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Here is a series of recently reissued albums by Robert Wyatt:

 

 

8^th album by Robert Wyatt, recorded six years after the last album (Wyatt seems to be keeping his followers purposely on the edge) and another minor masterpiece. Wyatt seems to have found finally the perfect formula for creating his unique music: using his wife's poetry as lyrics and cooperating with Jazz (this time notably with two Israelis – saxophonist Gilad Atzmon and bassist Yaron Stavi) and Rock veterans like Brian Eno, David Gilmour and Phil Manzanera. The political statements are still there, but less aggressive (not less painful or truthful of course), well even the most fierce revolutionaries get old in time. The music is fresh, vibrant, whimsical and magical, same as always and stimulating as ever. Of course Wyatt's music never was intended for mass consumption and musical charts. It takes time and patience, as well as open-mindedness and musical liberalism in order to fully appreciate this kind of Art. Considering the fact that Wyatt has been at the center of musical activity for five decades, his position in the Pantheon is assured, regardless of what some critics may think about him and his music. This is beautiful, stimulating music, which shows that not everything in music is lost in the 21^st Century!

 

 

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Here is a series of recently reissued albums by Robert Wyatt:

 

 

7^th album by Robert Wyatt, which follows up the previous release in the path of returning to more conventional music making and musical cooperation with other musicians, mostly from the avant-garde and jazz circles, like guitarist Philip Catherine, saxophonist Evan Parker, guitarist Paul Weller and others. Also the co-writing partnership with his wife Alfreda Benge, who contributes her poetic lyrics to Wyatt's songs, seems to thrive, creating less radical political statements and more abstract vistas. The music is again (as in the early days of his career) a mixture of Jazz and Prog, which is something Wyatt's fans are most comfortable with. Much more melodic, even if still melancholic at times, this is Wyatt's greatest musical work in his second life – music phase. The six years his fans had to wait for this album were definitely worth waiting for, with a gentler (although still strongly outspoken) Wyatt delivering what he does best – personal, straight form the heart musical gems. A triumphant return to splendid form and a minor masterpiece!

 

 

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Here is a series of recently reissued albums by Robert Wyatt:

 

 

5^th album by Robert Wyatt, his most radical political statement to date and also his most intimate release ever, as no other musicians are present on this album and Wyatt uses some synthesizers and drum machines to accompany his voice. Wyatt returns to writing his own material here, following a long period of covering other peoples' songs. His somber, but distinctly clear and heartfelt voice is the focus of this recording musically, as appropriate for the purpose of conveying his message. In retrospect this is a very powerful statement, which sadly lost nothing in time as far as human misery and injustice are concerned, with the issues and geographical references changing but the issues at hand still predominantly the same. Wyatt intended to produce non-commercial music, and this is as non-commercial as it gets, which of course has nothing to do with its quality, which is beyond reproach. Difficult – yes, but important and worth revisiting!

 

 

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Here is a series of recently reissued albums by Robert Wyatt:

 

 

4^th album by Robert Wyatt, released seven years after his previous offering and collecting songs he wrote and released as singles, creating a step by step compilation, which was released in its entirety on this album. Those years marked Wyatt's increasing involvement with leftish politics and radical social views and his study of historical events and their sociological impact. Although seemingly separate, these songs collectively reflect Wyatt's view of Western politics and its social injustice. Wyatt wrote only one of the songs on this album, the rest were carefully selected songs written by other songwriters, which thematically fit into the framework he wanted to present. Musically, the set is strangely coherent, with many fine musicians taking part in the recording and Wyatt's voice being clear and hauntingly sad. Even if one does not agree with Wyatt's political statements, this music is a great example of social and political awareness, as reflected in art, which should be respected and listened to. Surely Wyatt is one of the 20^th Century more important troubadours and his quest for justice and impeccable musical integrity deserves respect and admiration. Definitely a mind-opener!

 

 

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Here is a series of recently reissued albums by Robert Wyatt:

 

 

3^rd album by Robert Wyatt, which presented the Canterbury hero with an incredible challenge to follow up the masterpiece he created with "Rock Bottom". Rather than continuing the deeply personal self-exploration, Wyatt chose to present a collection of material, which is a mixture of earlier compositions, some even preceding the Soft Machine days, some pieces written by other colleague-musicians and the rest being new material written especially for this album, all performed by a stellar cast, which includes former Matching Mole cohort Bill MacCormick on bass, saxophonist Gary Windo, Fred Frith on piano, Mongezi Feza on trumpet and a few other avant-garde musicians in his inner circle. Wyatt sings and plays piano, delivering his unique music with grace and the usual masterly mystique and heartbreaking emotional truth. Quite experimental and often bizarre, this album in retrospect reveals more of its incredible bold and futuristic vision than it did at the time of its release, once again proving that Wyatt was always decades ahead of time with his musical ideas. Brilliant stuff, which is worth both discovering and getting to know for the first time!

 

 

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Here is a new edition of one of the most important Israeli albums ever recorded, which has a deep personal meaning for me, way beyond the purely musical statement it makes:

 

 

3^rd album by Israeli singer / songwriter / guitarist Yehuda Poliker, one of Israel's most important and unique artists, which in time achieved the status of one of the most important musical projects recorded in this country. Poliker, whose parents were Holocaust survivors from the Greek town of Thessaloniki, presents here a deeply moving, troubled and often shocking document about one of the most significant social / psychological phenomena common in the Israeli society – the Second Generation Holocaust Syndrome (SGHS). Many thousands of Israelis, children of Holocaust survivors parents who immigrated to Israel from Europe after WW II (myself included), grew up in the shadow of the Holocaust, often completely unaware of their parent's traumas and psychological devastation. Every child of Holocaust survivor parents bears in his personality a deep scar, inherited from his parents, even if this syndrome is hidden for many years. By the 1980s the SGHS was becoming painfully apparent in Israeli society and many of its victims were in need of psychological treatment to overcome its destructive effects. Poliker's songs, which have lyrics written by another Holocaust Survivors child, Yaakov Gilad, take this issue head on and for the first time ever right in the open and their impact on Israeli society was enormous, way beyond the musical statement this albums makes. Although Poliker started out as a rocker, playing great guitar, writing songs and leading the group Benzin in the early 1980s, he slowly returned to his Greek musical roots, the music he heard in his parent's house, and from the mid-1980s on he incorporated them in every musical statement he made. A master bouzouki player, he was soon notified beyond Israel, especially in Greece of course, and some of Greece most revered musicians collaborated with him on many projects, including George Dalaras. Poliker recorded several albums, which included his interpretations of Greek songs, which were immensely successful. The "Ashes And Dust" project started in 1986, when Poliker's parents participated in a radio program, which was broadcasted during the Holocaust Memorial Day, where they talked about their experiences in Nazi Concentration Camps. Poliker wrote several songs, which served as the musical background for that program, and later on led to the recording of this album. Following the release of the album, a Holocaust documentary entitled "Because Of That War" was filmed, which used Poliker's music as a soundtrack. The music, brilliantly crafted, is a mixture of Rock, ethnic elements (Greek and Middle Eastern) and ambient / psychedelic effects, which takes some time to getting used to, but is quite overwhelming. Even for listeners, who do not understand the Hebrew lyrics, the powerful statement of sadness, loss, and confusion is clearly audible. Poliker's guitar and other instruments he plays are often subdued, but there are many passages when his brilliant performances can be savored. This expanded edition includes the original album as well as an additional CD, which includes the 1986 Holocaust Memorial Day broadcast and several vide clips filmed to accompany songs from the album. Beautifully packaged, this well researched and tastefully prepared package pays the homage this musical milestone truly deserves.

 

Side Note: Yehuda Poliker's parents' house in Kiriat Haim, a quiet and sleepy (at the time) suburb of Haifa, was only two minutes walk away from my parents' house, one of several new housing apartment buildings constructed to house the wave of immigrants which arrived in Israel at a steady flow since the establishment of the State of Israel. Our family immigrated to Israel from Poland in 1967 and this was out new home. I was 16 at the time and already a music addict, up to date with every development of the burgeoning Hippy Heaven, so naturally I was immediately on the lookout for kindred souls nearby. It didn't take me long to find out that a kid a few houses away is a music lover and a guitar player and soon enough Yehuda, a few other music buffs and myself were spending hours together listening to music (which I supplied, being the only one with the latest arrivals like "Disraeli Gears" by Cream or other guitar heaven LPs like those by Jimmy Hendrix), often skipping school in the process. Yehuda was always quiet and contemplative, but he could immediately duplicate any guitar lick by Clapton or Hendrix, much to our amazement and of course envy. He did swallow up everything I knew about music then, and I kept of course encouraging him wholeheartedly when he started to make his first professional musical steps. Sadly our paths separated when he moved to Tel Aviv in order to pursue his career as a professional musician and in retrospect I'm sorry we never kept in touch over the years, but I always followed his career closely and admired him for his perseverance, independence and musical integrity. I remember seeing the number tattooed on his father's forearm, same as it appeared on my father's forearm, but we never discussed the Holocaust – it was something the young generation did not talk about. When this album was released, twenty years after we first met, I understood how deeply Yehuda was influenced by his parents' past, same as me and so many others.

 

 

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And after the new Soft Machine album, nothing could be more appropriate that the latest release by Soft Machine Legacy, the band that tries to keep the legacy alive:

 

 

Following the death of Soft Machine veteran member Elton Dean, the Soft Machine Legacy drafted a younger, but well established British saxophonist Theo Travis into their ranks to continue the band's path and quest to commemorate the original Soft Machine tradition. This, their 3^rd album, includes also the band veterans John Etheridge on guitar, Hugh Hopper on bass and John Marshall on drums, playing a mixture of new compositions and older Soft Machine material, freely switching between Jazz-Rock Fusion and freely improvised passages, always with gusto and incredible musicianship. Travis, although in an incredibly tough spot to follow the great Elton Dean legacy (a legacy inside a legacy so to speak) does a fabulous job and fits in as if he was always there, which is of course nothing short of a miracle. There is hardly any need to tell people how good this music is; anybody familiar with these musicians knows that their "no bullshit" attitude has been their motto for years, so just lay back and enjoy! Absolute must for every Soft Machine fan and hopefully an ear opener for the younger generation, less familiar with the veterans.

 

 

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Here is a new Soft Machine archival release – there seems to be no limit of the material this fantastic group left us as its heritage:

 

 

Australian-born drummer Phil Howard stayed with Soft Machine just for five months, but his influence on the group's transition into free improvisation music was tremendous. He recorded just one side of an LP with the group (the first side of "Fifth") and played quite a few gigs in UK and Europe with the band, which included also saxophonist Elton Dean (who brought Howard into Soft Machine as a replacement for the departing Robert Wyatt), keyboardist Mike Ratledge and bassist Hugh Hopper. The European gigs included the legendary appearance at the most prestigious European Jazz Festival at the time, the Donaueschingen Musiktage, organized by Joachim-Ernst Berendt. Howard brought into the quartet a ferocious "wall of sound" technique, which drove the quartet to unprecedented peaks of improvised music, only roughly based on themes stated at the start of every tune, very much in the same pattern as all free jazz, which flourished at the time, following the pioneering explorations of John Coltrane, Eric Dolphy and many others. Alas Howard's days in the band were numbered, as the band was waiting for his replacement, John Marshall, to finish his previous engagement with Jack Bruce. Sadly, following his departure from Soft Machine, very little was heard from this immensely talented drummer, which is a great pity. He can be heard on the Elton Dean's debut solo album "Just Us" (a must if you don't have it yet!). The music included here, all captured live during Soft Machine German tour, which followed the festival appearance, is a premiere example of their immense quality at that time, delivering some of European Jazz mightiest moments, definitely something that can be enjoyed not only by the dedicated fan base, but also by every Modern Jazz lover the world over. This is s brilliant document, which deserves slow and careful digestion with saliva drooling from one's mouth, sure more than once. God bless the invention of a sound recorder!

 

 

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It took me about 3 years to get hold of this album – the last missing JT on my site – well here it is finally:

 

 

13^th album by the British Prog masters Jethro Tull, which signifies an ending in many respects – end of the 1970s, end of the remarkable steady lineup and in general an end of an era. Of course Ian Anderson was not about to leave the stage and the revamped band would continue to produce some fabulous music in years to come and to this very day, but this album is surely an important milestone. Sadly the band's bassist John Glascock managed to record just three of the tracks on this album before his untimely death, an incident that influenced all band members and obviously influenced the somewhat somber atmosphere that overshadows the entire album. The music is as great as always, with Anderson writing almost the bulk of the material and the band members doing a splendid job, as only they could, with Anderson playing the bass parts on top of his usual duties as singer, acoustic guitarist and flautists. The album also includes some elaborate orchestral arrangements, which by that time were an integral part of many Prog albums, expanding the sound beyond the usual Rock instruments. Although this album is rarely mentioned in write-ups about the band and its history, it is a pity, as it contains loads of typical Jethro Tull gems and is as good as any of their more "famous" recordings. Obviously a must for any Jethro Tull fan.

 

 

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BOX SET

 

Here is a monster box set by Genesis, the third but the most valuable (musically) remastered / enhanced edition of their legacy:

 

 

This monster box set brings back to life the bulk of early recordings by the British band Genesis, which is of course synonymous with Progressive Rock genre and includes their 2^nd to 6^th albums: "Trespass", "Nursery Cryme", "Foxtrot", "Selling England By The Pound" and "The Lamb Lies Down On Broadway". Once the Genesis lineup stabilized (starting with the 3^rd album) the band produced a remarkable body of music, which now, over four decades later, still consists of the defining elements of the genre. Even if Genesis were not truly groundbreaking or innovative, and considering some extravagancies and annoying aspects of over the top theatrics by the band's lead singer Peter Gabriel, this music lost nothing of its remarkable quality and majestic aura. There is no point going into the detailed description of the music or its historic importance as a row model for countless musicians the world over, suffice to say that this is an essential piece of musical history, which deserves to be preserved for future generations, which this box set attempts to do. It includes 7 CDs and 6 DVDs: The original five albums are presented on 6 CDs (the last album was a double LP and is a double CD), remastered and remixed from the original studio tapes. The 7^th CD includes bonus tracks recorded during this period, both studio and live, which is a holy grail for any Genesis fan. All CDs are hybrid CD / SACD format. The 6 DVDs present the albums in the advanced 5.1 surround sound mix and a plethora of video material captured during this period and recent interviews with the band members. Exquisitely packaged in a luxurious box (same format as the other 2 box sets with their later recordings), this limited edition is sure to disappear from the market in matter of weeks, same as the previous box sets. Need I say essential?

 

 

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Here is a bunch of new BGO releases, as usual all excellent:

 

 

3^rd and 4^th album by US vocal super-group Mamas & Papas, a group which provided a major contribution to the soundtrack of the "Summer Of Love" and Hippy movement that swept the US in the late 1960s. Led by singer / guitarist John Phillips, who also wrote most of the group's evergreens, the group was deeply rooted in the US vocal Folk tradition with all of its members having previous experience singing with several folkie groups earlier on. However, they made the right switch at the right time, combining the folk-based harmonies with contemporary Pop songwriting and clever arrangements, creating on the way some of the most memorable musical gems in modern popular music. It seems that everything John Phillips touched turned into gold – the music, the group's success and even the organization of the first ever Pop / Rock music festival at Monterey. Unfortunately the group was also full with internal conflicts, ambitions and personal feuds, leading them to self-destruction after just over two years of existence and just four brilliant albums. Later attempts to reunite and recreate the band led to nothing but vastly inferior results in comparison to the original period and can be safely ignored. In retrospect, these two albums, as well as the first two ones, are still a superb example of perfect Pop music, which has enough quality and talent to last for generations, way beyond nostalgic inertia. Definitely worth hearing time and time again, especially if you feel somewhat blue – this is essential joie de vivre.

 

 

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Here is a bunch of new BGO releases, as usual all excellent:

 

 

2^nd and 3^rd album by Irish Folk-Rock duo Tir Na Nog, one of the finest representatives of the genre, although little known and often neglected by fans and critics alike. Sonny Condell and Leo O'Kelly had between them everything needed to create great music – they were both good songwriters, each played several instruments and their vocal harmonies were second to none. Following the release of their eponymous debut album in 1971, which was basically recorded by the duo without help from any additional musicians, they changed the approach slightly for their next two albums, using great studio players to expand the sound and even added some string arrangements to create a full-fledged Prog / Folk sound and feel. Some of the players involved include legendary bassist Brian Odgers and Procol Harum keyboardist Matthew Fisher. Both these albums stand the test of time splendidly, remaining as minor masterpieces of the genre. Sadly with the change of the musical and social climate in Britain by the mid-1970s the group fell victim to the music market realities and disbanded, never to record again. This reissue brings back to life an essential piece of the Folk-Rock puzzle, which remained hidden for decades. A must to all Folk-Rock enthusiasts!

 

 

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PERSONAL

 

Here it is, my 57^th birthday – what can I say? It's been a ride. More happened in the last 57 years than perhaps in the Centuries before, and I have been privileged to witness it all and experience some of it, accompanied by a fantastic soundtrack! I'm still working hard, in fact harder then ever, battling reality the best way I can. The world is getting into a lot of trouble; conflicts, wars, climate changes and trashing of the environment continue as if there's no tomorrow, but we must go on, God only knows why? Being extremely busy somehow makes it all bearable – escapism? Perhaps, but that is certainly better than depression or nihilism. I thank my beloved wife, daughter, Mother and friends the world over for being there, See you all next year!

 

CD

 

Here is a bunch of new BGO releases, as usual all excellent:

 

 

The US Jazz-Rock Fusion ensemble Chase is perhaps the least known among its contemporaries like Blood, Sweat & Tears, Chicago or even Flock, but I personally loved them very much and kept them in my memories all these years. It is therefore a joyful occasion to see their complete recording legacy being reissued and available again. Led by brilliant trumpeter Bill Chase, who came to fame as the lead trumpet in Woody Herman's Herd, known to deliver some of the strongest high notes ever played on this instrument, and who also played with other orchestras led by such famous leaders like Maynard Ferguson and Stan Kenton. By the late 1960s Bill Chase became somewhat bored by playing Big Band scores and decided to plunge full steam ahead into the invigorating world of Jazz-Rock Fusion. He collected a group of young but highly experienced young players, who shared his vision, creating the nine-piece band Chase. Signed with Epic, the band recorded 3 brilliant albums, included here, before Bill Chase and three other members of the band tragically perished in a plane crash, putting an end to one of the most promising bands of the time. Chase included a four-trumpet front line, backed by a rocky rhythm section (keyboards, guitar, bass & drums) and a lead singer (Terry Richards, who has a voice quite similar to David Clayton-Thomas). This unique lineup brings together the better of the two worlds – Jazz and Rock – creating a superb mixture, which only very few contenders seemed to possess. Most of the material is composed by Bill Chase, with a few classic songs getting a fresh arrangement. All three albums are equally brilliant, with the last one being the most mature and richly orchestrated, with expanded improvised solos and mostly instrumental. Bill Chase delivers several of his high-pitched solos, which leave the listener completely breathless. All in all listening to these albums in a row is an exhilarating experience, hitting right where it counts! This music aged extremely well and today, some 35 years after it was recorded, is still some of the best stuff you can let into your ears – absolutely essential!

 

 

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Here is a bunch of new BGO releases, as usual all excellent:

 

 

First a very important explanation why a "Best Of…" album would be considered at all to be placed on my site, as my loathing of the very idea of a "Best Of…" album is commonly known. Well the album's title is somewhat confusing; the CD does include some of the material included on the first two original Flock albums: the eponymous debut and "Dinosaur Swamps", but the "real" sensation is the inclusion of previously unreleased material recorded by the group for their third Columbia album, entitled "Flock Rock", which was abandoned after being rejected by the label. They are all here – superb instrumental pieces, which show the direction the group wanted to take and of course a most valuable addition to the group's limited recorded output. Led by violinist Jerry Goodman, Flock were definitely one of the most interesting Jazz-Rock Fusion ensembles at the time and alongside Blood, Sweat & Tears, Chicago and Chase revolutionized music as we know it. People who already own the two albums will get this for the bonus material and those who don't, have now a splendid opportunity to get exposed to some of the best Fusion ever recorded!

 

 

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Here is a bunch of new BGO releases, as usual all excellent:

 

 

Composer / arranger / bandleader / bassist Graham Collier is one of the Godfathers of modern British Jazz, and his contribution to the genre as a musician, educator and writer are monumental. Although initially schooled in the US (Collier was the first student from the UK to be awarded a scholarship at the Berklee School of Music in Boston in the 1960s), he was in fact one of the pioneers of the European Jazz, accepting the American Jazz tradition as a basis for further development and exploration based on the European cultural heritage. His innovative approach as a composer and arranger were immensely influential not only on the local British scene, but also throughout the entire Europe, especially his usage of irregular meters and time signatures. Over the years Collier composed and recorded a colossal body of work, which includes some of the greatest music of the 20^th Century. This album, which is a companion to the previous BGO reissue of his early recordings, includes the very first recording by Collier released on Deram in 1967, his last of the early 1970s recordings released on the tiny Saydisc label in 1972, before he established his own records label Mosaic, and a sensational never previously released alternate version of the live material, which produced the original "Mosaics" album. He composed all the music presented here (except one tune) and plays bass (something he was to abandon in the future) and the lineups of the three ensembles include some of the greatest players on the British scene at the time: Kenny Wheeler, Harry Beckett (trumpet), Alan Wakeman, Bob Sydor, Dave Aaron (saxophone), Karl Jenkins (oboe), Ed Speight, Philip Lee (guitar), Geoff Castle (piano) and John Marshall, John Webb (drums). Many of these players were to become future leaders of course, as Collier’s ensembles served as an excellent breeding ground for young players, similar to what happened on the Blues scene with John Mayall’s ensembles. Collier of often called the Charles Mingus of European Jazz, and the parallels are obvious. The music is of course absolutely stunning, from start to finish, and brilliantly performed. Every moment on this album is just right, brilliant and timeless, which makes it not only a perfect document of the era, but also a piece of music that retains its intrinsic values forever. Absolutely essential!

 

 

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Here is a new album by an old friend from Norway:

 

 

4^th album by Norwegian singer / songwriter Haakon Ellingsen, one of the great music craftsmen who is able to combine Pop harmonies, Prog instrumentation and Psychedelic memories into beautiful songs, like only very few contemporary songwriters can. With help from several excellent Norwegian musicians, some of which are members of Norway's great Prog bands like White Willow, Haakon creates a magical atmosphere of sophisticated Pop with Prog and Jazz undertones and exquisite melodies resembling the best of the 1960s output. However, this album goes way beyond simple nostalgic revisit of times long gone, adding contemporary values of excellent production and studio technology and bringing the 1960s legacy up to date. There is not much more I can (or should) add here, just relax and enjoy this great music and if you don't have his earlier albums, grab them ASAP! Delightful!

 

 

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Here is a beautiful album I've been waiting a long time to hear:

 

 

Bassist Chris Laurence has been one of the great "silent" heroes of the British Jazz scene for decades, providing his exquisitely solid, yet delicate and always sophisticated bass lines to countless Jazz albums, including many of the pivotal recordings of the late 1960s / early 1970s, which revolutionized European Jazz and emancipated it for the overwhelming stylistic and conceptual US supremacy. But his genius is also recognized and respected beyond the Jazz field, and he has an active career both as a Classical player and studio musician in the Pop / Rock world, where he contributed his talent playing behind some of the biggest names in the music business. And yet, for all these years, Laurence never recorded as a leader, something that has been finally remedied by this superb release. For this session he opted for an intimate setting of a piano-less quartet, which includes yet another "silent" hero and a veteran of the British Jazz scene – vibraphonist / percussionist Frank Ricotti, who also participated in countless pivotal recordings, sometimes alongside Laurence. Sadly both Laurence and Ricotti have never really received the proper recognition for the enormous contribution they both made to the British Jazz, with books and on-line sources mentioning them mostly in-passing. Hopefully this will be remedied sometime in the near feature (and before obituaries need to be written). But back to the music; Ricotti's vibraphone is the ideal companion to Laurence's bass playing and sets the tone to the laid-back, delicate and slightly melancholic atmosphere that underlines this album's overall feel. The two other members of the quartet are no strangers, as they have recorded with Laurence before, both being representatives of the second generation of British Jazz heroes: guitarist John Parricelli and drummer Martin France. Parricelli plays both electric and acoustic guitars and his playing on this album is actually the best I've heard so far, even superior to the performances on his solo recordings. His licks ornament the music, using just the precise amount of notes needed, leaving flashy excursions aside, which is exactly what is appropriate here. France does a splendid job keeping everything together rhythmically; again exactly what a great drummer needs to do first and foremost. It goes beyond saying that Laurence's bass lines are a delight from start to finish, which is only to be expected and Ricotti's vibraphone performance matches the (unfortunately very few) Masters of that beautiful instrument. The music chosen comes from the songbooks of great British Jazz composers, with whom Laurence recorded in the past, like Stan Sulzmann, Kenny Wheeler, John Surman and John Taylor. Fellow US musicians – Steve Swallow and Andy Laverne - also get their share and even one Joni Mitchell tune is included (Joni's close ties with the Jazz world are obvious). If all this is not enough, there is also a cherry on top of the proverbial cake: the divine Norma Winstone adds her sublime (as usual) vocals to a couple of the tunes, another gesture of gratitude for the sake of old times. So, please, buy this album and by doing so you will not only get some superb music, but you will pay some long-overdue tribute to this man's talents and his life-long dedication to the music we love!

 

 

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Here are a couple of new releases on the fabulous Vocalion label:

 

 

US trumpeter / composer Thad Jones (a member of the extensive Jones clan, which includes Quincy, Jimmy, Jo, Eddie and Thad's younger brother Elvin) paid his dues in full on the NY scene, playing with the American who's who of Jazz. His unique lyrical tone and his great feel for melody made him one of the greatest trumpeters of his time. This lovely reissue bring back to life two lovely recordings from the late 1950s, featuring Jones as a soloist in front of superb ensembles, which include such famous names as Frank Foster (sax) Frank Wess (sax and flute) Tommy Flanagan (piano), Mal Waldron (piano) and many others. Although his most famous moments would come only about a decade later, when Jones was to co-lead one of the best ever Big Bands with drummer Mel Lewis, these recordings show him in a more intimate setting, which emphasizes his excellent skills as a player and improviser. I had a real fun listening to these albums (which were out of circulation for ages), a reminder of times when life was simpler and music better. Recommended!

 

 

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Here are a couple of new releases on the fabulous Vocalion label:

 

 

Pianist / composer Michael Garrick has been a pivotal figure in the British Jazz for over five decades and his recorded legacy over the years is an enormous source of inspiration and an example of intelligence, finesse and dedication. By the mid-1970s the British Jazz revolution was all but complete and the scene's decade of glory was also nearing its end, with record sale declining. Therefore this album was to be the last recording Garrick made for the Argo label, a subsidiary of Decca. His ambition to push the music beyond the well established boundaries, with the music becoming more complex in the process, was a key factor in the company's decision to cease the fruitful cooperation, which lasted for a decade and produced some of Britain's best and most important Jazz masterpieces. Following the initial release of this album Garrick would almost completely stop releasing albums for over two decades, until he finally established his own independent Jazz Academy label and his output appeared there regularly since, to the delight of his many fans, myself included. The group playing on this recording consists mostly of Garrick's long time cohorts and the British Jazz scene's lions: Henry Lowther on trumpet and violin, Art Themen on flute and sax, Don Rendell on flute and sax, bassists Dave Green and Coleridge Goode and drummer Trevor Tomkins. The divine vocalist Norma Winstone was also an integral part of his band and her performances here are truly sensational. The album was recorded just a few weeks after the death of Joe Harriott, Garrick's dear friend and music-making partner and the album includes a tribute to his genius. This has always been one of my favorite albums and surely one of British Jazz everlasting masterpieces, which remains an essential listening to this very day. Absolute must!

 

 

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