Jazz as funk, funk as jazz: the two lexicons entwine and merge so as to lose meaning in one of the great live records of the 1990s. Coleman had already made a splash with his JMT label output yet his playing and writing are more penetrating and focused here. Snappy, stabbing, staccato rhythmic and melodic lines are repeated to trance giving the impression of a giant musical pinball machine on a rotating floor. As well as exerting a decisive influence on anyone from the F-IRE collective to Omar Sosa, Coleman has always managed to reflect something of his times. Here he captured the hyperactivity of the burgeoning Internet age and the brash self-assertion of the hip-hop generation. (KLG)
Duke Ellington discovered and recorded pianist-composer Dollar Brand aka Abdullah Ibrahim in 1963 playing in a more or less conventional jazz manner, but it took a long time for the South African township music he evolved in the 1970s to be accepted outside of Africa. This album was one of the very first to be made in America and its impact was immense, its melodicism, warmth and simplicity brought something new and refreshing to the often overheated, testosterone-filled gladiatorial pit of small group improvising to established harmonic patterns. As Jelly Roll Morton had shown 50 years earlier, sometimes the best comes from a truly group effort. (KS)
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For the five years he held his Junior Cook-Blue Mitchell quintet together, Silver had the perfect combination of his high-quality tunes and a band that had a magic interpretative touch. They all played for each other to such an extent that the group became one of the true 1960s greats. Song For My Father features this group on two tracks, but not on the famous title tune, which instead ushers in the brilliant but short-lived quintet featuring Joe Henderson and Carmell Jones. No cause to fear: all remains in place for a classic that still casts its spell. (KS)
Those who only know Gillespie from his 1950s efforts onwards can have no conception as to the veritable force of nature his trumpet playing was in the 1940s. This CD collation of the earliest sides under his leadership, made for tiny labels such as Guild and Musicraft, will have your jaw sagging in amazement as he consistently delivers ideas that top even those of Parker. Just to keep it interesting, Gillespie also wrote some of the most enduring bop anthems, and many of them get their first outings here. These sessions, like the Parker Savoys, are the holy tablets of bop. (KS)
Ra had been making albums for his own label Saturn for a decade by the time this one slipped out via ESP-Disk, but this was the first to make a wide impact due not only to the unprecedented nature of the music (some tracks sound closer to Tibetan Buddhist music than anything being played in the America at the time) but also to the fact that ESP-Disk, a tiny label making a big noise at the time, actually got distributed outside of Chicago and New York and even made a splash internationally. Ra was on the vinyl map and never looked back. Next stop, Jupiter. (KS)
There is a curious reluctance for some to acknowledge that Rollins came back from his 1959-61 voluntary exile a more complete and fascinatingly complex musician. The Bridge is enduring testimony to that fact: he has shed all stylistic baggage, leads from the front, plays with a new poise and freshness and with a unique identity that has stayed intact up to the present day. Although late-50s Rollins may be the stuff to get the critics panting, this was the template for all future Rollins creative ventures, whether they be avant-garde or retro or just plain Sonny. Unbeatable music. (KS)
By the time he made this date, Corea had worked his way through a heavy avant-garde phase and out onto the sunlit plains of his own latin-based musical imagination. It had always been there in his music, but now, marrying the lan and high spirits of Flora Purim and Airto with his own naturally ebullient and melodically uplifting inclinations, Corea suddenly not only stepped forward himself past the stentorian gloom and machismo of the other fusioneers of the day, but redefined exactly what latin jazz should be about. Intoxicating music played by masters makes this an era-defining milestone. (KS)
At the close of the 60s, the modal idea became the foundation of fusion jazz. It proved the same for a number of rock groups, such as the Allman Brothers, Grateful Dead and Santana, that used the electric guitar as the solo instrument of choice, and set the standard for generations of jam-oriented bands to follow.
I saw this amazing italian band called ZU many years ago. Back then they where classified as "extreme jazz" ... now its called math-rock. whatever. sounded like free jazz to me. very un-smooth. you should check them out DuanB
For some reason, shuffle play on my PC at work has been feeding me a lot of Ozric Tentacles lately. Which is fine, but it's a bit jarring when it's followed up by Pylon. At home, most recently, I've been bouncing around tracks by the Foo Fighters.
As a tip for anyone building a new one, mine has five potentiometers however if I was to build it again I would replace the main tone control with a slider, something like a cross fader, no technical reason I just think it would workout nicely - set the sound with the pots, then jam with the slider.
DuaneB:
however if I was to build it again I would replace the main tone control with a slider, something like a cross fader, no technical reason I just think it would workout nicely - set the sound with the pots, then jam with the slider.
I was thinking about that some last night. I don't know how this works, but something like what's used in the Hiwatt Echo Theremin would be cool. Some comenters at music sites have complained that pitch control is difficult with that. I don't know, I've listened to some samples, and it sounded cool, but then it was being used more as a sound effect than an instrument.
A nice idea I had on the way to work this morning while listening to the only John Coltrane track I like - Ascension, was to put some buttons on the Auduino that would play a blues lick around the selected note. One of the Auduino modes maps the pot values to the pentatonic scale so you could easily play licks up and down the octaves by simply turning the pot.
Not surprising. This goes right along with the brainwave entrainment stuff I first saw some years ago. LED glasses, for inducing ... I think it was Alpha waves. How do you feel when you listen to something like the hearbeats in Dark Side of the Moon.
I was pondering a steel string on dowel, or maybe even getting fancy with a narrow fretboard, and somehow sensing the position of a finger on the string. With frets, maybe resistors tying the frets to an analog pin? I suppose with the right sort of wire, one could read the resistance of the wire directly, using anything conductive as a slide.
OK, this is cool. I had the idea in my head already that a theremin functioned using capacitance. A bit more reading, and I'm finding various beat frequency oscillator circuits, and this theremin on an Arduino.
It is very easy for me to recommend the album. I love organ trios and I find it extra enjoyable to listen to a trio that, even though they cultivate the traditions of jazz so intensely, do not allow themselves to be inhibited or reined in by them. Jacob Roved has made a wonderful album that can be listened to at any time of the day.
This is the second CD by the Stephen Gauci Quartet, with the leader on sax, Nate Wooley on trumpet, Ken Filiano on bass and Lou Grassi on drums, and it is actually the second release of the same recording session which led to the earlier "Wisps Of An Unknown Face" (CIMP, 2005). Apparently Gauci had more material than fit onto a single CD, and it's amazing how prolific he is, especially because he only started recording after he turned 35. I was already very enthusiastic about his CDs released last year. And again, this one is great too. It balances between free jazz and free bop, with great themes and long improvisations, but as Gauci's own liner notes describe it :
"Inside, Outside
Free, not free
Who cares? ...
As long as the source is pure.
Absolute, absolutely"
And the source is pure indeed. This is rhythmic, inspired, expansive, melodic, emotional, controlled and free music, with four musicians in top form, clearly enjoying the gig, but in a very concentrated an focused manner. It is really hard to believe that the material on this CD came as second choice from the performance. It is so full of creative ideas, warmth, sensitivity, soul and musical freedom, that it's a real treat from beginning to end. Gauci's sax sound is one of the most appealing at the moment, capable of many shades of human emotion, with a warm, round sound. The other musicians are also excellent : Filiano and Grassi I already compimented enough in earlier reviews, but Wooley is a different ball game. I never understood that someone with his technical and emotional skills could move so much into avant-garde meaningless sounds (but what does that mean?), but when he's part of a band like this one, he really demonstrates his skills, without relinquishing is natural drive for sound exploration, but it's harnessed, and hence also coming to fruition. An excellent album.createSummaryAndThumb("summary8784135851970982165");
When I heard Norwegian bass-player Eivind Opsvik's first "Overseas" CD in 2003, I immediately fell for it, because of its highly unusual style, which he managed to expand on "Overseas II" and now even further on "Overseas III". This is definitely not free jazz, but modern free-spirited jazz, with influences from rock music and country. Opsvik's compositions bring gentle, unhurried low-tempo, low-density, high intensity jazz, without complexity or pretense, carefully orchestrated with lots of attention to overall sound and mood. The band consists of Jacob Sacks on keyboards, Tony Malaby on tenor, Kenny Wollesen on drums and percussion, Larry Campbell on pedal steel guitar, Jeff Davis on vibes and Eivind Opsvik on bass. All musicians are excellent of course, and perfectly manage to catch Opsvik's musical concept. The second track, "Everseas", is exemplary, as slow as it can get, with Malaby's sax more whispering than producing sound, supported by monotone moody organ and electric piano, and with the arco bass playing like slowly rolling waves on a windless sea. Sure, this is progressive music, but with a sentimentality that is rare in the genre, an emotional honesty that is genuine and authentic and which transpires through every note being played. The long last track illustrates this well, starting with a long and slow almost modern cool jazz intro, then shifting in the middle to single-toned arco bass drone, single notes on the piano, and echo from the organ, with dark and rumbling percussion on the background, and the gentle piano tones suddenly create rhythm, followed by bass and drums, with Malaby's plaintive sax playing a sad beautiful melody with the pedal steel guitar in support. For those of us who enjoy soft and subtle creativity played by a band of great musicians. It is sweet, but with the deep taste of quality. Enjoy!
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