CD

 

Here is a series of new releases on the wonderful Wounded Bird label, predominantly Jazz stuff, all of them true gems:

 

 

American saxophonist / flautist / composer Robin Kenyatta first appeared on the Free Jazz scene in the mid-1960s playing as a sideman with such distinguished musicians as Bill Dixon, Andrew Hill and others. By the 1970s Kenyatta changed his musical direction and joined the Jazz-Rock and Funk movements, which were thriving at the time. He recorded a series of Jazz-Rock / Funk albums for the Atlantic label, of which this was the third and last. Supported by a fantastic crew of musicians, which included drummer Alphonse Mouzon, bassist Ron Carter, trumpeter Lew Soloff and many others, Kenyatta continues the direction set by his previous albums, mixing styles and genres at will, manages to create a unique piece of music, which includes a rare combination of Funk, Jazz-Rock, World Music and Blues. His saxophone and flute work is featured extensively, and is the highlight of the album. This little known gem is definitely worth to be rediscovered by people who missed it at the time, as it includes loads of memorable music. Check it out!

 

 

JAZZIS WEB SHOP

 

Normal activity.

 

HAVE FUN!

CD

 

Here is a series of new releases on the wonderful Wounded Bird label, predominantly Jazz stuff, all of them true gems:

 

 

American saxophonist / flautist / composer Robin Kenyatta first appeared on the Free Jazz scene in the mid-1960s playing as a sideman with such distinguished musicians as Bill Dixon, Andrew Hill and others. By the 1970s Kenyatta changed his musical direction and joined the Jazz-Rock and Funk movements, which were thriving at the time. He recorded a series of Jazz-Rock / Funk albums for the Atlantic label, of which this was the second. Supported by a fantastic crew of musicians, which included drummer Ray Lucas, bassist Ron Carter, trumpeter Enrico Rava and many others, Kenyatta continues the direction set by his previous album, adding more World Music and especially Caribbean influences, manages to create a unique piece of music, which includes a rare combination of Funk, Jazz-Rock, World Music. His saxophone and flute work is featured extensively, and is the highlight of the album. This little known gem is definitely worth to be rediscovered by people who missed it at the time, as it includes loads of memorable music. Check it out!

 

 

JAZZIS WEB SHOP

 

Normal activity.

 

HAVE FUN!

CD

 

Here is a series of new releases on the wonderful Wounded Bird label, predominantly Jazz stuff, all of them true gems:

 

 

American saxophonist / flautist / composer Robin Kenyatta first appeared on the Free Jazz scene in the mid-1960s playing as a sideman with such distinguished musicians as Bill Dixon, Andrew Hill and others. By the 1970s Kenyatta changed his musical direction and joined the Jazz-Rock and Funk movements, which were thriving at the time. He recorded a series of Jazz-Rock / Funk albums for the Atlantic label, of which this was the first. Supported by a fantastic crew of musicians, which included drummer Billy Cobham, bassist Stanley Clarke, guitarist David Spinoza and many others, Kenyatta manages to create a unique piece of music, which includes a rare combination of Funk, Jazz-Rock, World Music influences and even some free form improvisation. His flute work is featured extensively, and is the highlight of the album. This little known gem is definitely worth to be rediscovered by people who missed it at the time, as it includes loads of memorable music. Check it out!

 

 

JAZZIS WEB SHOP

 

Normal activity.

 

HAVE FUN!

CD

 

Here is a series of new releases on the wonderful Wounded Bird label, predominantly Jazz stuff, all of them true gems:

 

 

American saxophonist / flautist / composer Robin Kenyatta first appeared on the Free Jazz scene in the mid-1960s playing as a sideman with such distinguished musicians as Bill Dixon, Andrew Hill and others. This album was his debut recording as a leader and was released on the Vortex label, the experimental outlet of Atlantic. He is supported by a great cast of some of the best players at the time, including trombonist Roswell Rudd, trumpeter Mike Lawrence, pianist Fred Simmons, bassist Walter Booker, drummer Horace Arnold and others. Three of the four tracks are his original compositions and the music is a great example of the late 1960s American Jazz, which combines the tradition with modern approach developed by innovators of the Free Jazz movement. The Kenyatta / Lawrence interplays are similar to some extent to the Ornette Coleman / Don Cherry exquisite cooperation. Arnold's drumming is excellent and emphasizes his role as one of the best American drummers sadly little know outside a small circle of connoisseurs. It's great to have this album back in circulation after so many years of oblivion as it is a classic of the genre and a valuable historic document. A must to Free Jazz buffs!

 

 

JAZZIS WEB SHOP

 

Normal activity.

 

HAVE FUN!

CD

 

Here is a series of new releases on the wonderful Wounded Bird label, predominantly Jazz stuff, all of them true gems:

 

 

Brilliant American saxophonist John Klemmer is one of the most versatile and talented Jazz players in the last few decades. His initial influence was the saxophone legacy of John Coltrane and to this date he is one of the best post-Coltrane players around, but his career found him playing in many different settings ranging from Free-Jazz to Smooth-Jazz. However, regardless of the musical environment, Klemmer's saxophone playing is always beyond reproach and his improvisational skills are breathtaking, as is his amazing tone on tenor saxophone and the echoplex electric saxophone, which he introduced into Jazz. He is also a brilliant composer and his lyrical melodies are among the finest out there. This was Klemmer's 3^rd album for the Elektra label and it is completely different from the other three albums he recorded for the label. Any solo instrumental album is a major challenge and sometimes the musician involved, regardless of his talent and virtuosity, is unable to produce an album's worth of music, which keeps the listener interested. On this, his second solo saxophone effort, Klemmer is simply brilliant from start to finish and his improvisations are breathtaking. The superb tonal qualities of his instrument and the flow of the music, either lyrical or at faster-then-light speed is flawless. Klemmer comes back to the days when he was an avid Coltrane disciple and his excursions remind the Master's greatest moments. The music, all composed by Klemmer, includes melodic themes of depth and beauty, which are great vehicles for his improvisations. There is one vocal track on the album, which might seem out of place for the Jazz buffs, but the rest of the album is all pure improvised Jazz. Highly recommended!

 

 

JAZZIS WEB SHOP

 

Normal activity.

 

HAVE FUN!

CD

 

Here is a series of new releases on the wonderful Wounded Bird label, predominantly Jazz stuff, all of them true gems:

 

 

Brilliant American saxophonist John Klemmer is one of the most versatile and talented Jazz players in the last few decades. His initial influence was the saxophone legacy of John Coltrane and to this date he is one of the best post-Coltrane players around, but his career found him playing in many different settings ranging from Free-Jazz to Smooth-Jazz. However, regardless of the musical environment, Klemmer's saxophone playing is always beyond reproach and his improvisational skills are breathtaking, as is his amazing tone on tenor saxophone and the echoplex electric saxophone, which he introduced into Jazz. He is also a brilliant composer and his lyrical melodies are among the finest out there. This was Klemmer's 2^nd album for the Elektra label and it comprises of his original compositions, played by a wonderful ensemble, which includes keyboardist Russell Ferrante, guitarists Larry Carlton and Lee Ritenour, bassist Abe Laboriel, drummer Harvey Mason and many more great players. Klemmer's playing is inspired and wonderfully romantic and the album is superbly produced. Recommended to listeners, who enjoy good melodic Jazz, which does not compromise the music quality and does not cross over to elevator music.

 

 

JAZZIS WEB SHOP

 

Normal activity.

 

HAVE FUN!

CD

 

Here is a series of new releases on the wonderful Wounded Bird label, predominantly Jazz stuff, all of them true gems:

 

 

Brilliant American saxophonist John Klemmer is one of the most versatile and talented Jazz players in the last few decades. His initial influence was the saxophone legacy of John Coltrane and to this date he is one of the best post-Coltrane players around, but his career found him playing in many different settings ranging from Free-Jazz to Smooth-Jazz. However, regardless of the musical environment, Klemmer's saxophone playing is always beyond reproach and his improvisational skills are breathtaking, as is his amazing tone on tenor saxophone and the echoplex electric saxophone, which he introduced into Jazz. He is also a brilliant composer and his lyrical melodies are among the finest out there. "Finesse" was Klemmer's 4^th and last album for the Elektra label and it comprises of his original compositions, played by a wonderful quintet with keyboardist Russell Ferrante, bassist Bob Magnusson, drummer Roy McCurdy and percussionist Steve Forman. "Magnificent Madness" was his 1^st album on Elektra and includes covers as well as his original compositions. Although on the lighter side of Jazz, these two albums include quite amazing musicianship and Klemmer's saxophone sound can melt ice any time. Recommended to listeners, who enjoy good melodic Jazz, which does not compromise the music quality and does not cross over to elevator music.

 

 

JAZZIS WEB SHOP

 

Normal activity.

 

HAVE FUN!

CD

 

Here is a series of new releases on the wonderful Wounded Bird label, predominantly Jazz stuff, all of them true gems:

 

 

Brilliant American trumpeter / composer / arranger / bandleader Don Ellis led a superb Big Band, which was one of the most outstanding Jazz ensembles in the late 1960s and early 1970s. Eons ahead of its time, Ellis' fascination with uneven meters and World Music influences made his music truly revolutionary and fresh and the music lost nothing of its relevance over the years. He also had a rare talent to pick up the best musicians for his band, mostly forward-thinking individuals, ideally suited for his unusual approach to music and brilliant instrumentalists. Some of the musicians playing on this album are saxophonists Frank Strozier and John Klemmer, trumpeter Glen Ferris and many more outstanding musicians. The brilliant music was all composed by Ellis, except one Charlie Parker standard. At its full might the orchestra sounds like nothing else before or since, with every instrument perfectly fulfilling its role. Two of the six tracks were recorded live and show the orchestra as one of the most exciting live acts at the time. It's fascinating to read the album's liner notes written by Al Kooper, who was Columbia's A&R manager at the time, describing the Don Ellis experience at the time. This is an absolute must to and Big Band fan, but all music connoisseurs should find this music fascinating.

 

 

JAZZIS WEB SHOP

 

Normal activity.

 

HAVE FUN!

CD

 

Here is a series of new releases on the wonderful Wounded Bird label, predominantly Jazz stuff, all of them true gems:

 

 

3^rd album by the brilliant German Jazz-Rock Fusion ensemble Passport founded and led by reedman / composer Klaus Doldinger, a veteran German Jazz musician and a brilliant composer. The band was one of the best European Fusion ensembles in the 1970s and continues to exist and perform now in its fourth decade under Doldinger's leadership. On this album the group's members are Doldinger on saxophones and keyboards, keyboardist Frank Roberts, bassist Wolfgang Schmid and drummer Curt Cress. The music is absolutely brilliant from start to finish, stylistically similar to other European Fusion ensembles at the time, like the British ensemble If, with funky but uneven rhythms and superb melody lines. The players are all excellent musicians and their performances spotless. Overall this is a classic European Jazz-Rock album, a great document of the genre at the time and a timeless piece of excellent music. Highly recommended!

 

 

JAZZIS WEB SHOP

 

Normal activity.

 

HAVE FUN!

CD

 

Here is a series of new releases on the wonderful Wounded Bird label, predominantly Jazz stuff, all of them true gems:

 

 

This breathtakingly beautiful album is not only one of best works to date by trumpeter / composer Wynton Marsalis, but also one of the best Jazz recordings of the 1990s and a masterpiece of the genre. Performed by the Marsalis septet, which included trombonist Wycliffe Gordon, saxophonists Wes Anderson and Todd Williams, pianist Eric Reed, bassist Reginald Veal and drummer Herlin Riley, this immensely complex body of music was composed as the score for the ballet "Griot New York". The double album includes three musical suites, each of these split into several subsections. In many respects this recording is a culmination of the Marsalis' career up to that moment as a player, bandleader and most of all as a composer and arranger. The music encompasses a wide stylistic range, covering all subgenres of classic Jazz, from New Orleans, Swing, Be Bop and Hard Bop, Modal music and even traces of 1960s avant-garde. Well over two hours long, the album includes a myriad of themes and melodies, flowing over ever changing rhythmic patterns and expressing different moods. The orchestration allows for dynamic fluctuations, whereas some fragments are performed by solo piano and others feature the full power of the ensemble with the horns screaming at full blast. Although there are plenty of inspired solos, the music is obviously intended to be in the centre of the listener's attention, rather than the abilities of the individual performers. With this album Marsalis achieved finally the status of a brilliant composer, which complimented his virtuosic ability as a player, proving beyond a shadow of a doubt that he is much more than a "pretty face" hyped by his label's PR machine. This album is way more than just a platter with some music on it – it is a sublime lesson in Jazz history and essence, proving the genre's noble status as intelligent and highly creative Art Form. In times when music is being whored and presented as a worthless mass product for imbeciles, this gem serves as a beacon showing the path for true music. Absolutely essential!

 

 

JAZZIS WEB SHOP

 

Normal activity.

 

HAVE FUN!

CD

 

Here is a series of new releases on the wonderful Wounded Bird label, predominantly Jazz stuff, all of them true gems:

 

 

This album finds trumpeter / composer Wynton Marsalis leading a septet, his ultimate vehicle of choice after fronting smaller combos in the first decade of his career. The septet comprised of musicians, who played in his earlier groups with the addition of trombonist Wycliffe Gordon, and included saxophonists Wes Anderson and Todd Williams, pianist Marcus Roberts, bassist Reginald Veal and drummer Herlin Riley. The fact that Marsalis' ensembles expanded from quartet to septet was consistent with other changes in his musical path where a bigger ensemble became necessary as a tool to enable performing an ever increasingly complex and broad scope of his compositions and sophisticated arrangements. But this album also marks another dramatic change with Marsalis abandoning the idea of writing separate "songs" or "tunes" and moving into creating expanded suites in which the separate parts would be combined into a thematic whole. "Blue Interlude" was the first of such extended works, comprised of many melodies, moods and rhythmic patterns, glued together by an underlying central musical concept and idea. The music is absolutely stunning and the romantic theme of the work, as it is about love after all, shows the gentle and often humorous side of Marsalis. Stylistically the music is based on the entire heritage of "classic" jazz, from its New Orleans roots and up to the almost symphonic complexity of Duke Ellington's Jazz suites. Marsalis' handling of the trumpet is breathtaking, but all his cohorts are first class musicians and their individual contributions are excellent throughout. This is a small masterpiece in every aspect and an immensely pleasant listening experience from start to finish. No serious Jazz collection can be complete without this gem being included!

 

 

JAZZIS WEB SHOP

 

Normal activity.

 

HAVE FUN!

CD

 

Here is a series of new releases on the wonderful Wounded Bird label, predominantly Jazz stuff, all of them true gems:

 

 

This is the third part of the album trilogy, entitled "Soul Gestures In Southern Blue", which finds trumpeter / composer Wynton Marsalis leading a sextet comprised of his regular band members: saxophonists Wes Anderson and Todd Williams, pianist Marcus Roberts, bassist Reginald Veal and drummer Herlin Riley. Williams contributes one composition with the rest of the music being written by Marsalis. As expected, the music is a further exploration of the influence of the Blues on Jazz, and for me is the strongest of the three volumes perhaps due to the wonderfully crafted arrangements. Marsalis' compositions, now clearly showing his love and respect for Duke Ellington, are beautifully balanced and serve as ideal vehicles for the quintet to express their individual skills both as soloists and ensemble players. His beautiful tone and obvious virtuosity can be heard here in depth and enjoyed to the fullest. Although some critics have described this album as "forgettable" and "disappointing" (to quote the less offensive epitaphs) it is quite brilliant from start to finish and a highly enjoyable music experience for any true Jazz enthusiast. Some people just don't get it, which is fine by me, as long as their limitations don't influence others too often. This album is definitely worth exploring, as are its two companions in the trilogy and in my opinion this one is a must, so forget the critics and just listen!

 

 

JAZZIS WEB SHOP

 

Normal activity.

 

HAVE FUN!

CD

 

Here is a series of new releases on the wonderful Wounded Bird label, predominantly Jazz stuff, all of them true gems:

 

 

This is the second part of the album trilogy, entitled "Soul Gestures In Southern Blue", which finds trumpeter / composer Wynton Marsalis leading a quintet comprised of his regular band members saxophonist Todd Williams, pianist Marcus Roberts, bassist Reginald Veal and drummer Herlin Riley. Roberts and Williams also contribute one composition each with the rest of the music being written by Marsalis. As expected, the music is a further exploration of the influence of the Blues on Jazz, this time being mostly low key as opposed to its predecessor. The beautiful melody lines are explored in depth by relaxed, but highly inspired soloing. Marsalis' compositions are beautifully balanced and serve as ideal vehicles for the quintet to express their individual skills both as soloists and ensemble players. His beautiful tone and obvious virtuosity can be heard here in depth and enjoyed to the fullest. Although some critics have described this album as "forgettable" (to quote the less offensive epitaphs) it is quite brilliant from start to finish and a highly enjoyable music experience for any true Jazz enthusiast. Some people just don't get it, which is fine by me, as long as their limitations don't influence others too often. This album is definitely worth exploring, as are its two companions in the trilogy so forget the critics and just listen!

 

 

JAZZIS WEB SHOP

 

Normal activity.

 

HAVE FUN!

CD

 

Here is a series of new releases on the wonderful Wounded Bird label, predominantly Jazz stuff, all of them true gems:

 

 

Just ten years after he first appeared on the scene as a solo artist bandleader, trumpeter / composer / bandleader Wynton Marsalis could present a résumé, which was unprecedented in Jazz history and was by far more impressive than many lifetime achievements by his peers. Twenty albums with Jazz and Classical Music recordings, countless performances around the world, numerous compositions, prizes and awards, all these wrapped up and commercialized by an intensive PR campaign by his record label Columbia, presented a renaissance musician, a role model and a superstar. Marsalis was just 30 years old and his ego and probably his conscience drove him incessantly to prove himself worthy of this superstar status. His musical projects became ever more complex and encompassing and Columbia indulged him in view of his success. The album trilogy, entitled "Soul Gestures In Southern Blue", was Marsalis' final project about the sources of Jazz, New Orleans Blues / Jazz connections and the emergence of modern Jazz from this primeval genealogy. For this, the first of the three albums, Marsalis formed an ad-hoc quintet by inviting legendary saxophonist Joe Henderson to play with him, supported by his regular rhythm session comprising of pianist Marcus Roberts, bassist Robert Hurst and drummer Jeff Watts. On a couple of tracks Watts was replaced by another Jazz legend Elvin Jones. The quintet performs five Marsalis' compositions, which are designed to allow for extensive improvisations and interplay between the players. The music is intense and dramatic, revealing the composer's tendency to intensify his music towards a more "chamber" direction, with layers of sound intertwined into the harmonic structure. Marsalis, Henderson and Roberts play some brilliant solos throughout the album and the overall level of musicianship is simply breathtaking. Surprisingly (or may be not) the trilogy received "icy" reviews, again accusing Marsalis of imitating or being overly influenced by Miles Davis in this project. In my view Marsalis at this point was completely cured from the Miles complex and if these recordings have anything to do with Miles, they are a loving tribute to the Masters legacy, not an imitation. Brilliant stuff!

 

 

JAZZIS WEB SHOP

 

Normal activity.

 

HAVE FUN!

CD

 

Here is a series of new releases on the wonderful Wounded Bird label, predominantly Jazz stuff, all of them true gems:

 

 

Writing a score for a Hollywood movie was another bold step for trumpeter / composer Wynton Marsalis, a part of the process of expanding his milieu and establishing his career as a total musician / composer and now also arranger for a larger ensemble. The music, which is a set of 16 relative short pieces, constitutes a suite, which is coherent and makes sense as a piece of music meant to be listened to separately from the movie, something a very few soundtracks ever achieve. Stylistically it is mostly Blues based, paying a tribute to Duke Ellington orchestrations and compositional approach. The arrangements are clever and sophisticated enough to make the entire content flow without a moment of tediousness. The album also marks the first appearance of the new Marsalis Septet, which includes Marsalis, trombonist Wycliffe Gordon, saxophonists Wes Anderson and Todd Williams, pianist Marcus Roberts, bassist Reginald Veal and drummer Herlin Riley. The expanded list of the participants in the recording 16 musicians, including two vocalists: Johnny Adams and Shirley Horn. The overall atmosphere of the album takes the listener deep into the 1930s, when Jazz was the popular music of the time, played in clubs and dancehalls. Mind you, this is not some kind of "retro" effort, but a conscious and deliberate artistic choice. If Marsalis meant to bring back the glory of that music back and expose it to contemporary listeners, he did extremely well. This is a most enjoyable album, which should bring on a smile of satisfaction, a job well done and a memorable experience. Recommended!

 

 

JAZZIS WEB SHOP

 

Normal activity.

 

HAVE FUN!

CD

 

Here is a series of new releases on the wonderful Wounded Bird label, predominantly Jazz stuff, all of them true gems:

 

 

Following the initial period of intense search of his own musical identity, which lasted for about five years, trumpeter / composer Wynton Marsalis switched gears into the next phase of his illustrious career. The metamorphosis was slow and gradual, but the direction and the ultimate goal were pretty clear from the very early stages. Marsalis decided to treat his relationship with music not as a profession, where the most important facet of a musician is his skill and power of expression (or improvisational ability in Jazz), but rather as an almost messianic quest to turn music into a total art form, emphasizing its historical, philosophical, aesthetical, social and even political aspects. His albums, and often album cycles, would be much more that a series of sounds captured for posterity in a recording studio – they would become conceptual messages, in which the music would be just one layer of the total memorandum he wanted to communicate and get across, in order to educate, influence and often even preach. It didn't take long for the music critics and later on Jazz audiences as well to start giving Marsalis a "funny" look, and later on commence a direct assault of disapproval and personal harassment. Prophets and visionaries have always suffered from public displeasure since the early days of human history, a phenomenon repeating itself time after time. This superb album is the first significant example of the "new" Marsalis. Completely emancipated from the Miles Davis complex, which haunted him from day one, he changed his relationship with the music and his instrument. From now on he was about to immerse into the roots of Jazz and present the history of the music, revitalized and interpreted his way, and where to find a better starting point than the Blues. Taking a trip back to his roots and origins, Marsalis creates a tribute to New Orleans, the cradle of Jazz. In order to express his musical ideas he realizes that he needs a larger ensemble to express his new musical vistas and therefore the quartet he used up to this point is expanded to a sextet (on this album) and soon after into a septet (a classic Jazz lineup), which would be his main vehicle for many years subsequently. The sextet includes Marsalis, saxophonists Todd Williams and Wes Anderson, pianist Marcus Roberts, bassist Reginald Veal and drummer Herlin Riley. The album presents two separate music cycles: the first a recording by the sextet, playing music written by Marsalis, which is a modern version of early New Orleans Jazz, the second, called "The New Orleans Function" is performed by a sextet comprising of Marsalis and five veteran New Orleans musicians, again performing music written by him. The most unusual piece of the album is a lengthy sermon, delivered passionately over a musical background, lamenting the fate of the Blues in modern times (and clearly easily applicable to Jazz in general, or even all music or all culture). The sermon was written by journalist Stanley Crouch, who was a heated Marsalis supporter from day one and part of Columbia's PR machine promoting Marsalis to the status of a superstar. His somewhat "overheated" (read pompous) style turned out to be one of the factors, which led to the public "mutiny" against Marsalis' domination of the Jazz scene. But disregarding the above, the sermon, obviously expressing Marsalis' views at the time, is completely in par with the concept of this album and plays a vital role in expressing the ideology behind it. The entire strength and superb quality of the album is remarkable and a true work of art. The New Orleans Jazz is revitalized and presented in its full glory, placing this exquisite music back on the center stage after being almost completely forgotten and abandoned, except for a miniscule community of musicians and fans. Marsalis' ability to love, understand and convey the roots of Jazz is a rare gift, and the Jazz fans from this album on will be exposed to more of the forgotten Jazz treasures thanks to his consistent effort to uncover them. Brilliant piece of music and an essential listening experience!

 

 

JAZZIS WEB SHOP

 

Normal activity.

 

HAVE FUN!

CD

 

Here is a series of new releases on the wonderful Wounded Bird label, predominantly Jazz stuff, all of them true gems:

 

 

Recorded live during a couple of nights at the Washington, D.C. club Blues Alley, this album captures 25 years old trumpeter / composer / bandleader Wynton Marsalis and his quartet doing their thing. Marsalis was already a "living legend", after spending the last half decade in the epicenter of public (Jazz and otherwise) eye. Behind him a series of Jazz and Classical Music recordings, received with almost universal applause and a long string of standing ovations at clubs and concert halls, which fallowed his live appearances. It was time to share the excitement of a live performance with a wider audience via a live recording and perhaps prove once and for all that the "living legend" status was not hype, but was based on solid grounds. The quartet, which earlier that year recorded the splendid "J Mood" album, consisted of Marsalis, pianist Marcus Roberts, bassist Robert Hurst and drummer Jeff Watts. The double album presents the music at the natural order of performance (with obvious editing), with each of the two records covering a separate night, two sets each night. This results in some of the tunes to be repeated twice, which of course is highly educational, as the performances are completely different, as appropriate for Jazz. The music, mostly written by Marsalis, with a few standards included as well, is mostly up tempo, which suits better a live performance situation and perhaps purposely allows the leader to "show off", proving his point. Regardless of the background information, hidden agendas and other less relevant factors, the music captured on this album is absolutely outstanding, turning it into one of the best live Jazz albums ever recorded. Wynton plays like a Greek God, with flow, technique, sound and virtuosity unparalleled by any of his peers, hitting the high register with might and sustain worthy of Maynard Ferguson. The pianist delivers incredible solos, full of sublime contents both lyrically and rhythmically and the bass / drums backbone drives the music at a neck-breaking speed with elegance and zest. Whatever one might think of Wynton Marsalis as a person becomes completely irrelevant in view of the music presented here – he is a phenomenal performer and a great asset to the music, which really is all that matters. Absolutely essential piece of music!

 

 

JAZZIS WEB SHOP

 

Normal activity.

 

HAVE FUN!

CD

 

Here is a series of new releases on the wonderful Wounded Bird label, predominantly Jazz stuff, all of them true gems:

 

 

Following the departure of saxophonist Branford Marsalis, trumpeter Wynton Marsalis tightened his group into a quartet. The decision at the time not to replace Branford with another saxophonist and create a trumpet quartet, seemingly a more limited musical vehicle, was a completely conscious one and as far as Wynton was concerned he needed to concentrate the attention totally on his performances, polishing his technique and pushing his skills as player and composer beyond anything previously witnessed. The quartet with excellent new pianist Marcus Roberts, bassist Robert Hurst and drummer Jeff Watts became an incredibly tight unit, able to deliver music of the highest quality and always challenging the listener with its virtuosity and intelligence. Wynton's compositions became more flexible and presented a wider scope of emotional delivery. This album presents a gentler, more lyrical Wynton, playing mostly his original compositions, most of which are slow tempo ballads. The relaxed and almost lush atmosphere of the music brings up gentle memories of some of the early Miles Davis work, but Wynton plays more around with the sound as opposed to Miles dance with timing. The rhythm section is simply perfect. Roberts arises as one of the greatest pianist of the era, which he later proved time after time on his solo recordings, delivering incredible solos and superb accompaniment. Hurst and Watts keep the timing like an atomic clock, but allow enough of creative delivery to keep the music interesting not only on the melodic level, but on the rhythmic level as well. Overall this is a "perfect" Jazz album in every sense – everything is just right on and everything clicks in perfect harmony. Although rarely mentioned as a classic Jazz recording, perhaps due to the fact that it lacks the groundbreaking element of radical innovation, nevertheless this is a Classic (with a capital C), worthy of a honorable place in any serious Jazz collection.

 

 

JAZZIS WEB SHOP

 

Normal activity.

 

HAVE FUN!

CD

 

Here is a series of new releases on the wonderful Wounded Bird label, predominantly Jazz stuff, all of them true gems:

 

 

Whereas the eponymous debut album by American trumpeter / composer / arranger / bandleader Wynton Marsalis was somewhat a mixed affair, comprising of two different recording sessions with two different rhythm sections, this, his second album, is a well tempered affair. Finally heading his own permanent quintet, with brother Branford Marsalis on saxophones, the wonderful pianist Kenny Kirkland, bassist Phil Bowler (or Ray Drummond on half of the tracks) and drummer Jeff Watts, Marsalis in truly in his element, firmly holding the reins of a leader. With Miles Davis influence still looming in the background, Wynton's trumpet playing shows first signs of his lyrical side with less emphasis on the technical brilliance and more relaxed flow. He contributes three original compositions and the rest of the material includes a Kirkland and Drummond (one each) originals and standards by Thelonious Monk and Duke Ellington. Wynton and Branford play well together, although a tension between the brothers was about to develop soon after, as a result of Branford's tendencies towards more free-form improvisations while Wynton demanded a more conservative approach. Overall this is an incredibly solid album with no weak moments, flowing seamlessly from one tune to another, with brilliant soloing and tight but inventive rhythm section work. The 1980s were after all the age of the great return, when the two decades of experimentation first with Free form and improvised music and later with Jazz-Rock Fusion was pretty much over, leaving the Jazz musicians to re-invent modern Jazz using solid and well established ground while pushing the boundaries of virtuosity to the limit or perhaps beyond the limit – no other musician at the time was better at it than Wynton Marsalis and his crew. A classic!

 

 

JAZZIS WEB SHOP

 

Normal activity.

 

HAVE FUN!

CD

 

Here is a series of new releases on the wonderful Wounded Bird label, predominantly Jazz stuff, all of them true gems:

 

 

American trumpeter / composer / arranger / bandleader Wynton Marsalis is probably the most identifiable Jazz personality worldwide in the last three decades – Mr. Jazz himself! With Miles Davis and lately also Freddie Hubbard no longer with us, Marsalis is also the greatest trumpet player still standing. Sometimes it seems that the responsibility that comes with these honorable positions appear to be just too much for Marsalis to handle, as he has been in the epicenter of a huge controversy concerning his personality, his public statements and even his musical achievements. It was all Guns (of appraisal) and Roses (of admiration) at first – everything just clicked for Marsalis: a prestigious recording contract with Columbia Records, a massive PR campaign for his albums, Grammy nominations and awards and every other conceivable musical award in US and abroad (including the first ever Pulitzer Prize for music) and finally the appointment as Artistic Director of the "Jazz at Lincoln Center", a cushy and extremely well paid job, all these and more turned out to be just too much for his enemies (and he has many of those) to swallow. To say the truth, Marsalis has a mouth, which does not fall much behind his mouth's extension, the trumpet. The man just loves to voice his opinions, and some of these are quite provocative and extremely controversial, all this on top his always highly stylish wardrobe and often snobbish behavior. All the above make Marsalis an easy target for hatred and criticism, mostly by bigots, short-sighted critics and most of all envious competitors. To tell the truth, I don't dive a damn. For me, Marsalis was always, from day one, an example of a total musician. He not only has a tremendous gift, but he both feels and understands music, a rare combination with only a handful of musicians around the globe truly possess. His ability to perform and compose Jazz and Classical music only emphasizes his musical versatility and profound effort to study, learn and apply the acquired throughout his entire life. His love of early Jazz, from the Blues, the New Orleans Masters, Louis Armstrong and up to Be Boppers like Thelonious Monk, and in parallel his disrespect towards Fusion and Free Jazz are fine by me. Not everybody has to love every kind of music and even not all kinds of Jazz… as long as they do whatever they do in such magnificent fashion as he does with his music, time after time. So here comes this album, his debut solo recording. As already mentioned, Marsalis is a perpetual student, and this was just his first step, so obviously he was relaying heavily on what he knew then, which for a trumpet player means one thing: Miles Davis. In many respects this album is a direct bridge between the classic Davis recording with the second quintet, almost two decades earlier. Although his quintet does not perform any of Miles Davis compositions or even tunes from the Master's regular repertoire, the sound and stylistic approach is quite obvious. Emphasized by the fact that about a half of the album's tracks feature that very same quintet's rhythm section – Herbie Hancock on piano, Ron Carter on bass and Tony Williams on drums, and Wynton's brother Branford Marsalis sounds remarkably like Wayne Shorter on his saxophones, the associations just keep flowing. Is it imitation? Hell no! Not even in the slightest, although Marsalis would be called a Davis imitator from now no, even when he completely changed his modus operandi on the trumpet as he went along. Again, who gives a damn? This is a magnificent album, full of superb performances and uplifting music, masterly played from start to finish. Period! And when one remembers that Marsalis was just 20 years old when this album was recorded… give me a break… this is a revelation. But Marsalis was a fast learner and his subsequent recordings will surpass this album, as good as it is, by far. Maturity has this effect on people; they just get better with what they do in time, provided of course that they are as talented as Wynton Marsalis.

 

Side Note: The fact that Columbia dropped from its catalogue almost the entire recorded output by Wynton Marsalis is a sad and tragic testimony of our times. Columbia made a lot of money from his albums for decades, but considering the state of the music industry, there are no sentiments left. This reissue is released on the Wounded Bird label; kudos to the label owner for keeping great music alive!

 

 

JAZZIS WEB SHOP

 

Normal activity.

 

HAVE FUN!

CD

 

Here is the third release celebrating the 50^th Anniversary of 1959 Jazz releases on Columbia:

 

 

It is extremely hard to believe that this masterpiece is half a century old! Hearing it today reveals therefore that trumpeter Miles Davis and arranger / conductor Gil Evans were both visionaries, in addition to their supreme musical sensitivity and revolutionary approach to music expansion. Combing Jazz with non-Western Classical music, in this case the magnificent "Concierto de Aranjuez" by Joaquin Rodrigo (originally a concerto for guitar and orchestra, arranged for trumpet by Evans), was a bold step and one of the first examples of Jazz-World Fusion. Sure enough some American critics and fans hated it from day one, using the "usual" intelligent argument: "This is not Jazz". But Jazz it was, a magnificent new form of Jazz, where the lyrical composition and brilliant (and not less lyrical) interpretation by Miles just fit together like a dream. The muted trumpet played by Miles turns into a magical / mystical mythological flute, luring the listener into the music, completely intoxicated by the sound. I could go on and on about the music, but what's the point, just grab it and listen. The original LP was extended for this special addition with a whole second CD of bonus material, including studio outtakes and the only live performance of this music with Davis and Evans. Totally essential!

 

 

JAZZIS WEB SHOP

 

Normal activity.

 

HAVE FUN!

CD

 

Here is a series of new additions on the excellent new reissues label Esoteric Records:

 

 

2^nd album by the exquisite band National Health, which was the last of the great original bands and the centerpiece crown jewel of the Canterbury scene, as it combined all the elements that made this musical excursion so unique and important, crystallizing a decade of development and constant search for new forms of musical expression. Formed by keyboardist / composer Dave Stewart, who previously led such cornerstone Canterbury ensembles like Egg and Hatfield And The North, combining musicians of the last and another sublime ensemble Gilgamesh, which also recently fell apart. After bassist Neil Murray left the band following the recording of the debut album, he was replaced by bassist John Greaves from Henry Cow, another Canterbury icon. The album included several guest musicians, among them the superb trumpeter Phil Minton and overall it fallowed the same lines as the debut. Overall National Health was an ideal tool to deliver the intricate melodic content of Stewart's compositions, spiced with lengthy jazzy improvisations, which could go on for several minutes and allow ample opportunity for the players to stretch out, probably more that in any earlier Canterbury ensemble. There is never a dull moment here, with ideas chasing ideas at all times and the listener is drawn into the music completely. This album is a timeless masterpiece and an essential cornerstone of any serious record collection!

 

 

JAZZIS WEB SHOP

 

Normal activity.

 

HAVE FUN!

CD

 

Here is a series of new additions on the excellent new reissues label Esoteric Records:

 

 

1^st album by the exquisite band National Health, which was the last of the great original bands and the centerpiece crown jewel of the Canterbury scene, as it combined all the elements that made this musical excursion so unique and important, crystallizing a decade of development and constant search for new forms of musical expression. Formed by keyboardist / composer Dave Stewart, who previously led such cornerstone Canterbury ensembles like Egg and Hatfield And The North, combining musicians of the last and another sublime ensemble Gilgamesh, which also recently fell apart. After several personnel changes, the band stabilized as a quartet, including in addition to Stewart guitarist Phil Miller, bassist Neil Murray and drummer Pip Pyle, all veterans and immensely gifted players. The album also includes guest contributions of other Canterbury luminaries, like Alan Gowen (keyboards), Amanda Parsons (vocals), Jimmy Hastings (flute) and others. Overall National Health was an ideal tool to deliver the intricate melodic content of Stewart's compositions, spiced with lengthy jazzy improvisations, which could go on for several minutes and allow ample opportunity for the players to stretch out, probably more that in any earlier Canterbury ensemble. There is never a dull moment here, with ideas chasing ideas at all times and the listener is drawn into the music completely. This album is a timeless masterpiece and an essential cornerstone of any serious record collection!

 

 

JAZZIS WEB SHOP

 

Normal activity.

 

HAVE FUN!

CD

 

Here is a series of new additions on the excellent new reissues label Esoteric Records:

 

 

3^rd album by the excellent British band Spooky Tooth and definitely one of the boldest and daring experiments in Rock music not only at the time, but since, when the band decided to cooperate on this project with French avant-garde electronic music composer Pierre Henry, whose "musique concrete" was at the forefront of contemporary Classical music's quest for new areas of development. The band's main composer, vocalist and keyboardist Gary Wright wrote six new compositions, which together formed a sort of religious Rock Mass, which the group recorded in UK, shortly after replacing the original bassist Greg Ridley (who went to form Humble Pie) with Andy Leigh. Considering the group was in top form, following the recording of their excellent second album, the music they recorded is absolutely stunning and the level of musicianship is truly astounding. After the recording was completed, the tape was sent to France, where Henry overdubbed the group's music with his electronic contributions. The resulting amalgam turned out to be one of the most controversial recordings of the era, tearing the band apart as a result and invoking heated discussions amongst the critics and fans alike. If one might speculate a bit, probably the group's music released without Henry's overdubs would have been considered as their greatest achievement, but since that never happened, we might never know. In fact I'm still hoping that such version of the album will be available one day, at least in the form of bonus material. Still, this is definitely an intriguing piece of music, which deserves to be listened to and studied, not only by the band's hard-core fans but by any music fan with broad horizons.

 

 

JAZZIS WEB SHOP

 

Normal activity.

 

HAVE FUN!

CD

 

Here is a series of new additions on the excellent new reissues label Esoteric Records:

 

 

Following the studio recording of the epic work "Go" by the Japanese percussionist / composer Stomu Yamash`ta, the same cast of musicians embarked on a tour, performing the music live. The Paris performance was captured on tape and later released as a double LP, released here on single CD. The cast is a true super group, consisting of some of the best musicians on the scene, including British vocalist / keyboardist Steve Winwood (Traffic, Blind Faith), American drummer Michael Shrieve (Santana) and guitarist Al Di Meola (Return To Forever), German keyboardist Klaus Schulze (Tangerine Dream) and several other backing musicians. In many respects the live recording is by far superior to the studio version, easily explained by the lack of time limitations and other constrains present in the studio. The soloists (and especially Di Meola, whose playing is truly inspired and Winwood, whose vocals soared that night) can stretch almost at will and considering the strength of the participating musicians they always receive a sympathetic and masterly support. The orchestral arrangements being replaced by synthesizer work also take off some of the studio version rigidity. In short this is one hell of a concert, one of those once-in-a-lifetime special nights. If you like the studio version of "Go", this is a must, if you didn't, you still might find this to be great after all. Definitely worth trying out!

 

 

JAZZIS WEB SHOP

 

Normal activity.

 

HAVE FUN!

CD

 

Here is a series of new additions on the excellent new reissues label Esoteric Records:

 

 

Japanese percussionist / composer Stomu Yamash`ta settled in England in 1972, after studying music in his native country and later in the USA. He worked mainly as a composer for theatre music, but his signing as a recording artist for the Island label brought his work to the attention of a wide audience following the release of this seminal album – a super project in every sense. "Go" is a large scale suite, combining many musical elements, from Classical to Jazz, World Music and Rock. For the recording of this project the composer created a true super group, consisting of some of the best musicians on the scene, including British vocalist Steve Winwood (Traffic, Blind Faith), American drummer Michael Shrieve (Santana) and guitarist Al Di Meola (Return To Forever), German keyboardist Klaus Schulze (Tangerine Dream) and many others. The orchestral arrangements were written by the wonderful Paul Buckmaster. The album is full of brilliant musicianship and the music majestic and mystical, flows serenely engulfing the listener into a trance-like state. In retrospect the entire work is a proud precursor of New Age music, which would erupt on the scene two decades later, but at the time it was innovative and quite daring in its scope, which cased it to be embraced by the Prog fans. Although the album was very successful at the time, it was unavailable on CD for many years and this new remastered edition is a most welcome dream-come-true to many Prog fans.

 

 

JAZZIS WEB SHOP

 

Normal activity.

 

HAVE FUN!

CD

 

Here is a series of new additions on the excellent new reissues label Esoteric Records:

 

 

3^rd and last album by the brilliant British trio Egg, which comprised of keyboardist Dave Stewart, bassist Mont Campbell and drummer Clive Brooks, recorded almost three years after the group disbanded following the release of their previous album. Unfortunately the reunion proved to be short lived, and this was to be their last recording together. Egg was an archetypal representative of the Canterbury scene and their sound, dominated by Stewart's keyboards, is one of the genre's most recognizable aural icons. In between recording the second and this, the third album with Egg, Stewart played keyboards with Hatfield And The North, another seminal Canterbury band, contributing his incredible talent to the success of that ensemble. The album is a superb example of the Canterbury essence – strange haunting melodies, quirky rhythmic patterns and incredible virtuosic instrumental performances, spiced on top with a good measure of British humor. There is not one weak moment here from start to finish and the music stand its ground honorably, in complete disregard to the time passing by. A few notable guest musicians take part in the recording, including members of Henry Cow (fellow Virgin label recording artists at the time) and guitarist Steve Hillage. This album is an absolute must to every Canterbury fan!

 

 

JAZZIS WEB SHOP

 

Normal activity.

 

HAVE FUN!

CD

 

Here is a series of new additions on the excellent new reissues label Esoteric Records:

 

 

4^th and last album by the brilliant Dutch band Supersister, which almost singlehandedly were Europe's answer to the British Canterbury scene. Often compared to Soft Machine (circa "Third"), in fact the group is more comparable to later Canterbury groups like Matching Mole, Hatfield And The North, National Health and even later Caravan, although chronologically they preceded these groups by several years. Obviously influenced by Soft Machine's jazzy free improvisational excursions, the band was also influenced by many other experimental Rock (Frank Zappa), Jazz musicians and contemporary Classical composers. Following the recording of the previous album, the band's flautist and drummer left to pursue their careers were replaced by a new drummer and the great American-born but living in Europe saxophonist Charlie Mariano. Naturally as the result the band's music became even more Jazzy. The album was recorded in England (with some guest musicians) and this time it was a concept work dedicated to Alexander the Great. Unfortunately soon after the album was recorded Mariano left and the group disbanded, after the legendary Elton Dean played with tem for a while, leaving us the legacy of four wonderful albums.

 

 

JAZZIS WEB SHOP

 

Normal activity.

 

HAVE FUN!

CD

 

Here is a series of new additions on the excellent new reissues label Esoteric Records:

 

 

3^rd album by the brilliant Dutch band Supersister, which almost singlehandedly were Europe's answer to the British Canterbury scene. Often compared to Soft Machine (circa "Third"), in fact the group is more comparable to later Canterbury groups like Matching Mole, Hatfield And The North, National Health and even later Caravan, although chronologically they preceded these groups by several years. Obviously influenced by Soft Machine's jazzy free improvisational excursions, the band was also influenced by many other experimental Rock (Frank Zappa), Jazz musicians and contemporary Classical composers. This album includes (on the B side of the original LP) their ambitious music, which accompanied a ballet and involved also a chamber orchestra. The group matured immensely in the two years since their stunning debut, always expanding their ideas into new directions and kept the level of excellence established by the two previous albums. This was the last album recorded by the original lineup of the group. Fantastic stuff!

 

 

JAZZIS WEB SHOP

 

Normal activity.

 

HAVE FUN!

CD

 

Here is a series of new additions on the excellent new reissues label Esoteric Records:

 

 

2^nd album by the brilliant Dutch band Supersister, which almost singlehandedly were Europe's answer to the British Canterbury scene. Often compared to Soft Machine (circa "Third"), in fact the group is more comparable to later Canterbury groups like Matching Mole, Hatfield And The North, National Health and even later Caravan, although chronologically they preceded these groups by several years. Obviously influenced by Soft Machine's jazzy free improvisational excursions, the band was also influenced by many other experimental Rock (Frank Zappa), Jazz musicians and contemporary Classical composers. This follow up to their stunning debut is every bit as excellent and its release established the group as one of the most important European Jazz-Rock acts. Full of great melody lines, quirky rhythm changes and exceptional sensitivity, this is a true gem, always worthy of returning to. Essential listening experience!

 

 

JAZZIS WEB SHOP

 

Normal activity.

 

HAVE FUN!

CD

 

Here is a series of new additions on the excellent new reissues label Esoteric Records:

 

 

1^st album by the brilliant Dutch band Supersister, which almost singlehandedly were Europe's answer to the British Canterbury scene. Often compared to Soft Machine (circa "Third"), in fact the group is more comparable to later Canterbury groups like Matching Mole, Hatfield And The North, National Health and even later Caravan, although chronologically they preceded these groups by several years. Obviously influenced by Soft Machine's jazzy free improvisational excursions, the band was also influenced by many other experimental Rock (Frank Zappa), Jazz musicians and contemporary Classical composers. With the European Jazz scene rapidly developing to emancipate itself from the half-decade American domination, with Holland as one of the epicenters of the new European Jazz, the band was a reflection of the trends by the young European musicians to go elsewhere in search of their musical ventures. The stunning debut album by Supersister is a great example of spontaneity, daring and complete disregard for commercial consideration, all these of course on top of amazing talent and musicianship of its four band members. Similar to early Soft Machine the band did not include a guitarist, so the soloing is mostly done by the keyboardist and flute player, but the bass player and drummer had also a most significant role. Altogether this is a magnificent piece of music and a stunning debut album, worthy of an honorable place in any serious music collection. Essential listening experience!

 

 

JAZZIS WEB SHOP

 

Normal activity.

 

HAVE FUN!

CD

 

Here is a series of new additions on the excellent new reissues label Esoteric Records:

 

 

2^nd and last album by British Prog / Jazz-Rock band Marsupilami, one of the best kept secrets of the burgeoning local scene form the late 1960s / early 1970s. The band was a sextet, which played only original, highly complex music strongly Jazz influenced. All the musicians were excellent instrumentalists and the long instrumental passages are all very interesting. A female flute player, who also sang backing vocals, completed the bill, which adds another interesting layer to the music. Altogether it is pretty amazing that this group is almost completely unknown, even by the hard-core Prog fans, as this stunning debut album is as good as any of the debuts released at the time by groups that turned into legends. After being lost for so many years, now the new generation of Prog fans is able to rediscover and enjoy this band, as it surely deserves a much wider recognition.

 

 

JAZZIS WEB SHOP

 

Normal activity.

 

HAVE FUN!

CD

 

Here is a series of new additions on the excellent new reissues label Esoteric Records:

 

 

1^st album by British Prog / Jazz-Rock band Marsupilami, one of the best kept secrets of the burgeoning local scene form the late 1960s / early 1970s. The band was a sextet, which played only original, highly complex music strongly Jazz influenced. All the musicians were excellent instrumentalists and the long instrumental passages are all very interesting. A female flute player, who also sang backing vocals, completed the bill, which adds another interesting layer to the music. Altogether it is pretty amazing that this group is almost completely unknown, even by the hard-core Prog fans, as this stunning debut album is as good as any of the debuts released at the time by groups that turned into legends. After being lost for so many years, now the new generation of Prog fans is able to rediscover and enjoy this band, as it surely deserves a much wider recognition.

 

 

JAZZIS WEB SHOP

 

Normal activity.

 

HAVE FUN!

CD

 

Here is a series of new additions on the excellent new reissues label Esoteric Records:

 

 

It was inevitable that the two British icons saxophonist / keyboardist / composer Graham Bond and vocalist / trumpeter / lyricist Pete Brown would eventually find themselves in one band. After all they rubbed shoulders for over a decade before this album was recorded, both being members of a circle of musicians with many mutual friends like bassist Jack Bruce (who co-wrote most of the Cream material with Brown, as well as all the material on his early solo albums and who was a member of the Graham Bond Organization, drummer Ginger Baker, saxophonist Dick Heckstall-Smith (also members of the Organization) and several others. When they both found themselves out of job, getting together was the natural solution. The only album this band recorded is one of the wackiest – mind you in a most wonderful way – albums created at the time. Completely beyond any stylistic limitations Bond and Brown just seem to have a great time, playing and singing together accompanied by some superb instrumentalists. Expect the unexpected here, with Brown's witty lyrics and Bond's excellent keyboards work both on organ and acoustic piano. Sadly this album turned out to be Bond's last studio recording before he perished in a terrible accident / alleged suicide two years later. With his death the British Jazz-Rock scene lost its original forefather. Definitely worth checking out and a must to all Bond and Brown fans.

 

 

JAZZIS WEB SHOP

 

Normal activity.

 

HAVE FUN!

CD

 

Here is a series of new additions on the excellent new reissues label Esoteric Records:

 

 

5^th album by the excellent Keef Hartley Band, one the best Blues / Rock / Jazz ensembles ever, founded by drummer Keef Hartley following his stint with John Mayall's Bluesbreakers. This live recording in London's legendary Marquee Club is a most ambitious project the band undertook, expanding its personnel to a full scale Big Band of 16 musicians, which included the best Jazz players on the UK scene at the time. The entire project was prompted by an invitation from the BBC to record live and the bandwagon got rolling from there. Alongside the Hartley regulars the additional players include trombonist Derek Wadsworth, saxophonist Barbara Thompson, trumpeter Harry Beckett and many more. Although the material is Blues based, in fact the orchestral arrangements and the entire concept is a tribute to great Jazz Big Bands, which were a great source of influence to Hartley. This is not only great music but also a great document of the times, when musical project could be made to come true regardless of their complexity and expense. Just sit back and succumb to the engulfing sound of the band in its full might – satisfaction guaranteed! Superb stuff!

 

 

JAZZIS WEB SHOP

 

Normal activity.

 

HAVE FUN!

CD

 

Here is a series of new additions on the excellent new reissues label Esoteric Records:

 

 

2^nd album by the excellent Keef Hartley Band, one the best Blues / Rock / Jazz ensembles ever, founded by drummer Keef Hartley following his stint with John Mayall's Bluesbreakers. This album was recorded shortly after the stunning debut and features most of the musicians present on that recording with the addition of some notable guests, like saxophonist / flautist Barbara Thompson, flautist Ray Warleigh, guitarist Mick Taylor and keyboardist Mick Weaver. In total 14 musicians are involved in this recording and it is definitely one of the best Blues-Rock albums ever recorded in Britain. Hartley's sensitive drumming drives the music through a set of fantastically well written and superbly arranged tunes, which are Blues based but extend often into Rock and Jazz. The guitar work is stunning, the brass arrangement just right on the money, in short heaven on earth for any Blues fan, but basically early Jazz-Rock Fusion enthusiasts will find here everything they need to make them happy. Definitely a classic of the genre and an essential piece of music if ever there was one!

 

 

JAZZIS WEB SHOP

 

Normal activity.

 

HAVE FUN!

CD

 

Here is a series of new additions on the excellent new reissues label Esoteric Records:

 

 

1^st album by the excellent Keef Hartley Band, one the best Blues / Rock / Jazz ensembles ever, founded by drummer Keef Hartley following his stint with John Mayall's Bluesbreakers. The band featured a nucleus consisting of singer / guitarist Miller Anderson, guitarist Spit James, keyboardist Peter Dines, bassist Gary Thain and Hartley on drums. In addition a horn section was added to expand the band's sound, which on this album consisted of the best horn players in Britain: trumpeters Henry Lowther and Harry Becket and saxophonists Lynn Dobson and Chris Mercer. Together this nine-piece band had a tremendous power and considering the quality of its members it was simply the best "little Big Band" around at the time. Hartley's sensitive drumming drives the music through a set of fantastically well written and superbly arranged tunes, which are Blues based but extend often into Rock and Jazz. The guitar work is stunning, the brass arrangement just right on the money, in short heaven on earth for any Blues fan, but basically early Jazz-Rock Fusion enthusiasts will find here everything they need to make them happy. Definitely a classic of the genre and an essential piece of music if ever there was one!

 

 

JAZZIS WEB SHOP

 

Normal activity.

 

HAVE FUN!

CD

 

Here is a series of new additions on the excellent new reissues label Esoteric Records:

 

 

2^nd album by excellent British Prog band Rare Bird, one of the most unusual and original outfits on the burgeoning scene of the late 1960s / early 1970s. Fronted by two keyboards players Graham Fields (organ) and David Kaffinetti (electric piano) the group also included bassist / vocalist Steve Gould and drummer Mark Ashton. Purposely avoiding the sound of guitar, they created a wonderful balance between the two keyboards, exchanging licks and complimenting each other virtuously. Their material was also excellent, often with quirky rhythmic background but not eschewing beautiful ballads. With the second album the band faced the incredible challenge to repeat and perhaps improve the amazing achievement of their debut and they passed the test with flying colors. Completely disregarding any commercial influences, they moved even deeper into Prog and included on the album a lengthy song cycle called "Flight", which occupied the entire B side of the original LP. The music is absolutely stunning and consists of some of the most intriguing stuff recorded at the time. This is a true gem and an essential piece of music, which lost absolutely nothing of its initial impact.

 

 

JAZZIS WEB SHOP

 

Normal activity.

 

HAVE FUN!

CD

 

Here is a series of new additions on the excellent new reissues label Esoteric Records:

 

 

1^st album by excellent British Prog band Rare Bird, one of the most unusual and original outfits on the burgeoning scene of the late 1960s / early 1970s. Fronted by two keyboards players Graham Fields (organ) and David Kaffinetti (electric piano) the group also included bassist / vocalist Steve Gould and drummer Mark Ashton. Purposely avoiding the sound of guitar, they created a wonderful balance between the two keyboards, exchanging licks and complimenting each other virtuously. Their material was also excellent, often with quirky rhythmic background but not eschewing beautiful ballads. The eponymous debut album is a beautiful showcase of daring innovation and excellent musical taste, rarely achieved by other groups and remains one of the most stunning debuts ever. It includes the song "Sympathy", one of the greatest and everlasting anthems of British Prog, which enjoyed enormous chart success all over the world in spite of its unusual sound. This is a true gem and an essential piece of music, which lost absolutely nothing of its initial impact.

 

 

JAZZIS WEB SHOP

 

Normal activity.

 

HAVE FUN!

CD

 

Here are a couple of Repertoire titles:

 

 

1^st album by British Prog legends Gentle Giant, a group that defined the genre more then any other singular musical outfit. Formed by the Shulman brothers: vocalist Derek Shulman, bassist / violinist / vocalist Ray Shulman and saxophonist / vocalist Philip Shulman, following the demise of their previous group Simon Dupree & The Big Sound, Gentle Giant recorded this stunning debut, which changed the face of music forever. Combining musical influences spreading such diverse areas as medieval madrigals and modern Jazz, the group managed to create a completely new sound and in fact even a new musical language, influencing generations of musicians all over the world for generations to come. Funny, zany and deadly serious, this music is essential listening to any serious music fan and of course an important piece of the Prog canon. Absolutely essential!

 

 

JAZZIS WEB SHOP

 

Normal activity.

 

HAVE FUN!

CD

 

Here are a couple of Repertoire titles:

 

 

1^st album by British group Moody Blues, which documents their activities before they turned into a legendary outfit, which pioneered Psychedelic and Progressive Rock at its most beautiful and sophisticated diversity, shortly after this music was recorded. Although they played at the time classic British Pop and Rhythm and Blues, as did countless of their contemporaries, in retrospect it is fascinating to listen to the seeds of their amazing collective talents. In every respect this music is far better than most of the other stuff produced at the time, full of amazing melodies, great vocal harmonies and superb instrumental work. If you are too young to remember this music from the time when it was being played on the radio, this is a great opportunity to get to know it, over 40 years later, as it lost nothing of its original magnificence.

 

 

JAZZIS WEB SHOP

 

Normal activity.

 

HAVE FUN!