Record Reviews

KEITH TIPPETT ~ THE NINE DANCES OF PATRICK O`GONOGON DISCUS 056 (Barcode: 5051078947426) ~ UK ~ Jazz Recorded: 2014 Released: 2016 This is an album by veteran and truly legendary British pianist / composer Keith TippettFind albums by this artist, recorded with his octet which also includes Italian trumpeter Fulvio SigurtaFind albums by this artist, saxophonists Sam MayneFind albums by this artist and James GardinerFind albums by this artist, trombonists Kieran McLeodFind albums by this artist and Rob HarveyFind albums by this artist, bassist Tom McCredieFind albums by this artist and drummer Peter FaircloughFind albums by this artist. Tippett´s wife, vocalist Julie TippettsFind albums by this artist, guests on one track. Apart from Sigurta, Fairclough and the leader of course, the other members of the octet are young players, graduates of RAM (Royal Academy of Music) who represent the new generation of British Jazz musicians. Keith Tippett was there at the very epicenter of the British Jazz revolution and emancipation almost form the very beginning. His unique approach to music, unrestrained chutzpah to ignore all restrictions and constant pursue of uncharted territory have characterized his musical creations over the years, moving in scope from solo piano works to music for large orchestras. He is also one of the very few British Jazz artists, who remained active, recorded ferociously and maintained his position in the vanguard of the British Jazz to this very day. As I am getting older the longing for the Golden Decade (1965-1975) of the British Jazz becomes notably more intense. Although I keep my ears close to the grapevine and follow what is happening on the British scene at all times, it seems to me that the spark of genius, the inventiveness and the joy of creation have all noticeably withered over time. Of course it is also possible that my personal perception of music has changed, or I am becoming senile and overwhelmed by nostalgic silliness, and yet the statistics are overwhelming: in my collection there are thousands of British Jazz albums recorded during (and around) the Golden Decade and only a few hundreds of albums recorded since. It that a coincidence? This album, however, is a ray of hope, which proves that not everything is lost and great music is still being made today. The overall character of this album, its concept and execution are all deeply rooted in the Golden Age tradition. The music smoothly incorporates composed music and improvised passages, it is melody based, but hides the melodic threads behind veils of multilayered arrangements and improvised parts, it incorporates folkloristic influences and it swings beautifully, but only occasionally; in short exactly the same characteristics that stood behind British Jazz some fifty years ago. As the album´s title suggests, Tippett re-examines and re-visits typical Irish motifs, some clearly audible other much more subtly concealed within the long suite-like composition. Although broken into separate tracks, the music on this album constitutes a complete, coherent and continuous entity, which can only be treated as a complete musical statement. There are plenty of great performances here, between the brilliant Tippett´s solo passages to the powerful octet statements. The dynamic range of this music keeps the listener in constant tension, trying to guess what the composer´s next move will bring. But as usual with Tippett, he is full of surprises, which means that there are no dull moments here. Is Tippett getting mellower in time? Perhaps this is the case, as this album is certainly more "listener friendly", melodic and simply wonderfully beautiful than most of his work so far. This attitude was quite surprising for me, but since it works brilliantly well with the more complex parts of this album, it makes me perfectly happy. Being a free spirit, musically or otherwise, and yet at the same time being able to communicate with a large audience is a rare and precious quality, and Tippett proves he´s got it all. Overall this is a brilliant, deeply moving piece of music, beautifully executed and standing up to the highest aesthetic echelons of British Jazz, established half a Century ago and still very much valid today. I can´t imagine any serious British Jazz connoisseur missing this album in his collection. Absolutely essential listening!

Updated: 02/01/2021Posted: 11/11/2017

CD 1 Mini-Sleeve 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

KEITH TIPPETT ~ THE UNLONELY RAINDANCER DISCUS 081 (Barcode: 5051078967929) ~ UK ~ Free Jazz / Improvised Music Recorded: 1979 Released: 2019 This is a reissue, or rather a reconstruction of the debut solo piano album by the iconic British pianist / composer Keith TippettFind albums by this artist. The music was recorded live during Keith´s 1979 tour of Holland, but the original master tape which was used to produce the double LP album released in 1980 was lost and Martin ArcherFind albums by this artist, the owner of DiscusFind albums on this label Music, painstakingly reconstructed it from the original cassette recordings of the tour, which contain over ten hours of music – an obvious labor of love and an act of total dedication to the cause. The album presents nine solo piano pieces, six of which are extensive and last between eight and nineteen minutes and three are miniatures lasting between one and three minutes. Since the music was recorded in five different locations on different pianos, the ambience and sound quality vary. Tippett admits that this album sets a standard and sort of a blueprint for his later piano solo recordings, which constitute a significant part of his extensive recorded legacy. But it is far beyond just being a milestone in his career, being also a symbolic statement of the entire British / European Improvised Music scene, which entered the mature stage of its development. The 1960s were devoted to searching for new means of musical expression and were characterized by wild and often chaotic extremism. In the 1970s the European Improvising Music reached a stage of stabilization and crystallization of the chaotic ideas into a series of patterns, which defined the does and the don´ts of the genre and established the Improvised Music circles that grew in London, Paris, Munich and other European cities, including of course also Eastern Europe. But only by the 1980s the genre, or movement, truly established its aesthetics and Artistic goals, which were refined in the process during the two preceding decades. With this album Tippett, to some extent obviously subconsciously, but following by his convictions and inner musical motifs, clearly defined the credo of Improvising Music as an amalgam of individuality and complete freedom of expression bounded by the need to communicate with the audience. Where the Avant-Garde music often totally lost its touch with reality and with it the ability to establish a contact with the audience, turning into a nihilistic exercise, Improvised Music tried to be music by people, for people. As a result, the music on this album, despite its "weird" exterior, is in fact completely coherent and communicative, even to listeners with no previous experience in listening to Improvised Music. Even the lack of clearly defined melodic threads constitutes no barriers, as the music is expressive enough to enable the listener to "find" his own melodic "context" within it. It also inspires a sort of meditative state of mind, which embraces and engulfs the listener gradually, and with the advantage of not having to change the LP are switch sides, it is achieved even more effectively here. Overall this is an absolute must have to all Improvised Music connoisseurs, a wonderful piece of the history of British / European Jazz, that was almost lost in the tides of time if not for the effort to create this reissue. Go and grab it ASAP!

Updated: 02/01/2021Posted: 05/06/2019

CD 1 Mini-Sleeve Remastered Recommend To A Friend

TONY OXLEY ~ FEBRUARY PAPERS DISCUS 099 (Barcode: 5051078983028) ~ UK ~ Avant-Garde Jazz Recorded: 1977 Released: 2020 This is a reissue, first time on CD, of an iconic album by British Jazz drummer / composer / bandleader Tony OxleyFind albums by this artist. The album presents seven original compositions by Oxley, recorded by three lineups: a quartet with violinists Philipp WachsmannFind albums by this artist and David BourneFind albums by this artist and bassist Barry GuyFind albums by this artist (two tracks), a trio with Wachsmann and guitarist Ian BrightonFind albums by this artist (two tracks) and finally solo percussion and electronics (three tracks). Oxley held a pivotal position in British Jazz since the mid 1960s, when he became the house drummer at Ronnie Scott´s club in London, which gave him an opportunity to play with the visiting prominent American Jazz stars and top British Jazz musicians. He was highly respected and always considered as truly extraordinary player, with his own perception of the role of drums within the Jazz idiom, but more importantly the concept of Jazz itself and its transformation into Improvised Music, which was developing at the time. Hearing Oxley performing live was for me always an extraordinary experience, regardless of the circumstances. Even within a most "straightforward" mainstream environment, his drumming was always on a different conceptual plane, although he managed to "keep time" perfectly and without a hitch. Since the late 1960s Oxley started to be featured on a long series of revolutionary British Jazz albums recorded at the time, many of which remain as absolutely essential examples of modern British Jazz and serve as unsurpassed achievements of that boisterous creative period, like those recorded with Gordon BeckFind albums by this artist, Howard RileyFind albums by this artist, Alan SkidmoreFind albums by this artist, John McLaughlinFind albums by this artist, John SurmanFind albums by this artist, Michael GibbsFind albums by this artist and others. His recording career as a leader started in 1969 with the release of two albums for CBSFind albums on this label: "The Baptised TravellerFind albums with this title" (1969) and "4 Compositions For SextetFind albums with this title" (1970), which in retrospect are considered as absolute gems of British Jazz discography. Those were followed by the album "IchnosFind albums with this title" (1971) released on RCAFind albums on this label. Following the disappointment with the major labels, which showed no interest in promoting these albums, Oxley joined guitarist Derek BaileyFind albums by this artist and saxophonist Evan ParkerFind albums by this artist as co-founder of the IncusFind albums on this label label, which was one of the first independent artist owned labels in Britain. He recorded two albums for the label: the eponymous "Tony OxleyFind albums with this title" (1975) and finally this, his fifth album as a leader "February PapersFind albums with this title" (1977). The music on this album has nothing to do with Jazz in the conventional meaning of the idiom, but it is a perfectly logical continuation of the musical development that is documented on the four a.m. albums. Oxley breaks the conventional barriers and pushes the envelope towards Avant-Garde, which calls for new forms of expression not related to melody, harmony or even the usual sound expected from the instruments. Such extensive use of electronics was almost completely unheard of at the time of course and although early Improvised Music was already present on the scene, it was rarely as uncompromising and far-fetched as what Oxley decided to capture herein. Although bold spirited, the music offers a delicate, almost intimate sound and allows the listener to absorb every nuance of these performances. The solo percussion / electronics pieces are of course the most surprising ones here. Improvised music is usually about group improvisation, but Oxley is one of the first improvisers to undertake the daring effort to freely improvise on his own, proving that such form of expression is both possible and valid. Listening to this album today, with over four decades of perspective, enables me to extend my appreciation of this momentous historic effort from a new angle. Improvised Music is of course alive and kicking today and I am constantly exposed to a huge number of such recordings. I have to say that most of those contemporary efforts sound pretty pale in comparison to what Oxley managed to capture for posterity then. Despite the limited possibilities, surely compared to what is available today as far as electronic devices are concerned, his imagination and creativity remains unchallenged. Kudos to Martin ArcherFind albums by this artist, the man behind DiscusFind albums on this label Records, for bringing this piece of musical history back to circulation – much appreciated! For Avant-Garde / Improvised Music enthusiasts, this is a Holy Grail!

Updated: 02/01/2021Posted: 03/10/2020

CD 1 Mini-Sleeve Remastered Recommend To A Friend

DIRAR KALASH ~ OF QUIETUDE DISCUS 100 (Barcode: 5051078983127) ~ ISRAEL ~ Free Jazz / Improvised Music Recorded: 2020 Released: 2020 This is a solo piano album by Palestinian pianist / composer Dirar KalashFind albums by this artist, resident in Ramallah, recorded during his visit in UK in January 2020. The album presents just two extended solo piano improvisations, both lasting slightly above or below the half an hour mark. Kalash released several albums on his Berlin based al-bayanFind albums on this label label, which I am sadly not familiar with, and he defines himself as "a musician and sound artist whose work spans a wide range of musical and sonic practices within a variety of compositional and improvisational contexts". The music is a collection of sounds produced by striking the piano keys, creating a minimalist tapestry of sounds, which is pretty unrelated to the external world beyond the workings of the pianist´s mind and his inner ears. Obviously Avant-Grade and quite unique, the music is not making any effort to reach out towards the listener and leaves him to interpret the sounds Kalash produces by his own aesthetic / emotional values. Clearly such music has an a priori limited audience, mostly due to the fact that it drives the listener to make an intellectual and / or emotional effort to relate to the music, which in most cases is way more that can be currently expected. Nevertheless such effort will be deeply rewarding, as the music has a transcending quality, almost like a Buddhist chant, that purifies the listener´s soul from any mundane troubles he might be preoccupied with. Overall I found the music a fascinating listening experience, difficult and demanding, but completely worth the effort to put away an hour and just submit yourself to the sounds, letting the soul to do the rest. I can imagine that Kalash finds a very limited local audience in Ramallah, but to be perfectly honest Avant-Garde is by definition intended for limited audiences and even at the epicenters of Culture it has very limited appeal. As to problems with an access to an instrument, mentioned in the album´s PR, from my experience there are plenty of pianos around Ramallah, instrument shops and music schools, but I am also sure that the Jerusalem Music Academy, just half an hour from Ramallah, will welcome Kalash and provide him with access to an excellent piano – after all we are neighbors, often way closer than what the world chooses to portray. Congrats, as always, to Martin ArcherFind albums by this artist, for releasing this music on his excellent DiscusFind albums on this label label, regardless of its commercial appeal. You are a true pioneer!

Updated: 21/11/2020Posted: 21/11/2020

CD 1 Mini-Sleeve Recommend To A Friend

KEITH TIPPETT ~ THE MONK WATCHES THE EAGLE DISCUS 102 (Barcode: 5051078984025) ~ UK ~ Avant-Garde Jazz-Classical Fusion Recorded: 2004 Released: 2020 This is a sensational archive album by British Jazz pianist / composer Keith TippettFind albums by this artist, which presents a live recording of his composition for large choir, solo voice and a two saxophone quartets, with lyrics by Julie TippettsFind albums by this artist. The work was commissioned for the 2004 edition of the Norwich and Norfolk Festival and was premiered that year at the Norwich Cathedral where it was also recorded for broadcast by the BBC. Tippett conducted the performance, which included Julie Tippetts on solo vocals, the BBC SingersFind albums by this artist choir, an improvising saxophone quartet comprising of Paul DunmallFind albums by this artist, Kevin FigesFind albums by this artist, Ben WaghornFind albums by this artist and Chris BiscoeFind albums by this artist, and also the Apollo Saxophone QuartetFind albums by this artist. The music is every bit as innovative, far-reaching and groundbreaking as the rest of Tippett´s musical legacy and this posthumous release expands even further the scope of his musical vision, which encompassed enormous variety of works between solo piano music to extremely large ensembles like CentipedeFind albums by this artist or smaller ensembles like ArkFind albums by this artist, and stylistically spanning various Avant-Garde sub-genres between Improvised Music, via Free Jazz to contemporary Classical Music, rubbing shoulders with Progressive Jazz and Art Pop. Most of the body of this work is performed by the choir, which often sounds like an instrument rather than a choir, resembling choral works of 20th Century Classical composers like Henryk GoreckiFind albums by this artist, György LigetiFind albums by this artist and Krzysztof PendereckiFind albums by this artist to mention just the most audacious ones. When accompanied by the saxophone quartets, one supporting the music harmoniously and the other spicing the proceeding with intensive improvisations, the music offers several climaxes, which mark the transitions between the consecutive sections of the entire composition. It is not surprising to see Julie Tippetts taking a major part in this project, like she did in so many of his endeavors over the years. Her vocal performances are the focal point of this music and her improvised soloing should remind everybody of her incredible abilities from the first moment she arrived on the music scene as a Pop star and throughout her transformation as a highly idiosyncratic Avant-Gardist. The presence of Dunmall and Biscoe, two of the British Jazz most significant veteran saxophonists, adds additional quality to the rich tapestry of sounds and aural stimuli. Overall this album is an absolutely essential piece of the puzzle, which Tippett managed to create during his lifetime, and perhaps even one of the most inspired of his works. As usual Martin ArcherFind albums by this artist and his DiscusFind albums on this label label manage to bring an essential piece of the British Culture back to life, saving it from the imprisonment in the darkness of the BBC vaults (God bless them for recording the music), with a lot of help from Julie. This album is an absolutely essential piece of music in any serious music collection!

Updated: 13/11/2020Posted: 13/11/2020

CD 1 Mini-Sleeve Essential Recommend To A Friend

CECIL TAYLOR / TONY OXLEY ~ …BEING ASTRAL AND ALL REGISTERS – THE POWER OF TWO… DISCUS 106 (Barcode: 5051078984629) ~ USA ~ Avant-Garde Jazz Recorded: 2002 Released: 2020 With the turn of the Millennium American pianist Cecil TaylorFind albums by this artist halted his recording activity almost entirely, but continued to play concerts for another decade or so, many of which were recorded. That last decade of his musical activity is almost completely defined by the performances in a duo setting with the British percussionist Tony OxleyFind albums by this artist, with whom Taylor had a long-standing collaboration since the 1980s when his activities moved to Europe, some of which were released in the years that followed. The musical synergy between Taylor and Oxley is one of the most natural and artistically fulfilling manifestations of the "Art of the Duo" idiom. After all these two musicians share many common qualities: they are revolutionaries, pioneers, visionaries and free spirits, who expanded the realms of music perhaps more significantly than is commonly acknowledged. It is not only what they managed to create over the years but also how they did it: boldly, uncompromisingly, and above all consistently. There are many reasons why Taylor and Oxley fit together so well, speak the same musical language and communicate telepathically. Taylor´s playing was always associated with the characteristic percussive polyrhythmic attack on the piano, which is well complemented by the multitude of drumming paraphernalia used by Oxley during his recordings / performances in order to create a kaleidoscope of not only rhythms but notes as well. This "exchange" of roles, i.e. drumming on the piano and playing on the drums is what bonds them so well together. This album is a perfect continuation to the reissue of the "February PapersFind albums with this title" album by Tony Oxley, released earlier this year on Discus Records, bringing some of the most ambitious and significant music on this planet to the connoisseurs, always ready to enjoy it to the last drop. Side Note The above are my liner notes included on this album's artwork. I am honored when asked by the Artists to write liner notes for their albums, always hoping that my words reflect the true spirit of the music. This is also a symbol of our mutual respect and friendship developed over the years. The same is also true when Record Labels ask me to write liner notes for their releases, mostly in the case of reissues of archival albums, which is a symbol of their appreciation of my knowledge and historical perspective and my recognition of their dedication to the preservation of the history of recorded music and the effort to keep human Culture and Aesthetics alive.

Updated: 02/01/2021Posted: 02/01/2021

CD 1 Mini-Sleeve Remastered Recommend To A Friend

KEITH TIPPETT & MATTHEW BOURNE ~ AEOLIAN DISCUS 120 (Barcode: 5051078989624) ~ UK ~ Free Jazz / Improvised Music Recorded: 2019 Released: 2021 This is a wonderful 2CD album, which documents the cooperation between the iconic British Jazz pianist / composer / improviser Keith TippettFind albums by this artist (born 1947) and pianist / composer Matthew BourneFind albums by this artist (born 1977), a representative of the new generation of British Jazz. Although separated by a generation gap, the two improvisers felt wonderfully comfortable playing piano duets, which they did during the last three years (2017 – 2019) of Tippett’s activity, cut short by his untimely death in 2020. The first CD presents eight studio recordings by the duo recorded in July 2019, as well as a solo piece by Tippett, which he composed. The second CD presents a live recording by the duo, also from 2019, which sadly was also the last live appearance by Tippett, which comprises of just two lengthy pieces combined into a one continuous stream of music. All the duo performances (studio and live) are credited to both players. Of course piano duets are hardly surprising as far as Tippett is concerned and his epic recordings with Stan TraceyFind albums by this artist in the 1970s and Howard RileyFind albums by this artist in the 1990s are absolutely classic examples of the “Art of the Duo” in the piano duet idiom. Although completely improvised, this music has a superb feeling of melody, even if only created subconsciously by the listener’s mind, and the gentle and serene interplays are sublime examples of “less is more”, which let the music flow naturally and coherently, both in the case of the studio recordings and perhaps even more so during the concert performance. The mutual respect and telepathic communication these two musicians share is nothing short of astounding. Our great thanks go to Martin ArcherFind albums by this artist, the owner of DiscusFind albums on this label Records, for bringing this superb music out in the open for all of us to enjoy and savor. It would have been unthinkable to let it stay in the vaults, especially in view of the fact that this is Tippett’s final statement. Overall, this is a momentous release, not only as far as British Jazz is concerned, but as a brilliant document of Improvised music, which makes perfect sense, can be listened to repeatedly and is extremely aesthetically pleasing, something that happens very rarely within this genre. Essential listening!

Updated: 10/12/2021Posted: 10/12/2021

CD 2 Mini-Sleeve Recommend To A Friend

TONY OXLEY ~ UNRELEASED 1974-2016 DISCUS 129 (Barcode: 5051078993126) ~ UK ~ Free Jazz / Improvised Music Recorded: 1974 - 2016 Released: 2022 This is an archival album compiling recordings by British Jazz drummer / violinist / composer / improviser / electronicist Tony OxleyFind albums by this artist, recorded between 1974 and 2016 with some of the top British / European Avant-Garde musicians. The first three tracks from 1974 present a quintet with bassist Barry GuyFind albums by this artist, trumpeter Dave HoldsworthFind albums by this artist, pianist Howard RileyFind albums by this artist and trombonist Paul RutherfordFind albums by this artist. Although recorded in 1974, the music was much later into the form present on this album in later dates between 2005 and 2020. Next track from 1981 presents a quintet with guitarist Hugh MetcalfeFind albums by this artist, Riley, saxophonist Larry StabbinsFind albums by this artist and violinist / electronicist Philipp WachsmannFind albums by this artist and finally the last track presents a duo with German percussionist Stefan HoelkerFind albums by this artist. All the music was all composed by Oxley. The album is a spectacular showcase of British / European Improvised Music at its best and has very limited to what most people consider as Jazz, sonically exploring interstellar space rather that our humble earthy neighborhood, but obviously preserving the improvising spirit and using sound as a metaphysical medium to express emotion and artistic expression. The three early tracks form 1974 are perhaps the most remarkable, considering the date of recording, which proves that Oxley already at that time was light-years ahead of most the other musical explorers at the time. The absolute freedom from any references and restrictions characterizes these recordings as completely pioneering at the time, and honestly standing up to anything created in Improvised Music ever since. Kudos to Oxley for releasing these recordings from his personal vaults and to Martin ArcherFind albums by this artist for releasing them faithfully on his DiscusFind albums on this label label, making them available to the world. You make us all spiritually richer being able to listen to this music. Overall, this is a tremendously important historical material, which opens yet another window into the musical legacy of one of the most important British / European Improvising Music personas, which are both delightful and enlightening. An absolute must for Improvising Music followers!

Updated: 05/04/2022Posted: 05/04/2022

CD 1 Mini-Sleeve Recommend To A Friend

JULIE TIPPETTS & MARTIN ARCHER ~ ILLUSION DISCUS 131 (Barcode: 5051078993720) ~ UK ~ Avant-Garde Jazz Recorded: 2014 - 2021 Released: 2022 This is the fifth album by the British Jazz duo comprising of iconic vocalist / songwriter Julie TippettsFind albums by this artist and multi-instrumentalist / composer / DiscusFind albums on this label label owner Martin ArcherFind albums by this artist. The music was created over a period of six years since the release of the duo’s previous album, materializing two CDs worth of musical magic. The first CD, subtitled “Circle Of Whispers” presents thirteen songs performed by Tippetts and accompanied mostly by small ensembles between a duet and a quartet and in some cases including additionally a string trio. A long list of musicians take part in these recordings. The second CD, subtitled “Illusion Suite”, is a seven-part continuous suite, performed by the duo, a sextet of instrumentalist, a quintet of electronicists and a string trio. The music is quite different on these two CDs, which is a wonderful surprise. All the music is of course original and co-created by Tippetts and Arches (except in two cases). “Circle Of Whispers” is almost completely “well behaved”, presenting Tippetts singing lyrics (sometimes with overdubs) and rarely using vocalese. The songs have clearly defined melody lines, often bordering on Rock, some with a subtle and sublime Jazzy arrangements and others with an ambient / electronics background, brilliantly supported by Archer on keyboards, B. J. ColeFind albums by this artist on guitar, Laura ColeFind albums by this artist on piano and other excellent instrumentalists. Listeners familiar with Tippetts extensive recording career will be fondly reminded of her early (post Pop) solo career, with albums like “Sunset GlowFind albums with this title”. The entire album is absolutely fascinating from start to finish, and IMHO it is her strongest album in many years. Her vocal abilities are completely untouched by time and the creativity and imagination encapsulated in these songs are staggering. Hearing this music made me think that perhaps not all is lost in music yet. “Illusion Suite” is closer to the Avant-Garde side of the duo’s work in the past, with Tippetts still singing lyrics, but also using her voice (often overdubbed) in an instrumental capacity, singing extensive and not surprisingly breathtaking vocalese parts. The music is based on melodic themes, but is more open and improvised. One might define the suite as a concerto for multiple voices (sung by the same person) and an electro-acoustic ensemble. The excellent rhythm section of bassist Seth BennettFind albums by this artist and drummer Peter FaircloughFind albums by this artist manages to give the music a steady pulsating continuity, which helps the listen to follow the complex vocal and instrumental parts. Guitarist Anton HunterFind albums by this artist, trombonist George MurrayFind albums by this artist, vibraphonist Corey MwambaFind albums by this artist and trumpeter Charlotte KeeffeFind albums by this artist are in charge of the instrumental ornamentation, with Archer omnipresent keyboards, woodwinds and electronics creating the “wall of sound” background. This is, what I call, quite a journey… Overall, this is a brilliant piece of composing, performing, songwriting and everything else involved in creating a true “magic carpet ride”, which takes the listener places he probably never dreamt of. A most welcome comeback from Tippetts, which always leaves me waiting for more… Bless you and thanks for this gift of music!

Updated: 09/04/2022Posted: 09/04/2022

CD 2 Mini-Sleeve Recommend To A Friend

PAUL DUNMALL QUINTET ~ YES TOMORROW DISCUS 134 (Barcode: 5051078993423) ~ UK ~ Free Jazz / Improvised Music Recorded: 2021 Released: 2022 This is an album by veteran British Jazz / Improvised Music icon, saxophonist / composer Paul DunmallFind albums by this artist, and his quintet, which also includes guitarist Steven SaundersFind albums by this artist, trombonist Richard FooteFind albums by this artist, bassist James OwstonFind albums by this artist and drummer Jim BashfordFind albums by this artist. The album presents eight original compositions, all by the leader. Considering the fact that Dunmall is one of the most prolific British Jazz musicians, with a vast discography to his credit, this album is even more surprising than one might expect, since in contrast to his mostly Improvised Music ventures, this album is almost “tame” and “well behaved”, emphasizing his compositional skills, rather than his improvisational eccentricity. But on the other hand this is still Free Jazz by all means, with extensive improvisations and all, but it is also way more “listenable” and acceptable to a larger audience that most of his recordings. Described by Dunmall himself as “a guitarist’s album”, the role of the guitar here is certainly crucial, building the connecting tissue of the entire affair, with the horn section on one pole and the rhythm section on the other. With strong Blues, Funk and even Rock hints incorporated within the music, the guitar riffs are an essential ingredient within the bubbling sonic mixture. The quintet manages to achieve a much “larger” effect, often sounding almost orchestral, when the music becomes most intensive. But there are many delicate passages of solo performance, like the superb solo bass parts, or intimate duets; in short never a dull moment. The age differences between the leader and his companions seem to disappear completely, in the heat of the moment. Overall, this is a wonderful album, full of excellent music and sublime performances by all participants, which manages to open the Free Jazz / Improvised Music idiom to a wider audience, without any Artistic compromise, simply by being undeniably creative, coherent and honest. Jazz lovers, who would instinctively not plunge into music labeled as such, are wholeheartedly invited to give it a try this time – you won’t regret it. Of course there is no need to convince those already won over.

Updated: 16/10/2022Posted: 16/10/2022

CD 1 Mini-Sleeve Recommend To A Friend

KEITH & JULIE TIPPETT ~ SOUND ON STONE DISCUS 143 (Barcode: 5051078999821) ~ UK ~ Free Jazz / Improvised Music Recorded: 1971 - 2022 Released: 2023 This is an incredible album by British Jazz legendary “Couple in Spirit”: vocalist / lyricist / composer Julie TippettsFind albums by this artist and her husband pianist / composer Keith TippettFind albums by this artist. Thanks to sound recording technology, the couple herein is in fact virtual in a sense, as Julie added her vocals to eight previously unissued live piano recordings by Keith, captured between 1979 and 1996, by means of overdubbing in 2022. Although a “real” duo recording was planned in 2019, the Covid pandemic and the death of Keith in 2020 put an end to the project, or at least so it seemed at the time. Determined to make that planned duo recording a reality, Julie finally selected the eight solo piano pieces and overdubbed them with her vocals, which feature her original lyrics, singing and vocalese. A listener unaware of the above circumstances surrounding this recording, would assume these are actual live duos, which probably is the greatest compliment one can state about this music. Anybody familiar with the work by this couple will of course find this recording everything one could wish for in every sense, but to be honest this music creates a result beyond any expectation, partly due to the fact that Julie overdubs her vocals more than just once, which of course is impossible during a live recording. In retrospect, it is probably the most effective outcome in their common discography, as bizarre as that may sound. Julie’s brilliant sensitivity to add her layers to the existing piano pieces, creating a perfect amalgam, is an absolute labor of love. The most touching piece on the album is the interpretation of the standard “Windmills Of Your Mind”, which is absolutely heartwrenching. Considering the fact that there are still very many unreleased Keith Tippett piano solo recordings in the vaults, one might develop a desire to hear more of this superb work, virtual or not, as it is truly uplifting. Overall, this is a completely unexpected “second life” project, which combines archival recordings with new layers of vocals, which reflect the “Couple in Spirit” bond between Julie and Keith in its full glory. A unique and brilliant idea, which creates a deeply moving result. For the many followers of Keith & Julie this is an absolute must. Kudos to Julie for her mental / emotional strength and creative powers and Martin ArcherFind albums by this artist, the dynamo behind the DiscusFind albums on this label label, for pulling this through. Thank you both for this Majestic music!

Updated: 26/02/2023Posted: 26/02/2023

CD 1 Mini-Sleeve Recommend To A Friend

PAUL DUNMALL ENSEMBLE ~ IT`S A MATTER OF FACT DISCUS 148 (Barcode: 5051078002125) ~ UK ~ Free Jazz / Improvised Music Recorded: 2022 Released: 2023 This is an album by the octet led by British Jazz saxophonist / composer / bandleader Paul DunmallFind albums by this artist, which also includes vocalist Julie TippettsFind albums by this artist, saxophonist Martin ArcherFind albums by this artist, trumpeter Charlotte KeeffeFind albums by this artist, trombonist Richard FooteFind albums by this artist, guitarist Steven SaundersFind albums by this artist, bassist James OwstonFind albums by this artist and drummer Jim BashfordFind albums by this artist. The album presents six original compositions, all by the leader. The music, although obviously very spontaneous and Free Jazz oriented, is based on solid compositions, which even swing happily, when given a chance. The tracks are pretty long, which means there is plenty of opportunity for spirited improvising by the ensemble members, who play in solo, duo trio and every other imaginable configuration, in addition to their performances as the octet. These are some of the finest British Free Jazz improvisers, which means that there is not a dull moment herein. Of course, the fact that Julie Tippetts is part of the lineup constitutes the proverbial cherry on top. It’s great to hear her incredible vocal pyrotechnics as part of a large ensemble, a superb reminiscence of her work in such circumstances with Keith TippettFind albums by this artist’s large / gigantic ensembles in the past. Although she sings mostly vocalese and improvised voice parts, there are occasional lyrics, which I assume she was the author of, although noting is mentioned about it on the album’s artwork, which BTW features some beautiful wood engravings by Dunmall and Pete Lawrence. Overall, this is a wonderful, highly spirited and superbly played / improvised album by this first class team, which is a pleasure to listen to from start to finish. It is also a proof that Free Jazz can be elegant / environment friendly and listenable by a much wider audience than usually assumed. Dunmall keeps the torch burning and Julie Tippetts lost nothing of her charm over time, which is heartwarming, since ay our age the time passing by can be merciless with friends disappearing on a daily basis. Thanks to Martin Archer, the spiritus movens of the DiscusFind albums on this label label, which ceaselessly releases non-trivial music, against all odds, for which we are eternally grateful.

Updated: 10/05/2023Posted: 10/05/2023

CD 1 Mini-Sleeve Recommend To A Friend