Record Reviews

AMALGAM ~ PLAY BLACKWELL & HIGGINS FMR 146 (Barcode: 649849982353) ~ UK ~ Jazz Recorded: 1972 - 1973 Released: 2004 2nd album by the superb British Jazz / Improvised Music ensemble AmalgamFind albums by this artist, one of the precursors of British / European Free Jazz scene in the late 1960s and 1970s, founded by saxophonist Trevor WattsFind albums by this artist. On this album the lineup is a trio, including the legendary drummer John StevensFind albums by this artist and bassists Ron HermanFind albums by this artist and Jeff ClyneFind albums by this artist. As the title suggests, Amalgam play tribute to two almost anonymous heroes of the American Jazz revolution, drummers Ed BlackwellFind albums by this artist and Billy HigginsFind albums by this artist, both of which played on the pioneering recordings by Ornette ColemanFind albums by this artist and contributed their share in expanding the Jazz horizons. The music is recorded live and both extended compositions included here are by Stevens. This album was originally released on the tiny independent AFind albums on this label label, owned by Watts, and was unavailable for many years, which is now rectified by this CD issue. The performances are inspired and fiery, proving how advanced the British scene was at the time. Watts´ saxophone work summarizes the development of the instrument in the hand of geniuses like Coleman, Albert AylerFind albums by this artist and John ColtraneFind albums by this artist. Overall this is yet another example of the wonderful forces at work during a most illustrious period in British Jazz. A true classic of the genre and a must for any Free Jazz / Improvised Music buff!

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ASCETIC ~ ASCETIC AUDIO CAVE 2023/008 (Barcode: 5908298549667) ~ POLAND ~ Jazz Recorded: 2022 Released: 2023 This is the debut album by young Polish Jazz quartet AsceticFind albums by this artist, led by clarinetist / saxophonist Mateusz RybickiFind albums by this artist, and also including pianist Tomasz KaczmarekFind albums by this artist, bassist Ju GhanFind albums by this artist and drummer Jan SlowinskiFind albums by this artist. The album presents ten tracks, which although based on ideas suggested by the leader, are all co-credited to the four members of the quartet. One of the tracks is based on a 15th Century traditional song. The music was excellently recorded at the Monochrom Studio. The music is an absolutely classic Jazz quartet recording, which offers an atmosphere and tonality of the Polish Jazz sometime in the late 1960s, when modern Polish Jazz was born. The delicate, almost hypnotic melodies, the relaxed, as if intentionally slowed down tempi, the wonderful clarinet / saxophone soli, which avoid unnecessary complexity and showing off, but push the melody to the very edge, the excellent harmonic support by the piano, the solid, stable bass pulsations and supportive but not overbearing drumming – it is all there to make the music just perfect from start to finish. I often complain that the young Polish Jazz musicians are not taking enough risks lately and seem somewhat out of steam, but perhaps reexamining the classics can be every bit as inventive, as breaking new ground, which is exactly what is happening here. The clarinet, which sadly has been pushed aside so often, proves that in the right hands it can be as innovative and daring as all the saxophone family, and with its specific tonality it is surely more heartwrenching. It would be trivial to compare this music to the music of John ColtraneFind albums by this artist or Krzysztof KomedaFind albums by this artist (which I have already noticed in the scribblings by my colleagues), since naturally every Polish Jazz musician is inadvertently influenced by these Giants; it is important to see what these young musicians have to say beyond the tradition, even when they pay “in the tradition”. And they certainly have a very individual and personal statements to offer, all of which are present herein, for those willing to listen. Overall, this is a brilliant debut recording, by any standard, and a surprising attempt to re-construct / de-construct the classic Jazz quartet statement, on an unprecedented scale, even if the musicians are not aware consciously of what emerged as a result of their creative effort. When the dust settles, this album is certainly here to stay as one of the most significant statements on the Polish Jazz scene this year, if not beyond. Time will tell, but in the meantime my warmest thanks to you Gentlemen, for your talents and determination. Hats off!

Updated: 29/07/2023Posted: 28/07/2023

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AWATAIR ~ PLAYS COLTRANE FSR 2019/16 (Barcode: 5905279364547) ~ POLAND ~ Free Jazz / Improvised Music Recorded: 2019 Released: 2019 This is a debut album by the AwatairFind albums by this artist Jazz trio consisting of Polish saxophonist Tomasz GadeckiFind albums by this artist, Ukrainian bassist Mark TokarFind albums by this artist and Polish drummer Michal GosFind albums by this artist. The album, recorded live, presents four tracks, three of which are compositions by John ColtraneFind albums by this artist and one is an original improvisation credited to the trio members. For most Jazz listeners the late John Coltrane period, when his music moved into "interstellar space", remains well beyond their grasp to this very day, over half a century later. Coltrane´s visionary approach to music in general, and his output closely preceding his untimely death is even more unapproachable to musicians, trying to produce anything similar to his unearthly accomplishments. In view of the above this album is threading a thin line between homage and a self parody, which characterizes most similar projects. Gadecki, who undoubtedly is one of the most interesting Jazz personalities on the Polish Jazz scene, has a fabulous record of creating some of the most ambitious and consistently excellent Polish Free Jazz projects, takes a great risk here, and I am relieved to say that he and his colleagues manage to produce a homage rather than a pastiche. Gadecki´s playing on this album is nothing short of phenomenal. He is able to produce a range of sounds from his instruments, which can be surprising even to veterans of the genre. His explorations are diverse, original and heartfelt all the way and his technique and stamina are extraordinary. He is amicably supported by the rhythm section, which is supportive and sensitive, but less impressive. Overall this is a fascinating listening experience, which manages to keep the listener on his toes for the entire duration. Having said all that I still think Coltrane and his late period music is a holy grail that should rather be left alone as a symbol of human Genius.

Updated: 11/01/2020Posted: 11/01/2020

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ALBERT AYLER ~ LIVE IN GREENWICH VILLAGE: THE COMPLETE IMPULSE! RECORDINGS IMPULSE! 273 (Barcode: 011105027328) ~ USA ~ Jazz Recorded: 1965 - 1967 Released: 1998 One of the greatest pioneers of the Free Jazz in the 1960’s, Albert AylerFind albums by this artist is universally recognized for his contributions but remains the most controversial of the period’s figures. There are quite a few reasons for this controversy: his relatively limited output (due to his tragic death in 1970 he recorded just for about 9 years between 1962 and 1970), his background (Ayler arrived at the Free Jazz scene from Rhythm And Blues unlike Ornette ColemanFind albums by this artist or John ColtraneFind albums by this artist who had years of Bebop behind them) and his radical approach to improvisation based less on personal virtuosity and more on expressiveness and attack. In addition Ayler based his improvisations on many world music influences (one of the first US musicians to do so), rather than on the blues and jazz standards. Ayler started his career in Scandinavia, where he lived in the early 1960’s and where he first recorded (similar to many other US jazz musicians, who found the US scene to be unappreciative of their innovations as opposite to the Europeans who were much more open-minded – this being true to this very day). Upon his return to NY, Ayler recorded a series of visionary and now legendary albums for the no less legendary NY based “underground” ESPFind albums on this label label, which was the first American label to provide its artists a total artistic freedom and control of their output. Later on Ayler signed with Impulse!Find albums on this label, where he recorded until his untimely (and mysterious) death. This exquisite album collects all the live recordings Ayler made for Impulse! between 1965 and 1967 in various venues in the NY Greenwich Village. It captures him (and his group) at the absolute peak of his improvisational ability. Strongly influenced by Coltrane’s late period output (one of the pieces here is dedicated to Coltrane and was recorded just after Coltrane’s death) the music presents turmoil of emotions and brilliant group improvisations. Ayler’s group includes his brother Don AylerFind albums by this artist on trumpet, Michael SampsonFind albums by this artist on violin, Henry GrimesFind albums by this artist on bass, Beaver HarrisFind albums by this artist on drums and many other prominent NY Free Jazz players. This is an essential piece of the Free Jazz history and a great portrait of an Artist at his best moment. Brilliant!

Updated: 08/05/2023Posted:

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ALBERT AYLER ~ REVELATIONS: THE COMPLETE ORTF 1970 FONDATION MAEGHT RECORDINGS ELEMENTAL MUSIC 5990443 (Barcode: 8435395503232) ~ USA ~ Free Jazz / Improvised Music Recorded: 1970 Released: 2022 This is an archive live album by iconic American saxophonist / composer Albert AylerFind albums by this artist, one of the Godfathers of Free Jazz / Improvised Music, recorded in France during two concerts on July 25 & 27, 1970. Ayler is accompanied by his wife, saxophonist / vocalist Mary ParksFind albums by this artist, bassist Steve TintweissFind albums by this artist and drummer Allen BlairmanFind albums by this artist, and on the second concert also pianist Call CobbsFind albums by this artist. The 4CD Box Set includes a superb 100-page booklet with in depth articles and beautiful photographs, and the music offers a pristine sound quality. Recorded just a few months prior to his tragically premature death, the music on this album offers a glimpse at the pinnacle of Ayler’s ingenuity and Genius. His role in the development of American Jazz has been always undermined by the fact that his recorded output was truly miniscule in comparison to the massive output generated by John ColtraneFind albums by this artist, who is traditionally almost singlehandedly credited for the development of Free Jazz / Improvised Music, but is fact Ayler was there ahead (time-wise) and way more innovative / radical. During his lifetime he remained almost completely unknown and underappreciated, even though Coltrane (and other innovators) recognized his immense talent. On this album Ayler returns to his musical sources, with strong spiritual influence and even spoken words / lyrics, which reflect his strong ties to Church music, Rhythm And Blues and Bebop, before exploring the Free Jazz experimentation in the 1960s. However, his lengthy improvisations are as fiery and explosive as one can imagine. The musicians taking part in this session, although less prominent, are all excellent and support the leader amicably. Naturally the focus of the music is Ayler’s incredible improvisational power. Overall, this is a wonderful piece of Jazz history, miraculously preserved in perfect condition and now available for us to enjoy and admire. It is of course a must for Free Jazz / Improvised Music enthusiasts, and offers a beacon of light on one of the greatest American Jazz musicians, who is sadly rarely in the limelight.

Updated: 13/12/2024Posted: 13/12/2024

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BABYSZKA / LEMANCZYK / GOLICKI ~ LUTOSIA NOT ON LABEL ~ POLAND ~ Jazz Recorded: 2020 Released: 2023 This is the debut album by the Polish Jazz trio consisting of pianist Maja BabyszkaFind albums by this artist, bassist Piotr LemanczykFind albums by this artist and drummer Adam GolickiFind albums by this artist. The album presents eight tracks, six of which are original compositions by Lemanczyk, one is an arrangement of a Classical piece by Polish composer Witold LutoslawskiFind albums by this artist and one is a John ColtraneFind albums by this artist composition. The music is brilliant modern European Jazz, sparkling with freshness and inventiveness, which never ceases to amaze. The trio offers a unique atmosphere of tranquility, even on the up-tempo pieces, and intimate interplay between the trio members. Lemanczyk, who is undoubtedly one of the finest European Jazz bass virtuosi, dominates the album with his steadfast lead and amazing technique, both on the acoustic bass and the bass guitar, which seems to be his preferred arme de choix lately. Since most of the music features his excellent lyrical compositions, he is the obvious trailblazer here, which of course does not weaken the contributions by the other members of the trio. Babyszka, despite her tender age and novice status, appears as an excellent player, with tons of potential, which means she is surely going to take us all by surprise, assuming her studies in the US will not extinguish her talent. Golicki, an already established name on the Polish Jazz scene, also performs spotlessly and passionately, as appropriate for the occasion. The album recorded three years ago during an unexpected short studio session, offers not only great music, but also a beautiful sound quality, which allows the listener to enjoy every nuance of the delightful music. Overall, although almost a spur of the moment session, this is one of the nicest and most inspiring Polish Classic Jazz piano trio recordings in the last few years, which is an absolute delight from start to finish. I have no idea if this trio has any plans to repeat this experience, but one can always hope. This is Polish / European Jazz at its absolute best, making this little gem an essential listening!

Updated: 17/11/2023Posted: 17/11/2023

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GATO BARBIERI ~ FENIX BMG 743218514821 (Barcode: 743218514821) ~ ARGENTINA ~ Jazz-World Fusion Recorded: 1971 Released: 2001 This is a reissue / remaster of the 3rd album by Argentinean Jazz saxophonist / composer / bandleader Gato BarbieriFind albums by this artist, originally released on the legendary Flying DutchmanFind albums on this label label and produced by Bob ThieleFind albums by this artist, who was the label’s owner. The album was recorded by a sensational team of American Jazz musicians, which included pianist Lonnie Liston SmithFind albums by this artist, bassist Ron CarterFind albums by this artist, drummer Lenny WhiteFind albums by this artist, percussionist Gene GoldenFind albums by this artist and Brazilian percussionist Nana VasconcelosFind albums by this artist. Guitarist Joe BeckFind albums by this artist plays on one track. The album presents six tracks, one of which is an original composition by Barbieri and the rest are by Argentinean Pop / Folk composers. By the time this album was recorded, Barbieri managed to fully develop his unique style, which perfectly combined Jazz improvisation with the spirit of South American music. He was an incredible virtuoso and his brilliant fluency was truly magical and mesmerizing. As a result, he created a long series of brilliant albums, which to this day are absolutely stunning. Barbieri, strongly influenced by John ColtraneFind albums by this artist, developed a unique “wall of sound” effect, which presented him wailing with a terrific intensity, but supported in the background by Latin rhythms and often retaining a clear melodic contents, including his obvious affinity to the Argentinean Tango. Overall, this is a classic example of early Jazz-World Fusion, played by the best musicians at the time and fronted by Barbieri’s intense improvisations, which remain completely relevant well over five decades later. A music in every serious Jazz record collection.

Updated: 09/06/2025Posted: 09/06/2025

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PIOTR BARON ~ KADDISH NOT ON LABEL 5907809494038 (Barcode: 5907809494038) ~ POLAND ~ Jazz Recorded: 2009 Released: 2011 Kaddish, the ancient Jewish prayer usually associated with Jewish funeral and mourning services can be considered as a representation of the essence of the Jewish religion and is also often associated with the faith of the Jewish People. The fact that the great Polish saxophonist / composer Piotr BaronFind albums by this artist used this idiom as the title of his new album, as well as the title of the central composition, which opens the album, is by no means accidental. Baron, a devoted Christian, dedicated many of his previous releases to religious themes, expressing the idea that any Artist´s religious views are an integral part of his personality, which is also reflected in his Art, or in his case his music. In Poland, Jews and Christians lived together for centuries, sharing the same soil and culture. It was Poland´s bitter destiny to become the central setting of the Jewish Holocaust, which almost completely eliminated the Jewish presence in Poland, separating the two Nations by a chasm, which is still bleeding after seven decades. Baron, paying respect to Jewish faith and tradition, represents a present-day trend among the Poles to build a new bridge between Christians and Jews, re-establishing the severed relationships, a trend strongly present and growing. How much all this background information is related and relevant to the music itself is a decision every listener will have to make, while listening to it. The album consists of seven pieces, of which two are composed by Baron, three are improvised duets by him and his respective partners and the remaining two originate from other sources. Three of the pieces are dedicated to specific persons (one close friend – Polish journalist Jan Mazur, Baron´s friend, one religious personality – Pope John Paul II, and one musician – the great mulireedist Bennie MaupinFind albums by this artist). The personnel includes Baron´s son Adam Milwiw-BaronFind albums by this artist on trumpet and didgeridoo and three Polish Jazz veterans: pianist Michal TokajFind albums by this artist, bassist Michal BaranskiFind albums by this artist and drummer Lukasz ZytaFind albums by this artist. The music is absolutely entrancing, deeply atmospheric and moving, constantly changing and elegantly amalgamating strong melodic content with advanced improvisational excursions. Baron´s playing is virtuosic at all times, often reminiscent of John ColtraneFind albums by this artist´s mid-period, which is about the highest compliment I can bestow upon any sax player. The other musicians are all masters of their trade, with Baron Jr. continuing the family name and trade with honors. It´s obvious that Baron is making a statement here: spiritual, artistic, musical and philosophical, all combined. This is a very personal album, which definitely stands its ground on purely musical merits, but proposes a lot of added values, when put in its proper background. An album one can surely return to many a time, re-discovering its beauty repeatedly. I raise my hat, Maestro!

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PAUL BLEY ~ BALLADS ECM 1010 (Barcode: 602567434788) ~ CANADA ~ Free Jazz / Improvised Music Recorded: 1967 Released: 2019 This is a reissue of the iconic piano trio album by Canadian pianist / composer Paul BleyFind albums by this artist, recorded in March and July of 1967, with American drummer Barry AltschulFind albums by this artist and bassists Gary PeacockFind albums by this artist or Mark LevinsonFind albums by this artist. The album presents just three tracks, all composed by American vocalist / composer Annette PeacockFind albums by this artist, who was married first to Gary Peacock and later to Paul Bley, and who wrote much of his repertoire since 1964. Released originally in 1971, this was Bley’s second album for the then new ECMFind albums on this label Records label, and is often quoted as being one of the defining vectors of the “ECM sound”, which re-defined recorded Jazz in many aspects. The music, created at the very peak of the American Free Jazz movement (the second session took place just a few days following John ColtraneFind albums by this artist’s death), following Bley’s involvement with the American Avant-Garde scene since its inception in the late 1950s, reflects perfectly his and his musicians state of mind. The title was of course mostly ironic / sarcastic, as the music was indeed based on a loosely concept of a ballad, the classic structure of which was completely fragmented, broken down, stretched and improvised on. The beautiful melody lines, which Annette Peacock masterly weaved, and which last for under a minute each, are expanded into twelve or seventeen minutes long improvisations. No wonder many listeners and music critics alike had a hard time to accept these innovative concepts as valid or worth listening to, which of course was completely ignored by the musicians and the ECM team at the time. This is a symbol of why the first 100 albums released on ECM between 1970 and 1977 changed the face of recorded music in every possible perception. And yes, this is extremely difficult music to be enjoyed – it takes years of training one’s ears and of course one’s mind in order to relax the intellectual muscles trained by years of Swing and Bebop, in order to grasp what is really going on, why every note here is perfectly in its place and why this music will never be played in elevators. And no, not everybody has to love and enjoy this music. In fact, it would be a catastrophe if everybody did love it, as it would probably mean that the world has gone even crazier than it seems to be. Overall, this is an absolute classic Free Jazz / Improvised Music recording, which lost nothing of its power over time, and is still intellectually challenging and satisfying almost sixty years after it was recorded. It is a great reminder of the role of ECM Records as a pioneer of European Culture, which managed to transfer everything that was worthy over to the right side of the pond.

Updated: 11/08/2024Posted: 09/08/2024

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ANTHONY BRAXTON ~ CHARLIE PARKER PROJECT HATOLOGY 612 (Barcode: 752156061229) ~ USA ~ Jazz Recorded: 1993 Released: 2004 This is a long overdue reissue of the legendary album by American musician / composer / bandleader Anthony BraxtonFind albums by this artist, one of the most iconic figures of the late 20th Century Free Jazz and Avant-Garde music scene and probably the most important Jazz pioneer in the post John ColtraneFind albums by this artist era. The album captures a live recording of the Braxton´s sextet in Switzerland and Germany, with him playing saxophones and clarinet, accompanied by saxophonist Ari BrownFind albums by this artist, trumpeter Paul SmokerFind albums by this artist, pianist Misha MengelbergFind albums by this artist, bassist Joe FondaFind albums by this artist and drummers Han BenninkFind albums by this artist and Pheeroan AkLaffFind albums by this artist (each playing on one of the two CDs). The music is a loving tribute to Bee Bop and includes mostly compositions by the genre´s pioneer Charlie ParkerFind albums by this artist with three tunes by Dizzy GillespieFind albums by this artist and one each by Tadd DameronFind albums by this artist and Miles DavisFind albums by this artist. Braxton re-visits Bee Bop with respect and love, but of course applies his completely unique interpretation of the music, which is, as usual, completely breathtaking. The level of virtuosity in interplay is simply astounding and this album surely deserves an honorable place in any serious Free Jazz collection. The intercontinental meeting of improvising forces and talents works beautifully, soaring to previously undiscovered heights. This is an absolutely essential example of Free Jazz, for those who are connoisseurs of the genre, which is not to be missed, especially for the second time around.

Updated: 12/04/2019Posted:

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ANTHONY BRAXTON ~ CREATIVE ORCHESTRA (KÖLN) 1978 HATOLOGY 644 (Barcode: 752156064428) ~ USA ~ Jazz Recorded: 1978 Released: 2009 This is a long overdue reissue of the legendary album by American musician / composer / bandleader Anthony BraxtonFind albums by this artist, one of the most iconic figures of the late 20th Century Free Jazz and Avant-Garde music scene and probably the most important Jazz pioneer in the post John ColtraneFind albums by this artist era. The album captures a live concert, recorded in Germany (Braxton was always an icon in Europe, and hardly ever taken seriously at home), with Braxton conducting a huge orchestra performing his compositions. The orchestra includes some of the most important and celebrated Free Jazz players, such as trumpeters Kenny WheelerFind albums by this artist and Leo SmithFind albums by this artist, saxophonists Vinny GoliaFind albums by this artist and Marty EhrlichFind albums by this artist, trombonists Ray AndersonFind albums by this artist and George LewisFind albums by this artist, pianist Marilyn CrispellFind albums by this artist, bassist John LindbergFind albums by this artist and many others. The sound and overall effect of the orchestra performing this music is simply magnificent, and leaves the listener completely dazed. The music just rolls on all over one´s mind, constantly entering new territory both sonically and rhythmically. People familiar with Braxton´s music need no encouragement to plunge into this masterpiece, and those less familiar should definitely try this one in particular, as it might prove to be more accessible. Definitely a masterpiece!

Updated: 12/04/2019Posted:

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ANTHONY BRAXTON ~ PERFORMANCE (QUARTET) 1979 HATOLOGY 610 (Barcode: 752156061021) ~ USA ~ Jazz Recorded: 1979 Released: 2007 This is a long overdue reissue (actually 2nd reissue) of the legendary album by American musician / composer / bandleader Anthony BraxtonFind albums by this artist, one of the most iconic figures of the late 20th Century Free Jazz and Avant-Garde music scene and probably the most important Jazz pioneer in the post John ColtraneFind albums by this artist era. The album captures a live recording of the Braxton´s quartet at the Willisau Jazz Festival in Switzerland, with him playing saxophones and clarinet, accompanied by trombonist Ray AndersonFind albums by this artist, bassist John LindbergFind albums by this artist and percussionist Thurman BarkerFind albums by this artist. The music includes seven original compositions by Braxton, performed continuously in two extended parts. The level of virtuosity in interplay is simply astounding and this album surely deserves an honorable place in any serious Free Jazz collection. The intercontinental meeting of improvising forces and talents works beautifully, soaring to previously undiscovered heights. This is an absolutely essential example of Free Jazz, for those who are connoisseurs of the genre, which is not to be missed, especially for the third time around.

Updated: 12/04/2019Posted:

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ANTHONY BRAXTON ~ SEVEN COMPOSITIONS (TRIO) 1989 HATOLOGY 658 (Barcode: 752156065821) ~ USA ~ Jazz Recorded: 1989 Released: 2009 This is a long overdue reissue of the legendary album by American musician / composer / bandleader Anthony BraxtonFind albums by this artist, one of the most iconic figures of the late 20th Century Free Jazz and Avant-Garde music scene and probably the most important Jazz pioneer in the post John ColtraneFind albums by this artist era. The album captures a recording of a trio, one of Braxton´s favorite settings, with him playing saxophones, clarinet and flute, accompanied by German bassist Adelhard RoidingerFind albums by this artist and legendary British drummer Tony OxleyFind albums by this artist. The music includes five original compositions by Braxton, one by Oxley and one standard. The level of virtuosity in interplay is simply astounding and this album surely deserves an honorable place in any serious Free Jazz collection. The intercontinental meeting of improvising forces and talents works beautifully, soaring to previously undiscovered heights. This is an absolutely essential example of Free Jazz, for those who are connoisseurs of the genre, which is not to be missed, especially for the second time around.

Updated: 12/04/2019Posted:

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BOB BROOKMEYER ~ BOB BROOKMEYER AND FRIENDS (EXPANDED EDITION) COLUMBIA 520374 (Barcode: 5099752037421) ~ USA ~ Jazz Recorded: 1964 Released: 2005 This wondeful gem marks a renewed meeting between two American jazz giants - trombonist Bob BrookmeyerFind albums by this artist and saxophonist Stan GetzFind albums by this artist - who played together many times on earlier occasions. Getz brought to this date a new member of his group, the 21 years old vibraphone prodigy Gary BurtonFind albums by this artist. The rhythm section is a dream come true - Herbie HancockFind albums by this artist and Ron CarterFind albums by this artist from than current Miles DavisFind albums by this artist` Quintet and Elvin JonesFind albums by this artist from John ColtraneFind albums by this artist´s Quartet - one can hardly ask for a more competent bunch. Now for the first time on CD with extensive liner notes. A true gem!

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JOHN CARTER / BOBBY BRADFORD ~ SEEKING HATOLOGY 620 (Barcode: 752156062028) ~ USA ~ Jazz Recorded: 1969 Released: 2006 This long overdue reissue of the legendary debut album by the quartet led by saxophonist / clarinetist / flautist / composer John CarterFind albums by this artist and trumpeter Bobby BradfordFind albums by this artist, with Tom WilliamsonFind albums by this artist on bass and Bruz FreemanFind albums by this artist on drums, is a tribute to the great era of American Jazz, when groundbreaking music was being created there on momentous scale. The quartet was operating under the cooperative name New Art Jazz EnsembleFind albums by this artist, typical of the period´s social / philosophical climate of unity and cooperation on one hand and high appreciation of individual expression and genius on the other. The music expands the tradition already established by Free Jazz pioneers like Ornette ColemanFind albums by this artist, Eric DolphyFind albums by this artist and John ColtraneFind albums by this artist, but is completely unique and refreshing. Carter´s virtuosity (my favorite being his clarinet playing) and compositional skills place him immediately at the spearhead of the burgeoning musical revolution taking place at the time, a position he would firmly keep up for decades to come. The interplay between Carter and Branford is reminiscent of the superb dialogue between Ornette Coleman and Don CherryFind albums by this artist, but the level of telepathic conversation seems to be even more intimate. The most amazing aspect of the album is its total lack of aggressiveness; the music tickles the intellect constantly rather than banging the listener right on his head in an attempt to create a shock treatment affect, an approach often used by other Free Jazz / Avant-Garde players. As a result the music is listenable even to a less experienced Jazz enthusiast, who might find most of other Free Jazz experimentation too overwhelming or aesthetically shocking. In retrospect this album is a Jazz masterpiece in every respect and a worthy addition to every serious music collection. Having it available again is a true blessing and a new chance to get acquainted with a true lost treasure.

Updated: 12/04/2019Posted:

CD 1 Mini-Sleeve Oversampling Remastered Essential Recommend To A Friend

ANAT COHEN ~ NOTES FROM THE VILLAGE ANZIC 1302 (Barcode: 896434001177) ~ ISRAEL ~ Jazz Recorded: 2008 Released: 2008 4th album by Israeli (resident in US) clarinetist / saxophonist / composer Anat CohenFind albums by this artist, sister of trumpeter Avishai CohenFind albums by this artist and saxophonist Yuval CohenFind albums by this artist, who are also collectively known as the 3 CohensFind albums by this artist. Cohen is already established as one of the leading female Jazz performers in the US and her previous releases have earned her much deserved critical acclaim. On this album Cohen returns to a classic quartet format, with keyboardist Jason LindnerFind albums by this artist (the only non-Israeli on this album), bassist Omer AvitalFind albums by this artist and drummer Daniel FreedmanFind albums by this artist. Guitarist Gilad HekselmanFind albums by this artist guests on three tracks. Cohen´s prime instrument is the clarinet, which she plays masterfully and with a unique lyricism, rooted deeply in the Jewish tradition of that instrument, but she also plays the soprano and tenor saxophones and bass clarinet on this album, displaying her instrumental versatility. Half of the album´s material comprises of Cohen´s original compositions, the rest are standards, including a great version of John ColtraneFind albums by this artist´s "After The Rain". It is a real pleasure to hear these young, but extremely talented musicians, carrying the Jazz tradition into the next Century, expanding it with their own fresh ideas and youthful enthusiasm. Cohen masterly mixes Middle Eastern, Cuban, and above all Jewish ethnic elements into her delivery, with deep sensitivity and finesse. Overall this is a great Jazz album, which is also accessible to a much wider audience beyond the hard-core Jazz circle, without loosing any of its musical integrity. Delightful!

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AVISHAI COHEN / YONATHAN AVISHAI ~ PLAYING THE ROOM ECM 2641 (Barcode: 602577522772) ~ ISRAEL ~ Jazz Recorded: 2018 Released: 2019 This is an album by the duo of Israeli Jazz musicians: trumpeter Avishai CohenFind albums by this artist and pianist Yonathan AvishaiFind albums by this artist. The album presents nine tracks, two original compositions (one each by the duo members), one by Israeli composer Alexander ArgovFind albums by this artist, five Jazz standards and one Pop standard. The music was recorded by Stefano AmerioFind albums by this artist and offers the expected sublime sound quality. It is the 3rd album by Cohen released on the ECMFind albums on this label label. The music is set in a highly melodic, almost romantic mood, relaxed and minimalist, emphasizing the beauty of the compositions and the intimacy of the duo setting, all in the “Art of the Duo” tradition. Both musicians toy with the melodies and rhythmic patterns playfully and charmingly, displaying their complete mastery of their respective instruments, eschewing any flashy displays or unnecessary ornamentation. One might wonder how these interpretations might have been received by the original composers (John ColtraneFind albums by this artist or Ornette ColemanFind albums by this artist for example), but they would probably just smile, despite the liberties the duo applied to the music. There is no doubt that the ECM mood and aesthetics were closely observed. Overall, this is a very elegant and highly polished Jazz album, which offers a pleasant listening experience for a wide spectrum of Jazz listeners, but displays the tendency of ECM producer Manfred EicherFind albums by this artist to clutch all the music produced by the label into a uniform aesthetic and aural mould, which at some cases stifles the spirit of the music. Personally I prefer the earlier recordings by Cohen, which display more adventurous approach, but his trumpet work is here, as always, beyond reproach.

Updated: 15/09/2024Posted: 15/09/2024

CD 1 Slipcase Recommend To A Friend

ORNETTE COLEMAN ~ BEAUTY IS A RARE THING: THE COMPLETE ATLANTIC RECORDINGS RHINO 71410 (Barcode: 081227141028) ~ USA ~ Jazz Recorded: 1959 - 1961 Released: 1993 This magnificent Box Set includes some of the most revolutionary music ever recorded on this planet. Ornette ColemanFind albums by this artist’s music dropped on the jazz scene with the force of an atom bomb by the end of the 1950s. Although other great jazz pioneers, especially John ColtraneFind albums by this artist and Miles DavisFind albums by this artist, were already slowly approaching the free / Avant-Garde jazz idiom, Coleman’s bold and fearless attack on the conventional jazz form was completely radical and innovative, splitting the jazz community immediately into the pro and contra camps, with discussions as heated as they can get. Coleman was ridiculed and called bad names by critics and listeners alike, who failed to comprehend his prophetic statement, and it took many years before this music was widely accepted into the jazz canon and treated with the proper esteem. Recorded between May 1959 and March 1961 (less than 2 years!) this music includes all 9 Coleman’s albums released on Atlantic (The Shape Of Jazz To ComeFind albums with this title, Change Of The CenturyFind albums with this title, This Is Our MusicFind albums with this title, Free JazzFind albums with this title, Ornette!Find albums with this title, Ornette On TenorFind albums with this title, The Art Of The ImprovisersFind albums with this title, TwinsFind albums with this title and To Whom Who Keeps A RecordFind albums with this title), as well as previously unreleased material and selections from Gunther SchullerFind albums by this artist’s Jazz AbstractionsFind albums with this title featuring Coleman. As usual in such Box Sets, the music is presented in chronological recording order. As to the musicians, most of the music was recorded in quartet setting, with Coleman and trumpeter Don CherryFind albums by this artist as the permanent core of the group and various bass / drums rhythm sections, which included Charlie HadenFind albums by this artist, Scott LaFaroFind albums by this artist and Jimmy GarrisonFind albums by this artist on bass and Billy HigginsFind albums by this artist and Ed BlackwellFind albums by this artist on drums. The legendary “Free Jazz” session features a double quartet and includes Eric DolphyFind albums by this artist on bass clarinet and Freddie HubbardFind albums by this artist on trumpet. There is hardly any need to go into the description of the music itself - whole books have been written on the subject and the music is indescribable anyway. What is important however, is the fact that any respectable jazz collection could never be considered comprehensive if it didn’t include this music. Absolutely essential!

Updated: 12/04/2019Posted:

CD 6 Box Set Remastered Bonus Tracks Essential Recommend To A Friend

JOHN COLTRANE ~ A LOVE SUPREME (DELUXE EDITION) IMPULSE! 589945 (Barcode: 731458994527) ~ USA ~ Jazz Recorded: 1954 Released: 2002 Legendary John ColtraneFind albums by this artist album, which is considered as one of the most beautiful and most important jazz albums of all times. It reflects Coltrane`s deep interest in Eastern beliefs and the mantra like themes go right deep into the soul of the listener. The additional material includes never previously released alternate takes and a live version of the music recorded in 1965 at the Antibes Jazz Festival. An absolute must to any jazz fan and essentially to any music lover.

CD 2 Digipak Remastered Bonus Tracks Essential Recommend To A Friend

JOHN COLTRANE ~ A LOVE SUPREME: LIVE IN SEATTLE IMPULSE! 602438499977 (Barcode: 602438499977) ~ USA ~ Free Jazz / Improvised Music Recorded: 1965 Released: 2021 This is an archival album by iconic American Jazz saxophonist / composer / bandleader / visionary John ColtraneFind albums by this artist, captured live on October 2, 1965 at the Penthouse Jazz club in Seattle with his septet, which also includes saxophonists Pharoah SandersFind albums by this artist and Carlos WardFind albums by this artist, pianist McCoy TynerFind albums by this artist, bassists Jimmy GarrisonFind albums by this artist and Donald GarrettFind albums by this artist and drummer Elvin JonesFind albums by this artist. The album presents eight tracks, the four-part “A Love Supreme” suite and four interludes. The music was recorded informally by local Seattle saxophonist and educator Joe BrazilFind albums by this artist and the tapes were in his private collection for many years, until they were discovered in 2013 but released only eight years later. The recording is pretty rough and primitive, using just two microphones directly plugged into the tape recorder, resulting in a highly unbalanced sound mix with the drums dominating most of the music. Coltrane very rarely performed the suite live after it was recorded in the studio in December of 1964, and there was only one available live recording of it before these tapes were discovered. This is not really surprising considering Coltrane’s very special relation to the suite, which he considered highly spiritual. The decision to perform it on the last day of the Seattle club residence was most probably entirely spontaneous, but the musicians in Coltrane’s septet were obviously not taken aback by that decision and played along as if it was a completely natural one. The music is, despite the difficulty to be able to hear it properly, absolutely stunning, demonstrating and peak of Coltrane’s Free Jazz period, just before he entered the final “wall of sound” period. It is not difficult to distinguish between Coltrane’s and Sanders’ solos of course, as their approach was quite different. Tyner, whenever heard, plays Godly, as usual, with his staccato bombardment of the keyboard, and yet beautifully melodically at all times. The double bass lineup allows the rhythm section to expand its role and using the bow, as well as solo extensively during the Interludes and Jones is what he is, masterly keeping time and playing around the time all at once. Overall, this is a superb document of American Free Jazz at its absolute peak, as well as another “missing link” in the seemingly endless Coltrane discography, which is one of the most important one-man manifestations of American Jazz ever. The bad sound balance gets all forgotten when the music lashes at the listener’s ears, and every split second of the music is an incredible evidence of Genius incarnate.

Updated: 08/07/2024Posted: 28/02/2022

CD 1 Mini-Sleeve Recommend To A Friend

JOHN COLTRANE ~ A LOVE SUPREME: THE COMPLETE MASTERS (SUPER DELUXE EDITION) IMPULSE! 602547489470 (Barcode: 602547489470) ~ USA ~ Jazz Recorded: 1964 - 1965 Released: 2015 This is the singular most important piece of music ever recorded. Everything else I or anybody else has to say about it is of secondary importance to be honest, so I´ll just stick to the facts and a few personal reflections. This version of the "A Love SupremeFind albums with this title" album is the second expansion of the original album released in 1965, which featured four tracks (called "Acknowledgment", "Resolution", "Pursuance" and "Psalm") recorded on December 9, 1964 by the legendary quartet led by American saxophonist / composer John ColtraneFind albums by this artist, which also included pianist McCoy TynerFind albums by this artist, bassist Jimmy GarrisonFind albums by this artist and drummer Elvin JonesFind albums by this artist. The 2002 Deluxe Edition added to the original album on the first CD a second CD comprising of "A Love Supreme" recorded live at Festival Mondial du Jazz Antibes, Juan-les-Pins, France on July 26, 1965, and also a couple of alternate takes from the quartet session recorded on December 9, 1964 and a couple of alternate takes from the sextet session with saxophonist Archie SheppFind albums by this artist and second bassist Art DavisFind albums by this artist, recorded on December 10, 1964, which attempted to record the same music but resulted in recording only six takes of "Acknowledgment". This 2015 Super Deluxe Edition is expanded to three CDs and includes in addition to all the tracks of the Deluxe Edition nine previously unreleased alternate takes, five of which originate from the quartet session and four from the sextet session. It also includes an informative little book with many photographs and handwritten remarks and musical notation by Coltrane, which is highly educational. God only knows if more recordings connected to these sessions will pop up in the future; experienced record collectors know very well to treat the word "complete" with extreme caution and disbelieve. In the meantime we are of course grateful to have access to this Godly music and enjoy it to the max. I have been listening to this music continuously from the day it was released, which is now over forty years in the past. I grew up with it, lived with it and now am getting old with it and never for a moment could I imagine it to be absent from the soundtrack of my life. In retrospect this music encompasses everything I consider essential in music: it has great melodies, it is mesmerizing from start to finish, it includes the entire Jazz tradition, from Ragtime to Free, it connects with Music from other Cultures, it is deeply spiritual and intellectual at the same time, and of course it is absolutely super-humanly performed. I often say that all music created after Coltrane, as good as it might be, and it often is insanely good, never really expanded the boundaries of music again. Coltrane was the Messenger, and he simply said it all. This does not mean of course that new music shouldn´t be made; of course not, it simply means that there is a scale of reference, which we can always apply to music, in order to properly appreciate and evaluate it. Side Note: Today is Valentine´s Day, so what could be more appropriate than "A Love Supreme"! But seriously, this is the 5,000th album review that I write for the "Soundtrack Of My Life" site, a number which probably does mean very little to most people but it encapsulates years of writing about music, an activity I love to be involved with more than anything else. Hopefully some people are also reading this…

Updated: 20/05/2018Posted: 14/02/2016

CD 3 Mini-Sleeve Remastered Bonus Tracks Essential Recommend To A Friend

JOHN COLTRANE ~ BALLADS (DELUXE EDITION) IMPULSE! 589548 (Barcode: 731458954828) ~ USA ~ Jazz Recorded: 1962 Released: 2002 One of the most beautiful jazz albums ever recorded, this one is also the most unusual and controversial album in John ColtraneFind albums by this artist`s illustrious career. Known for his visionary style and free improvisations, on this album (recorded with the classic quartet with McCoy TynerFind albums by this artist, Jimmy GarrisonFind albums by this artist & Elvin JonesFind albums by this artist) Coltrane plays beautiful mellodies in a mellow, almost romantic mood, proving that he can do it as well as Coleman HawkinsFind albums by this artist or Stan GetzFind albums by this artist. The bonus CD is especially illuminating, as alternate versions show how the same tune can be interpreted in different ways with slight changes in tempo and attack. An absolute classic and a must in any jazz albums collection!

CD 2 Digipak Remastered Bonus Tracks Essential Recommend To A Friend

JOHN COLTRANE ~ BLUE WORLD IMPULSE! 602577626524 (Barcode: 602577626524) ~ USA ~ Jazz Recorded: 1964 Released: 2019 This is an archival album by the legendary American Jazz saxophonist / composer / bandleader John ColtraneFind albums by this artist, recorded with his classic quartet featuring pianist McCoy TynerFind albums by this artist, bassist Jimmy GarrisonFind albums by this artist and drummer Elvin JonesFind albums by this artist. The album presents eight short tracks, which are five original compositions by Coltrane, one with three takes, one with two takes and the other three with one take each. The music was recorded on June 24, 1964 between the recordings sessions for the “CrescentFind albums with this title” and “A Love SupremeFind albums with this title” albums. The recording is in mono, since it was about to serve as a soundtrack to the film “Le chat dans le sac” by the Canadian director Gilles GroulxFind albums by this artist, released later that year. It was the only soundtrack recording by Coltrane. The music remained unreleased for fifty-five years! Although the music is, as everything recorded by Coltrane, sublime, the album introduces nothing new to Coltrane’s recorded legacy. All the compositions were already previously recorded and the music offers some of the most “well behaved” Coltrane performances, which were actually out of sync with his stylistic approach at the time of the recording, obviously since the music was intended for a soundtrack and highly improvised Free Jazz was way too early to appear on the screen. That said, Coltrane and the quartet at the apex of their powers and the music swings wonderfully with the saxophone soaring highly above. Overall, this is definitely a worthy addition to the extended Coltrane discography, perhaps less essential than his other studio recording of that period, but still blessed by his enormous and unique talent. For Coltrane completest this album is of course an absolute must!

Updated: 08/07/2024Posted: 20/01/2024

CD 1 Mini-Sleeve Recommend To A Friend

JOHN COLTRANE ~ ONE DOWN, ONE UP: LIVE AT THE HALF NOTE IMPULSE! 602498621431 (Barcode: 602498621431) ~ USA ~ Free Jazz / Improvised Music Recorded: 1965 Released: 2005 This is an archival album by iconic American saxophonist / composer John ColtraneFind albums by this artist and his legendary quartet with pianist McCoy TynerFind albums by this artist, bassist Jimmy GarrisonFind albums by this artist and drummer Elvin JonesFind albums by this artist. The album presents two sessions recorded on March 26 and May 7, 1965, recorded by the radio station WABC-FM, which used to broadcast the Friday concerts under the “Portraits Of Jazz” moniker. These two sessions were recorded in between the two studio sessions that resulted in the “The John Coltrane Quartet PlaysFind albums with this title” album. Each of the two sessions presents just two lengthy improvisations, together four tracks, lasting between 12+ to 27+ minutes. The title track, which is also the longest track on this album, is also the longest Coltrane solo ever recorded, most of which is a duo between him and Jones. There is no sense of writing about this music really… Endless stream of words was already written about Coltrane and his music: articles, books, documentaries, etc., none of which are able to even come close to describe his music and the genius of his creative process. Obviously sometimes music is just beyond words. Therefore, I’ll just share my retrospective reflections here. 1965 was undoubtedly the year when the music of Coltrane peaked, or at least the music he played, which was still connected to his Jazz roots and tradition and before his rapid musical progression will take him into interstellar dimensions and his music would become completely spontaneously improvised. For the sharp-eared listeners it should be fascinating to note the differences between the music played just six weeks apart, a seemingly completely insignificant period of time in a life of a musician, but in case of Coltrane, who was already traveling at the speed of light, the transformation is colossal. His meditative playing and the cry of anguish he produced were already the Coltrane of the last two years of his life, which led to the disintegration of the classic quartet captured here. Coltrane played in this tiny / dinky NY club for a ridiculously small audience, whereas in Europe and Japan his concerts were attended by thousands of appreciative fans. That much for the American Jazz scene… And of course the most daunting of all the reflections about Jazz music: this album proves beyond the shadow of a doubt that the development of Free Jazz / Improvised Music reached its peak in the mid-1960s and nothing, I mean NOTHING, happened in that idiom, which might be considered as expanding the limits of that music ever since. The idiom still exists but it is sadly completely stagnant. Since these recordings were not included in any of the Coltrane Box Sets and were only released for the first time forty years after they were recorded, this is an absolute must for every Coltrane follower.

Updated: 08/07/2024Posted: 06/08/2021

CD 2 Digipak Remastered Essential Recommend To A Friend

JOHN COLTRANE ~ THE CLASSIC QUARTET: COMPLETE IMPULSE! STUDIO RECORDINGS IMPULSE! 280 (Barcode: 011105028028) ~ USA ~ Jazz Recorded: 1961 - 1965 Released: 1998 If there was ever a Box Set that includes the most quintessential music recorded in the 20th century, this is it! If we lived in an ideal world, this icon would be present in every household on earth, replacing the many religious / political / pseudo-cultural and empty icons so many people worship blindly. Sadly we don’t live in such a world and the only solace is that Coltrane’s music touched millions of people around the globe and shaped the way of thinking and inspired the way of playing of countless musicians over time. Not enough, but still quite an achievement, for which one should be grateful to the technology of sound recording. Let me say this again (as repetition is this case is hardly redundant): If I were to head the SETI project, I’d have this music beamed out to deep space indefinitely, hoping that if we ever get to the Encounter of the Third Kind, the sentient beings out there might have a better opinion of our species than the average Homo Sapiens might project. Back on earth; this lavish set includes all the music the legendary Coltrane Quartet (with McCoy Tyner – piano, Jimmy Garrison – bass and Elvin Jones – drums) recorded for Impulse! between December of 1961 and September of 1965. It includes the complete 8 studio albums the Quartet recorded (“Coltrane”, “Ballads”, “Crescent”, “A Love Supreme”, “Plays”, “Transition”, “Sun Ship”, “First Meditations”) and the studio tracks of 4 other albums, which also included live tracks (“Impressions”, “Live At Birdland”, “Kulu Se Mama”, “Infinity”). In addition various previously unreleased tracks and tracks released on compilation albums are included. All the tracks are presented in strict chronological order (by date of recording), which enhances the value of the set immensely, as the listener is able to follow the rapid transition process Coltrane’s music was taking during this period. It is almost impossible to believe that it is the same Quartet that recorded the first tracks in the set and the last ones. The visionary drive that pushed Coltrane to the limits (and beyond) of human ability to express emotions and intellect in the form of musical creation is plainly evident here. Coltrane’s impulse (how appropriate) to expand the borders of known musical vocabulary seems to completely engulf the other members of the Quartet, as these tracks are as much Coltrane’s as the Quartet’s. The telepathic interplay between the musicians and the process of constant challenging each other is an essential ingredient of this music, which takes it to a higher plane. The bonus tracks shed light on the entire process of development and clear many unanswered (up to the time this was released) riddles and gaps in the continuity of the process. Obviously the material released during Coltrane’s life was only partial and suffered from corporate decisions as to what and how was released. This set puts the record straight (no chaser). To summarize; this is one of the best introspective releases ever done (of the best music ever recorded). The set is lavishly packaged in a sturdy metal case and includes a 100-page book with exquisite photos and intelligent liner notes. Add to this over 8 hours of heavenly music and you get the Mother of all Box Sets and a collectors’ item that is virtually priceless. Still thinking about this?

Updated: 26/01/2019Posted:

CD 8 Box Set Oversampling Remastered Bonus Tracks Essential Recommend To A Friend

JOHN COLTRANE ~ THE COMPLETE 1961 VILLAGE VANGUARD RECORDINGS IMPULSE! 232 (Barcode: 011105023221) ~ USA ~ Jazz Recorded: 1961 Released: 1997 When this music was recorded in November of 1961 I was only 10 years old and yet it changed my life forever. Living in (Socialist) Poland, my access to contemporary (at the time) jazz originating in the US was pretty limited and the only beacon of light was the daily Willis ConoverFind albums by this artist’s radio jazz program on Voice Of America, beamed from across the Iron Curtain. Millions of Eastern European listeners would risk freedom (listening to VOA was a criminal act then) to gain freedom, myself included. These broadcasts changed the life of countless people and particularly in Poland would eventually be a dominant factor in the process of forming a burgeoning and extremely fruitful local jazz scene. Many hours of my early childhood were spent with myself standing on a conductor’s podium (e sledge), in front of an imaginary orchestra playing inside the enormous radio (a pre WW II antique). Since classical music was less censored and sponsored by the Establishment, it was there for us to enjoy most of it of very high quality. I remember listening for hours at end to the annual Chopin competition, which was Poland’s most prestigious music event, getting to know his music inside out before I even knew anything about him. My Mother encouraged my “conducting” aspirations warmly, supplementing them with occasional background information. But the discovery of jazz and its strange convoluting patterns and unfamiliar rhythms was a revelation. I just couldn’t get enough of it and every new artist or piece of music was an instant bliss. By the time I was about to hear John ColtraneFind albums by this artist for the first time I was already familiar with the music of Duke EllingtonFind albums by this artist, Count BasieFind albums by this artist, Charlie ParkerFind albums by this artist and Dizzie GillespieFind albums by this artist (thanks to Mr. Conover). Conover, in contrast to many of his peers (who were stuck in be-bop or some earlier jazz sub-genre for the rest of their lives), was remarkably open-minded and understood the genius of Coltrane and his visionary contribution to the development of the Jazz Art form. He therefore featured every new Coltrane album as soon as it was released. So here I was, 10 years old, some time in early 1962, listening to the Village Vanguard sessions – an experience equivalent to a 10,000 Volts electricity shock. My life would definitely be never the same again. I hope these personal reminiscences don’t put you off too much, but I just couldn’t resist the temptation. Taking the time-travel express to now here are my comments about this music from a “45 years later” point of view. In 1961 Coltrane left AtlanticFind albums on this label (his second label, PrestigeFind albums on this label being the first) and signed a contract with Impulse!Find albums on this label, the new and ambitious jazz label run by producer Bob ThieleFind albums by this artist, where he would stay for the rest of his life. Coltrane was already following a path (mostly subconsciously) which would lead him to the edge of the known jazz explorations and beyond. His monumental Atlantic albums like Giant Steps and My Favorite Things were just a glimpse of things to come. Coltrane felt that Thiele would allow him to speed up the process of reaching the quest of musical enlightenment by allowing him total artistic freedom and supporting him all the way and he was of course right. The extensive volume of music recorded for Impulse! in the span of almost 7 years right up to his death would become the most important musical legacy of the 20th Century, so innovative and groundbreaking that it is still a mystery to many contemporary listeners and musicologists today. Coltrane’s first recording for Impulse! (in the spring of 1961) would be the Africa / Brass sessions, an ambitious project involving a large ensemble of the most gifted players on the scene (Freddie HubbardFind albums by this artist, Booker LittleFind albums by this artist, Eric DolphyFind albums by this artist and many others) – see The Complete Africa / Brass SessionsFind albums with this title album, another essential Coltrane release. These sessions introduce several new elements in Coltrane’s music, like Far-Eastern motifs, African rhythms and other ethnic influences. In November of 1961 Thiele decided to record Coltrane live, using the 4 nights booking at the NY club The Village Vanguard (where many jazz albums were recorded live) for this purpose. The booking was for a John Coltrane Quintet and it was only natural that the Quintet would include Eric Dolphy, whom Coltrane knew, respected and played with earlier. The legendary Quartet (with McCoy TynerFind albums by this artist, Jimmy GarrisonFind albums by this artist and Elvin JonesFind albums by this artist) was not entirely crystallized at the time, so Coltrane and Thiele decided to expand the line-up (on some takes) to include an oud player (Ahmed Abdul-MalikFind albums by this artist) and alternative bassist (Reggie WorkmanFind albums by this artist) and drummer (Roy HaynesFind albums by this artist). Since this music was recorded for a future release Thiele (as any produce would do) recorded several takes of each tune, some with an alternating line-up. This 4CDs Box Set includes all the music that was recorded during these four days (mind you not all the music that was played, as some of it was not recorded hence the “complete” being not entirely true) in the exact order it was recorded. This music was to be released later on two albums (Live At The Village Vanguard and The Other Village Vanguard Tapes) as well as parts of other albums (Impressions) and collections. Collected here together for the first time, this is a monumental piece of jazz history and an unforgettable musical experience. Coltrane’s circular breathing technique and his “wall of sound” approach are clearly evident here for the first time in their full glory. The comparison of the different versions of the same tunes are both fundamental and clairvoyant examples of the “one time experience” that every jazz performance essentially is. The power, the vision, the super-human strength of will of the Master and Prophet (please excuse the almost religious references) that Coltrane was, are here for us, his disciples, to discover, study, revere and bequest to future generations. This Box Set is something one has in one’s record collection for life. It is not only timeless, but also constantly evolving in parallel to one’s private (musical) evolution. Listening to it time after time (especially after a long period of abstention) will be revealing and constantly surprising. It is a superb example of great Art, which keeps alive for eternity, adopting itself to the changing cultural surroundings, and therefore being truly eternal. I can’t imagine anybody, who calls himself a music lover, not owning this music, as naive as this might sound, since I believe there is something in it for everybody. Beyond essential!

Updated: 26/01/2019Posted:

CD 4 Box Set Oversampling Remastered Bonus Tracks Essential Recommend To A Friend

JOHN COLTRANE ~ THE HEAVYWEIGHT CHAMPION: THE COMPLETE ATLANTIC RECORDINGS RHINO 71984 (Barcode: 081227198428) ~ USA ~ Jazz Recorded: 1959 - 1961 Released: 1995 This magnificent Box Set compiles everything John ColtraneFind albums by this artist recorded for AtlanticFind albums on this label – his second long-term recording stint with a label following his PrestigeFind albums on this label period and preceding his final years on Impulse!Find albums on this label. The first 6 CDs include all the 10 Coltrane’s LPs released on Atlantic (Giant StepsFind albums with this title, Coltrane JazzFind albums with this title, My Favorite ThingsFind albums with this title, Bags & TraneFind albums with this title, Olé ColtraneFind albums with this title, Coltrane Plays The BluesFind albums with this title, Coltrane’s SoundFind albums with this title, The Avant-GardeFind albums with this title, The Coltrane LegacyFind albums with this title, Alternate TakesFind albums with this title), but the material is organized in chronological order (by session). The 7th CD adds over an hour of never before released material. All this music was recorded over a period of just over two years (January 1959 – May 1961), but it includes some of the most pivotal Jazz recordings ever. The Atlantic period is a superb document of transition for the Jazz Giant. Stylistically it presents the steady move from Bebop and Hard Bop to Free. Instrumentally it shows the shift from tenor saxophone to soprano saxophone. It also reveals the process of crystallization of Coltrane’s great classic quartet (see The Classic Quartet: Complete Impulse! Studio RecordingsFind albums with this title), whereas by October of 1960 three quarters of the quartet (with McCoy TynerFind albums by this artist on piano and Elvin JonesFind albums by this artist on drums) were already in place and only the bassist Jimmy GarrisonFind albums by this artist was to join soon after. Two of the sessions present here are collaborations with other co-credited Jazz Giants: “Bags & Trane” with the great vibraphonist Milt JacksonFind albums by this artist and “The Avant-Garde” with legendary trumpeter Don CherryFind albums by this artist. The music is of course divine – absolutely nothing I can say about it would ever come close to the experience of actually listening to it. This music influenced every Jazz musician and Jazz lover on earth and left a mark on contemporary music, which has no equals to this day. It also shows Coltrane as a great composer for the first time, with some of his greatest melodies like “Giant Steps” and “Naima”. His interpretation of “My Favorite Things” is of course probably the most commonly known Jazz anthem ever. This sublime music is an integral part of Art’s cannon and an everlasting evidence of human (or perhaps super-human) genius. Absolutely essential!

Updated: 12/04/2019Posted:

CD 7 Box Set Remastered Bonus Tracks Essential Recommend To A Friend

JOHN COLTRANE ~ THE PRESTIGE RECORDINGS PRESTIGE 888072335936 (Barcode: 888072335936) ~ USA ~ Jazz Recorded: 1956 - 1958 Released: 2011 This magnificent Box Set combines all the recordings by the greatest Jazz musician of all times, saxophonist / composer John ColtraneFind albums by this artist, recorded for the legendary PrestigeFind albums on this label label. The only Coltrane recordings missing in this set are those he recorded with Miles DavisFind albums by this artist (which are available on the "Chronicle: The Complete Prestige Recordings Of Miles DavisFind albums with this title" Box Set) and therefore this Box Set misses the "complete" element in favor of avoiding unnecessary duplication. The vast amount of music included here, which fills 16 CDs, was recorded during 25 recording sessions, the first of which took place on May 7, 1956 and the last on December 26, 1958: a period of about two and a half years. Part of the music features Coltrane as a sideman and the rest as a leader. Forty two other players, beside Coltrane, participate in these recordings, a list of names which reads like the encyclopedia of American Jazz in the 1950s. The Prestige era was a vital part of Coltrane´s ever changing path towards spiritual and artistic unity. His stint with Miles Davis and the sessions collected here were his rite of passage between his early years and his Big Bang, which will occur just a few years later after Coltrane switched from Prestige to AtlanticFind albums on this label and then finally to Impulse!Find albums on this label Coltrane firmly believed in paying the dues and mastering one´s skills before taking the liberty to step across the boundaries of the known musical universe. Although he does not actually cross any boundaries on these recordings, he certainly gets to develop the tools and experience, which are crucial in order to be able to do so. His playing here is simply perfect, any way one looks at it. Technically his phrasing, fluidity, timbre, harmonic progression and the complete control of the instrument (he plays only tenor saxophone on all these recordings) and the rest his musician´s arsenal are simply astounding. Emotionally his music matures and achieves a level of focus previously never encountered. It is quite obvious that without this period the revolutionary developments, which were just around the corner, would have never happened. These sessions reveal the fact that the intensity of Coltrane´s life as a musician left little time for his talents as a composer to materialize in parallel. The entire Box Set includes only a small number of Coltrane´s original compositions; that aspect of his personality had to wait just a bit longer. However Coltrane discovered the African sources of Jazz during this time, which will become an important part of his future music, his emotional approach to Jazz and a part of his personal philosophy. In historic perspective this music is a not only a superb synopsis of American mainstream, captured just moments before Free Jazz was about to shatter all the conventions and take it to the next existential level. This is simply the best music, made by the best musicians and therefore eternally a part of the canon of our Culture. And yes, it is also an essential listening experience, as a whole or part by part, chronologically or in reverse order, any way you wish, just please listen! Your life will never be the same again…

Updated: 26/01/2019Posted:

CD 16 Mini-Sleeve Box Set Remastered Essential Recommend To A Friend

JOHN COLTRANE / ERIC DOLPHY ~ EVENINGS AT THE VILLAGE GATE IMPULSE! 602455514189 (Barcode: 602455514189) ~ USA ~ Free Jazz / Improvised Music Recorded: 1961 Released: 2023 This is an archival live album by the American Jazz saxophonist / composer John ColtraneFind albums by this artist, recorded with his classic quartet, with pianist McCoy TynerFind albums by this artist, bassist Reggie WorkmanFind albums by this artist (or Art DavisFind albums by this artist) and drummer Elvin JonesFind albums by this artist, which is expanded here to a quintet with the addition of flautist / saxophonist Eric DolphyFind albums by this artist. The music, recorded in August 1961 during Coltrane’s residency at the NY Village Gate club, disappeared and then was rediscovered recently, offers five lengthy tracks, two of which are Coltrane originals, one is by Benny Carter composition, one is a traditional song and one is a standard. The music is everything one might expect from Coltrane, Dolphy and the rest of the team, full of absolutely stellar performances, with expanded soloing and brilliant dynamics, which sets the mold for early Free Jazz. In comparison to the music recorded by Coltrane at the Village Vanguard, just three months later, which would be way more Free oriented, the music herein is still pretty much melody based. The comparison clearly shows Coltrane’s rapid progression towards the Avant-Garde abstract and Improvised Music, which would engulf his personality in the last few years of his life. The sound quality of this material is very problematic and for music lovers, who are also obsessed with sound quality, most of what can be heard here will probably be very difficult to swallow. The sound is dominated by the boomy drums, which are way up in the mix, and the overall muddy sound, with the piano mostly inaudible and the saxophones sounding like recorded next door. But all things considered, this is John Coltrane and Eric Dolphy we are talking about, and every note recorded by them is Holy Grail as far as Jazz lovers are concerned, so sound quality aside, this is Godly music after all. Overall, this album is as important as every other live album by Coltrane with or without Dolphy, and despite problematic sound quality offers exhilarating early Free Jazz by the Masters of the genre. No matter how many live recordings by Coltrane will pop up in the future, they are all an ultimate Jazz experiences, especially since they are almost the last evidence of Jazz existing in the USA.

Updated: 08/07/2024Posted: 06/01/2024

CD 1 Mini-Sleeve Recommend To A Friend

CONFUSION PROJECT ~ THE FUTURE STARTS NOW BCD 37 (Barcode: 5906881885376) ~ POLAND ~ Jazz-Rock Fusion Recorded: 2015 Released: 2015 This is the second album by young Polish trio called Confusion ProjectFind albums by this artist, which comprises of pianist / composer Michal CiesielskiFind albums by this artist, bassist Piotr GierszewskiFind albums by this artist and drummer Adam GolickiFind albums by this artist. The album presents seven tracks, six of which are original compositions by Ciesielski and one is the trio´s interpretation of a John ColtraneFind albums by this artist tune. This album continues the modus operandi presented on the trio´s debut from a couple of years earlier; piano trio with electric bass, playing mostly original music in a Fusion oriented manner with strong Classical music influences recognized in the pianist´s approach to the instrument. There is no real progress from the debut and it sounds mostly as "more of the same". The performances by all the trio members are accomplished and technically excellent in every respect: Ciesielski is a very skillful player and writes nice tunes, Gierszewski plays a great Funky bass guitar barrage and Golicki keeps the time like a chronometer. The only problem is that this music is not really going anywhere… Once it is over, at least in my case, it is easily forgotten. I´m sure that these talented young musicians have a lot of potential and it is only a matter of finding the right formula which will take their music to the next level. It has not happened on this album, but it surely will happen one day. Overall this is a nice Fusion album with a lot of interesting solos, especially by the bass player and some inspired moments, which should keep the average Fusion listener happy. Mind you this album is way better that most other contemporary Fusion albums, which have no musical contents whatsoever except for excessive and repetitious doodling, so here we are: quality is relative.

Updated: 11/02/2016Posted: 11/02/2016

CD 1 Digipak Recommend To A Friend

CORE ~ GOLONKA LOVE MOSEROBIE 063 (Barcode: 7320470104194) ~ NORWAY ~ Jazz Recorded: 2007 - 2008 Released: 2008 This is the 5th album by the Norwegian Jazz quartet The CoreFind albums by this artist, which consists of saxophonist Kjetil MosterFind albums by this artist, pianist Erlend SlettevollFind albums by this artist, bassist Steinar RaknesFind albums by this artist and drummer Espen AalbergFind albums by this artist, who is the band’s leader and primary composer. This album also introduces the band’s new saxophonist Jorgen MathisenFind albums by this artist, who replaces Moster on several tracks. Polish DJ LenarFind albums by this artist participates on several tracks as well. The music included on the album was captured live during three separate concerts in Jazz clubs in Poland, where the band often plays and enjoys faithful following. The drummer and the bassist composed most of the music, with a couple of improvised pieces credited collectively to the band and one being a traditional African tune. These recordings testify to the intensity and incredible power the band is celebrated for, but also their versatility and openness, which is quite unusual in most contemporary Jazz ensembles. Each of the three gigs captured herein presents a different facet of the group: the electric side dominated by the distorted electric piano and wailing soprano saxophone, which brings fond memories of the early Weather ReportFind albums by this artist days; the acoustic side, which brings us back to the explosive days of the John ColtraneFind albums by this artist quartet, where Freedom rules, supported rock-steady by the piano pulsating a la McCoy TynerFind albums by this artist; and finally the contemporary side, incorporating ambient / electronic sounds as an organic ingredient of the music. The rhythm section supports the music at all times with elegance and grace, contributing the powerful engine behind the soloists and bonds everything together. It is truly remarkable to see such young musicians displaying not only talent and dedication, but also maturity well beyond the call of duty. They are certainly doing their own thing without much regard to commercial acceptance, which is even rarer. Overall this is a remarkable document of European Jazz at its best, which gives hope as to the genre´s future, which sometimes looks bleak. These Norwegians carry on the splendid tradition of the Scandinavian Jazz, which contributed so much pleasure to our lives over the years. Any true Jazz lover should not miss this album as a part of his / her music for the soul. Brilliant stuff!

CD 2 Digipak Recommend To A Friend

CORE ~ PARTY MOSEROBIE 073 (Barcode: 7320470128183) ~ NORWAY ~ Jazz Recorded: 2010 Released: 2010 This is the 7th album by the Norwegian Jazz quartet The CoreFind albums by this artist, which consists of saxophonist Kjetil MosterFind albums by this artist, pianist Erlend SlettevollFind albums by this artist, bassist Steinar RaknesFind albums by this artist and drummer Espen AalbergFind albums by this artist, who is the band’s leader and primary composer. This album also features the band’s new saxophonist Jorgen MathisenFind albums by this artist, expanding the ensemble into a quintet. The drummer composed three of the five compositions present here and the bassist composed the other two. The band is known for their intense and powerful playing, which is well documented on their earlier recordings and of course present here as well. This album is for them in many ways a return to the source, as it sounds remarkably similar stylistically and sonically to the John ColtraneFind albums by this artist late ImpulseFind albums on this label recordings, which were the zenith of the Free Jazz movement and are the band´s primary influence. But the Core’s intensity and fierce improvisations retain a melodic outline at all times, without turning into a pure “wall of sound” state, which Coltrane often utilized. The music follows a more or less fixed pattern, starting as a piano trio, which states the melody and then the piano improvises first, later joined by the horns. The pianist’s powerful left hand keeps emphasizing the chords through the entire duration of the tunes, very much in the same manner as McCoy TynerFind albums by this artist did in Coltrane’s quartet. The saxophonists are both superb improvisers, free from the “bad manners” which Free Jazz / Improvised Music often suffers from, like lack of direction and unnecessary prolonging of the solos without saying anything innovative. All those contribute to the feeling of satisfaction and aural pleasure experienced by the listener exposed to this wonderful music. These young Norwegians make European Jazz proud, especially in view of their openness to other types of music and instrumentation, as evident on their earlier recordings. They are definitely a phenomenon, which Jazz connoisseurs should follow closely as they are, as far as I can feel, destined to reach higher planes. Wholeheartedly recommended!

CD 1 Digipak Recommend To A Friend

LARRY CORYELL ~ LADY CORYELL VANGUARD 6509 ~ USA ~ Jazz-Rock Fusion Recorded: 1969 This is the third album by the US guitarist Larry CoryellFind albums by this artist, who by that time was already making serious waves on the jazz scene, soon to reach a superstar status among such guitar masters as John McLaughlinFind albums by this artist. This is just on the brink of the fusion era soon to follow, and here Coryell still plays in a trio format with such jazz greats as drummer Elvin JonesFind albums by this artist and bassist Jimmy GarrisonFind albums by this artist - both of John ColtraneFind albums by this artist´s divine quartet.

Updated: 14/02/2020Posted:

CD 1 Recommend To A Friend

MILES DAVIS ~ AT CARNEGIE HALL: THE COMPLETE CONCERT COLUMBIA 65027 (Barcode: 5099706502722) ~ USA ~ Jazz Recorded: 1961 Released: 1998 It’s good to see that record companies sometimes are able to get a grip and correct the mistakes of the past. ColumbiaFind albums on this label has certainly tried its best to do justice to the magnificent recorded legacy of Miles DavisFind albums by this artist and this album is a part of that effort. This album assembles the complete Miles Davis Quintet / Gil EvansFind albums by this artist Orchestra concert recorded on May 19, 1961 at the Carnegie Hall, putting everything at the original recording order without editing or dubbed applause (the music included here was previously available on two separate albums: Miles Davis At Carnegie HallFind albums with this title and More Music From The Legendary Carnegie Hall ConcertFind albums with this title). This album is of course a perfect companion to the sublime Columbia 6 CDs Box Set The Complete Columbia Studio RecordingsFind albums with this title, especially as the concert was the first time Miles performed with the Gil Evans Orchestra live. 1961 marked an extremely busy and productive year for Miles. Following the departure of John ColtraneFind albums by this artist and Bill EvansFind albums by this artist, the “first” legendary Miles Davis Quintet was history and Miles quickly organized a new Quintet, which was to be his vehicle for an interim period of about two years, until the “second” legendary Quintet was to rise like a phoenix and take Jazz places never dreamt about. The “interim” Quintet included excellent and experienced players: Hank MobleyFind albums by this artist – saxophone, Wynton KellyFind albums by this artist – piano, Paul ChambersFind albums by this artist – bass and Jimmy CobbFind albums by this artist – drums (the last two were remaining members from the “first” Quintet). These players followed their leader with skill and devotion, creating some of the best modern jazz on record. Just one month before this concert the Quintet recorded a magnificent live album In PersonFind albums with this title (which is now available as a 4 CDs Box Set In Person Friday And Saturday Nights At The Blackhawk, CompleteFind albums with this title). The studio album Someday My Prince Will ComeFind albums with this title was recorded just a couple of months before the Carnegie concert recording. The next (and last) studio recording with Gil Evans (Quiet NightsFind albums with this title) was just months ahead. Looking back at this period it becomes plainly evident that Miles was already “miles ahead” in his mind, looking for a new vehicle and a new direction, which would commence shortly with the formation of the new Quintet and the groundbreaking new album ahead (Seven Steps To HeavenFind albums with this title). That of course makes this music no less magnificent, as Miles was destined to be “in transition” for the duration of his entire career. It remains here, recorded for posterity, for us mortals to enjoy (almost 46 years later), loosing absolutely nothing of its relevance and eternal beauty. Miles of course was one of the very few artists, who made a statement with every note they played. As such, these notes are a source of inspiration and joy for those who love this music. Essential!

Updated: 26/01/2019Posted:

CD 2 Oversampling Remastered Essential Recommend To A Friend

MILES DAVIS ~ AT NEWPORT 1955-1975: THE BOOTLEG SERIES VOL.4 COLUMBIA 888750819529 (Barcode: 888750819529) ~ USA ~ Jazz Recorded: 1955 - 1975 Released: 2015 This is the 4th installment of the "Bootleg Series" live recordings by American trumpeter / composer Miles DavisFind albums by this artist, released by ColumbiaFind albums on this label Records. This time the recordings originate from the performances by Davis and his various groups as part of the annual Newport Jazz Festival, which still functions uninterruptedly since its inception in 1954 and served over time as one of the most important icons of American Jazz. This 4 CD set spans twenty years of performances by Davis at Newport, starting with his appearance as a member of an all-star ad-hoc ensemble in 1955 and ending with his group´s appearance at the 1975 edition of the festival. It also includes two live recordings made in Europe (Germany and Switzerland) during the Newport Festival European tours. With the exception of the first four tracks on CD 1, which include the above mentioned 1955 performance, which is rather badly recorded and completely banal musically, the rest of this set is, as expected, absolutely brilliant, with every second being completely revealing and historically significant. The 1958 appearance features the legendary first quintet with John ColtraneFind albums by this artist, the 1967-68 appearance features the even more legendary second quintet, the 1969 appearance features the core of the "Bitches BrewFind albums with this title" group, the 1971 appearance features the group with Gary BartzFind albums by this artist and finally the 1973-75 appearances feature the double guitar (Pete CoseyFind albums by this artist and Reggie LucasFind albums by this artist) and no keyboards group with Dave LiebmanFind albums by this artist (or Sam MorrisonFind albums by this artist). Since the tracks are arranged (almost) chronologically, this set wonderfully depicts the transformation of Davis and his groups during that period, expanding the horizons of Jazz (and music in general) in a radical way, which only an Artist of his vision and prophetic drive could achieve. Considering the fact that most of this music was previously unreleased and the recording quality is quite excellent, this set is simply irresistible to every Davis fan. This music remains absolutely timeless and fresh, completely untouched by the tides of time; the Holy Grail!

Updated: 31/12/2024Posted:

CD 4 Digipak Remastered Essential Recommend To A Friend

MILES DAVIS ~ CHRONICLE: THE COMPLETE PRESTIGE RECORDINGS 1951-1956 PRESTIGE 025218440028 (Barcode: 025218440028) ~ USA ~ Jazz Recorded: 1951 - 1956 Released: 1987 This is a monumental 8CD Box Set, which collects all the recordings by iconic American trumpeter / composer / bandleader Miles DavisFind albums by this artist, recorded for PrestigeFind albums on this label Records between January 17, 1951 and October 26, 1956. The Box Set includes 94 tracks, recorded during 17 sessions, with 34 different musicians, presented exactly in the sequence they were recorded. All the music was remastered for this CD edition of the Box Set from 1987, which was initially released in analogue form in 1980 as a 12LP Box Set. Considering the fact that there is an endless amount of commentary about this music already written, I’ll only state some personal remarks here. This Box Set presents the formative Davis’ period, during which he was looking for his personal form of expression. He crossed and zig-zagged Jazz genres with ease, be it Cool, Bebop, Hard Bop, or whatever, just in order to find the sound that represented him regardless of how it was classified. Playing with musicians, who were deeply rooted in one specific genre or idiom made him often uneasy and kept him searching. On the last three CDs of this Box Set we can hear the Davis’ First Great Quintet, with saxophonist John ColtraneFind albums by this artist, pianist Red GarlandFind albums by this artist, bassist Paul ChambersFind albums by this artist and drummer Philly Joe JonesFind albums by this artist. The quintet was a turning point, as far as Davis was concerned, when his found his very own voice for the first time, largely inspired by Coltrane of course. Following the move to ColumbiaFind albums on this label and eventually with the formation of the Second Great Quartet in 1964, Davis would become completely liberated from the formal stylistic definitions, creating music that was first and foremost his own and beyond any existing style, often coercing critics to invent new style labels to fit his music. During my conversations with Davis, he often stressed that the tendency of many American Jazz musicians to cling to Bebop as the basis of their music, simply holds them back from developing further (he was, of course, using somewhat less politically correct vocabulary, when making his observations). Davis’ Prestige period, although producing a vast amount of great music, as evident from what is included herein, was a transitional phase, which only towards its end managed to crystalize Davis’ musical personality, and which eventually would lead towards higher planes. Overall, this Box Set is an essential piece of American Jazz history, which summarizes the first half of the 1950s probably better than most other recordings of that period. As far as Miles Davis is concerned, it is but a taster of his full might, which will explode about a decade later, but nevertheless it is a classic part of the puzzle, which every Jazz fan should be familiar with.

Updated: 03/02/2024Posted: 03/02/2024

CD 8 Box Set Remastered Essential Recommend To A Friend

MILES DAVIS ~ THE CELLAR DOOR SESSIONS 1970 COLUMBIA 93614 (Barcode: 827969361429) ~ USA ~ Jazz Recorded: 1970 Released: 2005 It would be incredibly presumptuous to write any kind of serious musical review of this music in a limited format, so I’ll only stick to the very basics here. The music contained in this set was recorded live on December 16-19, 1970 in a dinky little Washington, DC club called “Cellar Door”. Why would Miles play in such a venue at all remained a mystery (one of many around Miles’ life and work), as he could easily sell out any concert hall in the US. In retrospect it now becomes obvious that Miles simply wanted a sort of limited exposure live recording opportunity to record his new band, which was yet another change of direction in his career. Following the groundbreaking Bitches BrewFind albums with this title and Jack JohnsonFind albums with this title sessions, Miles decided to strip down his ensemble to the bare minimum and concentrate on a more rock / funk oriented sound. Miles was always intensely attentive to everything that was happening around him musically and his frequent performances at the Fillmore venues exposed him to scores of rock bands, which enjoyed immense popularity with the crowds. Miles concluded that he could easily play music, which would be as acceptable to the rock crowds as the rock music they were accustomed to, hell he could do it better! This sessions prove that he was absolutely right. For the new group Miles kept Keith JarrettFind albums by this artist on electric piano, since Keith was already at ease with rock oriented material he played in his earlier stints. He also kept Jack DeJohnetteFind albums by this artist on drums, as John could rock better that any of the rock drummers around, considering his immense talent and technique. The saxophone spot was taken by Gary BartzFind albums by this artist (Steve GrossmanFind albums by this artist was having serious drug-related problems), a young and extremely capable player who sounded remarkably similar to John ColtraneFind albums by this artist, but felt comfortable with the funky rhythms. The biggest change (and surprise) was the bass spot, which Miles assigned to the tender MotownFind albums on this label (yes – the Jackson 5Find albums by this artist!) electric bassist Michael HendersonFind albums by this artist. Henderson’s pulsating funky rhythms set the essence for these sessions, not only serving as a rock solid foundation upon which the musicians are free to develop their improvisations, but also being the glue that keeps the music together. The quintet of Davis, Bartz, Jarrett, Henderson and DeJohnette play on all the 6 CDs in this set. The Brazilian percussionist Airto MoreiraFind albums by this artist joins the quintet on the 3rd day (expanding it to a sextet) and is heard on 4 CDs. Moreira’s contribution to Miles’ music deserve a chapter in itself - in these sessions he skillfully adds color and polyrhythmic accents, always with taste and precision. On the last day the group is extended to a septet with John McLaughlinFind albums by this artist joining in on his fire blazing electric guitar, like there is no tomorrow. This truly turns the whole ensemble into the “greatest fucking rock band you ever heard”, to quote Miles. McLaughlin is in his usual great form, which means he is just way ahead of anything else done at that time on guitar. What about Miles himself? Let me just say that he plays some of his best notes ever on these sessions, full of vigor, passion and inspiration. What else can I say here? This music is beyond comparison, beyond criticism, beyond all the bullshit people say about music… If you didn’t hear it you simply don’t exist - musically that is ;).

CD 6 Box Set Oversampling Remastered Bonus Tracks Essential Recommend To A Friend

MILES DAVIS / JOHN COLTRANE ~ THE COMPLETE COLUMBIA RECORDINGS 1955-1961 COLUMBIA 90922 (Barcode: 827969092224) ~ USA ~ Jazz Recorded: 1955 - 1961 Released: 2004 This is the 1st chapter in the ColumbiaFind albums on this label’s epic series of Miles DavisFind albums by this artist Box Sets, which is a monumental reissue project of recordings by the most important Jazz musician of the 20th century. Recorded between October 1955 and March 1961 the music includes everything Miles recorded for Columbia with his legendary first quintet and sextet. John ColtraneFind albums by this artist, Cannonball AdderleyFind albums by this artist and Hank MobleyFind albums by this artist on saxes, Bill EvansFind albums by this artist, Red GarlandFind albums by this artist and Wynton KellyFind albums by this artist on piano, Paul ChambersFind albums by this artist on bass and Philly Joe JonesFind albums by this artist and Jimmy CobbFind albums by this artist on drums are the protagonists on these legendary sessions, creating this heavenly music, under the Master’s spiritual leadership. The music included here appeared on the albums: ’Round About MidnightFind albums with this title, MilestonesFind albums with this title, Kind Of BlueFind albums with this title and Someday My Prince Will ComeFind albums with this title, as well as on numerous compilation albums released later. There is little that I need to say about the music herein, as almost every Jazz lover is acquainted with at least the “Kind Of Blue” album, being the most widely sold Jazz recording of all times. The combination of the geniuses of Miles and Trane turn these sessions into a fundamental and quintessential Jazz experience, which serves as a model for all generations of Jazzman to come. Both of them were constantly on a spiritual quest to expand both their performing skills, taking them beyond the humanly possible, as well as crossing musical planes uncharted and visionary. Although created by humans, this music is worthy of Gods and should it have happened a few thousands of years earlier, it would be probably heard on the mount Olympus. I simply can’t imagine anybody not owning this music and listening to it repeatedly, as it is timeless and everlasting. Beyond essential!

Updated: 26/01/2019Posted:

CD 6 Box Set Oversampling Remastered Bonus Tracks Essential Recommend To A Friend

MILES DAVIS / JOHN COLTRANE ~ THE FINAL TOUR: THE BOOTLEG SERIES VOL.6 COLUMBIA 889854483920 (Barcode: 889854483920) ~ USA ~ Jazz Recorded: 1960 Released: 2018 This is the 6th installment of the "Bootleg Series" recordings by American trumpeter / composer Miles DavisFind albums by this artist, released by ColumbiaFind albums on this label Records. It presents a document of the last tour by the legendary first Miles Davis Quintet, which included saxophonist John ColtraneFind albums by this artist, pianist Wynton KellyFind albums by this artist, bassist Paul ChambersFind albums by this artist and drummer Jimmy CobbFind albums by this artist. The live recordings, captured during the quintet´s European Tour organized by Norman GranzFind albums by this artist, who was the most important American Jazz impresario between the 1940s and 1960s and a notable record producer, include two concerts in Paris on March 21, 1960, two concerts in Stockholm on March 22, 1960 and one concert in Copenhagen on March 24, 1960. A short Miles Davis interview is also included. This is the first legitimate commercial issue of this material; numerous earlier bootlegs of the same material have been flooding the record market for years. After spending five years with Davis, Coltrane was feeling restless and tired of the setup and during this tour he informed Davis that he will be leaving the quintet upon its return from the European Tour captured here. Coltrane´s feverish move forward was already taking him away from the music played by the quintet, which although brilliant in every way was stuck in the Bebop and Cool traditions, in favor of more Free oriented music, which was already evident on his recording as a leader on AtlanticFind albums on this label Records ("Giant StepsFind albums with this title" was recorded almost a year before the music here was captured) and later on the revolutionary albums on Impulse!Find albums on this label Records, which changed the Jazz idiom forever. Davis would change his approach to music only about four years later with the formation of the second Miles Davis Quintet, which will also have a major influence on the future of Jazz, namely by developing the Jazz-Rock Fusion. Coltrane´s playing, as captured here, is simply Godly in every respect. It marks clearly the direction he was moving into and his lengthy explorations and often atonal squeaks and long convoluted solos are in complete contrast to Davis´ and the rest of the quintet members´ playing, which at times is a bit embarrassing in its simplicity. The audiences seem to have no problem whatsoever with Coltrane´s explorations and he is enthusiastically cheered after each solo, which is hardly surprising as Scandinavian musicians and audiences (same goes for the rest of Europe, including behind the Iron Curtain) at the time were already slowly moving forwards the next phase of the Jazz history. The music is a mixture of Davis originals and standards and we get four versions of Davis´ classic "So What" and two versions of "All Blues", all ranging between ten and fifteen minutes in duration, as well as three versions of Bronislaw KaperFind albums by this artist´s "On Green Dolphin Street", all about fifteen minutes long and two versions of Richard CarpenterFind albums by this artist´s "Walkin´", also about fifteen minutes each. This means of course that the Davis / Coltrane connoisseurs are able to compare and analyze the differences in the soloing on each of the repeated tunes, and of course those are quite dissimilar to each other. Undoubtedly this music is a tremendous document of its era and marks the peak of the American Jazz tradition, but at the same time it is as well a sign of an end of that era. Sadly the American Jazz tradition would get stuck more or less in that gear for the next decades, with no significant development in sight, except for Free Jazz / Improvised Music spearheaded by Coltrane and Fusion spearheaded by later Davis ensembles, which were about to peak a decade or so later and from then on would be as dormant as the traditional American Jazz. Of course for Davis / Coltrane lovers this is absolutely essential material and a must have in their collections. Even if people already own the bootlegged releases of this material, this new remastered and beautifully packaged release and the included booklet are definitely worth the price of this set. Essential stuff!

Updated: 31/12/2024Posted: 20/05/2018

CD 4 Digipak Remastered Essential Recommend To A Friend

ELTON DEAN / HOWARD RILEY QUARTET ~ ALL THE TRADITION SLAM 201 ~ UK ~ Free Jazz / Improvised Music Recorded: 1990 Released: 1990 This is a wonderful and sadly almost completely overlooked album by British Jazz modernists / revolutionaries: saxophonist Elton DeanFind albums by this artist and pianist Howard RileyFind albums by this artist, recorded in a quartet setting with bassist Paul RogersFind albums by this artist and drummer Mark SandersFind albums by this artist. The album presents just five lengthy tracks, three of which are standards and two are original compositions co-credited to all four quartet members. As the album’s title suggests, the album is an attempt to “combine” the traditional Jazz approach with the Avant-Garde / Free Jazz / Improvised Music approach these musicians are usually associated with. The musical “sandwich” (five layers, mind you) of Jazz standard / improvised music / Jazz standard (but a John ColtraneFind albums by this artist one) / improvised music / Jazz standard, creates a musical dish, which offers a mixture of “tastes”, reflecting the difference and the common ground of its ingredients. This is quite a challenging listening material of course, but listeners familiar with the work of Dean and Riley won’t be surprised by anything happening herein, and most probably with enjoy it immensely. The contrasting layers of the music create a new way of digesting conflicting tastes, which of course is all for the best. Of course Dean and Riley are both superb virtuosi. Overall, this is a brilliant showcase of the British Avant-Garde Jazz, served in an unusual packaging, making things even more interesting. Jazz traditionalists might find this music way too challenging for their wellbeing, but Free Jazz enthusiasts will find this sublimely interesting. Definitely a “strange brew”!

Updated: 02/06/2025Posted: 02/06/2025

CD 1 Recommend To A Friend

DAVE DOUGLAS ~ THE COMPLETE REMASTERED RECORDINGS ON BLACK SAINT & SOUL NOTE CAM JAZZ 1020 (Barcode: 8052405140630) ~ USA ~ Jazz Recorded: 1993 - 1998 Released: 2012 This superb Box Set collects all the albums recorded by the legendary American trumpeter / composer Dave DouglasFind albums by this artist on the twin Italian independent labels: Black SaintFind albums on this label and Soul NoteFind albums on this label. The set includes three albums he recorded as a leader, a live recording with the expanded version of the RovaFind albums by this artist quartet dedicated to John ColtraneFind albums by this artist´s album "AscensionFind albums with this title", and two albums as a sideman: one with John LindbergFind albums by this artist and another with Mark DresserFind albums by this artist. Douglas is well known as a member of John ZornFind albums by this artist´s MassadaFind albums by this artist group, but he is also a most prolific recording artist on his own, with an impressive list of albums to his credit. These recordings present his output in the 1990s, and they are all excellent examples of his work, which combines Free Jazz, ethnic influences and Improvised Music, all based on a strong tradition of Modern Jazz. Douglas is perfectly comfortable playing melody and completely improvised passages, always preserving his perfect timing and absolutely beautiful tone. The list of the players present on these recordings reads like the Who´s Who of the American Avant-Garde scene and includes violinist Mark FeldmanFind albums by this artist, saxophonist Larry OchsFind albums by this artist, bassists Mark Dresser and John Lindberg, drummers Michael SarinFind albums by this artist and Ed ThigpenFind albums by this artist and many others. The music spans a wide range of different musical environments and approaches, all executed with flare and obvious talent. Most of this music should be accessible even to listeners with limited Avant-Garde experience of affiliation, but those who have already the appropriate background with enjoy this music to the max. Brilliant stuff! Remastered, mini-sleeved, and with a great bargain price – this Box Set an absolute must for any serious Jazz collector. Side Note The Italian independent record label Black SaintFind albums on this label was founded by the music critic / author / producer Giacomo PellicciottiFind albums by this artist in 1975. It was taken over by the producer Giovanni BonandriniFind albums by this artist in 1978 and a year later (1979) a sister label, called Soul NoteFind albums on this label, was established. The twin labels were run by Giovanni and later his son Flavio BonandriniFind albums by this artist, until they were sold in 2008 to the Italian KEPACH Music Group, which already owned the CAM JazzFind albums on this label label, and which also bought another Italian independent record label Dischi Della QuerciaFind albums on this label. The mission of the Black Saint / Soul Note labels was to record and document the Free Jazz / Improvised Music / Avant-Garde scene, mostly from the US but also from Europe, which continued between mid 1970s and late 1990s and produced a staggering collection of almost 550 albums recorded by world's most important Jazz innovators active at the time, providing an opportunity to American (mostly Afro-American) musicians, who would have never managed to make these recordings at home, ridden by racism, alienation and closed-mindedness. Without these two labels most of this fantastic human creativity would have been never documented. However, the Black Saint / Soul Note Box Sets produced under the CAM JazzFind albums on this label moniker are an archetypal example of how good intentions turn sour. Although these new editions often bring back to life some of the best music ever made on this planet, which in many cases has been lost in the tides of time and was unavailable on the market for ages, they suffer from an unforgivable disregard to the essence of cultural values and general sloppiness, contrary to human decency, which requires us to treat our cultural legacy with respect and loyalty. These Box Sets have no booklet which presents researched historical background and exact discographical information of the albums included, and most importantly an overview of the music and its meaning and contribution to the Jazz Art form. Although the original LP sleeves are reproduced, the information is in most cases too small to be readable at all. In short the fact that these Box Sets are meant to be inexpensive, does not mean that they have to be cheap!

Updated: 12/04/2020Posted:

CD 6 Mini-Sleeve Box Set Remastered Recommend To A Friend

ERASE ~ NEW AND OLD DREAMS FOR TUNE 0014 ~ POLAND ~ Jazz Recorded: 2012 Released: 2013 This is the debut album by Polish Jazz quartet EraseFind albums by this artist, which consists of saxophonist Gerard LebikFind albums by this artist, bassists Max MuchaFind albums by this artist and Jakub MielcarekFind albums by this artist and drummer Michal TrelaFind albums by this artist. The album presents a live recording at Warsaw´s Pardon To Tu club, which in the last few years managed to establish an honorary position as the home of the Avant-Garde scene in the country´s Capital. The quartet performs five completely improvised pieces attributed to all the four musicians. The quartet presents music, which is naturally associated with the mid 1960s, when Free Jazz was at its artistic peak and musicians like Albert AylerFind albums by this artist, John ColtraneFind albums by this artist, Eric DolphyFind albums by this artist and others bravely broke the ties with Jazz conventions and stepped into uncharted territory to expand the Art Form beyond the known boundaries. However, keeping in mind that all this happened fifty years ago, playing Free Jazz today lost much of its originality, especially in view of the fact that its true pioneers are all dead by now. On the other hand, bands like Erase are needed today to shake up the somewhat stagnant Jazz scene, which often gravitates towards the dreaded retrograde mainstream. Therefore this total and uncompromising music is a welcome wake up call in that respect. Of course Erase has a lot to say on its own account, with the drenched saxophone wall-of-sound effect and the double bass lines and intensive drumming. It is a brutal encounter, which can leave no listener indifferent. Free Jazz is mostly an essence of a live performance and Free Jazz recordings suffer from the same problem that food suffers from, i.e. eating it is quite different than seeing pictures of it. Hearing this concert was probably a momentous experience for those lucky to be there at the time. The recording is only a secondary experience. That does not mean of course that the music is not worth being recorded, on the contrary For Tune made exactly the right decision to include it in their catalogue, simply for what it is: unadulterated explosion of musical energy, which pays tribute to the glorious past. And since nobody else is doing anything remotely similar, even more so! I don´t know if the album´s title is a tribute to the fabulous Old And New DreamsFind albums by this artist ensemble, which by itself was a tribute to Ornette ColemanFind albums by this artist; regardless if this is intentional or not, it is certainly most appropriate.

Updated: 12/04/2019Posted:

CD 1 Recommend To A Friend

EUROPEAN JAZZ ENSEMBLE ~ LIVE AT THE JAZZ CLUB U MUNIAKA NOT ON LABEL ~ POLAND ~ Jazz Recorded: 2023 Released: 2023 This is a wonderful video by the European Jazz EnsembleFind albums by this artist, a quintet comprising of German baritone saxophonist August Wilhelm ScheerFind albums by this artist, Polish (resident in Munich) saxophonist / composer Leszek ZadloFind albums by this artist, Polish pianist Wojciech GroborzFind albums by this artist and young rhythm section: bassist Wojciech SzwugierFind albums by this artist and drummer Wieslaw JamiolFind albums by this artist. During the two hours concert they perform mostly music by John ColtraneFind albums by this artist in the first set and standards in the second set. The U Muniaka Jazz Club in the old town of Krakow is one of the most legendary and oldest Jazz Clubs in Poland and has a wonderful atmosphere due to its location in an ancient cellar. Zadlo, my dear Friend since many decades, is undoubtedly the greatest Polish interpreter of Coltrane’s music, and his virtuosity, talent, dedication and decades of experience make him a true phenomenon on stage, as can be witnessed here. But the entire quintet performs brilliantly and fans of Modern Jazz should enjoy this music immensely. Overall, this is an excellent opportunity to hear the music of John Coltrane performed by European musicians, with a different aesthetic and dynamic approach usually heard on the other side of the pond. This DVD could be quite difficult to find, but making an effort will be definitely worth it!

Updated: 15/12/2023Posted: 15/12/2023

DVD 1 Recommend To A Friend

BILL EVANS ~ ALBUM (EXPANDED EDITION) COLUMBIA 64963 (Barcode: 5099706496328) ~ USA ~ Jazz Recorded: 1971 Released: 1996 The history of jazz is crowned by a small pantheon of stellar figures, which are (more or less) unequivocally accepted as the most prominent contributors to the development of the genre. Miles DavisFind albums by this artist and John ColtraneFind albums by this artist are members of that exclusive club and so is Bill EvansFind albums by this artist, the most influential jazz pianist ever. Since Evans’ biography is available from many sources, I won’t go into it here, so here are just a few personal comments: Although Evens played in a variety of settings, he surely deserves the title of inventor of the piano trio, a format in which most of his exceptional work was done. Over the years Evans led a series of legendary trios with the most eloquent bass and drums players, primarily noticeable for the phenomenal and telepathic level of interplay between the trio members. His (fortunately) numerable trio recordings are not only a document of his exceptional sensibility and lyricism as a player and composer, but also cornerstones of musical collaboration. Starting from the first trio (1959) with Scott LaFaroFind albums by this artist and Paul MotianFind albums by this artist and up to the last moments of his life (1980) with Marc JohnsonFind albums by this artist and Joe LaBarberaFind albums by this artist, the trio recording have always been the safest bets on musical delight one might ever take when buying a jazz album. This particular album, recorded with legends Eddie GomezFind albums by this artist on bass and Marty MorellFind albums by this artist on drums, is very important in Evans’ history. It includes his first contributions on the electric piano (a custom-made version of the Fender Rhodes), which he will explore more extensively later in his career. It also includes exclusively his own compositions, as opposed to his treatments of jazz standards, which were earlier the bulk of his recording material. This was the first of the only two albums Evans recorded for ColumbiaFind albums on this label – the other (“Living Time”) still awaiting a proper reissue. I can’t imagine anybody who loves jazz (or in fact anybody who loves music) ignoring this album, so if you still don’t have it – now is your chance. Absolutely essential!

Updated: 01/03/2024Posted:

CD 1 Remastered Bonus Tracks Essential Recommend To A Friend

GEORGIE FAME / USCHI BRUNING / ALAND SKIDMORE QUARTET ~ A DECLARATION OF LOVE ITM 9200020 (Barcode: 4250317473738) ~ UK ~ Jazz Recorded: 2008 Released: 2015 This is an archival release of a live concert which features the British Jazz singer / keyboardist / songwriter Georgie FameFind albums by this artist and the German Jazz singer Uschi BruningFind albums by this artist accompanied by the quartet led by the legendary British Jazz saxophonist Alan SkidmoreFind albums by this artist, which also includes pianist Steve MellingFind albums by this artist, bassist Geoff GascoyneFind albums by this artist and drummer Ian PalmerFind albums by this artist. The album presents ten tracks, of which five feature Fame, three feature Bruning, one is a Fame / Bruning duet and one is an instrumental performance by the quartet. The music is mostly Jazz standards, except the title tracks which is a Fame original and one standard which has lyrics written by Fame. Recorded at the Berlin Philharmonic, the album´s sound quality is impeccable. Fame has been my favorite Jazz vocalist since I have heard him live in London in the late 1960s, and I have been fortunate to hear him perform many times over the years in very diverse circumstances ranging from intimate solo appearances to his concerts with Big Bands, always delivering the absolute top performances. Regardless if he sang Jazz, Blues, Rhythm And Blues or even Pop, his absolutely unique intonation and heartfelt articulation are simply magical. Now in his sixth decade as a performer, he is still a formidable Artist. Bruning is a German Jazz icon, who started her career in the dark days of the DDR period, which paradoxically produced some of the most interesting European Jazz. Her work with the legendary saxophonist Ernst-Ludwig PetrowskyFind albums by this artist is one of the most interesting vocal recordings made at the time behind the Iron Curtain. She is still active today on the German scene and definitely worth following. Skidmore needs no introduction of course, being one of the world top saxophonists and one of the most important Jazz musicians keeping the John ColtraneFind albums by this artist legacy alive. His enormous contribution to British / European Jazz is unprecedented. Overall this is a wonderful vocal Jazz album, full of great singing, superb instrumental work and good taste, rarely present on contemporary recordings. Great fun from start to finish and of course warmly recommended!

Updated: 08/05/2023Posted: 21/07/2019

CD 1 Slipcase Recommend To A Friend

URI GINCEL ~ FREE UNIT 4402 (Barcode: 7640114794025) ~ ISRAEL ~ Jazz Recorded: 2010 Released: 2013 This is the debut album by Israeli (resident in Berlin) Jazz pianist / composer Uri GincelFind albums by this artist and his trio, which also includes Danish bassist Andreas LangFind albums by this artist and German drummer Moritz BaumgartnerFind albums by this artist. The album presents eight compositions, one of which is an original by Gincel, two are by John ColtraneFind albums by this artist, one is a standard, one is a folk tune, one is a classical tune, one is by the Israeli bassist / composer Eyal GanorFind albums by this artist and finally the last one is credited to all the trio members. The album presents a classic Jazz piano trio, playing pretty diverse musical themes, which are all transformed into the mainstream Jazz milieu. Of course Gincel demonstrates excellent technique and sensitivity, but this recording does not show his ability to break away from the Jazz tradition and take a step beyond. With Coltrane´s music aboard the listener expects much more freedom, especially when conditioned by the album´s title, which is not truly present herein. Even the album´s title track, which is the most "free" piece of music on the album, sounds still very conventional to Free Jazz connoisseurs. On the other hand as a mainstream piano trio album, this is quite an excellent effort. The rhythm section is absolutely superb, with Lang being among the finest European bassist these days. Baumgartner also performs very well, supporting the piano with just the right amount of rhythmic seasoning. The music is beautifully recorded (in one of Poland´s best recording studios) with beautiful sonic ambience, which will make piano trio fans extremely happy. Considering the fact that this is a debut recording, it is definitely quite an achievement and shows a lot of potential, which will be hopefully fully realized in the future. In the meantime this is definitely a very pleasant listening experience.

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SHLOMI GOLDENBERG ~ BLUES STRAIGHT AHEAD NOT ON LABEL ~ ISRAEL ~ Jazz Recorded: 2006 Released: 2006 Israeli saxophonist / composer Shlomi GoldenbergFind albums by this artist is one of the most active musicians on the local scene. Shlomi released his debut recording on my JazzisFind albums on this label label almost 20 years ago, and he´s been recording and releasing albums ever since. This album presents him in a quartet setting with pianist Nitzan GavrieliFind albums by this artist, bassist Nadav LahishFind albums by this artist and drummer Roi UlielFind albums by this artist, playing what seems at first glance as a nostalgic set of his own Blues-based compositions, similar to the material recorded by many Jazz Giants at the outset of their careers, especially John ColtraneFind albums by this artist. Although the music is definitely straight-forward, it is by no means simplistic. If fact it is often more challenging to play today in a straight-forward manner than explore the thrills of freedom that Jazz allows, provided of course that the straight-forward performance is as good as the one presented here. Shlomi´s ability and fluidity as a player are quite evident here, when he soars during his solos and he´s superbly supported by the pianist and the rhythm section. All the musicians have a great grasp of the Blues background so omnipresent in Jazz, enabling them to explore the compositions to their full potential. Overall this is an excellent album from start to finish, somewhat nostalgic, but very much contemporary at the same time. I´m sure that this album can be enjoyed by many Jazz connoisseurs around the world.

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GROUP SOUNDS FOUR & FIVE ~ BLACK & WHITE RAGA JAZZ IN BRITAIN 14 (Barcode: 5060774190128) ~ UK ~ Jazz Recorded: 1965 - 1966 Released: 2021 This is an archival album by the British Jazz quintet Group Sounds FiveFind albums by this artist, and quartet Group Sounds FourFind albums by this artist, both offspring of the quintet founded by trumpeter Henry LowtherFind albums by this artist and saxophonist Lyn DobsonFind albums by this artist, which also included pianist Ken McCarthyFind albums by this artist, bassist Ron RubinFind albums by this artist and drummer Jon HisemanFind albums by this artist. The quartet includes Lowther, Dobson, Jack BruceFind albums by this artist on bass and Hiseman. The album presents four tracks by the quintet and three tracks by the quartet, all taken from radio broadcasts. The material includes original compositions by Bruce, Dobson and McCarthy, a couple of standards, a piece by John ColtraneFind albums by this artist and a piece by Mike TaylorFind albums by this artist. The music is everything one might expect to hear at the time by British Jazz musicians, who were defining the modern British sound, still very much entangled into the Bebop tradition on one side, and searching to find their own voice on the other. There is enough originality and innovation herein to make it a fascinating historic document of the era. Of course the three quartet tracks with Bruce are especially interesting, both because his rare appearance in the strict Jazz idiom and his very open, almost free composition included here, which is a preamble to his wonderful “Things We LikeFind albums with this title” album recorded a couple of years later. The quintet tracks are slightly less challenging, but the title track, which lasts for twelve minutes, is a masterpiece in every respect. The personal performances are stellar, including Hiseman, who takes a long solo both with the quartet and the quintet. Although the quintet offers a “bigger” sound, the piano is somewhat under-recorded and lost in the mix, which is a pity. But the overall sound quality however is excellent and the music sounds bright and clear. Overall this is the most interesting CD release by the new Jazz In Britain label so far, hopefully pointing in the right direction. For British Jazz fans, who wish to learn more about the birth of the unique character of late 1960s sound, which revolutionized the idiom, this album is the “missing link” and an absolute must have.

Updated: 23/07/2021Posted: 16/04/2021

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TUBBY HAYES ~ COMMONWEALTH BLUES ART OF LIFE 1016 (Barcode: 804640101628) ~ UK ~ Jazz Recorded: 1965 Released: 2005 British Jazz legend Tubby HayesFind albums by this artist was one of the greatest representatives of the genre and also one of the very few British musicians to get US exposure due to his frequent performances there. Although primarily revered for his tenor saxophone playing, he was also a superb flautist and vibraphonist. The bulk of recordings come from the period between mid-1950s to mid-1960s. By late 1960s Hayes became seriously ill and subsequently died (in 1973) at a ridiculously young age of 38. His musical legacy is of immense importance, as it laid the foundations for the European Jazz and its emancipation from the American Jazz tradition. His virtuoso playing and extraordinary sense of improvisation enabled Hayes to extend the be-bop tradition, established by Jazz giants like Charlie ParkerFind albums by this artist and John ColtraneFind albums by this artist, into a new plane with added European sophistication and culture replacing the raw energy and often rage of American Jazz. This album is an extremely important document of Tubby’s magnificent performance, especially so due to the fact that it contains all previously unreleased recordings. The source of the music comes from the famous BBC “transcription service” recordings – a blessed initiative of the BBC to record British Jazz and subsequently broadcast these recordings on the BBC World Service stations around the world. These recordings were pressed on vinyl and distributed worldwide, but never released commercially. The album includes four such sessions, recorded for the Spanish-speaking listeners (see the announcements in Spanish) with his quartet, which includes Gordon BeckFind albums by this artist on piano, Jeff ClyneFind albums by this artist on bass and Johnny ButtsFind albums by this artist on drums. The first three sessions are devoted each to a separate instrument and feature Hayes on tenor saxophone, vibraphone and flute. The fourth session features his playing all three instruments, each on a separate track. The recording quality is excellent (as is the remaster) and the result is a magnificent album, which deserves the title of a true classic of the British Jazz. The many fans of Tubby Hayes will find this album to be essential for their collections and it deserves a honorable place in any decent Jazz album collection. Genius at work!

CD 1 Oversampling Remastered Recommend To A Friend

TUBBY HAYES ~ NO BLUES: THE COMPLETE HOPBINE `65 JAZZ IN BRITAIN 53 (Barcode: 5060774190555) ~ UK ~ Jazz Recorded: 1965 Released: 2023 This is an archival live album by British Jazz saxophonist / composer Tubby HayesFind albums by this artist recorded in a quartet setting with pianist Kenny PowellFind albums by this artist, bassist Ron MathewsonFind albums by this artist and drummer Dick BrennanFind albums by this artist. Saxophonist Tommy WhittleFind albums by this artist expands the lineup to a quintet on a couple of tracks. Two of the tracks are piano trio recordings. The music, which was recorded at the Hopbine club owned by Whittle, was taken from the Mathewson’s tape archive, which was left to the Jazz In BritainFind albums on this label label upon his death in 2020. The 2CD album presents seven tracks, all of which are standards. The album includes an extensive twenty-four pages long booklet, written by Hayes’ biographer Simon SpillettFind albums by this artist. The tape is a mono recording, but the sound quality is excellent and way better than the other version of this material, which was previously released by HarkitFind albums on this label Records in 2005, and the music can be heard loud and clear. One of the tracks, which lasts for almost twenty minutes, is released here for the first time and this is the first time this performance can he heard in its entirety. This album captures Hayes at the peak of the first part of his career, which was dedicated to becoming an “equal” to his American counterparts, as far as virtuosic improvisation and mastery of the Bebop idiom were concerned. He certainly achieved those goals and received full approval from the Americans, during his US stints during that period. But the drive to enter a more ambitious sphere, partly influenced by American Avant-Gardists like John ColtraneFind albums by this artist, and partly by the British / European Jazz revolution bubbling in the undercurrents, were about to take Hayes into a completely new era, which lasted for the sadly short last period of his life. The album is also a wonderful document of the London Jazz scene in the mid-1960s, which exploded with activity. The first post WWII wave of Jazz musicians were at their peak and the young and hungry generation barking at their behinds, who were about to take over the scene by the end of the decade and revolutionize it, creating for the first time what would become the true British Jazz, unique, innovative and utterly brilliant. Overall, this is a most welcome addition to Tubby Hayes recorded legacy and British Jazz fans surely will appreciate the work and dedication of the people behind the Jazz In Britain label, who keep bringing us these wonderful releases and keep the history of British Jazz alive. Absolutely essential part of any serious British Jazz collection.

Updated: 02/07/2023Posted: 02/07/2023

CD 2 Digipak Remastered Recommend To A Friend

TUBBY HAYES ~ THE COMPLETE HOPBINE `69 JAZZ IN BRITAIN 30 (Barcode: 5060774190319) ~ UK ~ Jazz Recorded: 1969 Released: 2021 This is an archival album by British Jazz saxophonist / composer Tubby HayesFind albums by this artist recorded in a quartet setting with pianist Mick PyneFind albums by this artist, bassist Ron MathewsonFind albums by this artist and drummer Spike WellsFind albums by this artist. The music, which was recorded live at the Hopbine club, was taken from the Mathewson tape archive. It presents eight tracks, three of which are Hayes’ originals and five are standards. The album includes an extensive twenty-eight pages long booklet, written by Hayes’ biographer Simon SpillettFind albums by this artist. The tape is a mono recording, but the sound quality is excellent and way better than the other sources of this material, which were previously released on two other albums, and the music can be heard loud and clear. One of the tracks is released here for the first time and this is the first time this performance can he heard in its entirety. In many respects this recording marks a closing of a glorious career by one of the British Jazz greatest personalities, who would be dead just three and a half years after this music was recorded, ridden by ill health. It is also of course a wonderful glimpse at the birth of modern British Jazz, partly influenced by the Free Jazz explosion in American Jazz at the time, but still very much within modern mainstream, reshaped and domesticated into the unique British experience, which eventually emancipated British Jazz from the American bondage. These performances are obviously more spontaneous than those captured on the studio albums Hates recorded at the time and all showcase the great talents of the four musicians involved. Pyne, Mathewson (both sadly not with us any more) and Wells (hopefully destined to stay with us for many more years) show their talents here in full and Hayes’ fluency and artistry remain unparalleled. Interestingly, John ColtraneFind albums by this artist influence on Hayes’ playing is more distinctly heard here than on most other recordings he made. Overall, this is a most welcome addition to Tubby Hayes recorded legacy and British Jazz fans surely will appreciate the work and dedication of the people behind the Jazz In BritainFind albums on this label label, who keep bringing us these wonderful releases and keep the history of British Jazz alive. Absolutely essential part of any serious British Jazz collection.

Updated: 27/01/2022Posted: 27/01/2022

CD 2 Digipak Recommend To A Friend

ORJAN HULTEN TRIO ~ IN THE CITY ARTOGRUSH 005 (Barcode: 7320470104378) ~ SWEDEN ~ Jazz Recorded: 2007 Released: 2008 This is the second album by the trio led by Swedish saxophonist / composer Orjan HultenFind albums by this artist with bassist Filip AugustsonFind albums by this artist and drummer Fredrik RundqvistFind albums by this artist. The trio plays nine tunes, four composed by Augustson, three composed by Hulten and two standards. Five tunes were recorded in a studio and four were recorded live. Musically this album continues the direction set by the trio´s debut album recorded a year earlier, presenting modern European Jazz, based on melodic themes but at the same time open enough to allow extensive improvisations. Augustson gets exposure as a composer here and his music expands the trio´s musical language but does not change the direction dramatically. The personal contributions are all superb, with Hulten playing some passionate solos in the spirit of John ColtraneFind albums by this artist´s tradition, especially noticeable on the live tracks, which are naturally significantly longer than the studio pieces and allow much more expressive statements. The rhythm section stands shoulder to shoulder with Hulten and Augustson contributes several impressive bass solos in addition to his excellent accompaniment. Overall this is a first class Jazz album, which represents the young generation of European Jazz musicians, showing their respect towards the Jazz tradition as well as their search of new individual ways to express their Art. It is universal and sounds genuine and honest to all Jazz fans around the globe, regardless of their location. This album is definitely worth being investigated and deserves a place in every serious record collection. It lost absolutely nothing of its appeal over time, which again testifies as to its quality. Well done!

Updated: 04/07/2016Posted: 04/07/2016

CD 1 Digipak Recommend To A Friend

IN-FORMATION ~ IN-FORMATION TRIO POLSKIE RADIO 1248 (Barcode: 5907812242480) ~ POLAND ~ Jazz Recorded: 1981 Released: 2013 This is the second installment in a series of releases documenting the recorded legacy of the great Polish Jazz pianist / composer Slawomir KulpowiczFind albums by this artist, most of which is released for the first time. Kulpowicz, who died prematurely in 2008 at the age of 56, was a victim of cancer. He was a member of groups led by the top Polish Jazz players like Zbigniew NamyslowskiFind albums by this artist and Tomasz StankoFind albums by this artist and led / co-led his own ensembles like The QuartetFind albums by this artist, In-FormationFind albums by this artist and also cooperated with many other musicians over the years. He was an avid follower of John ColtraneFind albums by this artist´s music and kept in touch with Coltrane´s wife Alice ColtraneFind albums by this artist. Following his visit to India, Kulpowicz discovered Indian music and the spiritual aura of India, which became his own. Following the demise of The Quartet, Kulpowicz founded a new ensemble, which he called In-Formation. Over time several different versions of In-Formation existed, including a duo, the basic piano trio, presented here, quartet and even sextet. In retrospect the trio proved to be the most successful incarnation of the group. It included bassist Witold SzczurekFind albums by this artist (a.k.a. Vitold RekFind albums by this artist) and legendary drummer Czeslaw BartkowskiFind albums by this artist. The same trio also served as the rhythm section of the Tomasz Stanko quartet in the early 1980s, recording with him two most impressive albums: "Music 81Find albums with this title" and "A I JFind albums with this title" (both recorded at the same session). In-Formation recorded two albums for the PoljazzFind albums on this label label, the second of which is partly (three tracks) also included here. The rest of the album (five more tracks) originates in two radio sessions recorded earlier in the same year. All the music was composed by Kulpowicz and is a direct continuation of his John Coltrane / McCoy TynerFind albums by this artist influenced style presented earlier by The Quartet. Of course the trio´s music is much less intense sonically than the quartet´s massive sound, but not less complex or spiritually evolved. Kulpowicz carries, as expected, most of the load, producing his usual vamped chords and dense cadenzas of amazing fluency and virtuosity. The rhythm section supports him splendidly, with Rek emphasizing the melody riffs and Bartkowski providing the swinging drive carrying the music in fast forward most of the album´s duration. The piano trio, which is the ultimate Jazz showcase, was quite a neglected Art form at the time this music was recorded. Therefore these recordings are even more special, as there was no other parallel outfit on the Polish Jazz scene at the time. Of course the piano trio would triumphantly return and re-appear on the Jazz scene later on, including of course the local Polish scene, but at that particular time In-Formation trio was completely unique. This album is not only a great example of the Jazz piano trio Art, but also a very important document of the development of the Polish Jazz scene. Of course it´s an absolute must have for all Polish Jazz connoisseurs and collectors, but every piano trio buff around the globe should find this quite a treat. Great stuff!

CD 1 Digipak Remastered Recommend To A Friend

JAUBI ~ NAFS AT PEACE ASTIGMATIC 017 ~ PAKISTAN ~ Jazz-World Fusion Recorded: 2019 Released: 2021 This is an album by Pakistani Jazz-World Fusion quartet JaubiFind albums by this artist, which consists of guitarist Ali Riaz BaqarFind albums by this artist, sarangi player Zohaib Hassan KhanFind albums by this artist, drummer Qammar AbbasFind albums by this artist and tabla player Kashif Ali DhaniFind albums by this artist. The quartet is expanded to a sextet with the addition of Polish Jazz keyboardist Marek PedziwiatrFind albums by this artist (a.k.a. LatarnikFind albums by this artist), a member of Polish ensembles EABSFind albums by this artist and BlotoFind albums by this artist, and British flautist / saxophonist Edward CawthorneFind albums by this artist (a.k.a. TenderloniousFind albums by this artist), who also recorded with EABS. The album presents seven tracks recorded in Lahore, six composed by Baqar and one by Pedziwiatr. Some additional recordings were done in Oslo, involving the Vox Humana Chamber ChoirFind albums by this artist, which appears on the opening track. The music is, as expected, an amalgam of traditional Indian Music elements and Jazz, which of course has its origins back as far as mid-1960s, both in American Jazz (John ColtraneFind albums by this artist of course, but not only) and British Jazz (John MayerFind albums by this artist and others) and European Jazz. The music created by the expanded Jaubi ensemble is similar in some ways to the many earlier attempts, but is also unique, being far more open to listeners, who have little experience with Indian music, as well as younger listeners, who prefer more melodic, accessible, somewhat trance-like auras, which do not involve heavy, complex improvisation, and offers instead a natural melodic flow. This does not mean that the album does not offer splendid soloing, which it certainly does. Both Pedziwiatr and Cawthorne offer some impressive soloing, especially on the final track dedicated to Coltrane and obviously inspired by “A Love Supreme”. Since the original Jaubi quartet involves only two traditional Indian instruments (sarangi and tabla), a priori their sound is not dominated by traditional Indian Music, which can be pretty daunting to Western listeners, and as this album perfectly shows, same like using exotic spices in food, moderation is the wiser solution. The album’s artwork and promo materials offer many references to the spiritual / religious references of this music, namely to the Koran spirituality and the concept of Nafs (from nafas), which became popular in the West with the growing popularity of the New Age in the late 20th Century. Personally I prefer to hide behind my skepticism, as this music is way more appropriate to enjoy and have fun rather than meditation or contemplation of one’s state of their soul. Oh well… Overall this is a wonderful album, extremely listenable and with the delicate smell of mystique and Indian spices, offers a superb musical trip, which is a pleasure to listen to. Well put together and offering some great melodic compositions as well as superb performances, this album is truly addictive. Not to be taken too seriously of course, just relax and flow with the music wherever it takes you – satisfaction guaranteed!

Updated: 01/07/2021Posted: 01/07/2021

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JAZZ CONSTRUCTION ~ JAZZ CONSTRUCTION MTS 014 ~ POLAND ~ Jazz-Rock Fusion Recorded: 2008 Released: 2009 This is the debut album by the young Polish Jazz quintet Jazz ConstructionFind albums by this artist, which comprises of saxophonist Marcin KaniaFind albums by this artist, guitarist Krzysztof LenczowskiFind albums by this artist, pianist Wawrzyniec PrasekFind albums by this artist, bassist Jacek KaliszewskiFind albums by this artist and drummer Wojciech BylicaFind albums by this artist. Lenczowski also plays cello in the string quartet, which accompanies the group. The album presents eight original compositions, five of which were composed by Lenczowski and three by Prasek. The album was recorded at the wonderful Studio Tokarnia with Jan SmoczynskiFind albums by this artist at the console, which of course is immediately audible, as the sound quality is gorgeous. Although the music is quite diverse stylistically, the overall ambience presiding is that of melodic Jazz-Rock Fusion. The guitar, which stands out as the most effective solo instrument, is sonically very close to the classic early Pat MethenyFind albums by this artist sound, round and slightly melancholic, but always very effective. Each of the guitar solos on this album is a masterpiece of construction and a perfect example of showmanship by Lenczowski. But his colleagues are not far behind and they all display formidable technique and feel for the music. As usual with young Polish Jazz groups one keeps wondering how it´s possible for such young players to sound so mature. The group displays its Jazz roots by offering a couple of tunes, which are clever tributes to Jazz Giants like John ColtraneFind albums by this artist and Miles DavisFind albums by this artist and their overall approach is also Jazzier than most Fusion groups. The individual contributions of all the band members are truly praiseworthy. Overall, although hardly groundbreaking, this is a very solid debut effort, which features excellent original music and first-class performances, which are as good if not better from most similar material released anywhere in the world. For some strange reason this album slipped under my radar at the time of its release, but it´s never too late to acknowledge a worthy effort. Very well done gentlemen!

CD 1 Digipak Recommend To A Friend

JUNGLE: MAT WALERIAN / MATTHEW SHIPP / HAMID DRAKE ~ LIVE AT OKUDEN ESP 5009 (Barcode: 825481500920) ~ POLAND ~ Jazz Recorded: 2012 Released: 2016 This is the second album by Polish (resident in the US) Jazz saxophonist / flautist / composer Mat WalerianFind albums by this artist, recorded live, this time in a trio format with veteran heroes: pianist Matthew ShippFind albums by this artist and drummer Hamid DrakeFind albums by this artist. Same as the debut release a year earlier, the music was recorded during the Okuden Music Concert Series in 2012 and was released by the legendary ESP label. The 2CD set presents thirteen pieces, nine of which were composed by Walerian, one is a traditional tune, one was co-composed by Shipp and Drake and the remaining two were co-composed by all three members of the trio. Walerian´s debut was one of the strongest album releases of last year (2015) and this follow up is certainly another worthy contestant for this year´s top of the crop. Almost out of nowhere Walerian emerges as one of the most versatile and virtuosic players in the Free Jazz / Improvised Music genre. His rapport with the genre´s veterans, Shipp and Drake, is almost hard to believe and sounds as if they have been playing together for ages. His ability to create a wide range of atmospheres and moods, his usage of a range of instruments and last but not least his ability to write subtle melodic lines, which than serve as vehicles for collective improvisation is nothing short of extraordinary. The music, although obviously free spirited and unbounded, is also surprisingly calm and relaxed, and always carries a melodic subtext, which makes it easy to follow by the listener. This dichotomy between intellectual freedom of creation and aesthetic oneness creates a wonderful tension, which lifts this music way above the "usual" free form musical encounters, which often propose nothing but weirdness. This wonderful music is simply beautiful as music, regardless of the way it is delivered. Of course a trio recording is above all a joint venture between the trio members, which in this case works out like a dream. Shipp and Drake must be admired for their deliberate restrain and amicable attitude, which allows Walerian to present his often delicate statements without disturbance. Shipp´s supportive chord structures allow Walerian to spread his wings and blow his heart out, having a steady and reliable basis behind him. In many respects this is similar to McCoy TynerFind albums by this artist´s playing behind John ColtraneFind albums by this artist during the heydays of the Quartet. Drake, who can be a very powerful and dominant drummer, also limits his creative support to supporting the music´s rhythmic layer, ornamenting it rather than leading it. Overall the collective effort is simply perfect for this outstanding piece of music. As already stated, this album is definitely one of the strongest statements released so far this year and a wonderful example of contemporary Art of music, a manifestation of human ingenuity and talent of rare significance. Obviously this album deserves to be heard by as many music connoisseurs as possible, who will be blessed by its significance if let into their hearts.

Updated: 30/05/2017Posted: 27/04/2016

CD 2 Digipak Recommend To A Friend

MACIEJ KADZIELA ~ THE TASTE OF THE WORLD MULTICULTI MPJ 014 (Barcode: 5907796319796) ~ POLAND ~ Jazz Recorded: 2015 Released: 2016 This is the second album by young Polish Jazz saxophonist Maciej KadzielaFind albums by this artist, recorded in a quartet setting with pianist Artur TuznikFind albums by this artist and Swedish rhythm section: bassist Johannes VahtFind albums by this artist and drummer Olle DernevikFind albums by this artist. Polish saxophonist Grzech PiotrowskiFind albums by this artist guests on two tracks. The quartet was formed in Copenhagen, where these musicians studied together at the local Music Academy and summarizes Kadziela´s experiences during his stay in Denmark. The album presents ten original compositions, all by the leader. The album immediately strikes the listener as a mature and serious offering, which presents Kadziela playing with remarkable fluidity and confidence, completely uncommon among Jazz musicians of his age group. The rest of the quartet members stand shoulder to shoulder with the leader, supporting him amicably and intelligently all the way through. Beautifully lyrical piano by Tuznik, solid and virtuosic bass layer keeping the music on solid ground at all times by Vaht and explosive but always at the right measure percussive ornamentation by Dernevik are an excellent examples of what team work is all about. The music is typical modern European Jazz, dancing elegantly on the verge of mainstream melodic lines and free vistas, creating a wonderful tension and keeping the listener on edge throughout the entire duration of the album. The melodic layer tends to be filled with typical Polish melancholy, but the energetic performances by the musicians save it from being overtly lethargic. Some Scandinavian elements are also clearly audible, which of course makes perfect sense considering the quartet´s lineup and common history. Some references to the compositions of Krzysztof KomedaFind albums by this artist and the playing of John ColtraneFind albums by this artist are inevitable, but those are subtle and Kadziela will soon find his very own original voice as a composer and saxophonist. Overall this is a most impressive album, full of wonderful playing, searching and experimenting, as appropriate for Jazz. Definitely one of the best Polish Jazz releases so far in 2016, and beyond. Hopefully more of such splendid music will follow suit in not too distant future. I can´t wait already!

Updated: 26/10/2016Posted: 23/09/2016

CD 1 Mini-Sleeve Recommend To A Friend

KAPELA YANINA ~ 2001 SELLES 0115 (Barcode: 5908260401153) ~ POLAND ~ Jazz-Rock Fusion Recorded: 1998 - 1999 Released: 1999 This is the debut recording by the Polish Jazz-Rock Fusion quartet Kapela YaninaFind albums by this artist led by the veteran guitarist / composer Janusz Yanina IwanskiFind albums by this artist with saxophonist Lukasz KluczniakFind albums by this artist, bassist Marcin LamchFind albums by this artist and drummer Przemyslaw PacanFind albums by this artist. They perform 8 compositions, five of which are originals by Iwanski, two are group compositions by Kluczniak / Pacan / Lamch (known together as the Kapela TrioFind albums by this artist) and the remaining one is by John ColtraneFind albums by this artist. By the turn of the Century (and the Millennium as well) Polish Jazz was entering a new and exciting period. The first decade (the 1990s) of the country´s political freedom influenced Jazz potently and led to the development of the Yass phenomenon, which was primarily an expression of rebellion against tradition and destruction of limitations and formulas, which ruled previously for decades. Although aesthetically Yass was rather rough and often limited musically, its main contribution was the openness, especially among the younger Polish Jazz players, which allowed for cross genre / cross Culture exploration and experimentation. Kapela Yanina exemplifies splendidly this new direction. Iwanski, a Blues, Rock and Jazz influenced player, manages to create a perfect new amalgam by inviting a saxophonist, who plays almost completely Free, a bassist, who is the personification of Funk and a drummer, who is steady as a Rock (pun intended). Together they are simply unstoppable and the music they create sweeps everything aside like a bulldozer. Just imagine John Coltrane and Jimmy HendrixFind albums by this artist blowing their chops together. Iwanski has a completely unique approach to his instrument. He plays only occasional solos, where he uses notes, but most of the time he plays chords, which are sustained, distorted and twisted and create complex, almost keyboards-like ambient background, which features the saxophonist as the main soloist. It is exceptional for a leader to give up his ego and allow someone else to play the first fiddle. Kluczniak is simply superb and plays with such confidence and fluidity, that one would never guess his age at the time this music was recorded. The fact that he remains relatively unknown to this very day is a travesty. The rhythm section is simply perfect, playing just what is right, from soft and delicate touches to a hurricane like storm at the climatic moments. Kapela Yanina was one of the most interesting groups, which were active on the Polish Jazz scene at the time. They managed to record one more album, called "The Searchers For Something…Find albums with this title" a couple years later and then after an almost ten years long break they reunited and recorded the excellent "Yanina Free WaveFind albums with this title" album. The fact that all these three albums received little attention is simply beyond comprehension, as they all belong to the canon of Polish Jazz recordings. This is an important piece of the puzzle, which is Polish Jazz, and anybody interested in it should definitely have this album in their collection. Apparently this album is still available and therefore I urge everybody to grab a copy ASAP, as this is definitely too good to be missed. Act now or be repentant later!

CD 1 Recommend To A Friend

JOHN KLEMMER ~ FINESSE / MAGNIFICENT MADNESS WOUNDED BIRD 0197 (Barcode: 664140019720) ~ USA ~ Jazz Recorded: 1980 - 1983 Released: 2005 Brilliant American saxophonist John KlemmerFind albums by this artist is one of the most versatile and talented Jazz players in the last few decades. His initial influence was the saxophone legacy of John ColtraneFind albums by this artist 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. "FinesseFind albums with this title" was Klemmer´s 4th and last album for the ElektraFind albums on this label label and it comprises of his original compositions, played by a wonderful quintet with keyboardist Russell FerranteFind albums by this artist, bassist Bob MagnussonFind albums by this artist, drummer Roy McCurdyFind albums by this artist and percussionist Steve FormanFind albums by this artist. "Magnificent MadnessFind albums with this title" was his 1st 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.

CD 1 Recommend To A Friend

JOHN KLEMMER ~ HUSH WOUNDED BIRD 0527 (Barcode: 664140052727) ~ USA ~ Jazz Recorded: 1981 Released: 2008 Brilliant American saxophonist John KlemmerFind albums by this artist is one of the most versatile and talented Jazz players in the last few decades. His initial influence was the saxophone legacy of John ColtraneFind albums by this artist 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 2nd album for the Elektra label and it comprises of his original compositions, played by a wonderful ensemble, which includes keyboardist Russell FerranteFind albums by this artist, guitarists Larry CarltonFind albums by this artist and Lee RitenourFind albums by this artist, bassist Abraham LaborielFind albums by this artist, drummer Harvey MasonFind albums by this artist 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. Visitors' Comments Christopher  Brice I thought that I remembered enjoying this album 20+ years ago, and the first track matched my memory (and Adam´s praise) but I have to say that when the vocals came in (and there are quite a few vocal tracks in different styles) that they seemed to me pretty cheesey and put the CD firmly on my list labelled "how do I get rid of these discs that I will never listen to again?"

Updated: 12/07/2025Posted:

CD 1 Recommend To A Friend

JOHN KLEMMER ~ SOLO SAXOPHONE II - LIFE WOUNDED BIRD 0566 (Barcode: 664140056626) ~ USA ~ Jazz Recorded: 1982 Released: 2008 Brilliant American saxophonist John KlemmerFind albums by this artist is one of the most versatile and talented Jazz players in the last few decades. His initial influence was the saxophone legacy of John ColtraneFind albums by this artist 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 3rd 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!

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EERO KOIVISTOINEN ~ THE FRONT IS BREAKING LOVE 188 ~ FINLAND ~ Jazz-Rock Fusion Recorded: 1976 Apart from Edward VesalaFind albums by this artist, Eero KoivistoinenFind albums by this artist is probably the most well known Finnish jazz musician outside of his native country, due to his US residency and numerous recordings around the world. Deeply influenced by John ColtraneFind albums by this artist, he started his jazz adventure playing free jazz in cahoots with Edward Vesala and Pekka SarmantoFind albums by this artist as early as 1964 (which was about the time European free jazz was developing fiercely). Later on he moved away from free jazz and concentrated more on structured and carefully composed music. By the time this album was recorded, the jazz world was deeply involved in the Jazz-Rock Fusion explosion, following Miles DavisFind albums by this artist’ pioneering work in the field and later on groups like John McLaughlinFind albums by this artist’s Mahavishnu OrchestraFind albums by this artist. Inspired by these developments, Koivistoinen decided to record a fusion album, for which he composed the music. The carefully assembled a dreamy combo to record the music, in which he gathered the best Scandinavian musicians from both the jazz and Progressive Rock genres, including Esko RosnellFind albums by this artist (drums) and Olli AhvenlahtiFind albums by this artist (piano) – Finland / jazz, Jukka TolonenFind albums by this artist (guitar – Tasavallan PresidenttiFind albums by this artist) and Pekka PohjolaFind albums by this artist (bass – WigwamFind albums by this artist) – Finland / Prog and Wlodek GulkowskiFind albums by this artist (keyboards) and Georg WadeniusFind albums by this artist (guitar – Blood, Sweat & TearsFind albums by this artist) - Sweden (well Gulkowski was a Polish refugee) / Fusion. The result is surely one of the best, most sophisticated and musically uplifting fusion albums ever recorded and an absolute must for any fan of the genre. This was to be the only fusion album Koivistoinen would record, as he returned to “pure” jazz soon after.

CD 1 Oversampling Remastered Essential Recommend To A Friend

KRZYSZTOF KOMEDA ~ ASTIGMATIC (POLISH JAZZ VOL.05) MUZA 905 ~ POLAND ~ Jazz Recorded: 1965 Released: 2004 This music, encapsulated for eternity in a piece of plastic, is one of the great milestones of human Culture, an ultra-rare eruption of human genius. Recorded by a quintet led by Polish pianist / composer Krzysztof KomedaFind albums by this artist, the legendary Godfather of Polish Jazz, this is definitely the most important piece of music recorded in Eastern Europe, which changed the face of Culture far beyond what most people realize. Universally accepted as a model and artistic / aesthetic climax by generations of Jazz musicians in Komeda´s native Poland and far beyond the country borders, this modern Jazz recording influenced innumerable minds and prompted endless artistic processes. The album includes just three pieces of music: the title track; "Kattorna", which was a theme in the soundtrack of a movie by the Danish director Henning CarlsenFind albums by this artist; and "Svantetic", a tune dedicated to the Swedish poet Svante ForsterFind albums by this artist, Komeda´s friend. The quintet included trumpeter Tomasz StankoFind albums by this artist, saxophonist Zbigniew NamyslowskiFind albums by this artist, German bassist Gunter LenzFind albums by this artist and Swedish drummer Rune CarlssonFind albums by this artist. Playing in every possible grouping, from solo to a full quintet, these brilliant and inspired musicians manage to achieve a whole, which is so much more than a sum of its parts. The result goes way beyond soloing, improvising, interplaying and exchanging ideas; it is a sort of group creation, which builds upon the basic structures, which are the mesmerizing Komeda´s melodies and soaring infinitely towards a musical heaven. There is everything here: melody, harmony, freedom and structure, rhythm and space, all simultaneously represented without conflicting and fighting for supremacy. Such harmonious music-making is indeed very rare and therefore priceless. One might wonder how this wonderful music happened in Poland of all places. Well the reasons for this are numerous and complex, but of course genius knows no geographical limitations and catalyzed by the fertile intellectual background of the 1960s Poland, struggling with Socialist regime and longing for Freedom, Jazz became an escape route, which in this case found its true vocation. Of course the fact that Stanko and Namyslowski were (and thank God still are) exceptionally gifted musicians helped to materialize the potential of Komeda´s music. One might as well look into Komeda´s fascination (and adoration) of the music and life of John ColtraneFind albums by this artist, who served as a beacon and a model in the composer´s path to inner enlightenment. And yet Komeda did not succumb to Coltrane´s (or indeed the entire American Free Jazz movement) ideas blindly and unconditionally, as did many of his peers. He decided to incorporate the struggle for Freedom, which was a central scheme in Coltrane´s philosophy (both musical and personal) with his deep European cultural roots and heritage, building his very personal bridge between Cultures. This is why his music works so well, regardless if it´s a concert played in a Jazz club or a movie soundtrack. It is simply transcending stylistic or circumstantial limitations, as any higher level of Art is able to do. The fact that this music was created almost fifty years ago is a sad reminder of how little progress (if any) we managed to achieve since. In face of this fact we should cherish the great achievements of our Culture and keep them close to our hearts. This is definitely one of those great achievements, so let´s treat it accordingly. Absolutely essential!

CD 1 Digipak Oversampling Remastered Essential Recommend To A Friend

KRZYSZTOF KOMEDA ~ ASTIGMATIC (POLISH JAZZ VOL.05) POWER BROS 00163 (Barcode: 5906295856030) ~ POLAND ~ Jazz Recorded: 1965 Released: 1998 This music, encapsulated for eternity in a piece of plastic, is one of the great milestones of human Culture, an ultra-rare eruption of human genius. Recorded by a quintet led by Polish pianist / composer Krzysztof KomedaFind albums by this artist, the legendary Godfather of Polish Jazz, this is definitely the most important piece of music recorded in Eastern Europe, which changed the face of Culture far beyond what most people realize. Universally accepted as a model and artistic / aesthetic climax by generations of Jazz musicians in Komeda´s native Poland and far beyond the country borders, this modern Jazz recording influenced innumerable minds and prompted endless artistic processes. The album includes just three pieces of music: the title track; "Kattorna", which was a theme in the soundtrack of a movie by the Danish director Henning CarlsenFind albums by this artist; and "Svantetic", a tune dedicated to the Swedish poet Svante ForsterFind albums by this artist, Komeda´s friend. The quintet included trumpeter Tomasz StankoFind albums by this artist, saxophonist Zbigniew NamyslowskiFind albums by this artist, German bassist Gunter LenzFind albums by this artist and Swedish drummer Rune CarlssonFind albums by this artist. Playing in every possible grouping, from solo to a full quintet, these brilliant and inspired musicians manage to achieve a whole, which is so much more than a sum of its parts. The result goes way beyond soloing, improvising, interplaying and exchanging ideas; it is a sort of group creation, which builds upon the basic structures, which are the mesmerizing Komeda´s melodies and soaring infinitely towards a musical heaven. There is everything here: melody, harmony, freedom and structure, rhythm and space, all simultaneously represented without conflicting and fighting for supremacy. Such harmonious music-making is indeed very rare and therefore priceless. One might wonder how this wonderful music happened in Poland of all places. Well the reasons for this are numerous and complex, but of course genius knows no geographical limitations and catalyzed by the fertile intellectual background of the 1960s Poland, struggling with Socialist regime and longing for Freedom, Jazz became an escape route, which in this case found its true vocation. Of course the fact that Stanko and Namyslowski were (and thank God still are) exceptionally gifted musicians helped to materialize the potential of Komeda´s music. One might as well look into Komeda´s fascination (and adoration) of the music and life of John ColtraneFind albums by this artist, who served as a beacon and a model in the composer´s path to inner enlightenment. And yet Komeda did not succumb to Coltrane´s (or indeed the entire American Free Jazz movement) ideas blindly and unconditionally, as did many of his peers. He decided to incorporate the struggle for Freedom, which was a central scheme in Coltrane´s philosophy (both musical and personal) with his deep European cultural roots and heritage, building his very personal bridge between Cultures. This is why his music works so well, regardless if it´s a concert played in a Jazz club or a movie soundtrack. It is simply transcending stylistic or circumstantial limitations, as any higher level of Art is able to do. The fact that this music was created almost fifty years ago is a sad reminder of how little progress (if any) we managed to achieve since. In face of this fact we should cherish the great achievements of our Culture and keep them close to our hearts. This is definitely one of those great achievements, so let´s treat it accordingly. Absolutely essential! Enhanced CD with CD-ROM contents!

CD 1 Remastered Essential Recommend To A Friend

KRZYSZTOF KOMEDA ~ KRZYSZTOF KOMEDA W POLSKIM RADIU VOL.07 – LITANIA POLSKIE RADIO 1939 (Barcode: 5907812249397) ~ POLAND ~ Jazz Recorded: 1967 Released: 2016 This is the seventh installment in a new series of albums launched by the Polish Radio, which presents radio recordings by the Godfather of Polish Jazz, pianist / composer / bandleader Krzysztof KomedaFind albums by this artist. Komeda is of course the most familiar name associated with Polish Jazz and his legacy is of crucial importance to Polish and European Jazz. Considering the fact that Komeda´s studio recordings are relatively scarce, the radio recordings are in fact the main source of his recorded legacy, as they include among others the Jazz Jamboree festival appearances by Komeda and his various ensembles over the years. The music presented here is part of the very last recordings made by Komeda before his death, all done in October 1967, which was a very busy time for him just before he left Poland for the US on December 17, 1967 and returned already in a comatose state following his tragic accident in October 1968. Between October 7 and October 10, 1967 the Komeda Quintet with trumpeter Tomasz StankoFind albums by this artist, saxophonist Zbigniew NamyslowskiFind albums by this artist, bassist Roman DylagFind albums by this artist and Swedish drummer Rune CarlssonFind albums by this artist recorded in Baden Baden, Germany the seminal album "Meine Susse Europaische Heimat: Dichtung Und Jazz Aus PolenFind albums with this title", which was produced by my Friend and Mentor Joachim BerendtFind albums by this artist. The album was originally planned to be recorded in May 1967, and most sources state this as the recording date, but due to Komeda´s illness the recording was in fact postponed and took place as stated above. This album created a great stir behind the Iron Curtain and presented openly Polish Jazz and Polish Poetry to the Western public for the first time. Dylag, who was living in Sweden at the time, and Carlsson arrived in Germany from Sweden invited especially for this recording and continued together with the rest of the Quintet (riding two cars) to Warsaw, where the Komeda Quartet (Quintet less Namyslowski) played a concert on October 14, 1967 during the Jazz Jamboree Festival. The concert included Komeda´s extended composition "Night Time, Day Time Requiem" dedicated to the memory of John ColtraneFind albums by this artist, composed shortly after Coltrane´s death in July 1967, which is included here. Immediately following the Jazz Jamboree appearance, most probably on October 16 or 17, 1967, the Quintet recorded a session at the Polish Radio studio, which included six tunes, including "Litania" and another version of "Night Time, Day Time Requiem", both of which are included here. The other four tunes were already included on the previous album of this series The Quartet also recorded a concert for the Polish Television, which also presents "Night Time, Day Time Requiem" and a mega rare interview with Komeda conducted by Polish Jazz critic and broadcaster Roman WaschkoFind albums by this artist. Considering the fact that Dylag and Carlsson had visas to stay in Poland for just one week, and left Poland immediately before the visas expired, it is certain that all the music recorded in Poland was recorded within that particular week. The music reflects beautifully the development of Komeda as a pianist / composer / bandleader in the last period of his activity. Coltrane´s death had an immense influence on Komeda, who was a great admirer of the American Giant and followed his path of discovery closely. The piece dedicated to Coltrane is spiritually the closest piece of Polish Jazz music to the music of Coltrane during his latest period. It is fascinating to compare the two versions of "Night Time, Day Time Requiem"; the earlier live version, played by the Quartet, is masterly performed but still not fully emotionally developed, while the emotional elements erupt on the second version, recorded just days later by the Quintet. Therefore this album is certainly one of the most important Komeda albums, catching Komeda at his absolute peak as a composer with the magnificent "Litania" and performer with the music dedicated to Coltrane. The recordings are splendidly restored and remastered and nicely packaged in an elegant digipak / slipcase, but there is no in-depth background material about Komeda and his music; however considering the plentitude of published material and several excellent books on the subject, an intelligent listener can easily bridge the knowledge gap. The only small reservation one might have is the fact that these recordings have been already released many times, more or less legally on the somewhat untamed Polish music market, which means they is already owned by the serious Polish Jazz collectors, probably more than once. Side Note: On the album´s liner notes the two versions of "Night Time, Day Time Requiem" are listed in reverse order to the order they actually appear on the CD. Also the recording date of the studio version of "Night Time, Day Time Requiem" is listed as 1968, which is not possible as stated above.

Updated: 05/04/2024Posted: 02/10/2016

CD 1 Digipak Slipcase Remastered Recommend To A Friend

KRZYSZTOF KOMEDA ~ NIGHTIME, DAYTIME REQUIEM POWER BROS 00159 ~ POLAND ~ Jazz This recordings from 1967 present the Komdeda sextet at its prime with Tomasz StankoFind albums by this artist, Michal UrbaniakFind albums by this artist and Zbigniew NamyslowskiFind albums by this artist - probably the best Polish jazz ensemble of all times. The title track is Komeda´s homage to John ColtraneFind albums by this artist after his tragic death and the rest are from the legendary recording which presented Polish jazz to the world for the first time. Enhanced CD with CD-ROM contents!

CD 1 Remastered Recommend To A Friend

KRZYSZTOF KOMEDA ~ LIVE IN BLED 1965 GAD 279 (Barcode: 5903068125096) ~ POLAND ~ Jazz Recorded: 1965 Released: 2023 The archival material presented on this album is a highly important document of the Eastern European Jazz scene, which thrived behind the Iron Curtain in the 1960s. It sheds light not only on the pioneering work of pianist / composer / bandleader Krzysztof KomedaFind albums by this artist, the Godfather of Polish Jazz, but also on the entire Jazz scene that managed to exist against all odds under the Socialist Regime, including the presence of Jazz clubs, festivals, concerts and even recordings released by the State owned record labels. The music, which is all previously unreleased, was recorded in June 1965 at the 6th edition of the International Jazz Festival in former Yugoslavia, one of the Eastern Bloc countries that boasted a booming music scene and was considered as the most liberal and Western oriented country behind the Iron Curtain. The festival, which was inaugurated in 1960, was held at the picturesque Slovenian town of Bled, and was one of the biggest such festivals, hosting both local and international Jazz musicians. Polish Jazz musicians were a permanent feature of the festival, including the Polish quartet led by pianist Andrzej KurylewiczFind albums by this artist with singer Wanda WarskaFind albums by this artist in 1962, the quintet / trio led by pianist Andrzej TrzaskowskiFind albums by this artist in 1963 and the Polish Jazz QuartetFind albums by this artist in 1964, before the concert by Komeda and his quintet in 1965. The lineup of the quintet included, alongside Komeda, trumpeter Tomasz StankoFind albums by this artist, saxophonist Janusz MuniakFind albums by this artist, bassist Roman DylagFind albums by this artist and drummer Andrzej DabrowskiFind albums by this artist and the performance consists of just two extended pieces: “Kattorna” (17:20) and “Svantetic” (21:32), both composed by Komeda and both appearing on his Polish debut album “AstigmaticFind albums with this title”, recorded some six months later and released as part of the legendary “Polish Jazz” series, an album which is often considered as the most iconic Polish Jazz recording of all time. For every Komeda follower, the comparison between this recording and the “Astigmatic” album is absolutely called for and unavoidable. The obvious differences are as follows: the three different musicians present on the studio recording: saxophonist Zbigniew NamyslowskiFind albums by this artist, bassist Gunter LentzFind albums by this artist and drummer Rune CarlssonFind albums by this artist, the much shorter versions of the compositions (7:20 and 15:50 respectively) and last but not least the spontaneity and sense of Freedom prevailing on this recording, as opposed to the tension and rigidity present on the studio recording. This, combined with the much better sound quality this recording offers, results simply in a much more striking version of “Astigmatic”, which of course is a sensational discovery, considering the fact that this music was hidden in the vaults for almost sixty years. The individual performances by the musicians are also quite different. Stanko is way fierier, Komeda soloes more extensively, and the Polish rhythm section of Dylag / Dabrowski is absolutely more inventive and interesting than the German / Swedish one, in short, again, this recording is simply a superior version of “Astigmatic”. Listeners less familiar with Komeda and his musical world, will find here a musician / composer fascinated with the revolutionary Jazz developments, which happened across the Atlantic, mostly those involving the prophetic work of John ColtraneFind albums by this artist. Komeda, perhaps like no other East European Jazz musician, managed to amalgamate the African spirituality, which obsessed Coltrane in the last feverish period of his life, with the European spirituality of lyricism and romanticism, creating a new form of expression, which although existed for a relatively brief period of time, managed to upturn and revolutionize Polish Jazz forever and overflow the borders of his country across the whole of Europe. Every new piece of recorded material by Komeda, which reveals a previously unknown window into his creativity and Art, is a true Holy Grail of European Jazz. But when it is as significant as the music presented here, it becomes an instant classic and a true treasure of Jazz history, important not only to Polish Jazz but to the entire Jazz universe, being a guiding light, which no true Jazz enthusiast can afford to miss. Side Note The above are my liner notes included on this album's artwork. I am honored when asked by the Artists to write liner notes for their albums, always hoping that my words reflect the true spirit of the music. This is also a symbol of our mutual respect and friendship developed over the years. The same is also true when Record Labels ask me to write liner notes for their releases, mostly in the case of reissues of archival albums, which is a symbol of their appreciation of my knowledge and historical perspective and my recognition of their dedication to the preservation of the history of recorded music and the effort to keep human Culture and Aesthetics alive.

Updated: 21/02/2024Posted: 21/02/2024

CD 1 Remastered Recommend To A Friend

JOACHIM KUHN ~ ALLEGRO VIVACE ACT 9750 (Barcode: 614427975027) ~ GERMANY ~ Jazz Recorded: 2003 Released: 2005 This is a solo piano album by veteran German Jazz pianist / composer Joachim KuhnFind albums by this artist, one of the great pioneers of modern European Jazz and one of my favorite musicians since decades. On the album Kuhn plays his interpretations of Classical music by Francois CouperinFind albums by this artist, Johann Sebastian BachFind albums by this artist and Wolfgang Amadeus MozartFind albums by this artist, classic Jazz music by John ColtraneFind albums by this artist and Ornette ColemanFind albums by this artist and finally his original compositions, all with the same passion and unique approach to the instrument. The music was recorded during one studio session and offers a superb sound quality. For many of Kuhn´s fans this album might come as a surprise, as it presents him in one of his calmest and most introvert moments of his career, gently stroking the keyboard, as if hesitating before making his next move, in complete contrast to the usual energetic and almost hyperactive self. As the result of this unique approach the listener is exposed to the contemplative side of Joachim Kuhn, which is a revelation. Obviously Kuhn treats the Classical pieces with a dose of liberty and perspective, which turns out to be way more interesting than a note for note treatment, which would only prove his technical ability to play Classical scores, rather than his ability to understand and feel the music, turning it into his very own on the fly. There is certain amount of frivolity and humor involved of course, which is truly a great fun. His treatment of the Jazz pieces are much closer to what Kuhn is know for, but of course his enormous sensitivity turns that music into a fountain of emotions sprinkling European Jazz aesthetics. Kuhn transforms the Jazz tunes into wonderful mini piano suites, which are superb examples of his ability to cross genres with ease and elegance. Obviously the last part of the album, where Kuhn plays his own music, is the absolute pinnacle, as nothing is better than Kuhn playing Kuhn. Limited only by his own imagination Kuhn stretches out his wings and soars to the sky lifted by his pieces. His virtuosity and improvisational powers come to full bloom here and the concentration of energy and emotion are truly electrifying. Overall this is a beautiful solo piano album, which all connoisseurs of this particular genre should try and get a copy of, and of course cherish. Although Kuhn is a very prolific artist, this is definitely one of his most intriguing recordings and as such is highly recommended.

Updated: 13/11/2016Posted: 13/11/2016

CD 1 Digipak Recommend To A Friend

JOACHIM KUHN TRIO ~ VOODOO SENSE ACT 9555 (Barcode: 614427955524) ~ GERMANY ~ Jazz-World Fusion Recorded: 2011 - 2012 Released: 2013 This is the fifth album by German pianist / composer Joachim KuhnFind albums by this artist and his trio with Moroccan vocalist and oud / Guembri Master Majid BekkasFind albums by this artist and Spanish drummer Ramon LopezFind albums by this artist, this time recorded with invited guests: legendary American saxophonist Archie SheppFind albums by this artist and World Music musicians from Morocco including percussionist Kouassi Bessan JosephFind albums by this artist. The album presents six pieces, three of which are original compositions by Kuhn, one by Joseph, one co-composed by Joseph and Kuhn and finally the "Kulu Se Mama" by Juno LewisFind albums by this artist, made immortal by John ColtraneFind albums by this artist. The music is a brilliant example of Jazz-World Fusion at its best. Kuhn´s openness to a wide range of musical influences during his long and fruitful career, which explored diverse musical genres combined with his Avant-Garde approach and the prolific recorded legacy is a glorious portrayal of the European Jazz idiom. His fascination with African / Middle Eastern music is not surprising and his affinity and ability to channel his musical ideas into that specific direction is an absolute marvel. The music is a direct and logical continuation of the stylistic platform the trio managed to create, combining European Avant-Garde Jazz with African and Middle Eastern musical tradition. The presence of Shepp, who plays on three tracks only, strengthens the Jazz element slightly as compared to the earlier recordings by the trio, but has little overall effect on the character of the music. Nevertheless his contributions are perfectly suited to the music and show him to be in full strength despite his advanced age. Of course, as all recordings by Kuhn, this is an absolute must to all serious lovers of European Jazz, Avant-Garde, Jazz-World Fusion and sublime music in all its forms, and as always is wholeheartedly recommended!

Updated: 09/09/2020Posted: 09/09/2020

CD 1 Digipak Recommend To A Friend

ROLF + JOACHIM KUHN QUARTET ~ IMPRESSIONS OF NEW YORK MPS 600753227572 (Barcode: 600753227572) ~ GERMANY ~ Free Jazz / Improvised Music Recorded: 1967 Released: 2009 This is a reissue / remaster of the legendary album by the German Kuhn Brothers, clarinetists / composer Rolf KuhnFind albums by this artist and pianist / composer Joachim KuhnFind albums by this artist. The quartet includes also American bassist Jimmy GarrisonFind albums by this artist and Italian drummer Aldo RomanoFind albums by this artist. The album presents two tracks, corresponding to the two sides of the original LP, which are in fact four parts of a suite, which gave the album its name. All the music was co-composed by the both brothers. Following the unification of the Kuhn Brothers in West Germany, with Joachim leaving the DDR and moving to West Germany, they were invited to perform at the legendary Newport Jazz Festival. Their performance was witnessed by the legendary producer Bob ThieleFind albums by this artist, who invited them to record this album on his iconic Impulse!Find albums on this label label. The album was recorded on July 27, 1967, just a few days following the death and funeral of John ColtraneFind albums by this artist, which the brothers attended, and which had a tremendous impact on the music on this album, considering the fact that Coltrane was the most revered American musician and an instigator of Free Jazz / Improvised Music, as well as the fact that Coltrane’s bassist played on it. This album was the first Impulse! release to feature German Jazz Musicians. The Kuhn Brothers recorded another album for Impulse! some forty-four years later, called “LifelineFind albums with this title”. The album is an outstanding example of early European Free Jazz / Improvised Music, of the absolutely highest standard and imagination, which took the seeds of American Free Jazz of the period and took them to another plane, way more sophisticated, Artistic and imaginative. The performances are blood-chilling and absolutely unique, in many ways probably exposing the very peak of the Jazz creativity, which to be honest never managed to climb much higher than what can be heard here. Rolf Kuhn is for me the true hero of this session, considering the fact that he was deeply rooted in American Swing and Mainstream, playing in the US for many years, and yet managed to detach himself from that tradition in such a radical way, which is way more difficult than plunging into Improvising Music straight on, like his younger brother. Obviously, the comparison of his clarinet performances herein with Coltrane’s saxophone playing is immediately a point of interest, as are the piano parts against those of Coltrane’s pianists. Rolf’s death almost two years ago (2022) was a huge personal loss for me, since we have been Friends for so many years and I truly admired his talent and wisdom. Overall, this is one of the most pivotal Jazz albums in European Jazz, despite the fact that it is only known by relatively very few Jazz listeners. I have owned a copy since day one and listened to this album countless times in the almost sixty years since it was released, and each and every time I managed to discover something new in the music. I can only hope some more listeners will discover it one day, although admittedly it is quite difficult to find a copy.

Updated: 01/10/2024Posted: 08/07/2024

CD 1 Oversampling Remastered Essential Recommend To A Friend

STEVE KUHN ~ MOSTLY COLTRANE ECM 2099 (Barcode: 602527011141) ~ USA ~ Jazz Recorded: 2008 Released: 2009 Excellent album by US pianist / composer Steve KuhnFind albums by this artist with his trio comprising of bassist David FinckFind albums by this artist and drummer Joey BaronFind albums by this artist and guest saxophonist Joe LovanoFind albums by this artist. Kuhn, who is one of the most impressive American pianists / composers on the Jazz scene since the 1960s, started to record for the ECMFind albums on this label label in 1974 and his numerous albums on the label are all truly outstanding. On this album Kuhn re-examines the John ColtraneFind albums by this artist legacy as a composer, performing nine of his compositions. The other four selections include two compositions by Kuhn and two standards, which Coltrane performed often during the early stage of his career. Although obviously a tribute to the greatest Genius of Jazz, the album can be also viewed as an attempt to personalize Coltrane´s legacy and influence, adapting it to contemporary approach, half a Century after Coltrane composed and performed this music. Regardless of how one wants to analyze this music, it works perfectly and produces an aesthetic experience of the highest degree. Superb stuff! Visitors' Comments Christopher  Brice This wonderful disc manages to bring a rich smoothness to the pieces without falling into the trap of "smooth jazz" (ie, not remotely MoR). Joey Baron adds brilliant highlights and I have made a mental not to hear more of Finck´s bass.

CD 1 Slipcase Recommend To A Friend

SLAWOMIR KULPOWICZ ~ CALMNESS AND UNISONO GAD 282 (Barcode: 5903068125195) ~ POLAND ~ Jazz Recorded: 1982 - 1985 Released: 2024 This is an archival album by Polish Jazz pianist / composer / bandleader Slawomir KulpowiczFind albums by this artist. It presents six previously unreleased solo piano pieces, recorded by the Polish Radio, two from 1982 and four from 1985, all composed by Kulpowicz. It is a most welcome addition to the four archival albums of music by Kulpowicz, released by Polish Radio in 2013, and an important tribute to his remarkable contribution to Polish Jazz. The music is, as always, wonderfully expressive and combining a myriad of influences from within the Jazz idiom and beyond, including contemporary Classical Music and World Music, which Kulpowicz was strongly associated with, especially the music of India. Kulpowicz died prematurely in 2008, leaving behind a sublime legacy of recorded music, which somehow never received the proper appreciation on the local scene, despite the fact that it was always one of the most advanced and creative music ever created by Polish Jazz Artists. Therefore, this album is especially important, both for the fact that in unearths previously unheard music by Kulpowicz, and that it offers an opportunity for new listeners to get exposed to his Genius. Kulpowicz was strongly influenced by the music of John ColtraneFind albums by this artist and his improvisations offer the listener the same kind of trance-like total submission and free-flow consciousness, but in his case the music never leaves its connection to melody. Although widely improvised, the music here could be easily considered completely cross-genre, and listeners of Classical music might enjoy it as much as Jazz buffs. The album offers a remarkable sound quality, which enhances the listening pleasure to the max. Overall, this is a truly magical album, which offers a condensed serving of brilliant improvised music, with deeply melodic message and aesthetic wealth, achieved only once in a blue moon. It is an absolute must for all true lovers of Polish Jazz and a fascinating beacon of how potent improvised music can be. As much as I love and support the remarkable work by the people behind the GADFind albums on this label Records label (Michal WilczynskiFind albums by this artist and Lukasz HernikFind albums by this artist), this is definitely one of the most important releases in their 300 albums’ strong catalogue. An absolute gem!

Updated: 29/05/2024Posted: 29/05/2024

CD 1 Recommend To A Friend

SLAWOMIR KULPOWICZ ~ PRIVATE BALET MUSIC POLSKIE RADIO 1249 (Barcode: 5907812242497) ~ POLAND ~ Jazz-Classical Fusion Recorded: 2003 Released: 2013 This is the third installment in a series of releases documenting the recorded legacy of the great Polish Jazz pianist / composer Slawomir KulpowiczFind albums by this artist, most of which is released for the first time. Kulpowicz, who died prematurely in 2008 at the age of 56, was a victim of cancer. He was a member of groups led by the top Polish Jazz players like Zbigniew NamyslowskiFind albums by this artist and Tomasz StankoFind albums by this artist and led / co-led his own ensembles like The QuartetFind albums by this artist, In-FormationFind albums by this artist and also cooperated with many other musicians over the years. He was an avid follower of John ColtraneFind albums by this artist´s music and kept in touch with Coltrane´s wife Alice ColtraneFind albums by this artist. Following his visit to India, Kulpowicz discovered Indian music and the spiritual aura of India, which became his own. The turn of the Millennium found Kulpowicz as a refined Artist, with years of experience and success already credited to his impressive list of achievements. He was moving away from the traditional Jazz milieu and getting closer to contemporary Classical forms as well as experimenting with World Music influences. This solo piano recital, recorded live, which presents fourteen of his original compositions, is a portrait of a mature performer and composer, who has a complete control over his instrument as well as the ability to create moods and paint musical vistas with an astonishing ease and elegance. Kulpowicz was interested in contemporary Classical music from an early age and although the first phase of his career concentrated on Jazz, the next one was quite different. He composed several pieces, which served as music for ballet and turned out to be a remarkable successful. The music on this album bridges these two phases, as the music clearly shows deep love and respect of the Jazz tradition, but the form is much closer to Classical style, in which these beautiful pieces could be considered as fragments of a suite (in this case an imaginary ballet suite) or other short forms like impressions, variations, etc. Regardless how this music is categorized, the level of amalgamation between Jazz and Classical music achieved here is simply exceptional. Of course solo piano music is often quite difficult and demanding. Less experienced listeners may lack the concentration and dedication required in order to truly appreciate this music in full. This kind of music usually demands repeated listening sessions in order to discover its beauty, elegance and sophistication. On the other hand such investment is usually very well rewarded, as one might expect also in this case. Therefore this music should be taken seriously and relatively gradually, but eventually it will certainly hit the right cords. Wholeheartedly recommended!

CD 1 Digipak Remastered Recommend To A Friend

SLAWOMIR KULPOWICZ ~ THREE ETUDES / PRASAD IN MANGALORE POLJAZZ / ANEX 319 (Barcode: 5907513047742) ~ POLAND ~ Jazz Recorded: 1982 Released: 2009 Following the demise of The QuartetFind albums by this artist, Polish Jazz pianist / composer Slawomir KulpowiczFind albums by this artist founded a new ensemble, which he called In-FormationFind albums by this artist. Over time several different versions of In-Formation existed, including a duo, a piano trio, quartet and even sextet. In-Formation recorded two albums and later took part in the recording of this album, which was eventually released as a Kulpowicz solo album. The album consists of three solo piano pieces recorded for the Polish Radio and three pieces recorded live by In-Formation during the Jazz Jamboree Festival with guitarist Jaroslaw SmietanaFind albums by this artist, bassist Witold SzczurekFind albums by this artist (a.k.a. Vitold RekFind albums by this artist) and percussionists Krzysztof PrzybylowiczFind albums by this artist, Jerzy BartzFind albums by this artist and Jose TorresFind albums by this artist. All the music was composed by Kulpowicz and is a direct continuation of his John ColtraneFind albums by this artist / McCoy TynerFind albums by this artist influenced style presented earlier by The Quartet. But in time the music becomes more contemplative and also more personal, as evident mostly on the solo piano pieces. In parallel the Indian and other World Music influences are trickling in steadily and can be already clearly heard herein. The In-Formation pieces are truly superb and present the group as a great vehicle for the Kulpowicz compositions. They also expose Smietana as the first rate player he always was, regardless of the setting. In retrospect this is a great document of the Polish Jazz scene in the early 1980s and an important part of the legacy Kulpowicz left behind him, which should serve as an endless source of inspiration to new generations of Polish Jazz players. Definitely worth investigating! Side Note: The PoljazzFind albums by this artist label, which originally released this album, was active for 20 years (between 1972 and 1991) and was owned by the Polish Jazz Society. Considering the fact that the music industry in the Socialist State was centralized and totally controlled, with just one State owned music company producing all the albums, the possibilities to record and release Jazz albums were extremely limited. Poljazz was conceived and founded in order to allow for many more Jazz (and other) albums to be released independently from the State owned Polskie NagraniaFind albums by this artist / MuzaFind albums by this artist and as such revolutionized the music industry at the time, being the only such enterprise in Eastern Europe. The Polish label AnexFind albums by this artist reissued many of the original Poljazz albums on CD, bringing this fabulous music back to life.

CD 1 Digipak Remastered Recommend To A Friend

SLAWOMIR KULPOWICZ / SHUJAAT KHAN ~ LIVE POLSKIE RADIO 1250 (Barcode: 5907812242503) ~ POLAND ~ Jazz-World Fusion Recorded: 2006 Released: 2013 This is the fourth installment in a series of releases documenting the recorded legacy of the great Polish Jazz pianist / composer Slawomir KulpowiczFind albums by this artist, most of which is released for the first time. Kulpowicz, who died prematurely in 2008 at the age of 56, was a victim of cancer. He was a member of groups led by the top Polish Jazz players like Zbigniew NamyslowskiFind albums by this artist and Tomasz StankoFind albums by this artist and led / co-led his own ensembles like The QuartetFind albums by this artist, In-FormationFind albums by this artist and also cooperated with many other musicians over the years. He was an avid follower of John ColtraneFind albums by this artist´s music and kept in touch with Coltrane´s wife Alice ColtraneFind albums by this artist. Following his visit to India, Kulpowicz discovered Indian music and the spiritual aura of India, which became his own. Kulpowicz visited India for the first time in 1978, when he was a member of the Zbigniew Namyslowski quartet, which played at the Jazz Yatra in Bombay. At the time he met and befriended a young sitar player Shujaat KhanFind albums by this artist, a descendant of the legendary Khan dynasty of sitar players since hundreds of years. That friendship lasted for almost thirty years as long as Kulpowicz was alive. They played together many times in Poland and abroad. In 1984 Khan visited Poland and recorded a live album with Kulpowicz for the PoljazzFind albums on this label label. The last time they played together was in 2006, when Khan visited Poland again, bringing with him the tabla player Arunangshu ChaudhuryFind albums by this artist. Kulpowicz invited the legendary Polish electric bassist Krzysztof ScieranskiFind albums by this artist and the four played together the music presented on this album, which was recorded live at Warsaw Philharmonic Hall. Considering the fact that European (including Jazz) and Indian music exist on almost completely separate planes, the amalgamation of the two is extremely difficult to achieve. Except for a very few earlier attempts, most importantly the John MayerFind albums by this artist / Joe HarriottFind albums by this artist Indo-Jazz FusionsFind albums by this artist from the late 1960s / early 1970 and the John McLaughlinFind albums by this artist´s ShaktiFind albums by this artist a decade later, which were groundbreaking and musically just right, most of the other attempts resulted in failures. The music included on this album proves again, that the power of music transcends not only cultural borders but also thousands of years of musical tradition, enabling conversations between musicians originating seemingly from worlds apart. The album comprises of just three extended pieces, two of which are about half an hour long and the third a quarter of an hour in duration. Named simply "songs", they are improvisations on melodic themes composed by Kulpowicz, performed wonderfully and in perfect harmony by all four musicians. Khan voices the melody at the onset of each piece and then the musicians take extensive solos in turn, with the full quartet returning to the melodic theme several times between the solos. Kulpowicz plays superbly and his solos are simply outstanding statements in the John Coltrane tradition, emphasizing the close relationship between Coltrane´s music and the Indian influences, which are often difficult to be discovered in his music, but come to wonderful realization when performed by Kulpowicz. There is so much passion in his playing that one suspect that his premonition as to his fate was already hunting him. Khan, who since the early meeting with Kulpowicz achieved a Masterly status in Indian music, is an obvious sitar virtuoso and his solos are also breathtaking. Chaudhury and Scieranski, although a priori destined to fulfill a less dominant role in this music, perform both splendidly and their contributions are invaluable. Scieranski especially is to be prized, as his elegant and delicate bass tones manage to keep a perfect balance with his partners and the music which usually exist without the bass foundation so typical in European music. The music is beautifully recorded and has an outstanding sound quality, especially in view of the fact that it is a live recording. Musically it is one of the finest examples I have ever come across of cross-cultural amalgam that work naturally as "God intended". An absolute must to World-Music enthusiasts and all connoisseurs of great music, regardless of genre, geography or cultural affiliation. Respect!

CD 1 Digipak Remastered Recommend To A Friend

ARIEL LANYI ~ ORIGAMI: PIANO SOLO KADIMA COLLECTIVE 12 (Barcode: 634479580017) ~ ISRAEL ~ Jazz Recorded: 2007 Released: 2007 2nd album by Israeli Jazz prodigy Ariel LanyiFind albums by this artist, 9 years old at the time this music was recorded. This time completely alone at the piano, without any guidance from his older peers, Ariel displays his exceptional talent even more forcefully then on his debut album. Out of the 10 tracks on this album, 7 are his own compositions / improvisations and just 3 are standards (by Duke EllingtonFind albums by this artist, John ColtraneFind albums by this artist and John LennonFind albums by this artist / Paul McCartneyFind albums by this artist). I really don’t know what to say here, except that this is scary stuff, when a 9 years old person displays the maturity and skills worthy of a fully grown up and accomplished musician. There are no gimmicks here, none whatsoever. Just the kid, his piano and the unbelievable music he makes. There is no way on earth (or above) that anybody listening to this music blindfolded could have guessed the age of the performer. I’m not a sappy sentimentalist, who looks for divine sources for inspiration, but there must be some kind of divine intervention here at work. The stuff Ariel can do at his current age are often never achieved by people ten times older then him who played piano their entire life. I know you don’t believe me – no problem – just listen.

CD-R 1 Recommend To A Friend

ADAM MAKOWICZ ~ LIVE EMBERS (POLISH JAZZ VOL.43) MUZA 1043 ~ POLAND ~ Jazz Recorded: 1975 Released: 2005 This is the 2nd album in the legendary Polish Jazz series by the brilliant Polish pianist / composer Adam MakowiczFind albums by this artist, his first solo piano recording (a format he loves very much as documented in future recordings) and the first solo piano album in the entire series. By the time this album was recorded, Makowicz was the top piano Player on the local scene and one of the best European Jazz pianists. In the late 1970s Makowicz left Poland and settled in USA, like several other Polish Jazz players, escaping the socialist regime. His wonderful musicality, deep lyricism and typical European way to combine the Jazz tradition with the European Classical tradition (mainly Romanticism) make him a unique voice, which is always worth listening to. On this album he performs mainly his own wonderful music, spiced by his interpretation of a couple of Scott JoplinFind albums by this artist and John ColtraneFind albums by this artist tunes. This is a brilliant album and a must for Jazz piano lovers. Highly recommended!

CD 1 Digipak Remastered Recommend To A Friend

BRANFORD MARSALIS ~ A LOVE SUPREME OKEH 888750690326 (Barcode: 888750690326) ~ USA ~ Jazz Recorded: 2003 Released: 2015 This is a live recording by the American saxophonist / composer Branford MarsalisFind albums by this artist and his quartet, which also includes pianist Joey CalderazzoFind albums by this artist, bassist Eric RevisFind albums by this artist and drummer Jeff WattsFind albums by this artist. The quartet performs the material originally recorded by the John ColtraneFind albums by this artist quartet entitled "A Love SupremeFind albums with this title", which in time achieved legendary status and is universally accepted as one of the very finest and most influential Jazz albums ever recorded. The album includes both the audio and video recording of a concert, which took place in Amsterdam in 2003, twelve years before it was released. The video also includes interviews with many musicians, including Coltrane´s wife Alice ColtraneFind albums by this artist and other bonus footage. Sometimes I am utterly speechless and the only thing to do is spread one´s arms and take a long look at the sky. Why on earth would anybody touch a sacred, universally admired piece of human Genius and mess with it is beyond me, especially a musician of the status of Branford Marsalis. What was he trying to do; to imitate, to improve, to re-think, to re-construct, to de-construct Coltrane´s music? Sadly none of the above is even remotely close to what is happening on this album, since actually nothing is happening. Four musicians play Coltrane´s music, without feeling, without passion, without respect… This album is an act of profanity as far as Coltrane´s memory is concerned, and an insult to Jazz. In the forty years of Jazz creativity that passed between the time Coltrane recorded this immortal music and the time Marsalis has his way with it were brutally dumped into the waste bin of Culture, as this album not only does not offer anything innovative about Coltrane´s music but trivializes it by pretentiously copying it. Perhaps this album is an epitome of American Jazz, which has been almost completely brain dead since Coltrane´s death and never managed to produce another Prophet of his magnitude. Many have tried, Marsalis among them, but none got even close. Some things are best left alone, and this album is a classic example of what happens when they are not. If you love, cherish and admire "A Love Supreme", please do not listen to this album!

CD+DVD 2 Recommend To A Friend

JOHN MCLAUGHLIN ~ THE HEART OF THINGS VERVE 539153 (Barcode: 731453915329) ~ UK ~ Jazz-Rock Fusion Recorded: 1997 Released: 1997 Since the late 1960’s John McLaughlinFind albums by this artist’s career enfolded like a continuous success story, moving from one musical hilltop to another: recording with Miles DavisFind albums by this artist, leading the Mahavishnu OrchestraFind albums by this artist, world music excursions with ShaktiFind albums by this artist, etc. – all remarkable achievements. Keeping a position “in the lead” for so many years is never easy, but McLaughlin manages to deliver an amazingly consistent high quality output time after time with elegance and grace. This album is no exception and presents the genius player / composer at his best again. Listening to this album raises almost immediately an attempt to compare the music and the group of musicians playing it to the Mahavishnu Orchestra. Although never formally called by that name, it is indeed a direct continuation of the work McLaughlin did with Mahavishnu about 20+ years earlier – electric Fusion. Of course this group is more mature, slightly more jazz oriented, and definitely much more relaxed and laid back, all for the good. Not that the fire and passion of the original Mahavishnu wasn’t fantastic – it definitely was, but it often ventured into moments of havoc and confusion, which are completely absent here. McLaughlin uses on this recording a set of seasoned and experienced players: saxophonist Gary ThomasFind albums by this artist (one of the most talented players of the new generation and the jazziest player in this group), keyboards player Jim BeardFind albums by this artist and drummer Dennis ChambersFind albums by this artist, both veteran fusion players and finally the youngest member – Matthew GarrisonFind albums by this artist on bass (son of the legendary bass player Jimmy GarrisonFind albums by this artist from John ColtraneFind albums by this artist’s quartet). McLaughlin composed all the music on this album, and the result should be equally appealing to both jazz and fusion fans. Highly recommended!

CD 1 Digipak Recommend To A Friend

JACEK MIELCAREK ~ ZYCIODAJNA WODA NOT ON LABEL ~ POLAND ~ Free Jazz / Improvised Music Recorded: 2022 Released: 2022 This is an album by Polish Jazz clarinetist / saxophonist / composer Jacek MielcarekFind albums by this artist, recorded in a quartet setting with guitarist Marek KadzielaFind albums by this artist, bassist Jakub MielcarekFind albums by this artist and drummer Lukasz StworzewiczFind albums by this artist. The album presents five lengthy improvised pieces, inspired by the New Testament Gospel of John, fragments of which are recited by Waldemar KotasFind albums by this artist. The music is co-credited to all four musicians. Spiritual / religious beliefs have been inspiring music as far back as the human race exists, so the fact that such inspirations occur still today is nothing out of the ordinary. Jazz music offers plenty of such inspirations as well, those reaching the absolute peak with the late period John ColtraneFind albums by this artist’s divine and deeply spiritual musical Artistry. The music on this album is Freely Improvised by four excellent Polish Jazz musicians, all with impressive recording legacy. Together they are able to communicate and produce an interesting flow of Improvised Music, engaging mutual exchanges and sound variations between more ambient and electronics soaked vistas to acoustic planes dominated by the bass clarinet. The spoken word is a double edged sword here: on one hand the texts taken from the Biblical source are obviously highly dramatic and meaningful, and excellently performed by the lector, becoming part of the entire message, but on the other hand they are in Polish, which obviously limits the audience to Polish-speaking listeners and since they are quite extensive, lasting for long minutes, they stay in the way of the listener, who tries to concentrate on the music played in the background. This is obviously an Artistic decision by the creator of this project, which is perfectly valid as it is. Overall, this is highly interesting and ambitious musical project, with a profound spiritual message, to those who are ready to listen, but even without its religious implications it offers some excellent Improvising Music by superb instrumentalists, which is obviously heartfelt, original and aesthetically sound. A call for reflection of any kind is always a welcome initiative in this chaotic, Godless world we were destined to live in. Be with God, my Friends!

Updated: 15/02/2023Posted: 15/02/2023

CD 1 Digipak Recommend To A Friend

MILOSC ~ MILOSC AGORA 9788326812972 (Barcode: 9788326812972) ~ POLAND ~ Jazz Recorded: 2008 - 2012 Released: 2012 This is the DVD version of the film "Milosc" by Polish director Filip DzierzawskiFind albums by this artist, which is a documentary about the Polish Jazz ensemble MiloscFind albums by this artist, which was the most influential group on the Polish Jazz scene in the 1990, revolutionizing the approach to Jazz in the country, establishing the Yass sub-genre and most importantly waking up the local scene from the mainstream lethargy, which was overwhelmingly dominating the scene for almost two decades that preceded the 1990s. Milosc was formally founded in April 1988, when the group which included bassist Tymon TymanskiFind albums by this artist and saxophonist Mikolaj TrzaskaFind albums by this artist changed its name to Milosc. Soon after the group was joined by clarinetist Jerzy MazzollFind albums by this artist, who left after a brief stay and then the drummer Jacek OlterFind albums by this artist and pianist Leszek MozdzerFind albums by this artist joined the group creating the core quartet of Tymanski / Trzaska / Olter / Mozdzer, which recorded the group´s debut album. A year later the quartet expanded into the full stable lineup when saxophonist Maciej SikalaFind albums by this artist joined them to create the quintet version of Milosc. After several fruitful years and a series of brilliant albums, two with legendary American trumpeter Lester BowieFind albums by this artist, the group started to disintegrate, when Mozdzer left in 1998 to pursue a solo career, Olter died tragically after a long mental illness and Trzaska left the group in 2001. A year later the group played its last gig and formally announced the end of its activity in July 2002, after fourteen years of existence. The documentary, which was filmed during a four years period (2008-2012) pays tribute to the group´s history and to the individual personalities, focusing on the meeting of the Milosc members organized in order to prepare for a concert by the legendary original lineup, less Olter of course who was replaced by drummer Kuba StaruszkiewiczFind albums by this artist. The documentary moves between the scenes captured during these rehearsals, historic footage and interviews with individual members, speaking their minds out. The director wisely avoids any external commentary, simply presenting the reality portrayed by the camera, leaving the spectator free to reach his own conclusions. Although not a typical documentary by any standard, the film presents a cohesive and intelligent document, which highlights several profound observations about people, music and culture. Milosc was all about freedom. Considering the fact that the group was established at the crucial point of modern Polish political history, when the oppressive Socialistic Regime was about to collapse and Poland was finally to achieve its new political Freedom, Milosc expressed the same feeling of upheaval, but on an artistic plane. Polish Jazz, which exploded with incredible vitality and freedom of expression in the 1960s, slowly ran out of steam as a result of economic and social hardships and by the late 1970s and 1980s it was almost completely devoid of any truly spirited, adventurous, inspired activity and completely immersed into ambitionless mainstream. The young generation of Polish Jazz musicians and fans was about to rebel against this stagnant state of affairs and Milosc was one of the first and most successful demonstrations of this rebellion. Although initially associated with Free Jazz, Milosc never actually played Free Jazz, surely not close to its American origins established by Albert AylerFind albums by this artist, Eric DolphyFind albums by this artist and John ColtraneFind albums by this artist. The group was an amalgam of many musical influences and created a unique and new approach and stylistic expression, which eventually was christened Yass. And Yass was more clear about what it didn´t want to be rather than about what it wanted to be, a rebellion against "pretty" melodic, carefully planned, well defined by harmonic conventions music. No more of that old-fashioned bullshit! Yass was "dirty", imperfect, spontaneous, unconventional and constantly changing, but it did not exclude the element of melody and standard meters. Free? Yes by all means, but definitely not Free Jazz. From the very start Milosc was an impossible combination of conflicting strong personalities and diametrically different musical approaches. Why it managed to exists for such a long time is a mystery and a miracle. But musical miracles do happen and when they do, the listeners are the ones to collect the crops. The musicians, initially euphoric, start to suffer at some point and then simply can´t take it any more. The key conflict inside Milosc was always the clash between Trzaska and Mozdzer: a rebel and visionary and a classically trained hipster. This fundamental conflict was what brought Milosc to its knees, but it wasn´t of course the only factor. Poland and its cultural environment went through a dramatic change following the fall of the Socialist Regime, and a new reality emerged; politically, socially and of course culturally. This new reality opened up new possibilities and closed the lid on many others, which existed earlier. Such dramatic environmental changes have a profound impact on people, and musicians are people after all. The 2008 meeting between the Milosc members, which is the focal theme of this film, shows how profound these changes are, so profound that although they are able to play together, they are unable to communicate as human beings. Separated by an unbreachable chasm Trzaska and Mozdzer are further apart that ever, the former representing the Polish Avant-Garde scene still being its non-formal leader in every sense and the latter representing the absolutely opposite ad-nauseam commercialism; a clash of Titans, which simply has no peaceful solutions. So is this a film about failure? About ideas and values that get outdated? Personally I don´t think so. Yes, sometimes not everything works as planned, but that does not necessarily mean a failure and in some rare occasions failures can be magnificent. I still very much believe that the same values that stood behind Milosc: freedom, pioneering search for artistic truth, personal integrity and the courage to do your own thing, are as much valid today as they have always been. Opportunism and conformism have always been and still are the root of evil. This film is a wonderful piece of musical history, which sheds some light on a much neglected period in the history of Polish Culture. Although perhaps unintended, it also spotlights some profound artistic and ethic dilemmas, leaving the resolutions to the spectators. An absolute must to all Polish Jazz connoisseurs, wherever they might by!

Updated: 12/04/2019Posted:

DVD 1 Digipak Recommend To A Friend

DOM MINASI ~ TAKIN` THE DUKE OUT CDM 1001 (Barcode: 765432100123) ~ USA ~ Jazz Recorded: 2001 Released: 2001 US guitarist / composer Dom MinasiFind albums by this artist is surely one of the most original and innovative Jazz artists active today and hearing his music is a true revelation. A veteran of the NY Jazz scene, Minasi was influenced by the Jazz Giants like John ColtraneFind albums by this artist, Miles DavisFind albums by this artist and Eric DolphyFind albums by this artist, all of which he heard performing live at NY clubs during his adolescence. Very early on Minasi realized that Free Jazz and Improvised Music were something he wanted to do and he’d stay faithful to that decision throughout his entire career. That does not mean he didn’t study the entire tradition of the Jazz genre (with an emphasis on guitarists of course) and even played “straight ahead” Jazz, which he still enjoys to do from time to time, but his true passion is the more challenging highly improvised and boundless facet of Jazz making. Minasi debut recordings as a leader were released in the mid-1970s by the legendary Blue NoteFind albums on this label label, which unfortunately by that time was already taken over by the Majors and attempted to produce mass-market music. Completely disappointed and frustrated by the treatment received from the Music Industry, Minasi decided to abstain completely from recording music, dedicating his time to live performances, teaching, writing and educating. Almost a quarter of a century later he finally made his return as a recording artists and soon after established his own recording label – CDMFind albums on this label Records – which is now his base of operations. This album is the first release on that label and a triumphant return of Minasi to public exposure, spotlighting his amazing talent as a player and improviser. Recorded live at the legendary NY Knitting Factory it features Minasi and his regular trio with the extraordinary bassist Ken FilianoFind albums by this artist and drummer Jackson KrallFind albums by this artist. As the title suggests, the material consists entirely of Minasi’s far-reaching interpretations of classic Jazz standards written by Duke EllingtonFind albums by this artist and Billy StrayhornFind albums by this artist. Hearing this music is a true revelation. Minasi does things with his guitar, which are simply unimaginable, displaying a technique and virtuosity of staggering proportions, as well as amazing improvisational ability. He can be gentle and lyrical one moment and ferocious the next, all in perfect sense and impeccable taste. Guitar lovers can hear the entire history of Jazz guitar playing in his lines, from Wes MontgomeryFind albums by this artist, Barney KesselFind albums by this artist, Larry CoryellFind albums by this artist, John McLaughlinFind albums by this artist and up to Derek BaileyFind albums by this artist. His supersonic speed is breathtaking and overwhelming, but never flashy and always in total control. Filiano is also amazing, both plucking and bowing his heart away, and Krall displays a rare sensitivity and attention, all of which turns them both into ideal partners for the ride. This is an amazing album, which ought to be heard not only by every guitar player on this planet, but also by every true Jazz lover. Considering the fact the American Jazz is now mostly a vast wasteland of meaningless mainstream doodling, a rare oasis like Minasi is especially refreshing. A gem!

CD 1 Digipak Recommend To A Friend

ROSCOE MITCHELL ~ THE COMPLETE REMASTERED RECORDINGS ON BLACK SAINT & SOUL NOTE CAM JAZZ 1036 (Barcode: 8052405141835) ~ USA ~ Free Jazz / Improvised Music Recorded: 1977 - 1995 Released: 2015 This superb Box Set collects recordings by the legendary American saxophonist / composer Roscoe MitchellFind albums by this artist released on the Black SaintFind albums on this label and Soul NoteFind albums on this label labels. It includes nine albums, two of which are duets: "Duets And SolosFind albums with this title" (*) with pianist Muhal Richard AbramsFind albums by this artist and "The Italian ConcertFind albums with this title" with pianist Borah BergmanFind albums by this artist. The album "Shadowgraph, 5 (Sextet)Find albums with this title" (*), released under the name of trombonist / composer George LewisFind albums by this artist and presenting music composed by him, features Mitchell playing on two tracks. The album "SpihumonestyFind albums with this title" (*) released under the name of keyboardist / composer Muhal Richard Abrams and presenting music composed by him, features Mitchell playing on all tracks. The remaining five albums: "3 x 4 EyeFind albums with this title", "The Sound And Space EnsemblesFind albums with this title", "The Flow Of ThingsFind albums with this title", "Live At Knitting FactoryFind albums with this title" and "This Dance Is For Steve McCallFind albums with this title" present various ensembles led by Mitchell, which include notable American improvisers of the period, including guitarist A. Spencer BarefieldFind albums by this artist, trumpeters Hugh RaginFind albums by this artist and Mike MossmanFind albums by this artist, bassist Jaribu ShahidFind albums by this artist, Malachi FavorsFind albums by this artist and William ParkerFind albums by this artist, drummers Tani TibalFind albums by this artist, Steve McCallFind albums by this artist and Vincent DavisFind albums by this artist, saxophonist Gerald OshitaFind albums by this artist, pianists Jodie ChristianFind albums by this artist and Matthew ShippFind albums by this artist and vocalist Tom BucknerFind albums by this artist. All the music (except one track) on these last five albums was composed by Mitchell. Mitchell is best known as one of the founders of the original AACMFind albums by this artist in Chicago in 1965 and then as the founder of The Art Ensemble Of ChicagoFind albums by this artist with Lester BowieFind albums by this artist, Favors, Joseph JarmanFind albums by this artist and later also Don MoyeFind albums by this artist. He was a prolific recording artist, with an impressive list of albums to his credit, both under his name and as a member of the AEOC. These recordings are all excellent examples of his work, which is a completely unique combination of Free Jazz and Improvised Music. His "wall of sound" saxophone technique is a direct continuation of the early American Avant-Garde legacy of Albert AylerFind albums by this artist, Eric DolphyFind albums by this artist and John ColtraneFind albums by this artist. The music is absolutely brilliant and fascinating and connoisseurs of Free Jazz / Improvised Music / Avant-Garde will find it obviously essential. This is definitely an important document of the American Free Jazz movement, which deserves to be preserved for posterity and which should serve as a source if inspiration to the young generation of contemporary Free Jazz artists. The albums marked with (*) were also included in other Box Sets of this series. Side Note The Italian independent record label Black SaintFind albums on this label was founded by the music critic / author / producer Giacomo PellicciottiFind albums by this artist in 1975. It was taken over by the producer Giovanni BonandriniFind albums by this artist in 1978 and a year later (1979) a sister label, called Soul NoteFind albums on this label, was established. The twin labels were run by Giovanni and later his son Flavio BonandriniFind albums by this artist, until they were sold in 2008 to the Italian KEPACH Music Group, which already owned the CAM JazzFind albums on this label label, and which also bought another Italian independent record label Dischi Della QuerciaFind albums on this label. The mission of the Black Saint / Soul Note labels was to record and document the Free Jazz / Improvised Music / Avant-Garde scene, mostly from the US but also from Europe, which continued between mid 1970s and late 1990s and produced a staggering collection of almost 550 albums recorded by world's most important Jazz innovators active at the time, providing an opportunity to American (mostly Afro-American) musicians, who would have never managed to make these recordings at home, ridden by racism, alienation and closed-mindedness. Without these two labels most of this fantastic human creativity would have been never documented. However, the Black Saint / Soul Note Box Sets produced under the CAM JazzFind albums on this label moniker are an archetypal example of how good intentions turn sour. Although these new editions often bring back to life some of the best music ever made on this planet, which in many cases has been lost in the tides of time and was unavailable on the market for ages, they suffer from an unforgivable disregard to the essence of cultural values and general sloppiness, contrary to human decency, which requires us to treat our cultural legacy with respect and loyalty. These Box Sets have no booklet which presents researched historical background and exact discographical information of the albums included, and most importantly an overview of the music and its meaning and contribution to the Jazz Art form. Although the original LP sleeves are reproduced, the information is in most cases too small to be readable at all. In short the fact that these Box Sets are meant to be inexpensive, does not mean that they have to be cheap!

Updated: 05/05/2020Posted: 25/04/2020

CD 9 Mini-Sleeve Box Set Remastered Recommend To A Friend

THELONIOUS MONK ~ THE COMPLETE BLUE NOTE RECORDINGS BLUE NOTE 724383036325 (Barcode: 724383036325) ~ USA ~ Jazz Recorded: 1947 - 1958 Released: 1994 This superb Box Set contains all the music recorded by the legendary American pianist / composer Thelonious MonkFind albums by this artist for the no less legendary Blue NoteFind albums on this label label. It includes his first sessions as a leader, recorded between 1947 and 1952, a later guest appearance with Sonny RollinsFind albums by this artist (1957) and a live recording with John ColtraneFind albums by this artist (1958). This music was released originally on 78 rpm records, 10-inch LPs, 12-inch (normal) LPs and finally on CDs. This box includes the complete remastered material presented in chronological order and adds many previously unreleased bonuses and an excellent booklet with background information. This music, although recorded at the formative years of Bebop, is distinctly "different" from the Bebop "mainline" and often quite "out there", as Monk´s idiosyncratic compositions and unique playing technique made him stand out already at the very early stages of his career. Fellow musicians would often put Monk and his music in a separate niche, most of them admiring his mind-boggling and often outlandish ideas. Monk´s complete disregard of conventions and visionary approach to music is one of Jazz greatest mysteries. Today, over six decades after this music was recorded, no other musician was able to come even close to Monk´s weird note sequences and harmonies, pauses and rhythmic hiccups, long arpeggios and single notes, in short complete individuality, as rare as bird´s milk. Some even speculate as to his alien origin in lack of a better explanation of his unparalleled genius. The music comprises mostly of Monk´s original compositions, many of which were destined to become Jazz standards and some standards, which often sound quite unusual after receiving the famous Monk treatment. Monk is accompanied by some of the most iconic Jazz figures, like drummer Art BlakeyFind albums by this artist, vibraphonist Milt JacksonFind albums by this artist, trumpeter Kenny DorhamFind albums by this artist bassist Paul ChambersFind albums by this artist and many others. This box is not only full of great music but also an excellent document of Jazz history. Piano Jazz connoisseurs should definitely include this in their "must have" list, but most avid Jazz lovers will find it fascinating and even essential. Although Monk´s later output is better known, this period is by no means less significant and in many respects, especially as far as revolutionizing Jazz composition, is perhaps even more momentous. Buy or die!

Updated: 26/01/2019Posted:

CD 4 Box Set Remastered Bonus Tracks Recommend To A Friend

THELONIOUS MONK ~ THE COMPLETE RIVERSIDE RECORDINGS RIVERSIDE 888072360020 (Barcode: 888072360020) ~ USA ~ Jazz Recorded: 1955 - 1961 Released: 2014 This magnificent Box Set compiles all the recordings by American Jazz pianist / composer / Prophet Thelonious MonkFind albums by this artist made between 1955 and 1961 for the independent American RiversideFind albums on this label Records label, co-owned and led by the legendary record producer Orrin KeepnewsFind albums by this artist, who sadly died in March 2015. The fifteen CDs included in this Box Set contain some of the most important Jazz music ever recorded, by one of the greatest and most idiosyncratic figures on the American music scene. The music is arranged chronologically and includes thirty recording sessions with music ranging from solo piano performances to ensemble pieces, starring the crème de la crème of American Jazz musicians of the 1950s, including John ColtraneFind albums by this artist, Coleman HawkinsFind albums by this artist, Sonny RollinsFind albums by this artist and many others. Although usually associated with Bebop as one of its founding figures, Monk never really played Bebop as such and the association is mostly coincidental, since he started his career when Bebop erupted. In fact Monk always played only Monk, and that was it. His absolutely unique sense of rhythm (or rather the lack of it as we know it) and his weirdly twisted melody lines were his trademark and usually just a few notes are enough to identify him as a player. Riverside was Monk´s second label after his stint with Blue Note and before moving to Columbia, and it proved to be the most creative as far as his composing career is concerned. Except for a few standards played on the early Riverside sessions, most of the music in this Box Set comprises of Monk´s originals, which are all absolutely marvelous. The importance of Monk´s contribution to Jazz is of course his complete disregard of the "norm" and the consistent approach of following his own path. His music always sounded like nothing else around him and the musicians playing with him had to forget almost everything they knew about melody, harmony and rhythm and simply follow his lead. It´s hardly surprising that he was considered "difficult" and "noncooperative" by many people around him, which was intensified by his erratic personal behavior, but of course this is a problem with many extraordinary people. Sadly in Monk´s case his mental state deteriorated relatively early and he disappeared from the active musical life by early 1970s (he died in 1982), following his last appearances during the worldwide tour with the Giants Of Jazz, which I was lucky to hear live at the time. Therefore these sessions are even more invaluable, as they represent a large portion of his relatively short overall recording career. Every note played on these CDs is absolutely priceless and I can´t imagine any serious Jazz record collection not including this music in one form or another. This Box Set is the most comprehensive and the cheapest option to have it in your possession.

Updated: 26/01/2019Posted: 29/12/2015

CD 15 Mini-Sleeve Box Set Remastered Essential Recommend To A Friend

ALPHONSE MOUZON ~ VIRTUE PROMISING MUSIC 44110 (Barcode: 602517602410) ~ USA ~ Jazz-Rock Fusion Recorded: 1976 Released: 2009 In the early 1970s the name of US drummer Alphonse MouzonFind albums by this artist was almost synonymous with Jazz-Rock Fusion as one of its most prominent drummers, rivaled only by Billy CobhamFind albums by this artist. His stints with Weather ReportFind albums by this artist and Larry CoryellFind albums by this artist´s Eleventh HouseFind albums by this artist are prime examples of his extraordinary abilities and technique. But Mouzon could play modern Jazz as well as Fusion, and he played with the best, including McCoy TynerFind albums by this artist and many other "conventional" Jazz musicians. This album is a brainchild of the legendary producer Joachim BerendtFind albums by this artist, who was a great fan of Mouzon´s playing and invited him to record for the legendary MPSFind albums on this label label twice, before recording this one with him as a leader. For the album Mouzon assembled quite an unusual quartet, incorporating one of the greatest (and often underappreciated) saxophonist Gary BartzFind albums by this artist, which seemed truly inappropriate, as Bartz was more then anything a player in the John ColtraneFind albums by this artist tradition, which was hardly "in place" in a Funk / Fusion setting. The result of course proves that all fears were completely unfounded and the quartet works like a dream. Completed by keyboardist Stu GoldbergFind albums by this artist (a frequent guest on the MPS label), whose feel for Fusion and Funk was beyond reproach, and bassist Welton GiteFind albums by this artist (a legendary bass player, who was a member of SteppenwolfFind albums by this artist! and played with a plethora of Rock, Pop and Jazz acts) the quartet performs a set of compositions composed by Mouzon, playing their ass off from start to finish, producing one of the most energetic and brilliant Fusion albums with no weak moments whatsoever. Mouzon is of course brilliant, a monster rhythmic (and polyrhythmic) driving power at all times. Both Goldberg and Bartz get plenty of solo space and the overall result is a Fusion orgy of unearthly proportions. Although this album is rarely mentioned as a Fusion "classic", it definitely deserves the status, which anybody listening to it should easily recognize. We should be grateful to Promising MusicFind albums on this label for reissuing this classic treasure! As usual, the remastering, sound quality, packaging and extensive liner notes are beyond reproach. Warmly recommended!

Updated: 16/05/2016Posted:

CD 1 Mini-Sleeve Oversampling Remastered Recommend To A Friend

NAIMA ~ NAIMA INDIES HAPPY TRAILS 772 (Barcode: 8595026677227) ~ CZECH REPUBLIC ~ Jazz Recorded: 1985 - 1986 Released: 2018 This is a reissue of the debut album by Czechoslovak Jazz quartet NaimaFind albums by this artist, which comprised of keyboardist Zdenek ZdenekFind albums by this artist, saxophonist Frantisek KopFind albums by this artist, bassist Jaromir HonzakFind albums by this artist and drummer Martin SulcFind albums by this artist. The album presents six original compositions, all composed by Zdenek except one co-composed by him and Honzak, recorded in 1985. These tracks were released as the debut LP only in 1988. This reissue adds three additional tracks, also composed by Zdenek, recorded in 1986 and produced by my great friend Antonin MatznerFind albums by this artist (now sadly departed), released originally in 1986 (before the debut album was released) as part of a Various Artists compilation. One of these tracks features violinist Martin ZbrozekFind albums by this artist. All the music is beautifully remastered and the album comes with extensive liner notes, extremely well researched and full of discographical information, sadly only in Czech language (which works fine for me, but probably less so for other enthusiasts who also might be interested). The group´s name originates of course from the title of the John ColtraneFind albums by this artist composition, suggested by Kop, who was a dedicated Coltrane follower. In the years that followed Naima released three more albums, following some lineup changes. The music is all melody based, offering mostly ballads, and quite typical of the 1980s European mainstream Jazz, with clear connections to the Jazz tradition but with an updated attitude and sound-wise often close to the European Fusion. The compositions are all well structured and prove that the second generation of the Czech Jazz scene was well versed in the Jazz idiom. The performances are also all excellent, especially those by Kop, who offers brilliant soprano and tenor saxophone soli, which drive the music forward. Zdenek plays fluent piano and synthesizer parts, technically perfect but a bit over-influenced by Chick CoreaFind albums by this artist´s style. Honzak, a great bassist, adds the pulse, and only Sulc suffers from being way too low in the mix making his contributions hardy audible. Overall this album is a great listening experience, accessible to a wide audience, which still sounds great today. For fans of European Jazz and its history, reissues of this kind are an absolute must, and the fact that this music is available on CD for the first time makes it a wonderful treasure. Brilliant stuff! My personal thanks to Jaromir KratochvilFind albums by this artist, the owner of Indies Happy TrailsFind albums on this label, for his friendship and the incredible job he is doing to keep this music alive! Side Note Since the 1950s Czechoslovakia had a highly developed Jazz scene, certainly in proportion to its population, which included many successful ensembles and even Big Bands, as well as Jazz clubs, festivals and publications, all this in spite of state censorship and political limitations. The similar situation existed since the 1960s as far as Rock (including Progressive Rock and Jazz-Rock Fusion) was concerned, resulting in many excellent, interesting and innovative ensembles. The music was relatively well documented by the three state owned record labels: SupraphonFind albums on this label (founded in 1927), PantonFind albums on this label (founded in 1968) and OpusFind albums on this label (founded in 1971 and based in Bratislava, created on the base of Slovak division of Supraphon). Following the "Velvet Revolution" in 1989, the state owned record labels were privatized, with Supraphon dominating the local market. However, Supraphon was quite reluctant as far as exploring its vast back catalogue is concerned, and this is where the small independent Indies Happy TrailsFind albums on this label Records, a reissue label dedicated to the preservation of the recorded legacy of Czechoslovak music, owned and run by the devoted enthusiast / historian Jaromir KratochvilFind albums by this artist, founded in 2007, comes in. Over the years the label released a plethora of brilliant music, reissuing long deleted LPs and extensively exploring the archives in search of bonus material. The quest of Indies Happy Trails is similar to what the GADFind albums on this label Records label, run by Michal WilczynskiFind albums by this artist, is doing for Polish music, with similar consistency and praiseworthy dedication.

Updated: 29/02/2020Posted: 29/02/2020

CD 1 Remastered Bonus Tracks Recommend To A Friend

ZBIGNIEW NAMYSLOWSKI ~ WINOBRANIE (POLISH JAZZ VOL.33) MUZA 933 ~ POLAND ~ Jazz Recorded: 1973 Released: 2004 This album by Zbigniew NamyslowskiFind albums by this artist is considered by many as a great peak in his long career. His abilities as an improviser and his skills as a composer come together in order to create a perfect modern jazz recording. The 3 brass instruments (2 saxes and trombone) and the pianoless rhythm section all work in perfect unison with amazing interplay and scary solos chasing one after another. One can find of course influences by John ColtraneFind albums by this artist and Ornette ColemanFind albums by this artist, but this is truly original in every sense. A masterpiece!

CD 1 Digipak Oversampling Remastered Recommend To A Friend

NEW JAZZ ORCHESTRA ~ LE DEJEUNER SUR L`HERBE DUSK FIRE 110 (Barcode: 5065001032981) ~ UK ~ Jazz Recorded: 1968 Released: 2014 This is the second and also the last formal album by the seminal British Jazz Orchestra called New Jazz OrchestraFind albums by this artist or NJOFind albums by this artist for short. Directed by the legendary composer / arranger / bandleader Neil ArdleyFind albums by this artist the NJO was probably the most important singular British Jazz ensemble, which shaped the way British and European Jazz developed in the late 1960s. Despite the fact that the number of people, who are familiar with this epic recording, will hardly fill up an average British pub, it is still one of the best and more importantly revolutionary Jazz albums of all times, certainly as far as British Jazz is concerned. The fact that the album, which was released on LP in 1969 and almost immediately after disappeared from the shelves, had to wait for 45 years for its debut CD reissue confirms its anonymity and obscurity. And yet for the handful of British Jazz enthusiasts it always was the magnum opus of the British Jazz resurgence, when the music emerged for the first time as a truly new Art form, related to but fully independent from the American Jazz tradition. Why "new"? The origin of the name is not entirely clear but NJO was new indeed; it included a new generation of British Jazz musicians, which arrived on the scene mostly in the 1960s and had very little in common with the older "swing" generation, which completely dominated the British scene up to that period, and which was entirely immersed in the American tradition, strengthened by the presence of American bands in Britain during the WWII period. Several Jazz Big Bands and orchestras were active on the British scene since the 1920s and well into the 1960s, some quite excellent and even extraordinary, but those limited the artistic scope to imitating the trends originating across the big pond. The list of British composers / bandleaders includes Ted HeathFind albums by this artist, Syd LawrenceFind albums by this artist, John DankworthFind albums by this artist and numerous others. By the time this album was recorded the NJO was about five years old. In 1965 it recorded its debut album called "Western Reunion London 1965Find albums with this title", which beautifully sums up the first phase of its activity, when the orchestra performed mostly new arrangements of American standards, but the overall sound of the band was already quite unique and stunning. This album was recorded by the second incarnation of the NJO, which included Jack BruceFind albums by this artist on bass (who was already a member of CreamFind albums by this artist at the time), with the regular bassist Tony ReevesFind albums by this artist taking the position of the album´s producer. The rest of the band included: trumpeters Derek WatkinsFind albums by this artist, Harry LowtherFind albums by this artist, Harry BeckettFind albums by this artist and Ian CarrFind albums by this artist, trombonists John MumfordFind albums by this artist, Michael GibbsFind albums by this artist, Derek WadsworthFind albums by this artist and Tony RussellFind albums by this artist, tuba player George SmithFind albums by this artist, saxophonists Barbara ThompsonFind albums by this artist, Dave GellyFind albums by this artist, Jim PhilipFind albums by this artist and Dick Heckstall-SmithFind albums by this artist, vibraphonist Frank RicottiFind albums by this artist and drummer Jon HisemanFind albums by this artist. The album presents eight compositions, five of which are originals composed by NJO members or other British Jazz musicians / composers of the new generation; those are Neil Ardley, Howard RileyFind albums by this artist, Mike TaylorFind albums by this artist, Michael GarrickFind albums by this artist and Michael Gibbs. Two modern American Jazz standards, one by John ColtraneFind albums by this artist and another one by Miles DavisFind albums by this artist are also present, but their arrangements are stunningly removed from the original versions known to most Jazz listeners. The remaining composition is by the French composer of Polish / Jewish origin Alexandre TansmanFind albums by this artist, whose composition receives another highly unusual treatment. The album emerges triumphantly as a masterpiece of composition, arrangement, performance and intelligent music making, all those on top of its being a first of its kind and a beacon for generations to come. Many other superb Big Band / Orchestral British Jazz recordings will follow (Michael Gibbs, Mike WestbrookFind albums by this artist and others), but as great as they were, none of them achieved the same primordial perfection, which marked the birth of British Jazz as documented herein. If anybody wanders about the album´s title (and the title of the opening track) and its humorous sleeve design, Google it up, oh ye ignoramuses, or preferably visit the Musée d´Orsay in Paris and look for the original ;) With the recent parting of Jack Bruce, whom I was honored and lucky to know in person, the reissue of this album is a small solace in his memory and in memory of a generation almost gone…

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NEW TRIO ~ SIMULTANEOUS ABSTRACTIONS TMP 003 (Barcode: 5905912558340) ~ POLAND ~ Jazz Recorded: 2009 Released: 2010 This is one of those unexpected albums, which fall on your head like a sledgehammer… The album was recorded by a Polish trio, which calls itself rather ambiguously New TrioFind albums by this artist, and consists of brothers: Mateusz SmoczynskiFind albums by this artist – violin and Jan SmoczynskiFind albums by this artist – Hammond organ and drummer Alex ZingerFind albums by this artist. I admit being a little puzzled by the "new" part of their name, but a couple of minutes into the music made everything abundantly clear; they are a new / updated version of the fabulous 1960s French trio, which included violinist Jean-Luc PontyFind albums by this artist, organist Eddy LouissFind albums by this artist and drummer Daniel HumairFind albums by this artist. That revolutionary trio, one of the great precursors of European Jazz, which combined the art of improvisation with the great European music tradition, serves as a model for New Trio, not only in its instrumental lineup, but also stylistically and sonically, as the album presents a wonderful "retro" sound, typical of the great 1960s recordings. Of course the music is all new and almost entirely original, composed mostly by the organist, with a couple of tracks being co-composed by all three members and one standard – a breathtaking redemption of John ColtraneFind albums by this artist´s "Naima". The music is absolutely brilliant, admittedly not very adventurous, but with great melody lines, well developed themes and interesting rhythmic variations. The performances are excellent as well, with all three musicians being obvious virtuosi on their respective instruments and the trio being blessed with great rapport and telepathic mind-reading between its members. Of course the sound of violin is capable of melting even the iciest of hearts, and is used here with passion but also with great taste, not "overdoing it" on the sentimental side. The Hammond, one of my most beloved instruments, is the basis of all this music and with slightly enhanced sonic capabilities proves its vitality and enormous rage of possibilities, which should be envied by any of the modern / electronic keyboard super-machines. The drums bear an enormous responsibility in this music, providing both the rhythmic backbone and the wonderful ornamentation, without being overzealous. In short, this music is just perfect the way it is, which happens unfortunately quite rarely. Of course there is also the "Polish connection" in the background, especially the Polish Jazz violin tradition, which must have had its influence here. Therefore an attentive listener will be able to catch glimpses of Michal UrbaniakFind albums by this artist and Zbigniew SeifertFind albums by this artist in this music, but only symbolically and never used overtly as plagiarisms. I urge every Jazz lover to get hold of this wonderful album pronto, especially those of you who love violin and / or the Hammond organ. This is an invigorating, intelligent and beautiful piece of music, which should be enjoyed by as many music lovers as possible. A must!

Updated: 24/05/2017Posted:

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OLES BROTHERS / ROB BROWN ~ LIVE AT SJC FENOMMEDIA 008 (Barcode: 5907604327081) ~ POLAND ~ Jazz Recorded: 2008 Released: 2009 This is a trio album by Polish Jazz heroes, brothers Marcin OlesFind albums by this artist (bass) and Bartlomiej OlesFind albums by this artist (drums) collectively known as Oles BrothersFind albums by this artist, joined by American saxophonist Rob BrownFind albums by this artist, one of the most prolific and active NY scene Free Jazz players. The album comprises of seven original compositions, the opening three being parts of a three-part suite. All the music was composed by Bartlomiej Oles except for one tune composed by Marcin Oles. The album was recorded live and is a part of the "Live Series" of releases on the Oles Brothers owned FenommediaFind albums on this label Records. The music is typical contemporary Jazz, which allows for a large degree of freedom and extended improvisation but stays within the pre-composed melodic framework. Brown dominates the album with his very busy way of playing, and the rhythm section supports him marvelously, easy changing tempi back and forth between medium to fast, like true professionals. Although the cooperation between the musicians and the individual statements are without doubt all excellent, personally I enjoy more the moments when the rhythm section plays alone rather than when the saxophone is up front. That laborious wall of sound effect, which is typical of most American Free Jazz players and which unfortunately did not evolve an inch in the last few decades, is already exhausted as far as I am concerned. I mean is anybody able to express more emotion in their music by imitating the prophets like John ColtraneFind albums by this artist or Albert AylerFind albums by this artist or Eric DolphyFind albums by this artist? Brown belongs to a large group of American improvisers, which simply is unable to rejuvenate the idea and move forward. Therefore during the moments when Brown plays sparingly and melodically, as he does on the one before last track, he is truly excellent but when he erupts into the extended, aggressive improvisations, my defense mechanism is fully deployed. All things considered this is a fine modern Jazz album, mostly due to the excellent work done by the rhythm section, which emphasizes the fact that the language of Jazz knows no geographic or political boundaries and it´s all up to people to make music together regardless of their origins. Not very innovative and sometimes a bit unnerving, but something Free Jazz fans should definitely enjoy immensely.

Updated: 02/01/2017Posted:

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OLES BROTHERS / CHRIS SPEED / SIMON NABATOV ~ WALK SONGS FENOMMEDIA 004 (Barcode: 5907604327043) ~ POLAND ~ Jazz Recorded: 2005 Released: 2006 This is a great album recorded by Polish Jazz musicians: bassist Marcin OlesFind albums by this artist and drummer Bartlomiej OlesFind albums by this artist, collectively known as Oles BrothersFind albums by this artist, with the American saxophonist Chris SpeedFind albums by this artist and Russian (living in Germany) pianist Simon NabatovFind albums by this artist. Together, as a quartet, they perform nine original compositions, seven of which were composed by Marcin Oles (who is the formal leader of this session) and two by Bartlomiej Oles. The music is firmly based in the Jazz tradition, seemingly quite "conventional" melody based modern Jazz, but upon careful listening the complexity and intrinsic Freedom become more and more apparent as the album progresses from one tune into another. Both Speed and Nabatov play some excellent solos and contribute to the general quartet sound, which is glued together by the rhythm section. The overall atmosphere is reminiscent of the work by mid-period John ColtraneFind albums by this artist quartet, which of course is the best model any Jazz musician could strive to achieve. The tunes use often the specific "walking" bass outline, which is perhaps what Marcin Oles had in mind when he devised this project. But regardless of any intensions, the resulting music is simply some of the finest European Jazz created since the turn of the 21st Century. All four of the quartet members combine their individual power of musical expressions to create a result that is greater than the sum of its ingredients, which is always a wonderful experience. This kind of music shows clearly that music can be sophisticated and complex and be accessible to a diverse group of Jazz connoisseurs. Like all the other albums by the Oles Brothers, this album emphasizes their talents as composers, in addition to their abilities as players. The ambitious decision to play and record their original music almost exclusively is one of their trademarks and as a result we can all enjoy the wonderful music they are able to weave in their minds. All we can do is raise our hats in a "thank you" gesture.

Updated: 02/01/2017Posted:

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BARTOSZ PERNAL / MICHAL SZKIL ~ JAZZ GETXO ERRABAL 065 (Barcode: 8436010304357) ~ POLAND ~ Jazz Recorded: 2013 Released: 2013 Like several other young Polish Jazz ensembles before them, the quintet co-led by trombonist Bartosz PernalFind albums by this artist and pianist Michal SzkilFind albums by this artist won the international Jazz Festival Competition at Getxo, Spain, and as a result their concert was released by a local record label, which is also their debut album. In addition to Pernal and Szkil the quintet also includes trumpeter Maurycy WojcinskiFind albums by this artist, bassist Michal KapczukFind albums by this artist and drummer Grzegorz MaslowskiFind albums by this artist. The live recording presents five tunes, three of which are original compositions by Pernal, one is a John ColtraneFind albums by this artist composition and the remaining one is a Kenny WheelerFind albums by this artist piece. As usual in such cases it is quite amazing to witness the level of musicianship and skill presented by these young musicians. Obviously well schooled and full of individual talent they create energetic and highly sophisticated modern mainstream. The original compositions are all top notch and their treatment of the standards is unusual and very sensitive. Of course the live recording reveals also minor glitches committed in the heat of the process, but those are completely insignificant in the overall view of things. The quintet has a somewhat unusual sound with the trombone / trumpet front, which adds to its attraction. As far as the individual performances are concerned, the two co-leaders present the highest level of technical skill and inventiveness. Szkil is particularly worth following as his piano magic will surely find a large following sooner or later. The trumpeter is full of bravado and imagination, but he keeps missing a note here and there, which is noticeable. The rhythm section is excellent and adds a significant layer to the overall sound and presentation. Overall here comes another group of young Polish Jazz lions, which will create the next generation of the local Jazz scene in the years to come. Considering how great they are already, the future definitely looks bright!

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SLAWOMIR PEZDA ~ TRIBUTE TO TENOR LEGENDS NOT ON LABEL (Barcode: 5903819630053) ~ POLAND ~ Jazz Recorded: 2022 Released: 2022 This is an album by Polish Jazz saxophonist / composer / bandleader Slawomir PezdaFind albums by this artist, recorded in a quartet setting with pianist Mateusz GawedaFind albums by this artist, bassist Alan WykpiszFind albums by this artist and drummer Grzegorz PalkaFind albums by this artist – a formidable team indeed. As the album’s title suggests, it is a tribute to leading tenor saxophone Jazz players, seven Americans and one Pole: Joe HendersonFind albums by this artist, Wayne ShorterFind albums by this artist, Sonny RollinsFind albums by this artist, Pharoah SandersFind albums by this artist, John ColtraneFind albums by this artist, Albert AylerFind albums by this artist, David S. WareFind albums by this artist and Janusz MuniakFind albums by this artist, presenting one track each of their compositions. This highly ambitious undertaking of interpreting the entire modern American Jazz, from Bebop to Free / Avant-Garde, focusing on one instrument, might have proved to be a perilous task, a chutzpah of an unprecedented scale. I must confess that I placed the CD into the player with slightly trembling hands and heart, as I deeply respect the four musicians involved and would have hated to hear them ridiculing themselves. To my sheer amazement, this bold attempt not only works splendidly, but offers some of the best Jazz music I have come across in a long time. Obviously, the compositions by the eight Jazz Giants are a good starting point, but trying to impersonate the highly idiosyncratic expressionism of all eight performers, which in all cases continuously changed over time, is a momentous task. I must say that Pezda and his cohorts managed to capture the spirit not only of the compositions, but also of the eight Saxophone Colossi. The more experienced the listeners to this album are, the more they will be able to appreciate the depth of the perception Pezda and the quartet managed to achieve. But most importantly, this album manages to exemplify the process of Europeanization of this music, which is truly astounding. Whereas the American, original form of this music is full of fire and natural, raw, wild power of expression, the music on this album is transformed into elegant, precise, coherent and harmonic beauty, losing absolutely nothing of its strength of expression, depth or penetration. Of course this is not the first time such transformation of American music in the hands of European musicians happens, but this album is a perfect school example of the process, which should be taught in every Jazz institution. Of course it goes without saying that all these musicians are absolute wizards and already in this relatively early stage of their careers, offer a magnificent control of their relative instruments and superb level of knowledge and creativity. Overall, this is absolutely brilliant album from start to finish, a wonderful lesson in Jazz history and the fundamental differences between American and European Jazz idioms. Of course, as already stated above, the level of understanding of this music might relate to the level of knowledge of Jazz history and the musical worlds of the eight heroes, who are being paid a tribute herein. In any case, this extraordinary piece of music deserved an honorable place on the pedestal of the best Polish Jazz albums ever recorded. Respect!

Updated: 05/03/2023Posted: 05/03/2023

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KRZYSZTOF PUMA PIASECKI ~ JAZZ ROCK STANDARDS SOLITON 1458 (Barcode: 5903684234585) ~ POLAND ~ Jazz-Rock Fusion Recorded: 2025 Released: 2025 This is an album by Polish Jazz / Rock guitarist / composer Krzysztof Puma PiaseckiFind albums by this artist, recorded in quartet setting with keyboardist Zdzislaw KalinowskiFind albums by this artist, bass guitarist Stan MichalakFind albums by this artist and drummer Jacek PelcFind albums by this artist. Seven guest artist are featured on selected tracks. The album presents twelve tracks, all classic Pop / Rock / Jazz evergreens, which span the entire music rainbow of the 1960s / 1970s, when people like yours truly and Piasecki were young and naïve and music was the absolute center of our universe, completely irrelevant of genre or style, as long as it was true and heartfelt. Who cares if it was The BeatlesFind albums by this artist, The Rolling StonesFind albums by this artist, Jimi HendrixFind albums by this artist, Deep PurpleFind albums by this artist, Herbie HancockFind albums by this artist, Miles DavisFind albums by this artist or John ColtraneFind albums by this artist. One has to admire Piasecki’s ability to apply an original treatment to these classics, which is even more important than his obvious virtuosity. He takes many liberties, which makes the listening to this album a constant quest as to “what else is he going to come up with”, in short an absolute heaven on earth for guitar lovers of all ages and preferences. The sound and vibe tend to be more Rock than Jazz oriented but who cares, when your tushie can’t rest even for a moment. The rhythm section does a splendid job supporting the guitar front, elegantly switching tempi and styles, and the guests, including fellow guitar heroes Marek RaduliFind albums by this artist, Grzegorz SkawinskiFind albums by this artist and Pawel AmbroziakFind albums by this artist, ornament the proceeding with their splendid contributions. The rhythm section carries the music firmly and steadily, which is not a surprise considering the presence of Pelc. Overall, his is a brilliant piece of entertainment and a wonderful homage to the music of our youth. Although accessible to a wide audience, the music is clever, perfectly executed and even manages to be innovative, despite the fact that it was tackled by so many musicians earlier on. There is not an iota of kitsch or cheapness herein, which plagues most of similar projects, and that deserves an honorable “hats off” to you, my Friend and everybody on board – well done indeed!

Updated: 22/05/2025Posted: 22/05/2025

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PINK FREUD ~ PLAYS AUTECHRE MYSTIC (PL) 294 (Barcode: 5903427879066) ~ POLAND ~ Electronic & Ambient Recorded: 2015 Released: 2016 Four years after their previous album Polish group Pink FreudFind albums by this artist, led by bassist Wojtek MazolewskiFind albums by this artist, hits the market with their ninth album, dedicated, as the title suggests, to the music of the British electronic music duo AutechreFind albums by this artist. Although the album´s booklet gives absolutely no information about the recording or even the band´s current lineup, which of course is sloppy, arrogant and plain stupid, a short research on the web will tell us that this is a live recording and the remaining members of the group are trumpeter Adam Milwiw-BaronFind albums by this artist, saxophonist Karol GolaFind albums by this artist and drummer Rafal KlimczukFind albums by this artist. They perform eight pieces composed by Autechre. What the booklet does include is a lengthy rant by Mazolewski, who tells the listeners how this album is a realization of a dream, which he has been planning since many years and why he thinks Autechre are the next best thing to silence. Personally I find the music of Autechre terribly boring and comparing them to John ColtraneFind albums by this artist or Johann Sebastian BachFind albums by this artist is a cultural sacrilege Following the good advice of "don´t judge the book by the cover" I was ready to disregard the shortcomings of the album´s booklet, giving the music a fair chance, but alas to no avail. The music is simply going nowhere, repeating the simplistic, mechanical rhythmic patterns ad nauseam and saying very little. Milwiw-Baron is of course a very talented player and I have always enjoyed his performances, but he is by far not able to save this album by himself. Contrary to the hopes that we all developed about Pink Freud returning to playing Jazz, this album takes us again off the target. This repetitive and dull music lacks everything that Jazz stands for: originality, aesthetics and innovation. Better luck next time.

Updated: 13/05/2016Posted: 13/05/2016

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JEAN-LUC PONTY ~ SUNDAY WALK MPS 4029759171379 (Barcode: 4029759171379) ~ FRANCE ~ Jazz Recorded: 1967 Released: 2021 This is a reissue / remaster on an early album by French violinist / composer Jean-Luc PontyFind albums by this artist, recorded in a quartet setting with a European quartet, which also included German pianist Wolfgang DaunerFind albums by this artist, Danish bassist Niels-Henning Orsted PedersenFind albums by this artist and Swiss drummer Daniel HumairFind albums by this artist. The album presents five tracks, one each by Ponty, Dauner and Humair, one by American composer Denny Zeitlin and one standard. The recording was initiated by my Friend and Mentor, the producer Joachim BerendtFind albums by this artist, who wrote the liner notes for the original album, which are respectfully included in this album’s artwork. At this early stage of his career, Ponty was already recognized as a great talent and continuator of the French violin Jazz school, following in the footsteps of Stephane GrappelliFind albums by this artist. But Ponty was not a mere keeper of the tradition, as his improvisation was close to John ColtraneFind albums by this artist and his musical path was about to include stints with Frank ZappaFind albums by this artist, John McLaughlinFind albums by this artist and other pioneers of Jazz-Rock Fusion, who established the genre. The three partners Ponty selected to accompany him on this album were also, despite their young age, already amongst Europe’s most seasoned and talented young musicians. The immediate perfect rapport between the quartet members is evident from the very onset of the music and lasts unbroken till the very last note. The original material is certainly as good, and in fact better than any standard the quartet might have picked to perform together, and the talents of all three composers was about to flourish for years to come. Although Orsted Pederson died in 2005 and Dauner in 2020, Ponty and Humair continue their brilliant careers now, fifty-five years after this classic gem was recorded. Overall, this is one of the greatest gems of early European modern Jazz and a classic album in every respect, which has but a few equals over time. The fact that it is finally available on CD should make countless fans of violin Jazz ecstatically happy. This is an absolute must in every serious Jazz record collection. Side Note The legendary German MPSFind albums on this label (Musik Produktion Schwarzwald) label, founded by Hans Georg Brunner-SchwerFind albums by this artist (HGBS) in 1963, first as SABAFind albums on this label Records and later on from 1968 as MPS Records, was the most important independent European record label, which had an enormous contribution to the development of European Jazz. For many years MPS cooperated with the legendary German producer / author Joachim BerendtFind albums by this artist, my Friend and Mentor, whose visionary approach and open-mindedness brought the crème de la crème of the Jazz (in the broadest meaning of the word) musicians from all over the world to the label. Between 1963 and 1983 MPS produced about five hundred albums, many of which are among the most important Jazz recordings on this planet. In 1983 the MPS catalog was sold to UniversalFind albums on this label, which sadly resulted in all those artistic treasures to almost disappear from the face of the earth – a situation not only tragic but culturally criminal. Universal reissued a part of the MPS albums (probably 128 titles) on CD between 1999 and 2011 under the "Most Perfect Sound Edition" moniker. Since 2008 the German Promising MusicFind albums on this label label released some of the MPS recordings, but at a very slow pace. In 2014 the German company Edel AG bought the MPS catalogue from Universal and released a series of 25 MPS albums on CD with a new slipcase graphic design, which brought all those excellent albums back to life. In 2015 Edel AG started to record and release new albums under the MPS moniker. In 2016 Edel AG released a series of 10 classic MPS albums on CD, which were beautifully remastered and re-packaged, presenting the original artwork and liner notes, as well as new liner notes and photographs. An obvious labor of love, these reissues are what the MPS catalogue truly deserves. This project was continued in 2017 with another series of 10 classic MPS albums released on CD. In later years some new reissues were released sporadically. Over the years many SABA / MPS albums were reissued in Japan, which is often the only available source for these albums today, but that is a story in itself.

Updated: 25/03/2024Posted: 05/04/2022

CD 1 Digipak Remastered Essential Recommend To A Friend

QUARTET ~ THE QUARTET POLJAZZ / ANEX 302 (Barcode: 5907513047575) ~ POLAND ~ Jazz Recorded: 1978 Released: 2009 The QuartetFind albums by this artist was formed by the rhythm section of Zbigniew NamyslowskiFind albums by this artist´s so called "third quartet", i.e. pianist Slawomir KulpowiczFind albums by this artist, bassist Pawel JarzebskiFind albums by this artist and drummer Janusz StefanskiFind albums by this artist, with the addition of saxophonist Tomasz SzukalskiFind albums by this artist, one of Poland´s all-time greatest Jazz musicians and a spectacular player of rare quality. Although Szukalski naturally dominated the sound of the ensemble, it was Kulpowicz who was the spiritual leader and the sole composer of all the original material they performed. Spiritually the music was soaked in the John ColtraneFind albums by this artist legacy, with Szukalski playing lengthy "wall of sound" solos, supported passionately by the rhythm section, with Kulpowicz vamping a la McCoy TynerFind albums by this artist, Jarzebski delivering virtuosic bass parts and Stefanski raising all hell behind it all, which engulfed the overall effect with incredible power and overwhelming strength of expression, similar in character to the Coltrane late period recordings. In spite of the fact that The Quartet was undoubtedly the most important Polish Jazz ensemble in the late 1970s, their recorded legacy is truly pitiful and includes this live album recorded in 1978 and their sole studio album, recorded in Finland in 1979 and released by the tiny independent Finnish label LeoFind albums on this label Records (which released also two albums by Tomasz StankoFind albums by this artist from the same period). Therefore the double CD full of superb archival radio and concert recordings by this ensemble, also entitled simply "The QuartetFind albums with this title", released in 2013 by Polskie RadioFind albums on this label is an absolute marvel and a must have for every Polish / European Jazz connoisseur. Following the ensemble´s breakdown in mid-1980, the Polish Jazz scene will never again experience this kind of music, so close in spirit, sound and emotion to the epicenter of Modern Jazz created by Coltrane. The Quartet´s brief three and a half years period was the closest ever moment in which Polish Jazz would become very close to American Jazz of a decade earlier, both in spirit and in practice. The Quartet somehow managed to put aside the omnipresent Polish melancholy and lyricism, which dictates most of the unique music created under the Polish Jazz banner. Usually, when Polish Jazz musicians try to imitate their idols from across the pond, they fail rather miserably, with The Quartet being the only exception, which proves the rule. Young Polish Jazz musicians should study this music note by note – this is universally sublime document of human expression, freedom and power of creation, which happens rarely. Inspired by Coltrane´s music, this creation sparks a life of its own, which stands shoulder to shoulder with the original, without any inferiority complexes whatsoever. It is not a copy of the source; it is a thankful gratitude for the inspiration itself. Side Note: The PoljazzFind albums on this label label, which originally released this album, was active for 20 years (between 1972 and 1991) and was owned by the Polish Jazz Society. Considering the fact that the music industry in the Socialist State was centralized and totally controlled, with just one State owned music company producing all the albums, the possibilities to record and release Jazz albums were extremely limited. Poljazz was conceived and founded in order to allow for many more Jazz (and other) albums to be released independently from the State owned Polskie NagraniaFind albums on this label / MuzaFind albums on this label and as such revolutionized the music industry at the time, being the only such enterprise in Eastern Europe. The Polish label AnexFind albums on this label reissued many of the original Poljazz albums on CD, bringing this fabulous music back to life.

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QUARTET ~ THE QUARTET POLSKIE RADIO 1246-1247 (Barcode: 5907812242466) ~ POLAND ~ Jazz Recorded: 1977 - 1979 Released: 2013 This is the first installment in a series of releases documenting the recorded legacy of the great Polish Jazz pianist / composer Slawomir KulpowiczFind albums by this artist, most of which is released for the first time. Kulpowicz, who died prematurely in 2008 at the age of 56, was a victim of cancer. He was a member of groups led by the top Polish Jazz players like Zbigniew NamyslowskiFind albums by this artist and Tomasz StankoFind albums by this artist and led / co-led his own ensembles like The QuartetFind albums by this artist, In-FormationFind albums by this artist and also cooperated with many other musicians over the years. He was an avid follower of John ColtraneFind albums by this artist´s music and kept in touch with Coltrane´s wife Alice ColtraneFind albums by this artist. Following his visit to India, Kulpowicz discovered Indian music and the spiritual aura of India, which became his own. The Quartet was formed by the rhythm section of Zbigniew Namyslowski´s so called "third quartet", i.e. pianist Slawomir Kulpowicz, bassist Pawel JarzebskiFind albums by this artist and drummer Janusz StefanskiFind albums by this artist, with the addition of saxophonist Tomasz SzukalskiFind albums by this artist, one of Poland´s all-time greatest Jazz musicians and a spectacular player of rare quality. Although Szukalski naturally dominated the sound of the ensemble, it was Kulpowicz who was the spiritual leader and the sole composer of all the original material they performed. Spiritually the music was soaked in the John Coltrane legacy, with Szukalski playing lengthy "wall of sound" solos, supported passionately by the rhythm section, with Kulpowicz vamping a la McCoy TynerFind albums by this artist, Jarzebski delivering virtuosic bass parts and Stefanski raising all hell behind it all, which engulfed the overall effect with incredible power and overwhelming strength of expression, similar in character to the Coltrane late period recordings. In spite of the fact that The Quartet was undoubtedly the most important Polish Jazz ensemble in the late 1970s, their recorded legacy is truly pitiful and includes one live album recorded in 1978 and released by the PoljazzFind albums on this label label (reissued by the AnexFind albums on this label label) and their sole studio album, recorded in Finland in 1979 and released by the tiny independent Finnish label LeoFind albums on this label Records (which released also two albums by Tomasz Stanko from the same period). Therefore this double CD full of superb radio and concert recordings by The Quartet is an absolute marvel and a must have for every Polish / European Jazz connoisseur. Following the ensemble´s breakdown in mid-1980, the Polish Jazz scene will never again experience this kind of music, so close in spirit, sound and emotion to the epicenter of Modern Jazz created by Coltrane. The Quartet´s brief three and a half years period was the closest ever moment in which Polish Jazz would become very close to American Jazz of a decade earlier, both in spirit and in practice. The Quartet somehow managed to put aside the omnipresent Polish melancholy and lyricism, which dictates most of the unique music created under the Polish Jazz banner. Usually, when Polish Jazz musicians try to imitate their idols from across the pond, they fail rather miserably, with The Quartet being the only exception, which proves the rule. Young Polish Jazz musicians should study this music note by note – this is universally sublime document of human expression, freedom and power of creation, which happens rarely. Inspired by Coltrane´s music, this creation sparks a life of its own, which stands shoulder to shoulder with the original, without any inferiority complexes whatsoever. It is not a copy of the source; it is a thankful gratitude for the inspiration itself. Bringing this music out of the vaults is commendable, although keeping it in the vaults for so long was simply criminal. Such treasures of the Polish Cultural heritage should be exposed in all their glory. Hopefully the people in charge of the Polish Radio archives realize that.

CD 2 Digipak Remastered Recommend To A Friend

REUTER / MOTZER / GROHOWSKI ~ SHAPESHIFTERS MOONJUNE 103 (Barcode: 692287910327) ~ GERMANY ~ Avant-Garde Jazz-Rock Fusion Recorded: 2019 Released: 2020 This is an album by a trio comprising of German touch guitarist Markus ReuterFind albums by this artist and American guitarist Tim MotzerFind albums by this artist and drummer Kenny GrohowskiFind albums by this artist. The album presents four "instant compositions" recorded live and credited to all three members of the trio. The music is exactly what one might expect from three free spirited musicians, who engage into a conversation, which has no pre-conceived subject matter, other than the collected musical experience each of these musicians brings with him into the melting pot. The four instantly created pieces of music are a snapshot of the event, which enable the listener to probe the musical universe created at the spur of the moment and make from it whatever his mind is capable to encompass. Considering the fact that these musicians have a "past" connected to what for lack of a better definition can be labeled as Rock, the resulting music is a form of Free Rock, quite similar in concept to the modus operandi of Free Jazz, at the time it was first encountered in the 1960s. The existence of contemporary technology, electronics and the entire paraphernalia at hand expands of course the possibilities that were available to John ColtraneFind albums by this artist while playing his saxophone, or Jimi HendrixFind albums by this artist playing his guitar for that matter, but the process of "letting go" of the methodical "playing" and shifting the process of creating sound into the spiritual / metaphysical plane is in fact similar. This music is first and foremost associative, or more exactly extrovertly associative, since all brain activity is a priori associative, and so is the process of listening to this music. Nobody can be teleported back within the space-time continuum back into the venue where this music was recorded in order to experience the music at first hand, so the only option left is let one´s brain to react to whatever enters via the ears and create one´s own "music", which is what happens anyway while listening to music, but this time without the availability of familiar patterns we already associated with music earlier on. This music is obviously not for a wide audience. Playing and recording this kind of sonic creations has serious intrinsic limitations as far as communication with audiences is concerned. Sometimes this kind of music can work live but only very rarely it is able to be "frozen" in recorded form and preserve its ability to communicate while reproduced at the listener´s home. There is no way to measure the rate of success of such endeavors, but it certainly is limited. Therefore I can only state that this particular shapeshifting attempt works splendidly in my case, but how other will react I have no clue. Kudos to the shapeshifters for the courage and open-mindedness!

Updated: 28/09/2020Posted: 28/09/2020

CD 1 Mini-Sleeve Recommend To A Friend

HOWARD RILEY ~ FLIGHT FMR 026 (Barcode: 786497181124) ~ UK ~ Jazz Recorded: 1971 Released: 1995 British pianist / composer Howard RileyFind albums by this artist has been a pivotal figure of the modern British Jazz and later Improvised Music since the late 1960s. Completely unorthodox and original, his approach to music making is a complete innovative universe, in which he and some of his close collaborators created the next plane in the history of Jazz in particular and music in general. Although the European Avant-Garde exploded a few years later then the first wave of US Free Jazz pioneers like Ornette ColemanFind albums by this artist, Albert AylerFind albums by this artist, Eric DolphyFind albums by this artist and John ColtraneFind albums by this artist, it developed in a new direction rather than copying or following the path initiated by the US giants. As radical as the US Free Jazz might have appeared at the time, it was after all deeply rooted in the Jazz tradition and in many respects developed as an extension of Bebop. The Europeans, most of them in their twenties when they initiated the European Free Improvisation school, had little, if any, experience playing Bebop and the new direction was developed spontaneously rather than consciously (or sub consciously). The social upheaval and general anti-establishment wave that swept Europe in the late 1960s might have served as a psychological background for these musical developments, as the quest for freedom of expression and rebellion against established musical forms was the central motif of the European Free Improvisation movement. Young European musicians in Britain, Germany, France, Netherlands and even behind the Iron Curtain (Poland, East Germany) decided to take a bold step towards exploration of a new musical universe, unbound by any preconceptions and limitations - harmonic, rhythmic or otherwise. The movement started in the late 1960s but only truly crystallized by the early 1970s, and this album is certainly one of the first focal point of European Free Improvisation. It was Riley’s fourth solo album following his daring debut DiscussionsFind albums with this title from 1967 and two trio albums recorded for CBSFind albums on this label (AngleFind albums with this title & The Day Will ComeFind albums with this title). Exceptionally gifted bassist Barry GuyFind albums by this artist, who was a member of Riley’s trio from the very beginning, took part in all the recordings, and would be his partner for many years to come. However, the decisive factor and the catalyst, which turned this recording into a momentous leap forward was the participation of one of Europe’s most inventive and original drummers – Tony OxleyFind albums by this artist. The resulting trio – Riley / Guy / Oxley – turned out to be an unstoppable musical hurricane of exploration and spontaneous invention beyond anything previously encountered. The album starts with a furious barrage of a 20 minutes long collective improvisation, which moves between trio, duo and solo performances of immense intensity and complexity. Some incredible sounds are extracted from the respective instruments, creating an incredible collage of sonic expressions. In complete contrast, the second part of the album is a complete anti-climax, with the trio performing some contemplative music, quiet and delicate and at times almost lyrical, as on the two ballads. Make no mistakes here – this is not a return to mainstream Jazz. These quiet pieces are as free and improvised as they come, but the fury of expression is subdued here and replaced by the balance between sound and silence, interplay and caressing the instruments. Overall this is a monster album, revolutionary, innovative and groundbreaking. Released originally on the legendary TurtleFind albums on this label label, this reissue finally brings this musical treasure back to life, for all the people who never had the opportunity to hear it at the time. Although Riley would prove to be very prolific and record many exceptional albums in the future, this one is especially dear to my heart, as it opened windows nobody previously knew existed. A musical Magnum Opus, beyond essential!

Updated: 12/04/2019Posted:

CD 1 Remastered Essential Recommend To A Friend

SONNY ROLLINS ~ COMPLETE LIVE AT THE VILLAGE GATE 1962 FINGERPOPPIN` 117022 (Barcode: 8436563184284) ~ USA ~ Jazz Recorded: 1962 Released: 2022 This is an archival Box Set, which presents the complete recordings made during the four-days residence of the Sonny RollinsFind albums by this artist quartet at the NY Village Gate club in July 27-30, 1962. The pianoless quartet included also trumpeter Don CherryFind albums by this artist, bassist Bob CranshawFind albums by this artist and drummer Billy HigginsFind albums by this artist. The 6CD Box Set presents twenty-one tracks (totaling in over six hours), only three of which were previously released (one in edited / shortened version) on the “Our Man In Jazz” album originally released in December 1962. Most of the music was composed by Rollins or co-composed by Rollins and Cherry, but a few standards are also present. The sound quality of the live recording is brilliant. The excellent twenty-page booklet explains in detail the background of the music in the Box Set. The music was recorded following a self-imposed three-year long music exile by Rollins, which he dedicated to crystalizing his musical identity and perfecting his technique. It was also the first ever meeting between Rollins and Cherry. It offers a radical change in his Jazz aesthetics, leaving Bebop behind and moving towards Free Form highly improvised and extensive compositions. Three of the tracks in this Box Set are over 30 minutes in duration and six are between twenty and thirty minutes in duration. All this an obvious and immediate of the exploding Free Jazz revolution spearheaded by Albert AylerFind albums by this artist, John ColtraneFind albums by this artist and Ornette ColemanFind albums by this artist, which flourished at the time. In retrospect this Box Set definitely documents some of Rollins´ most Free Form oriented playing in his entire career. The quartet is an absolute jewel of Jazz collaboration, with Cherry at his best, completely different from all trumpet players around him and the brilliant rhythm section playing along splendidly when the music shifts the gear from steady rhythmic patterns to Free exploration, doing so with ease and elegance. Rollins’ performances perfectly support his “Saxophone Colossus” status, even when his playing explores new musical spheres. Overall, this is a sublime document of the era as much as the career of one of the greatest American Jazz personalities, presenting a little known aspect of his flirt with Free Form Jazz at the early 1960s. The fact that these recordings remained dormant for so long a travesty, as they an immensely important document of the last days of the primacy of American Jazz.

Updated: 04/04/2025Posted: 04/04/2025

CD 6 Mini-Sleeve Box Set Remastered Essential Recommend To A Friend

SONNY ROLLINS ~ ROLLINS IN HOLLAND RESONANCE 2048 (Barcode: 712758040589) ~ USA ~ Jazz Recorded: 1967 Released: 2020 This is an archival album by American Jazz saxophonist Sonny RollinsFind albums by this artist, recorded during Rollins’ tour in Holland in May 1967. The music was recorded in an intimate trio setting, with a young (then) Dutch rhythm section consisting of bassist Ruud JacobsFind albums by this artist and drummer Han BenninkFind albums by this artist. The 2CD album includes a studio recording for the Dutch radio (four tracks) and live club performances (six tracks), three of which last close to twenty minutes each. The album offers splendid sound quality and a massive 100-pages booklet full of interviews, essays and wonderful photographs, as is usual the case with the ResonanceFind albums on this label label releases. There is a big difference between the studio recording, which is kept more or less within the Bebop mainstream, and shows Rollins’ more delicate / melodic facet, and the live recordings, which allow him and the trio to venture into extended, explosive and adventurous improvisations, which are often close to Free Jazz. Although Rollins’ attitude towards Free Jazz was always quite different from that of John ColtraneFind albums by this artist, Ornette ColemanFind albums by this artist or Eric DolphyFind albums by this artist, since he never left melody, harmony and rhythm out of the music, which of course does not mean that his explorations of Freedom were less interesting of inferior in any aspect to the Avant-Gardists. There is no doubt that the presence of Bennink both pushed and allowed Rollins to go further outside of the Bebop norms, than he would with American musicians. Bennink at the time of the recording was already deeply involved with the Dutch / European Avant-Garde Jazz scene. Holland was definitely one of the important epicenters of the European Avant-Garde, and Bennink played with all its legendary activists, like pianist Misha MengelbergFind albums by this artist and saxophonist Willem BreukerFind albums by this artist among others. He and Mengelberg took part in recording the legendary Eric Dolphy “Last DateFind albums with this title” album, recorded in Holland in 1964. Bennink’s playing on this album is in every respect as revolutionary and fascinating, as are Rollins’ performances. Overall, this is another wonderful time capsule, which allows the listener to travel back in time to 1967, the year Coltrane died and the epoch of American Jazz domination closed forever, Rock was exploding with unprecedented fertility and Jazz was at a crossroads and about to emigrate across the pond. Rollins, the Saxophone Colossus, one the last great symbols of American Jazz still alive at the time of writing, remains to tell the story.

Updated: 23/05/2025Posted: 23/05/2025

CD 2 Digipak Remastered Recommend To A Friend

GEORGE RUSSELL ~ SEVEN CLASSIC ALBUMS REAL GONE JAZZ 353 (Barcode: 5036408140425) ~ USA ~ Jazz Recorded: 1959 - 1962 Released: 2012 This is a reissue of the early recordings by the legendary American pianist / composer / arranger / music theorist George RussellFind albums by this artist This set collects recordings made between 1959 and 1962, which present Russell playing with small orchestral ensembles and small combos, introducing elements of his Lydian Chromatic Concept and later Modal Jazz. The six albums included here are: "New York, N.Y.Find albums with this title" from 1959, "Jazz In The Space AgeFind albums with this title" from 1960, "StratusphunkFind albums with this title" from 1960, "George Russell Sextet In K.C.Find albums with this title" from 1961, "Ezz-TheticsFind albums with this title" from 1961, "The Stratus SeekersFind albums with this title" from 1962 and "The Outer ViewFind albums with this title" from 1962. The musicians participating in these recordings include some of the most important American Jazz players at the time, like saxophonists John ColtraneFind albums by this artist and Eric DolphyFind albums by this artist, pianists like Bill EvansFind albums by this artist and Paul BleyFind albums by this artist, bassists Chuck IsraelsFind albums by this artist and Steve SwallowFind albums by this artist and drummers Joe HuntFind albums by this artist and Pete La RocaFind albums by this artist, to mention just a few. Overall this is a fascinating collection of great Jazz music performed by some of the best players at the time, and which has additionally also an enormous historical value. I can’t imagine any true Jazz fan missing this set! Side Note The Real Gone JazzFind albums on this label label releases hundreds of album collections, which include usually between three to eight original albums in a two to four CDs sets. Most of these albums were recorded and released in the 1950s and early 1960s. These collections provide the track lists and lineups of the original albums, but no recording information, liner notes and any background information whatsoever. The label takes advantage of the copyright law in UK, which limited the length of the copyright protection of recorded works to 50 years, after which recorded works become public domain. In 2013 UK implemented a correction of the copyright law extending the protection of recorded works to 70 years (like the rest of Europe), but the correction does not apply retroactively, which means that recordings which entered the 50 years rule prior to January 1, 2013 (i.e. recorded before January 1, 1963) remain public domain. There are two great advantages to these releases: they are really inexpensive and they bring back to life many albums not reissued previously on CD, which means it would cost a collector an arm and a leg to get a copy of them. Many of these albums are absolute gems and essential pieces of Jazz history. The disadvantages are: the lack of proper information, original cover art, combining tracks of several original albums on one CD and the sound quality, which depends on where the label gets the source material. From my experience most of the releases have quite excellent sound quality but I have not listened to all of them and some people have complained about it.

Updated: 27/05/2018Posted: 02/10/2016

CD 4 Remastered Recommend To A Friend

RAY RUSSELL QUARTET ~ THE COMPLETE SPONTANEOUS EVENT JAZZ IN BRITAIN 74 (Barcode: 5060774190814) ~ UK ~ Jazz Recorded: 1967 - 1969 Released: 2024 This is a live archival album by British Jazz guitarist / composer / bandleader Ray RussellFind albums by this artist. It collects five live BBC radio broadcasts recorded by Russell and his quartet between 1967 and 1969, with pianists Roy FryFind albums by this artist or Peter LemerFind albums by this artist, bassists Dave HollandFind albums by this artist or Ron MathewsonFind albums by this artist and drummer Alan RushtonFind albums by this artist. The 2CD album presents twenty tracks, seventeen of which are original compositions by Russell, one is by John ColtraneFind albums by this artist, one by Charles LloydFind albums by this artist and one is a standard. The sound quality of the recordings is brilliant, and hard to believe these recordings were done almost sixty years ago. A few of these tracks were released on an LP in 2000, the early days of the fabulous Jazz In BritainFind albums on this label label, and now the complete material is available, for which all British Jazz fans are eternally grateful. Russell is undoubtedly one of the great silent heroes of the British Jazz scene, rarely in the limelight but continuously active behind the scenes, an author of countless compositions and extensive work as composer of soundtracks for films and TV, a sought after session player with myriad of albums he plays on, but sadly with rather limited recorded legacy as a leader. Most of his albums as a leader originate from the late 1960s and early 1970s, including those by the brilliant Brass Rock ensemble Rock WorkshopFind albums by this artist, which he led. Therefore, this excellent album is even more important to portray his contributions. The music on this album is stylistically quite “well behaved”, as far as the melodic compositions are concerned, strongly rooted in the Jazz tradition, before Russell moved into the more Fusion oriented pathway. His guitar work is absolutely brilliant, displaying his total control of the instrument and stunning technique, continuity and flow. These were pivotal times for the new modern British Jazz scene, where the essence of the new British feel, elegance, sophistication and unique esthetics were forged, which this album portrays splendidly. In retrospect there were very few guitar players in UK at the time, of such class and proficiency. Overall, this is another “bull’s eye” release by Jazz In Britain, which just keeps the juices of the British Jazz history fans flowing, by unearthing such marvelous treasures from the past. Meticulously researched, offering best possible sound quality and most importantly digging deep into the archives, spearing no efforts to bring us the music, this is a true labor of love. Personally this is one of the strongest releases on the label, although everything they release is worth having. Thank you!

Updated: 24/01/2025Posted: 24/01/2025

CD 2 Mini-Sleeve Recommend To A Friend

SANTANA ~ SANTANA (III) (LEGACY EDITION) COLUMBIA 90270 (Barcode: 827969027028) ~ USA ~ Jazz-Rock Fusion Recorded: 1971 Released: 2006 3rd album by SantanaFind albums by this artist and the last by the original “Woodstock” lineup. After scoring immediate success and immense popularity with their first two legendary albums, the group (and mainly Carlos SantanaFind albums by this artist) decided to move into more challenging and jazz oriented material, placing them firmly in the early Fusion genre. This direction was to be expanded even more on the future albums, like CaravanseraiFind albums with this title and the duet with John McLaughlinFind albums by this artist Love Devotion SurrenderFind albums with this title. This new edition adds a fascinating (and complete) recording by the group from July 1971 (before the album was released), which was also the final concert at the legendary Fillmore West. The band tries out the new material on stage and pays homage to other great musicians they admire: Miles DavisFind albums by this artist, Jimi HendrixFind albums by this artist and John ColtraneFind albums by this artist. This set is an essential piece of the great puzzle created by this mythological group and deserves to be re-visited as often as possible.

CD 2 Digipak Remastered Bonus Tracks Essential Recommend To A Friend

CARLOS SANTANA ~ ORIGINAL ALBUM CLASSICS SONY 886976260620 (Barcode: 886976260620) ~ USA ~ Jazz-Rock Fusion Recorded: 1974 - 1980 Released: 2010 This Box Set collects reissues of three studio albums by the iconic American guitarist / composer / bandleader Carlos SantanaFind albums by this artist, originally released on the ColumbiaFind albums on this label label between 1974 and 1980. They are: “IlluminationsFind albums with this title” (1974), “Oneness: Silver Dreams - Golden RealtyFind albums with this title” (1979) and “The Swing Of DelightFind albums with this title” (1980). All three were released under Santana’s Sanskrit name Devadip Carlos SantanaFind albums by this artist given to him by Sri ChinmoyFind albums by this artist. These three albums followed Carlos Santana’s debut solo album recorded in collaboration with guitarist John McLaughlinFind albums by this artist entitled “Love Devotion SurrenderFind albums with this title” (1973). “Illuminations” is a collaboration with pianist / harpist Alice ColtraneFind albums by this artist, the wife of John ColtraneFind albums by this artist. SantanaFind albums by this artist (the group) keyboardist Tom CosterFind albums by this artist and percussionist Armando PerazaFind albums by this artist play on the album and Coster also co-composed three of the tracks. Jazz musicians: bassist Dave HollandFind albums by this artist, drummer Jack DeJohnetteFind albums by this artist and several others take part in the recording, as well as a large string section conducted by Alice Coltrane, who wrote the arrangements and co-composed one the tracks. A short chant by Chinmoy is the album’s opening track. “Oneness: Silver Dreams - Golden Realty” presents fifteen relatively short compositions, most composed by Carlos Santana and is performed by a large group of musicians, including many Santana (the group) members. The first six tracks were recorded live and the rest were recorded in the studio. “The Swing Of Delight”, originally a double LP, presents nine compositions performed by a large group of top Jazz musicians, including Wayne ShorterFind albums by this artist, Herbie HancockFind albums by this artist, Ron CarterFind albums by this artist, Tony WilliamsFind albums by this artist and many others. These three albums together with the a.m. “Love Devotion Surrender” album present some of the most spiritual and deeply Jazz influenced music that Carlos Santana created during his long-lasting career. The mixture of Indian spirituality, which he shared with many Jazz musicians at the time, and extensive / hypnotic Jazz improvisations are in retrospect some of his best achievements, and deserve to be cherished and remembered. Side Note The "Original Album SeriesFind albums with this title" by Warner Bros.Find albums on this label, the "Original Album ClassicsFind albums with this title" by SonyFind albums on this label, the "5 Original AlbumsFind albums with this title" by UniversalFind albums on this label, the Box Sets by RhinoFind albums on this label and other similar releases are an archetypal example of how good intentions turn sour. Although these new editions often bring back to life some of the best music ever made on this planet, which in many cases has been lost in the tides of time and was unavailable on the market for ages, they suffer from an unforgivable disregard for the essence of cultural values and general sloppiness, contrary to human decency, which requires as to treat our Cultural Legacy with respect and loyalty. The Box Sets produced under these monikers have no discographical information whatsoever about the lineups, musician names, composers, lyricists, dates and places of recording, original release data and even basic copyright data (the last is strictly illegal BTW). Although the original LP sleeves are reproduced, they are often edited and information (which would be in most cases too small to be readable) is removed. Most importantly these Box Sets don't include any booklet offering a historical background and perspective about the Artists and the Music, which are extremely important and vital to the preservation of our Culture and passing the knowledge to the next generations. In short the fact that these Box Sets are meant to be inexpensive, does not mean that they have to be cheap. Considering the fact how many times this music has been sold over and over again by the labels, this is a crying shame!

Updated: 13/09/2021Posted: 13/09/2021

CD 3 Mini-Sleeve Box Set Recommend To A Friend

CARLOS SANTANA / JOHN MCLAUGHLIN ~ LOVE DEVOTION SURRENDER COLUMBIA 63593 (Barcode: 074646359327) ~ USA ~ Jazz-Rock Fusion Recorded: 1972 Released: 2003 This is the most quintessential Fusion album of all times. Although sadly neglected and almost forgotten (both by critics and listeners) over the years, it stands out as a beacon of musical enlightenment for posterity. The album came to be as a result of many parallel events and personal / musical paths crossings. Carlos SantanaFind albums by this artist and John McLaughlinFind albums by this artist became close after becoming disciples of Guru Sri Chinmoy. Although they were both aware of each other’s work before this musical cooperation, they operated in quite separate musical areas. McLaughlin at this point had already a glorious career stretch behind him with his pioneering work on the UK Jazz-Rock scene, his revolutionary work with Miles DavisFind albums by this artist, the visionary contributions in the Tony WilliamsFind albums by this artist LifetimeFind albums by this artist and of course his brilliant Mahavishnu OrchestraFind albums by this artist output. Santana’s roots were deep into Latin music and rock, but he was rapidly transforming his musical focus into jazz and Fusion. Influenced by his band’s drummer Michael ShrieveFind albums by this artist, who was a jazz buff, Carlos discovered a new musical world and was swallowing everything he could lay his ears on. This included the works of Mahavishnu Orchestra, of which he was a devoted fan, but also the work of Miles Davis and John ColtraneFind albums by this artist. The actual get together was most probably orchestrated by ColumbiaFind albums on this label’s chief Clive DavisFind albums by this artist (both Santana and Mahavishnu Orchestra were signed by Columbia Records), suggesting a John Coltrane tribute album featuring both guitarists. The album was recorded almost immediately after Santana finished recording the pivotal CaravanseraiFind albums with this title album, which marked a series of dramatic changes both in the band’s musical direction (a move towards jazz and Fusion) and personnel changes (the forming of Santana Mk. II). A meeting of two great talents is always a dangerous affair, and this one could have proven either disastrous or absolutely divine – fortunately the latter did happen. The reason it did turn out to be such a success is twofold: First the musicians truly loved Coltrane’s music and felt the spiritual side of it (Coltrane went through a process of soul searching and seeking enlightenment in Eastern beliefs as well). Coltrane’s “A Love Supreme” is really a musical mantra very similar to a Hindu chant, which of course is as much a spiritual music as it ever gets. The beautiful “Naima” (the other Coltrane composition featured here) is also deeply spiritual, as are the two McLaughlin’s compositions and the traditional chant, which serves as the base for the remaining track of the album. Having established the musical / spiritual base of the session the rest was up to the participating musicians, which (again) most fortunately turned out to be ideal. Both Santana and McLaughlin brought with them associate musicians – Carlos brought selected members of his band (Armando PerazaFind albums by this artist – congas, Doug RauchFind albums by this artist – bass and Michael Shrive – drums) and John brought Mahavishnu Orchestra members (Billy CobhamFind albums by this artist – drums and Jan HammerFind albums by this artist – drums(!)). Veteran jazz drummer Don AliasFind albums by this artist was also invited, but the greatest and perhaps most crucial role was entrusted upon the organ player Larry YoungFind albums by this artist – John’s former partner in Lifetime. Young provides the foundation and glue, which makes this session work. With two lead guitarists exchanging licks at the speed of light and the super-power expanded rhythm section pulsating mercilessly, this session would have never worked without Young’s brilliant work. He fills the spaces, provides the balance and the sanity, the ground on which the soloist are able to build their sky-high towers. Of course the main attraction is the spectacular work by the two soloists, so different and yet so completely complimentary of each other. Santana’s sublimely melodic feel (truly unparalleled to this very day) and McLaughlin’s extraordinary improvisational abilities just merge into one continuous flow of musical bliss. Their exchanges are in perfect harmony, not competing but supplementing each other – fire and grace incarnate. This remastered edition enhances the originally muddy sound tremendously and the two bonus tracks are priceless. There is nothing but Love of music, Devotion to talent and Surrender to divinity on this album, the Mother of all Fusion albums! Beyond essential!

CD 1 Remastered Bonus Tracks Essential Recommend To A Friend

HEIKKI SARMANTO SERIOUS MUSIC ENSEMBLE ~ A BOSTON DATE PORTER 4002 (Barcode: 656605854625) ~ FINLAND ~ Jazz Recorded: 1970 Released: 2008 This is one of those albums, which immediately invoke the recurring question: "How many recordings like this one remain hidden and unreleased all over the world?" The fact that it took 38 years for this gem to surface is criminally negligent, to put it mildly, with the only solace being the proverbial better late than never. Finnish pianist / composer Heikki SarmantoFind albums by this artist has been one of my favorite musicians for the last four decades, always awe-inspiring and never disappointing. His life-time achievements indisputably deserve a book-sized biography (unfortunately not written yet) and his role as Europe´s leading Jazz personality and a prominent creator of the emancipated European Jazz is sadly little known outside of a tiny circle of connoisseurs and researches. In fact the entire Finnish music scene often appears to be the one of world´s best hidden secrets, which is amazing in view of the miraculous contribution of Finnish musicians and composers to the Pantheon of the overall human musical culture. Apparently even the most devoted music fans and critics often suffer from chronic narrow-mindedness and Xenophobia, with Americans leading the camp, with pride and remarkable consistency, over the years. Although recorded in 1970, this session does not reflect Sarmanto´s early musical steps. He was 31 years old at the time and already a seasoned musician, with extensive Classical Music education (a graduate of the Helsinki Sibelius Music Academy - the country´s most prestigious musical education institution) and extensive Jazz experience going back almost a decade earlier as member of several Jazz ensembles active on the country´s burgeoning scene. In 1964-65 Sarmanto took part in the recording of Finland´s first modern Jazz album, the legendary "The Modern Sound Of FinlandFind albums with this title" by saxophonist / flautist Esa PethmanFind albums by this artist, and his piano playing on that album already sounds refined and focused. In 1968 Sarmanto was the first Finn to be awarded a scholarship at the Berklee College of Music in Boston, which gave him a chance to get some formal Jazz education (the Jazz department of the Sibelius Academy would be established only in the early 1980s, and of course Sarmanto would be appointed its first department head). Sarmanto used his time in Boston not only to expand his formal Jazz horizons, but also to mingle and play as much as he could on the local Jazz scene, which was quite active at the time. The Berklee students and the local musicians often gigged together and soon enough ensembles were formed. Following a brief home visit in 1969, during which Sarmanto recorded his first album as a leader, a live sextet recording released as "Flowers In The WaterFind albums with this title" (on which Pethman is also featured), he returned to Boston to "wrap up" his Berklee affairs. During that period he formed the quintet, quite accidently, which is often the best way for things to happen, which is featured on this semi-professional recording. The quintet consists of Sarmanto on piano, another Finnish giant, saxophonist / flautist Juhani AaltonenFind albums by this artist, who followed Sarmanto to Berklee but lasted only one semester (without a grant the finances were just against all odds), Czech bassists George MrazFind albums by this artist, who also arrived in Boston on a Berklee grant (together with compatriot pianist Jan HammerFind albums by this artist), escaping the brutal Warsaw Pact forces invasion of their homeland, following the brief "Spring of Prague" in 1969, the first major crack in the Berlin Wall. The remaining two musicians were guitarist Lance GundersonFind albums by this artist and drummer Craig HerndonFind albums by this artist, both Bostonians at the time. The quintet was nicknamed, half-jokingly, The Serious Music EnsembleFind albums by this artist, a name which would stick to several Sarmanto´s groups in the future, featuring the core of this quintet. The three Europeans and two Americans obviously had no difficulty in communicating musically, and it´s hardly surprising that they chose to play mostly Free Form, for several reasons. The air was still reverberating with the sounds of Albert AylerFind albums by this artist, Eric DolphyFind albums by this artist and John ColtraneFind albums by this artist, with the US Free Jazz scene at its peak by the end of the 1960s (unfortunately soon to be almost completely neglected, passing the torch to the Europeans). The limited, if any, rehearsal time the ensemble had before entering the studio, obviously left most of the content to be developed at the spur of the moment, making collective improvisation the only logical path to follow. And perhaps the youthful spirit of rebellion had also something to do with it, considering Berklee´s extreme conservatism, which is legendary even today. Aaltonen, the oldest and most experienced musician on board, already had extensive Free Jazz practice, after playing with Finnish pioneers of the genre, most notably with drummer Edward VesalaFind albums by this artist, and his contributions are the most consistent, with remarkable power of expression, intensity and technical brilliance rivaling the Masters of the genre. The six pieces played during the session, all composed by Sarmanto, are performed in one continuous flow with no gaps between them. Typically, after a briefly stated theme, the musicians enter a series of exchanges, with one, two or even three players soloing simultaneously, with the rhythm section frequently changing the tempo. Most of the material is up-tempo, except for the beautiful ballad, which ends the set (dedicated to Margareth ChaloffFind albums by this artist, the legendary piano teacher), which is the gentlest and most structured piece on the album, featuring the exquisite bass work by Mraz and more typical of Sarmanto´s future output. In many respects the session is quite typical European Free Jazz, resembling many similar musical encounters happening in Europe at the time, especially in the UK, but also in Poland, Germany and the Netherlands. It is quite distinctly different from American Free Jazz, which demonstrates rawer and more spontaneous approach but lacks the European Classical Music background, which is deeply implanted in the minds of European musicians, evident even in the most extreme Improvised Music experiments. In many respects, this session is probably one of the most "European sounding" recordings ever captured at a US studio. It is really interesting to compare this session with the material recorded by the almost identical quintet (exchange Mraz with Heikki´s brother bassist Pekka SarmantoFind albums by this artist) just a few months later and released as Sarmanto´s second (first studio) album "CounterbalanceFind albums with this title" (also reissued on PorterFind albums on this label Records). With Aaltonen playing exclusively flute and Sarmanto switching to Fender Rhodes, this seems to be a completely different group, even if still pretty much in the Free vain. The European influence simply becomes overwhelming, changing the music dramatically. Even if the sound quality of this recording is not up to modern digital standards (the recording was most probably not intended to be commercially released), the musical content and the immense historical importance of this session make it an indispensible document of the highest value. Kudos to Luke MoslingFind albums by this artist, the brave owner of Porter Records, for releasing this treasure and making it available to us, the music lovers, and saving a lost gem from extinction. Sarmanto´s followers worldwide will be obviously delighted to hear this, as should be every connoisseur of good music, especially those who follow the emergence of the modern European Jazz. Brilliant stuff! Visitors' Comments Dr. Rafael Augusto Lara Palmeros One of the most impressive, extraordinary and wonderful work from real modern European Jazz.¡¡Very essential!!. More of five stars.

Updated: 29/09/2017Posted:

CD 1 Recommend To A Friend

HEIKKI SARMANTO ~ EVERYTHING IS IT PORTER 1514 (Barcode: 656605789521) ~ FINLAND ~ Jazz-Classical Fusion Recorded: 1972 Released: 2011 "Everything Is ItFind albums with this title", recorded on September 13 & 14, 1972, was the fourth album released by Finnish pianist / composer Heikki SarmantoFind albums by this artist. Born June 22, 1939 Sarmanto was considered already a "veteran" of the modern Finnish Jazz scene at the time. A graduate of the Sibelius Academy in Helsinki, Sarmanto contributed his talents to multiple local ensembles active on the burgeoning Finnish Capital´s Jazz club scene and participated in several landmark recordings in the 1960s. His earliest recordings (1962) were with saxophonist / flautist Esa PethmanFind albums by this artist as a regular member of his group, culminating with the recording of "The Modern Sound Of FinlandFind albums with this title" (1964), which is considered as the first completely original modern Finnish Jazz album. In the following year Sarmanto recorded the album "For Friends And RelativesFind albums with this title" (1965) as a member of the Christian Schwindt – Otto DonnerFind albums by this artist quintet, also considered as an early milestone of Finnish Jazz. In 1968 Sarmanto was the first Finn to be awarded a scholarship at the Berklee College of Music in Boston, which gave him a chance to get some formal Jazz education (the Jazz department of the Sibelius Academy would be established only in 1983, and of course Sarmanto would be appointed its first department head). Sarmanto used his time in Boston not only to expand his formal Jazz horizons, but also to mingle and play as much as he could on the local Jazz scene, which was quite active at the time. The Berklee students and the local musicians often gigged together and soon enough ensembles were formed. Following a brief home visit in 1969, during which Sarmanto recorded his first album as a leader, a live sextet recording released as "Flowers In The WaterFind albums with this title" (recorded July 8, 1969) he returned to Boston to "wrap up" his Berklee affairs. During that period he formed a quintet, quite accidently, which is often the best way for things to happen, which played mostly Free Jazz based on the heritage of Albert AylerFind albums by this artist, Eric DolphyFind albums by this artist and John ColtraneFind albums by this artist. The quintet recorded a session at a local studio, which was formally released on CD only 38 years later as "A Boston DateFind albums with this title" (recorded September 18, 1970, released 2008) on PorterFind albums on this label Records. The quintet consisted of Sarmanto on piano, another Finnish Giant, saxophonist / flautist Juhani AaltonenFind albums by this artist, who followed Sarmanto to Berklee but lasted only one semester (without a grant the finances were just against all odds), Czech bassists George MrazFind albums by this artist, who also arrived in Boston on a Berklee grant (together with compatriot pianist Jan HammerFind albums by this artist), escaping the brutal Warsaw Pact forces invasion of their homeland, following the brief "Spring of Prague" in 1969, the first major crack in the Berlin Wall. The remaining two musicians were guitarist Lance GundersonFind albums by this artist and drummer Craig HerndonFind albums by this artist, both Bostonians at the time. The quintet was nicknamed, half-jokingly, The Serious Music EnsembleFind albums by this artist, a name which would stick to several Sarmanto´s groups in the future, which featured the core of this quintet. Following his graduation from Berklee Sarmanto returned to Finland, with Gunderson and Herndon following suit (they both decided to live in Finland for a while). Since Mraz opted to stay in the US and Aaltonen already returned to Finland earlier, Sarmanto had four members of his quintet in place. Mraz was replaced by Sarmanto´s brother, bassist Pekka SarmantoFind albums by this artist, and this new lineup recorded Sarmanto´s second (first studio) album "CounterbalanceFind albums with this title" (recorded June 8, 1971 - also reissued on Porter Records). A remarkable album, which features Aaltonen playing flute exclusively and Sarmanto switching to Fender Rhodes, and seems to be recorded by a completely different group, even if still pretty much in the Free Jazz vain. The European influence simply becomes overwhelming, changing the music dramatically. Recorded just three months after "Counterbalance", "Like A FragonardFind albums with this title" (recorded September 14, 1971), the third album by Sarmanto, was the first giant step in Sarmanto´s exceptional musical journey. In contrast to his earlier recordings, which consisted of separate and unrelated musical themes, this is the first time Sarmanto, the composer, undertakes the task of producing a concept album, which consists of a series of compositions connected by one common idea. The result becomes a Jazz Mass, a novel idea, which Sarmanto will pursue again in the future with the extraordinary "New Hope Jazz MassFind albums with this title" (1979). "Everything Is It", which followed a year later, was another giant step in the same direction, but on a grander scale in every direction. The ensemble is expanded into a Big Band; the music includes a fully developed suite in four parts, which lasts for over 28 minutes and two additional pieces, both lengthy as well (7 and 11 minutes); the scope of the compositions now amalgamates elements of Jazz, Folklore and Classical music. In retrospect Sarmanto´s audacity and vision are truly prophetic, since such attempts to create cross-genre music would become commonplace only decades later. The Big Band assembled for this recording is a bona fide Who´s Who of Finnish Jazz at the time and includes the finest soloists, many of which were leaders of their own ensembles. Consisting of three trumpets, two trombones, six saxophones, piano, bass and two drummers (another bold decision by Sarmanto) the Big Band enables the composer a much wider scope of tonal expression, which of course he takes full advantage of. The vocal parts, or the libretto (in English), written by Diana GlassFind albums by this artist, is performed by a young and promising soprano from the Opera of Helsinki – Taru ValjakkaFind albums by this artist. The level of musicianship and individual improvisation is absolutely brilliant and is great evidence of how talented these musicians were. Considering the fact that this complex and challenging music was recorded in just two days emphasizes this fact as well. This is European Jazz at its best, taking the essence of the Jazz spirit and combining it flawlessly with other musical sources to create a perfect amalgam. It remains untouched by the tides of time, a classic. Thanks to Porter Records for making this musical treasure available again! Side Note The above are my liner notes included on this album's artwork. I am honored when asked by the Artists to write liner notes for their albums, always hoping that my words reflect the true spirit of the music. This is also a symbol of our mutual respect and friendship developed over the years. The same is also true when Record Labels ask me to write liner notes for their releases, mostly in the case of reissues of archival albums, which is a symbol of their appreciation of my knowledge and historical perspective and my recognition of their dedication to the preservation of the history of recorded music and the effort to keep human Culture and Aesthetics alive.

Updated: 19/09/2018Posted:

CD 1 Mini-Sleeve Remastered Recommend To A Friend

HEIKKI SARMANTO ~ NEW HOPE JAZZ MASS JAZZAGGRESSION 736 ~ FINLAND ~ Jazz Recorded: 1978 Released: 2022 The wonderful world of reissues, which brings back to life, and sometimes even exposes for the first time, music recorded decades earlier has been my fascination for many years now, which often involves also writing liner notes for reissued albums. But among the thousands of reissued albums that have arrived on my desk, only very few discharge such a surge of emotions and memories as this one. “New Hope Jazz MassFind albums with this title” has been, since the day it was originally released in 1978, one of the absolute top Jazz recordings on my list, which I kept revisiting regularly, as well as using in my lectures and writings, as a prime example of the ingenuity of European Jazz, which managed to expand the idiom into a cross-genre amalgam of myriad of influences, joining the American Jazz tradition with the Millennium-long European music tradition. The concept of composing a Jazz Mass, which would be performed at a church, was of course a pretty revolutionary idea at the time, one that has been rarely returned to over the decades since. “Sacred Jazz” enjoyed some popularity in the 1950s and 1960s, especially in the works of Duke EllingtonFind albums by this artist and later John ColtraneFind albums by this artist, although the latter was more influenced by non-Christian religious traditions. The “New Hope Jazz Mass”, dedicated to Ellington and Coltrane, was premiered at the St. Peters Lutheran Church in NY on May 18, 1978 and had its Finnish premiere at the Temppeliaukio Church (known as Church of the Rock, a sensational architectural wonder) on September 7, 1978, which was recorded and originally released as a double LP on the FinlandiaFind albums on this label label that year. But the following day, September 8, 1978, there was another performance of the Mass, which was also recorded, and this album brings that recording to light for the first time. The music was performed by the Heikki SarmantoFind albums by this artist sextet, which included vocalist Maija HapuojaFind albums by this artist, saxophonists Paroni PaakkunainenFind albums by this artist and Pekka PoyryFind albums by this artist, bassist Pekka SarmantoFind albums by this artist, drummer Esko RosnellFind albums by this artist and Heikki Sarmanto on piano. In addition, a vocal quartet, the Gregg Smith Vocal QuartetFind albums by this artist, and a large choir, the Long Island Symphonic Choral AssociationFind albums by this artist, performed the choir vocal parts. The Mass consists of twelve compositions, all by Heikki Sarmanto, with lyrics taken from liturgy and some written by Aina Swan CutlerFind albums by this artist. The music was recorded live, and the remastered sound quality is absolutely flawless. The music, as already mentioned above, was absolutely revolutionary at the time, not only in its scope and complexity, but primarily in its bold expressionism, immaculate blend of American Gospel and Jazz traditions with European music structures, Finnish Folkloristic touches and European Jazz approach. Crowned by brilliant performances by all the performers, which clearly shows that “white man can jump”, despite the prejudice. Hapuoja’s wordless vocalese is some of the finest of its kind, and her angelic voice suits this music perfectly. The two saxophonist are brilliant improvisers. The rhythm section is absolutely impeccable and highly inspired, with Pekka Sarmanto’s (Heikki’s brother) bass pulsations providing the natural heartbeat to the music and Rosnell’s drumming keeping the time like a magic chronometer. Maestro Heikki Sarmanto’s piano playing is in charge of the harmonic unity, and the choir wraps everything with the Gospel elation. Perfection incarnate! Overall, this is an absolute classic European Jazz album, in every sense, and an iconic Finish Jazz recording, which deserves to be a part of every serious Jazz collection. For those blissfully ignorant as of its existence, now after reading my words you have absolutely no excuse but to get a copy. Thanks to the JazzaggressionFind albums on this label label for releasing this Holy Grail of an album and last but not least thank you my old, old Friend Heikki for your Friendship and all that wonderful, Genius music you contributed to the world over the years!

Updated: 25/11/2022Posted: 25/11/2022

CD 1 Digipak Recommend To A Friend

ZBIGNIEW SEIFERT ~ KILIMANJARO VOL.1 POLJAZZ / ANEX 206 (Barcode: 5907513047353) ~ POLAND ~ Jazz Recorded: 1978 Released: 2006 Polish violin virtuoso Zbigniew SeifertFind albums by this artist passed on the firmament of the Polish Jazz scene like a bright comet before dying from cancer in 1979 at the ridiculous age of 32. Today, decades later, he is considered as one of the greatest Jazz talents that ever lived and every piece of music recorded by him during his short career achieved a legendary status. Strongly influenced by the music and musical philosophy of John ColtraneFind albums by this artist, Seifert is often called "the Coltrane of violin", mainly because of his exceptional improvisational power, brilliant technique and a totally integrated approach to Jazz, pushing the boundaries with every note uttered from his instrument. Seifert´s compositions, although rooted in European music, provide him with a perfect vehicle for his ambitious explorations and are all timeless masterpieces. This album (and its companion Vol.2) presents a live recording at his home town (Krakow) famous Jazz club "Pod Jaszczurami", made less than a year before his tragic death with a great group consisting of the best players on the local scene: guitarist Jaroslaw SmietanaFind albums by this artist, keyboardist Janusz GrzywaczFind albums by this artist, bassist Zbigniew WegehauptFind albums by this artist and drummer Mieczyslaw GorkaFind albums by this artist. The music includes two original compositions by Seifert, including the extended piece which gave the album its title. The third piece is a tribute to Seifert´s mentor John Coltrane in the form of Coltrane´s famous composition "Impressions". This is exceptional music, which should be revered by every Jazz enthusiast on this planet with no exception. Absolutely essential!

CD 1 Digipak Remastered Recommend To A Friend

ZBIGNIEW SEIFERT ~ KILIMANJARO VOL.2 POLJAZZ / ANEX 208 (Barcode: 5907513047377) ~ POLAND ~ Jazz Recorded: 1978 Released: 2006 Polish violin virtuoso Zbigniew SeifertFind albums by this artist passed on the firmament of the Polish Jazz scene like a bright comet before dying from cancer in 1979 at the ridiculous age of 32. Today, decades later, he is considered as one of the greatest Jazz talents that ever lived and every piece of music recorded by him during his short career achieved a legendary status. Strongly influenced by the music and musical philosophy of John ColtraneFind albums by this artist, Seifert is often called "the Coltrane of violin", mainly because of his exceptional improvisational power, brilliant technique and a totally integrated approach to Jazz, pushing the boundaries with every note uttered from his instrument. Seifert´s compositions, although rooted in European music, provide him with a perfect vehicle for his ambitious explorations and are all timeless masterpieces. This album (and its companion Vol.1) presents a live recording at his home town (Krakow) famous Jazz club "Pod Jaszczurami", made less than a year before his tragic death with a great group consisting of the best players on the local scene: guitarist Jaroslaw SmietanaFind albums by this artist, keyboardist Janusz GrzywaczFind albums by this artist, bassist Zbigniew WegehauptFind albums by this artist and drummer Mieczyslaw GorkaFind albums by this artist. The music includes two original compositions by Seifert. In addition an extensive interview with Seifert (in Polish) is also included, providing a glimpse at his personality and musical ideology. This is exceptional music, which should be revered by every Jazz enthusiast on this planet with no exception. Absolutely essential!

CD 1 Digipak Remastered Recommend To A Friend

ZBIGNIEW SEIFERT ~ MAN OF THE LIGHT PROMISING MUSIC 44112 (Barcode: 602527326283) ~ POLAND ~ Jazz Recorded: 1976 Released: 2010 This exceptional album by Polish violin virtuoso / composer Zbigniew SeifertFind albums by this artist was the first major exposure of his talents outside of his motherland. Legendary MPSFind albums on this label producer Joachim BerendtFind albums by this artist, who had close ties to the Polish Jazz scene, was aware of Seifert´s incredible talent and managed to pull off this recording session, bringing on board a superb team of players, which consisted of German pianist Joachim KuhnFind albums by this artist and an American rhythm section: bassist Cecil McBeeFind albums by this artist and drummer Billy HartFind albums by this artist. Dutch pianist Jasper van`t HofFind albums by this artist also participates on one track. Seifert composed all the music on this album, which is a great example of typical Eastern European Jazz, which cleverly combines elements of modern American Jazz, especially that of John ColtraneFind albums by this artist, with Folklore and Classical influences. Seifert´s "obsession" with Coltrane´s music and his improvisational technique are plainly evident, especially during the up-tempo numbers. The album´s title track is dedicated to Coltrane´s pianist McCoy TynerFind albums by this artist. Hearing the album 35 years after it was recorded makes one realize how great music gets better with time, losing absolutely nothing of its initial grandeur. Both Seifert and Kuhn play some incredible solos here and the rhythm section supports them admirably every step of the way. Tragically, just three years after this music was recorded Seifert died, stricken by cancer, before his endless potential was realized and recognized properly. Seifert managed to record several albums in the US before his untimely death, but this album is definitely his most important and most perfect legacy. Absolutely essential! Side Note The legendary German MPSFind albums on this label (Musik Produktion Schwarzwald) label, founded by Hans Georg Brunner-SchwerFind albums by this artist (HGBS) in 1963, first as SABAFind albums on this label Records and later on from 1968 as MPS Records, was the most important independent European record label, which had an enormous contribution to the development of European Jazz. For many years MPS cooperated with the legendary German producer / author Joachim BerendtFind albums by this artist, my Friend and Mentor, whose visionary approach and open-mindedness brought the crème de la crème of the Jazz (in the broadest meaning of the word) musicians from all over the world to the label. Between 1963 and 1983 MPS produced about five hundred albums, many of which are among the most important Jazz recordings on this planet. In 1983 the MPS catalog was sold to UniversalFind albums on this label, which sadly resulted in all those artistic treasures to almost disappear from the face of the earth – a situation not only tragic but culturally criminal. Universal reissued a part of the MPS albums (probably 128 titles) on CD between 1999 and 2011 under the "Most Perfect Sound Edition" moniker. Since 2008 the German Promising MusicFind albums on this label label released some of the MPS recordings, but at a very slow pace. In 2014 the German company Edel AG bought the MPS catalogue from Universal and released a series of 25 MPS albums on CD with a new slipcase graphic design, which brought all those excellent albums back to life. In 2015 Edel AG started to record and release new albums under the MPS moniker. In 2016 Edel AG released a series of 10 classic MPS albums on CD, which were beautifully remastered and re-packaged, presenting the original artwork and liner notes, as well as new liner notes and photographs. An obvious labor of love, these reissues are what the MPS catalogue truly deserves. This project was continued in 2017 with another series of 10 classic MPS albums released on CD. In later years some new reissues were released sporadically. Over the years many SABA / MPS albums were reissued in Japan, which is often the only available source for these albums today, but that is a story in itself.

Updated: 08/01/2021Posted:

CD 1 Mini-Sleeve Slipcase Oversampling Remastered Essential Recommend To A Friend

ZBIGNIEW SEIFERT ~ NORA GAD 001 (Barcode: 5901549197006) ~ POLAND ~ Jazz Recorded: 1969 - 1970 Released: 2010 This wonderful album collects all the existing recordings by the early Jazz quartet led by Polish violinist / saxophonist / composer Zbigniew SeifertFind albums by this artist, a world class virtuoso who was unfortunately taken away from this world by the ever-so-cruel cancer at the ridiculous age of 32. Seifert discovered Jazz while being a student at a music high school, where he studied classical music. Immediately stricken by Jazz, he started to live a double life, continuing his degree studies as a classical violinist and in parallel playing and later leading his own Jazz quartet. Seifert almost immediately moved into modern Jazz, even ultra-modern at the time, as his immediate model would be the late period John ColtraneFind albums by this artist. Seifert´s hypersensitive and well trained ears were able to follow Coltrane´s convoluted music note by note, thus enabling him to absorb his style. In order to emphasize the separation between his classical violin training Seifert played the alto saxophone exclusively at the early stages of his career, returning to the violin only much later, a move which gained him his international recognition and success, cut short soon after by his untimely death. By the end of the 1960s Seifert was a permanent member in the Tomasz StankoFind albums by this artist quintet, Poland´s pioneering Free Jazz outfit at the time, as well as leading his own quartet with pianist Jan JarczykFind albums by this artist, bassist Jan GonciarczykFind albums by this artist and drummer Janusz StefanskiFind albums by this artist (who was also a member of the Stanko quintet). The quartet never recorded an album for the "Polish Jazz" series, but three of their performances were recorded by the Polish Radio and are presented on this album: The 1969 concert at the Jazz nad Odra Festival and the 1969 and 1970 concerts at the Jazz Jamboree Festival – all together eight tracks, only two of which (taken from the 1969 JJ) were previously released on record in a various artists compilation entitled "New Faces In Polish JazzFind albums with this title" (Polish Jazz Vol. 20). Seifert composed five of the tunes, Jarczyk one and the other two are standards. The music is just sensational, mostly almost Free, with long and well developed solos by Seifert and Jarczyk, with superb backing by the rhythm section. That kind of music would fit perfectly well anywhere in the world at that time, but taking into account the fact it comes from Poland, a country deep beyond the Iron Curtain with minimal exposure to the latest trends and under a Socialist regime, which does not tolerate artistic deviance, it is an absolute miracle. The historic importance of these recordings is invaluable, especially since the quartet wasn´t able to secure a proper studio recording in a reality when the only record company on the market was state owned and run by party officials. Thank God for the Polish Radio archives and the initiative to compile and release this album. Although "too little too late" applies here, so does "better this than nothing". I´ll add that in order to fully appreciate this music in proper historic perspective and its meaning in the history of Polish (and Eastern European) Jazz, I´d recommend reading the recently published Zbigniew Seifert excellent biography entitled "Man of the Light", by Aneta NorekFind albums by this artist – alas this privilege is limited to people who can read Polish (unless the book gets translated into English, which it truly deserves). In the meantime savor this fantastic music, as it lost nothing of its intensity over time. A must to all Polish Jazz lovers!

CD 1 Remastered Recommend To A Friend

ZBIGNIEW SEIFERT ~ POLISH RADIO JAZZ ARCHIVES VOL.32 POLSKIE RADIO 2145 (Barcode: 5907812248697) ~ POLAND ~ Jazz Recorded: 1970 - 1978 Released: 2018 This is the thirty-second installment in the series of releases initiated by the Polish Radio, which presents archive Jazz recordings from the radio vaults. Radio recordings are always a fabulous source of remarkable material, and as far as Polish Jazz history is concerned, the Polish Radio, which was a state monopoly for 45 years, recorded over time a plethora of invaluable material, which apart from the albums released by the Polskie Nagrania record company (also a state monopoly), is the only available additional source of Polish Jazz recordings. For many years Polish Radio recorded concerts presented during Poland´s most important Jazz venues, including the annual Jazz Jamboree Festival and many other festivals as well. The seven tracks presented here were recorded by one of the most iconic Polish Jazz figures: saxophonist / violinist / composer Zbigniew SeifertFind albums by this artist, who sadly died at a ridiculously young age succumbing to cancer. Influenced by the music of John ColtraneFind albums by this artist, Seifert revolutionized the Polish Jazz violin school and achieved international recognition. All the tracks are original compositions by Seifert. The first five tracks were recorded live on November 14, 1978 at the "Pod Jaszczurami" Jazz club in Krakow, just three months before Seifert´s death. They were recorded by a quintet, which also included guitarist Jaroslaw SmietanaFind albums by this artist (also not with us anymore, another victim of cancer), keyboardist Janusz GrzywaczFind albums by this artist, bassist Zbigniew WegehauptFind albums by this artist (my dear and sadly also departed friend) and drummer Mieczyslaw GorkaFind albums by this artist. Grzywacz and Gorka were at the time members of the legendary Polish Jazz-Rock ensemble LaboratoriumFind albums by this artist while Smietana and Wegehaupt were at the time members of another no less legendary ensemble Extra BallFind albums by this artist. The music, although composed by Seifert, gets here a Fusion oriented treatment, as a result of the fact that all members of the quintet except for Seifert were involved with Fusion at the time. Sadly these five tracks are only a selection from the entire recording session captured by Polish Radio Krakow, which has been previously partially released as a double LP entitled "KilimanjaroFind albums with this title" by the Polish Jazz Society label PoljazzFind albums on this label (available also separately as "Kilimanjaro Vol.1Find albums with this title" and "Kilimanjaro Vol.2Find albums with this title") and later on as a double CD bootleg album in its entirety. Why wasn´t the entire material finally released properly and legally on this album is a mystery and sadly a grave opportunity loss to put things in order once and for all and honestly a mess! The sixth track originates from a recording Seifert made with the Polish Radio Jazz Studio OrchestraFind albums by this artist directed by Jan Ptaszyn WroblewskiFind albums by this artist in 1972. It presents him as a soloist backed up by an excellent Jazz orchestra, performing one of his early compositions, which is also previously unreleased. The seventh and last track goes even further back and was recorded in 1970 during the thirteenth edition of the Jazz Jamboree Festival. On this track Seifert plays saxophone and is accompanied by pianist Jan JarczykFind albums by this artist, bassist Jan GonciarczykFind albums by this artist and drummer Janusz StefanskiFind albums by this artist. This track was already released in 2010 by the great Polish reissue label GADFind albums on this label Records on the album "NoraFind albums with this title", dedicated to Seifert´s early recordings, and the inclusion of this track here is redundant and somewhat questionable. The beautifully restored sound quality is excellent and the warm ambience of the analog recording is a true joy. As usual with this series, which is very reasonably priced, I miss the presence of "in depth" liner notes / booklet, which should convey the circumstances at which this music was recorded and its importance to the development of Jazz in Poland. Nevertheless this is an absolutely essential piece of Jazz history which every Jazz fan will surely consider an absolute must.

Updated: 01/10/2018Posted: 28/09/2018

CD 1 Digipak Remastered Recommend To A Friend

ZBIGNIEW SEIFERT ~ SOLO VIOLIN ZBIGNIEW SEIFERT FOUNDATION 3 (Barcode: 5907222048023) ~ POLAND ~ Jazz Recorded: 1976 Released: 2017 This is the first legitimate reissue on CD of the solo violin album by the legendary late Polish Jazz violinist Zbigniew SeifertFind albums by this artist. Recorded during a concert at Radio Bremen in 1976, the album was released only a couple of years later in Germany, and has been an extremely rare collector´s item in its original vinyl form for decades. The album presents just four original compositions, all by Seifert. Shortly before this music was recorded Seifert was diagnosed with cancer, which tragically killed him just three years later, and the album was supposed to pay for his medical bills. Solo violin Jazz albums are extremely rare, and as such this album has been a beacon and a point of reference since its release as far as violin in Jazz is concerned. Seifert´s virtuosity and uniqueness are immediately apparent from the very first tones, and he does not cease to amaze for the entire forty seven minutes the music lasts. Well trained listeners will obviously recognize the immense influence of John ColtraneFind albums by this artist´s music on Seifert´s playing, and Seifert has been many times referred to as the Coltrane of the violin. But beneath the Coltrane influence on the way Seifert improvises, one can also hear his deep European and Polish roots, not only in his compositions, but also in his tonality and expression, which are always deeply lyrical and melancholic, even at the height of the climatic eruptions. In many respects this album tells more about Seifert than most of his other recordings, where he plays with other musicians and his playing is just a part of a bigger picture. The "nakedness" of this music in also 100% proof Seifert, at his absolute best. Therefore this album is so unique not only due to its unusual setting, but also due to the fact that it is presents Seifert isolated from all external influences and disturbances, in his most direct and straightforward self. The superb sound quality of this album enhances the experience of listening to the music enormously. Of course this album is also exquisitely beautiful and powerful, and should leave absolutely no listener untouched. For Polish Jazz fans and Seifert´s numerous followers this album is obviously the Holy Grail of Polish Jazz recordings. Big thanks to the Zbigniew Seifert FoundationFind albums on this label, spearheaded by Aneta NorekFind albums by this artist, for bringing this National treasure back to life, for old admirers to enjoy again and new ones to discover.

Updated: 22/06/2018Posted: 05/01/2018

CD 1 Digipak Remastered Recommend To A Friend

WOODY SHAW ~ THE COMPLETE COLUMBIA ALBUMS COLLECTION SONY 886979189027 (Barcode: 886979189027) ~ USA ~ Jazz Recorded: 1977 - 1981 Released: 2011 American trumpeter / composer Woody ShawFind albums by this artist is often referred to as the last great innovator of the Jazz trumpet tradition. His incredible technical skills as well as his deep Jazz sensitivity enabled him to create some of the most memorable Jazz moments. Unfortunately his recording legacy as a leader is relatively limited and his death at the ridiculous age of 44 has cut his career tragically short. Over the years he recorded extensively as a sideman and contributed his part to some of the most notable and pivotal Jazz recordings, especially during his stint with the Blue NoteFind albums on this label label in the mid to late 1960s, where he was the "house trumpeter". Shaw´s most important work as a leader was recorded in the late 1970s for ColumbiaFind albums on this label, where he recorded five superb albums which finally awarded him the recognition and appreciation he so much deserved. These recordings allowed his to utilize in full his abilities both as a player and composer, surrounded by a splendid group of musicians. His music often used unusual musical devices, such as polytonality and the pentatonic scale, which Shaw absorbed from his idols like Eric DolphyFind albums by this artist and John ColtraneFind albums by this artist, from the 20th century Classical Music composers as well as from World Music influences. However he was able to utilize those complex and often quite difficult musical ideas and make them sound "easy" and natural to the Jazz environment. The Columbia session were recorded with Shaw leading different combos, from a classic quintet to a tentet and even larger ensembles. The list of participants includes some of the most important Jazz performers active at the time, like trumpeter Charles SullivanFind albums by this artist, saxophonists Joe HendersonFind albums by this artist, Rene McLeanFind albums by this artist, Carter JeffersonFind albums by this artist, Gary BartzFind albums by this artist and others, pianist Onaje Allan GumbsFind albums by this artist, George CablesFind albums by this artist, Mulgrew MillerFind albums by this artist and others. This Box Set includes all the five albums Shaw recorded for Columbia, remastered and expanded with bonus tracks, as well as a sixth bonus CD, which comprises of previously unreleased material recorded at the same Village Vanguard concert, which was partly released as the "Stepping StonesFind albums with this title" album. This is some of the most remarkable Jazz music made in the 1970s and an important piece of the modern Jazz puzzle, which should be listened to by new generations and inspire them to carry the proverbial torch. It should definitely find its place in any serious Jazz record collection.

Updated: 26/01/2019Posted:

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ARCHIE SHEPP ~ THE COMPLETE REMASTERED RECORDINGS ON BLACK SAINT & SOUL NOTE CAM JAZZ 1035 (Barcode: 8052405141828) ~ USA ~ Jazz Recorded: 1975 - 1985 Released: 2015 This superb Box Set collects recordings by the legendary American saxophonist / composer Archie SheppFind albums by this artist on the Black SaintFind albums on this label and Soul NoteFind albums on this label labels. It includes four albums, in various settings between a quintet and a septet, each with a different lineup. "A Sea Of FacesFind albums with this title" features trombonist Charles GreenleeFind albums by this artist, pianist Dave BurrellFind albums by this artist, bassist Cameron BrownFind albums by this artist, drummer Beaver HarrisFind albums by this artist and vocalists Bunny FoyFind albums by this artist and Rafi TahaFind albums by this artist. "Down Home New YorkFind albums with this title" features trumpeter Charles E. McGheeFind albums by this artist, pianist Ken WernerFind albums by this artist, bassist Saheb SarbibFind albums by this artist, drummer Marvin SmithFind albums by this artist and vocalist Bazzi Bartholomew GrayFind albums by this artist. "Little Red MoonFind albums with this title" features Italian trumpeter Enrico RavaFind albums by this artist, keyboardist Siegfried KesslerFind albums by this artist, bassist Wilbur LittleFind albums by this artist and drummer Clifford JarvisFind albums by this artist. Finally "California MeetingFind albums with this title" features pianist George CablesFind albums by this artist, bassist Herbie LewisFind albums by this artist, drummer Eddie MarshallFind albums by this artist and vocalist Royal BlueFind albums by this artist (on one track only). The music includes a few compositions by Shepp and John ColtraneFind albums by this artist and the rest are mostly standards. Shepp is best known from his association with John Coltrane during his late Avant-Garde period and other recordings in the same idiom. The recordings included in this Box Set, made a decade and two decades later, find Shepp in a much more conventional musical environment, which also includes his vocal performances as well as contributions by other vocalists and early Rappers. Of course he is still a formidable instrumentalist and his soloing is exceptional. The album with Rava is an absolute blast and offers some of Rava´s best playing ever, much different from his usual recordings with Italian / European musicians. The music is still absolutely relevant and offers a glimpse of Shepp´s later career, when he returned to traditional Jazz forms but kept exploring new territories, often playing with European musicians and recording for European record labels. This is definitely an important document of the American post Free Jazz movement. Side Note The Italian independent record label Black SaintFind albums on this label was founded by the music critic / author / producer Giacomo PellicciottiFind albums by this artist in 1975. It was taken over by the producer Giovanni BonandriniFind albums by this artist in 1978 and a year later (1979) a sister label, called Soul NoteFind albums on this label, was established. The twin labels were run by Giovanni and later his son Flavio BonandriniFind albums by this artist, until they were sold in 2008 to the Italian KEPACH Music Group, which already owned the CAM JazzFind albums on this label label, and which also bought another Italian independent record label Dischi Della QuerciaFind albums on this label. The mission of the Black Saint / Soul Note labels was to record and document the Free Jazz / Improvised Music / Avant-Garde scene, mostly from the US but also from Europe, which continued between mid 1970s and late 1990s and produced a staggering collection of almost 550 albums recorded by world's most important Jazz innovators active at the time, providing an opportunity to American (mostly Afro-American) musicians, who would have never managed to make these recordings at home, ridden by racism, alienation and closed-mindedness. Without these two labels most of this fantastic human creativity would have been never documented. However, the Black Saint / Soul Note Box Sets produced under the CAM JazzFind albums on this label moniker are an archetypal example of how good intentions turn sour. Although these new editions often bring back to life some of the best music ever made on this planet, which in many cases has been lost in the tides of time and was unavailable on the market for ages, they suffer from an unforgivable disregard to the essence of cultural values and general sloppiness, contrary to human decency, which requires us to treat our cultural legacy with respect and loyalty. These Box Sets have no booklet which presents researched historical background and exact discographical information of the albums included, and most importantly an overview of the music and its meaning and contribution to the Jazz Art form. Although the original LP sleeves are reproduced, the information is in most cases too small to be readable at all. In short the fact that these Box Sets are meant to be inexpensive, does not mean that they have to be cheap!

Updated: 05/05/2020Posted: 05/05/2020

CD 4 Mini-Sleeve Box Set Remastered Recommend To A Friend

ARIEL SHIBOLET / BETWEEN THE STRINGS TRIO ~ LIVE AT THE TEL AVIV MUSEUM KADIMA COLLECTIVE 13 (Barcode: 634479391576) ~ ISRAEL ~ Jazz Recorded: 2006 Released: 2007 2nd album by Israeli saxophonist Ariel ShiboletFind albums by this artist, this time in cooperation with the Between The Strings TrioFind albums by this artist (Jean Claude JonesFind albums by this artist – bass, Daniel HoffmanFind albums by this artist – violin and Nori JacobyFind albums by this artist – viola), recorded live at the Tel Aviv Museum. The concert includes three parts, starting with a solo soprano saxophone performance by Ariel, continued by a piece by the string trio and concluded by a quartet performance by Ariel with the trio. Over 61 minutes of purely improvised music, challenging and difficult as always, but deeply rewarding to the disciples of the genre. Ariel’s playing is deeply rooted in the tradition of the late period John ColtraneFind albums by this artist, Steve LacyFind albums by this artist and Eric DolphyFind albums by this artist, based on complete control of the instrument, virtuosity and of course relentless passion. The balance between Ariel and the string trio, as well as their cooperative group improvisation is truly inspiring. Contrary to popular opinion improvised music is definitely still alive and kicking, and the fact that it still thrives here in Israel (although abandoned in other places) makes me especially proud, proving the multi-cultural openness of our society.

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SKEREBOTTE FATTA ~ APPAZ FOR TUNE 0152 (Barcode: 5906395808670) ~ POLAND ~ Free Jazz / Improvised Music Recorded: 2020 Released: 2021 This is the second album by Polish Free Jazz duo Skerebotte FattaFind albums by this artist, which comprises of saxophonist Jan MalkowskiFind albums by this artist (a.k.a. Jan SkerebotteFind albums by this artist) and drummer Dominik MokrzewskiFind albums by this artist. The album presents seven original compositions credited to the duo members. As the album’s title and the track titles (when read in reverse) suggest, the album is a tribute to icons of creative music, as diverse as Frank ZappaFind albums by this artist, Albert AylerFind albums by this artist or Han BenninkFind albums by this artist. Both Malkowski and Mokrzewski already participated in several Polish Free Jazz / Improvised Music recordings, including the RdzaFind albums by this artist ensemble and the Infant Joy QuintetFind albums by this artist, the latter also released on the For TuneFind albums on this label label. The rather unusual saxophone – drums duo obviously immediately prompts for comparisons to similar recordings on the world scale, but honestly it’s hardly relevant to compare these relatively young musicians with world-class veterans like Max RoachFind albums by this artist / Anthony BraxtonFind albums by this artist or John ColtraneFind albums by this artist / Rashied AliFind albums by this artist. It’s better to keep things in proportion. The duo members display an obvious rapport and excellent partnership, while building their performances, usually driving them to an explosive crescendo. Both also display excellent technique and evident understanding of the Improvised Music idiom. As a result, the music they create offers honest effort and inventive excitement, which are perhaps more appropriate for a live performance than a studio recording, but that is just a mere observation. The problem with Improvised Music is always its long-term musical value, which faces the obvious conflict between spontaneous / momentary creation and its lasting significance. In plain words, will a potential listener return to listen to this music ever again? In times when listeners are constantly bombarded with an endless flow of new releases and the opportunity to discover older recordings made available, the chances of Improvised Music recordings become ever slimmer, unless they are truly unique and everlasting. As wonderful as the Polish Jazz scene has become in the last two decades, Improvised Music is unfortunately not one of its fortes. Overall, this is an ambitious and generally successful Free Jazz / Improvised Music duo recording, with a lot of passion and technique involved. For lovers of the genre, it is certainly a worthy excursion into the Polish flavor of the idiom.

Updated: 25/09/2021Posted: 25/09/2021

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SKIDMORE / OXLEY / HAURAND ~ S.O.H. LIVE IN LONDON JAZZWERKSATT 016 (Barcode: 4250079757824) ~ UK ~ Free Jazz / Improvised Music Recorded: 1983 Released: 2007 This is an archival live recording by the wonderful trio consisting of British Jazz saxophonist Alan SkidmoreFind albums by this artist, drummer Tony OxleyFind albums by this artist and German bassist Ali HaurandFind albums by this artist, known collectively as S.O.H.Find albums by this artist The trio performs four extended pieces, all being original compositions by the trio members with one tune co-composed by the Dutch pianist Jan HuydtsFind albums by this artist. The trio, which was active between 1978 and 1984, recorded just a couple of obscure albums released on small independent European labels and this live recoding, which saw the light of day only more than twenty years after it was recorded, is a substantial addition to its discography. Both Skidmore and Oxley are among my favorite British Jazz musicians and both made tremendous contributions to the development of British and than European Jazz, as did Haurand, not only as a musician but also as organizer and bandleader of such formidable international groups like the European Jazz QuintetFind albums by this artist which than developed into the European Jazz EnsembleFind albums by this artist, which exists to this very day. The music is a classic example of European post-Coltrane Free Jazz, based on intensive and highly emotional performances by the trio members. Skidmore is a brilliant improviser and his lengthy solos are unstoppable, to the delight of all Free Jazz enthusiasts. Oxley, who is without a doubt the most original Jazz drummer ever, is a monster and his solo work on this album is some of the finest recorded evidence of his genius. Haurand fills in very well and supports his cohorts with his energetic pulsations. The overall sound of the trio is a modern version of the "wall of sound" effect, initiated by John ColtraneFind albums by this artist two decades earlier, but with more emphasis on sophistication rather than on raw power. Overall this is a tremendous piece of highly charged music, which captures one of the most interesting European Jazz ensembles active in the late 1970s / early 1980s at its peak form and portrays the British / European Jazz scene at the time. An absolute must for British Jazz enthusiasts / collectors!

Updated: 11/01/2017Posted: 11/01/2017

CD 1 Slipcase Remastered Recommend To A Friend

ALAN SKIDMORE ~ A SUPREME LOVE CONFRONT 33 (Barcode: 5060446128084) ~ UK ~ Jazz Recorded: 1961 - 2019 Released: 2023 This is a colossal career-spanning archival 6CD Box Set by British Jazz saxophonist / composer / bandleader Alan SkidmoreFind albums by this artist, which presents recordings between 1961 and 2019, documenting almost six decades of music making by one of British Jazz most prominent figures. Although most of the music was played by ensembles led by Skidmore, it also includes his work with Alexis KornerFind albums by this artist´s Blues IncorporatedFind albums by this artist, S.O.S.Find albums by this artist and S.O.H.Find albums by this artist trios, UbizoFind albums by this artist, Mask OrchestraFind albums by this artist and even Weather ReportFind albums by this artist. Most of the music was composed by Skidmore, but, as the title suggests, a significant portion of it was composed by John ColtraneFind albums by this artist, with Skidmore admitting to being his devoted disciple. A vast majority of the 46 tracks included in this Box Set are previously unissued. Over the years Skidmore played with the absolute crème de la crème of the modern British Jazz musicians, including John SurmanFind albums by this artist, Mike OsborneFind albums by this artist, Tony OxleyFind albums by this artist, Kenny WheelerFind albums by this artist, Ron MathewsonFind albums by this artist, John TaylorFind albums by this artist, Dave HollandFind albums by this artist, Chris LaurenceFind albums by this artist and many others, as well as many pioneering European and American Jazz musicians. The music is presented chronologically and beautifully illustrates the gradual metamorphosis of Skidmore from Blues and mainstream Jazz player towards more adventurous areas towards the exploration of Free and Avant-Garde Jazz, which occurred by the end of the 1960s. The last two CDs are dedicated to the exploration of the music of John Coltrane, including a live performance at the legendary Café OTO from 2019 on CD6. The music is of course brilliant from start to finish, and the release of this Box Set is a truly festive occasion to hear so much music previously hidden from the public ear, all of which is essential to every true British Jazz fan around the globe. The level of the performances is stellar of course, with Skidmore displaying his amazing technique and passion, which obviously are old news for any British Jazz follower, but appear herein in their full might and splendor. Thank God for the depth of Skidmore’s private archives, which made this Box Set possible, and perhaps those might be reexamined in order to find more of such treasures? Of course thanks to Mark WastellFind albums by this artist, the owner of ConfrontFind albums on this label Recordings, for making this dream come true. Overall, this is an absolutely essential piece of British Jazz history, with hours upon hours of brilliant music, which sees the light of day for the first time. It presents the development of the British / European Jazz scene from the perspective of just one of its many heroes, but considering the incredible gathering of musicians who play on these tracks, it becomes way more than just a story of one man, as important as he might be thanks to his own achievements, constituting in fact a reflection of an Era.

Updated: 01/10/2024Posted: 21/06/2023

CD 6 Mini-Sleeve Box Set Remastered Recommend To A Friend

ALAN SKIDMORE ~ THE CALL PROVOCATEUR 1018 (Barcode: 5038491000037) ~ UK ~ Jazz-World Fusion Recorded: 1999 Released: 1999 Legendary British saxophonist / composer Alan SkidmoreFind albums by this artist 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 AmampondoFind albums by this artist 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 TownsFind albums by this artist on keyboards. Some overdubbing was later added to the original recording in the UK, which features Steve MellingFind albums by this artist (piano), Arnie SomogyiFind albums by this artist (bass) and Gary HusbandFind albums by this artist (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 ColtraneFind albums by this artist. 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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ALAN SKIDMORE / UBIZO ~ 50 JOURNEYS PROVOCATEUR 1040 (Barcode: 5038491104025) ~ UK ~ Jazz-World Fusion Recorded: 2008 Released: 2008 3rd album by British saxophonist / composer Alan SkidmoreFind albums by this artist and his African Music ensemble UbizoFind albums by this artist, which combines European Jazz musicians with African ethnic players. The album’s title celebrates Skidmore’s 50 years as a Jazz musician, one of the most illustrious careers on the British Jazz scene. The music is a beautiful amalgam of modern Jazz and ethnic elements, which Skidmore and his group have been exploring for the last few years. This version of Ubizo includes such gifted players as Ingolf BurkhardtFind albums by this artist (trumpet), Steve MellingFind albums by this artist and Colin TownsFind albums by this artist (keyboards) and Neville MalcolmFind albums by this artist (bass), alongside the African players, who play a plethora of folklore instruments. This album is slightly more oriented towards the ethnic elements, with relatively short tracks, but the scope and the beauty of the music is breathtaking. The Jazz elements are of course still strongly manifested, especially in view of the two John ColtraneFind albums by this artist compositions included, with spectacular solos by Skidmore. Overall this is another masterpiece of Jazz-World Fusion, with great music from start to finish, proving that music does not have to be somber and gloomy to be intelligent and rewarding. I had a great fun listening to this album and I’m sure many listeners will feel the same. Wholeheartedly recommended!

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MATEUSZ SMOCZYNSKI ~ EXPRESSIONS TMP 002 (Barcode: 5905912553239) ~ POLAND ~ Jazz Recorded: 2007 Released: 2008 This is the second album as a leader by the young Polish Jazz violinist / composer Mateusz SmoczynskiFind albums by this artist. Recorded with a superb quintet, which includes his brother Jan SmoczynskiFind albums by this artist on piano, guitarist Konrad ZemlerFind albums by this artist, bassist Wojciech PulcynFind albums by this artist and drummer Lukasz ZytaFind albums by this artist, the album presents his talent and obvious virtuosity to the fullest extent. Of the ten compositions included on the album Jan contributed four, Mateusz one, Wojciech another four and the last is credited to all quintet members. The music is modern Jazz, which has solid roots in Jazz mainstream, but is open to glimpses of Free, which is not surprising since Mateusz points out John ColtraneFind albums by this artist as a major influence. Of course he also continues the Polish Jazz violin tradition, naming Zbigniew SeifertFind albums by this artist (who in turn was also strongly influenced by Coltrane) as another direct influence. However, attentive listening to his brilliant solos brings also memories of the other great Polish violinist, like Michal UrbaniakFind albums by this artist and Krzesimir DebskiFind albums by this artist and of course the French giant Jean-Luc PontyFind albums by this artist. Since recording this album, Mateusz recorded another superb album (again with his brother Jan) in a trio setting ("Simultaneous AbstractionsFind albums with this title"), participated in a Zbigniew Seifert tribute album ("A Tribute To Zbigniew SeifertFind albums with this title") and recorded with the Atom String QuartetFind albums by this artist. All these projects are impeccable pieces of intelligent, rewarding and highly aesthetic music and it seems that Mateusz is heading to the very top of the local (and perhaps also international) scene. The album was recorded in the Studio Tokarnia owned by the Smoczynski brothers, and engineered and mastered by Jan. From several other Polish Jazz recordings I´ve heard, which were recorded there, one can hear that this is probably the best recording studio in the country and Jan (in addition to his musical abilities) as a great sound engineer. Well, it´s always a pleasure to give credit, where credit is due, as in this case. Altogether this is brilliant piece of music, which any Jazz connoisseur anywhere should cherish. Most warmly recommended!

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SOFT MACHINE ~ DROP MOONJUNE 023 (Barcode: 692287902322) ~ UK ~ Canterbury Scene Recorded: 1971 Released: 2008 Australian-born drummer Phil HowardFind albums by this artist stayed with Soft MachineFind albums by this artist just for five months, but his influence on the group´s transition into free improvisation music was tremendous. He recorded just one side of an LP with the group (the first side of "FifthFind albums with this title") and played quite a few gigs in UK and Europe with the band, which included also saxophonist Elton DeanFind albums by this artist (who brought Howard into Soft Machine as a replacement for the departing Robert WyattFind albums by this artist), keyboardist Mike RatledgeFind albums by this artist and bassist Hugh HopperFind albums by this artist. The European gigs included the legendary appearance at the most prestigious European Jazz Festival at the time, the Donaueschingen Musiktage, organized by Joachim BerendtFind albums by this artist. Howard brought into the quartet a ferocious "wall of sound" technique, which drove the quartet to unprecedented peaks of improvised music, only roughly based on themes stated at the start of every tune, very much in the same pattern as all free jazz, which flourished at the time, following the pioneering explorations of John ColtraneFind albums by this artist, Eric DolphyFind albums by this artist and many others. Alas Howard´s days in the band were numbered, as the band was waiting for his replacement, John MarshallFind albums by this artist, to finish his previous engagement with Jack BruceFind albums by this artist. Sadly, following his departure from Soft Machine, very little was heard from this immensely talented drummer, which is a great pity. He can be heard on the Elton Dean´s debut solo album "Just UsFind albums with this title" (a must if you don´t have it yet!). The music included here, all captured live during Soft Machine German tour, which followed the festival appearance, is a premiere example of their immense quality at that time, delivering some of European Jazz mightiest moments, definitely something that can be enjoyed not only by the dedicated fan base, but also by every Modern Jazz lover the world over. This is s brilliant document, which deserves slow and careful digestion with saliva drooling from one´s mouth, sure more than once. God bless the invention of a sound recorder!

Updated: 01/02/2016Posted:

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SOUNDCHECK ~ SOUNDCHECK II BCD 15 (Barcode: 5906881885147) ~ POLAND ~ Jazz Recorded: 2007 Released: 2007 This is the second album by young Polish Jazz quartet SoundcheckFind albums by this artist, which comprises of saxophonist Maciej KocinskiFind albums by this artist, pianist Krzysztof DysFind albums by this artist, bassist Andrzej SwiesFind albums by this artist and drummer Krzysztof SzmandaFind albums by this artist. It includes ten original compositions, six of which are by the saxophonist, one by the drummer and three are co-credited to the quartet. Following up the exceptional debut album was no easy task, but the quartet managed to overcome the famous "second album crisis" with flying colors. This album again presents a series of excellent compositions, which are superbly executed, being much more thought-out, with the three tracks (intro-interlude-outro) enclosing the entire musical content under a unified concept. The music is intended to represent the quartet´s search for the meaning of their music, as much as meaning of life. It also reflects their musical inspirations and discloses their influences, like the music of John ColtraneFind albums by this artist, to whom the longest track on the album is dedicated. Several changes between this album and the debut are evident, all being a verification of the quartet´s rapid development and refining process, all of them for good. The music is definitely more relaxed, with a lot of space and less strict melodic dependency, showing a lot of freedom and allowing much more expanded improvisations. The quartet becomes also more unified, as far as interplay and group performances are concerned. Dys is heard soloing much more often than on the debut album and the rhythm section is much more part of the entire music-making process rather than mostly providing just the rhythmic support. Swies, as usual plays some amazing bass lines. The music is again the focal point with a series of brilliant compositions, which simply scream "Polish Jazz" time after time, emphasizing the finest qualities of it. Sophistication, lyricism and this time even almost Scandinavian composure. There is less World Music influence this time, but perhaps the quartet will return to that path again in the future. Overall this is another triumphant achievement for the quartet and for young Polish Jazz, which is alive and kicking like never before. Every true lover of Jazz on this planet will find this music as much enjoyable as it is fascinating. Great stuff!

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STANKO – MAKOWICZ UNIT ~ STANKO – MAKOWICZ UNIT FEATURING CZESLAW BARTKOWSKI B.FREE 6097 ~ POLAND ~ Free Jazz / Improvised Music Recorded: 1975 Released: 2016 This is a reissue of the little known album by the Polish Jazz ensemble Stanko – Makowicz UnitFind albums by this artist, released originally by a small independent German label JGFind albums on this label Records. It is one of the two albums this ensemble recorded, the other one being the eponymous album released by the legendary Polish label PoljazzFind albums on this label, which to this day was not reissued on CD. On this album the ensemble is a trio with Tomasz StankoFind albums by this artist on trumpet, Adam MakowiczFind albums by this artist on electric piano and Czeslaw BartkowskiFind albums by this artist on drums, whereas the Poljazz album was recorded by a quartet with Pawel JarzebskiFind albums by this artist on bass. Both albums have a completely different set of tunes on them. On this album the ensemble performs seven tunes, two each by Stanko and Makowicz, one credited to all three members of the ensemble and the remaining two being standards one each by John ColtraneFind albums by this artist and Miles DavisFind albums by this artist. The album´s artwork does not specify the date or place of the recording, except for stating that it was recorded in 1975, same as the Poljazz album. Since there is no applause one can assume it is a studio recording. Chronologically this album was recorded shortly before Stanko recorded his first album for ECMFind albums on this label ("BalladynaFind albums with this title" recorded December 1975), which was the jumpstart of his international career. The music is typical of Stanko´s mid 1970s period, which marked his beautiful amalgamation of melody and Free Jazz excursions, dominated by his "dirty" hoarse sound, which was his trademark for many years. Makowicz, who was one of the leading pianists on the Polish scene at the time, before he left for the US, was an ideal partner for Stanko in this particular setup, using the electric piano he embraced while being a member of the Michal UrbaniakFind albums by this artist´s Fusion groups. Bartkowski, also a leading figure on the Polish scene, was a Master drummer and felt perfectly comfortable in any stylistic setting, supports the duo amicably. Although the recording quality and the overall sound of this album is not as good as one might have hoped for, it is definitely perfectly acceptable, in contrast to what some "critics" wrote about this album over time. The same, or even more strongly, is valid as far as the musical contents and the playing are concerned, which are absolutely superb. This is one of the most intimate Stanko recordings ever, and his trumpet playing is leading the music boldly and authoritatively. In retrospect this is a tremendous piece of history of the Polish / European Jazz and of course of Stanko´s contribution to the genre, as the leading Free Jazz trumpeter of the period. For Polish Jazz connoisseurs and Stanko followers this album is an absolute must have of course.

Updated: 28/04/2018Posted: 28/04/2018

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TOMASZ STANKO ~ A I J POLONIA 103 ~ POLAND ~ Jazz Recorded: 1982 Released: 1997 This magnificent album by Polish trumpeter / composer Tomasz StankoFind albums by this artist includes the rest of the music recorded at the same session, which produced the superb "Music 81Find albums with this title" album. As with all great and prophetic Jazz Masters, Stanko´s music was evolving constantly and by the time this session was recorded in 1982, he was ready to leave behind the Avant-Garde / Free Jazz / experimental music, which dominated his first period (late 1960s to late 1970s) and gradually move forward towards new things, which would include mostly Jazz-Rock Fusion and Jazz-Electronic experiments, which of course were all as advanced and adventurous as anything else he made earlier. That second period, which lasted roughly the whole decade of the 1980s, is well documented by the albums released during that time, each and every one of them indisputably a masterpiece in retrospect. This interim session between Stanko´s first and second period is especially interesting, as in many respects it both summarizes the first period and clearly leads the way towards the next. The music is surprisingly "straight-forward" (if such description is at all possible in connection with Stanko´s music) and conventional. Performed by a classic quartet with pianist Slawomir KulpowiczFind albums by this artist, bassist Vitold RekFind albums by this artist and the fabulous drummer Czeslaw BartkowskiFind albums by this artist, it moves stylistically somewhere between John ColtraneFind albums by this artist´s early 1960´s quartet and Miles DavisFind albums by this artist second quintet, mixing clear melody lines with complex improvisations. The performances are absolutely stellar, with Stanko´s trumpet shredding the air, beautiful and extremely sensitive piano work a la McCoy TynerFind albums by this artist, strong and steady bass and virtuosic drumming, which not only drives the music forward but also adds endless flamboyant ornamentations. Of course in retrospect we know now that Stanko was to return to a similar format a decade and so later with his superb quartet, but at the time this music was completely unprecedented on the Polish scene. There are very few Jazz albums worldwide, which come close to the perfection and vision of the music herein, therefore this is definitely an absolute must for any serious Jazz connoisseur, Polish Jazz collector and anybody with a pair of open ears. Beyond essential!

Updated: 12/04/2019Posted:

CD 1 Slipcase Essential Recommend To A Friend

TOMASZ STANKO ~ JAZZMESSAGE FROM POLAND B.FREE 6098 ~ POLAND ~ Free Jazz / Improvised Music Recorded: 1972 Released: 2016 This is a reissue of a relatively obscure album by the Polish Jazz icon Tomasz StankoFind albums by this artist, released originally by a small independent German label JGFind albums on this label Records. The album was recorded by the first quintet Stanko formed as a leader, shortly after the death of the Godfather of Polish Jazz, pianist / composer / bandleader Krzysztof KomedaFind albums by this artist, with whom Stanko recorded extensively for years. The quintet included the best Polish Jazz musicians at the time: violin virtuoso Zbigniew SeifertFind albums by this artist, flautist / saxophonist Janusz MuniakFind albums by this artist, bassist Bronislaw SuchanekFind albums by this artist and drummer Janusz StefanskiFind albums by this artist. This album is one of three albums this quintet recorded, following the legendary "Music For KFind albums with this title" (from 1970) and proceeding "Purple SunFind albums with this title" (from 1973, with Hans HartmannFind albums by this artist on bass instead of Suchanek), also originally released on a small German label CaligFind albums on this label Records. The album was recorded live and presents just three extensive pieces, the longest almost half an hour in duration. The pieces are credited to Muniak / Stanko, Seifert and Stanko respectively. The music is a brilliant example of early European Free Jazz / Improvised Music, which illustrates the differences between the American approach to Free Jazz and the European Free Jazz aesthetic, with is much more settled and sophisticated already at this early stage. It also shows the development of Stanko and the members of his quintet and their involvement with Free Jazz, proving to be a major step forward from what they played together on their debut album. All the musicians are prominently featured on the album, which in spite of the fact that it was recorded live, offers a crystal clear sound quality and allows the individual instruments to be perfectly audible. Seifert is spiritually closest to Stanko´s explorations and proves to be also an equally brilliant instrumentalist, being able to transform the John ColtraneFind albums by this artist inspirations into the European sphere of aesthetics, which Stanko is pursuing as well. Muniak also contributes very valuable input and the rhythm section offers an exquisite mixture of free time and discipline, which holds this music brilliantly together. In retrospect this is a milestone recording and an essential piece of Polish / European Jazz history, which is worth its weight in gold and should be a part of every serious European Free Jazz collection!

Updated: 22/04/2018Posted: 22/04/2018

CD 1 Digipak Recommend To A Friend

WOJCIECH STARONIEWICZ ~ QUIET CITY POLONIA 043 ~ POLAND ~ Jazz Recorded: 1995 Released: 1995 This is an early release by veteran Polish Jazz saxophonist / composer Wojciech StaroniewiczFind albums by this artist, recorded in a classic quartet setting with pianist Andrzej JagodzinskiFind albums by this artist, bassist Adam CegielskiFind albums by this artist and drummer Cezary KonradFind albums by this artist. The album includes six original compositions, all by Staroniewicz, most of which are ballads. After listening to just a few opening notes it becomes immediately apparent that this is a Polish Jazz recording, as the music is full of the characteristics, which are unique to Polish Jazz: wonderfully lyrical melodies, folkloristic undertones, unusual meters and those unique harmonies, which only Polish Jazz musicians are able to invent. Also clearly apparent is the virtuosity of the participants, who in spite of their (at the time) young age sound as if they played Jazz for decades. Staroniewicz has a beautiful tone when playing his tenor saxophone, which resembles several of the great American saxophonists, but has more vitality and chutzpah. Jagodzinski is a fantastic player and this early recording already shows him in his full capacity. The rhythm section is also first class, doing a fantastic job supporting the two soloists both during the ensemble parts and solo parts. Although this is solid mainstream Jazz, it is full of intelligent moments and passionate performances, which take the music well beyond what is usually conceived as mainstream. Partly due to the leader´s superb compositions and partly to the musicians growing up absorbing the Polish Jazz heritage, which includes the innovations introduced by Krzysztof KomedaFind albums by this artist, which were as much influential on Polish Jazz as John ColtraneFind albums by this artist´s legacy was on the global scene, this music is both a classic example of mainstream Jazz as much as an epitome of Polish Jazz. In retrospect I find myself returning to this album from time to time and although it is rarely considered as a Polish Jazz "classic", it is definitely so for me. Of course the fact that it was recorded almost two decades ago means absolutely nothing except for the fact that is seems to be getting better with time. The fact that Staroniewicz emerged eventually as one of the pillars of the Polish Jazz scene, not only as a player but also as a record label owner, concert organizer, etc. proves that he means business, which is always a great quality in people. So a "classic" for me, and if you get to listen to it – it will be also a "classic" for you!

CD 1 Recommend To A Friend

MIKE STERN ~ STANDARDS (AND OTHER SONGS) WOUNDED BIRD 2419 (Barcode: 664140241923) ~ USA ~ Jazz-Rock Fusion Recorded: 1992 Released: 2007 6th album (5th on Atlantic) by American guitarist / composer Mike SternFind albums by this artist, who has been one of the most prominent figures in the Jazz and Fusion fields for the last three decades. His virtuoso performances and excellent writing are a source of musical joy and his consistently superb standards serve as a model, followed by generations of young guitarist around the world. On this album Stern tackles (for the first time) Jazz compositions by other composers (Chick CoreaFind albums by this artist, Miles DavisFind albums by this artist, John ColtraneFind albums by this artist and others), adding three compositions of his own. Accompanied by a superb group of musicians, which includes trumpeter Randy BreckerFind albums by this artist, bassist Jay AndersonFind albums by this artist and drummer Al FosterFind albums by this artist, this session clearly shows Stern´s deep ties with Jazz and profound understanding of the Jazz tradition. This is classic Fusion and Stern´s guitar playing is simply overwhelmingly excellent, with great flow, emotion and technical virtuosity. A must for any Fusion enthusiast!

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MIKE TAYLOR ~ MANDALA JAZZ IN BRITAIN 23 (Barcode: 5060774190173) ~ UK ~ Jazz Recorded: 1965 Released: 2021 This is an archival album by British Jazz pianist / composer Mike TaylorFind albums by this artist, one of the mythical figures of the British Jazz scene, due to his tragic death at a ridiculous young age and an extremely limited recorded legacy. Taylor recorded only two albums (“PendulumFind albums with this title” 1966 and “TrioFind albums with this title” 1967) before he died at the age of 30 in 1969. The album presents a live recording of five tracks, captured nine months before this lineup recorded Taylor’s debut album “Pendulum”. He is accompanied by saxophonist Dave TomlinFind albums by this artist, bassist Tony ReevesFind albums by this artist and drummer Jon HisemanFind albums by this artist. Of the five tracks one is a standard and four are original composition by Taylor, two of which appear on the tribute album “Mike Taylor RememberedFind albums with this title” by Neil ArdleyFind albums by this artist. Although the music on this album is by far not as revolutionary or groundbreaking as on “Pendulum”, it is a time capsule of a work in progress, which eventually brought the quartet together into the perfection demonstrated on the debut album and which would make Taylor to crystalize his musical ideas to break the barriers of “swing” and John ColtraneFind albums by this artist’s influence, to achieve the Freedom the debut albums so potently demonstrates. The sound quality of the recording is far from ideal, but certainly good enough to enjoy the music and hear some details. Hiseman is way up in the mix while Reeves is almost inaudible, and the piano is also far behind the saxophone, which takes most of the soloing space. The deconstruction of Thelonious MonkFind albums by this artist’s tune is definitely not as radical as on the debut, but comparing the two versions again shows a path Taylor and his quartet were taking. Overall this is splendid document of the era and the formative years of independent British Jazz, which is not following the American influence any more than absolutely necessary. Tomlin bravely takes upon himself the front-line responsibilities, with Taylor pushing the music from behind, and obviously exploring new ground. The rhythm section is absolutely perfect for the job, with Reeves’ musicality and Hiseman’s technical brilliance laying out a firm basis for the two soloists. However, the album also shows clearly how difficult it was to boldly step into the Free / open playing at this time, and the music is at all times strongly bonded to “swinging” at all cost, despite the relative freedom Taylor demonstrates while playing his odd chord sequences behind the swinging foreground. Overall this is a first class discovery, which blissfully appears on record five and a half decades later, which should make every true British Jazz fan happy. Kudos to Jazz In Britain for digging this one out and bringing it up to the surface!

Updated: 06/06/2021Posted: 06/06/2021

CD 1 Digipak Recommend To A Friend

MIKE TAYLOR ~ PENDULUM SUNBEAM 5034 (Barcode: 5051125503414) ~ UK ~ Jazz Recorded: 1965 Released: 2007 Pianist / composer Mike TaylorFind albums by this artist was the most enigmatic figure on the British Jazz scene in the 1960s. His genius was almost completely unknown to most and just a handful of close friends / musicians had the opportunity to work with him and hear his music. His eccentric personality, which bordered on the mentally unstable and his tragic death at a ridiculous young age cut his career short, leaving a legacy of just two albums, of which this is the first. Anybody listening to this album will surely realize that this is one of the most daring and earliest modern British Jazz recordings and it parallels (in time and complexity) to the most advanced Avant Garde Jazz experiments happening across the Atlantic. Taylor’s unprecedented and unconventional approach to music was so ahead of its time that it’s truly mind-boggling. The quartet playing on this recording includes Taylor on piano, Dave TomlinFind albums by this artist on soprano saxophone, Tony ReevesFind albums by this artist on bass and Jon HisemanFind albums by this artist on drums (the last two were of course to form the band ColosseumFind albums by this artist a few years later). The sound of the quartet is somewhat similar to John ColtraneFind albums by this artist’s legendary quartet, but Taylor plays quite differently than McCoy TynerFind albums by this artist of course. The music includes three Jazz standards (on what used to be Side A) and three original compositions by Taylor (on Side B). The treatment of the standards is an absolute hair-raising experience, with Taylor de-composing / de-structuring the original harmony and re-assembling the pieces together in a completely new way. His original compositions are awesome as well, exposing a new musical universe. The entire album is a knockout from start to finish and listening to it over 40 years after it was recorded should still produce Goosebumps on every sensitive listener’s skin. BTW people unaware of Jon Hiseman’s early Jazz days should check out his recording with another great British pianist Howard RileyFind albums by this artist on Howard’s debut album DiscussionsFind albums with this title. Taylor was about to record only one more album, called simply TrioFind albums with this title, with Jon Hiseman and Jack BruceFind albums by this artist on bass (Bruce was very much involved with the British Jazz scene before his adventure with CreamFind albums by this artist – see Jack’s debut album Things We LikeFind albums with this title), who was a friend of Taylor, as were the other members of the Graham Bond OrganizationFind albums by this artist. Also it’s really strange that Taylor’s fate was in many ways similar to that of Bond’s, both ending their lives in a suicide / accident, following a long period of mental instability. This album is a central piece of the puzzle forming the birth of modern British Jazz and no serious follower of that scene can afford not to have this album in his collection. Beyond essential!

Updated: 06/06/2021Posted:

CD 1 Remastered Essential Recommend To A Friend

JOHN TCHICAI ~ AFRODISIACA PROMISING MUSIC 44107 (Barcode: 602517689350) ~ DENMARK ~ Jazz Recorded: 1969 Released: 2008 Danish (of Congolese origin) saxophonist / composer John TchicaiFind albums by this artist 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 CherryFind albums by this artist, Archie SheppFind albums by this artist and John ColtraneFind albums by this artist. 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 BreukerFind albums by this artist as a guest. The title track is a 22 minutes long Jazz suite, performed by the orchestra and composed by trumpeter Hugh SteinmetzFind albums by this artist, 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 BerendtFind albums by this artist, 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 MusicFind albums on this label, this is a treasure. Brilliant!

CD 1 Mini-Sleeve Oversampling Remastered Recommend To A Friend

TIE BREAK ~ TIE BREAK (BOX SET) NOT ON LABEL ~ POLAND ~ Jazz-Rock-World Fusion Recorded: 1984 - 1995 Released: 2014 This incredible Box Set is a long overdue tribute and homage to Tie BreakFind albums by this artist, one of Poland´s most important ensembles in the country´s modern music history, a cult phenomenon known mostly only to insiders and a cradle of the Polish rebellious musical underground, which kept the flame of uncompromised Artistic expression burning for decades, while the rest of the scene was drowning in opportunistic nothingness and anticultural shite. Of course analyzing the importance of Tie Break is impossible without explaining the political, social, economic and historical background of Poland during the period spanning about three decades from the early 1970s to the late 1990s, which is the period when the ensemble was active in one form or another. However, as usual, a scope of a music review is definitely way too limited to even attempt such a challenging task, therefore my references to these subjects will be naturally limited. It is important to remember that these were the most tumultuous years for the Polish People, and amongst them Polish Artists, which saw a gradual but dramatic transformation from the darkest pits of Socialist Regime to a free Democratic society, a process of unparalleled National trauma and Social upheaval. Tie Break hails from Czestochowa, a provincial Polish town (which happens to be the birthplace of my Father), famous as one of Poland´s most important religious centers, with the Pauline Monastery of Jasna Gora and its Black Madonna painting drawing millions of Catholic pilgrims every year from the world over. Even during the darkest times of the Socialist Regime the town kept being flooded by pilgrims, to the dismay of the ruling party officials. In order to change the town´s image a huge steel mill and other industrial enterprises were constructed in the area, which caused a rapid expansion of the town (and of course massive pollution). In retrospect Czestochowa had its share of unholy activities, with dozens of Beat and Rock groups active in the city since the late 1960s, and the early days of Tie Break are largely a result of this background, leading to the formation of the ensemble in the late 1970s. Music was, after all, a most popular method of escapism for young people living at the time on both sides of the Iron Curtain. The need to escape reality was as strong in the case of deep economic depression in the West as it was in the case of oppressive ideology in the East. The group went through many personnel changes during its early days, but eventually the core crystallized around four musicians: trumpeter Antoni GralakFind albums by this artist, saxophonist Mateusz PospieszalskiFind albums by this artist, guitarist Janusz Yanina IwanskiFind albums by this artist and bassist Marcin PospieszalskiFind albums by this artist. The booklet accompanying this Box Set lists twenty three musicians, who cooperated with the ensemble for various periods of time over the years. The music of Tie Break was a completely unique and immediately recognizable amalgam of Rock, Funk, Jazz, Avant-Garde and World Music influences, which was light-years ahead of its time and kept developing constantly during the time of its existence. In parallel to their activities with Tie Break, the ensemble members also took part in other revolutionary enterprises on the local scene, like the legendary Free CooperationFind albums by this artist ensemble or the Young PowerFind albums by this artist ensemble, and appeared under different monikers playing more Rock oriented material, such as the SvoraFind albums by this artist group with vocalist Stanislaw SojkaFind albums by this artist or the WooBooDooFind albums by this artist group. And yet in spite of their obvious talents and brilliant music-making the musicians of Tie Break and the ensemble itself were left to vegetate on the very outskirts of the local scene, with obvious animosity and dislike from almost everybody connected to the music scene: media, record labels, press and even fellow Jazz musicians, especially those mainstream veterans who felt threatened by their innovative and uncompromising approach to music. Tie Break had to wait for over ten years to record their debut album, the eponymous live album recorded in 1988 and released a year later, and recorded only four proper albums altogether during their career. Although their music was mostly instrumental, they used sometimes lyrics in an imaginary gibberish language. Their fourth and last album was an outstanding Jazz & Poetry project, which featured the great vocalist of Greek origin, Jorgos SkoliasFind albums by this artist, singing poems written by the priest / poet Jan TwardowskiFind albums by this artist. Listening to the music of Tie Break brings on in retrospect the obvious influences that shaped the ensemble´s creations: first and foremost the improvisational freedom of John ColtraneFind albums by this artist, which seems to be the most significant ingredient linking the ensemble members, but there are also obvious shades of the late Miles DavisFind albums by this artist bands with their heavy Funk, as well as contemplative Indian music, tribal chants and other folkloristic elements. And of course above all there is the omnipresent spice of craziness, madness, artistic folly and zaniness, which turn the music from being just great into being divine. Some music critics credit Tie Break for being precursors of Yass, but personally I don´t support this line of thought. Yass was motivated mainly by protest and revolt against old ways (of Jazz), whereas Tie Break were simply inventing new Jazz in a most positive way they could think off, in complete disregard of commercialism, opportunism and fads of fashion, as appropriate for true anarchists, and as most anarchist they never achieved fame and fortune, but they managed to expand the borders of our culture more than most others, for which they deserve our eternal gratitude. This Box Set includes remastered versions of the four Tie Break albums and three additional CDs with archive and radio recordings by Tie Break, Svora and WooBooDoo. Beautifully packaged and accompanied by a gorgeous booklet with original artwork and in-depth interviews with Tie Break members, this is obviously a labor of love and finally a much deserved retrospective of one of Poland´s most meaningful musical contributors. This is an absolute must to any serious Polish Jazz or Polish Culture connoisseur.

Updated: 12/04/2019Posted:

CD 7 Digipak Box Set Remastered Bonus Tracks Essential Recommend To A Friend

MCCOY TYNER / JOE HENDERSON ~ FORCES OF NATURE: LIVE AT SLUGS` BLUE NOTE 602465975147 (Barcode: 602465975147) ~ USA ~ Jazz Recorded: 1966 Released: 2024 This is a live archival album by American Jazz Giants pianist McCoy TynerFind albums by this artist and saxophonist Joe HendersonFind albums by this artist, playing in a quartet setting with bassist Henry GrimesFind albums by this artist and drummer Jack DeJohnetteFind albums by this artist. The music was recorded at the NYC club Slugs’ sometime in 1966. The 2CD album presents five tracks, two of which are original compositions by Henderson, one by Tyner, another one is an improvised piece credited to all four musicians and finally one is a standard. Two of the pieces are close to thirty minutes in duration. The sound quality of the live recording is acceptable, but far from perfect. The album comes with an extensive booklet, with articles by musicians and critics, similar to the format of albums released on the ResonanceFind albums on this label label, which is not surprising since this album was produced by Zev FeldmanFind albums by this artist, the person behind Resonance. All four musicians are brilliant players of course so anything they play can’t be bad of course, but this album captures just one random night where they play just another gig, so basically there is nothing here that we have not heard a thousand times before. Tyner was not with John ColtraneFind albums by this artist anymore, but he plays as if he still is, and Henderson tries to play like Coltrane, which is not his true call. In short everybody plays a lot of notes, and I mean a lot, and the neck breaking tempo is not doing much good to the music. Of course, again, these are great musicians, just not such a great album. Overall, this is a meeting of Giants, who are somewhat confused as far as the musical direction of the music, other than playing as many notes per minute as humanly possible. For completists only IMHO, and almost all this music could have fitted on a single CD, making the cost of the album more reasonable.

Updated: 23/01/2025Posted: 23/01/2025

CD 2 Digipak Remastered Recommend To A Friend

KRZYSZTOF URBANSKI ~ URBANSKI NOT ON LABEL ~ POLAND ~ Jazz Recorded: 2009 Released: 2010 This is a brilliant debut album by the young Polish Saxophonist / composer Krzysztof UrbanskiFind albums by this artist and his quartet, with pianist Pawel TomaszewskiFind albums by this artist, bassist Michal BaranskiFind albums by this artist and drummer Tomasz TorresFind albums by this artist. The album presents seven compositions, five of which are his originals and two are standards. From the fist note it is quite apparent that Urbanski is not just one more upcoming saxophonist on a scene overflowing with young talent; he has star quality which is unmistakable. Although the music on this album fits well within the classical Jazz convention (and I´m purposely avoiding the term "mainstream", which unfortunately over the years becomes more often than not associated with mediocrity), Urbanski manages to find very early in his career a very individual tone and approach, which happens very rarely with young players. It is obvious he is capable of reaching beyond the obvious and daring without apprehension, as evident herein for example on his treatment of the two standards, especially the John ColtraneFind albums by this artist´s "Giant Steps", which he in a transfixing way manages to turn upside down rhythmically. Urbanski the saxophonist is truly something else; his beautiful tone, which in its gentle and sweet manifestation is somewhat similar to Stan GetzFind albums by this artist and on the more energetic side to the young Wayne ShorterFind albums by this artist. Anybody in doubt should simply listen to the solo saxophone track on this album to comprehend Urbanski´s qualities. The five original compositions also prove a maturity one hardly expects to find in young Jazz composers. His melodic, harmonic and rhythmic vocabulary spans the Jazz tradition and presents elegant, intelligent and highly aesthetic listening experience, which simply grows with each listening session. Very worm words of praise also go to the superb rhythm section, which enables his to spread his wings but also contributes some excellent moments on its own right, with interesting solos and fabulous team work throughout this album. Tomasz Torres, the son of the legendary Polish (of Cuban origin) percussionist Jose TorresFind albums by this artist, pushes the quartet with beautiful polyrhythmic and Afro-Cuban influenced drive. Michal Baranski is already a household name on the Polish scene, known as one of the best new generation bassist in the country and his beautiful work on this album reflects his amazing talent. Pawel Tomaszewski also managed to establish quite a reputation despite his young age, with numerous recordings behind him. His solos on this album are simply top class, and his support of the leader is simply perfect. This is definitely one of the strongest debut albums released on the Polish Jazz scene in recent years, deserving a much stronger applause then it received in actuality. Urbanski is definitely someone to keep an eye on. Wholeheartedly recommended! Visitors' Comments Krzysztof Urbanski I have never before read such a constructive review of my music. I´m happy and wish to thank you again, Adam!

CD 1 Recommend To A Friend

VANILLA FUDGE ~ WHERE IS MY MIND? (THE ATCO RECORDINGS 1967-1969) ESOTERIC 2882 (Barcode: 5013929488243) ~ USA ~ Classic Rock Recorded: 1967 - 1969 Released: 2024 This brilliant 9CD Box Set compiles all the recordings by the American Rock group Vanilla FudgeFind albums by this artist released on the AtcoFind albums on this label label. It includes the newly remastered five albums, a live performance and a plethora of bonus material. It also includes an interesting booklet with background material, historical overview and photographs of the group. The original lineup of Vanilla Fudge included lead vocalist / organist Mark SteinFind albums by this artist, guitarist Vince MartellFind albums by this artist, bassist Tim BogertFind albums by this artist and drummer Carmine AppiceFind albums by this artist. CD1 presents the mono version of the debut eponymous album “Vanilla FudgeFind albums with this title” and three bonus tracks taken from singles. CD2 presents the stereo version of the debut album two bonus tracks, also taken from singles. CD3 presents the mono version of the 2nd album “The Beat Goes OnFind albums with this title” and two bonus tracks taken from a single. CD4 presents the stereo version of the 2nd album and two bonus tracks taken from album outtakes and a single. CD5 presents the 3rd album “RenaissanceFind albums with this title” and four bonus tracks taken from singles and album outtakes. CD6 and CD7 present a live concert recorded at the Fillmore West, San Francisco on January 1st 1969. CD8 presents the 4th album “Near The BeginningFind albums with this title” and seven bonus tracks taken from singles and studio outtakes. CD9 presents the 5th album “Rock & RollFind albums with this title” and six bonus tracks taken from singles and studio outtakes. Some of the bonus material as well as the live concert recordings in this Box Set were previously released in 2010 as the “Box Of FudgeFind albums with this title” 4CD Box Set on Rhino HandmadeFind albums on this label, which is now a collectors’ item. The original lineup (with guest musicians) released only one more album “MysteryFind albums with this title” in 1984, but that is another story. Vanilla Fudge shocked the Rock World with their revolutionary / visionary eponymous album, which offered a new approach to Rock, based on novel arrangements of Pop songs, which were expanded into mammoth pieces stretching several minutes, completely unheard of at the time, inventing Psychedelic and Hard Rock on their way. I vividly remember hearing their music for the first time during the Summer of Love (in 1967 for the oblivious) and I was completely baffled and amazed, by the sheer audacity of these guys, who were doing to Rock almost the same John ColtraneFind albums by this artist was doing to Jazz. Surprisingly, or perhaps not so surprisingly, the young listeners went along and the Vanilla Fudge became extremely popular for a while. The effect of surprise weakened in time, as the group repeated the same formula time and again and later started to record their original material, and the charm was lost, but they have definitely made a most significant mark of the Rock idiom. They surely invented the concept of a cover sounding infinitely more interesting than an original song. Overall, this is an essential piece of Rock History and having all this material in one box is extremely handy. So if you don’t have these albums individually in your collection, or you miss the a.m. “Box Of Fudge” Box Set, this Box Set is an absolute must have. If you have forgotten how this music sounds, you will thank me for getting back to it I’m sure. There were definitely better days for music!

Updated: 07/03/2025Posted: 20/02/2025

CD 9 Mini-Sleeve Box Set Remastered Bonus Tracks Essential Recommend To A Friend

VARIOUS ARTISTS ~ A GUITAR SUPREME: GIANT STEPS IN FUSION GUITAR MASCOT 7102 (Barcode: 8712725710226) ~ USA ~ Jazz-Rock Fusion Recorded: 2004 Released: 2004 This is the 1st project in the series of Fusion tributes, conceived, produced and arranged by Jeff RichmanFind albums by this artist. Dedicated to the Jazz Giant John ColtraneFind albums by this artist, this ambitious project works around the concept of a fixed rhythm section (Tom BrechtleinFind albums by this artist – drums, Larry GoldingsFind albums by this artist – organ, Alphonso JohnsonFind albums by this artist – bass and Jeff Richman – guitar) and a group of leading Fusion guitar players, who are the soloist (Larry CoryellFind albums by this artist, Mike SternFind albums by this artist, Frank GambaleFind albums by this artist and others). Twelve compositions written or often played by Coltrane are given here a completely new treatment in the best of the Fusion tradition. Some of the music remind me of the fabulous John McLaughlin / Carlos SantanaFind albums by this artist collaboration Love Devotion SurrenderFind albums with this title, which also paid tribute to Coltrane. Definitely a must for all younger Coltrane fans and basically for all fusion fans - whatever their fusion taste may be this is much too good to be ignored.

CD 1 Recommend To A Friend