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It marks a shift away from the creation of powerful, huge sonic edifices or of nature-imitating shapes and textures for a journey, with only a little exaggeration, into the DNA of sound itself. Less concerned with the global or cosmic, MIC explored the micro-universe through the concept of non-idiomatic improvisation.
Strange, disturbing yet oddly attractive. Sentiments of any persuasion are no proof of quality, but the compositions — from Haden, Bley and Ornette Coleman, among others — are uniformly strong and the supporting cast fiercely inspired. For 40 minutes you could believe, if you wanted to. McLean had made by turns excellent and ambitious albums prior to this disc, but for one reason or another none of them had managed a completeness of conception that pushed him into the forefront of the music.
He went on to make more completely satisfying albums but this one broke the mould. The great gypsy did pretty much all his recording during the pre-album age, and while he was justly honoured by the French soon after his death, most early UK vinyl releases were haphazard collations in indifferent sound.
Transfers from the original 78rpm singles are magnificent and the selection of titles is absolutely on the money, from earliest Hot Club sides to his post-war experiments with shifting personnel and electrified guitars.
Yet promoters would still say why not just play a bar blues? Staggering really for such a perfectly poised jazz chamber group, that can take your breath away. Astigmatic is one of the most important contributions to the shaping of a European aesthetic in jazz composition. While the song titles — dedications to innovative musicians such as John Cage, Cecil Taylor and Leroy Jenkins — gave a clear indication of where the Association For The Advancement Of Creative Musicians iconoclast was coming from, few could have seen where, or rather how far, he was going on this landmark solo recital.
Through brilliant dynamics, lyricism, harmonic invention and pure sound trickery, Braxton showed a single horn could be a complete orchestra, paving the way for similar undertakings by Sonny Rollins among others years later. An imponderable, perhaps, especially when so many undistinguished vocalists currently populate the landscape. Love Scenes was a trio album and presaged her massive with-orchestra crossover, but it contains all the essential Krall ingredients and is a thorough convincing artistic manifesto.
No wonder people listened. 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 s.
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. Completely devoid of any of the fashionable Americanisms of the day, its music was full of light and colour derived from European modernist classical and film traditions. As such, it offered a completely fresh pool of delights to fish in. Using his sinuous bass technique to articulate melody as no-one else had before, Weber alternated a sumptuously severe string backing with little keyboard and percussion patterns to huge atmospheric effect.
So many UK jazz albums could fill this slot but this gets the vote for its ecstatic, exuberant playing from Surman and company and amazing, challenging writing from Warren. This was a glorious testament to the new-found confidence of British jazz. An absolute and indisputable joy. For almost all his career Nelson was a hugely talented journeyman musician who did everything well and not a great deal memorably.
This is the exception. Listening to this album is a cathartic experience. To say this is one of the finest jazz vocal albums ever made is limiting; it numbers among the great contemporary jazz albums.
This first of the series is a solo recital. However, this was the album that first got tongues wagging, echoing the free spirit of the psychedelic s and landing them an early slot at The Fillmore. Miles noticed too, quickly snatching Jarrett and DeJohnette for his own jazz-rock experiments that ushered in the dawn of a new era. Hancock soars and Brecker burns. Yet while the playing is exemplary, the choice of repertoire makes this album stand apart. Yet they all end up as impeccable, burning New York-style jazz of the highest order and press the green light for other artists to follow suit.
Many maintain that Kirk never made the perfect album: if so, this one comes closer than any other, mostly because Elvin Jones is consistently lighting a fire under the quartet generally and Kirk in particular. These early Monk sides almost sank without trace when first issued as 78rpm singles, and it was only because of a LP selection under this title in the mids that more than a handful of punters took any notice. Yet the miraculous Blakey is at his early best.
Recorded a few months into his stint with Miles, this date finds Shorter on the cusp of his mature compositional and improvisatory styles and in the congenial company of Hancock and Carter, with Elvin Jones keeping it honest at the back and Hubbard providing his usual perfect foil at the front.
Herbie, of course, would do it without him a few months later on Maiden Voyage. Vive le difference, we say… KS.
Feature: Wayne Shorter — Music of the Spheres. Duke Ellington discovered and recorded pianist-composer Dollar Brand aka Abdullah Ibrahim in 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 s 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. Tracey is indispensable, a one-man mission statement. Here he showed how much could be achieved within the basic jazz quartet format. Reaction at the time seems to have been along the lines of where on earth did this come from?
After this, there would always be more to jazz than just blowing. It took the UK, who habitually look to the USA for its jazz heroes, longer than most European countries to come under their spell, but this is the album that did it. Their attachment to deeply felt melody, unhurried intensity, framed with the Nordic Tone, and the comparatively unconventional, pop-like structures of their compositions endeared them to jazz and non-jazz fans alike, in the honest humanity of their playing.
A diffident self-promoter, Evans was only rarely coaxed into the recording studios to deliver albums that reflected fully his own musical visions away from the stars he wrapped in his sonic delights. Seamlessly featuring soloists like Wayne Shorter, Johnny Coles and Phil Woods, this album is pure musical alchemy from a total original.
The CD is a happily expanded version of the original vinyl, adding 27 minutes of excellent previously unreleased new music. West coast jazz in its infancy and at its most joyously infectious. This is a Japanese CD reissue which more than doubles the original vinyl playing time. Voted best jazz album of by The Guardian and part three of a musical odyssey that comprises five volumes stretching from In the process they lay to rest Bill Evans soundalike comparisons once and for all.
Four For Trane demonstrates not only a shift in allegiance to Coltrane but a real gift for arrangement and a thoroughly original approach to his own playing at a time when everyone was copying Trane or Rollins.
He may have got more radical later, but this was a per cent proof shot of the new on its initial release. Some of the charts wear better than others, but the overall feel is timeless. The first time was with Charlie Parker, but by the time he landed a contract with Capitol for some modern jazz sides with an augmented group, he was able to operate freely, pulling in the restless writing talents of Gil Evans, John Lewis, Gerry Mulligan and John Carisi to create a unified and superbly subtle backdrop for his emergent lyricism.
The world is changed, part one. May Political statement, samizdat reflection on events or Janovian primal scream? Machine Gun leaves you shaken to the core. The trouble with Hawk is the same one faced by someone looking for an ideal single-set introduction to maverick genius Sidney Bechet — in such a long and protean career, how do you get all the best bits on one label? Publisher : Jessica Kingsley Publishers. Language : eng. ISBN : camouflage. ISBN : These comics document the wasting of entire beautiful weekends on the internet, the unbearable agony of holding hands on the street with a gorgeous guy, dreaming all day of getting home and back into pajamas, and wondering when, exactly, this adulthood thing begins.
In other words, the horrors and awkwardnesses of young modern life. Tags: Adulthood Is a Myth Sarah's Scribbles, 1 by Sarah Andersen Free download, epub, pdf, docs, New York Times, ppt, audio books, Bloomberg, NYT, books to read, good books to read, cheap books, good books,online books, books online, book reviews, read books online, books to read online, online library, greatbooks to read, best books to read, top books to Adulthood Is a Myth Sarah's Scribbles, 1 By Sarah Andersen books to read online.
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