CD

Back to the rest of the fabulous releases on the British Provocateur label, which is a great source of contemporary British (and not only) Jazz:

British guitarist / composer John Parricelli ranks amongst the most respected players on the contemporary British Jazz scene. His work with Andy Sheppard and Colin Towns (also on the Provocateur label) shows his versatility and technical skills, but this, his debut album as a leader, focuses the attention on his compositional skills. All the music on this album was composed by him and is performed by an excellent quartet, featuring Mark Lockheart on saxophone, Dudley Phillips on bass and Martin France on drums. Stylistically the album moves across a wide spectrum of contemporary Jazz, from up-tempo Fusion oriented tunes to slow dreamy ballads. Some World Music influences are also apparent. Parricelli plays with gusto and obvious sensitivity. People who like Pat Metheny (not that Parricelli is copying Metheny in any way) will love this album, and all Jazz guitar lovers should find it interesting. Definitely worth investigating.

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The legendary German MPS label, which in the late 1960 / 1970 released some of the most important European Jazz albums remains still mostly unavailable on CD. A new label, called Promising Music, started a series of reissues of the MPS catalogue, so here they are in their entire splendor:

French saxophonist / composer Barney Wilen is known to Jazz fans mostly for his role in the 1957 recording with Miles Davis of the legendary “Ascenseur pour l`échafaud” 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 Band with young upcoming players like Swiss guitarist Mimi Lorenzini, German keyboardist Joachim Kuhn, German bassist Gunter Lenz and two drummers, Italian Aldo Romano and German Wolfgang Paap. 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 Coleman. 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 Berendt 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 Music, this is a great trip down the memory lane. Definitely worth investigating.

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The legendary German MPS label, which in the late 1960 / 1970 released some of the most important European Jazz albums remains still mostly unavailable on CD. A new label, called Promising Music, started a series of reissues of the MPS catalogue, so here they are in their entire splendor:

Danish (of Congolese origin) saxophonist / composer John Tchicai was one of the very few European musicians involved with the development of Free Jazz in the US in the early 1960s, where he played with Don Cherry, Archie Shepp and John Coltrane. Upon his return to Denmark in the late 1960s, Tchicai became one of the leaders of European Free Jazz movement, as well as a visionary precursor of Jazz-World Fusion, dedicating much of his work to incorporating African Music into Jazz. This momentous recording documents one of the first major Jazz-World Fusion works, recorded by a Jazz orchestra with 26 players, mostly Danish musicians, with the Dutch saxophone colossus Willem Breuker as a guest. The title track is a 22 minutes long Jazz suite, performed by the orchestra and composed by trumpeter Hugh Steinmetz, with the soloist improvising individually and collectively on top. It is an amazing piece of music and a daring excursion into uncharted musical territory, which sounds as awesome and impressive today as it did at the tome of its recording, perhaps even more so in retrospect, considering how little experimenting is done these days. The rest of the album includes music composed by Tchicai and performed by smaller ensembles, emphasizing the concept of collective improvisation. The entire album was conceived and eventually brought to life by the legendary producer Joachim Berendt, who prophetically recognized the importance of Tchicai’s work and struggled ceaselessly to make this immensely complex project to come to fruition. The music remains a timeless manifest to the most creative period in Jazz, when the unexpected was truly expected. Superbly remastered and elegantly packaged by Promising Music, this is a treasure. Brilliant!

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Rody’s back home after she was discharged from the hospital. What a relief!

CD

The legendary German MPS label, which in the late 1960 / 1970 released some of the most important European Jazz albums remains still mostly unavailable on CD. A new label, called Promising Music, started a series of reissues of the MPS catalogue, so here they are in their entire splendor:

Dutch keyboardist / composer Jasper van`t Hof was one of the most prominent young Jazz musicians on the European scene in the late 1960s / 1970s and a pioneer of the new European Jazz, which emerged like a Phoenix on the ashes of the stagnant Jazz tradition. A founding member of the legendary Association P.C., van`t Hof left the group in 1972 (to be replaced by Joachim Kuhn) and a year later formed his own ensemble Pork Pie (the name being a tribute to a famous Lester Young tune) with four other excellent musicians: the veteran American (but resident in Germany) saxophonist Charlie Mariano, Belgian guitarist Philip Catherine, French bassist Jean-Francois Jenny-Clark and Italian (but resident in France) drummer Aldo Romano. The group recorded a couple of albums on the legendary German MPS label, of which this was the first. The group played a completely innovative music, which moved freely between genres and included Free Jazz, Jazz-Rock Fusion, Psychedelic and World Music elements. All five members of the group were splendid musicians, blessed with virtuosity and inspiration, and the rapport between them was phenomenal. This album sounds today as advanced and oracular as it did at the time of the recording, losing nothing of its freshness, a true timeless masterpiece. The Brazilian percussionist Ivanir “Mandrake” Do Nascimento appears as a guest on some of the tracks and adds his magic to the mix. In retrospect this is a superb example of what was happening on the European Jazz scene at the time, underlining the perpetual quest for new forms of expression and ceaseless search for new musical vocabulary. Superbly remastered and elegantly packaged by Promising Music, this is a treasure and a great trip down the memory lane. Hopefully the other MPS recording by this group will follow soon. Brilliant!

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The legendary German MPS label, which in the late 1960 / 1970 released some of the most important European Jazz albums remains still mostly unavailable on CD. A new label, called Promising Music, started a series of reissues of the MPS catalogue, so here they are in their entire splendor:

American vibraphonist / composer Dave Pike was one of quite a few American Jazz musicians, who left the US and settled in Europe in the late 1960s, stifled by the atmosphere of the US scene at the time, which seemed to them as limiting and confining, especially in comparison to the exciting and flourishing developments happening in Europe at the time. Settling in Germany, Pike formed a quartet with three wonderful German musicians: guitarist Volker Kriegel, bassist Johann Anton Rettenbacher and drummer Peter Baumeister, which he called the Dave Pike Set. The quartet was signed by the legendary German MPS label and recorded a series of albums for the label, of which this was the 3^rd and the only live recording. Recorded at a concert, which was presented during the 1969 edition of the Berliner Jazztage Festival, the quartet flies gracefully through a set of original compositions (mostly by Pike and Kriegel), presenting a refreshing use of the vibraphone / guitar dual lead and a splendidly inventive, but solid support by the rhythm section. The compositions are quite different from each other stylistically, but always top-notch, with plenty of space for extended solos. Kriegel proves to be the most inventive player of the quartet and his amazing inventions and brilliant technique clearly show his early steps on his way to become one of Europe’s best Jazz and later Jazz-Rock Fusion players ever. It is interesting to compare the Dave Pike Set with the Gary Burton quartet, one of the most interesting American Jazz ensembles at the time, which also featured the vibraphone / guitar (Larry Coryell) double lead and experimented with time signatures and early Fusion, Psychedelics and World Music excursions. The similarities are truly quite amazing. In retrospect the music lost none of its charm and adventurous nature and remains a splendid example of the European scene at the time. Superbly remastered and elegantly packaged by Promising Music, this is a treasure and a great trip down the memory lane. Hopefully the other MPS recordings by this group will follow soon. Brilliant!

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CD

The legendary German MPS label, which in the late 1960 / 1970 released some of the most important European Jazz albums remains still mostly unavailable on CD. A new label, called Promising Music, started a series of reissues of the MPS catalogue, so here they are in their entire splendor:

American saxophonist / composer Charlie Mariano was a fascinating musical figure and a prime example of the difference between the American and the European approach to music in the late 1960s / 1970s. With an established career as a Bebop player in the US, Mariano left his home to travel extensively in the Far East, exploring the culture and music of India, Japan and other Asian countries. Upon his return the West, he settled in Germany and became involved with the local / European scene, not willing to return to the limited and narrow-minded American music scene at the time. He was a member of many avant-garde groups, which at the time expanded the musical boundaries of both Jazz and Rock music, including such legendary outfits as Embryo, Pork Pie and United Jazz + Rock Ensemble. This recording for the legendary MPS label, organized by the producer Joachim Berendt, presents a fascinating aspect of his activity at the time and in retrospect remains as one of his all time best albums. With a dreamy ensemble, which includes the Polish violin virtuoso Zbigniew Seifert, Czech keyboards wizard Jan Hammer, British superstars: bassist Jack Bruce and drummer John Marshall and Indonesian percussionist Nippy Noya (resident in Germany), Mariano delivers a fantastic session, featuring six of his originals and one composition by Hammer. He plays soprano and alto saxophones, flute and his beloved Indian reed instrument called nagaswaram, which became his trademark. The music is a great mixture of many musical elements, including strong World Music influences, some Free Jazz and some Jazz-Rock Fusion. This strange amalgam works extremely well, creating a unique atmosphere, which is on one hand different from most other efforts at the time and on the other hand includes them all. Seifert “steals” the show every time he plays, as his virtuosity is overwhelming, but the ensemble work is overall superb, with plenty excellent solos. Uneven rhythmic patterns, “strange” melodies, great performances – all the elements that make music interesting and challenging are here for the listener to enjoy. This is a true classic of the era when daring was considered part of the norm. This beautifully remastered and packaged reissue is most welcome by many Mariano and European Jazz fans all over the globe. A must!

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The legendary German MPS label, which in the late 1960 / 1970 released some of the most important European Jazz albums remains still mostly unavailable on CD. A new label, called Promising Music, started a series of reissues of the MPS catalogue, so here they are in their entire splendor:

American violinist Don “Sugercane” Harris was one of the very few great Blues / Rock / Fusion artists playing the fiddle. He came to prominence as a member of the revolutionary John Mayall’s Bluesbreakers group and later as a member of Frank Zappa’s groups. This album, recorded live during the Berliner Jazztage Festival, presents Harris both as a leader and a participant in the legendary “Violin Summit” super-group, assembled by producer Joachim Berendt. The solo appearance is in fact an offshoot project of the “Violin Summit”, which was a series of recordings on the legendary MPS label, which celebrated the role of the violin in Jazz, Blues, Jazz-Rock Fusion and Rock and produced probably the most interesting document of music by violinists in the late 1960s / 1970s. The “Violin Summit” projects were based on a concept of a rhythm section and a series of violinist playing solo and in various combinations. The 1971 version of “Violin Summit”, which produced the “New Violin Summit” double album, included also such great violin players as Jean-Luc Ponty (France), Michal Urbaniak (Poland) and Nipso Brantner (Germany) – none of them is heard here – and a fantastic rhythm section consisting of the Norwegian guitarist Terje Rypdal, German keyboardist Wolfgang Dauner, New Zealander (resident in UK at the time) bassist Neville Whitehead and British drummer Robert Wyatt. On the solo night Rypdal is replaced by German guitarist Volker Kriegel. Surrounded by such illustrious musicians, Harris plays his heart out, improvising more daringly than ever before, no doubt inspired by the incredible performances by his European partners, who were musically much more advanced that Harris’ usual American companions. Overall the album presents a great event captured for posterity, with some amazing musical moments documenting the formation of the European Jazz-Rock Fusion, which bridges between such distant genres as the Blues and Free Jazz with elegance and vision. Beautifully remastered and packaged, this album is definitely worth investigation and attentive listening.

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The legendary German MPS label, which in the late 1960 / 1970 released some of the most important European Jazz albums remains still mostly unavailable on CD. A new label, called Promising Music, started a series of reissues of the MPS catalogue, so here they are in their entire splendor:

American keyboardist / composer George Duke first came to prominence in the late 1960s, when he recorded with the French violinist Jean-Luc Ponty, who was invited to records in the US following his festival appearances. The association with Ponty opened quite a few doors for Duke, eventually leading to his stint with Frank Zappa, as well as his recording contract with the legendary MPS label. He recorded 8 albums for the label between 1971 and 1976, of which this was the 3^rd. Duke was a strange choice for MPS, as it concentrated mainly on presenting the European Jazz scene (the only exception was a series of albums recorded by Oscar Peterson), with strong avant-garde and later European Jazz-Rock Fusion, which was much more advanced that its American counterpart. Although Duke was closely associated with the US Jazz-Rock Fusion scene in the 1970s, playing with such prominent musicians like Stanley Clarke, Billy Cobham and many others, his Fusion approach was strongly based on Blues, Funk and Soul, his “native” musical areas. Therefore his MPS recordings can be considered as some of the most commercial and accessible recordings ever released by this label. On this album Duke uses a trio (John Heard – bass and Leon Ndugu Chancler – drums) and plays a wide array of synthesizers. He composed all but one of the tunes (the only composition, which isn’t his is by the Brazilian genius Milton Nascimento, and points towards Duke’s fascination with Brazilian music, which would flourish later in his career). There is no doubt about Duke’s brilliant technique as a player and his use of synthesizers is revolutionary at that time, but the compositions are definitely on the lighter side of Jazz and his vocals (however sparsely used) completely unnecessary. As much as I like Duke’s playing and many of his recordings, this is not one of his absolute highlights, even if it is much better that most of his later recordings starting from the 1980s and up to now. Nevertheless it is still a solid and enjoyable album worthy of being remembered. Of course many of his fans will enjoy this quality reissue with beautifully remastered sound and superb packaging.

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The legendary German MPS label, which in the late 1960 / 1970 released some of the most important European Jazz albums remains still mostly unavailable on CD. A new label, called Promising Music, started a series of reissues of the MPS catalogue, so here they are in their entire splendor:

German pianist / composer Wolfgang Dauner was one of the most important forefathers of European Jazz. A prolific composer, bandleader and activist, his contribution to the establishment of European Jazz and its emancipation from the restrains of the American Jazz tradition is truly immense. Dauner, who in addition to his musical activities, was also a prolific painter, always looked at music as an expression of an overall aesthetic / cultural point of view, with philosophical / social and even political undercurrents. Over the years Dauner created a most impressive body of work, encompassing many quite different styles and directions, spanning straightforward (but always unique) Jazz, Jazz-Rock Fusion, Free Jazz and Improvised Music. In the mid-1970s Dauner formed the revolutionary United Jazz + Rock Ensemble – a multi-national group of superb European players, which brought Jazz-Rock Fusion to a level of absolute Art. He also co-founded the independent Mood Records label, which for many years documented some of the most important and unconventional European music (mostly Jazz). His early recordings on the legendary MPS label (as leader and sideman) are in retrospect perhaps the most important from the historical point of view, as they demonstrate the boldness, inspiration and urge to explore uncharted musical territories. Encouraged and supported by the legendary Jazz critic and resident MPS producer Joachim Berendt, Dauner could freely express his visions, regardless how bold they might be, especially at the time. For this recording Dauner formed a septet, which included some of his regular cohorts like cellist / bassist Eberhard Weber and American (but living in Germany) drummer Fred Braceful. He added three excellent German young players: saxophonist Gerd Dudek (who would later become one of the central figures of German Improvised Music and Free Jazz), bassist Jurgen Karg and drummer / tabla player Mani Neumeier (later a member of the legendary Guru Guru group). As the last member of the septet Dauner selected the then little known French virtuoso violinist Jean-Luc Ponty, who was of course destined to achieve worldwide recognition later on. The septet performs five of Dauner’s compositions, which provide a skeletal framework for group improvisations by the band members. The double bass / drums lineup allows for complex rhythmic patterns to evolve, and of course there is plenty of space for individual solo spots, but overall the music is mostly a group effort, Dauner uses “prepared piano” (i.e. differently tuned one) to achieve some novel sound approach. In retrospect this is a superb document of the birth of European Jazz, which takes the Free Jazz idiom and pushes it (here still ever so gently) into the Improvised Music realm. The music lost none of its power and inspiration over the years and for a “first time” listener should be quite an ear opener. Kudos to Promising Music for the excellent remaster and elegant packaging of the reissue. A must!

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Rody is recovering from the surgery. She has some fever and gets antibiotics, hopefully in a few days all will be well and she will be released home.

CD

The legendary German MPS label, which in the late 1960 / 1970 released some of the most important European Jazz albums remains still mostly unavailable on CD. A new label, called Promising Music, started a series of reissues of the MPS catalogue, so here they are in their entire splendor:

Association P.C. was one of several multi-national Jazz groups active in Europe during the late 1960 / 1970 explosive period of creative activity, which resulted in establishment of the European Jazz and its emancipation from the American Jazz traditions. With Britain as one epicenter of the new music, Netherlands, Germany and France were the other one. Their geographic proximity enabled the existence of multi-national groups, as the musicians were able to meet, rehearse and tour, all within a driving distance from their respective homes. These countries also had a common cultural background, which served as common bond between the musicians. The original group was formed by Dutch drummer Pierre Courbois (his initials are in the group’s name) with fellow Dutch players Jasper van`t Hof – keyboards and Peter Krijnen – bass and the German guitarist Toto Blanke. Krijnen was soon replaced by German bass virtuoso Siggi Bush. After van’t Hof left the group to form his own outfit (the legendary Pork Pie), he was replaced by German keyboardist Joachim Kuhn. The group recorded five albums, four of them on the legendary MPS label, and this was the last of them. The idea for recording an album with American flautist Jeremy Steig was initiated by the legendary Jazz critic and resident MPS producer Joachim Berendt, who heard Steig perform at the Munich Jazz Festival, which was organized as one of the events for the Munich Olympic Games in 1972. Berendt was always looking for unusual musical combinations and inspired the (then) forming European Jazz scene by his unequivocal support and prophetic vision. Steig, although American, was always associated with the avant-garde and pursued his own search to expand his horizons beyond the stagnant Jazz mainstream. Therefore his rapport with the young European musicians, who were also on a quest to discover the unknown, happened naturally, as Berendt envisioned. The album was recorded live, another wise decision by Berendt, as the character of the music simply suited a spontaneous situation perfectly. Although Association P.C. is often associated with the European Jazz-Rock Fusion (probably due to the fact that electric guitar and keyboards were used), is fact the group had nothing to do with that genre. Blanke and Kuhn will later on play in or lead Jazz-Rock Fusion ensembles, but in that group they played quite a different sort of music, trying to expand Free Jazz (which served as a departure point) into Improvised Music. Steig understood that instinctively and cooperated beautifully. The peak of the album is reached on the 21+ minutes long spontaneously improvised piece, which was the original B-side of the LP. The performances are of course inspired and uplifting, as the musicians were all virtuosi and masters of their trade in spite of their young age. In retrospect the album caught for posterity a glorious moment and a fragment of what was happening on the European scene at the time, which makes it an immensely important document, in addition to being a superb musical experience, completely relevant to this very day. Kudos to Promising Music for the excellent remaster and elegant packaging of the reissue. A must!

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Rody’s surgery went on as scheduled. So far the recovery is as planned, but of course it’s early to tell. Hoping for the best.

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Back to those splendid releases on the Provocateur Records label, I simply can’t get enough of this superb music:

British saxophonist / composer Andy Sheppard needs no introduction to followers of British Jazz. He earned an impressive reputation since the late 1970s, playing in many famous ensembles both in Britain and abroad, like the ones led by George Russell, Gil Evans and Carla Bley. His extensive discography recorded over the years proves his status as one of Britain’s foremost instrumentalists beyond a shadow of a doubt. Sheppard has a rare talent of combining beautiful melodies and expanded improvisation is a way that makes his music accessible to a relatively large audience on one hand, but remains intellectually challenging on the other. He is also extremely versatile and open-minded, always ready to combine in his music the Jazz tradition with other elements like World Music, electronics and even club culture. In 1998 Sheppard joined the roster of the prestigious British Provocateur Records label, and released a series of landmark recordings on that label in the following years. For this, his debut recording on Provocateur, Sheppard formed a quintet which included some of his faithful cohorts from the past, as well as new players: John Parricelli – guitar, Steve Lodder – keyboards, veteran bass player Chris Laurence and percussionist Paul Clarvis. Tabla player Shalda Sahai is added on three tracks. Sheppard composed all the music, which is mostly low-key and lyrical, beautifully melodic and sometimes even sentimental (in a positive way of course). His soprano saxophone lures the listener like the Pied Piper of Hamelin, being extremely addictive. All together this is a most pleasant journey into the lighter side of Jazz, without any compromise on quality. Recommended to listeners who love a great melody with their Jazz meal.

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Rody was hospitalized today. The surgery is scheduled for tomorrow.

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Back to those splendid releases on the Provocateur Records label, I simply can’t get enough of this superb music:

British keyboardist / composer / arranger / bandleader Colin Towns presents his 2^nd large scale Jazz project on this album, released on his record label Provocateur Records. Five years after his previous release, which was a great surprise and a stunning example of modern big band Jazz music, Towns takes the listener even further into the realm of orchestral Jazz, with an ambitious and complex piece of music, performed by his Mask Orchestra, which includes some of the best Jazz players in Britain, such as Alan Skidmore (saxophone), Henry Lowther and Guy Barker (trumpet) and Clark Tracey (drums). But the greatest surprise on the album is the presence of Italian singer Maria Pia De Vito, who delivers some remarkable vocal parts, cleverly incorporated into the music, often taking the music places previously unexplored. Incorporating vocal parts into large scale orchestral Jazz is not new in the British Jazz tradition and has been previously used during the golden age of the late 1960s / 1970s by composers like Mike Westbrook, Michael Garrick and others. I suppose Towns is familiar with these examples and I’m happy to see him creating an up-to-date example of this compositional device. The music is truly grand, rich and sophisticated; somewhat similar to Classical Music at times, but more dynamic and of course retaining the element of swing, which clearly keeps the music well inside the overall framework of Jazz. Perfect performances, with many splendid solo parts and the fantastic sound quality all contribute to the success of this album, which deserves a worthy place in the Pantheon of the valued British Jazz tradition. Although requiring attentive listening, patience and open-mindedness, this music is richly rewarding and holds many intellectual as well as emotional qualities, which should keep all Jazz lovers happy. Wholeheartedly recommended!

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Back to those splendid releases on the Provocateur Records label, I simply can’t get enough of this superb music:

The music scene is surely one of the greatest sources of unexpected surprises. The case of keyboardist / composer / arranger / bandleader Colin Towns is really an excellent example of strange metamorphoses that occur in the world of music. Take a man, who was the keyboards player and composer for the Ian Gillan Band, one of Britain’s most notorious rockers of the early 1970s, transport him 20 years forward and you get one of Britain’s most famous TV and Film composers. As if this wasn’t enough, the same person also has ambitions to become a Jazz composer and actually assembles a big band, which he calls the Mask Orchestra, writes a collection of Jazz compositions, arranges and records them and eventually releases an album on his own label, called Provocateur Records, which boldly states as it slogan: “Improvise not Compromise”. Now that’s something that truly deserves to be called a chutzpah! The amazing part of all this is that it not only works, but actually works wonders. Towns’ debut recording with his ensemble is a majestic piece of music, refreshing and illuminating, continuing the Ellingtonian tradition of big band Jazz composition and at the same time invigorating that tradition, taking it up contemporary standards. The Mask Orchestra is a dreamy assemblage of some of Britain’s most illustrious veteran Jazz instrumentalist, like John Surman, Peter King and Alan Skidmore (saxophone), Henry Lowther and Derek Watkins (trumpet), John Taylor (piano) and Dave Green (bass), together with some superb younger players of the second generation like Guy Barker (trumpet) or Clark Tracey (drums). These players can play anything, regardless how complex or demanding the actual score is. And play the do – like there’s no tomorrow. It is difficult to imagine this music without actually hearing it, believe you me. Nothing compares to the power, multiplicity of sounds and harmonies, overwhelming euphoria and ecstasy of sound, like music performed by a great big band. Although this music was recorded almost 20 years ago, it lost absolutely nothing of its power and beauty, as well as element of surprise. It is almost impossible to believe that is a debut recording, but apparently miracles do happen, even in music. If you can lay your hands on this album, grab it, which won’t be easy as it is currently out of print, hopefully not for long. Gorgeous and essential stuff, deserving all the praise it received at the time of its release and certainly a superb document of the British Jazz scene, which apparently still has a few tricks hidden up in its sleeve.

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Back to those splendid releases on the Provocateur Records label, I simply can’t get enough of this superb music:

Following the recording of the sensational “The Call” album, legendary British saxophonist / composer Alan Skidmore reunited again with the South African ensemble Amampondo and created the group Ubizo, adding a few other British Jazz musicians. This album documents the group’s music, which is a direct continuation of the tremendous success achieved on the previous album. This time the group presents a slightly different balance between Jazz and Folklore, as the “Jazz section” is strengthened by the addition of trumpeter Ingolf Burkhardt (from the NDR Big Band). Other players include Colin Towns (keyboards), Steve Melling (piano) and Arnie Somogyi (bass), who played on the previous album, and Stephen Keogh on drums. The music includes compositions by Skidmore, Towns and of course by members of Amampondo, as well as arrangements of traditional South African music. The overall balance between Jazz and Folklore is absolutely perfect, creating a superb Jazz-World Fusion, as it should be. British Jazz aficionados should remember Skidmore’s participation in Chris McGregor’s Brotherhood Of Breath some 30 years earlier, which also blended South African music and Jazz. It is quite interesting to compare this recording with the BOB ones and observe the process of maturity and refining that occurred in the meantime. The raw power and wildness (in search of musical and not only freedom) is replaced here by moderation and sophistication. Yes, we are all getting older, no doubt, but this does not affect Skidmore’s playing, which is exceptional, like always. His tone and improvisational skills are a symbol of (spiritual) youth and his Coltranesque explorations remain equal to none. I only hope Skidmore will continue to record his superb music for many years to come. Delightful!

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Back to those splendid releases on the Provocateur Records label, I simply can’t get enough of this superb music:

British saxophonist / composer Andy Sheppard and his partner guitarist / composer John Parricelli are both household names on the contemporary British Jazz scene. They have collaborated many times before recording this duo album, which documents perfectly their mutual admiration and respect for each other’s talents. They both contributed equally from their respective songbooks and added one co-composed tune to round things up. The music is very intimate, as appropriate for a duo recording, with mostly lyrical content. The cooperation and interplay is perfect in every sense and the tempi vary from classic Jazz, Latin and even African rhythmic patterns. Parricelli plays both the acoustic and electric guitars and Sheppard plays both the tenor and soprano saxophones, so between the two of them there is certainly enough variety to keep the listener hooked and enchanted. The overall atmosphere is similar to many ECM recordings, where silence and space are equally important as are the actual sounds played. Enthusiasts of that kind of subdued and restrained emotionality will absolutely love this album. Definitely worth checking out!

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Back to those splendid releases on the Provocateur Records label, I simply can’t get enough of this superb music:

British saxophonist / composer Andy Sheppard takes a bold step into creating a one-man-show concept album, which is a big step away from his usual subject matter as a mainstream Jazz musician. Playing several instruments (saxophones, keyboards, guitar and synthesizers) and accompanied only by French drummer / percussionist Stephane San Juan, Sheppard brilliantly employs also an array of studio wizardry, using samples, pre-recorded background sounds, fragments of recorded conversation, lops, etc., all these to create a very interesting collage of sounds, on top of which he improvises. His highly developed sense of melody prevails of course and his improvisations are kept strictly within the melody lines. Nevertheless the overall effect of this music is quite fascinating, as it presents another way to expand the Jazz idiom into new and contemporary vistas. Although some Jazz purists might shrug about this music, let’s make no mistake here – it is still good music, even if unconventional in the traditional Jazz aspect. As a matter of fact this album might serve as a perfect tool to introduce many listeners to Jazz, especially the younger generation. Comparing this music with many lounge and ambient projects created in the last decade, the result will still place this album way above other efforts. I had a lot of fun listening to this and quite a few surprises along the way. Definitely worth checking out!

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Back to those splendid releases on the Provocateur Records label, I simply can’t get enough of this superb music:

British saxophonist / composer Andy Sheppard needs no introduction to followers of British Jazz. He earned an impressive reputation since the late 1970s, playing in many famous ensembles both in Britain and abroad, like the ones led by George Russell, Gil Evans and Carla Bley. His extensive discography recorded over the years proves his status as one of Britain’s foremost instrumentalists beyond a shadow of a doubt. Sheppard has a rare talent of combining beautiful melodies and expanded improvisation is a way that makes his music accessible to a relatively large audience on one hand, but remains intellectually challenging on the other. He is also extremely versatile and open-minded, always ready to combine in his music the Jazz tradition with other elements like World Music, electronics and even club culture. In 1998 Sheppard joined the roster of the prestigious British Provocateur Records label, and released a series of landmark recordings on that label in the following years. For his debut recording on Provocateur (“Learning To Wave”), Sheppard formed a quintet which included some of his faithful cohorts from the past, as well as new players: John Parricelli – guitar, Steve Lodder – keyboards, veteran bass player Chris Laurence and percussionist Paul Clarvis. On this album, the follow-up release, the quintet is expanded to a septet with the addition of the legendary US electric bass player Steve Swallow and young tabla player Kuljit Bhamra. Sheppard composed all the music, which is mostly low-key and lyrical, beautifully melodic and sometimes even sentimental (in a positive way of course). His soprano saxophone lures the listener like the Pied Piper of Hamelin, being extremely addictive. All together this is a most pleasant journey into the lighter side of Jazz, without any compromise on quality. Recommended to listeners who love a great melody with their Jazz meal.

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Back to those splendid releases on the Provocateur Records label, I simply can’t get enough of this superb music:

Following her brilliant album “Verso”, recorded a couple of years earlier, Italian Jazz singer Maria Pia De Vito returns with her second album on the splendid Provocateur label. Her two faithful companions on the previous album: British pianist John Taylor and US guitarist Ralph Towner are back with her again, but this time the instrumental ensemble is expanded to a quartet with the participation of legendary US bassist Steve Swallow and French drummer / percussionist Patrice Heral. The music, composed by De Vito, Taylor, Towner and Swallow, is beautifully minimalist and quite complex, providing an ideal vehicle for the singer’s vocal explorations. She uses lyrics and vocalese interchangeably, with a rare ability to sound perfectly right at each given moment. The written music is but a frame for hers and the musicians’ improvisations, which keep floating effortlessly. De Vito continues in her singing the modern European vocal Jazz tradition, initiated in the 1970s by singers like Urszula Dudziak, Lauren Newton and Jeanne Lee (Vocal Summit), but of course this tradition is brought up-to-date and her personal input is dominant. The album is a beautiful collection of highly sensitive, lyrical music, which captures the listener totally and requires his total dedication. Most importantly it keeps the process of exploration, as far as vocal Jazz is concerned, alive, rather than following the “easy” path of yet another attempt at vocal Jazz standards. Listening to this album one realizes that vocal Jazz is still alive and kicking, a relief indeed, and has a lot of fascinating innovations to offer. Don’t even think twice!

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Back to those splendid releases on the Provocateur Records label, I simply can’t get enough of this superb music:

British keyboardist / composer / arranger / bandleader Colin Towns is most commonly associated with his work for and with Jazz big bands, like his Mask Orchestra or the German NDR Big Band, but this album presents a different aspect of his work. Towns wrote ten intriguing compositions, of which nine are “songs” (i.e. include lyrics also written by him) and the entire cycle is preformed by an instrumental quintet (called not surprisingly Mask Quintet), fronted by the gorgeous Italian vocalist Maria Pia De Vito. The quintet members include, in addition to Towns who plays keyboards, some of his regular cohorts and members of his ensembles: saxophonist Julian Argüelles, guitarist John Parricelli, bassist Dudley Phillips and drummer Ralph Salmins. For lovers of modern vocal Jazz this album is a Godsend, as it presents a whole new outlook on the art of writing for vocals as well as vocal approach, rather than trying to use yet again some of the vocal Jazz standards, which often have been already abused to death. These are beautiful, intricate and highly intelligent compositions, using a wide palette of Jazz compositional structures, incorporating some World Music influences. De Vito performs these splendid songs with grace, deep musicality and unprecedented open-mindedness, creating a truly magnificent offering. Her crystal-clear voice, incredible range and above all sensitivity assure her position as one of the most important contemporary Jazz vocalists. Of course the instrumentalists accompanying her also contribute to this album’s success, playing impeccably and delicately not to overshadow her vocal parts. Towns’ cooperation with De Vito goes hand in hand with his work with the legendary British singer Norma Winstone, as documented on other Provocateur Records releases. In many respects De Vito could be considered as an admirable younger “sister” of Norma’s, both of them sharing rare qualities and individual approach to Jazz vocals, which is extremely rare. The album is quite an experience and I had an absolutely marvelous time listening to it, surprised time and time again both by the music and the execution. I dare everybody to try it!

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I’m happy to announce the recent cooperation between Jazzis Web Shop and the splendid British Jazz label Provocateur Records. Owned by pianist / composer / bandleader Colin Towns, the label presents some of the best modern European Jazz musicians and the label’s recordings are both musically and technically (sound quality) absolutely outstanding, quite similar to the standard set by ECM Records. The first 9 Provocateur CDs are already available on the site and more will be available soon. Unfortunately many of the label’s releases are being discontinued – a clear sign of the times – and therefore I really recommend to all of you to order these fantastic releases before they are gone forever. As you all know, I’m not trying to peddle CDs – I just hope some of you will get to enjoy this beautiful music as much as I do.

On another sad note – I’ve just been informed that the splendid reissue label Gott Discs is no longer. What a tragedy for reissue lovers… Of course that means that all the remaining few items I still have in stock are now out of print and definitely worth chasing.

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PERSONAL

My dear wife, Rody, will undergo a serious surgery next Thursday, July 17 2008. The surgery is fortunately not related to Rody’s breast cancer episode, which we hope is behind us – thank God for that - but it has to do with her chronic disease, which sadly is progressing with time. As usual is such cases, I ask everybody on this list to send their good thoughts and wished, as well as prayers for the success of the surgery and speedy complete recovery.

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Today’s addition is the last album by Gordon Beck on the Art Of Life label, a limited edition that is almost sold out:

This live recording of the Gordon Beck trio at the Appleby Jazz Festival is a great proof of the fact that the legendary pianist is still at the top of his form in spite of his age. Vibrant and brilliant as always, Beck flies through a set original compositions and standards with grace and sensibility, rarely found elsewhere. Back is supported by an excellent rhythm section: the excellent young bass player Jeremy Brown and brilliant veteran drummer Tony Levin (who like Beck played in the Tubby Hayes groups). Together they present a superb Jazz piano trio music, which sparkles with technical perfection and musicality. Levin’s extraordinary drumming is a perfect match for Back’s talents and his solo spots are quite amazing. The recording quality is also exceptionally fine, with every little detail perfectly audible. All together this is a perfect Jazz piano trio album, which every lover of that format will love and play repeatedly. Wholeheartedly recommended!

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Here is a new sensational release of previously never heard material by the New Jazz Orchestra, featuring the entire Colosseum lineup and led by the great Neil Ardley:

The New Jazz Orchestra (a.k.a. NJO) led by composer / arranger Neil Ardley was Britain’s most prestigious and adventurous big band in the 1960s. Under Ardley’s visionary leadership the band developed the foundations for the modern European Jazz big band sound. Although incorporating the classic American big band tradition of Duke Ellington and the more modern approach of Gil Evans, Ardley managed to steer his band into uncharted territory, using his unique approach to instrumentation and bold arrangements. At the time this album was recorded live at London’s Camden Jazz Festival in May of 1970, Ardley was already moving rapidly towards the exploding Jazz-Rock Fusion genre, creating one of the first, and magnificent at that, examples of Jazz-Rock Fusion big band. Compared to American bands at the time, like Blood, Sweat & Tears or Chicago, Ardley’s approach is definitely much more refined and orchestral and uses a wider arsenal of the Jazz vocabulary, being therefore much more sophisticated. Having at his disposal some of the best British Jazz musicians (and then also Jazz-Rock Fusion musicians) he was able to turn the NJO into a “mean” and powerful Jazz-Rock Fusion ensemble, which truly fuses Jazz and Rock to the max. This of course brings us the players and more specifically to the fact that this version of NJO incorporates in its midst the entire lineup of one of the greatest British Jazz-Rock groups, Colosseum. Dick Heckstall-Smith (saxophone), Clem Clempson (guitar), Dave Greenslade (keyboards), Tony Reeves (bass) and Jon Hiseman (drums) all play here, and even a couple of tracks the band recorded on their albums are present, in a big band arrangement of course. With the members of Colosseum as a core of the band and with other notable players like Henry Lowther and Harry Beckett (trumpet), Dave Gelly and Barbara Thompson (saxophone) and even an ultra-rare appearance of Michael Gibbs on trombone, this is truly a superb group, able to face any challenge Ardley’s arrangements may present them with. BTW the presence of the Colosseum members is not incidental, as both Reeves and Hiseman were NJO’s founding members and Heckstall-Smith appeared on the NJO’s second album entitled “Le Dejeuner Sur L`Herbe”. Seven of the tracks present on that album are also included here, which turns this recording into an updated live version of that timeless classic. The original recording tape of this concert had quite a few technical problems, but was painstakingly and beautifully restored to life with an exceptional sound quality considering the circumstances under which it was recorded. One should be truly grateful to the producer of this immensely important historical material for making it available to us, the fans of NJO, Colosseum and British Jazz in general. This is indispensable legacy of the period and a must to any follower of British Jazz music.

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With great please I introduce now a series of releases on the excellent Provocateur Records label, which ranks among the most prestigious new European Jazz labels. Owned by British pianist / composer / arranger / bandleader Colin Towns the label released a series of beautiful recordings by some of the leading European musicians and orchestras, all recorded with extraordinary care and excellent sound quality:

British pianist / composer / arranger / bandleader Colin Towns, one the most talented and prolific European Jazz composers, is renown for his work in a variety of musical settings, which include cinema, TV and Jazz big band. Therefore it is no surprise that the Birmingham Royal Ballet would commission Towns to compose a suite, to be used as the accompaniment for the ballet’s performance. The composer stood up to the challenge admirably, as documented on this album. The music, inspired by the Greek mythological hero Orpheus, is performed by Towns’ Mask Orchestra, which includes an expanded percussion section allowing a more rhythmic emphasis in the music. Although intended for the ballet, the music stands perfectly on its own and is able to inspire and touch the listener even without the visual counterpart. The separate pieces of the suite differ from each other in many respects, but sustain a feeling of continuity and conceptual unity. Slightly more percussive at times than Towns’ usual compositions (as appropriate for modern dance) some of the parts are also beautifully melancholic, creating a stunningly dramatic atmosphere of the entire suite. The music is quite complex, presenting the band with challenging obstacles, but the experienced and talented musicians of this caliber conquer the difficulty with flying colors. Distinguished soloist like Alan Skidmore and Peter King (saxophone) and Henry Lowther (trumpet), along with younger but highly skilled players in the band deliver an all round excellent performance. The album includes a bonus track, which was considered, but eventually not included in the ballet performance. All in all this is another momentous achievement for Towns and his band, worthy of an honorable place in any serious Jazz music collection. On a side note, I wonder if the tragic fate of Orpheus, a poet and musician, who tried to cheat death using his artistic skills and perished himself in the process, is not a metaphor one can easily apply to artists even in our times. After all Orpheus did achieve immortality, even if only as a myth, so perhaps the role of all artists lies primarily with whatever is left as their legacy, by which they will be remembered?

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With great please I introduce now a series of releases on the excellent Provocateur Records label, which ranks among the most prestigious new European Jazz labels. Owned by British pianist / composer / arranger / bandleader Colin Towns the label released a series of beautiful recordings by some of the leading European musicians and orchestras, all recorded with extraordinary care and excellent sound quality:

British pianist / composer / arranger / bandleader Colin Towns, one the most talented and prolific European Jazz composers, cooperates often with Europe’s premiere Jazz orchestra, the German NDR Big Band from Hamburg. This album presents a series of original compositions by Towns, written especially for the NDR Big Band and performed by it. Having at his disposal such esteemed and well trained group of musicians, Towns is able to stretch his compositional and arranging skill to the limit, creating some of the most magnificent big band music ever recorded. The music covers a vast musical panorama, from exotic World Music influences, via chamber pieces and even electronics. Brilliantly performed (and superbly recorded), this is a beautiful example of music, which is fresh, intelligent and innovative, dazzling with its intricacy and moving with its melodic lyricism. The compositions include a six-part Jazz suite dedicated to and featuring the talents of Polish pianist Wladyslaw Sendecki, who is the NDR Big Band’s resident pianist. There is ample space for some superb solos by the band’s members, including saxophonist Christof Lauer, one of Europe’s most distinguished players today. I can hardly imagine a more perfect big band recording, which is an instant classic and a superb example of the Jazz Art Form, something that should inspire and educate other Jazz composers and arrangers and set an example for other to study. It is, after all, a collection of the entire Jazz vocabulary harmonically, stylistically and historically. Well-trained listeners should have no trouble hearing shades of New Orleans marching bands, Duke Ellington’s masterly compositions and Gil Evans’ pioneering orchestrations, mind you subtle shadows as in smiling Angels watching over the Towns, never imitations or plagiarism so often heard in other big band efforts. If it was up to me I’d have made this album a compulsory learning tool for every Jazz student, but alas this is beyond my powers. I still can, however, recommend this beauty to every connoisseur of truly great music - Jazz included. As I already said – a true classic!

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With great please I introduce now a series of releases on the excellent Provocateur Records label, which ranks among the most prestigious new European Jazz labels. Owned by British pianist / composer / arranger / bandleader Colin Towns the label released a series of beautiful recordings by some of the leading European musicians and orchestras, all recorded with extraordinary care and excellent sound quality:

British pianist / composer / arranger / bandleader Colin Towns and his Mask Orchestra ensemble are one of the best examples of modern Jazz, which is still groundbreaking and innovative. Towns’ composition and arrangements are always not only skillful and sophisticated, but also completely innovative and even surprising (take it form an old skeptic who has heard it all before). Using the big band in ways previously unexplored is a rare talent indeed and deserves both respect and admiration. This album presents a series of Towns’ original instrumental compositions and two arrangements, one of a classical piece by Claude Debussy and the other a John Lennon / Paul McCartney tune. Partly commissioned by the NDR Big Band, with which Towns cooperates on a regular basis, here they are performed by his own band. Varying in style from early New Orleans Jazz, via Psychedelic and up to contemporary World-Jazz Fusion, the album presents an invigorating vista of modern Jazz at its best, full of great melodic content, imagination, daring and masterly performed Art. The players, including legendary veterans such as Alan Skidmore and Peter King (saxophone) and Henry Lowther and Derek Watkins (trumpet), playing along young British Jazz lions, do everything expected of them and beyond, delivering perfectly coherent and beautifully executed music, which fills the listeners heart and soul with instant gratification. The enhanced CD also includes a short film with music composed by Towns and performed by the band. Any big band and modern Jazz fan should definitely check out this superb album, and frankly anything else Towns delivers, as talent of his caliber is rare and deserves al the attention it can achieve. Grab it!

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With great please I introduce now a series of releases on the excellent Provocateur Records label, which ranks among the most prestigious new European Jazz labels. Owned by British pianist / composer / arranger / bandleader Colin Towns the label released a series of beautiful recordings by some of the leading European musicians and orchestras, all recorded with extraordinary care and excellent sound quality:

British pianist / composer / arranger / bandleader Colin Towns is a true Renaissance musician, active in many different fields of musical activity. Extremely prolific, his accumulated body of work as a composer includes a vast number of highly regarded scores for cinema and television as well as Jazz compositions, mostly for the big band format. In 1996 Towns founded his own record label, called Provocateur Records, which is his main outlet to present his Jazz-oriented work and which in time firmly established a position of one of the most prestigious and interesting European record labels. His main vehicle for recording Jazz is his ensemble called Mask Orchestra, but he also works closely with the excellent German NDR Big Band in Hamburg. In retrospect I’d say that Towns’ work provides the perfect bridge (or the missing link) between the golden age of British Jazz in the late 1960s / 1970s and today. This is reflected by many aspects of his music, such as his complete disregard of normative mainstream Jazz forms, his constant effort to innovate and cover new ground and even by the fact that his ensembles include some of the legendary players of the golden age as well as representatives of the second and third generation of British Jazz musicians. This stunning album presents Towns and his work at their full glory. It is an extended piece, similar to the symphonic suite form established in Classical Music, which can be considered as a Symphonic Jazz suite. Towns expands his Mask Orchestra into a 70-piece orchestra, which he calls Mask Symphonic, using the Jazz big band and an adding an entire symphonic orchestra. In complete contrast to several previous attempts of this nature, in this case the entire orchestra functions as a completely integrated and organic musical body rather than Jazz vs. Classical ensembles, which completely fail to complement each other. The music is simply magnificent, deeply melodic and highly intelligent, with sublime arrangements and perfect atmospheric treatment, flowing seamlessly from one theme to the next, and when the album reaches its end the listener is left lingering with a strong desire for more. Towns uses the entire palette at the disposal of a composer, both the orchestral and instrumental solo parts and in this case also vocal parts, beautifully performed by the divine Norma Winstone and Italian singer Maria Pia De Vito. The players include such veteran lions as Henry Lowther (trumpet), Alan Skidmore and Peter King (saxophone) and Frank Ricotti (percussion), but all of the performers are truly first class. In short this is an exhilarating musical experience of deep significance and lasting cultural value. Essential!

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With great please I introduce now a series of releases on the excellent Provocateur Records label, which ranks among the most prestigious new European Jazz labels. Owned by British pianist / composer / arranger / bandleader Colin Towns the label released a series of beautiful recordings by some of the leading European musicians and orchestras, all recorded with extraordinary care and excellent sound quality:

Legendary British saxophonist / composer Alan Skidmore is one of the pivotal players on the modern British Jazz scene. His immense contribution to the development of the scene is well documented on his numerous recordings as a leader and sidemen in the late 1960s / 1970s and his position in the Pantheon of British Jazz is fully earned. Skidmore is one of the relatively few heroes of the British Jazz revolution to continue an active and successful career through the years, which also included recording of new albums periodically, keeping him constantly in the public eye (or rather ear). This album also reveals Skidmore’s open-mindedness and respect towards cultures and music other than Jazz, constituting a splendid example of contemporary Jazz-World Fusion. During his 1994 stay in South Africa Skidmore met the local drums / percussion ensemble Amampondo and fell in love with their music. Five years later he actually fulfilled his dream to record an album with Amampondo, which was recorded in South Africa and includes also Colin Towns on keyboards. Some overdubbing was later added to the original recording in the UK, which features Steve Melling (piano), Annie Somogyi (bass) and Gary Husband (drums). Skidmore plays incredibly on this album. His tone and vigor completely untouched by time and his improvisational powers at their peak, resembling as always those of John Coltrane. In fact it almost jumps out of this music that Coltrane would have probably recorded a similar album if he lived, as he was often researching and absorbing the African roots of Jazz prior to his untimely death. This realization adds another dimension to this sublime music, a prophetic one in that. In all respects this is one of the best Jazz-World Fusion albums I’ve ever heard and surely one I’ve probably enjoyed the most. Skidmore’s saxophone improvisations backed up by the African percussion merge perfectly into a new amalgam, which sounds and feels completely natural and coherent. His virtuoso performances are dazzling, but never flashy or overbearing – just exactly right for each moment. Skidmore again proves to his listeners that he is a Master with unmatched quality and talent. This album deserves to be listened to by every Jazz lover on this planet and embodies an essential recording of human Culture, transcending race, backgrounds and traditions and pointing clearly to the future of music.

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With great please I introduce now a series of releases on the excellent Provocateur Records label, which ranks among the most prestigious new European Jazz labels. Owned by British pianist / composer / arranger / bandleader Colin Towns the label released a series of beautiful recordings by some of the leading European musicians and orchestras, all recorded with extraordinary care and excellent sound quality:

British composer / arranger / bandleader Michael Gibbs is one of the pillars of modern British Jazz. His outstanding 1970s recordings serve as musical milestones in the development of Jazz and Jazz-Rock Fusion composition and his bands of the period, which always included some of the best players on the scene, are remarkable achievements remembered and cherished to this very day. After the decline of the British Jazz scene Gibbs returned to the US, where he concentrated on teaching and composing works for many different media (TV, cinema, performances and concerts) in a variety of musical genres, including of course Jazz and contemporary Classical Music. Although many of his compositions were released as soundtrack albums, he recorded only three “real” / dedicated Jazz albums in the last 30 years. Therefore his new album on Provocateur Records is a major event and a delight for his many fans and admirers. The album presents an ambitious project involving a recording on two continents (Hamburg and New York) by two big ensembles (the NDR Big Band in Hamburg and a specially assembled band in NY), presenting music mostly written by Gibbs with just a few of his unique arrangements of compositions by other composers. The NY band includes some of the most illustrious names on the contemporary Jazz scene, like Lew Soloff and Randy Brecker (trumpet), Chris Hunter and Alex Foster (saxophone), Hiram Bullock (guitar) and Steve Swallow (bass) among others. The NDR Big Band includes many marvelous players, but most notably saxophonist Christof Lauer and pianist Wladyslaw Sendecki. The music is everything one might expect from Gibbs – marvelously melodic, beautifully crafted, devilishly cleverly arranged and superbly executed by both ensembles. Gibbs skillfully gets the best out of the big band setting, using the incredible dynamics it allows for and interposing multi-layered harmonic and rhythmic structures against each other to achieve an incredibly dramatic effect. Several excellent solo parts ornament the album like cherries on a cake and the different moods and tempi never allow for even a brief dull moment. The music reflects perfectly the composer’s versatility and open-mindedness, which have always been his forte. This is one refreshing and delightful musical experience that I’d hate my friends to miss; so nothing else remains to be said other that recommending this album wholeheartedly. You won’t regret it!

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With great please I introduce now a series of releases on the excellent Provocateur Records label, which ranks among the most prestigious new European Jazz labels. Owned by British pianist / composer / arranger / bandleader Colin Towns the label released a series of beautiful recordings by some of the leading European musicians and orchestras, all recorded with extraordinary care and excellent sound quality:

Polish pianist / composer Wladyslaw Sendecki is one of the finest representatives of European Jazz. As a child prodigy he started his classical studies at the age of 11 and performances at the age of 15. Once he discovered Jazz, his passion for music concentrated in this field and he became involved with the Polish Jazz scene, playing piano in famous Polish groups like Extra Ball and Sunship, both of which pioneered the Polish Jazz-Rock Fusion movement. In 1981 Sendecki left Poland (as did many gifted musicians at the time) first to Sweden and later settled in Switzerland. In 1990 he moved to Germany (Hamburg) and took the resident piano chair with the excellent NDR Big Band. He played with other Polish expatriates (Leszek Zadlo, Bronislaw Suchanek and Janusz Stefanski) in the Polski Jazz Ensemble, which also visited Israel by my invitation. This beautiful piano solo album was recorded 20 years after his last recording as a leader and is a most welcome return and a great opportunity for new listeners to get exposed to his great talent. He composed most of the music, including the three parts suite dedicated to painter Marc Chagall and the Art of painting. Three pieces by other composers are also included, reflecting his love of music by other talented composers. The album is an absolutely stunning piece of music, performed with virtuosity and deep musical sensitivity. Sendecki keeps his brilliant technique “in check”, not letting it overshadow his delicate and impressive improvisational exploits. For well-trained listeners, the Polish musical tradition, especially the piano legacy of Frederic Chopin, is quite evident (Chopin’s romanticism and soul-searching qualities influence all Polish piano players to this very day). The music flows beautifully from one piece to another and for me it was all over much too soon, which means it will be played again many a time. The sound quality of the album is (not surprisingly) excellent, as all the other recordings on the Provocateur label. Piano lovers, Jazz lovers or just plain music enthusiasts should find plenty of content here and even if the Artist’s name is completely unfamiliar to them, it is absolutely worth investigating. I for one am proud to have such a superb musician for a friend. Hopefully we won’t have to wait for 20 years to enjoy another album of his.

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With great please I introduce now a series of releases on the excellent Provocateur Records label, which ranks among the most prestigious new European Jazz labels. Owned by British pianist / composer / arranger / bandleader Colin Towns the label released a series of beautiful recordings by some of the leading European musicians and orchestras, all recorded with extraordinary care and excellent sound quality:

Italian singer / composer / arranger Maria Pia De Vito, British pianist / composer John Taylor and American guitarist / composer Ralph Towner met by accident, but we all know that some of the best things in music (and not only in music) happen quite by accident. Born in Naples, De Vito is classically trained but spends most of her time on the Jazz scene, both locally in Italy and also all over Europe, performing and recording with some of the best Jazz musicians. Taylor and Towner need no introduction; both with extensive careers behind them and both being among the most highly esteemed contemporary Jazz personalities. Together the trio presents everything that characterizes European Jazz: sophistication, subtlety, intelligence and lyricism. The all-original music they perform was written by Taylor and Towner, with De Vito contributing lyrics to some of the tracks. She sings both lyrics and vocalese, with exceptionally clear voice and unique expressionism, which is both enchanting and captivating. The music moves constantly between solo, duo and trio parts, changing moods and tempi. As much of contemporary European Jazz, the music fluctuates somewhere between Jazz and contemporary Classical, making the attempt to label it completely redundant. It is simply great music, which is performed with exquisite taste and virtuosity. Since the album is entirely acoustic, it is of course low-key and requires attentive listening to capture all the beautiful little details. The superb recording quality helps a lot in this case and listeners addicted to the “ECM sound” will love this recording unconditionally. A must to all lovers of vocal Jazz and contemporary European Jazz.

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With great please I introduce now a series of releases on the excellent Provocateur Records label, which ranks among the most prestigious new European Jazz labels. Owned by British pianist / composer / arranger / bandleader Colin Towns the label released a series of beautiful recordings by some of the leading European musicians and orchestras, all recorded with extraordinary care and excellent sound quality:

British singer Norma Winstone has been my favorite Jazz singer for almost 40 years now, ever since I heard her performing in the late 1960s in the midst of the burgeoning British Jazz scene at the time. I always followed her extraordinary career closely and of course collected all her recordings, which in retrospect constitute a massive body of marvelous music. At the peak of the British Jazz scene in the late 1960s – 1970s she sang with the best: Michael Garrick, Mike Westbrook, Michael Gibbs, John Surman and many others, contributing not only her extraordinary vocal performances but also her talent as a lyricist. With the decline of the local scene she continued on the European scene, both as a soloist and with the trio Azimuth (with her husband, pianist John Taylor and trumpeter Kenny Wheeler). She is an enormously versatile performer, feeling at ease in any environment, from classic Jazz standards to avant-garde explorations. I always found her to be the most sensitive, highly musical and open-minded interpreter of both the music and the lyrics, which turn everything she touches into High Art. Happily for the music lovers, her talent and abilities seem to be untouched by time and she’s able to deliver her best up to this very day, which is well documented on this album as well. Accompanied by the splendid NDR Big Band (Northern German Radio Big Band resident in Hamburg), one of the best Jazz Big Bands in the world today, Norma delivers a wonderful set of songs, all brilliantly arranged by Colin Towns, who also conducted the band. The choice of material is fascinating and quite challenging as well, as Norma performs songs written by such dissimilar composers as Joni Mitchell, Leonard Cohen, Randy Newman and Jaco Pastorius. Her highly personal delivery and the beautiful arrangements metamorphose these songs into completely new musical vistas, to the delight of any sensitive listener. The Big Band is used intelligently and skillfully, to serve as a perfect companion to her vocal delivery, without being overwhelming, in spite of its inherent might. The musicians are all virtuosi and highly experienced soloists, which is clearly evident from the instrumental solos, and include such renowned Jazz musicians as saxophonist Christof Lauer and pianist (and my dear friend of Polish origin) Wladyslaw Sendecki. The recording and sound quality are stunning and resemble the sonic excellence of other European labels like ECM Records. For me this is a great example of a perfect album – the music, the musicians and a voice of a Diva – what else can one ask for? Essential food for the soul.

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Back to British jazz with 3 albums by the legendary Brotherhood Of Breath – all live recordings:

This splendid recording by the legendary British Jazz ensemble Brotherhood Of Breath, led by pianist / composer Chris McGregor, captures the band at the Berliner Jazztage festival and presents the initial phase in their development as one of the most original and influential bands of the era. The lineup (which kept changing slightly over time) includes: Harry Beckett and Marc Charig – trumpet, Nick Evans and Malcolm Griffiths – trombone, Mike Osborne, Dudu Pukwana, Alan Skidmore and Gary Windo – saxophone, Chris McGregor – piano, Harry Miller – bass and Louis Moholo – drums. The combination of Jazz, Free Improvisation and African music intermixed in a unique way creates a vibrant and challenging musical experience, which had no equal at the time. McGregor’s clever compositions are ideal vehicles for the individual and collective improvisations and the energy and fire this band has to offer transcends time and space, making it accessible to every connoisseur of good music on this planet. The music remains as valid and brilliant as it was at the time of the recording and its great to have it commercially released at last. Warmly recommended!

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