Jazz idiom as a member of the legendary trio Lambert, Hendricks & RossFind albums by this artist, which she left in late 1962 to start her solo career. She is accompanied by a trio consisting of Polish pianist Wojciech KarolakFind albums by this artist, bassist Juliusz SandeckiFind albums by this artist and Swedish drummer Rune CarlssonFind albums by this artist. All the songs are Jazz standards.
The next four tracks present the great Polish vocal ensemble NOVIFind albums by this artist in their earliest incarnation as a quintet, which includes in addition to their leader Bernard KawkaFind albums by this artist also Ewa WanatFind albums by this artist, Janusz MychFind albums by this artist, Waldemar ParzynskiFind albums by this artist and Aleksander GluchFind albums by this artist, who left the ensemble before they recorded their debut album Bossa NovaFind albums with this title in 1967. NOVI modeled their vocal style on earlier vocal Jazz ensembles like Lambert, Hendricks & Ross, and their tracks appearing immediately following the Ross´s tracks is symbolic. NOVI are accompanied by pianist Adam MatyszkowiczFind albums by this artist (Adam MakowiczFind albums by this artist), bassist Janusz KozlowskiFind albums by this artist and drummer Czeslaw BartkowskiFind albums by this artist. All the tracks are vocal arrangements of Jazz standards.
The next three tracks present a quartet led by legendary Polish Jazz pianist / trombonist / composer Andrzej KurylewiczFind albums by this artist with guitarist Janusz SidorenkoFind albums by this artist, bassist Edward DylagFind albums by this artist (older brother of Roman DylagFind albums by this artist, who is mistakenly listed here) and drummer Jerzy BartzFind albums by this artist. The rare appearance of Kurylewicz playing the trombone is one of the highlights of this album. They perform a couple of adaptations, one of a classical piece by Polish composer Stanislaw MoniuszkoFind albums by this artist and the other of a folk tune and finally one original composition by Kurylewicz.
The last two tracks present a quartet led by legendary Polish Jazz saxophonist / composer Jan Ptaszyn WroblewskiFind albums by this artist with pianist Wojciech Karolak, bassist Juliusz Sandecki (here misspelled as Janusz), and drummer Andrzej DabrowskiFind albums by this artist. They perform on original composition by Wroblewski and an extended version of a Miles DavisFind albums by this artist classic.
The beautifully restored sound quality is excellent and the warm ambience of the analog recording is a true joy. As usual with this series, which is very reasonably priced, I miss the presence of "in depth" liner notes / booklet, which should convey the circumstances at which this music was recorded and its importance to the development of Jazz in Poland. Nevertheless this is an absolutely essential piece of Jazz history which every Jazz fan will surely consider an absolute must.
| | Updated: 03/12/2016Posted: 02/12/2016 | CD 1 Digipak Remastered Recommend To A Friend |
  | VARIOUS ARTISTS ~ THE BOOK OF JOB
NOT ON LABEL ~ POLAND ~ Jazz
Recorded: 1985 Released: 2007
The tale of "The Book Of JobFind albums with this title" project originates in 1981, when a group of Polish jazz musicians, actors and other intellectuals decided to stage a production based on one of the most dramatic biblical stories – the story of the sufferings God decided to put on Job to test his faith. To understand the context, one has to remember that at that time Poland was being torn apart by political and social upheaval, led by the Solidarnosc movement, in protest against the socialist regime. The political struggle included many strikes and demonstrations, some of which led to violent clashes with the police and people being shot or beaten to death. The biblical story of Job’s suffering seemed to many Poles as an allegory reflecting their situation.
The project involved a musical suite written especially for the project and performed by top Polish jazz musicians, with fragments of text from the Book of Job being recited by actors. The premiere performance was presented during the 1981 Jazz Jamboree Festival in Warsaw, with further performances scheduled all over Poland. However, on December 13, 1981 the Martial Law was announced in Poland as a last resort to save the regime from crumbling and all art activities were put on hold, with tanks occupying the streets of Warsaw. It seemed that the project was dead after just one performance. The Martial Law was finally lifted in 1983 and it was only a question of time when the Soviet Block was about to disintegrate, but the socialist government stayed in power till the end of the decade.
In 1985 I received a call from some musician friends in Warsaw, inviting me to come over and co-produce a recording of "The Book Of Job" as well as take part in the expanded multi-lingual version of the project, by reciting the text in Hebrew (in addition to Polish, German and English). As much as I understood the Polish background and circumstances surrounding the project, my interior motives to take part in the project were quite different. I always considered the Book of Job as the closest biblical allegory to the fate of the Jewish People with the Holocaust symbolizing Job’s sufferings and the birth of the State of Israel as the outcome. Therefore realizing this project in Poland, where most of the Holocaust took place seemed more that appropriate to me.
I was very excited by the prospect, but the possibility to actually undertake the venture seemed utterly impossible. I left Poland in 1967 and never visited the country since. My Polish citizenship was taken away when I left Poland, and at the time (1985) Poland and Israel had no diplomatic relationships. Poland and all other Socialist countries severed they diplomatic ties with Israel following the 1967 Six Days War, which meant there was no Polish Embassy in Israel, where I could get a Polish visa. In general no Polish visas were issued to Israeli citizens, especially those of Polish origin.
My Polish friends started to thread the winding path of Polish bureaucracy and for some strange and completely incomprehensive reasons the Polish Ministry of Foreign Affairs decided to grant me a visa for a few days, which I had to collect in Germany, something that was completely unheard off at the time. Finally in the bitterly cold late autumn (October) of 1985 I made the trip to Warsaw via Frankfurt and stepped on Polish soil for the first time in 18 years. I still remember the face of the Polish border police officer when I presented my Israeli passport at the Warsaw airport. I was of course a total nerve wreck, considering the fact that Poland was still very much a police state at that time, and constantly imagined that I could get arrested under any pretext at any given moment. For a few days I never stopped looking around trying to figure out if I’m being followed. Eventually the nervousness disappeared, mostly due to the warm reception I received from my friends, old and new alike.
I flew to Krakow, where the production team and the musicians and actors assembled and we started rehearsing and then recording the music and the recitations. The recordings were done in a well-equipped studio, which was located behind the stage of the Teatr Stu. Everything went pretty smoothly and I stayed on for a couple of days to mix the tapes for the final master. After the production was over I went for a few days to visit Silesia, the southern, coal-mining part of Poland were I was born, and later on returned to Warsaw.
I couldn’t take the master tapes with me, as these would surely be confiscated as illegal political unauthorized contraband, but I was promised they would be sent to me, as I planned to release them on my own JazzisFind albums on this label label, which I planned to start soon after. The producers also promised to release the album in Poland. A few days later I was back home in Israel and although I visited Poland many times later, I never heard about the project again. I lost contact with my Polish co-producers and although the tapes did land in my lap many years later, I left them untouched.
Imagine my surprise when upon my recent visit to Poland a friend told me that the album was finally released just a few days before I arrived and even some reviews appeared in Polish papers (mentioning me) on the day I arrived. I was flabbergasted, angry for about 10 seconds (for not being consulted about this) and of course ecstatically happy to see this baby finally being born, after a 22 years long pregnancy. Especially so when I saw that the album was beautifully packaged in book format with splendid historical photographs (mine included, looking much younger of course).
So much about the background of this album, and as to the contents, listening to it for the first time in so many years I must admit I’m more than proud to be associated with its creation. The music, performed by a wonderful septet of Polish jazz musicians, including Krzysztof ZgrajaFind albums by this artist – flute and piano, Andrzej PrzybielskiFind albums by this artist – trumpet, Zbigniew WegehauptFind albums by this artist – bass, Janusz TrzcinskiFind albums by this artist – drums, Mieczyslaw LitwinskiFind albums by this artist – sitar, Milo KurtisFind albums by this artist – percussion, Jew’s harp and trombita and Andrzej MitanFind albums by this artist – vocals, resembles in spirit the Miles DavisFind albums by this artist’ Bitches BrewFind albums with this title sessions, with plenty of space for solos performed over spacey / funky rhythmic patterns. The recitations are used as overlays, switching between the various languages, creating a dramatic collage effect over the music. Quite ambitious and far reaching in any respect and considering the fact that it was done 22 years ago, I’d say it was well ahead of its time. I suppose not everybody can enjoy this kind of creation as much as I do, but nevertheless it is a momentous piece of intellectual significance, cutting deeply into the listener’s soul, if listened to carefully and attentively.
| | | BOOK+CD 1 Recommend To A Friend |
  | VARIOUS ARTISTS ~ VIVA CARLOS!: A SUPERNATURAL MARATHON CELEBRATION
MASCOT 7210 (Barcode: 8712725721024) ~ USA ~ Jazz-Rock Fusion
Recorded: 2006 Released: 2006
5th Fusion tribute album produced by Jeff RichmanFind albums by this artist (see the earlier John ColtraneFind albums by this artist, John McLaughlinFind albums by this artist, Miles DavisFind albums by this artist and Steely DanFind albums by this artist Fusion tributes). Sticking to the same formula, the producer sets up a “house band” (this time including Peter WolfFind albums by this artist – keyboards, Abe LaborielFind albums by this artist – bass, Dave WecklFind albums by this artist – drums and Luis ConteFind albums by this artist – percussion) and matches it with some of the best Fusion guitar players (this time Robben FordFind albums by this artist, Frank GambaleFind albums by this artist, Albert LeeFind albums by this artist, Pat MartinoFind albums by this artist, Mike SternFind albums by this artist and others). As the title suggests, the subject matter this time is the music of Carlos SantanaFind albums by this artist. Since this formula worked out splendidly on the previous four albums, there is no reason to suspect that things would go wrong this time, and indeed they don’t. The only problem might have been the choice of material from the vast SantanaFind albums by this artist repertoire, but fortunately only the best tunes were selected, all of them from his early and most fruitful years. The various guitar players, rather then to imitate Santana’s guitar sound and special technique, play in their own individual way, taking the music places often quite different from the origin. The entire album works out beautifully as a whole and Fusion fans (and guitar freaks) should have a field day with this stuff.
| | | CD 1 Digipak Recommend To A Friend |
  | MIROSLAV VITOUS ~ REMEMBERING WEATHER REPORT
ECM 2073 (Barcode: 602517881372) ~ CZECHOSLOVAKIA ~ Jazz
Recorded: 2006 - 2007 Released: 2009
Czech bassist / composer Miroslav VitousFind albums by this artist was a founding member of the seminal group Weather ReportFind albums by this artist and played on their first 3 studio albums and the live album recorded in Japan. The idea of Weather Report was to search for a new direction in the rapidly changing Jazz scene at the time, which was initiated by the revolutionary artistry of Miles DavisFind albums by this artist. However, as we know in retrospect, Weather Report took a different turn than what Vitous had in mind when he co-founded the group, turning gradually more and more into the leading Fusion and Funk group of the 1970s / 1980s, rather than exploring the realms of free improvisation and spontaneity. Thirty years later Vitous takes a somewhat nostalgic trip back to his Weather Report days, proposing a "what if…" scenario, i.e. presenting music, which might have been played by the band if he stayed on. Played by his quartet with veteran Swiss trumpeter Franco AmbrosettiFind albums by this artist, saxophonist Gary CampbellFind albums by this artist and drummer Gerald CleaverFind albums by this artist, Vitous also adds the veteran French Master – Michel PortalFind albums by this artist, who plays bass clarinet. Together they perform some superb music, mostly written by Vitous except for one piece by Ornette ColemanFind albums by this artist, which is pretty open and free but retains enough rhythmic and melodic backbone to be enjoyable even to less ear-trained listeners. Wholeheartedly recommended!
| | | CD 1 Slipcase Recommend To A Friend |
  | MARCIN WADOLOWSKI ~ STANDARDS
SOLITON 517 (Barcode: 5901571095172) ~ POLAND ~ Jazz
Recorded: 2016 Released: 2016
This is the fourth album by Polish guitarist Marcin WadolowskiFind albums by this artist, recoded in an intimate trio setting with the superb Polish Jazz bassist Piotr LemanczykFind albums by this artist and Canadian Drummer Tyler HornbyFind albums by this artist. The trio performs ten Jazz standards, three of which are by John ColtraneFind albums by this artist and two by Miles DavisFind albums by this artist. The album is dedicated to the two great Masters of Polish Jazz guitar: Marek BlizinskiFind albums by this artist and Jaroslaw SmietanaFind albums by this artist, both sadly no longer with us.
Previous recordings by Wadolowski flirted with Jazz to some extent, but this one presents him for the first time as a bona fide Jazz player. The delicate arrangements, the careful selection of the tunes and their wonderful execution are all kept within the strict Jazz idiom, shearing away all the Blues-Rock or Fusion elements present on his older recordings. The transformation is quite remarkable.
Wadolowski´s approach is very minimalistic and remarkably clean. The music is kept low key, almost acoustic, in order to emphasize every single note and chord, which thanks to the excellent recording quality are all perfectly audible. The guitar plays long beautifully structured solos, often introducing the tunes alone before the bass and drums join in. Even when the whole trio plays together, the music is still very unobtrusive and deliberately constrained. A wonderful atmosphere of relaxation and contemplation is present through out the entire duration of the music.
As expected, Lemanczyk plays superbly, both as an accompanist and during his solos, which are all pearls of bass perfection. Although rarely in the limelight, he is definitely one of the absolute top Polish Jazz bass players and every album he plays on is enhanced by his fantastic contributions.
Hornby keeps his involvement in these proceedings to bare minimum which is exactly what is required in such circumstances. His delicate drum parts stay in the background, keeping the rhythm rolling gently. Drummers who don´t try to dominate a recording session are a rare find and he is to be congratulated for his attitude.
Overall this is a wonderful album from start to finish: fascinating guitar licks, breathtaking bass solos, superb selection of tunes and innovative nontrivial arrangements make it a brilliant listening experience. Yes it´s mainstream and yes these are standards – this is exactly what was supposed to happen here and the result speaks for itself.
In retrospect I am very glad Wadolowski recorded this album and proved his versatility and his skills as a player to all those who dismissed him in the past. This is definitely one of the finest Polish Jazz guitar albums ever recorded and a solid tribute to the past Masters. Hats off!
| | Updated: 29/06/2016Posted: 29/06/2016 | CD 1 Digipak Recommend To A Friend |
  | MAREK WALAROWSKI ~ SEVEN STAIRS TO HELL
DUX 1209 (Barcode: 5902547012094) ~ POLAND ~ Jazz
Recorded: 2013 Released: 2015
This is an album by Polish pianist / composer Marek WalarowskiFind albums by this artist, which presents a project he recorded with a classic piano trio with acoustic bass guitarist Jedrzej LaciakFind albums by this artist and drummer Michal DziewinskiFind albums by this artist. It consists of eight original compositions, all by Walarowski. The tongue in cheek reference in the project´s title to the seminal Miles DavisFind albums by this artist album hints about the musical point of reference this music is related to, deep within the Jazz tradition.
Although seemingly a straight-ahead mainstream Jazz piano trio album, this album offers a whole musical concept, which mixes the traditional Jazz idiom with unique approach to improvisation, where the instruments rather than soloing in turn, improvise continuously constantly exchanging phrases between themselves, similar to what happens in group improvisation in Free Jazz, but within the standard melodic / harmonic mainstream Jazz. If this is not clear enough, the best idea is to listen to the music and hear this approach in real time.
Of course in order to apply this approach, Walarowski had to find the right partners, which is definitely not a trivial matter. The stunning work done by the acoustic bass guitarist is a proof that such partners do exists. Laciak plays along with the piano notes with an amazing virtuosity, and manages to combine the traditional role of the bass in a piano trio with a continuous barrage of notes, which improvise and perform a dialogue with the piano. Dziewinski is obviously less involved in the actual improvisation, except for his solo spots, but he accompaniments the piano / bass lines with great elegance and sensitivity.
Of course the great performances are based first and foremost on the compositions, which serve as vehicles for the improvisational layer. Walarowski´s beautifully melodic and lyrical themes are perfect for the job and are a real pleasure to listen to. He is also a great pianist of course, but his idiosyncratic style might sound a bit strange to purist Jazz listeners, revealing some Classical mannerisms, which are difficult to hide.
Overall this is a wonderful piano trio album, which should make all connoisseurs of that particular Jazz variety extremely happy, although it might require a few listening sessions in order to appreciate this music in full. I suppose this is a multi-layered album in a sense that some listeners will enjoy the melodic, swinging parts, which are very easy to like while others will make an effort to dig deeper and listen beneath the surface to discover the hidden treasures. Whichever way, this is a highly recommended piece of music, worth discovering and investigating.
| | Updated: 10/05/2016Posted: 10/05/2016 | CD 1 Recommend To A Friend |
  | WEATHER REPORT ~ I SING THE BODY ELECTRIC
COLUMBIA 512897 (Barcode: 5099751289722) ~ USA ~ Jazz-Rock Fusion
Recorded: 1971 - 1972 Released: 1997
2nd album by the first jazz super group Weather ReportFind albums by this artist, formed by ex-Miles DavisFind albums by this artist group members Joe ZawinulFind albums by this artist (keyboards) and Wayne ShorterFind albums by this artist (sax) and the Czech bass virtuoso Miroslav VitousFind albums by this artist. Vitous was asked to join the Miles Davis group in 1970, but for various reasons this didn’t work out. Instead he approached two of the group members and proposed to form a new group, which would continue the revolutionary new direction Miles was following (later to be named Jazz-Rock Fusion) and expand it into new territory. Zawinul and Shorter, both being at a crossroads at the time after leaving the ensembles they played in, agreed and Weather Report was born. Following the release of their eponymous album in 1971 the group embarked on several European and Japanese tours. In November of 1971 WR entered the NYC CBS studios to record material for their second album. These sessions were interrupted by another Japanese tour, during which a legendary album called Live In TokyoFind albums with this title was recorded on January 13, 1972. The live album was released as a double LP immediately, but due to the usual corporate bullshit the release was intended for the Japanese market only, and it stayed this way for almost thirty years (it was released finally on CD in Europe in 2001), making the album unobtainable to most WR fans outside Japan. Well, not entirely, as heavily edited excerpts of this recording found their way to the B side of I Sing The Body ElectricFind albums with this title, in addition to the a.m. November studio recordings on side A. As usual with WR, personnel changes started already at this early stage and in the cause of the very few months since the recording of the debut album the original WR drummer Alphonse MouzonFind albums by this artist was replaced by Eric GravattFind albums by this artist and original percussionist Airto MoreiraFind albums by this artist was replaced by another Brazilian Master Don Um RomaoFind albums by this artist. More importantly however, the music of the band changed also quite dramatically. The debut album was an all-acoustic affair and here we have Zawinul using electric piano, modulators and other electronic devices, which eventually would dominate the WR sound. The overall sound is now almost identical to the Miles Davis In A Silent WayFind albums with this title / Bitches BrewFind albums with this title sessions. On the studio sessions WR used several guest musicians, notably the superb guitarist Ralph TownerFind albums by this artist (from OregonFind albums by this artist) on the classically influenced piece called The Moors and an extended brass session and vocals on the ominous anti-war piece called Unknown Soldier (remember the Doors?). This album is a timeless masterpiece and a cornerstone of Jazz (in general) and Fusion (in particular), providing a wonderful introspective peek at the most interesting (regardless of genre) period in the history of 20th Century music. Absolutely essential!
| | | CD 1 Remastered Essential Recommend To A Friend |
  | WEATHER REPORT ~ LIVE IN TOKYO
COLUMBIA 489208 (Barcode: 5099748920829) ~ USA ~ Jazz-Rock Fusion
Recorded: 1972 Released: 2001
Following the release of their eponymous album in 1971 and in spite of the hype and show-biz brouhaha created by ColumbiaFind albums on this label at the time, which presented Weather ReportFind albums by this artist as the first ever jazz super group (a term already used in reference to rock acts), the band found it difficult to secure any US venues to perform live. Europe and Japan of course couldn’t get enough of them and WR spent most of 1971 performing there in front of ecstatic audiences. In November of 1971 WR entered the NYC CBS studios to record material for their second album. These sessions were interrupted by another Japanese tour, during which this legendary album was recorded on January 13, 1972. The music was released as a double LP immediately, but due to the usual corporate bullshit the release was intended for the Japanese market only, and it stayed this way for almost thirty years (it was released finally on CD in Europe in 2001), making the album unobtainable to most WR fans outside Japan. Well, not entirely, as heavily edited excerpts of this recording found their way to the B side of the 2nd official WR album I Sing The Body ElectricFind albums with this title, which included the a.m. November studio recordings as side A – all this probably due to the fact that Columbia was anxious to have the next WR album out ASAP and didn’t want to wait for the more studio recordings. So much for the background and now for the music. As usual with WR, the personnel changes started already at this early stage and in the cause of the very few months since the recording of the debut album the original WR drummer Alphonse MouzonFind albums by this artist was replaced by Eric GravattFind albums by this artist and original percussionist Airto MoreiraFind albums by this artist was replaced by another Brazilian Master Don Um RomaoFind albums by this artist. More importantly however, the music of the band changed also quite dramatically. The debut album was an all-acoustic affair and here we have Joe ZawinulFind albums by this artist using electric piano, modulators and other electronic devices, which eventually would dominate the WR sound. The overall sound is now almost identical to the Miles DavisFind albums by this artist´ In A Silent WayFind albums with this title / Bitches BrewFind albums with this title sessions, with the intensity equal to the legendary Miles’ Fillmore concerts. The music is presented in a form of four extended medleys (the longest of which lasts for over 26 minutes), mixing expanded versions of compositions present on the debut album with those recorded during the a.m. November sessions and yet others that appear only here. The group improvisations and the telepathic interplay are fearfully intense. Miroslav VitousFind albums by this artist bravely provides the steady pulsation, which cements the basis on which his companions embark into their sonic ventures. Gravatt is all over the rhythmic patterns and Romao brilliantly fills the spaces. WR strength was always in their live performances, since their studio efforts somehow lacked much of the spontaneity, drive, inspiration and vigor present on stage. This recording, in addition to its heavenly contents, has also a tremendous historic value, as it is the only one in existence documenting the early (and to many the most interesting) stage of the band. It also provides the wonderful introspective peek at the most interesting (regardless of genre) period in the history of 20th Century music, during the convoluted period where all boundaries seemed to be irrelevant and the unexpected was expected. There would be very few moments in the years that followed that either WR or any other band for that matter would reach the same level of creative genius or performance intensity. Absolutely essential!
| | | CD 2 Essential Recommend To A Friend |
  | WEATHER REPORT ~ THE COLUMBIA ALBUMS 1971-1975
SONY 886919934229 (Barcode: 886919934229) ~ USA ~ Jazz-Rock-World Fusion
Recorded: 1971 - 1975 Released: 2012
It is almost impossible to imagine contemporary music in general and Jazz in particular without the contribution made by Weather ReportFind albums by this artist, one of the most eminent, pioneering and revolutionary ensembles that ever existed. In the decade and a half that the band recorded and performed music together, they managed to set an example to entire generations of musicians, changing the face of music as we know it.
From day one Weather Report was different. Although it is considered an American band, in fact it included at any given time of its existence more members that were not American-born than those that were. They band´s basic concept was different from everything that was a standard at the time and put forward collective improvisation and multicultural musical approach rather than the standard theme followed by individual solos approach. Also the band kept constantly evolving, frequently changing lineups, styles and sound, totally unpredictable and free of any conventions.
Weather Report was formed by two musical friends, who knew each other for quite a while before their individual careers allowed them to join forces and make music together. Austrian-born keyboardist / composer Joe ZawinulFind albums by this artist and American saxophonist / composer Wayne ShorterFind albums by this artist had both paid their dues in top Jazz ensembles of the 1960s, most importantly both playing in the Miles DavisFind albums by this artist revolutionary ensemble of the "Bitches BrewFind albums with this title" period. Joined by the Czech-born bassist / composer Miroslav VitousFind albums by this artist, the original band was born, with American drummer Alphonse MouzonFind albums by this artist and Brazilian-born percussionist Airto MoreiraFind albums by this artist. The double drums / percussion team would be kept throughout the entire history of the band, with just one brief period when the lineup was just a quartet.
During the first five years of its existence Weather Report recorded six albums, including the live double LP, which was initially only released in Japan, all of which are included in this magnificent Box Set. The bonus tracks are taken from the two compilation albums: "Forecast: TomorrowFind albums with this title" and "Live And UnreleasedFind albums with this title", which were released in the 2000s. Vitous left the band at the end of this period, playing only on one track of the last album in this Box Set, which marked the end of the first phase of the band, which would soon enter a new phase when Jaco Pastorius joined Weather Report, a phase which is documented by the other Box Set of Weather Report albums called "The Columbia Albums 1976-1982Find albums with this title".
This Box Set is not only a holy grail of contemporary music, but also a sublime document of the music itself going through a perpetual change and transition. It is beyond recommendation, as its place on the pedestal of contemporary canon was already established long before these lines were written. Essential stuff!
| | Updated: 26/01/2019Posted: | CD 7 Mini-Sleeve Box Set Remastered Bonus Tracks Essential Recommend To A Friend |
  | WEATHER REPORT ~ WEATHER REPORT
COLUMBIA 468212 (Barcode: 5099746821227) ~ USA ~ Jazz-Rock Fusion
Recorded: 1971 Released: 1991
1st album by Weather ReportFind albums by this artist, the greatest Fusion band ever, and a pivotal recording, which would change the face of music for generations to come. The core members of Weather Report were Joe ZawinulFind albums by this artist (keyboards) and Wayne ShorterFind albums by this artist (saxophones), two prominent members of the 1960s Miles DavisFind albums by this artist ensembles, and a young Czech bass player Miroslav VitousFind albums by this artist (who played with Davis for a brief period of time only). Vitous arrived in the US in 1966 on a Berklee scholarship (like Zawinul almost a decade earlier) but soon after left the school to explore the soaring jazz scene in NY, where he played with Chick CoreaFind albums by this artist, Herbie MannFind albums by this artist, Stan GetzFind albums by this artist and many others. After meeting Zawinul and Shorter the decision was made to start a new group, which would continue the direction set by Davis on his historic In A Silent WayFind albums with this title / Bitches BrewFind albums with this title sessions, based on a collaborative / group improvisation (Davis was moving in the meantime into a more funk oriented period). To complete the group they drafted another ex-Davis musician, the Brazilian percussionist Airto MoreiraFind albums by this artist and a young drummer Alphonse MouzonFind albums by this artist. The debut album, recorded soon after the band was formed, reveals with full force the extraordinary rapport the members of the group established immediately, transcending their individual personalities. The music is mostly atmospheric, free form and with subtle melody lines, mostly concealed beneath the improvisations. Thus began a journey, which lasted for over 15 years, which would place Weather Report on the forefront on contemporary music and create a model followed by countless jazz and fusion musicians all over the world to this very day. Although the group would undergo multiple personnel changes and stylistic swings, their innovative, groundbreaking and often prophetic leadership would remain unchallenged. In retrospect it’s interesting to see that something, which is considered a core of American culture, was in fact created by a group in which American born musicians were in fact a minority, with Zawinul and Vitous coming from Europe and Moreira from Brazil. It can be also considered as foretelling, since future Weather Report would be one of the first bands to include World Music elements into fusion. This is monumental stuff, absolutely essential listening and a historical document of great importance.
| | | CD 1 Remastered Essential Recommend To A Friend |
  | KENNY WHEELER ~ WINDMILL TILTER
BGO 0944 (Barcode: 5017261209443) ~ UK ~ Jazz
Recorded: 1968 Released: 2010
Canadian-born trumpeter / composer Kenny WheelerFind albums by this artist arrived in London in 1952 and soon found himself emerged in the lively local Jazz scene. Playing with many different ensembles active at the time, he slowly earned the position of the country´s most respected, reliable and talented Jazz player. By the end of the 1950s Wheeler started an association with saxophonist /composer / bandleader Johnny DankworthFind albums by this artist, playing in his various ensembles, which would last for the next decade. In 1968 Dankworth suggested to Wheeler that he´d used a three months period of recovery from a surgery to compose a suite for a Jazz group and orchestra, a suggestion Wheeler accepted with open hands. The result was the magnificent piece of music presented here, based on the tragic story of Don Quixote. Performed by a quintet, which comprised of Wheeler, saxophonist / clarinetist Tony CoeFind albums by this artist, guitarist John McLaughlinFind albums by this artist, bassist Dave HollandFind albums by this artist and drummer John SpoonerFind albums by this artist and the Johnny Dankworth Orchestra, this milestone of British Jazz remains every bit as much relevant today as it was at the time of its recording. Similar in spirit to the Miles DavisFind albums by this artist / Gil EvansFind albums by this artist classic "Sketches Of SpainFind albums with this title", the suite firmly establishes Wheeler´s position as a major player on the global Jazz scene, which of course was reaffirmed time and again in years to come. This reissue, long time overdue, brings back to life an incredible treasure and listening to it makes life worth living!
| | Updated: 28/02/2024Posted: | CD 1 Slipcase Remastered Recommend To A Friend |
  | BARNEY WILEN ~ DEAR PROF. LEARY
PROMISING MUSIC 44106 (Barcode: 602517024816) ~ FRANCE ~ Jazz-Rock Fusion
Recorded: 1968 Released: 2008
French saxophonist / composer Barney WilenFind albums by this artist is known to Jazz fans mostly for his role in the 1957 recording with Miles DavisFind albums by this artist of the legendary “Ascenseur pour l`échafaudFind albums with this title” soundtrack. But a decade later, Wilen left standard American Jazz behind and took an active role in the burgeoning new European scene in search of new musical adventures. He formed a group called Amazing Free Rock BandFind albums by this artist with young upcoming players like Swiss guitarist Mimi LorenziniFind albums by this artist, German keyboardist Joachim KuhnFind albums by this artist, German bassist Gunter LenzFind albums by this artist and two drummers, Italian Aldo RomanoFind albums by this artist and German Wolfgang PaapFind albums by this artist. As the group’s name suggests, they combined contemporary Rock with Free Jazz, creating an amalgam they called Free Rock. This album is a document of this attempt, and one of the earliest Jazz-Rock Fusion recordings. The material includes mostly contemporary Pop and Rock anthems, with a couple of original compositions and one Jazz composition by Ornette ColemanFind albums by this artist. The result is one of the wackiest albums ever recorded and a great document of the era. As the title suggests, Psychedelic instances probably had much to do with the resulting music. Although the music did not withstand the test of time as well as other MPS recordings, producer Joachim BerendtFind albums by this artist thought at the time that this experiment was worth preserving for posterity, and we are (in retrospect) grateful. Superbly remastered and elegantly packaged by Promising MusicFind albums on this label, this is a great trip down the memory lane. Definitely worth investigating.
| | | CD 1 Mini-Sleeve Oversampling Remastered Recommend To A Friend |
  | TONY WILLIAMS / LIFETIME ~ EGO
VERVE 559512 (Barcode: 731455951226) ~ USA ~ Jazz-Rock Fusion
Recorded: 1971 Released: 1999
3rd album by the Tony Williams LifetimeFind albums by this artist. A mixture of jazz and space/psychedelic rock, which explains why this group is considered as one of the most important pioneers of Jazz-Rock. Williams, who at the age of 17 was given the drum chair by Miles DavisFind albums by this artist, is one of the greatest drummers of all times and his untimely death in 1997 was a great blow to all music lovers.
| | | CD 1 Digipak Oversampling Remastered Recommend To A Friend |
  | TONY WILLIAMS / LIFETIME ~ LIVE IN NEW YORK 1969
HI HAT 3084 (Barcode: 5297961308411) ~ USA ~ Jazz-Rock Fusion
Recorded: 1969 Released: 2017
This is a live recording by the legendary pioneering Jazz-Rock Fusion trio Tony Williams LifetimeFind albums by this artist, founded by American drummer Tony WilliamsFind albums by this artist and including also organist Larry YoungFind albums by this artist and British guitarist John McLaughlinFind albums by this artist. It presents some of the material that was released on the trio´s debut album "Emergency!Find albums with this title" and some material from their second album "Turn It OverFind albums with this title", which was recorded and released after this concert was recorded with the British bassist Jack Bruce as a fourth member of Lifetime.
The music is of course absolutely stunning, light-years ahead of its time, presenting a futuristic amalgam of Avant-Garde Rock, Jazz and Improvised Music, with a heavy, muddy sound dominating the proceedings kicked forward by Williams´ hyper energetic drumming. Although this music is often considered as some of the most important early Jazz-Rock Fusion, it was in fact more daring and advanced that most of the genre´s output that followed.
McLaughlin was of course exposed to the true Jazz-Rock Fusion cradle at least five or so years earlier, when he was a member of the Graham Bond QuartetFind albums by this artist, which is where this genre was born. His remarkable performances here are simply blood-curdling.
The trio´s genesis is of course connected to the association of its members with Miles DavisFind albums by this artist and his Fusion period, which culminated with the recording of the iconic "Bitches BrewFind albums with this title" album. Lifetime was only one of several iconic groups born from musicians playing with Miles at the time, such as Weather ReportFind albums by this artist and Mahavishnu OrchestraFind albums by this artist.
Although the sound of this recording is not ideal, neither is the sound of the studio recorded "Emergency!", and considering the rarity and the importance of the music this is a must for Tony Williams Lifetime fans and followers of Fusion history!
Side Note
Obiterdictum Ltd, a company based in Cyprus (oh well you know the story… copyright laws and legal issues) releases mostly live recorded radio broadcasts from the 1960s on and offers an amazing source of music which was never officially released by some of the best Classic Rock and Jazz artists. The catalogue offers five hundred releases, which is an absolute treasure chest of music history, often appearing for the first time.
Although the sound quality and sometimes also music quality range from absolutely brilliant to pretty poor, most of the material is surely listenable, especially after being remastered recently, and more importantly offers music which is not available elsewhere.
The company releases the albums under several sub-labels: Air CutsFind albums on this label, EchoesFind albums on this label, Hi HatFind albums on this label, HotspurFind albums on this label, InterferenceFind albums on this label, KeyholeFind albums on this label, KlondikeFind albums on this label, Live On VinylFind albums on this label, London CallingFind albums on this label, OrbitFind albums on this label, Rox VoxFind albums on this label and Sound StageFind albums on this label. There is no ironclad logic as to what material appears on which label, except perhaps some internal considerations by the Obiterdictum owners.
Approach with caution, but keep in mind that some of these releases are absolutely brilliant!
| | Updated: 24/05/2019Posted: 24/05/2019 | CD 1 Remastered Recommend To A Friend |
  | PIOTR WOJTASIK ~ TRIBUTE TO AKWARIUM
INDYGO 001 (Barcode: 5907222872000) ~ POLAND ~ Jazz
Recorded: 2017 Released: 2017
This is a sensational album by veteran Polish Jazz trumpeter / composer Piotr WojtasikFind albums by this artist recorded with a large ensemble which comprises of some of Poland´s top Jazz musicians and a few guests from outside of Poland. In addition to the leader who plays trumpet and flugelhorn the other musicians are: trumpeter Sebastian SoldrzynskiFind albums by this artist, shakuhachi and other wind instruments player Igor PietraszewskiFind albums by this artist, saxophonists Viktor TothFind albums by this artist (Hungary) and Marcin KaletkaFind albums by this artist, keyboardists Leszek MozdzerFind albums by this artist and Dominik WaniaFind albums by this artist, guitarist Marek KadzielaFind albums by this artist, bassist Darek OleszkiewiczFind albums by this artist, drummer Eric AllenFind albums by this artist (USA resident in Poland) and percussionist Jakub MiarczynskiFind albums by this artist. Two female vocalists are featured on one of the tunes. The album presents a five part suite composed and arranged by Wojtasik and dedicated to the memory of the legendary Warsaw Jazz club Akwarium (active between 1977 and 2000), which used to be the Mecca of Polish Jazz in the past. A sixth bonus track is also included, which offers an alternate version of one of the suite´s parts. The music was recorded at the RecPublica Studios and engineered by Lukasz OlejarczykFind albums by this artist, who as usual stood up to the challenge.
I recently had the opportunity to hear this music performed live at its premiere concert at the Silesian Jazz Festival in Katowice, with a slightly different lineup, and the impact of the music was truly astounding. This studio version is of course much tamer and orderly, so in some respects it sounds quite differently, but of course it is no less remarkable. Wojtasik managed to combine several sub-genres of the Jazz idiom into one coherent piece of music, which presents a kaleidoscope of modern Jazz, pointing to its many sources from Bebop through Jazz-Rock Fusion to electronics. Based on strong melodic themes but allowing a lot of freedom to the individual musicians to explore and probe, this is a wonderful example of modern Mainstream Jazz, which manages to be fascinating, unexpected and searching.
The individual performances are all great, as expected from this level of musicians. Kadziela´s guitar parts are the nicest surprise as he manages to transform the last part of the suite into a modern day "Bitches BrewFind albums with this title" ambiance, which should make Miles DavisFind albums by this artist happily turn in his grave. Mozdzer´s synthesizer parts are somewhat tedious, especially in comparison to what Pawel TomaszewskiFind albums by this artist managed to come up with during the concert. Of course Dominik Wania plays some stunning piano parts and it is interesting to hear him in a large ensemble setting. But overall everybody plays their heart out and the result is simply superb.
It is great to see (and hear) that Wojtasik is still in great shape as a player / composer / bandleader and as a friend I wish him many years of good health and creativity. He can certainly be proud of his achievement here and I look forward to hear more of his work soon. His blessed work as an educator at the Katowice Music Academy is of course no less important, but seeing him play is a true Jazz experience. Te old lion is still capable of a mighty roar, which the younger lions are happy to return. Wholeheartedly recommended!
| | Updated: 30/12/2017Posted: 30/12/2017 | CD 1 Digipak Recommend To A Friend |
  | YES ~ PROGENY: SEVEN SHOWS FROM SEVENTY-TWO
RHINO 081227956417 (Barcode: 081227956417) ~ UK ~ Progressive Rock
Recorded: 1972 Released: 2015
This monstrous Box Set comprises of seven 2CD sets, which present seven concerts recorded between October 31, 1972 and November 20, 1972 during the North American YesFind albums by this artist tour promoting "Close To The EdgeFind albums with this title", their fifth album. The band at the time comprised of vocalist Jon AndersonFind albums by this artist, guitarist Steve HoweFind albums by this artist, bassist Chris SquireFind albums by this artist, keyboardist Rick WakemanFind albums by this artist and the new drummer Alan WhiteFind albums by this artist. These concerts had an almost identical set list, which is of course reflected herein. Some of these recordings were already used in the past to compile the "YessongsFind albums on this label" live album released in 1973 but most are previously unreleased.
By the time Yes recorded "Close To The Edge", there was absolutely nothing left of the initial spark of genius that was reflected by their first two albums. They were deeply into overblown and self-centered world, which had almost completely lost touch with reality. Anderson´s "mystical" lyrics were dangerously close to gibberish and his hysteric vocal extravaganzas reflected a state of blurred consciousness. Wakeman´s endless keyboard doodling was pompous and arduous, and the rest of the gang just schlepped along. Yes, things could be a lot worse and indeed they would soon be much worse with the release of the forthcoming albums, but it was already truly "close to the edge".
Sarcastically, Yes were crowned as Kings of the Progressive Rock, whereas in fact their music completely stopped to progress (i.e. develop) from their third album on. It simply spiraled deeper and deeper into narcissism and arrogance, producing worthless Rococo trinkets hanging in the air. The melodies became simplistic, the endless instrumental passages became intolerably boring and a chill of emptiness took over. Oddly and completely beyond any reasonable explanation the Yes bandwagon keeps rolling to this very day, with this Box Set being a pinnacle of the theatre of absurd.
The sheer audacity of releasing this Box Set is of epic proportions, and reflects the complete detachment between Yes and the real world. Even if God Almighty himself had have called upon Moses to come up the mountain to receive the ten commandments seven times in a row, that would have been considered way overboard. But apparently releasing a box of seven almost identical concerts played within twenty days of each other is fine with some people.
Every live music performance is unique, true. But some are more unique than others. Box sets that present a series of live recordings captured in the span of a relatively short time and include repetitions of the same material do exist, but they all are completely justified, as opposed to this Box Set.
"The Complete 1961 Village Vanguard RecordingsFind albums with this title" is a four CDs Box Set by John ColtraneFind albums by this artist, presenting concerts played during four days and includes many repeated tunes. It is a singular most important collection of music ever produced on this planet. But Coltrane was God.
"The Complete Live At The Plugged Nickel 1965Find albums on this label" is an eight CDs Box Set by the legendary Miles DavisFind albums by this artist second quintet, presenting music played just in two days. Of course there is repetition, but it is pure genius. And of course Miles thought he was God.
"Performance Rockin` The Fillmore: The Complete RecordingsFind albums on this label" is a four CDs Box Set by British Rock Supergroup Humble PieFind albums by this artist, presenting four identical sets played in two days (i.e. each song is repeated four times, with just one exception), but they are miles apart from each other. It epitomizes Rock at its absolute peak, which is purely Devilish.
I could of course go on and on listing Box Sets, which present extensive live recordings from every possible genre, which are all perfectly justifiable, make perfect sense and include fabulous music.
Sadly nothing similar can be said about this Box Set. It symbolizes pure vanity and complete disregard towards the fans of the band, which are repeatedly requested to pay for the same material again and again, honestly offering nothing in return. The sound quality is of course still very much Lo-Fi, in spite of the great efforts made to improve it. Even the Roger Dean graphics, which I usually adore, look pale and weathered. This is cynical BS and if anybody tells you otherwise, you are being bullshited.
| | Updated: 29/01/2019Posted: 28/12/2015 | CD 14 Mini-Sleeve Box Set Remastered Recommend To A Friend |
  | JOE ZAWINUL ~ BROWN STREET
INTUITION 3450 (Barcode: 750447345027) ~ AUSTRIA ~ Jazz-Rock-World Fusion
Recorded: 2005 Released: 2006
This is an album by Austrian Jazz keyboardist / composer / bandleader Joe ZawinulFind albums by this artist, recorded live with a superb rhythm section comprising of American bassist Victor BaileyFind albums by this artist, (Peruvian born) percussionist Alex AcunaFind albums by this artist and drummer Nathaniel TownsleyFind albums by this artist and the great German WDR Big BandFind albums by this artist. The 2CD album presents ten original compositions, all by Zawinul, which span his entire career from his stint with Miles DavisFind albums by this artist and his bands Weather ReportFind albums by this artist and Zawinul SyndicateFind albums by this artist. Following his return to Austria Zawinul opened a club in Vienna’s Hilton hotel called Zawinul’s Birdland, which is where this music was recorded in October 2005. This is one of the last recordings by Zawinul before his untimely death in 2007.
The music is a brilliant mixture of Jazz-World Fusion and Big Band Jazz and pays a great tribute to Zawinul’s compositional genius, in addition to his unparalleled keyboard magic. The Big Band arrangements are absolutely amazing, as are the performances, which makes the fact that these compositions have been recorded before irrelevant, as this new attire makes them sound completely fresh and worth being rediscovered. There is not one dull moment on this album and the soaring music is worth its weight in gold.
Overall, this album is full of wonderful music, brilliant performances and innovative Big Band arrangements, which should leave no true Jazz fan indifferent. For Zawinul fans and his many followers around the world this is an absolute must!
| | Updated: 31/08/2021Posted: 31/08/2021 | CD 6 Digipak Recommend To A Friend |
  | JOE ZAWINUL ~ THE RISE & FALL OF THE THIRD STREAM / MONEY IN THE POCKET
RHINO 71675 (Barcode: 081227167523) ~ AUSTRIA ~ Jazz
Recorded: 1965 - 1967 Released: 1994
Joe ZawinulFind albums by this artist arrived in the US in 1958, after being one of the first European musicians to win a scholarship to Berklee, but he left the school almost immediately and became active on the US jazz scene as pianist, arranger and composer. He played with Maynard FergusonFind albums by this artist, Slide HamptonFind albums by this artist and Dinah WashingtonFind albums by this artist before landing on the piano chair with Cannonball AdderleyFind albums by this artist’s quintet, where he stayed for 9 years (1961-1969). Towards the end of his Adderley days Zawinul played for almost 2 years (1969-1970) with Miles DavisFind albums by this artist, participating in the seminal recordings Miles made at that period.
In 1970 Zawinul formed the legendary Weather ReportFind albums by this artist, which would revolutionize the jazz and fusion genres and continue (in a slightly different direction) the pioneering breakthroughs made by Davis. Over the years Zawinul recorded only three albums as a leader (on AtlanticFind albums on this label and VortexFind albums on this label), two of which are included here (The eponymous album from 1969 was really the starting point for Weather Report). Money In The PocketFind albums with this title, recorded in 1965, finds him in a setting similar to his Adderley’s quintet gig both musically and personally. He uses the quintet’s bass player (Sam JonesFind albums by this artist) and drummer (Louis HayesFind albums by this artist) and adds three excellent horn players: Blue MitchellFind albums by this artist (trumpet), Joe HendersonFind albums by this artist (tenor sax) and Pepper AdamsFind albums by this artist (baritone sax). The sextet plays a great set of bebop material, including mostly original material by Zawinul, Jones and Henderson and two standards. Zawinul’s elegant and soulful piano playing sets a firm basis for the music’s graceful flow.
The Rise & Fall Of The Third StreamFind albums with this title, recorded in 1967, is a completely different album and a most ambitious and pioneering jazz venture for the time. It involves a meeting between the American jazz tradition and the European classical tradition, but as the title suggests it was meant to be a new kind of synthesis to the one attempted earlier in the US by Gunther SchullerFind albums by this artist and named “The Third Stream”, which seemed to be forced and artificial rather than natural. A meeting between Zawinul and American classical composer William FisherFind albums by this artist led to the two of them working together in an attempt to create a natural synthesis of the two musical worlds. The project involved a jazz ensemble and a string quartet, playing music composed and arranged by Fisher. The jazz ensemble includes Zawinul on acoustic and electric piano, Jimmy OwensFind albums by this artist on trumpet, Richard DavisFind albums by this artist on bass, Roy McCurdyFind albums by this artist and Freddie WaitsFind albums by this artist on drums, Warren SmithFind albums by this artist on percussion and Fisher on tenor sax. The result is a stunning piece of music, a completely new and previously attempted kind of musical vista.
In retrospect one can of course hear the seeds of what Zawinul will be doing just a couple of years later with Davis and then Weather Report. Although sadly overlooked and rarely mentioned, this is a seminal album in every respect and surely ahead of its time in every respect. For the intelligent jazz lover, interested in the forces that forged the jazz revolution of the late 1960s this is an absolute must!
| | Updated: 09/01/2025Posted: | CD 1 Remastered Recommend To A Friend |
  | JOE ZAWINUL ~ ZAWINUL
ATLANTIC 81375 (Barcode: 075678137525) ~ AUSTRIA ~ Jazz-Rock Fusion
Recorded: 1970 Released: 1994
This sadly overlooked and almost forgotten masterpiece by Joe ZawinulFind albums by this artist is one of the most pivotal recordings of the emerging Jazz-Rock Fusion movement. Following Zawinul’s stint with Miles DavisFind albums by this artist (with whom he recorded the timeless masterpiece In A Silent WayFind albums with this title), he was looking for a new environment to express his unique music vision, which combined his European classical music heritage and the American jazz tradition, spiced by the funky and rock rhythmic patterns. His vision was to be realized soon, when the greatest Fusion group of all times – Weather ReportFind albums by this artist – was formed just weeks after this album was recorded.
In fact this album could (or rather should) be considered the first Weather Report album for several reasons: two soon to be Weather Report founding members – Miroslav VitousFind albums by this artist (bass) and Wayne ShorterFind albums by this artist (saxophone) take part in these sessions and the musical direction of the future group is basically all present here already. The main difference is that Zawinul decided to invite his ex-Davis partner Herbie Hancock to play along with him on this album, making it a double keyboards affair. The effect of two exceptional keyboards players soloing in tandem and in parallel creates a magic atmosphere, reminiscent of course of the Davis recordings. Other prominent musicians taking part in these sessions include the great Wood ShawFind albums by this artist on trumpet, Walter BookerFind albums by this artist on bass, Joe ChambersFind albums by this artist and Billy HartFind albums by this artist on drums, etc.
All the performances are of course absolutely brilliant, with Vitous contributing some superb bow solos, which compliment the music perfectly. I have no idea why this album is not given its proper importance as a true classic, but in my book this is an absolutely essential piece of music.
| | Updated: 31/08/2021Posted: | CD 1 Essential Recommend To A Friend |
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