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1973: Gato Barbieri - Chapter One: Latin America Freejazz, Latin
1973: Gato Barbieri - Chapter One: Latin America
Artist: Gato Barbieri
Album: Chapter One: Latin America
Label: Impulse!
Year: 1973
Format, bitrate: mp3, 256 kb/s (vbr)
Time: 42:51
Size: 82 mb
AMG Rating: 1973: Gato Barbieri - Chapter One: Latin America
REPOST with a new link from Mr.klovius

When Gato Barbieri signed to Impulse! Records in 1973 for a series of critically lauded albums, he had already enjoyed a celebrated career as a vanguard musician who had worked with Don Cherry and Abdullah Ibrahim (then known as Dollar Brand), recorded for three labels as a leader, and scored and performed the soundtrack to director Bernardo Bertolucci's film Last Tango in Paris. Chapter One: Latin America was a huge step forward musically for the Argentinean-born saxophonist, even as it looked to the music of his heritage. This turned out to be the first of four chapters in his series on Latin America, and for it he teamed not with established jazz musicians, but instead folk and traditional musicians from his native country, and recorded four of the album's five cuts in Buenos Aires -- the final track, a multi-tracked solo piece, was recorded in Rio de Janeiro. The music found here doesn't walk a line between the two worlds, but freely indulges them. The enormous host of musicians on the date played everything from wooden flutes to electric and acoustic guitars, bomba drums and quenas, and Indian harps and charangos, creating a passionate and deeply emotive sound that echoed across not only miles but also centuries. At the helm was Barbieri, playing in his rawest and most melodic style to date, offering these melodies, harmonies, and rhythms as a singular moment in the history of jazz. While the entire album flows seamlessly from beginning to end, the A-side, comprised of Barbieri's own "Encuentros" and J. Asuncin Flores and M. Ortiz Guerrero's classic "India," is the clear standout. That said, the four-part suite that commences side two -- "La China Leoncia Arreo la Correntinada Trajo Entre la Muchachada la Flor de la Juventud" -- is a work of such staggering drama and raw beauty that it is perhaps the single highest achievement in Barbieri's recorded catalog as an artist. Simply put, this album, like its remaining chapters, makes up one of the great all but forgotten masterpieces in 1970s jazz.
~ Thom Jurek, All Music Guide
2009: John Coltrane Quintet with Eric Dolphy - Complete 1961 Copenhagen Concert Music » Jazz » BeBop » Hard-bop
2009: John Coltrane Quintet with Eric Dolphy - Complete 1961 Copenhagen ConcertArtist: John Coltrane Quintet with Eric Dolphy
Album: Complete 1961 Copenhagen Concert
Label: Gambit Records
Year: 2009
Format, bitrate: mp3, 320kbp/s
Time: 70:31
Size:147.7 MB

The complete long unavailable 1961 Copenhagen concert by the Coltrane-Dolphy quintet, introduced by Norman Granz. It includes the only appearance of Victor Youngs beautiful song Delilah in both Coltrane and Dolphys discographies. Also noteworthy are a reading of Naima, with both reeds combining with stunning effect, and Tranes two unusual live false starts before playing a superb, breathtaking version of My Favorite Things, almost 30 minutes long.
~ Gambit Records

2003: Eddie Prévost Trio - The Blackbird's Whistle Music » Jazz » Modern Jazz » Avantgarde

2003: Eddie Prévost Trio - The Blackbird's Whistle
Artist: Eddie Prévost Trio
Album: The Blackbird's Whistle
Label: Matchless
Year: 2003
Genre: Free Jazz; Free Improvisation
Format, bitrate: mp3, 256 kb/s (vbr)
Time: 66:52
Size: 128 MB

After having listened carefully to the whistle of the blackbird, he tries to repeat it, as faithfully as he can. A puzzled silence follows, as if his message required careful examination; then an identical whistle re-echoes. Mr Palomar does not know if this is a reply to his, or the proof that his whistle is so different that the blackbirds are not the least disturbed by it and resume their dialogue as if nothing had happened. They go on whistling, questioning in their puzzlement, he and the blackbirds. ~ Jazzloft
1998:The Necks - Piano Bass Drums Music » Jazz » Modern Jazz » Avantgarde
1998:The Necks - Piano Bass Drums
Artist: The Necks
Album: Piano Bass Drums
Label: Fish of Milk
Year: 1996; Release Date: 1998
Format, bitrate: mp3, 256 kb/s (vbr)
Time: 53:23
Size: 108.37 MB
AMG rating: 1998:The Necks - Piano Bass Drums

If the Necks settled on their music recipe in Silent Night, they got the sauce right in Piano Bass Drums. One of the reasons to explain it, apart from the fact that the group keeps on growing in terms of synergy, is the fact that this album was recorded live and each member focused on their primary instrument (instead of adding organ, samples, and effects). As a result, the structure of the music gets even more minimal than before, but it gains in interplay, artistry, and purity. The trio started on a waltz-like 3/4 riff, repeating the two-chord motif for an extended period of time with very little changes. Then, they gradually sped things up. As Chris Abrahams starts to add more and more ornaments, listeners lose the initial chords, opening the piece to free improvisation. Abrahams is a fantastic pianist and this CD is the first where he gets to truly shine. Lloyd Swanton keeps time with his double bass, but he also strips off the waltz feel and the tonality with reinforced subtlety. Tony Buck's cymbal playing is brilliant. Started as a jazz waltz of sorts, very lush and comfy, the piece ends up 50 minutes later as an atonal piano improvisation sustained by a steady pulse of undetermined time signature. Yet, the listener barely senses the movement -- simply stunning. Piano Bass Drums doesn't have the beauty of Aether or the hypnotic drive of Hanging Gardens, but it nonetheless stands among the group's best efforts and makes an excellent place to start exploring their discography.
~ François Couture, All Music Guide
2006:Anthony Braxton & Fred Frith - Duo (Victoriaville) 2005 Freejazz, Avantgarde
2006:Anthony Braxton & Fred Frith - Duo (Victoriaville) 2005
Artist: Anthony Braxton & Fred Frith
Album: Duo (Victoriaville) 2005
Year: 2006
Format, bitrate: Mp3,256 (vbr)
Time: 56:12
Size: 110.8 mb

From the 2005 Victoriaville Festival, Anthony Braxton and Fred Frith, two graying lions of free improvisation, innovation, and rugged determination to follow their own individual paths, come together for just under an hour -- and in five different encounters -- of musical and sonic engagement. The first piece on Duo is almost lyrical in its opening moments. Frith's subtlety and restraint is actually very emotive. Braxton holds back on the tension he is capable of, and the piece remains that way until Braxton can't help himself and takes it to high-pitched skronkville for the last 3 of 11 minutes. It works. There is a great deal of both silence and sonic rhythmic interplay in the second piece. And it is one of the most fascinating songs here. The nearly 23 minute "Improvisation No. 3" has four distinct sections or dynamic episodes within it which capture Braxton's varying responses to Frith's pulsing beats on the guitar neck There is a snake-like charm to the way this changes hands, and who leads here. It's wooly, but it is also so utterly intuitive and sensible it nearly feels like a composed piece. It's bloody brilliant and worth the price of the disc alone. The ballad-like "Improvisation No. 4" is merely a breather, but it is spacious and quite beautiful before the conical, explosive sopranino as Braxton goes for the throat in "No. 5." Here circular breathing creates the spirals that Frith roils around and plays inside of, with distortion and fantastic control of his volume and tone knobs as he flies over the fretboard. This would have been a dynamite show to see. It's very inspired, playful, and in places, breathtaking.
~ Thom Jurek, All Music Guide
2009: Sophie Agnel - Capsizing Moments Music » Jazz » Modern Jazz » Avantgarde

2009: Sophie Agnel - Capsizing Moments
Artist: Sophie Agnel
Album: Capsizing Moments
Label: Emanem
Year: 2009
Format, bitrate: mp3, 216 kb/s
Time: 50:53
Size: 79.9 mb

Pianist Sophie Agnel has been responsible for several fine recordings notably Rouge Gris Bruit on Potlatch with Lionel Marchetti and Jérôme Noetinger, and Tasting, a duo with Phil Minton on Another Timbre without quite becoming a known quantity to followers of free improvisation, who are more used to musicians releasing albums by the truckload. Capsizing Moments, a 50-minute solo performance from Paris's Instants Chavirés, finds her patiently infiltrating the piano's interior with styrofoam cups, balls, ashtrays, fishing-line, and a battery of other objects. Out of this pile of whimsical detritus emerges some genuinely dark and uncanny music, and throughout Agnel remains impressively in command of all these rattles, roars, buzzes, squeals and other less describable sounds (and sounds-within-sounds). These aren't panoramic "soundscapes" (that familiar cliché) but sound-terrains, across which the pianist's and listener's slow progress feels entirely physical. If the performance lacks that alarming stuck-in-someone's-head vibe of (say) a Fred Van Hove or Keith Tippett solo recital at its most intense and self-involved, it's nonetheless music that seems to gain in richness and detail every time you listen to it.
The piece is divided into three parts, and, like Dante, Agnel puts the inferno first: a deep subterranean cavern where shapeless vibrations, zithery strums and a more intense percussiveness melt into each other while various rattly dialogues take place on the top. The anvil-blows and mutely pummelled rhythms thin out after 15 minutes into a really lovely passage of bowed strings: again, the textures are lucid and controlled even though there's a lot going on, as Agnel conjures up a humming, singing choir of harmonics. Part 2 is a short Gothic nightmare interlude in three segments a banshee wail introduction, a demented circular nursery-rhyme episode, and a passage involving dissonant swipes across the strings, which start piling up until Agnel's flailing around like a drowning swimmer. Part 3 is the longest, quietest and most mysterious, and it demonstrates the pianist's ability to create illusions of spatial and aural mediation: there were parts of the earlier Rouge Gris Bruit where I assumed the piano was being amplified through a tinny speaker or distorted by the other two musicians' electronics, but it's clear from this disc that she is producing such effects acoustically. Some of the most striking moments are the simplest and bleakest, often recalling AMM's minimalist expansiveness (though oddly enough Agnel's playing is actually more reminiscent of Eddie Prévost than John Tilbury): the moment when she zeros in on the buzzy, overextended jangle of a bell, or the gentle coda where a bowed string's weirdly altered attack and decay give the impression of time collapsing in on itself. Top-notch stuff.
~ ND,
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