Record Reviews
29 Reviews Found. Use search to find more reviews or follow the links in the review text.
  | AMALGAM ~ ANOTHER TIME
FMR 116 (Barcode: 649849981615) ~ UK ~ Jazz
Recorded: 1976 Released: 2003
5th 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 quartet, including guitarist Steve HaytonFind albums by this artist, bassist Pete CowlingFind albums by this artist and drummer Liam GenockeyFind albums by this artist, which marks the beginning of the second phase of Amalgam, which is characterized by the dual saxophone – guitar frontline. The music is written entirely by Watts, who after the departure of drummer John StevensFind albums by this artist became the group´s main composer. This album was originally released on the tiny German independent VinylFind albums on this label label, and was unavailable for many years, which is now rectified by this CD issue. With the guitar and electric bass the sound of the band changes completely, with a distinct Fusion feel, but the dexterity and obvious genius are still the same as always. This is probably the most accessible Amalgam album ever recorded and young listeners, ignorant of the band´s Improvised Music roots should be able to enjoy it immensely. This is still a classic, although a different cup of tea altogether. Brilliant stuff!
| | | CD 1 Recommend To A Friend |
  | AMALGAM ~ DEEP
FMR 127 (Barcode: 649849981677) ~ UK ~ Jazz
Recorded: 1977 Released: 2003
7th 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 quartet, including guitarist Dave ColeFind albums by this artist, bassists Harry MillerFind albums by this artist and drummer Liam GenockeyFind albums by this artist, which marks the second phase of Amalgam, characterized by the dual saxophone – guitar frontline. The music is written entirely by Watts. This album was originally released on the tiny German independent VinylFind albums on this label label, and was unavailable for many years, which is now rectified by this CD issue. With the guitar and double electric bass the sound of the band becomes even more close to Fusion, but the extended improvisations and the virtuosity of the performers are still the same as always. This is again quite an accessible Amalgam album ever and easily enjoyed both by Jazz and Fusion adventurous music fans. This is still a classic and brilliant stuff as always!
| | | CD-R 1 Recommend To A Friend |
  | AMALGAM ~ INNOVATION
FMR 119 (Barcode: 649849981592) ~ UK ~ Jazz
Recorded: 1974 Released: 2003
3rd 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 includes the legendary drummer John StevensFind albums by this artist, pianist Keith TippettFind albums by this artist, bassists Kent CarterFind albums by this artist and Lindsay CooperFind albums by this artist and conga player Terri QuayeFind albums by this artist. The music includes four compositions by Stevens and one by Watts, all of which are excellent vehicles for the extended improvisations. This album was originally released on the tiny independent TangentFind albums on this label label, and was unavailable for many years, which is now rectified by this CD issue. In many respects this album is quite different from most of the ensemble´s output, as it includes a piano, which was not usually included in the lineup, mellowing the overall sound. Tippett plays wonderfully of course and his contribution is most valuable. Overall this is yet another example of the wonderful forces at work during a most illustrious period in British Jazz. A classic of the genre and a must for any Free Jazz / Improvised Music buff!
| | | CD 1 Recommend To A Friend |
  | AMALGAM ~ OVER THE RAINBOW
FMR 132 (Barcode: 649849981745) ~ UK ~ Jazz
Recorded: 1979 Released: 2003
9th 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 quartet, including guitarist Keith RoweFind albums by this artist, bassist Colin McKenzieFind albums by this artist and drummer Liam GenockeyFind albums by this artist, the last stable lineup of the ensemble before it disbanded in 1980 marking 13 years of activity. The music is written by Watts or is spontaneously composed and was recorded live. This album was originally released on the ArcFind albums on this label label, owned by Watts, and was unavailable for many years, which is now rectified by this CD issue. With the guitar and electric bass the sound of the band is close to Fusion, but with the extended improvisations, complete freedom of expression and virtuosity of the performers the music retains all of the qualities of Improvised Music remaining relatively accessible. This set includes visionary, complex and dense music, which is completely unique and unprecedented. Listeners looking for a total musical experience should look no further. This is classic and brilliant stuff in every respect!
| | | CD 1 Recommend To A Friend |
  | 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 |
  | AMALGAM ~ PRAYER FOR PEACE
FMR 096 (Barcode: 649849981417) ~ UK ~ Jazz
Recorded: 1969 Released: 2002
Legendary debut 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 and including the legendary drummer John StevensFind albums by this artist. Both Watts and Stevens were also founding members of the Spontaneous Music EnsembleFind albums by this artist (SME), which was in some respect the alter ego of Amalgam, whereas SME concentrated on freely Improvised Music, Amalgam used more structured themes, mostly pre-composed, as the basis for their expanded Jazz improvisations. In many respects Amalgam and SME lineups, musical directions and intentions overlapped and the collective recorded legacy of these two groups is an icon of some of the most daring and wonderfully adventurous music ever recorded. This initial lineup of Amalgam was a trio, including the superb bassist Jeff ClyneFind albums by this artist, who is replaced on the title track of this album by another British bass legend Barry GuyFind albums by this artist. The album was originally released on the TransatlanticFind albums on this label label and for many years was on of the most sought-after Jazz collector´s items. The music is absolutely stunning from start to finish and what makes this album so special is the inclusion of three versions of the same tune ("Judy´s Smile"), so brilliantly different from each other, that they are a classic example of the gift of improvisational ability. An absolute classic of the genre and a must for any Free Jazz / Improvised Music buff!
| | Updated: 11/04/2025Posted: | CD 1 Recommend To A Friend |
  | AMALGAM ~ SAMANNA
FMR 125 (Barcode: 649849981608) ~ UK ~ Jazz
Recorded: 1977 Released: 2003
6th 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 quintet, including guitarist Dave ColeFind albums by this artist, bassists Pete CowlingFind albums by this artist and Colin McKenzieFind albums by this artist and drummer Liam GenockeyFind albums by this artist, which marks an extension of the quartet that recorded the previous album at beginning of the second phase of Amalgam, characterized by the dual saxophone – guitar frontline. The music is written entirely by Watts. This album was originally released on the tiny German independent VinylFind albums on this label label, and was unavailable for many years, which is now rectified by this CD issue. With the guitar and double electric bass the sound of the band becomes even more close to Fusion, but the extended improvisations and the virtuosity of the performers are still the same as always. This is again quite an accessible Amalgam album ever and easily enjoyed both by Jazz and Fusion adventurous music fans. This is still a classic and brilliant stuff as always!
| | | CD 1 Recommend To A Friend |
  | AMALGAM ~ WIPE OUT
FMR 111 (Barcode: 649849982445) ~ UK ~ Jazz
Recorded: 1979 Released: 2007
10th and final recording 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 quartet, including guitarist Keith RoweFind albums by this artist, bassists Colin McKenzieFind albums by this artist and George LyleFind albums by this artist and drummer Liam GenockeyFind albums by this artist, the last stable lineup of the ensemble before it disbanded in 1980 marking 13 years of activity. The music is written by Watts or is spontaneously composed and was recorded live during Amalgam´s last British tour. This album was originally released on the legendary independent ImpetusFind albums on this label label as a 6 LPs set, and was unavailable for many years, which is now rectified by this CD issue. With the guitar and electric bass the sound of the band is close to Fusion, but with the extended improvisations, complete freedom of expression and virtuosity of the performers the music retains all of the qualities of Improvised Music remaining relatively accessible. This set includes three hours of visionary, complex and dense music, which is completely unique and unprecedented. Listeners looking for a total musical experience should look no further. This is classic and brilliant stuff in every respect!
| | | CD 3 Recommend To A Friend |
  | ELTON DEAN ~ THE VORTEX TAPES
SLAM 203 (Barcode: 5028386020325) ~ UK ~ Free Jazz / Improvised Music
Recorded: 1990 Released: 1992
This is a live album by British Jazz saxophonist / composer Elton DeanFind albums by this artist, recorded at the legendary London’s Vortex club during the five days of the last week of September 1990, each night with a different lineup, four of which are quartets and one is a sextet. The list of the participating musicians reads like the Who’s Who of the British Free Jazz / Improvised Music scene at the time and includes pianists Keith TippettFind albums by this artist and Howard RileyFind albums by this artist, saxophonists Trevor WattsFind albums by this artist, Jerry UnderwoodFind albums by this artist and Simon PicardFind albums by this artist, trombonists Nick EvansFind albums by this artist and Paul RutherfordFind albums by this artist, bassists Marcio MattosFind albums by this artist and Paul RogersFind albums by this artist, drummers Louis MoholoFind albums by this artist, Mark SandersFind albums by this artist, Nigel MorrisFind albums by this artist and Tony LevinFind albums by this artist. The fact that Dean managed to invite all these great musicians to play with him during one week speak volumes about his position on the scene and the respect he earned over the years. The album presents five tracks, three of which are over ten minutes in duration. All the music was composed by Dean.
The music is absolutely in sync with what one might have expected from such esteemed players, Free Jazz oriented, full of passion and incredible dialogues between these musicians, who often played with each other in various settings. The incredible intensity of the music still allows for excellent individual contributions to be clearly heard. The sextet (four saxophones) track is a wonderful example of group improvisation, where the mutual respect is fully observed and the saxophone quartet is featured as an organic micro-orchestral unit, later joined by the rhythm section.
There is so much superb music on this album, that writing about it is actually pretty redundant, and should simply encourage to grab a copy of this gem, before it completely disappears from the market. British Jazz enthusiasts and even listeners who are aware of Elton Dean only through his association with Soft MachineFind albums by this artist, should make to bold step forward and embrace this facet of Dean’s incredible talent.
Overall, this is a monumental document of the British Free Jazz scene by the end of the 1990s, when it was at its absolute peak. The tornado swirl on the album’s cover reflects the power and spirit of the music perfectly and fans of this kind of music should find this album indispensable. Lucky for us this music was captured on tape and released, staying with us for posterity. A true force of Nature!
| | Updated: 24/06/2023Posted: 24/06/2023 | CD 1 Recommend To A Friend |
  | ETERNAL TRIANGLE ~ GRAVITY
JAZZ NOW 01 (Barcode: 5060774190678) ~ UK ~ Jazz
Recorded: 2023 Released: 2024
This is the debut album by British Jazz trio Eternal TriangleFind albums by this artist, which consists of saxophonist Trevor WattsFind albums by this artist, keyboardist Veryan WestonFind albums by this artist and percussionist Jamie HarrisFind albums by this artist. The album presents ten tracks, all composed by Watts.
The album is also the debut release on the new British label, called Jazz NowFind albums on this label, which is run by the same wonderful people, who run the Jazz In BritainFind albums on this label label, which produced an impressive series of brilliant albums, which document the development of British Jazz in past decades. Obviously the new label is meant to document contemporary British Jazz.
As we all know, Watts and Veryan played together as a duo since decades, but a meeting during Watts’ 80th Birthday celebration got them together with Harris, and this trio was born. Apparently they decided it was a lot of fun to play together, and as a result this album was born.
The music is quite surprising, as it is way more melody oriented than the Improvised Music usually associated with the two veterans. Watts always knew to weave some great tunes, but this album offers quite a collection of his more melodic, sometimes outright romantic outings, which are always a great pleasure to listen to. Of course Watts is still an absolutely amazing player and his saxophone improvisations sound as good as they did half a Century earlier, with his stamina and vitality completely intact. Veryan proves to be an amicable partner on his new electric keyboard and Harris adds the rhythmic layers all along the way and the music flows mostly quite happily, although there are a few more reflective moments as well.
Overall, this is a great pleasure to hear these great musicians in a relaxed, comfortable atmosphere, which allows them to spread their musical ideas at will, leaving us to enjoy the labor of their collective talents. They promise this is only a beginning, and we all hope this is the truth and nothing but the truth, as much for the music as the new label. Congrats are due all around!
| | Updated: 24/06/2024Posted: 23/06/2024 | CD 1 Mini-Sleeve Recommend To A Friend |
  | NEW JAZZ ORCHESTRA ~ WESTERN REUNION LONDON 1965
VOCALION 8427 (Barcode: 765387842727) ~ UK ~ Jazz
Recorded: 1965 Released: 2006
The New Jazz OrchestraFind albums by this artist (a.k.a. NJOFind albums by this artist) was a big band directed by bandleader / arranger / composer Neil ArdleyFind albums by this artist and consisted of the best up-coming Jazz players on the British scene at the time: Ian CarrFind albums by this artist – trumpet, Paul RutherfordFind albums by this artist – trombone, Trevor WattsFind albums by this artist – sax, Barbara ThompsonFind albums by this artist – sax, Tony ReevesFind albums by this artist – bass, Jon HisemanFind albums by this artist – drums and many more.
Ardley ran the orchestra with an “iron fist” and in time turned it into a perfectly well oiled ensemble, which was able to perform even the trickiest arrangements with a breeze. His outstanding arrangements of classic Jazz pieces are all masterpieces of rare beauty and sophistication and he manages to get out of the band so much more that an average US big band playing similar material. Of course the soloist, who are all quite outstanding, add another dimension to the overall sound, which is truly heavenly.
This is the first album by NJO and includes mostly standards by American (Miles DavisFind albums by this artist, John LewisFind albums by this artist) and British composers, but one of Ardley’s compositions is also included. Ardley, who was an admirer of Gil EvansFind albums by this artist, developed a distinctive orchestral (rather than traditional big band) sound with NJO, using the various sections of the band to complement each other’s sound and tonality.
The overall effect is absolutely stunning and this is one of my all time favorite big band albums. This is essential listening to all big band fans and recommended to all Jazz listeners out there. A true gem!
| | | CD 1 Remastered Recommend To A Friend |
  | RESONANCE ENSEMBLE ~ DOUBLE ARC
NOT TWO 936 (Barcode: 5901549185980) ~ USA ~ Jazz
Recorded: 2013 Released: 2015
This is a live recording by the Resonance EnsembleFind albums by this artist, an international gathering of Free Jazz / Improvised Music players led by American saxophonist / clarinetist / composer Ken VandermarkFind albums by this artist, which in this case comprises of eleven musicians, including two top Polish improvisers: saxophonist / clarinetist Mikolaj TrzaskaFind albums by this artist and clarinetist Waclaw ZimpelFind albums by this artist. The music, all composed by Vandermark, is en extended two-part suite, each of the parts being split into eight and six sub-parts respectively. The music was recorded at the Manggha Culture Center in Krakow, Poland.
In his liner notes Vandermark describes this music as a summary of his career and a reflection of the many musical influences he has absorbed over time, which according to him can be heard in the specific sub-parts of the suite. He dedicates this album to the great Polish contemporary Classical composer Witold LutoslawskiFind albums by this artist.
Personally I find this music rather cold and unrelated to any specific musical associations, which is a typical American contemporary Free Jazz, which just is there to be there, i.e. has sense only during a live performance but repeated listening of the recorded music has almost zero chance to happen, as the music simply does not make a statement. I must be suffering from a very serious Vandermark overdose, but honestly there is not much revealing music here, which propagates the Free Jazz / Improvised Music (more or less composed), to a new dimension or uncharted territory. Even the usage of the electronic "lloopp" is not interesting enough to save the day. The large ensemble parts present here should be compared to the stuff that British and European composers / bandleaders like Mike WestbrookFind albums by this artist, Trevor WattsFind albums by this artist and others already perfected in the 1960s and 1970s.
There are of course brilliant individual statements as these musicians are all well seasoned improvisers and first class composers themselves, but their efforts with their own ensembles are much more impressive IMHO.
Overall this album will be definitely of interest to the many Vandermark aficionados and other Free Jazz / Improvised Music fans, but considering how many recordings of similar musical language are being released in the last decade, it will simple blend into the background pretty soon.
| | | CD 1 Mini-Sleeve Recommend To A Friend |
  | RGG / LYYTINEN / BLASER ~ CITY OF GARDENS VOL. 2
VOICE MUSIC 1011 (Barcode: 5906489287527) ~ POLAND ~ Free Jazz / Improvised Music
Recorded: 2021 Released: 2024
This is an album by Polish Jazz trio RGGFind albums by this artist (pianist Lukasz OjdanaFind albums by this artist, bassist Maciej GarbowskiFind albums by this artist and drummer Krzysztof GradziukFind albums by this artist), joined by Finnish saxophonist Pauli LyytinenFind albums by this artist and Swiss trombonist Samuel BlaserFind albums by this artist. The “Vol. 2” refers to the album recorded by a similar quintet, but with Finnish trumpeter Verneri PohjolaFind albums by this artist instead of Lyytinen, released in 2018. The album presents seven tracks, five of which are improvised by the quintet and two are composed by Garbowski. The album offers a stunning sound quality.
The music reflects the steady shift of RGG towards Improvised Music, which happened gradually during the twenty plus years of their music making together, and is, in retrospect, one of the most fascinating musical journeys on the Polish Jazz scene. All three members of the trio are brilliant instrumentalists, capable of producing a mesmerizing flow of music, which never loses its coherence and melodic footing, even when it journeys into the Free Improvisation sphere, all of which is wonderfully documented on their impressive recorded legacy, carefully assembled over the last two decades.
Another aspect of RGG’s musical journey is the openness towards other musicians from all over the world, which also yielded superb recordings, like the a.m. earlier “City Of GardensFind albums with this title” album or their cooperation with British improvisers, like Trevor WattsFind albums by this artist or Evan ParkerFind albums by this artist. The open-mindedness and empathy required in such circumstances is superbly documented on this album as well, which is a beautiful example of spontaneity and telepathic musical bonding at their best.
Overall, this is a deeply moving, elegant and truly inspiring example of Improvised Music at its best, full of elegance and eloquence, coherency and aesthetics, which makes listening to music such a pleasure. An absolute gem!
| | Updated: 09/12/2024Posted: 09/12/2024 | CD 1 Digipak Recommend To A Friend |
  | RGG / TREVOR WATTS ~ RAFA
FSR 2018/13 (Barcode: 5905279364363) ~ POLAND ~ Free Jazz / Improvised Music
Recorded: 2018 Released: 2018
Following the live album recorded with legendary British Jazz saxophonist Evan ParkerFind albums by this artist in 2016, Polish Jazz trio RGGFind albums by this artist – pianist Lukasz OjdanaFind albums by this artist, bassist Maciej GarbowskiFind albums by this artist and drummer Krzysztof GradziukFind albums by this artist – return this time in the company of another British Jazz Colossus, saxophonist Trevor WattsFind albums by this artist, in a similar setting of live recording, performing spontaneously created Improvised Music. The album presents five pieces, obviously credited to all four musicians, lasting on average about fourteen minutes each. The music was superbly recorded and offers an astounding sound quality.
The music is an epitome of everything Improvised Music stands for; sublime interplay between the participants, breathtaking individual expressions, virtuosic instrumental displays and mesmerizing coherence, which together engulf the listener from the very first dramatic cry of the saxophone to the very last overtone seventy minutes later; an orgy of sounds and feelings which is every bit as merciless as it is strikingly uplifting.
RGG and Watts sound as if they have been playing together since the beginning of Time and rehearsing this material since forever, which of course happens only to the absolute best among musicians. Both parties are known for their openness and absolute disregard of boundaries, which is obvious herein, resulting in total acceptance of each other on one hand and profound mutual respect on the other. The level of togetherness and telepathic conversation is astounding and the resulting music is a group statement every inch of the way.
For Improvised Music cognoscenti, the music on this album is a classic example of European approach towards improvisation; based on balance between freedom and discipline, intellect and emotion, harmonic progression and rhythmic fluidity. Watts, one of the iconic figures of the British Jazz emancipation and pioneer of exploration of the Jazz idiom way beyond its mainstream origins, which he faithfully continues since the 1960s, feels completely at ease with his much younger cohorts, who represent the East European Jazz school characterized by its lyricism and intrinsic melancholy, and manages to combine his typical Britishness with the Slavic approach embodied in RGG´s statements. This aesthetic European Unity (Brexit aside) is a phenomenon that is unique to European Jazz, and sets it completely apart from whatever is happening across the pond.
I have been blessed and lucky to follow closely the careers of Watts and RGG since their onset and hearing them performing together is nothing short of bliss for me personally, but I am also convinced that every refined and experienced Jazz and Improvised Music connoisseur will find this music absolutely wonderful in every respect. This is definitely one of the best live albums that arrived on my desk in 2018, and I am profoundly grateful to its creators.
| | Updated: 16/12/2018Posted: 16/12/2018 | CD 1 Mini-Sleeve Recommend To A Friend |
  | GIAMPAOLO SCATOZZA ~ TRAVELS
CULTURAL BRIDGE 0007 (Barcode: 744430644068) ~ ITALY ~ Jazz-Rock-World Fusion
Recorded: 2017 Released: 2017
This is an album by Italian drummer / composer Giampaolo ScatozzaFind albums by this artist, recorded with a core trio which includes keyboardist Luciano ZanoniFind albums by this artist and trumpeter Giovanni Di CosimoFind albums by this artist and a long list of guest musicians which includes Norwegian (resident in Italy) vocalist Nina PedersenFind albums by this artist, British iconic saxophonist Trevor WattsFind albums by this artist, Italian pianist Pierpaolo PrincipatoFind albums by this artist and many others. The album presents eleven original compositions, all by Scatozza.
Being primarily know as a session drummer, who collaborated with a plethora of Pop / Rock / Electronic musicians over the years, traveling between London, NY, Toronto and Paris, this is Scatozza´s debut as a Jazz composer, and the focus of this album is obviously on the compositions. The music encompasses a wide range of styles, moving between Jazz-Rock and Jazz-World Fusions and Ambient, with strong melodic themes serving as the basis of the individual compositions. As a whole the album manages to create a coherent continuity, which is a joyous and fascinating listening experience.
The individual performances are all excellent, with Di Cosimo grabbing most of the attention by his superb soloing. But the keyboards also play a central role in creating the somewhat ambient atmosphere, which is strongly supported by very unique bass and drums statements, which sound almost like Drum and Bass on some pieces. The general atmosphere is pretty intimate and minimalistic, putting the compositions in the forefront.
Overall this is a very pleasant and interesting album, which might appeal to the younger listeners thanks to the ambient sound, but all Jazz connoisseurs should be able to enjoy it, thanks to the strong melodic compositions. Very well done!
| | Updated: 22/02/2018Posted: 22/02/2018 | CD 1 Digipak Recommend To A Friend |
  | SPLINTERS ~ INCLUSIVITY
JAZZ IN BRITAIN 26 (Barcode: 5060774190258) ~ UK ~ Free Jazz / Improvised Music
Recorded: 1972 Released: 2021
This is an archival 3CD album by British Jazz supergroup SplintersFind albums by this artist, which presents two live recordings, both from 1972, the first at the legendary London 100 Club (on CD 1 and 2) and the second from the opening night at the (then) newly opened Grass Roots club (on CD 3). The music was captured on cassettes and was carefully restored to today’s standard as far as possible. The 100 Club material was previously released in part by the Reel RecordingsFind albums on this label label in 2009 as “Split The DifferenceFind albums with this title”, and is here presented in its full form and the Grass Roots material is previously unreleased. The album is released in a lavish LP sized book format, and includes beautiful photographs by Jack KirbyFind albums by this artist and extensive essay by Simon SpillettFind albums by this artist – an obvious work of love and dedication, which is the modus operandi of the Jazz In BritainFind albums on this label label.
The Splinters collective is truly unique in every sense, but the most striking trait of this ensemble is the meeting of generations, united by the inner urge to express their musical ideas as expressively and unrestrictedly as humanly possible. Three of the protagonists of this session, pianist Stan TraceyFind albums by this artist (b. 1926), who appears on CD 1 and 3 only, drummer Phil SeamenFind albums by this artist (b. 1926) and saxophonist Tubby HayesFind albums by this artist (b. 1935) were already British Jazz legends at the time of this recording, with years of experience and established careers to their credit. All were immensely influential on the then growing up generation of the British New Wave of rebellious young players, who wished to emancipate the music they played from the restrictions of strict Jazz forms, patterns and rhythmical uniformity established since the genre´s conception and developed during its first half century in the USA.
Tracey, Seamen and Hayes were the necessary missing link between the Jazz tradition and the gradual but revolutionary development that occurred in British Jazz from the mid-1960s on. Surprisingly, Tracey and Seamen, both older than Hayes, proved to be the more adventurous, shunning from nothing and keeping their sensitivity completely up to date. Tracey fully embraced Free Jazz and Improvised Music and Seamen was active not only in the Jazz area, but also took part in early Jazz-Rock, Rock and even early World-Jazz activities, mainly through his faithful pupil and protégé Ginger BakerFind albums by this artist. Hayes remained somewhat more "conventional", expanding his Bebop approach with some freedom, but remaining firmly within the established parameters. Perhaps the future might have proved differently, but Hayes died prematurely just a year after this music was recorded.
The rest of the "crew" captured here: saxophonist Trevor WattsFind albums by this artist (b. 1939), who taped this music and was the initiator behind Splinters, trumpeter Kenny WheelerFind albums by this artist (b. 1930), bassist Jeff ClyneFind albums by this artist (b. 1937) and drummer John StevensFind albums by this artist (b. 1940), were the (not necessarily chronologically, but definitely spiritually) young Lions spearheading British Jazz into a new direction. The idea behind this session was to provide an open and most importantly completely free of any pre-conceptions environment for the musicians to express their ideas.
Overall, as with much contemporary Jazz at the time, the idea of free flow and mutual respectful listening is the core of creation here. The music consists of long improvised pieces, with no strict melody lines, but full of very "melodic" playing, which makes perfect sense musically. This is group improvisation at its best, full of musical interplay and mutual inspiration respectful of each other´s "moment" and bearing at each particular instant. In many respects this is a classic "textbook" recording, which could be used as a perfect demonstration of what group improvisation really is. As someone must have said sometime: "you can´t plan lovemaking", this music, although unplanned, is a pure work of love. Beyond essential!
| | Updated: 07/12/2021Posted: 07/12/2021 | CD 3 Digibook Remastered Essential Recommend To A Friend |
  | SPLINTERS ~ SPLIT THE DIFFERENCE
REEL RECORDINGS 013 (Barcode: 775020938328) ~ UK ~ Jazz
Recorded: 1972 Released: 2009
The Canadian Reel Recordings label does it again! Following a series of splendid British Jazz archival releases, which expose many previously unheard musical creations during the Golden Age of British Jazz, this addition to its catalogue is perhaps the most sensational and revealing. Obviously the feverish activity, that characterized this unprecedented period, produced a vast amount of groundbreaking music, which unfortunately was only partially captured on tape. Therefore unearthing another piece of that wonderful puzzle is always exciting and educational.
The SplintersFind albums by this artist collective is truly unique in every sense, but the most striking trait of this ensemble is the meeting of generations, united by the inner urge to express their musical ideas as expressively and unrestrictedly as humanly possible. Three of the protagonists of this session, recorded live at the legendary 100 Club, London´s primary Jazz dungeon for many years, pianist Stan TraceyFind albums by this artist (b. 1926), drummer Phil SeamenFind albums by this artist (b. 1926) and saxophonist Tubby HayesFind albums by this artist (b. 1935) were already British Jazz legends at the time of this recording, with years of experience and established careers to their credit. All were immensely influential on the then growing up generation of the British New Wave of rebellious young players, who wished to emancipate the music they played from the restrictions of strict Jazz forms, patterns and rhythmical uniformity established since the genre´s conception and developed during its first half century in the USA.
Tracey, Seamen and Hayes were the necessary missing link between the Jazz tradition and the gradual but revolutionary development that occurred in British Jazz from the mid-1960s on. Surprisingly, Tracey and Seamen, both older than Hayes, proved to be the more adventurous, shunning from nothing and keeping their sensitivity completely up to date. Tracey fully embraced Free Jazz and Improvised Music and Seamen was active not only in the Jazz area, but also took part in early Jazz-Rock, Rock and even early World-Jazz activities, mainly through his faithful pupil and protégé Ginger BakerFind albums by this artist. Hayes remained somewhat more "conventional", expanding his Bebop approach with some freedom, but remaining firmly within the established parameters. Perhaps the future might have proved differently, but Hayes died prematurely just a year after this music was recorded.
The rest of the "crew" captured here: saxophonist Trevor WattsFind albums by this artist (b. 1939), who taped this music and was the initiator behind Splinters, trumpeter Kenny WheelerFind albums by this artist (b. 1930), bassist Jeff ClyneFind albums by this artist (b. 1937) and drummer John StevensFind albums by this artist (b. 1940), were the (not necessarily chronologically, but definitely spiritually) young Lions spearheading British Jazz into a new direction. The idea behind this session was to provide an open and most importantly completely free of any pre-conceptions environment for the musicians to express their ideas.
As with much contemporary Jazz at the time, the idea of free flow and mutual respectful listening is the core of creation here. The music consists of two long (47 and 30 minutes) improvised pieces, with no strict melody lines, but full of very "melodic" playing, which makes perfect sense musically. This is group improvisation at its best, full of musical interplay and mutual inspiration respectful of each other´s "moment" and bearing at each particular instant. In many respects this is a classic "textbook" recording, which could be used as a perfect demonstration of what group improvisation really is. As someone must have said sometime: "you can´t plan lovemaking", this music, although unplanned, is a pure work of love. Beyond essential!
| | Updated: 07/12/2021Posted: | CD 1 Digipak Remastered Essential Recommend To A Friend |
  | SPONTANEOUS MUSIC ENSEMBLE ~ QUESTION AND ANSWER
RHYTHM AND BLUES 068 (Barcode: 5060331752431) ~ UK ~ Free Jazz / Improvised Music
Recorded: 1966 Released: 2021
This is an archival release, which presents early recordings by the pioneering British Free Jazz / Improvised Music outfit, called Spontaneous Music EnsembleFind albums by this artist (a.k.a. SMEFind albums by this artist), fronted by drummer / composer John StevensFind albums by this artist, which also includes saxophonist Trevor WattsFind albums by this artist, trombonist Paul RutherfordFind albums by this artist and Australian bassist Bruce CaleFind albums by this artist. The album presents eight tracks recorded live at a pub, as well as an Q&A session with the musicians, and additionally four trio tracks (less Rutherford), recorded a couple of months later at an unknown studio. The sound quality is a bit rough around the edges, but surely good enough to express the atmosphere and the magic of the music. The album’s booklet with text by Simon SpillettFind albums by this artist, gives a wide historic perspective of the circumstances surrounding the music.
Soon after Stevens formed the SME with Watts and Rutherford, the group begun a residency at the Little Theatre Club, and soon after recorded their debut album. The recordings on this album originate from just few months later on and are some of the earliest SME musical documents. Over the years the entire British (as well as many European improvisers) Avant-Garde Jazz scene took part in SME activities, making it one of the most formidable British / European foci of the genre. A plethora of SME lineup existed up to the untimely death of Stevens in 1994.
Britain was definitely somewhat behind the burgeoning American Avant-Garde Jazz scene, which started in the late 1950s, and therefore what was considered as Free Improvisation in UK was much gentler and less radical than what was happening across the pond. The music played here still offers some basic themes, which are then improvised on, and the music more often than not still swings, at least to those listeners who can recognize that swing in Stevens’ drumming. Watts, improvising bravely and with unlimited expressionism, is only of the verge of becoming the Master Improviser he would become a few years later. Rutherford manages to raise some brows, being perhaps the most virtuosic performer at that point of time.
Overall this is certainly a very important document as far as the British / European Avant-Garde history is concerned, and the fact that this music suddenly pops up five and half decades later is a major discographical event. Surely this will be of interest to many British Jazz fans around the globe and make many of them grateful for being able to enjoy it.
| | Updated: 19/06/2021Posted: 18/06/2021 | CD 2 Recommend To A Friend |
  | JOHN STEVENS ~ AT THE PLOUGH `79
FMR 215 (Barcode: 649849982766) ~ UK ~ Jazz
Recorded: 1979 Released: 2007
British drummer John StevensFind albums by this artist was one of the great heroes of the local scene and a great pioneer of the European Free Jazz / Improvised Music. Together with such distinguished British improvisers as Kenny WheelerFind albums by this artist, Evan ParkerFind albums by this artist, Paul RutherfordFind albums by this artist, Trevor WattsFind albums by this artist, Derek BaileyFind albums by this artist and Barry GuyFind albums by this artist, Stevens laid the foundations of the modern British Jazz revolution in the mid 1960s, when he started his Spontaneous Music EnsembleFind albums by this artist (SME), which he led for many years. SME recorded extensively through the 1970s, when the Improvised Music movement was at its peak. Later on he also recorded with many other European improvising musicians from the continent and continued to record for small independent labels. Stevens died in 1994 (at the age of 54) and left an immense legacy of recorded music, as well as a crucial contribution to the development of the Jazz Art Form. This live recording at the legendary London pub “The Plough”, which served as the meeting place of the Improvised Music scene in the 1970s, captures the John Stevens Trio with saxophone giant Mike OsborneFind albums by this artist and superb young (at the time) bassist Paul RogersFind albums by this artist. The set was recorded on a portable tape machine, which means that the sound quality is limited, but it does not affect the intensity and the brilliance of the music. The trio performs three Osborne originals and three interpretations of Jazz standards, which of course get quite a work-over. All three musicians are simply brilliant and the fans of this music should be grateful it was preserved for posterity, especially in view of the rather limited availability of live material by Osborne. Great to have this lost treasure rediscovered and available for all of us to enjoy. A gem!
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  | WATTS / WESTON / BLUNT / MARSHALL ~ DIALOGUES WITH STRINGS
FSR 2017/09 (Barcode: 5905279364226) ~ UK ~ Free Jazz / Improvised Music
Recorded: 2017 Released: 2017
This is a live album by the British duo comprising of saxophonist Trevor WattsFind albums by this artist and pianist Veryan WestonFind albums by this artist, expanded to a quartet with the addition of violinist Alison BluntFind albums by this artist and cellist Hannah MarshallFind albums by this artist. Recorded at London´s Café Oto, which has become the Mecca of Improvised Music in the UK Capital, the music includes three extended improvisations by the quartet, two of which are well over twenty minutes in duration and one almost ten minutes long. The compositions, as always in such cases, are credited to all four quartet members.
The Watts / Weston duo already released an album in Poland in 2015 on the For TuneFind albums on this label label and this release is also on a Polish label (FSRFind albums on this label), which proves that Poland is a fertile ground for contemporary Improvised Music, both for the local musicians and guests from the world over, with several active record labels dedicated entirely to or seriously involved in Improvised Music.
These performances prove that music knows no gender or age barriers and the quartet sounds as organic as humanly possible. The presence of the string instruments obviously calls for a gentler sound of the saxophone and piano, which clearly benefits the music. The double dialogue, or quadrilogue, achieved by the four participants is highly conversational and coherent, with the four individual voices working in tandem in order to achieve a result greater than just a sum of its parts. There is a heartwarming mutual respect and sympathy within the music, which amalgamates the ingredients into a powerful statement.
Obviously this is a very demanding music, not to be treated lightly or casually. The listener needs to concentrate and literally open up to the flow of the notes, in order to let them take over his consciousness and tickle the pleasure buds inside the brain. But the overall effect is pretty overwhelming and should make all Improvised Music connoisseurs entirely happy.
It is always a pleasure to see Trevor Watts blooming and vital as he always was since I´ve first met him well over fifty years ago. I wish for many more years of him being as productive and artistically challenging, as he still is today. British Jazz would have never be what it is today without his contribution. Respect!
| | Updated: 19/01/2018Posted: 19/01/2018 | CD 1 Mini-Sleeve Recommend To A Friend |
  | TREVOR WATTS ~ THE LANTERN TREE
JAZZ IS BRITAIN 73 (Barcode: 5060774190791) ~ UK ~ Jazz-World Fusion
Recorded: 2000 Released: 2024
This is an archival live album by British Jazz saxophonist / composer / bandleader Trevor WattsFind albums by this artist, recorded with an ensemble that included saxophonist Marcus CumminsFind albums by this artist, pianist Gabriel KeeneFind albums by this artist, guitarist Geoff SapsfordFind albums by this artist, bass guitarist Colin McKenzieFind albums by this artist, drummer Greg LeppardFind albums by this artist and percussionist Ali IaazaneFind albums by this artist. Two additional saxophonists Amy LeakeFind albums by this artist and Rob LeakeFind albums by this artist also take part in the recording. The album presents eleven tracks, all original compositions by Watts.
The music is strongly oriented towards various World Music elements, and offers often a trance-like development, with a collective improvisation by the musicians, based on the basic themes composed by Watts. In many respects this music continues Watts’ fascination with World Music, which is omnipresent on many of his recordings since his early days on the scene, especially his interest in various rhythmic patterns, which is well documented on his recordings with his Moire MusicFind albums by this artist or Drum OrchestraFind albums by this artist ensembles.
Wats has been present on the British Jazz scene since the mid-1960s, originally with the legendary Spontaneous Music EnsembleFind albums by this artist, which marks the origins of British Improvised Music, and still active at the age of eighty-five, is a remarkable life achievement, which deserves love and admiration. Therefore, every recording that documents his creativeness over the years is most welcome.
Overall, this is another piece of British Jazz history, revealed by the Jazz In BritainFind albums on this label label, which builds up a remarkable volume of music documentation, which would have otherwise probably disappeared into oblivion. It is, as always, most welcome!
| | Updated: 01/02/2025Posted: 01/02/2025 | CD 1 Mini-Sleeve Recommend To A Friend |
  | TREVOR WATTS / LIAM GENOCKEY ~ THE ART IS IN THE RHYTHM
JAZZ IN BRITAIN 39 (Barcode: 5060774190418) ~ UK ~ Free Jazz / Improvised Music
Recorded: 1989 Released: 2022
I have been following the Artistry of British saxophonist / composer / bandleader Trevor WattsFind albums by this artist for almost six decades now, starting with the early days of SMEFind albums by this artist (Spontaneous Music EnsembleFind albums by this artist) and later AmalgamFind albums by this artist, Moire MusicFind albums by this artist, London Jazz Composers` OrchestraFind albums by this artist and his work with other British and international improvisers, which over the years amasses to a vast recorded legacy, surely one of the most impressive achievements of the British Improvised Music scene and beyond. We are so lucky to have him around with us, still contributing new music continuously, although this album is of a retrospective / archival nature, documenting Watts’ duets with Irish drummer Liam GenockeyFind albums by this artist, who earned his fame on the British Folk-Rock scene, but in fact was active on the British Jazz, Jazz-Rock and Improvised Music scene as well, including his work with Watts as early as 1976, when he became a member of Amalgam.
This archival album presents three improvised pieces, recorded over three decades ago, two of which last almost half an hour and the remaining one half that time, which of course is nothing exceptional in Improvised Music. The recording offers an excellent sound quality and separation (drums on the far left and saxophones on the far right), which allows the listener to enjoy the phenomenal interplay between the two musicians, who converse, exchange ideas and dance around each other in perfect accord.
Improvised Music tends to be mostly a spur of the moment affair, which is a brilliant, but often sadly of very temporary nature. Most improvised concerts do not manage to encapsulate the energy and emotional delivery when transferred to a recording, which a listener would return to repeatedly. This recording manages to break the pattern, and certainly offers enough aesthetic and artistic value, which is worth keeping for posterity and listening to, since it offers a timeless tale of human communication, not only on the musical plane, but also on a perceptional “higher” plane, which is not even possible to be explained verbally and has to be experienced at first hand in order to participate in the event. Of course the Masterly abilities of both these musicians are plainly evident herein, and as the title suggests, it is worth to listen carefully to the rhythmic effect of this music, which of course is present not only in the drum parts.
As usual kudos to the people behind the Jazz In BritainFind albums on this label label, which keeps all the British Jazz fans around the globe hooked on its excellent output, which never ceases to deliver exactly what we all wish to hear.
Overall, this is another excellent piece of the puzzle, which presents the diverse musical history of the British Jazz, which remains to be a wonderful treasure chest, which sometime seems like a bottomless pit, considering the amount of music it offers time and again.
| | Updated: 26/09/2022Posted: 26/09/2022 | CD 1 Digipak Remastered Recommend To A Friend |
  | TREVOR WATTS / STEPHEN GREW ~ ALL THERE IS
DISCUS 061 (Barcode: 5051078955025) ~ UK ~ Free Jazz / Improvised Music
Recorded: 2017 Released: 2017
This is an album by the duo comprising of legendary British saxophonist / composer Trevor WattsFind albums by this artist and pianist / improviser Stephen GrewFind albums by this artist, which presents seven completely improvised, and therefore un-credited pieces, beautifully recorded in a church.
The duo format has been one of the earliest musical milieus spearheading the European Free Jazz / Improvised Music / Avant-Garde idioms. It seems that the bilateral inspiration and contact produce often more satisfactory results than those of solo recordings, of which this album is an excellent example. Although playing solo is something both of the musicians present here like doing, the combined forces and the bouncing of ideas between them seems to enhance their respective contributions.
In many respects Watts and Grew are complete opposites. Watts always was a romantic at heart and beneath the nonchalant exterior there was always a dreamy melancholic full of lyricism and spirituality. Grew on the other hand is quirky, sharp like a razor, quick to deliver a machine-gun like series of notes and neck-breaking arpeggios, supported by a left hand wall of sound effect. Somehow the meeting between these two opposites works wonderfully and shows the affinity they obviously share towards each other.
This is music of a moment – here now, gone in a blink. Improvised music tends to be like that and it is up to the listener to make the intellectual / emotional effort to follow the rapid development and the barrage of ideas, delivered simultaneously from two sources; definitely not an easy task. However, as in all difficult music, the moment one is able to lose oneself in the music, crossing the cultural / intellectual barriers, it all becomes crystal clear, embracing and comforting.
As I have often stated, Improvised Music rarely manages to make the transition between its performance and the recorded document, without losing its meaning, power and validity in the process. Often the loftiest performances become so detached from the ambience of the room they were recorded in, the people present in the room (musicians and audience in case of a live recording) and even the odors in that room, that the recorded document simply means nothing any more. Happily this is not the case here and the music captured herein remains meaningful, touching and most importantly alive, despite the fact that it is captured in a series of ones and zeroes.
I have been lucky to enjoy the music created by Watts for the last five decades, still vividly remembering the early days of British Avant-Garde in smelly, dinky clubs / pubs around London in the late 1960s, where this music was born. We were few then and we are still a tiny minority, but in this crazy world we live in, it is good to have some stability, and Trevor has always been steady as a rock as far as delivering challenging, wonderful and inspiring music, for which I thank him from the bottom of my heart.
| | Updated: 02/01/2021Posted: 12/11/2017 | CD 1 Mini-Sleeve Recommend To A Friend |
  | TREVOR WATTS / MOIRE MUSIC ~ LIVE IN KARLSRUHE
FMR 232 (Barcode: 649849982810) ~ UK ~ Jazz
Recorded: 1989 Released: 2007
Live recording by the Moire MusicFind albums by this artist ensemble, founded by saxophonist Trevor WattsFind albums by this artist after his previous band, AmalgamFind albums by this artist, disbanded. In contrast to Amalgam, Moire Music is a large ensemble, varying in size around 10 members, and often features a brass section, a string section and an expanded percussion section, including African drums. In contrast to Amalgam´s music, which was based mainly on a small group improvisation, this ensemble performs music which is well structured and arranged, but allows plenty of individual improvisation to take place. It also tends to include many World Music elements, incorporating them into the Jazz framework. This particular lineup of the ensemble includes the esteemed saxophone player Simon PicardFind albums by this artist. The drummer is another ex-Amalgam member Liam GenockeyFind albums by this artist. This material was previously unreleased and is a most welcome addition to this band´s recorded legacy. It goes without saying that the music is brilliant, as anything Watts is associated with, I can hardly imagine a Jazz enthusiast who would remain impartial to these performances, while listening to this music and my warm recommendation is self-explanatory. Great stuff!
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  | TREVOR WATTS / MOIRE MUSIC ~ MOIRE MUSIC
FMR 250 (Barcode: 649849983053) ~ UK ~ Jazz
Recorded: 1985 Released: 2008
Debut album by the Moire MusicFind albums by this artist ensemble, founded by saxophonist Trevor WattsFind albums by this artist after his previous band, AmalgamFind albums by this artist, disbanded. In contrast to Amalgam, Moire Music is a large ensemble, varying in size around 10 members, and often features a brass section, a string section and an expanded percussion section, including African drums. In contrast to Amalgam´s music, which was based mainly on a small group improvisation, this ensemble performs music which is well structured and arranged, but allows plenty of individual improvisation to take place. It also tends to include many World Music elements, incorporating them into the Jazz framework. This particular lineup of the ensemble includes the legendary saxophonist Lol CoxhillFind albums by this artist and another esteemed saxophone player Simon PicardFind albums by this artist. The drummer is another ex-Amalgam member Liam GenockeyFind albums by this artist. The music was recorded live and the original album was released on the independent ArcFind albums on this label label, owned by Watts. Unavailable for many years, this is a long overdue first appearance on CD, which of course is most welcome. It goes without saying that the music is brilliant, as anything Watts is associated with, I can hardly imagine a Jazz enthusiast who would remain impartial to these performances, while listening to this music and my warm recommendation is self-explanatory. Great stuff!
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  | TREVOR WATTS / MOIRE MUSIC ~ WITH ONE VOICE
FMR 108 (Barcode: 649849981523) ~ UK ~ Jazz
Recorded: 1988 Released: 2002
2nd album by the Moire MusicFind albums by this artist ensemble, founded by saxophonist Trevor Watts after his previous band, AmalgamFind albums by this artist, disbanded. In contrast to Amalgam, Moire Music is a large ensemble, varying in size around 10 members, and often features a brass section, a string section and an expanded percussion section, including African drums. In contrast to Amalgam´s music, which was based mainly on a small group improvisation, this ensemble performs music which is well structured and arranged, but allows plenty of individual improvisation to take place. It also tends to include many World Music elements, incorporating them into the Jazz framework. This particular lineup of the ensemble includes the esteemed saxophone player Simon PicardFind albums by this artist. The drummer is another ex-Amalgam member Liam GenockeyFind albums by this artist. The music was recorded live and the original album was released on the independent ArcFind albums on this label label, owned by Watts. Unavailable for many years, this is a long overdue first appearance on CD, which of course is most welcome. It goes without saying that the music is brilliant, as anything Watts is associated with, I can hardly imagine a Jazz enthusiast who would remain impartial to these performances, while listening to this music and my warm recommendation is self-explanatory. Great stuff!
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  | TREVOR WATTS` ORIGINAL DRUM ORCHESTRA ~ THE ART IS IN THE RHYTHM VOLUME 2
JAZZ IN BRITAIN 46 (Barcode: 5060774190531) ~ UK ~ Avant-Garde Jazz-World Fusion
Recorded: 1989 Released: 2023
This is an archival live recording by the veteran British saxophonist / composer / bandleader Trevor WattsFind albums by this artist and his Original Drum OrchestraFind albums by this artist, which included violinist Peter KnightFind albums by this artist, bassist Ernest MothleFind albums by this artist, African percussionists Nana TsiboeFind albums by this artist and Kofi AduFind albums by this artist and drummer Liam GenockeyFind albums by this artist. The six lengthy improvised tracks were captured at two gigs, which were part of a tour the group played in 1989. The CD is dedicated to the memory of the two percussionist, who are now departed.
The music is all improvised, but differs significantly from what is usually conceived as European Free Jazz / Improvised Music due to the presence of the African Music elements, which have a prevailing rhythmic presence. With the saxophone and violin being the only melodic contributors to the music, the percussive elements dominate the proceedings, offering a wide range of pulsations, which keep changing as the pieces develop. It is possibly one of the most vivid examples of African Music within the British Improvised Music idiom, and of course it does continue Watts’ fascination with such musical elements, as present in his ensembles Moire MusicFind albums by this artist and Drum OrchestraFind albums by this artist, which were active during the 1980s and 1990s.
Watts’ improvisations are of course as fascinating as always, obviously highly inspired by the powerful rhythmic elements present herein, and he often exposes his lyrical / melodic persona, which is able to weave beautiful gentle tunes as well.
The music is very well recorded and offers a truly hypnotic ride, which thanks to the extensive duration of the tunes, often close and even over the half an hour mark, absorbs the listener completely for the duration. The more inquisitive listeners might delight in the interplay between the two percussionists and the drummer, who build a trans-continental Euro-African rhythmic understanding and co-existence.
As usual, thanks to the Jazz In BritainFind albums on this label label for releasing this archival material, for the excellent booklet and photographs and as usual for keeping this Cultural Heritage alive.
Overall, this is again a great addition to the British Jazz legacy, which keeps growing steadily and closing the gaps that time created, for those of us who are always thirsty to hear music, which should not be forgotten. Keep up this splendid job my Friends! And Trevor – may you keep playing for many years to come!
| | Updated: 23/07/2023Posted: 23/07/2023 | CD 2 Digipak Remastered Recommend To A Friend |
  | TREVOR WATTS & VERYAN WESTON ~ AT AD LIBITUM
FOR TUNE 0057 (Barcode: 5902768701593) ~ UK ~ Jazz
Recorded: 2013 Released: 2015
This is a live recording by the British duo comprising of saxophonist Trevor WattsFind albums by this artist and pianist Veryan WestonFind albums by this artist, captured during the 2013 edition of Warsaw´s Ad Libitum festival. The album presents five pieces of improvised music, credited to both members of the duo, one of which lasts for over twenty minutes.
Watts can be considered as one of the Godfathers of the Free Jazz / Improvised Music scene in Britain and his pivotal and groundbreaking recordings with the Spontaneous Music EnsembleFind albums by this artist, AmalgamFind albums by this artist, London Jazz Composers` OrchestraFind albums by this artist, Moire MusicFind albums by this artist and other ensembles constitute a most significant part of the modern British Jazz legacy. Weston, who is perhaps less prominent outside a closed circle of "insiders", has also an impressive legacy and his activities over the years are worth being discovered. Their performances as a duo are always a thrill and sound youthful and contemporary, as if time stood completely still for them.
The music herein is a perfect example of what Improvised Music is all about; the intimate duo format allows both musicians to exchange musical ideas on the fly, probing and responding almost instantly, which often sounds as if the duo was in fact one mind occupying two persons. Playing together for quite a while allows these two Masters to approach their music without any inhibitions or barriers, simply communicating on a telepathic level, and the resulting music sounds perfectly coherent and natural.
I have followed Watts every step since the 1960s, attending numerous gigs he played all over Europe and of course listening to all the albums he released over time. There are very few Jazz artists that can match his consistent excellence and his everlasting drive to move forward with his musical ideas. This duo suits his characteristics perfectly and Weston proves a worthy and inspiring partner. Together they create heavenly music!
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