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LP 12"
Early ECM title with a Paul Bley trio.
Meditative and suggestive session featuring a piano trio led by Paul Bley, recorded in 1967 and released 1971. We also have Gary Peacock (side 1) and Mark Levinson (side 2) on double bass and Barry Altschul on drums.
The music here is sparse and for me creates an emotion or feeling that is never resolved. Instead it’s fleeting and searching, It’s music to reflect upon. All the tunes are written by Annette Peacock.
A new discovery.
Lovely post-bop piano trio led by Joe Haider recorded in Germany in 1971, which also features Isla Eckinger on double bass and Pierre Favre on drums.
This is good example where new artists comes into view when you explore a lot and you find great stuff that you’ve never heard of before. There is a lot of wonderful music to be found and enjoyed coming from European labels/musicians and also American artists recording in Europe during the 70’s and 80’s. It’s a very rewarding journey exploring outside of the classic labels and eras of the 50’s and 60’s for sure.
Check this one out.
Beautiful stuff by a true genius.
Here is a trio masterpiece from one of my favorite pianists in jazz. I love Maldrons dark flavored and rhythmically distinct playing. It’s truly unique. I’m loving his later career and this title is just one of many outstanding sessions from that period. Not entirely easy to find his Enja recordings. Glad to have acquired this superb sounding copy.
Waldron is joined by two top side men in Reggie Workman and Billy Higgins on this session. Also, on the second tune of side 1 we have Carla Poole joining in on flute, which really adds something extra. Wonderful flautist.
The album consists of four lenghty Waldron originals. The interplay between the members is brilliant. Everything feels interconnected and executed in a sensitive and thoughtful way. Quite explorative at times which I love. What I really dig in Waldrons later work is his choice of chords in the lower bass register of the piano and his rhythmically potent style, together with his repetitive notes and passages. It’s quite meditative and soothing to listen to his playing, and all the while it’s edgy and keeps you engaged and attentive to his every note. Not many pianists in jazz has that affect on me.
It’s a new year, hopefully full of new discoveries.
Woody Shaw is always a great treat.
Lovely Shaw title on Muse recorded live in Berlin in 1976. It features a great group with Louis Hayes and Frank Foster among others. René McLean, Jackie Mac’s son, is also featured which is quite cool. Didn’t know he had a son who was a musician.
The music is some awesome post bop with top playing by all involved. Woody Shaw was such an amazing artist and he is definitely on my top 5 list of favorite trumpeters now. Since I started to explore his work I’ve really felt I’ve been missing out in the past. Better late than never, right?
Some lovely Japanese jazz.
Highly enjoyable jazz performed by an all Japanese group led by bassist Yoshio Suzuki. Recorded in Tokyo in 1973. Great post bop/modal stuff.
Favorite tune is probably ”K’s Waltz”, clocking in at almost 11 min. Most of the other tunes are also of the longer format, which I enjoy a lot.
Been exploring a bit of Japanese jazz lately and there is plenty there to enjoy. Still waiting for a great title on the Three Blind Mice label, been waiting for 2 and a half months so the package is probably lost. First time that has happened to me. The package also included 3 other titles, Roy Brook’s ”The Free Slave” among them, so I’m not happy about that. But such is life. I’m grateful that it hasn’t happened before at least.
I’m continuing my explorations into jazz after the 60’s and I must say there is so much wonderful music to discover. I’ve been missing out big time previously. Since I acquired the stereo deck I’ve almost exclusively focused on exploring artists who released albums during the 70’s and 80’s. Many that I hadn’t listened to before. It’s all been super fun and took my collecting down another path.
Christmas is just around the corner and I’d like to wish you all a lovely time with friends and family. Happy Holidays! 🎄
Great session led by a virtuoso double bassist.
My first Richard Davis led session is a great one, recorded live in New York in 1972 and released on the Muse label. Been getting in some Muse titles lately and this was one of them. The music leans towards the avant-garde which I enjoy a lot. It’s quite accessible though.
I have enjoyed Davis’ bass playing for a long time, and he was part of one of the greatest groups ever assembled in my opinion. I’m referring to the one with Dolphy, Booker Little, Waldron and Blackwell. The group on this session is great as well, with Davis joined by Clifford Jordan on tenor, Marvin Peterson on trumpet, Joe Bonner on piano and Freddie Waits on drums.
I will dive deeper into Davis’ catalogue as a leader and see what other gems I can find.
My first title on the Milestone label.
Great live date with Joe Henderson playing with an all Japanese rhythm section. It was recorded in 1971 at the Junk Club in Tokyo.
Interesting to me is that the pianist plays an electric piano, which I’m not used to. It sounds great. Top notch performances by all musicians and Henderson is at his very best here, incorporating both his lyrical and fiery sides of his style to great effect.
It’s quite a nice live recording as well, which isn’t always the case. Feels a bit like you’re in that club sitting at one of the tables sipping on a drink. Feels intimate.
Hoping to land a few more Henderson titles on Milestone cause there is plenty there to enjoy.
A highlight is the version of Kenny Dorhams ”Blue Bossa”, which of course is present on Henderson’s debut ”Page One” as well.
Highly recommended!
Repeated listening is advised.
My first album with Brötzmann. As I’m continuing my explorations into the avant-garde the prospect of dipping my toes into the work of Brötzmann was appealing but a bit daunting. Not entirely a given, cause my impression is that he was maybe a bit too harsh a player for me to fully appreciate, but this particular album showed a quite accessible side of him. I haven’t listen much to his other stuff yet, but maybe I can find a similar approach on other albums.
This session was recorded in 1980 in Berlin. The sound is very organic and natural, very earthy. I love that. The trio on this is Brötzmann (alto saxophone, tenor saxophone, baritone saxophone, E♭ clarinet, tárogató), Harry Miller (double bass) and Louis Moholo (drums). Brötzmann mixes fiery clusters of furious notes with more accessible passages and an amazing explorative approach. Definitely a master of the free. The contributions of Miller and Moholo, both from South Africa, are immense. They play so rhythmically interesting parts and create so many different moods that it will take repeated listening to fully grasp. That’s the thing though, you want to listen again and again to this music to see what else you might find.
Top stuff from English jazzman John Surman.
A lovely album with a mix of avant-garde/free/spiritual/post bop. A majority is on the free side though. It’s bombastic and chaotic at times and slower paced and more melodic in parts. There are plenty of different interesting passages throughout. It keeps you engaged at all times for sure.
There is a large ensemble (which varies a bit) on some of the tunes and fewer cats on some of them. Very dynamic.
John Surman is a English multi-instrumentalist and composer. Brilliant player. Haven’t explored his work at all up to this point. After hearing this superb album though, I will definitely dive deeper.
Highly recommended.
Another great Lowe title on Soul Note.
Great line-up on this one, with Memphis-born tenor man Lowe joined by Don Cherry on pocket trumpet, Grachan Moncur III on trombone, Geri Allen on piano, 17 year old Charnette Moffett on double bass and his father, Charles Moffett on drums.
The music is a treat, with the avant-garde mixed with more straight ahead stuff. Listening to Don Cherry is always very interesting, as he is definitely one of a kind. His playing is quite unpredictable, style-wise very much his own, and therefor most exhilarating.
I really dig the two Soul Note sessions I have by Lowe. Will continue my explorations into his work.
Cliff Jordan’s Magnum Opus.
For me, this Cliff Jordan album, recorded in 1973, is his best. Historically I’ve listened to his stuff from the 50’s and early 60’s. That stuff is undoubtedly great, but I prefer this approach for sure. The music is amazing and very varied. You get plenty of the things that makes jazz such a wonderful art form. The musicianship is outstanding, and no wonder with the cast of players on this one. We have Jordan on tenor sax, Stanley Cowell or Cedar Walton on piano, Bill Lee or Sam Jones on double bass and Billy Higgins on drums. They just breeze through these tunes like it was the easiest thing on earth, but this is quite intricate music performed with such a delicate touch.
A lovely recording and this original pressing sounds sublime. Top notch quality pressing. The condition of the vinyl is great, and although the cover has some flaws I’m very happy with this copy. Seems quite difficult to find. It’s very desirable. This was one of the top titles on my wish list since acquiring the stereo setup.
Favorite picks right now are “Powerful Paul Robeson”, “Prayer to the People”, “John Coltrane” and “Shoulders”.
I suppose most cats have heard this one, but if you haven’t, remedy that posthaste. Highly, highly recommended.
Always on point.
Another live jazz album with Charles Tolliver. This time it’s recorded at the Jazzclub Domicile in Munich on March 23, 1972.
Tolliver is always a treat to listen to. He’s such a great trumpeter. And his bands are always on point. On this one we have Tolliver on fluegelhorn, Stanley Cowell on piano, Ron Mathewson on double bass and Alvin Queen on drums.
The music is top notch and it’s definitely post bop. This live recording sounds really good as well. I really enjoy the almost 16 minutes long ”Brilliant Circles” a lot, as well as the beautiful ballad ”Truth”. I really like the length of the tunes. The soloists can then stretch out properly. I’ve always loved lenghty tunes in jazz.
I’m continuing my explorations into Tollivers work and I’m sure I will add more of his stuff to the collection.
Free jazz live in Argentina.
Beautiful and flowing free jazz excursion from Steve Lacy. Recorded live on October 8 1966, at Instituto Di Tella, Centro de Experimentation Audio-Visual, Buenos Aires, Argentina.
The ride work of South African drummer Louis T. Moholo together with his continuous drum fills and explosive accents are so impactful. I believe he has the snare wires off, and that gives the whole thing a unique sound. The playing of both Lacy and Italian trumpeter Enrico Rava is very interesting and it’s definitely free, as they play over each other and explore their respective instruments, but it’s never abrasive or hard to listen to. The tonal quality and approach feels quite pleasant and controlled, even in the more wild parts. It tends to be focused on creating layers of moods and statements, for the most part simultaneous played, creating a rich soundscape, where you’ll discover different little intricate parts each time you listen to the tunes.
Two tunes are offered on this album, both penned by Lacy and both over 20 minutes long. For me, this is free jazz at its best. It’s live, the sound is great. Total freedom to express yourself in a quartet format, not too many instruments, but rather a refined sound, easy to distinguish both soloists ideas, even when the flurry of notes are played over each other.
The cover art painting is by Bob Thompson, an African-American figurative painter, who hung out in the New York jazz scene, forming friendships with Charlie Haden and Ornette Coleman for example.
This copy is in outstanding shape, plays NM and the cover was in the shrink. Very happy to add this one to the collection and it’s of course highly recommended.
Curson and Ervin…
This is a session featuring Curson and Booker Ervin released on the Dutch Fontana label in 1966. It’s a little avant-garde in nature but still connected with post-bop and quite accessible. The recording quality is nothing to write home about, but at the same time it fits in well with the music.
I love both Curson and Ervin so this album is a hit for me. Great to hear them in a bit more free setting. They are joined by Jimmy Woode on double bass and Edgar Bateman on drums. Can’t remember if I’ve heard of those cats before, but nonetheless they are both great.
All tunes except for one are written by Curson. He was a really accomplished composer.
If you’re a fan of a little bit more free stuff than post-bop then this one might be for you.
Pepper Adams in the mid 70’s.
Enjoyable live date with Pepper Adams recorded in 1975 in Munich. Cool to hear Adams in a live setting from the 70’s. The band plays two Adams originals and one Thad Jones as well as one Monk composition. The baritonist is flanked by Walter Norris on piano, George Mraz on double bass and Makaya Ntshoko on drums.
I’ve always digged Pepper Adams and his quite raw and brisk tone. He recorded exstensively with The Thad Jones/Mel Lewis Orchestra and he of course recorded some great stuff with Donald Byrd which I enjoy a lot, but I haven’t explored his full body of work. Will dive deeper.
Superb album by a highly underrated player.
Blinding effort by Louisiana-born tenor man Fred Anderson recorded in 1979 and released in 1984 on the Nessa label. This quartet plays a mix of spiritual/avant garde with afto-cuban flavors, due to the percussion elements, and everything’s expertly led by Anderson, who I hadn’t heard of until a person on a YouTube video said it was one of the best jazz albums he had heard or something. I immediately looked it up, but it was nowhere to be found on Spotify or anywhere else, except for a one minute clip of a needle drop on a record store’s home page. That one minute was enough for me to be quite intrigued and I remember seeing this title posted a while back for sale on Instagram. I rushed to secure it and now I’m listening to it as I write, having received it this afternoon. What an absolute treat this album is.
Fred Anderson plays brilliant, with a wonderful big tone. It’s never screeching or abrasive, instead a beautiful timbre is created. He explores different textures and moods on his instrument, with a searching and explorative multifaceted panache. He is being backed by a rhythmically very interesting band. That band consists of Larry Hayrod on double bass, Hamid Hank Drake on drums and Adam Rudolph on percussion. I love this piano-less group, where the sounds and moods feel very organic and reveals the core of the music, which ultimately becomes more sensitive and exposed. And with the lovely percussion element the music takes on a very interesting style, where afro-cuban elements meets the spiritual/avant-garde. Quite special.
Favorite tune, without a doubt, is the 17 minute long ”The Bull”, where Anderson’s mastery is on full display.
The sound of this pressing is top notch. Never heard a Nessa title before. All in all this album is definitely one of my favorite discoveries of the year and it has already become a clear favorite in my collection. Seek this out, it’s fantastic.
Henderson is always a safe bet.
A Henderson title featuring a trio and a duo, with one tune recorded live in 1977 at Wichita State University and the other two at Trixi Tonstudios in Munich in 1978. The recording quality leaves much to be desired on the live date, but the music is great. They perform a long tune called ”Barcelona”, which stretches over the two sides actually. The whole of side one and the first 7 minutes of side two. Love Henderson in this kind of stripped down and more free setting. And although the recording quality is well below par, it leaves you with a organic and lo-fi energy, which I can appreciate. The sound colors the music and enhances the avant-garde style, and you’ll take it for what it is.
The studio date is a great one as well, with both tunes being performed in duo form, with tenor and double bass. Superb playing by Henderson on these tracks.
A less talked about session and seldom seen posted on social media. Could be one of Hendersons more obscure dates perhaps. If you enjoy him in a free mood live, and then doing some duets where he really is front and center, then this will perhaps be a title for you.
Favorite tune is one of the duets called ”Y Yo La Quiero”.
Have a package on it’s way currently containing four superb titles. Looking forward to that. Stay tuned.
A great first experience of Lowe’s work.
My first title by tenor man Frank Lowe. Recorded in 1981 and released in 1982 on the Italian Soul Note label, which is affiliated with Black Saint. The music is quite accessible, not free jazz at all. I would call this post-bop spiced with a dose of the avant-garde and some hot blues and latin rhythms thrown in there as well.
One of my favorite tunes is the title tune, penned by Lowe, which is a calm piece filled with beautiful statements. And also ”Addiction Ain’t Fiction” with it’s latin vibes. The swinging rhythm, blended with some of Lowe’s avant-garde approach, makes for an interesting concoction.
The album artwork is created by Carmen Lowe, probably inspired by Moki Cherry.
Need to dive deeper into Lowe’s work.
Another lovely BYG Actuel title.
I just posted the epic ”Black Suite” album by Jacques Coursil which blew me away, but this one blew me away as well to a similar extent. This is a trio album, with Arthur Jones on alto sax, the brilliant French double bassist Beb Guérin, with his deep and organic tone, and compatriot drummer Claude Delcloo. All three playing on the Coursil joint as well.
It starts off with a free, burning statement for about 4 minutes, and then it slides over to a lovely 5 minute bass solo with some drum accents, and then it picks up again a bit towards the end. Probably would scare off many a non-free lover. But what comes after this first tune is a calmer spiritual energy, including many melodic passages, and then some free stuff during a 2 minute passage on the last tune of the second side.
Side two begins with a beautiful piece called ”Sad Eyes”. This is jazz artistry at the highest level. Simply amazing stuff. I would suggest you listen to this one first to experience one of the real highlights of this album. I bet you would really dig it. It’s very melodic and very spiritual.
Jones incorporates some melody into his free statements. That’s what stands out for me. As well as playing more spiritual of course, with even more focus on melody. His sound on his alto sax is immense. A great big and clear sound. Never heard anything quite like it. From this moment, a clear favorite on the alto.
The free statements are superb. But it’s the calmer moments which really makes you wonder why he didn’t record more as a leader. He plays absolutely beautiful. This cat was criminallly underrated it seems. A great composer as well, as he wrote all the tunes on this album. Need to check out everything he did and the other cats’ stuff as well. They played on some other BYG sessions for example.
Listen to ”Sad Eyes” and tell me this cat didn’t deserve more recognition. Brilliant stuff.
Vintage Monk.
A classic Monk on Columbia (his first on the label) that I’ve been looking for for quite a while, with the original ”Guaranteed High Fidelity” on the labels. When the opportunity arose to grab it at last I pulled the trigger. I haven’t explored Monk’s output on Columbia completely but there are some gems there. Been focused more on his Riverside stuff previously.
The sound of this pressing is absolutely top notch and it’s in fantastic condition.
Monk stalwart Charlie Rouse is a highlight on this album, as he always tend to be. Love his playing and tone.
This is a great first Monk on Columbia title for me and I’m sure there will be more.
