Record Reviews
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  | 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 ~ 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 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 / 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 |
  | 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 |
  | 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 |
  | 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 |
  | 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 |
  | ALPHONSE MOUZON ~ BY ALL MEANS
MPS 4029759169703 (Barcode: 4029759169703) ~ USA ~ Jazz-Funk Fusion
Recorded: 1981 Released: 2021
This is a reissue / remaster of an album by American drummer / composer / bandleader Alphonse MouzonFind albums by this artist, recorded with some top American musicians active at the time, including keyboardist Herbie HancockFind albums by this artist, guitarists Lee RitenourFind albums by this artist and Paul Jackson Jr.Find albums by this artist, bassist Scott EdwardsFind albums by this artist and the Seawind HornsFind albums by this artist. Trumpeter Freddie HubbardFind albums by this artist guests on one tracks. The album presents five original compositions, all by Mouzon, and the album was produced by my Friend and Mentor Joachim BerendtFind albums by this artist.
Mouzon enjoyed an illustrious career during the 1970s, first as a member of McCoy TynerFind albums by this artist quartet and later as a founding member of Weather ReportFind albums by this artist, Larry CoryellFind albums by this artist’s Eleventh HouseFind albums by this artist and many other Fusion ensembles, which makes him one of the forefathers of the American Fusion. By the time this album was recorded, Mouzon move more towards Funk and Groove, and this album is a classic example of the genre. Combining Funky grooves and Jazzy brass arrangements it reflects perfectly the relaxed atmosphere fashionable at the time.
Although hardly challenging musically, the album shows that the easier side of the Jazz spectrum can be masterly conceived and executed by highly professional musicians, who are Masters of their trade.
Overall, this is a long overdue reissue of a very enjoyable album, which is a perfect companion for sunny days and an effective antidepressant, which should help some of the Jazz snobs to relax once in a while.
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: 29/12/2023Posted: 02/05/2022 | CD 1 Digipak Remastered 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 |
  | FLORA PURIM ~ PERPETUAL EMOTION
NARADA 724385062520 (Barcode: 724385062520) ~ BRAZIL ~ Jazz-World Fusion
Recorded: 2000 Released: 2001
This is a wonderful album by Brazilian vocalist Flora PurimFind albums by this artist, recorded with excellent musicians: American saxophonist Gary MeekFind albums by this artist, fabulous French pianist Christian JacobFind albums by this artist, American bassist Trey HenryFind albums by this artist and her husband drummer, percussionist Airto MoreiraFind albums by this artist. Brazilian guitarist Oscar Castro-NevesFind albums by this artist guests on selected tracks. The album presents eleven tracks, a mixture of original songs by Purim, Airto and Meek, some Brazilian songs, two Jazz compositions by Chick CoreaFind albums by this artist and McCoy TynerFind albums by this artist and one standard.
The music is the usual mixture of Jazz and Brazilian spicing, which is an irresistible, intoxicating magic for every true Jazz lover. This album is closer to Jazz than most other albums Purim recorded earlier, which although excellent, were somewhat more Pop oriented. I personally fell in love with Flora’s singing since the day I heard her sing with Chick Corea in 1972.
She is accompanied by a great team of musicians, who swing beautifully, providing the ideal accompaniment to Purim’s warm, sensual voice. In many respects this is probably the purest Jazz recording in her discography and features some of her best original material.
Overall, this is a marvelous vocal Jazz album by one of my most loved singers, who never recorded a bad album in her life. Her recorded legacy offers many fabulous albums, all of which are definitely worth visiting, and she is one of the most important Jazz-World Fusion innovators.
| | Updated: 21/08/2023Posted: 21/08/2023 | CD 1 Recommend To A Friend |
  | 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 |
  | 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.
| | | 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 |
  | 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 |
  | WOJCIECH STARONIEWICZ / A`FREAK-AN PROJECT ~ LIVE IN GDANSK
ALLEGRO 038 (Barcode: 5901157049384) ~ POLAND ~ Jazz-World Fusion
Recorded: 2016 Released: 2019
This is the third album by veteran Polish Jazz saxophonist / composer / bandleader Wojciech StaroniewiczFind albums by this artist and his A`Freak-aN ProjectFind albums by this artist ensemble, which is an octet featuring a saxophone quartet and an extended rhythm section: Staroniewicz on tenor, Przemek DyakowskiFind albums by this artist on tenor, Dariusz HerbaszFind albums by this artist on baritone, Marcin JanekFind albums by this artist on soprano, Dominik BukowskiFind albums by this artist on vibraphone, Janusz MackiewiczFind albums by this artist on bass, Roman SlefarskiFind albums by this artist on drums and Larry Okey UgwuFind albums by this artist on percussion. The album, which was recorded live at Radio Gdansk, presents seven compositions, two of which are originals by Staroniewicz, four are by Krzysztof KomedaFind albums by this artist and one is by McCoy TynerFind albums by this artist, all arranged by Staroniewicz.
This album is in fact a live version of the previous album by the ensemble from 2015, called "A`Freak-Komeda ProjectFind albums with this title", except for the Tyner track. Therefore basically everything I wrote about that album applies also here – just click on the link.
As Staroniewicz says on the album´s artwork, this album is a great opportunity to compare the same music recorded in studio and live, which of course can be very different. The live concert setting offers much more dynamics and excitement and expanded improvisations, but is prone to minor "mishaps", which in retrospect are usually simply charming.
Since the Komeda arrangements are really very special, I recommend to Polish Jazz enthusiasts to put their hands on this album as well and compare these versions with the studio ones, and enjoy a great live album with excellent musicians on board.
| | Updated: 14/01/2020Posted: 14/01/2020 | 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 |
  | 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 |
  | MACIEK WOJCIESZUK ~ MWQ
SJ 014 ~ POLAND ~ Jazz
Recorded: 2015 Released: 2016
This is the debut album by the young Polish Jazz quintet led by drummer Maciek WojcieszukFind albums by this artist, which also includes trumpeter Pawel PalcowskiFind albums by this artist, saxophonist Kuba LepaFind albums by this artist, pianist Paulina AtmanskaFind albums by this artist and bassist Adam TadelFind albums by this artist. Together they perform seven original compositions (presumably by the leader), while the album´s packaging gives no information whatsoever as to the authors of these compositions, which is careless not to mention unwise.
The music is all pretty conventional, well within the Jazz mainstream and the Bebop tradition. The compositions are solid and mature, serving the quintet members well as vehicles for their ensemble parts and their individual solos. Considering the age of these musicians, this is definitely a very fitting display of their talents. The personal abilities of the quintet members might be a bit hesitant at times, but show a lot of promise, and again considering that these are their early professional steps, they deserve a lenient criticism.
It is difficult to point out anyone specific from the quintet´s lineup, as they all perform formidably. Personally I think Atmanska stands out due to her unusual approach to the piano, which uses hard vamping a la McCoy TynerFind albums by this artist and displays more freedom in her playing than her colleagues. Tadel also deserves a special mention, as his sold bass lines and beautiful solos are some of the album´s highlights. But again this album is overall an impressive debut, which can make the leader and his cohorts proud of themselves. The sound quality of the album, recorded at the excellent RecPublica Studios and engineered by Maciej StachFind albums by this artist is another of this album´s strong points.
Since I had the opportunity to hear these young musicians during their studies at the Jazz Department of the Katowice Music Academy, I am not surprised by their abilities, a phenomenon which characterizes the students at all the Polish Music Academies, where a young generation of Polish Jazz musicians is currently being groomed. The amount of talent among these young musicians is simply staggering, thus making sure that Polish Jazz is destined to flourish in the future as much as it does already now. Definitely an album worth investigating!
| | Updated: 09/07/2016Posted: 09/07/2016 | CD 1 Digipak Recommend To A Friend |
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