Record Reviews

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

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

CD 1 Digipak Remastered Recommend To A Friend

MICHAEL GIBBS BAND ~ SYMPHONY HALL, BIRMINGHAM 1991 DUSK FIRE 116 (Barcode: 5065001032677) ~ UK ~ Jazz-Rock Fusion Recorded: 1991 Released: 2018 This in an archival release presenting a live recording by a band led by the British trombonist / composer / bandleader Michael GibbsFind albums by this artist, which comprises of fourteen British and American Jazz musicians, who play music composed by Gibbs and John ScofieldFind albums by this artist. The Brits include such legendary musicians as trumpeter Kenny WheelerFind albums by this artist, pianist John TaylorFind albums by this artist, saxophonists Tony CoeFind albums by this artist and (then very young) Julian ArguellesFind albums by this artist, trombonist Chris PyneFind albums by this artist and others and the American guests include guitarist / composer John Scofield, bassist Steve SwallowFind albums by this artist and drummer Bill StewartFind albums by this artist. The concert captured on this album was the tenth of a twelve concert UK 1991 tour. It presents eleven pieces, seven of which were composed by Scofield and arranged by Gibbs and four were Gibbs´ compositions. Gibbs shows a consistent affinity towards the guitar and guitar players throughout his entire musical career. His early albums featured British guitarists like Chris SpeddingFind albums by this artist and Ray RussellFind albums by this artist, later on he included in his bands the Belgian guitarist Philip CatherineFind albums by this artist, and then Americans like Scofield, Hiram BullockFind albums by this artist and Bill FrisellFind albums by this artist. Scorching guitar solos and a Rocky feel are therefore a habitual part of Gibbs´ musical DNA and this album is no exception. The Scofield tunes originate from his debut album for the Blue NoteFind albums on this label label "Time On My HandsFind albums with this title" and from the follow up "Meant To BeFind albums with this title", as well as from the still unreleased at the time of the concert next album "Grace Under PressureFind albums with this title". A couple of the Gibbs tunes were premiered during these concerts. Musically the album follows the "typical" Gibbs´ patterns, with the brass fanfares and swinging background sections, which slowly step back to make space for the soloists, and eventually come back to wrap things up. There are plenty of opportunities for almost everybody to play a solo and the tightly swinging rhythm section keeps everything exactly in check. Naturally Scofield is given the most extensive soloing space and he delivers everything one might expect from him. This album, as all the albums released on the Dusk FireFind albums on this label label, under the watchful eyes of Peter MuirFind albums by this artist, is a tremendous document of British Jazz history, and is an invaluable addition to any British Jazz collection. The fact that this album features also American musicians makes it no less British, as it is after all Gibbs who sets the tone here, even if Scofield is the front person most of the time. Comparing this music with the versions recorded by Scofield on his solo albums reveals the differences in musical depth and perception, revealing the fact that a British flavor, zing and zest are able to turn pretty straightforward American music into a tasty dish. The excellent sound quality of this recording makes this album even more desirable than it appears to be at the first glance and of course it is wholeheartedly recommended to all British Jazz connoisseurs, who are still alive and kicking in spite of the statistical truth pointing elsewhere.

Updated: 29/05/2018Posted: 22/05/2018

CD 2 Mini-Sleeve Remastered Recommend To A Friend

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

Updated: 12/04/2019Posted:

CD 1 Digipak Remastered Bonus Tracks Recommend To A Friend