Record Reviews
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  | 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!
| | | CD-R 1 Recommend To A Friend |
  | 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: | CD 2 Digipak Oversampling Remastered Bonus Tracks Recommend To A Friend |
  | PAUL BLEY / GARY PEACOCK / PAUL MOTIAN ~ WHEN WILL THE BLUES LEAVE
ECM 2642 (Barcode: 602577404238) ~ USA ~ Jazz
Recorded: 1999 Released: 2019
This is an archival live album by the Jazz trio led by the iconic pianist / composer Paul BleyFind albums by this artist, with bassist Gary PeacockFind albums by this artist and drummer Paul MotianFind albums by this artist. The album was recorded during the tour following the release of their studio album “Not Two, Not OneFind albums with this title”, which was their first get-together after thirty-five years, since they recorded the 1964 session released on ECMFind albums on this label as “Paul Bley With Gary PeacockFind albums with this title” in 1970. The album presents eight tracks, five of which are original compositions by Bley, one is by Peacock, one is by Ornette ColemanFind albums by this artist and finally one is a standard.
Despite the fact that Bley is considered as an intrinsic part of the American Avant-Garde / Improvised Music / Free Jazz scene, his music always includes a deep melodic layer and an almost romantic tenderness, which keeps him apart from the aggressiveness / rowdiness, which usually characterizes these genres beyond the pond. Therefore, listening to music played by Bley is always a deeply moving experience, which involves aesthetic values and a rare emotional involvement.
This brilliant trio is ideal for Bley’s music in every respect, not only because the rhythm section matches his skills and emotions in every way, since Peacock and Motion are extraordinary musicians, and supremely sensitive partners. Every album featuring Peacock’s virtuosic bass performances is a guaranteed masterpiece, and there are literally dozens of albums he plays on.
Overall, this is a superb Jazz piano trio album, which although presenting quite complex music, should be accessible to a wide range of true Jazz lovers. The performances are absolutely marvelous, the sound quality is superb and the total experience is unforgettable.
| | Updated: 19/11/2024Posted: 19/11/2024 | CD 1 Slipcase Recommend To A Friend |
  | 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 |
  | 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 |
  | ORNETTE COLEMAN / JOACHIM KUHN ~ COLORS
HARMOLODIC 731453778924 (Barcode: 731453778924) ~ USA ~ Free Jazz / Improvised Music
Recorded: 1996 Released: 1997
This is a live album by the duo of American saxophonist / composer Ornette ColemanFind albums by this artist and German pianist / composer Joachim KuhnFind albums by this artist. The album presents eight tracks, all of which were composed by Coleman.
The album presents a truly epic meeting between two great representatives of the Free Jazz / Improvised Music idiom, who although separated by the Euro-American cultural gap and a generation gap seem to be performing as if they knew each other since birth. Kuhn (born 1944) admits that Coleman (born 1930) was one of his greatest musical inspirations when his perception of the Jazz idiom was first formed, much more than other Jazz musicians who are traditionally considered as Jazz influencers, and who are supposed to have inspired everything that is considered as Jazz music. Well, of course neither Coleman nor Kuhn are in any sense “typical” Jazz musicians, and thank God for that.
The symbiosis between the two Giants is completely natural and the music they create flows smoothly and organically. Coleman plays trumpet and violin in addition to the alto saxophone, switching instruments at will, and Kuhn races all over the keyboard like the Wizard of Oz, and the wall of sound they create sounds perfectly logical and even melodic (or rather harmolodic), with the duo sounding as a one four-handed persona, inseparable and entirely of one mind. This album is one of the most dramatic examples of the “Art of the Duo” in its purest and most perfect form.
Overall, this is a stunning album, which no Improvising Music connoisseur should miss in their record collection. The sound quality of the recording is perfect and brilliantly clear, which allows for all the nuances in this complex music to be perfectly audible. It is beyond recommendation…
| | Updated: 14/02/2025Posted: 14/02/2025 | CD 1 Recommend To A Friend |
  | CUSTOM TRIO / ANDRZEJ PRZYBIELSKI ~ FREE BOP
POLONIA 226 ~ POLAND ~ Jazz
Recorded: 1999 Released: 2000
This is probably the best album recorded by the recently deceased Polish trumpet virtuoso / composer Andrzej PrzybielskiFind albums by this artist, who remains largely unknown to most Jazz aficionados even in his native country. An eccentric and outsider, Przybielski was blessed with an incredible talent, which unfortunately was recognized only by very few connoisseurs.
This studio recording, obviously well planned and relaxed, allows the great trumpeter to relax fully and play his heart out to the fullest, accompanied by excellent musicians worthy of his company, which are called Custom TrioFind albums by this artist. The trio consists of saxophonist Krzysztof KapelFind albums by this artist and the Oles BrothersFind albums by this artist: bassist Marcin OlesFind albums by this artist and drummer Bartlomiej OlesFind albums by this artist – Poland´s Free Jazz most notable rhythm section. Together as a quartet they perform nine original compositions, five of which were composed by Przybielski and the remaining four by Bartlomiej Oles.
The performances are absolutely stellar and the album is one of the best Polish (and definitely not only Polish) Jazz albums ever recorded. As much as that sounds overblown, if you can listen to this music, you´ll be instantly convinced. Any other player placed opposite (or side by side) a genius like Przybielski is in a great danger of appearing pale. Luckily Kapel is capably to blow like only a few can, matching everything that Przybielski plays with a vengeance. This is simply unbelievable music, which stands easily opposite such legendary sessions as the early Ornette ColemanFind albums by this artist with Don CherryFind albums by this artist. In short this is essential Jazz, which can only be played by a very small group of exceptionally gifted players, which is definitely the case here. Brilliant!
| | Updated: 02/01/2017Posted: | CD 1 Slipcase Recommend To A Friend |
  | WOLFGANG DAUNER ~ DREAM TALK
L+R 710627 (Barcode: 4003099710627) ~ GERMANY ~ Jazz
Recorded: 1964 Released: 2008
This is a reissue of the debut album by legendary German pianist / composer Wolfgang DaunerFind albums by this artist, recorded in a classic piano trio setting with no less legendary bassist Eberhard WeberFind albums by this artist and American, living in Germany, Master drummer Fred BracefulFind albums by this artist. This album, which also marks a recording debut for both Weber and Braceful, presents eight tunes, five of which are original compositions by Dauner, one is by Ornette ColemanFind albums by this artist, another one is by Mal WaldronFind albums by this artist (another US compatriot living in Germany) and the remaining one is a standard.
Originally recorded in 1964, this is one of the earliest German and European Jazz recordings, which symbolize the rebirth of Jazz in Europe, taking a radical step forward from the American Jazz tradition. The great Horst LippmannFind albums by this artist, my friend and founder of the L+RFind albums on this label label (named after the concert agency he managed for many years with his friend Fritz RauFind albums by this artist), makes an interesting and quite prophetic observation on the album´s original liner notes, which compares this piano trio with the legendary Bill EvansFind albums by this artist trio with bassist Scott LaFaroFind albums by this artist; he states that Evans and LaFaro revolutionized the role of the bass in a piano trio, bringing the bass to an equal level with the piano, and Dauner made the same giant step with revolutionizing the role of the drums, bringing them in turn to an equal level with the piano and the bass, something Evans never managed to do in his trio. Of course there is so much more to this album than just the change of the status of the drums – it revolutionizes the piano trio mostly by inserting the huge amount of freedom and space, while maintaining a perfect order and logic, not to mention elegance and sophistication.
As Lippmann says in his liner notes to the vinyl reissue from 1980, this album was light years ahead of its time and was fully understood and appreciated by just a very small group of Jazz connoisseurs, open minded enough to grasp its significance at the time. Even today this music sounds not only completely up to date, but also absolutely stunning, although over five decades passed since it was first recorded.
In retrospect this is one of the most pivotal European Jazz recordings, taking the Jazz idiom a giant step forward into the unknown (at the time), without compromising the tradition and at the same time bravely and unwaveringly crossing over into the European aesthetic, which was erupting at the time on the Continent, strong enough to penetrate even beyond the Iron Curtain.
This is an absolutely essential piece of European Jazz history, which should find a highly respected place in every meaningful Jazz record collection anywhere in the world. Thank God this music is still available for us to enjoy and not buried away and forgotten as so many of its parallels. The remastered edition offers a spectacular sound quality. An absolute must have!
| | Updated: 25/03/2016Posted: 24/03/2016 | CD 1 Remastered Essential 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 |
  | FAR CRY ~ FAR CRY
FALLOUT 2090 (Barcode: 5051125209019) ~ USA ~ Jazz-Rock Fusion
Recorded: 1968 Released: 2007
Only album by US septet Far CryFind albums by this artist, which is a rare example of early US Jazz-Rock Fusion. The band was fronted by a unique lead singer Jere WhitingFind albums by this artist, who delivers some of the most unusual vocal performances (comparable only to Captain BeefheartFind albums by this artist excursions), with growls, whines and you name it, but all making perfect sense in the overall scheme of things. The six instrumentalist play two guitars, saxophone, keyboards, bass and drums producing a big sound and combining Rock, Blues and Jazz into their own amalgam. Saxophonist Dick MartinFind albums by this artist is the biggest surprise and delivers some of the strangest phrases ever heard on a Rock oriented album at the time, very close to Avant-Garde Jazz of Ornette ColemanFind albums by this artist or Albert AylerFind albums by this artist. Strangely enough the stuff he plays fits perfectly the overall ambience of the album. Six of the seven composition included on the album are originals by the band members and they are all very interesting. Overall this is a real forgotten gem and a blast from the past. Having it back in circulation is a real treat. Definitely worth checking out.
| | Updated: 12/04/2019Posted: | CD 1 Remastered Recommend To A Friend |
  | KRZYSZTOF FETRAS PROJECT / TOMASZ KROL ~ DIFFERENT GUITAR
GM 001 ~ POLAND ~ Jazz
Recorded: 2011 Released: 2012
Polish guitarist / composer Krzysztof FetrasFind albums by this artist and his trio, which consists of bassist Mikolaj NowickiFind albums by this artist and drummer Jaroslaw GasFind albums by this artist, are joined on this album by the young guitarist Tomasz KrolFind albums by this artist, creating together an unusual double-guitar quartet, which plays quite differently from what listeners usually associate with guitar led Jazz music. The album includes eight tracks and the music is almost entirely original, with the exception of one tune by Ornette ColemanFind albums by this artist, and was composed by Fetras or co-composed by him and his wife Iwona FetrasFind albums by this artist, with one tune credited solely to Iwona and another credited to Krol, Fetras and Nowicki.
Although the guitarists use both electric and acoustic guitars, the sound of the guitars is not that much different from each other, as the session has largely an acoustic ambience. The melodies are stated usually quite overtly at the start of each track, to be followed by extended improvisations by both guitarists, some straightforward and other quite free. The guitarists play mostly together, accompanying each other on their respective solos, with the acoustic and electric guitars blending together harmonically and textually and there is plenty of inspired interplay.
Both guitarists offer quite excellent phrasing, playing around the melody lines and sometimes flirting with time, wrapping things up nicely by the end of each tune. The rhythm section provides a solid and mostly delicate background, which is essential for the soloists to be able to soar above it. Their playing is elegant and imaginative, without being obtrusive on one hand and over-ornamental on the other. It is a relief to find people who treat the guitar differently from what the fashion dictates, i.e. flashy Fusion oriented doodling, which makes little sense and provides no challenge whatsoever.
The music you´ll find here keeps the listener on his toes at all times, either in order to follow the complex improvisations or the multilayered ambient atmosphere the music evolves into at times. Overall this is an album guitar lovers everywhere should listen to attentively, as it presents a unique and quite unusual guitar playing, which offers a pleasant listening experience without being trivial or simplistic. Warmly recommended!
| | | CD 1 Digipak Recommend To A Friend |
  | CHARLIE HADEN ~ THE COMPLETE REMASTERED RECORDINGS ON BLACK SAINT & SOUL NOTE
CAM JAZZ 1001 (Barcode: 8024709111227) ~ USA ~ Jazz
Recorded: 1977 - 1990 Released: 2010
This superb Box Set collects all the albums recorded by the legendary US bassist / composer Charlie HadenFind albums by this artist on the twin Italian independent labels: Black SaintFind albums on this label and Soul NoteFind albums on this label. Haden needs no introduction to any serious Jazz connoisseur; suffice to say that from the early days with Ornette ColemanFind albums by this artist in the late 1950s, his bass playing would definitely establish "The Shape Of Jazz To Come", paraphrasing on the title of Haden´s first recording with Coleman. Later on he was a member of the legendary Keith JarrettFind albums by this artist US quartet and later cooperated with the most distinguished Jazz musicians around the globe. His virtuosic bass playing and excellent compositions are always a source of great musical joy. The musicians playing on these five albums include: drummer Billy HigginsFind albums by this artist, pianist Enrico PieranunziFind albums by this artist, trumpeter Chet BakerFind albums by this artist, drummer Paul MotianFind albums by this artist, pianist Geri AllenFind albums by this artist, trumpeter Don CherryFind albums by this artist, saxophonist Dewey RedmanFind albums by this artist and drummer Ed BlackwellFind albums by this artist. 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: 10/04/2020Posted: | CD 5 Mini-Sleeve Box Set Remastered Recommend To A Friend |
  | JOE HARRIOTT ~ THREE CLASSIC ALBUMS
REAL GONE JAZZ 499 (Barcode: 5036408174529) ~ UK ~ Jazz
Recorded: 1959 - 1962 Released: 2015
This is a reissue of the first three albums by British (born in Jamaica) saxophonist / composer Joe HarriottFind albums by this artist, one of the pivotal figures of modern British Jazz. These albums were recorded with the absolute crème de la crème of the aspiring new wave of British Jazz musicians, who were transforming the Jazz idiom at the time. They include trumpeters Hank ShawFind albums by this artist and Shake KeaneFind albums by this artist, pianists Harry SouthFind albums by this artist and Pat SmytheFind albums by this artist, bassist Coleridge GoodeFind albums by this artist and drummers Bobby OrrFind albums by this artist and Phil SeamenFind albums by this artist. Percussionist Frank HolderFind albums by this artist guest on several tracks.
The sequence of these three albums, recorded over a period of about three years, is perhaps the most important example of the birth of the revolutionary modern British Jazz in the early 1960s, which was about to spread shortly also to the rest of the Continent. The first album "Southern HorizonsFind albums with this title" (recorded between May 1959 and April 1960) is seemingly a straightforward Bebop date, but a more advanced listener will find some highly unusual twists and turns, somewhat related to the work of Ornette ColemanFind albums by this artist, which already take this album beyond Bebop and into a more adventurous area Harriott was already developing in his head.
The second album "Free FormFind albums with this title" (recorded in November 1960), which despite its title is not about the commonly conceived Free Jazz idiom, takes a dramatic leap forward, even beyond what Coleman was doing at the time, creating the European equivalent of Free Form, which was much more subtle and sophisticated in many respects and based on amalgamation of chord structures, tonality, rhythmic diversity and contemporary European Classical influences with the Jazz tradition. The result is presented on this album in full bloom, and constitutes perhaps the "Big Bang" of European Jazz.
The third album "AbstractFind albums with this title" (recorded between November 1961 and May 1962) is a full blown Free Form masterpiece, which to this day is one of the strongest examples of primal modern British Jazz, which has almost nothing to do with American Jazz tradition and breaks all possible barriers and limitations, opening a new prospect for things to come.
In spite of his genius, or perhaps because of it, Harriott would die in 1973 as a lonely, forgotten and destitute man, ravaged by illness, after almost four years of inactivity. His music and his pivotal contribution to British Jazz was sadly almost completely ignored for decades and even today he is known only to a selected group of admirers.
Any serious Jazz connoisseur, who is not familiar with these albums, should rectify this unforgivable neglect ASAP, as there would not be British / European Jazz as we know it without Joe Harriott´s contribution. Absolutely essential!
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: 26/03/2016 | CD 2 Digipak Remastered Essential Recommend To A Friend |
  | HUGH HOPPER ~ HOPPER TRINITY BOX
CUNEIFORM 240 (Barcode: 045775024028) ~ UK ~ Canterbury Scene
Recorded: 1976 Released: 2007
2nd album by Hugh HopperFind albums by this artist (and the first release after he left Soft MachineFind albums by this artist), released originally on the tiny Norwegian Compendium label (same label that originally released Henry CowFind albums by this artist’s ConcertsFind albums with this title and other weird but wonderful music). Musically the album belongs very strongly to the Soft Machine experimental Jazz-Rock of the ThirdFind albums by this artist, FourthFind albums with this title, FiveFind albums with this title & SixFind albums by this artist period (when Hopper was still a member of the group). Hopper enlisted eight great musicians (Mark CharigFind albums by this artist, Elton DeanFind albums by this artist, Dave StewartFind albums by this artist, Gary WindoFind albums by this artist and others), all members of the flourishing Canterbury scene and UK Jazz circles (members in groups like Brotherhood Of BreathFind albums by this artist, GilgameshFind albums by this artist, Hatfield And The NorthFind albums by this artist, IsotopeFind albums by this artist, Keith TippettFind albums by this artist Sextet, etc), who make up the duos, trios, quartets and quintets that play on this album. He wrote all the music, except one track, which was composed by Ornette ColemanFind albums by this artist. This album is considered Hopper’s most consistent release ever and sounds as fresh today as when it was first recorded. For all Canterbury scene and SM fans this is an absolute must and it’s a great joy to see this album available again. Brilliant stuff!
| | | CD 1 Remastered Recommend To A Friend |
  | WOJCIECH JACHNA ~ EMANACJE
MULTIKULTI MPI 043 (Barcode: 5907529223536) ~ POLAND ~ Free Jazz / Improvised Music
Recorded: 2015 Released: 2018
This is a solo trumpet album by Polish Jazz trumpeter / composer Wojciech JachnaFind albums by this artist. The album examines the relationship between sound and space and was recorded in several locations around Jachna´s home town of Bydgoszcz, like the Synagogue and the Water Tower, and other locations with a specific architectural design, which influences the acoustics. The album presents fourteen relatively short improvisations on themes, mostly composed by Jachna (eight tracks). Guitarist Jakub ZiolekFind albums by this artist guests on one track, which was composed by Ornette ColemanFind albums by this artist.
For several years now Jachna has been consistently paving his way towards the top of the Polish Improvised Music / Jazz trumpet scene, obviously influenced by the two major / celebrated Polish Jazz trumpet figures, sadly both not with us any more: his hometown hero Andrzej PrzybielskiFind albums by this artist and of course Tomasz StankoFind albums by this artist. It is not surprising therefore that a composition by each of these two great musicians is present next to each other on the album. Also present is a composition by the godfather of Polish Jazz, Krzysztof KomedaFind albums by this artist. As a result Jachna seems to pay tribute to the Masters, recognizing their influence, along with his own contributions, which mark his own path. The music was recorded three years before the album´s release, which means that Jachna released several albums after this music was recorded, allowing us a glimpse into the past.
The sound of the trumpet reflected by the acoustics of the various architectural structures is a lonely journey, minimalist and introvert, but full of emotion and beauty, which should keep all Improvised Music enthusiasts perfectly happy. Jachna has a rare talent to express his emotions and musical ideas clearly and effectively, which is even more powerful in the solo setting. This album is a document of an experiment, which proves that Jachna is at all times searching for new ways to express his music.
Overall this is an unusual and interesting album, which is definitely worth investigating by Polish Jazz, Improvised Music and trumpet connoisseurs the world over.
| | Updated: 05/01/2019Posted: 05/01/2019 | CD 1 Mini-Sleeve Recommend To A Friend |
  | YONI KRETZMER ~ OVERLOOK
OUTNOW 002 (Barcode: 7290011216986) ~ ISRAEL ~ Jazz
Recorded: 2009 Released: 2011
Israeli saxophonist / composer Yoni KretzmerFind albums by this artist is one of the most prolific musicians on the local Free Jazz / Improvised Music scene. In addition to his musical activities Kretzmer recently combined forces with two other Israeli musicians (guitarist Ido BukelmanFind albums by this artist and guitarist Yair YonaFind albums by this artist) and together they launched a new Israeli record label, called OutNowFind albums on this label Recordings, dedicated to releasing their own music and other more ambitious and less commercial musical ventures, which otherwise would have very little (if any) chances to see the light of day at all. The label released its first six albums recently, of which this is the second one. Kretzmer, who leads several different ensembles, recorded this album with his quartet, which also includes bass clarinetist Nitai LeviFind albums by this artist, bassist Shai RanFind albums by this artist and drummer Haim PeskoffFind albums by this artist. The music, all composed by Kretzmer, is a prime example of contemporary Free Jazz, which is still very much linked with the Jazz tradition. The musical conversations between the two reedmen / soloists, which are prominent throughout the album, are the basis for extended individual solos. The rhythm session is an essential part of the collective improvisation and continuous stability, although enjoys a fair measure of musical freedom as well. The overall atmosphere of the album harks back to the early heydays of the genre, with Albert AylerFind albums by this artist and Ornette ColemanFind albums by this artist spiritually present in the recording studio. The leader´s virtuosity is plainly evident from the very opening of the album and never ceases to amaze the listener. It is heartwarming to see such level of overall musicality on the local Israeli scene and although many of our musicians share their time between Israel and the European / American scene, they are after all "ours". With such players around, the Israeli Free Jazz / Improvised Music scene is alive and kicking with hardly any inferiority complexes around. This is a superb piece of music, from start to finish and an absolute must to every Israeli Free Jazz connoisseur!
| | | CD 1 Mini-Sleeve Recommend To A Friend |
  | KUHN & KRUGLOV ~ MOSCOW
ACT 9623 (Barcode: 614427962324) ~ GERMANY ~ Avant-Garde Jazz
Recorded: 2012 Released: 2014
This is a beautiful album by the duo comprising of German pianist / composer Joachim KuhnFind albums by this artist and the Russian saxophonist Alexey KruglovFind albums by this artist, released as part of the "Duo Art" series by the German ACTFind albums on this label label, which cultivates the "Art of the Duo" Jazz tradition. The unplanned recording which spontaneously followed Kuhn´s concert in Moscow, where he was joined by Kruglov for a few numbers, was recorded next day "live in the studio" with almost all of the music captured at first take. The album presents eight compositions, three each by Kuhn and Kruglov and two by Ornette ColemanFind albums by this artist. The music was spectacularly recorded at the Moscow Radio and offers a breathtaking sound quality.
Although separated by a generation gap, Kuhn (born 1944) and Kruglov (born 1979) were able to bridge everything that separated them and become a one-body musical unit, as if they performed together for ages, despite the fact that this was their first meeting. The telepathic conversation between them is truly unprecedented and results in a storming emotional experience, expressed within the music they make together.
There is a wonderful balance and rapport within the duo and the two musicians compliment each other perfectly. Whenever Kuhn explores Free Form vistas Kruglov support him playing relatively traditionally and vice versa, and sometimes they both spontaneously improvise together, only to return to the melody at the same precise moment.
This meeting was obviously a rare occasion, and the fact this music was captured is a miracle, which of course in not such a rare situation in Jazz, which is after all the Art of the unexpected.
Overall this is one of the must spectacular "Art of the Duo" encounters and is a classic example of the idiom, as well as an incredible listening experience, which no true Jazz connoisseur should miss. Absolutely essential!
| | Updated: 25/09/2020Posted: 10/09/2020 | CD 1 Digipak Essential 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 ~ MELODIC ORNETTE COLEMAN
ACT 9763 (Barcode: 614427976321) ~ GERMANY ~ Free Jazz / Improvised Music
Recorded: 2018 Released: 2019
This is a solo piano album by German Jazz pianist / composer Joachim KuhnFind albums by this artist performing music by the iconic American Jazz figure Ornette ColemanFind albums by this artist. The album presents fourteen compositions, all but one by Coleman, and one original by Kuhn, dedicated to Coleman.
On the liner notes of the album Kuhn explains the circumstances as follows: "Between 1995 and 2000 I was able to play sixteen concerts with Ornette. Before each concert he would write ten new pieces that we would work out and record during an entire week at his Harmolodic studio in Harlem, New York. Since he wanted me to contribute the chords (sounds) for his melodies, I was directly in the composition process. Once the concert was over, the songs would never be played again."
Twenty years later Kuhn selected thirteen out of a hundred and seventy pieces that were created in the manner described above, and recorded them for piano solo, adding his own tribute to Coleman as a conclusion. Only one of these songs was released on record earlier, therefore this album presents a significant amount of previously unreleased music by Coleman.
Although Kuhn modestly concealed his part in creating all these compositions (they are all credited to Coleman), his contribution to this music is of course invaluable, as can be experienced by listening to the music herein. It should be noted that Coleman always treated European Jazz musicians with respect and on equal footing, in contrast to many of his American colleagues.
Kuhn´s performances are of course exquisite, as always, and his status as a European Jazz icon remains fully warranted by each and every album he ever recorded, this one included of course. Coleman´s many followers and of course European Jazz lovers should be able to enjoy this album without reservation, not only for its significance in Jazz history but first and foremost for the intrinsic beauty of the music it contains. A wonderful gem!
| | Updated: 09/01/2021Posted: 09/01/2021 | CD 1 Digipak Recommend To A Friend |
  | JOACHIM KUHN ~ UNIVERSAL TIME
UNIVERSAL 044001667121 (Barcode: 044001667121) ~ GERMANY ~ Jazz
Recorded: 2001 Released: 2002
This is an album by German pianist / composer / bandleader Joachim KuhnFind albums by this artist, recorded in a trio setting with American bassist Scott ColleyFind albums by this artist and Cuban drummer Horacio HernandezFind albums by this artist. French saxophonist / bass clarinetist Michel PortalFind albums by this artist and American saxophonist Chris PotterFind albums by this artist guest on selected tracks. The album presents eleven tracks, nine composed by Kuhn and two by Ornette ColemanFind albums by this artist. Kuhn plays piano on nine tracks and saxophone on two tracks.
The music is a brilliant example of modern European Jazz with a large degree of Freedom and Improvisation, but based on strictly and brilliantly composed themes. The lineup shifts between trio, quartet and quintet settings, and allows wonderful interplay between these exceptional musicians. Kuhn is undoubtedly one of the most unique and innovative European Jazz musicians, and this album, as in fact all of his recordings, clearly show why.
Kuhn dominates the proceedings with his virtuosic piano parts, mostly played at a hyper-fast tempo, but all the musicians get a chance to solo and show their chops, and the excellent rhythm section manages to keep standard time most of the time. For me, Kuhn is one of the greatest and most talented weavers of wonderful melodies, and this album is full of these.
Overall, this is a superb album and sadly one of the lesser known in the extensive recorded legacy by Kuhn, which is absolutely worth being discovered, although it is not easy to be found these days. The hair-raising virtuosity of Kuhn has but a few equals in modern Jazz and he never recorded an album, which is not worthy of an honorable place in a serious modern Jazz record collection.
| | Updated: 12/08/2024Posted: 12/08/2024 | CD 1 Digipak Recommend To A Friend |
  | ROLF KUHN ~ AFFAIRS
INTUITION 3211 (Barcode: 750447321120) ~ GERMANY ~ Jazz
Recorded: 1997 Released: 1997
Following the recent demise of the great German clarinetist / composer / bandleader and one of the Godfathers of the modern German Jazz, as well as a dear Friend, Rolf KuhnFind albums by this artist, I decided to dig into my shelves and write about some of his albums I did not review previously.
Kuhn recorded this album with a bunch of friends from the US and Germany, a list that proves his status as one of the most admired Jazz musicians on the international scene. The list includes saxophonists Ornette ColemanFind albums by this artist and Dave LiebmanFind albums by this artist, trumpeter Randy BreckerFind albums by this artist, guitarist Chuck LoebFind albums by this artist, fellow clarinetists Eddie DanielsFind albums by this artist and Buddy DeFrancoFind albums by this artist, trombonist Albert MangelsdorffFind albums by this artist, bassist Dieter IlgFind albums by this artist and drummer Wolfgang HaffnerFind albums by this artist. The music includes some standards and some original compositions by Kuhn and the participating musicians, altogether ten tracks of great performances, which showcase Kuhn’s versatility playing anything between Swing to Free.
These relaxed sessions are an ideal opportunity to allow the musicians to get the absolute best out of themselves, all supporting Kuhn as the main soloist, who is simply brilliant every step of the way.
Kuhn a sublime example of a total musician, with a career spanning decades and crossing styles from Swing to Avant-Garde, always with grace, intelligence and professionalism beyond reproach. For clarinet lovers, this album is an absolute revelation.
Overall, this an instant classic, full of brilliant music and heavenly performances, which is absolutely perfect from start to finish. Goodbye Friend!
| | Updated: 23/09/2022Posted: 23/09/2022 | CD 1 Recommend To A Friend |
  | ROLF KUHN ~ ROLLERCOASTER
JAZZWERKSTATT 039 (Barcode: 4250079758012) ~ GERMANY ~ Jazz
Recorded: 2008 Released: 2008
This is the debut album by veteran German clarinetist / composer Rolf KuhnFind albums by this artist (born 1929) recorded with his sensational new (at the time) quartet, which features also the veteran bassist Johannes FinkFind albums by this artist and two excellent representatives of the young German Jazz scene, guitarist Ronny GraupeFind albums by this artist and drummer Christian LillingerFind albums by this artist. The album presents nine pieces, eight of which are original compositions: six by Kuhn, one by Graupe and one by Kuhn´s younger brother Joachim KuhnFind albums by this artist. The remaining piece is a composition by Ornette ColemanFind albums by this artist.
The creation of this quartet and the recording of this album mark a remarkable rejuvenation in Kuhn´s extraordinary career. Since his return to Germany in 1962 from his US stint, Kuhn has been on the forefront of European Jazz, taking part in the stylistic development of the genre from Swing to Free Jazz and Improvised Music. It was only natural that Kuhn, whose mindset was always completely separate from his biological age, would decide to play with the new generation of the flourishing German Jazz scene, and of course the decision paid off in full as this album explicitly emphasizes.
The combination between Kuhn´s wonderful clarinet sound, which is still rooted in the Swing tradition, and the modern sound of the younger musicians, creates a beautiful amalgam, which is by far more powerful than the simple sum of its parts. This music still swings beautifully, but also has a lot of space and openness, which allows the musicians to stretch beyond the restrictions of straightforward Jazz and contribute some remarkable musical inventiveness.
As usual, Kuhn´s superb compositions, which are the core of the music, provide ideal vehicles for the quartet to display its qualities in full, both as an ensemble and as individual players. The music is completely absorbing and uplifting on one hand, but also elegant and sophisticated on the other, which of course is everything one might hope for and what makes it so extraordinary.
This album is a must have for all European Jazz enthusiasts, clarinet lovers and connoisseurs of great music. It is recommended to check out the second album entitled "Close UpFind albums with this title" and the brilliant 2015 release "StereoFind albums with this title", both recorded with the same quartet. Hats off!
| | Updated: 10/01/2017Posted: 10/01/2017 | CD 1 Slipcase Recommend To A Friend |
  | MADS LA COUR / ALMUGI ~ QUARTET
WHYPLAYJAZZ 019 (Barcode: 4050486928226) ~ DENMARK ~ Jazz
Recorded: 2015 Released: 2015
This is the debut album by the AlmugiFind albums by this artist quartet, led by Danish cornetist / composer Mads la CourFind albums by this artist, which also includes clarinetist Lars GreveFind albums by this artist, bassist Andreas LangFind albums by this artist and drummer Kasper Tom ChristiansenFind albums by this artist. The album presents nine original compositions, all by la Cour.
Christiansen, Lang and la Cour were members of the QuartzFind albums by this artist quartet, which recorded a debut album almost a decade earlier and which was also released at the time on the excellent German WhyPlayJazzFind albums on this label label.
The music is a an open form of modern Jazz, which ignores genres and conventions and freely floats between melodic passages and free improvisations, presenting the complete palette used by today´s new generation of European Jazz players, who are constantly trying to expand the Jazz idiom.
These musicians are all very experienced players, having participated in numerous recordings as leaders and sidemen and played countless gigs, so there is nothing surprising about their proficiency and brilliance. Their functionality as a group is also beyond reproach, both when playing straightforward and improvising.
The cornet solos are excellently structured and for some strange reason bring an association of the work by Don CherryFind albums by this artist in the early Ornette ColemanFind albums by this artist´s quartets. Of course la Cour has his own individual language and this is just a nostalgic whim on my part. He also weaves excellent melodies, which serve as vehicles for the quartet to improvise and express the individual statements.
Greve is very expressive and skillfully uses the clarinet and bass clarinet to create atmospheric layers and solos, expanding the sonic scope of the music. The rhythm section is, as usual, exceptional. Lang and Christiansen are already well known for their skills and adaptability to every imaginable musical setting, and they don´t disappoint here as well.
Overall this is another superb album coming out of Denmark, where Jazz is enjoying an impressive Renaissance in the last decade, which makes all connoisseurs of Scandinavian Jazz extremely happy. Very well done indeed and I am looking forward to hear more from this group in the future. Two more albums: a duo and a large ensemble recording by la Cour are also available.
| | Updated: 11/06/2016Posted: 11/06/2016 | CD 1 Mini-Sleeve Recommend To A Friend |
  | MURRAY / OLES / OLES ~ CIRCLES LIVE IN CRACOW
NOT TWO 749 ~ POLAND ~ Jazz
Recorded: 2003 Released: 2003
This is a live recording by a trio comprising of American saxophonist / clarinetist David MurrayFind albums by this artist and a Polish rhythm section: bassist Marcin OlesFind albums by this artist and drummer Bartlomiej OlesFind albums by this artist (collectively know as Oles BrothersFind albums by this artist). They perform seven pieces, six of which are original compositions (four by Bartlomiej Oles and one each by Marcin Oles and Murray) and one is a composition by Ornette ColemanFind albums by this artist.
Murray, one of the pillars of American Free Jazz / Improvised Music and the founding member of the World Saxophone QuartetFind albums by this artist, is obviously one of the most interesting, albeit atypical, figures originating on the American scene. He discovered the strength of the European Jazz scene rather early and performed and recorded extensively in Europe over the years, eventually moving to live in Europe.
The music presents a rather unusual situation where the world-famous guest Artist agrees to perform music mostly composed by his younger partners, which of course testifies both as to Murray´s open-mindedness and the strength of the music of Oles Brothers. The music itself, although based on composed themes, is very open and spacey, as appropriate for modern Jazz. It floats and flirts with Free Jazz, but remains ultimately structured and coherent, which makes it a wonderful listening experience.
Although Murray is obviously the central soloist on this album, there is plenty of soloing by the bass and the drums, which explains why the Oles Brothers were considered already at the time, relatively early in their career, as the best Polish Jazz rhythm section, a position they still steadfastly hold to this very day.
The level of interplay between the musicians on this album and the overall intensity of the performances can easily serve as a proof that the inferiority complex many of European Jazz musicians suffer from in relation to their American colleagues is completely baseless and absurd.
| | Updated: 27/01/2017Posted: 27/01/2017 | CD 1 Mini-Sleeve 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 |
  | MARCIN OLES ~ ORNETTE ON BASS
NOT TWO 747 ~ POLAND ~ Free Jazz / Improvised Music
Recorded: 2002 Released: 2003
This is a solo bass album by Polish Jazz bassist / composer Marcin OlesFind albums by this artist. It presents twelve pieces, four of which are original compositions by Oles and eight are his interpretations of Ornette ColemanFind albums by this artist compositions. The album was recorded without any overdubbing and offers a wonderful sound quality.
Marcin Oles is familiar to Polish Jazz connoisseurs as half of the Oles BrothersFind albums by this artist team, which also includes his twin brother drummer / composer Bartlomiej OlesFind albums by this artist. Together they are considered as one of the most creative and artistically fulfilling duos in European Jazz, way beyond just a role of a rhythm section. This album can be considered as a "twin album" to Bartlomiej´s solo drums album recorded a couple of years later, called "Freedrum SuiteFind albums with this title", also released on the excellent Polish Not TwoFind albums on this label Records label.
A solo bass album is one of the most difficult projects within the Jazz idiom, and although some such recordings have proved to be iconic in the genre´s history, many others sadly became quite forgettable. Despite his relatively young age at the time of the recording (just under thirty years old), Marcin Oles manages to present a convincing, well balanced and obviously virtuosic set of performances, which flow smoothly from one piece to the next keeping the listener completely mesmerized. For the Coleman cognoscenti, following the Master´s compositions becomes a fun game of sorts, with the original material by Oles being every bit as interesting.
It takes a lot of courage and determination to face projects like this one, as the risk is quite challenging. Nevertheless Marcin Oles proves that there is nothing he can´t handle, and more importantly he is able to turn Coleman´s music into his own realm of European Free Jazz / Improvised Music, by adding the European sensitivity and aesthetics to the American roots. As such this music goes beyond the limited Jazz mainstream context and should be of interest to all connoisseurs of ambitious, challenging contemporary music. For lovers of bass and Polish Jazz hardcore collectors, this album is an absolute must.
It took me a few years to find a copy of this album at last, but do not despair – dedication and patience pay off eventually. Now a copy of this album finally makes my collection of Oles Brothers recordings complete, which is a joyous occasion.
| | Updated: 01/10/2018Posted: 01/10/2018 | CD 1 Mini-Sleeve Recommend To A Friend |
  | WOJCIECH PULCYN ~ TRIBUTE TO CHARLIE HADEN
FOR TUNE 0125 (Barcode: 5906395808274) ~ POLAND ~ Jazz
Recorded: 2016 Released: 2017
This is the debut album as a leader by veteran Polish Jazz bassist Wojciech PulcynFind albums by this artist, dedicated as the title suggest, to the great American bassist / composer Charlie HadenFind albums by this artist. The music was recorded live at the Polish Radio studio by a group of Pulcyn´s cohorts, which include trumpeter Tomasz DabrowskiFind albums by this artist, saxophonist Mateusz SliwaFind albums by this artist, pianist Kuba StankiewiczFind albums by this artist and drummer Sebastian FrankiewiczFind albums by this artist. Vocalist Grazyna AuguscikFind albums by this artist and Pulcyn´s eight years old son Piotr PulcynFind albums by this artist (who plays cello) appear on one track each. The album presents nine pieces, six of which were composed by Haden, two by Ornette ColemanFind albums by this artist and one is a traditional tune.
Over the years I have had the immense pleasure to hear Pulcyn live many times and his performances were always impeccable and inspiring. His affinity with his instrument is as close as humanly possible and his humility and kind manners are an example of musical chivalry. Therefore this album, which finally puts the spotlight on his musical skills, is a long overdue opportunity to pay dues to his talents and personality.
The music should be pretty familiar to serious Jazz listeners, in particular those who follow the long and impressive career of Haden from his early days as a member of the revolutionary Ornette Coleman quartet, which changed the face of the Jazz idiom, to his work as a leader of his own ensembles. It is modern, often groundbreaking music, which remains completely relevant to this very day, and to be honest it is still on the forefront of the genre, despite the years that have passed sine it was originally composed.
The really fascinating aspect of this album is the fact that this music, created and performed originally by American musicians, is treated here with a completely new and more importantly European approach, which sets new meaning to the music and invigorates it immensely. I am tempted to say that this specific treatment of the music is more fascinating than the original in many respects, and for sure it is as far from imitation as can be imagined.
The performances are all stellar, as expected from the participating musicians. Dabrowski, who consistently earned a position of one of the top European Jazz trumpeters, fondly fits the shoes of the great Don CherryFind albums by this artist, again displaying his personal style and approach rather than imitating the Master. Sliwa, a young and upcoming player, stands shoulder to shoulder with the veterans, playing like a pro. Stankiewicz, a marvelous pianist, is a symbol of lyricism and never misses a note, always knowing when to touch the keyboard ever so delicately and Frankiewicz, a faithful companion in endless rhythm sections, supports the bassist amicably and telepathically.
From the opening solo bass track to the very last moment of this album Pulcyn´s bass is prominently featured in many diverse roles and intonations, always perfectly in accord with the music and the rest of the band, a true silent hero behind the scenes, who makes everything perfect.
This album is definitely a superb tribute to Haden´s genious, but at the same time it is a tribute to Pulcyn´s legacy as one of the top Polish Jazz bassists and an icon of stability, perfection and personal standing. Thank you Wojtek for all those beautiful moments!
| | Updated: 21/10/2017Posted: 21/10/2017 | CD 1 Recommend To A Friend |
  | RGG ~ MEMENTO (POLISH JAZZ VOL.81)
WARBER MUSIC POLAND 190295475932 (Barcode: 190295475932) ~ POLAND ~ Jazz
Recorded: 2018 Released: 2019
This is the eleventh album by Polish Jazz classic piano trio RGGFind albums by this artist, which consists of pianist Lukasz OjdanaFind albums by this artist, bassist Maciej GarbowskiFind albums by this artist and drummer Krzysztof GradziukFind albums by this artist. The album presents twelve relatively short pieces, with Ojdana and Garbowski each contributing four original compositions, one is a standard by Ornette ColemanFind albums by this artist, two are compositions by contemporary Polish Classical Music composer Henryk GoreckiFind albums by this artist and one is by Polish Liturgical Music composer Jacek GaluszkaFind albums by this artist. The album was recorded at the famed Studio Tokarnia and engineered by Jan SmoczynskiFind albums by this artist, with the expected wonderful sound quality.
As someone who followed RGG since their inception, listened and reviewed their every album to date, heard them performing numerous times and even enjoyed their company in person, I am probably the least objective person to write about them again, and yet I feel that this somewhat intimate acquaintance with their music gives me a kind of insight that a casual listener might lack. RGG is not only one of the best European piano trios, which by itself is a momentous achievement, but it also is the most dynamic and ever developing musical unit, which is honestly a pretty rare phenomenon. Piano trios in particular have a tendency to keep a certain level of stability, even the best of them, once they reach a certain level of proficiency, which is definitely something RGG eschew. Each and every one of the eleven albums the trio was involved in presents a separate, often radically different musical universe, which is truly amazing.
What is the secret behind this behavioral pattern? Well, in my opinion it is the fact that RGG consists of three diametrically different personalities that are miraculously able to combine their individualisms into a new amalgam that changes constantly like a chameleonic microcosm, captured on each of their albums. Ojdana the romantic warrior, Garbowski the intellectual philosopher and lover of harmony and Avant-Garde as one and Gradziuk the rebellious free spirit with Zen ability to focus have together everything needed to produce an infinite number of intricate meshes, which are "deadly" effective.
"Memento" is perhaps the most introvert album by RGG ever. It is deeply melodic and lyrical spanning a large rainbow of influences and reflections and full of poetic and emotional, even spiritual moods. Clearly reflecting Jazz and Classical Music influences, the music is always very subtly and carefully balanced and aesthetically coherent. In fact it is also perhaps the most accessible album the trio ever recorded, although the full appreciation of the depth and richness of the music requires a trained and sensitive ear.
RGG are the epitome of Polish / European Jazz at its best and their music is the soundtrack of European Culture, which seeks to unite the known and explore the unknown aspects of human tradition, spirituality and ingenuity. This album stands alone perfectly as a symbol of modern Jazz, but it is also a piece of a puzzle, which stands for something much more substantial. Therefore if this is someone´s first glimpse of the RGG miraculous universe, it will hopefully prompt to explore their older recordings and keep the eyes (ears) open for future ones, and this is barely the beginning of a beautiful journey.
The fact that this album was released as part of the "Polish Jazz" series (see below) is not a distinction for RGG, but rather a distinction for the series.
Side Note
The iconic "Polish Jazz" series of recordings, originally released between 1965 and 1989 by the Polish state owned record company Polskie NagraniaFind albums on this label, which used the MuzaFind albums on this label label as its moniker, consists of seventy six LP albums. It presents the history of Polish Jazz recordings during that period, which includes some of the most important Polish / European modern Jazz milestones and reflects the extraordinary development of Jazz music behind the Iron Curtain. It is one of the most important historic documents of Polish Music and of course Polish Culture in general.
The series had an eminent logo designed by Roslaw Szaybo and the albums were numbered sequentially from Vol.1 to Vol.76 accordingly. The album's artwork was wonderfully stylish and modernist, featuring the brilliant photographs and characteristic design by the legendary Polish Artist Marek Karewicz.
Stylistically the series presented all Jazz genres, from Traditional Jazz to Avant-Garde / Free Jazz, which was extraordinarily liberal considering the cultural censorship imposed by the Socialist Regime. It suffered from some inconsistency, as far as the musical quality and aesthetics were concerned, as well as the internal "politics" of the Polish Jazz scene at the time, but in retrospect it achieved a spectacular overall result, unparalleled as far as consistently documenting a national Jazz scene is concerned.
After the Polskie Nagrania catalogue was bought by Warner Music PolandFind albums on this label, the new owner started a reissue process of the Polish Jazz series, carefully remastered, repackaged and including extensive liner notes, which keeps the artwork as close to the original design as possible. So far forty four volumes of the original series were reissued.
In 2016 Warner Music Poland decided to continue the original series by releasing new contemporary Polish Jazz recordings under the same format and even to continue the sequential numbering starting with Vol.77 – a decision I personally consider almost sacrilegious. Some things are simply untouchable, and the "Polish Jazz" series is surely one of those things. If Warner Music Poland wants to produce Jazz albums, which is always more than welcome, they could have started a new series, under a new title, rather than exploiting the reputation of the historic series.
As a result, some artist whose albums are released as part of the new series might be led to expect instant gratification, fame and stardom, just for being an artificial part of a prestigious past, which of course is as bogus as it is sad.
| | Updated: 25/04/2019Posted: 25/04/2019 | CD 1 Digipak 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 |
  | ARCHIE SHEPP / JOACHIM KUHN ~ WO!MAN
ARCHIE BALL 1102 (Barcode: 3149028003024) ~ USA ~ Jazz
Recorded: 2010 Released: 2011
This is a wonderful duo album by American saxophonist / composer Archie SheppFind albums by this artist and German pianist / composer Joachim KuhnFind albums by this artist. The album presents eight tracks, one of which is an original composition by Kuhn, two are by Shepp, another two are co-composed by them both, and finally three are standards, including two iconic compositions dedicated to women: “Sophisticated Lady” by Duke EllingtonFind albums by this artist and “Lonely Woman” by Ornette ColemanFind albums by this artist. As the title suggests, the music is dedicated to the Ladies. The album, which was recorded in Paris, where both musicians lived at the time (and Shepp still does) and offers a superb sound quality.
Despite the fact that both these great musicians are usually associated with Free Jazz and Avant-Garde, this album is a wonderful display of their gentle, romantic and lyrical side, and offers a lot of melodic themes, obviously in their very unique interpretation. The both have very specific, easy recognizable personal stylistic characteristics, which are clearly heard herein, and which seem to ideally complement each other, creating one of the finest and deep-cutting example of the “Art of the Duo” ever recorded.
Both these veteran musicians are Geniuses, which often results in a clash of personalities, but on this album they simply combine their virtuosity, sublimely conversing in a perfect display of mutual respect and harmony.
Overall, this is an absolute classic duo album, sadly little known to most Jazz listeners, which is a great shame. If you can find a copy of this album, it is a must in any serious Jazz records collection. I return to this album regularly over time, always amazed anew by its powerful delivery.
| | Updated: 28/09/2025Posted: 28/09/2025 | CD 1 Digipak Recommend To A Friend |
  | SIMPLE ACOUSTIC TRIO ~ WHEN WILL THE BLUES LEAVE?
POLONIA 069 (Barcode: 5904542687574) ~ POLAND ~ Jazz
Recorded: 1995 Released: 2008
This is the 2nd album by the superb Polish Jazz trio called Simple Acoustic TrioFind albums by this artist, which consists of pianist Marcin WasilewskiFind albums by this artist, bassist Slawomir KurkiewiczFind albums by this artist and drummer Michal MiskiewiczFind albums by this artist. Recorded just a few months after their brilliant debut album "KomedaFind albums with this title", dedicated to the music of the Godfather of Polish Jazz, pianist / composer Krzysztof KomedaFind albums by this artist, this album is quite different and features the trio´s leader as the main composer in addition to his duties as the focal soloist. Wasilewski composed six of the nine compositions present on this album, Kurkiewicz added one of his own and the other two originate outside the trio, with the title tune being by Ornette ColemanFind albums by this artist and an additional one by Carla BleyFind albums by this artist. Playing their own music allows the trio to stretch out and dare, much more so that on the debut. Of course Komeda´s music can be intimidation and even plain scary to every Polish Jazz musician, in view of Komeda´s legendary status, especially to such young musicians as the trio members at the time of recording the debut. But here they are, free of any (psychological or other) apprehensions, and the music surely indicates that. Of course these musicians are extremely talented and carry the "spark" of Jazz in their soul / heart, so anything they play sounds simply wonderful, even if the youthful energies are sometimes just a bit over the top. Of course a few years later the trio will receive a great lesson in Jazz from their Mentor Tomasz Stanko, with whom they were destined to play and record, a fact that at the time of this recording could only be a dream. But dreams do come true sometimes. In retrospect this is an incredible album by any standard, which (all things considered) withstands the test of time flawlessly and serves as a proof to the fact that the 1990 were not all a loss after all. An absolute must to Polish Jazz fans, piano trio fans and anybody with a pair of clean ears!
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  | VIKTOR TOTH ~ CLIMBING WITH MOUNTAINS
BMC 132 (Barcode: 5998309301322) ~ HUNGARY ~ Jazz
Recorded: 2006 Released: 2007
This is a brilliant album by Hungarian saxophonist / composer Viktor TothFind albums by this artist, one of the most prominent young European Improvised Music advocates, who has been very active in the last few years releasing several important recordings and performing many concerts. The album documents the first meeting between Toth and the legendary American drummer Hamid DrakeFind albums by this artist, which resulted in recording this great music. Of the 11 tracks present on this album, six are recorded in a trio format with the excellent bassist Matyas SzandaiFind albums by this artist, and the remaining five in a quartet format with trumpeter Ferenc KovacsFind albums by this artist. Toth composed ten pieces and the remaining one was composed by the bassist. The music is remarkably melodic and often even lyrical, which is not something one expects form a Free Jazz setting, but Toth is simply a romantic at heart and his melodies cut deeply. Drake´s phenomenal playing is trimmed accordingly and he displays his ability to stay overtly melodic, which he rarely does elsewhere. The bassist does a perfect job every time and complements Drake as if they played together since years. The trumpeter, who is also a very experienced musician in the Avant-Garde circles, contributes some superb licks as well. The atmosphere of this recording fondly reminds the early Ornette ColemanFind albums by this artist quartet with Don CherryFind albums by this artist, especially in view of the obvious joy and personal satisfaction displayed by the musicians involved. The listener should be able to enjoy this music even if his experience with Free Form is somewhat limited, as these performances are so overwhelming that all barriers are immediately removed. Connoisseurs of the great Eastern European Jazz should grab this gem on sight, satisfaction guaranteed!
| | Updated: 12/04/2019Posted: | CD 1 Mini-Sleeve Recommend To A Friend |
  | VIKTOR TOTH ~ POPPING BOPPING
BMC 191 (Barcode: 5998309301919) ~ HUNGARY ~ Jazz
Recorded: 2010 Released: 2011
This is a great album by an international Free Jazz quartet led by Hungarian saxophonist / composer Viktor TothFind albums by this artist, one of the most prominent young European Improvised Music activists. The quartet also includes Belgian trumpeter Bart MarisFind albums by this artist, a well known figure on the European scene, superb Hungarian bassist Matyas SzandaiFind albums by this artist, who regularly plays with Toth and Turkish drummer Robert IkizFind albums by this artist. This live recording captures the quartet performing six original compositions, all by Toth. The players are all exceptional and the chemistry between them is second to none. Again choosing the early Ornette ColemanFind albums by this artist quartet with Don CherryFind albums by this artist as a model, which seems to suit his music perfectly both instrumentally and aesthetically, Toth presents ambitious music, which somehow remains accessible. This is a rare quality, which very few Free Jazz / Improvised Music protagonists are able to create as consistently as Toth, as evident on several of his previous recordings, which deserves to be truly admired. His compositions also retain the quality, which marks his work from the early days, which should keep his followers satisfied. Overall this is another first-rate album by first-class musicians, which should be welcomed by music connoisseurs everywhere. Warmly recommended!
| | | CD 1 Mini-Sleeve Recommend To A Friend |
  | MIROSLAV VITOUS ~ REMEMBERING WEATHER REPORT
ECM 2073 (Barcode: 602517881372) ~ CZECHOSLOVAKIA ~ Jazz
Recorded: 2006 - 2007 Released: 2009
Czech bassist / composer Miroslav VitousFind albums by this artist was a founding member of the seminal group Weather ReportFind albums by this artist and played on their first 3 studio albums and the live album recorded in Japan. The idea of Weather Report was to search for a new direction in the rapidly changing Jazz scene at the time, which was initiated by the revolutionary artistry of Miles DavisFind albums by this artist. However, as we know in retrospect, Weather Report took a different turn than what Vitous had in mind when he co-founded the group, turning gradually more and more into the leading Fusion and Funk group of the 1970s / 1980s, rather than exploring the realms of free improvisation and spontaneity. Thirty years later Vitous takes a somewhat nostalgic trip back to his Weather Report days, proposing a "what if…" scenario, i.e. presenting music, which might have been played by the band if he stayed on. Played by his quartet with veteran Swiss trumpeter Franco AmbrosettiFind albums by this artist, saxophonist Gary CampbellFind albums by this artist and drummer Gerald CleaverFind albums by this artist, Vitous also adds the veteran French Master – Michel PortalFind albums by this artist, who plays bass clarinet. Together they perform some superb music, mostly written by Vitous except for one piece by Ornette ColemanFind albums by this artist, which is pretty open and free but retains enough rhythmic and melodic backbone to be enjoyable even to less ear-trained listeners. Wholeheartedly recommended!
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  | MARCIN WASILEWSKI TRIO ~ FAITHFUL
ECM 2208 (Barcode: 602527591056) ~ POLAND ~ Jazz
Recorded: 2010 Released: 2011
This is the second album released on the ECMFind albums on this label label by the great Polish piano trio, led by pianist / composer Marcin WasilewskiFind albums by this artist with bassist Slawomir KurkiewiczFind albums by this artist and drummer Michal MiskiewiczFind albums by this artist. The trio used to be called Simple Acoustic TrioFind albums by this artist and released several albums under that name before someone (at ECM?) decided to put the leader´s name up front, which seems hardy fair or appropriate after so many years they played together under that name.
But setting such trivia as marketing tactics and ego trips aside, the music made by these wonderful musicians is as usual outstanding. Of the ten tracks present here, Wasilewski composed five and the others are by such diverse composers as Ornette ColemanFind albums by this artist, Hermeto PascoalFind albums by this artist or the German composer Hanns EislerFind albums by this artist. The music is played with flair and panache, but slightly lacks the adventurous streak I personally always look for. One might have thought that after years of playing with Tomasz StankoFind albums by this artist, some of his magic would have rubbed off.
Nevertheless both technically and emotionally this is as near perfection as one can expect from a "well behaved" album, and the above comments do not reflect negatively on this beautiful piece of music and the exceptional music-making captured herein. Always melodic, even in the heat of improvisation, with a wonderful support from the bassist and gentle but accurate input from the drummer, this music simply sounds great, especially when so well recorded.
Listeners, who enjoyed the trio´s previous output, will definitely not be disappointed, with a good chance for many new followers discovering them here.
Visitors' Comments
Christopher Brice
I think they get better and better!
| | Updated: 19/09/2018Posted: | CD 1 Slipcase Recommend To A Friend |
  | BARNEY WILEN ~ DEAR PROF. LEARY
PROMISING MUSIC 44106 (Barcode: 602517024816) ~ FRANCE ~ Jazz-Rock Fusion
Recorded: 1968 Released: 2008
French saxophonist / composer Barney WilenFind albums by this artist is known to Jazz fans mostly for his role in the 1957 recording with Miles DavisFind albums by this artist of the legendary “Ascenseur pour l`échafaudFind albums with this title” soundtrack. But a decade later, Wilen left standard American Jazz behind and took an active role in the burgeoning new European scene in search of new musical adventures. He formed a group called Amazing Free Rock BandFind albums by this artist with young upcoming players like Swiss guitarist Mimi LorenziniFind albums by this artist, German keyboardist Joachim KuhnFind albums by this artist, German bassist Gunter LenzFind albums by this artist and two drummers, Italian Aldo RomanoFind albums by this artist and German Wolfgang PaapFind albums by this artist. As the group’s name suggests, they combined contemporary Rock with Free Jazz, creating an amalgam they called Free Rock. This album is a document of this attempt, and one of the earliest Jazz-Rock Fusion recordings. The material includes mostly contemporary Pop and Rock anthems, with a couple of original compositions and one Jazz composition by Ornette ColemanFind albums by this artist. The result is one of the wackiest albums ever recorded and a great document of the era. As the title suggests, Psychedelic instances probably had much to do with the resulting music. Although the music did not withstand the test of time as well as other MPS recordings, producer Joachim BerendtFind albums by this artist thought at the time that this experiment was worth preserving for posterity, and we are (in retrospect) grateful. Superbly remastered and elegantly packaged by Promising MusicFind albums on this label, this is a great trip down the memory lane. Definitely worth investigating.
| | | CD 1 Mini-Sleeve Oversampling Remastered Recommend To A Friend |
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