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Jazz 2 Rock
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 Into the Rhythm
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1998: Galliano, Portal - Blow Up |
Music » Jazz » BeBop » Post-bop |
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 Artist: Richard Galliano, Portal Album: Blow Up Label:Dreyfus Records Year:rec.May 18, 1996,May 19, 1996 / rel.Apr 21, 1998 Format:MP3 @ 320 Kb/s Time:53:02 Size: 116 Mb AMG rating:  To my friends in JBC! Please enjoy.
The unique textures created by this duo, combining Galliano's masterful accordion with Portal's moody reeds, makes for a fascinating journey. Brilliant original works are interspersed with gems by Astor Piazzola and Hermeto Pascoal, making the rich tradition of accordion jazz that much richer. The crisp, 20-bit mastering rounds out the package as a delightful listening experience.~ by Tim Sheridan, AMG.
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2005: Herbie Nichols Trio - Complete Studio Master Takes |
Music » Jazz » BeBop |
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 Artist: Herbie Nichols Album: Complete Studio Master Takes Label: Lone Hill Jazz, Spain Year:rec.Mar 6, 1952-Nov 10, 1957 / rel.2005 Format:MP3 @ 320 Kb/s Time: 79:20, 66:48. Size: 163 Mb, 138 Mb. AMG rating:   To my friends in JBC! Please enjoy.
In what appears to be the first Herbie Nichols compilation of its kind, Lone Hill Jazz presents each and every master take recorded by the Herbie Nichols Trio for both the Blue Note and Bethlehem labels between May 1955 and November 1957. Here Nichols acted in collaboration with bassists Al McKibbon, Teddy Kotick, and George Duvivier, and drummers Art Blakey, Max Roach, and Dannie Richmond; such percussive support was important because one very special aspect of Nichols' music is the manner in which the drummer often carries portions of the melodic line. All previous issues and reissues have maintained a separation along the lines of the original record labels, with most attention being focused upon the amazing Blue Note sessions while the Bethlehem material hovered around like a lesser-known sequel. With all the pieces of the puzzle assembled into one entity, a bigger picture emerges of this brilliant African-American composer and pianist struggling to get his music recorded during the Eisenhower Era, when the entertainment industry was mainly concerned with Elvis Presley, Pat Boone, and Patti Page. Herbie Nichols' original compositions are unique poetic manifestations comparable in many ways to the inventions of Thelonious Sphere Monk. The great surprise here is the appearance of three rare quartet tracks -- including a fine and noble piece of blues -- recorded in March 1952 with guitarist Danny Barker, bassist Chocolate Williams, and drummer Shadow Wilson. These bonus tracks form a stunning coda for this unprecedented portrait of the one, the only Herbie Nichols. ~ by arwulf arwulf, AMG.
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1958: Tito Puente And Woody Herman - Blue Gardenia |
Music » Jazz » Latin » Latin Big Band |
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 Artist: Tito Puente And Woody Herman Album: Blue Gardenia Label: Laserlight Year: rec.Sep 1958-Dec 26, 1958 / rel.Jan 1, 1999 Format: MP3 @ 320 Kb/s Time: 41:24 Size: 89 Mb To my friends in JBC! Please enjoy.
Woody played clarinet and alto sax and was the leader. His 1958 "Herman's Herd" averaged 16-18 members. These selections were all recorded between Aug. lst and Dec. 26th of that year. I think I owned this on vinyl in '59 under the title "Tito Meets Woody" and I think it was on the Everest label. This CD reissue is a great deal of fun. In addition to Puente's Latin percussion and Herman's horn, Nat Adderly does some trumpeting, Charlie Byrd plays guitar a little, and Bob Brookmeyer can be heard on trombone. The other band members have less public recognition, but hey, nobody plays badly for a Herman band. The "Herd" could easily have been doing these tunes in the early 40's, in the glory days of big bands instead of the waning years. Tito brought the 50's fad of Cuban-style drumming into the mix, and the result is a total victory. You can probably get this at a good price used here in 2003, and if you like swing, jazz, percussion or big groups, this is for you. Not only does it make you feel like dancing, these sounds can lure you into thinking you actually can dance well. This is 41 minutes of joy.
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1957: Mundell Lowe - A Grand Night For Swinging |
Music » Jazz » BeBop » Cool |
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 Artist: Mundell Lowe Album: A Grand Night For Swinging Label: Riverside/OJC, Limited Edition Year:rec.Mar 7, 1957,Apr 10, 1957 / rel.2001 Format:MP3 @ 320 Kb/s Time:38:00 Size: 84:00 AMG rating:  To my friends in JBC! Please enjoy.
At one time a listener could place a CD like guitarist Mundell Lowe's A Grand Night for Swinging in the disc player and immediately date it to the 1950s. But the revival of many older styles by younger musicians like guitarist Howard Alden in the '80s and '90s has led to an overlapping of styles. This may make it difficult to match an album to a particular date, but it does help to make older styles more familiar and, thus, accessible. A Grand Night for Swinging is a nice set, featuring Lowe and a good supporting cast including pianist Billy Taylor, bassist Les Grinage, drummer Ed Thigpen, and, on three cuts, alto saxophonist Gene Quill. Known for his cooler tone and lighter touch at the time, Lowe had decided to record an album that proved he could swing a little harder. The set kicks off with the upbeat title track, a Taylor original, that finds Lowe bopping along with clean flowing lines, similar to Barney Kessel. The up-tempo pieces, like "Love Me or Leave Me" and "Crazy Rhythm," work best, pushing the band into fervent workouts. The addition of Quill on several selections adds depth and drive to cuts like "Blues Before Freud," creating something akin to Kenny Burrell's early-'60s work. That this recording should be re-released soon after 2000's Mundell's Mood is fitting; it's a reminder of a distinguished bop/cool tone guitarist who has recorded a number of fine albums since the 1950s. A Grand Night for Swinging will be a real treat for fans unfamiliar with Lowe's earlier work, and a satisfying selection for fans of good jazz guitar. ~ by Ronnie D. Lankford, Jr., AMG.
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1995: Al Grey - Centerpiece: Live At The Blue Note |
Mainstream, BeBop |
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 Artist: Al Grey Album: Centerpiece: Live At The Blue Note Label: Telarc Jazz Year: rec.Mar 23, 1995-Mar 26, 1995 / rel.1995 Format: MP3 @ 320 Kb/s Time: 59:17 Size: 128 Mb To my friends in JBC and personality to Mr. ninikoo! Please enjoy.
Basie-style blues and swing are the foundation of this amiable live set from 1995. This is no surprise, given Al Grey's and Harry "Sweets" Edison's work with the Count -- Grey most notably from 1957-1961 and Edison from 1938-1950. From that base, though, the two take divergent paths here. Renowned though he is for his brassy bravado and skill with the plunger mute, Grey seems too firmly planted in an earlier era, so much so that his playing can come across as nostalgic routines. It is actually elder statesman Edison (at 79, Grey's senior by almost a decade), who -- still working within the swing ethic -- creates some fresh sparks. His warm and slippery tone, technical finesse, and improvisational skills yield a choice handful of timeless statements. Rounding out the front line, Jerome Richardson plays well but his tenor saxophone sounds thin in the mix (Richardson is the only one who gets this treatment; otherwise the sound is quite good). In the rhythm section, pianist Junior Mance, working from a more boppish perspective, injects some drive and harmonic spice into the performances. Bassist Ben Brown and drummer Bobby Durham slug away in classic style and also get in a couple of credible solos each. Most of the music follows a predictable course, with some noteworthy exceptions. These include an energetic romp on "Lester Leaps In"; Barry Harris' "Nascimento," a bossa nova with a welcome flute solo from Richardson; and Edison's title track, a song popularized in versions by Lambert, Hendricks & Ross and, later, by Joni Mitchell. ~ by Jim Todd, AMG.
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2006: Bill Harris - Complete Fifties Sessions |
Swing, BeBop |
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 Artist: Bill Harris Album: Complete Fifties Sessions Label:Lone Hill Jazz, Spain (LHJ10252) Year: rec.1946,1952,1957/rel.July 10, 2006 Format: MP3 @ 320 Kb/s Time: 61:10, 61:39 Size: 123, 122 Mb. To my friends in JBC and personality to Mr. lex! Please enjoy this is very nice album.
Bill Harris was one of the few modern trombonists of the 1945-1960 era who was not influenced by J.J. Johnson. A very distinctive player almost from the start with a strong and highly original wit, Harris became a professional musician in 1938, and toured with the big bands of Gene Krupa, Ray McKinley, and Bob Chester. After playing with Benny Goodman (1943-1944) and Charlie Barnet, and guesting on a couple of Eddie Condon's Town Hall concerts, Harris became famous for his work with Woody Herman's First Herd (1944-1946); "Bijou" was a showcase, and the trombonist is heard at his best on Herman's many up-tempo (and often riotous) performances. One of the few First Herd members to also be in the Four Brothers Second Herd (1948-1950), Harris also re-joined Herman a few times during 1956-1959. He co-led a band with Charlie Ventura (1947), teamed up with Chubby Jackson (1953), and was a star with Jazz at the Philharmonic during 1950-1954. During the second half of the 1950s, Harris often collaborated with Flip Phillips, and their band formed the nucleus of Benny Goodman's group in 1959. He mostly retired to Florida, in the 1960s after a spell in Las Vegas, occasionally leading his own groups and playing with Red Norvo. Bill Harris led dates during 1945-1957 for Mercury, EmArcy, Dial, Capitol, Verve, Fantasy, and Mode, usually featuring alumni from the Woody Herman Orchestra. ~ Scott Yanow, All Music Guide.
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1994: Joe Henderson - The Milestone Years (8 CD's box set) |
Hard-bop, Post-bop |
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 Artist: Joe Henderson Album: The Milestone Years (8 CD's box set) Label: Milestone Records (more info see in scan) Year: rec. Aug 10, 1967-Sep 26, 1976 / rel. Sep 1, 1994 Format: MP3 @ 320 Kb/s + scan with info Time: 581:39 Size: about 1,23 Gb AMG rating:  To my friends in JBC! Please enjoy.
Tenor saxophonist Joe Henderson's most famous recordings are his early Blue Notes and his more recent Verves, but in between he recorded exclusively for Milestone and, although Henderson was in consistently fine form in the diverse settings, he was somewhat neglected during his middle years. This massive eight-CD set contains all of the music from Henderson's dozen Milestone LPs, plus a duet with altoist Lee Konitz and his guest appearances with singer Flora Purim and cornetist Nat Adderley. The music ranges from Blue Note-style hard bop and modal explorations to fusion and '70s funk, with important contributions made by trumpeters Mike Lawrence, Woody Shaw, and Luis Gasca, trombonist Grachan Moncur III, and keyboardists Kenny Barron, Don Friedman, Joe Zawinul, Herbie Hancock, George Cables, Alice Coltrane, Mark Levine, and George Duke, among others. Not all of the music is classic (some of the later sets are unabashedly commercial), but none of the 82 selections are dull and the very distinctive Henderson always gives his best. It's highly recommended. ~ by Scott Yanow, AMG.
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1974-1981: Count Basie - Basie & Friends |
Mainstream, Basie Count |
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 Artist: Count Basie Album: Basie & Friends Label: Pablo records Year: rec. Dec 2, 1974-Nov 1, 1981/ rel.Jul 29, 1992 Format: MP3 @ 320 Kb/s, flac + cue + scan Time: 43:40 Size:73 Mb, 214 Mb. To my friends in JBC! Please enjoy.
This is a hodgepodge collection focusing on Basie's piano-playing from four different sessions. Five selections find him in trios while the other three numbers are meetings with Oscar Peteson during which they both double on organ. All of these performances are unavailable elsewhere and are enjoyable if not too unique. ~ by Scott Yanow, AMG. |
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1952-1953: Teddy Charles and Shorty Rogers - Collaboration West |
Cool, West Coast Jazz |
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 Artist: Teddy Charles, Shorty Rogers Album: Collaboration West Label: Prestige/OJC Year: rec.Dec 23, 1952-Aug 31, 1953 / rel.1992 Format:MP3 @ 320 Kb/s Time: 45:41 Size: 96, 3 Mb To my friends in JBC! Please enjoy.
Vibraphonist Teddy Charles heads three West Coast-style sessions on this CD reissue that look a bit toward Third Stream and the avant-garde experiments of the early '60s. Although there are some swinging sections, much of the music is quite complex with difficult arrangements and some polytonality. One session has Charles (who doubles on piano) in a quartet with guitarist Jimmy Raney (those four numbers were not on the original LP) while the other originals feature trumpeter Shorty Rogers, bassist Curtis Counce, drummer Shelly Manne and sometimes Jimmy Giuffre on tenor and baritone. The music is thought-provoking if a bit cold and clinical, easier to respect than to love. ~ by Scott Yanow, AMG.
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1957: Herbie Mann And Bobby Jaspar - Flute Souffle |
Cool, West Coast Jazz |
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 Artist: Herbie Mann, Bobby Jaspar Album: Flute Souffle Label:Prestige/OJC Year:rec.Mar 21, 1957-Mar 27, 1957 / rel.1992 Format:MP3 @ 320 Kb/s Time:36:21 Size: 74,6 Mb AMG rating:  To my friends in JBC! Please enjoy, this is rare and nice album.
At the time of this Prestige set (reissued on CD), Herbie Mann was a flutist who occasionally played tenor and Bobby Jaspar a tenor-saxophonist who doubled on flute. Two of the four songs find them switching back and forth while the other two are strictly flute features. With pianist Tommy Flanagan, guitarist Joe Puma, bassist Wendell Marshall and drummer Bobby Donaldson contributing quiet support, the two lead voices constantly interact and trade off during this enjoyable performance. Highpoints are the haunting "Tel Aviv" and a delightful version of "Chasing the Bird." ~ by Scott Yanow, AMG.
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1961: The Montgomery Brothers - The Montgomery Brothers In Canada |
Music » Jazz » BeBop » Post-bop |
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 Artist: The Montgomery Brothers Album: The Montgomery Brothers In Canada Label:Fantasy records, Japan Year:rec.Dec 1961 / rel.1997 Format: MP3 @ 320 Kb/s Time: 39:33 Size: 83 Mb AMG rating:  To my friends in JBC! Please enjoy.
Buddy Montgomery, who often played the piano with the Montgomery Brothers, sticks exclusively to vibes on this club date, which in addition to Wes and Monk has Paul Humphrey on drums. It's a solid set of cool but not cold bop with a low-key mood and uniformly tasteful playing. There's only one original on here (by Buddy), but it's a beaut: the buoyant "Beaux Arts" has gorgeous alternations of single-note solos and chording by Wes. In a different vein, "Angel Eyes," which begins with a long drumless passage, shows his skill with a delicate slow ballad. The album has been reissued (minus the overdubbed crowd noise on the original LP), together with 1960's The Montgomery Brothers, on the single-disc Milestone CD The Groove Brothers (which is billed to Wes Montgomery, rather than the Montgomery Brothers).~ by Richie Unterberger, AMG.
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2008: Classic Columbia, Okeh and Vocalion: Lester Young with Count Basie (1936-1940) |
Swing, Mainstream |
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 Artist: Lester Young, Count Basie Album: Classic Columbia, Okeh and Vocalion: Lester Young with Count Basie (1936-1940) Label: Mosaic Year:rec.Nov 9, 1936-Nov 19, 1940 / rel.2008 Format:MP3 @ 320 Kb/s Time: 59:27, 61:19, 53:59, 68:33 Size: 136 Mb, 141 Mb, 124 Mb, 157 Mb. AMG rating:  To my friends in JBC! Please enjoy.
Lester Young was in some ways the definitive jazz musician. He was the personification of the art of swing and a master of creative ballad interpretation. He was one of the early innovators who laid the groundwork for bop and was the principal, as it were, of the cool school. Most Lester Young collections are well worth investigating, simply because his recorded legacy is filled with exciting and beautiful moments. In 2008 Mosaic brought out a four-CD Lester Young/Count Basie set containing 83 selections recorded between 1936 and 1940 which were originally released on 78 rpm Columbia, Okeh and Vocalion phonograph records. This is by no means a complete chronological survey of every studio session that Pres and Basie participated in during the second half of the '30s. There are a lot of gaps; most conspicuous is the omission of Basie's Decca sessions that took place between 1937 and 1939, important years in the development of Lester Young and the Basie band. Note also that 29 of the 83 titles are additional, sometimes multiple takes. These are heaped together at the end of each CD, with disc three consisting of ten master takes followed by ten alternates. The fourth disc adds the Benny Goodman Sextet session of October 28, 1940 (an informal jam that brought together guitarist Charlie Christian with Lester Young, Buck Clayton, and Count Basie and His Kansas City Rhythm Section) and six peculiarly satisfying sides recorded on June 26, 1939 by electric organist Glenn Hardman and His Hammond Five, a group that contained several of Count Basie's key players, without directly involving Basie at all. This compilation is at once thorough and incomplete, its layout both meticulous and perhaps unevenly constructed, for had they not ladled on the alternates so prodigiously there would have been plenty of room for every single master take from each studio session that Basie and Pres participated in together during this time period, even with 24 months' worth of Deccas left out of the picture. Clearly, the masters and alternates were chosen as glowing examples of inspired collaboration, with plenty of opportunities for careful comparison. By the time this collection was released, buckets of Basie/Young material had been reissued in a wide range of layouts and packaging. Of course a truly comprehensive appreciation of Lester Young's early recorded works would also include the sessions he shared with Teddy Wilson and Billie Holiday, recorded, like everything on this compilation, for Vocalion, Okeh and Columbia. Given the omission of many excellent Basie/Young recordings and the piling on of alternate takes, this Mosaic set would best serve those who already know and love their Pres and would therefore be able to relax and appreciate the way the anthology is put together. If you are convinced that multiple treatments of the same song will make you itchy and uncomfortable, and if the promise of enlightenment fails to persuade you to hunker down and absorb four consecutive versions of ""Riff Interlude"," look elsewhere for sensible editions filled with master takes, under the names Count Basie and Lester Young. ~ by arwulf arwulf, AMG.
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1979: Count Basie and Orchestra - On The Road |
Swing, Mainstream, Basie Count |
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 Artist: Count Basie and Orchestra Album: On The Road Label: Pablo, Japan (24 bit remastered) Year:rec.Jul 12, 1979 / rel.1980 Format:MP3 @ 320 Kb/s, flac + cue + cover Time: 45:46 Size: 101,4 Mb, 247,9 Mb AMG rating:  To my friends in JBC! Please enjoy.
This release gives one a definitive look at the Count Basie Orchestra during its final years. Trumpeter Pete Minger, trombonist Booty Wood and Eric Dixon on tenor and flute are the main soloists, but it is the classic Basie ensemble sound (which never seems to get dated or lose its charm and power) that carries the day. Whether it is "Wind Machine," "Splanky" or "In a Mellow Tone, " this is a highly enjoyable set. ~ by Scott yanow, AMG.
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1994: Dick Hyman - From the Age of Swing |
Music » Jazz » Swing |
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 Artist: Dick Hyman Album: From the Age of Swing Label:Reference Recordings Year:rec.May 24, 1994-May 25, 1994 / rel.1994 Format:MP3 @ 320 Kb/s Time: 66:11 Size: 143 Mb To my friends in JBC! Please enjoy.
As the title implies, this is very much a swing set. Pianist Dick Hyman (a master of all pre-bop styles) has little difficulty emulating Teddy Wilson, Art Tatum and Count Basie (among others) plus his own style in an octet also featuring trumpeter Joe Wilder, trombonist Urbie Green, altoist-clarinetist Phil Bodner, baritonist Joe Temperley, rhythm guitarist Bucky Pizzarelli, bassist Milt Hinton, drummer Butch Miles and (on three tunes) altoist Frank Wess. The opening and closing numbers are ad-lib blues both titled "From the Age of Swing"; sandwiched in between are ten swing-era standards plus a couple of obscure Duke Ellington items. Among the highlights are "Topsy," "Them There Eyes," "Rose Room" and "Mean to Me." No real surprises occur, but mainstream fans should like this swinging. by Scott Yanow,AMG.
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1956: Tadd Dameron with John Coltrane - Mating Call |
Music » Jazz » Mainstream |
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 Artist: Tadd Dameron, John Coltrane Album: Mating Call Label: Prestige/OJC Year:rec.Nov 30, 1956 / rel.1995 Format: MP3 @ 320 Kb/s, flac + cue + scan Time: 34:45 Size: 75,6 Mb, 190 Mb. AMG rating:  To my friends in JBC! Please enjoy, this is very rare album!
This fine set, recorded on November 30, 1956, has been reissued several times, often as a John Coltrane date, but make no mistake, this is a Tadd Dameron session, and his elegant compositions are its key component. Coltrane was fresh off playing with Miles Davis in 1956 and was still a year away from heading his own sessions and three years away from recording Giant Steps, so it might be said that he was in transition, but then when was Coltrane not in transition? Dameron wisely gives him plenty of space to fill, and the rhythm section of John Simmons on bass and the great Philly Joe Jones on drums (not to mention Dameron's own characteristically bass-heavy piano style) give Trane a solid bottom to work with, and if the spiritual and edgy emotion of his later playing isn't quite in place yet, you can feel it coming. But again, this is Dameron's date, with each of the six selections an original Dameron composition. There's so much to marvel at here, including the Bahamian rhythms of the title track, "Mating Call," the gorgeous build of "Soultrane" (often the title when this set is issued as a Coltrane date) and the undeniable grace and elegance of "On a Misty Night" (based in part on the melody line to "September in the Rain"). The straight blues piece "Romas" is also a lot of fun, particularly for Coltrane. Mating Call, or whatever title it sports, whether under Dameron's name or Coltrane's, is a solid and frequently overlooked gem. Don't hesitate to pick it up. ~ by Steve Leggett, AMG.
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1962: The Johnny Griffin & Eddie "Lockjaw" Davis Quintet - Tough Tenor Favorites |
Music » Jazz » BeBop » Hard-bop |
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 Artist: Johnny Griffin, Eddie "Lockjaw" Davis Album: Tough Tenor Favorites Label: JazzLand/OJC, Limited Edition Year: rec.Feb 5, 1962 /rel. 1995 Format: MP3@320 Kb/s, flac + cue + scan Time: 38:46 Size: 85 Mb, 250 Mb. AMG rating:  To my friends in JBC! Please enjoy, this is very rare album!
Johnny Griffin and Eddie "Lockjaw" Davis, the two "tough tenors" in question, always made for an exciting team. With pianist Horace Parlan, bassist Buddy Catlett and drummer Ben Riley completing the quintet for this CD reissue of a Jazzland date from 1962, Griff and Lockjaw are in top form and quite competitive on a variety of standards. Highlights include "Blue Lou," "Ow," "I Wished on the Moon" and "From This Moment On." The main winner in these fiery tenor "battles" is the listener. ~ by Scott Yanow, AMG.
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1959: Duke Ellington - Jazz Party in Stereo |
Music » Jazz » Swing |
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 Artist: Duke Ellington Album: Jazz Party in Stereo Label:Mobile Fidelity Sound Lab Year:rec.Feb 19, 1959,Feb 25, 1959 / rel.1997 Format: flac + cue + scan Time: 44:50 Size: 318 Mb AMG rating:  Dear ninikoo, Happy Birthday to you!
A most unusual Duke Ellington record, two selections feature nine symphonic percussionists on tympani, vibes, marimbas and xylophones. Dizzy Gillespie makes a historic appearance with Ellington's orchestra on "U.M.M.G." (a meeting that should have been repeated often but sadly never was), Jimmy Rushing (Count Basie's former vocalist) sings "Hello Little Girl" and both Johnny Hodges ("All of Me") and Paul Gonsalves ("Ready Go!") have chances to blow. This Columbia release was reissued in 1997 as a Mobile Fidelity audiophile CD. ~ by Scott Yanow, AMG.
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2005: Charles McPherson Quartet - But Beautiful |
Music » Jazz » BeBop » Hard-bop |
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 Artist: Charles McPherson, (featuring Steve Kuhn) Album: But Beautiful Label: Venus records, Japan (24 bit HMS) Year:rec.Jul 24, 2003-Jul 25, 2003 / rel.May 30, 2005 Format:flac + cue + scan Time: 71:29 Size: 459 Mb AMG rating:  To my friends in JBC! Please enjoy.
Charles McPherson delves into a number of standards in this collection of timeless ballads, well accompanied by pianist Steve Kuhn, bassist David Williams, and drummer Leroy Williams. The alto saxophonist's tone has a bit of a bluesy edge throughout the sessions, as if he is reminiscing about a past love. His heartfelt rendition of "My Ideal" stands out, as do his two interpretations of songs by Nicholas Brodszky, "Be My Love" and "Love Letters." McPherson picks up the tempo with "I Didn't Know What Time It Was," though his tone doesn't shift to a lighter mood. The relaxed mood makes this release perfect for late-night listening. The only drawback with this CD is the ugly cover photo, which McPherson denounced as very tasteless during a 2007 interview. ~ by Ken Dryden, AMG.
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1978: James Blood Ulmer - Tales Of Captain Black |
Fusion, Crossover Jazz, Freejazz, Avantgarde |
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 Artist: James Blood Ulmer Album: Tales Of Captain Black Label:DIW (Japan) Year:rec.Dec 5, 1978 / rel.1996 Format:MP3 @ 320 Kb/s Time:33:29 Size: 73,6 Mb AMG rating:   To my friends in JBC! Please enjoy.
Tales of Captain Black first appeared in 1978 on the Artist House label in America. It was a label set up for the purpose of allowing visionary artists to do exactly what they wanted to do. They had issued a couple of records by Ornette Coleman previously, so it only made sense to issue one by his then guitarist, James Blood Ulmer. With Coleman on alto, his son Denardo Coleman on drums, and bassist Jamaladeen Tacuma on bass, Ornette's harmolodic theory of musical composition and improvisation (whereby on a scale of whole tones, every person in the ensemble could solo at one time and stay in this new harmony) was going to get its first test outside of his own recordings. Blood was, before he was a jazz player, a funk guitarist who had tenured with Black Nasty and a side project of George Clinton's in Detroit, as well as playing as a sideman to organ groovemaster Big John Patton. Having an ally in Tacuma, Ulmer brought funk deep into free jazz territory. The disc opens with "Theme From Captain Black," a furious exercise on the interplay between Ulmer and Tacuma's root contribution. Ulmer sounds like a sideways Jimi Hendrix driving home the rhythmic riff from "Voodoo Chile" as Tacuma charges toward Denardo to undercut the time and Coleman soars over the top. But we also hear Ulmer slipping his fills in, faster than lightning, always in the cut and rolling those strings out like a sax player. On "Moon Shine," we hear the blues angle of harmolodics assert itself. Long, repetitive melody lines are played between Coleman and Blood; there's a modal feel, but it's subverted by the lack of flats. Blood augments all his chords to be played as drone-like as possible, so then even though the piece appears to be played in a minor key, after the first two measures it makes no difference because everyone is soling, not along a set of changes but a melodic line introduced at the beginning. Here is where Blood shines. His fiery arpeggios cut across the bass and rhythm lines and become their own tempo while never leaving the ensemble. The melody restates itself only often enough for the microtonal alignment between Coleman and Blood to become apparent. They are playing in different keys, and through different modal inventions, but sound in unison. On "Revelation March," which Blood recorded on Are You Glad to Be in America, is indicative of the complexities of harmolodics; it also offers a glimpse of this music out from under Coleman's tutelage. The previous melodies were all from Coleman's fake book. Here, Blood introduces the anarchy he's interested in, allowing fragmentary ideas to assert themselves as the sole reason to engage in group improvisation. Tacuma and Denardo are more than up to the challenge. Tacuma trades single lines with Blood's triple-timed fours and chords, creating a kind of melodic invention on the fly. Denardo treats the tune as if it were a march in hyperspeed. Only Coleman dares to play his loping, easy, graceful pace, blues -- wailing it above the chaos. It's beautiful. Safe to say, there are no weak tracks on Tales From Captain Black, and even the redo of "Revealing" from Ulmer's previous album show an unbridled excitement and an extrapolation of that tune's rhythmic and harmonic elements into something more sinister, more driven, more angular, more mercurial. Captain Black marks the real beginning of Ulmer's career as a leader. It has been a bumpy, restless ride since that time with many creative and professional ups and downs, but it hardly matters. Records like this one make him the most visionary and brilliant electric guitarist in a generation. ~ by Thom Jurek, AMG.
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1979: Art Pepper - Landscape: Live in Tokyo '79 |
Music » Jazz » BeBop » Post-bop |
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 Artist: Art Pepper Album: Landscape: Live in Tokyo '79 Label:JVC, Japan (24 bit remastered) Year: rec.Jul 16, 1979-Jul 23, 1979 / rel.2003 Format:MP3 @ 320 Kb/s Time: 52:00 Size: 111 Mb AMG rating:  To my friends in JBC! Please enjoy.
Altoist Art Pepper was in inspired form during this Tokyo concert, which has also been reissued as part of a huge "complete" Galaxy box set. This particular single CD features Pepper (along with pianist George Cables, bassist Tony Dumas, and drummer Billy Higgins) on memorable versions of "True Blues," "Sometime" (during which Pepper switches to clarinet), "Landscape," "Avalon," "Over the Rainbow," "Straight Life". Throughout, Pepper's intensity and go-for-broke style are exhilarating.~ by Scott Yanow, AMG.
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