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soulpope "Ever Since The World Ended, I Don`t Get Out As Much"Registriert seit: 02.12.2013
Beiträge: 56,400
gypsy-tail-wind …. @soulpope Kennst Du das Label, das die Galper herausbringt? Bin da ebenfalls interessiert!
Nein …. veröffentlicht aber laut der Website Hal Galper CD`s …. wo welchen ich keine eigne ….
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"Kunst ist schön, macht aber viel Arbeit" (K. Valentin)Highlights von Rolling-Stone.deTaylor Swift vs. Kanye West: Legendäres Bitch-Telefonat geleakt
Earth Day: 16 Musiker(innen) und Bands, die für Klimaschutz kämpfen
„Seventeen Seconds“ von The Cure: Teenage Angst für alle
Huey Lewis im Interview: „Die Mundharmonika ist die Antithese zum Techno“
Xavier Naidoo: Das „Ich bin Rassist“-Interview in voller Länge
„Westworld“-Schlusskritik: Tschüss, bin wohl zu blöd für die Serie
Werbung
Auf Jazz in Britain ist gerade die nächste Neuheit angekündigt worden – grossartig! Wird als Doppel-CD und als DL angeboten:
Neil Ardley – Kaleidoscope Of Rainbows: Live ’75
Previously unreleased. Recorded live at the Queen Elizabeth Hall, London, on the 20th October 1975. This is (almost) the complete Kaleidoscope Of Rainbows suite as originally imagined by Neil Ardley, over twice as long as the ‚concise‘ version which appeared on his Gull studio album a year later.
Unfortunately, due to tape issues on the night, only the first two minutes of the closing number of set one were captured. Otherwise, this album is presented exactly as the audience would have heard it that evening.
Front cover: Neil Ardley’s ‚Stereo „picture“ of personell.‘
credits
releases March 21, 2021Neil Ardley – composer, director
Ian Carr – trumpet
Brian Smith, Barbara Thompson, Bob Bertles, Tony Coe – sax, woodwind
Geoff Castle – keyboards
Dave Macrae – keyboards
Ken Shaw – electric guitar
Paul Buckmaster – electric cello
Frank Ricotti – vibraphone, percussion
Roger Sutton – bass guitar
Roger Sellars – drums
Trevor Tomkins – percussionFrom the tape archive of Neil Ardley
Special thanks to Viv WilsonLiner notes by Sid Smith
Tape transfer by John ThurlowProduced by Matt Parker for Jazz in Britain Ltd.
© 2021 Jazz In Britain Ltd.
https://jazzinbritain1.bandcamp.com/album/kaleidoscope-of-rainbows-live-75
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"Don't play what the public want. You play what you want and let the public pick up on what you doin' -- even if it take them fifteen, twenty years." (Thelonious Monk) | Meine Sendungen auf Radio StoneFM: gypsy goes jazz, #151: Neuheiten aus dem Archiv – 09.04., 22:00 | Slow Drive to South Africa, #8: tba | No Problem Saloon, #30: tbadie neue Julius Hemphill-Box von New World wollte ich auch längst mal erwähnen:
JULIUS HEMPHILL (1938-1995): THE BOYÉ MULTI-NATIONAL CRUSADE FOR HARMONY
ARCHIVAL RECORDINGS (1977–2007)Julius Hemphill with
Malinké Elliott, K. Curtis Lyle, Abdul Wadud
Baikida Carroll, John Carter, Olu Dara
Nels Cline, Allan Jaffe, Jehri Riley, Jack Wilkins
Jerome Harris, Dave Holland, Steuart Liebig, Roberto Miranda
Michael Carvin, Alex Cline, Jack DeJohnette, Philip Wilson
Ursula Oppens, Daedalus String Quartet
Ray Anderson, Marty Ehrlich, Janet Grice, John Purcell, Bruce PurseDisc 1: The Boyé Multi-National Crusade for Harmony I [74:20]
Disc 2: The Julius Hemphill/Abdul Wadud Duo [60:51]
Disc 3: The Janus Company [73:47]
Disc 4: Chamber Music[63:32]
Disc 5: Roi Boyé Solo and Text [75:01]
Disc 6: The Boyé Multi-National Crusade for Harmony II [65:07]
Disc 7: Live At Joyous Lake [66:44]Each disc/track in this set is available for separate download in *.mp3, FLAC & WAV format via the links above.
“Somehow I discovered I could write this music and play the saxophone. All that stumbling around and stuff, I ended up finally being able to play it a little bit. I ain’t the greatest by any means, not even close—but I think I’ve got depth, a broadness of my musical sensibility, that a lot of soloists don’t have, because they focus on that one thing, soloing. I want to develop the whole backdrop, the scenery. Once I found out that was possible, that I could collaborate with people, I came alive musically.”
—Julius HemphillIn response to the arguably self-righteous pronouncements made in the 1990s as to what jazz is and isn’t, Julius Hemphill (1938–1995) spoke up as he had done throughout his career. “Well, you often hear people nowadays talking about the tradition, tradition, tradition. But they have tunnel vision in this tradition. Because tradition in African-American music is wide as all outdoors.” This collection of music, this celebration of artistic collaborations that engaged Julius Hemphill throughout his life, adds much to what we know of his creativity in exploring the implications in that wide space. His work, done in what was not much more than twenty-five years, illuminated so many byways of that protean tradition, created in America against the direst of odds. Equally vital, Julius claimed, with great passion, his space to be expressive. He worked inward as much as he looked outward, in his artistic creativity and cultural engagements.
This box set contains musical compositions and performances that have come to light from the Julius Hemphill Archive at the Fales Library of New York University. These performances present thirty-five Hemphill compositions culled from close to 180 audio and visual documents of his work. Twenty-five of these works did not receive a commercial recording in his lifetime. Also represented in this box set are ensemble contexts Julius formed which did not receive substantial, or in some cases, any public documentation. These performances put Julius’s improvisational work as a saxophonist and flutist to the fore, from solo to quintet contexts. (The one exception being Disc 4, where we hear pieces Julius wrote for others to interpret.) Equally important, these performances deepen our experience of Julius’s long associations in artistic collaboration.
— Marty Ehrlich (from the liner notes)—
Details bzw. Booklet als PDF:
https://nwr-site-liner-notes.s3.amazonaws.com/80825.pdfKann beim label oder via Bandcamp erstanden werden:
https://www.newworldrecords.org/products/julius-hemphill-1938-1995-the-boye-multi-national-crusade-for-harmony-box-set
https://newworldrecords.bandcamp.com/album/julius-hemphill-1938-1995-the-boy-multi-national-crusade-for-harmony--
"Don't play what the public want. You play what you want and let the public pick up on what you doin' -- even if it take them fifteen, twenty years." (Thelonious Monk) | Meine Sendungen auf Radio StoneFM: gypsy goes jazz, #151: Neuheiten aus dem Archiv – 09.04., 22:00 | Slow Drive to South Africa, #8: tba | No Problem Saloon, #30: tbaPünktlich zum BC Friday hat auch Mark Helias wieder was Schönes hochgestellt; NU in Glasgow, 1987:
NU was a moniker that Don Cherry employed as the title of the cooperative group that he initiated with Edward Blackwell, Carlos Ware, Nana Vasconcelos and myself in the mid 80’s. It actually means “now” in Swedish which is where he created a second home with his wife Moki who was Swedish.
The word “now” is probably the most appropriate description of where Don resided; very much an improviser in the now. In this group, everyone functioned in the now and we moved through and into the music dependent on what everyone decided to do; aural cues were often the currency of the moment. It was a great band with the hydra-like percussion section of Blackwell and Nana. They played so well together and created what often sounded like a true drum ensemble with many more than two members. Carlos Ward, with whom I worked in Edward Blackwell’s group, is an important composer as well as a wonderful improviser. His pieces formed the backbone of this group. Don was the leader on stage just by the nature of his presence and playful nature; we would often take musical cues from him while making sudden turns into songs that were sometimes unfamiliar to some of us, but we played them anyway. Additionally, he and Nana did a lot of vocalizing in this band which lent the music a more immediate humanity. We also had a lot of fun traveling, hanging out and dealing with the vagaries of the road.
This particular recording was made live in Glasgow, Scotland on October 24th 1987. The performance took place at the Henry Wood Hall and it was part of a tour comprising twelve concerts sponsored by the British Arts Council. In my computer files I found a digitized stereo file of the concert which was probably made from an analog board recording. The beginning of Art Deco is cutoff so the first music we hear is the second chorus of the head. The technicians were probably getting audio levels and missed the beginning of the concert. At the end of this recording while Lito is being played under Don’s announcement of the musicians, the music also suddenly cut off for which I can offer no explanation. I left these incompletions as they are thankful for the amount of music recovered from this wonderful concert. NU functioned as a true musical cooperative with everyone offering pieces for the repertoire and everyone stepping out and shining at various points. One of my favorite moments on this recording is Blackwell’s drum solo on Carlos’ piece, Pettiford Bridge. The kaleidoscopic metrical multiples are a joy to listen to as they poetically paint over the fixed bass line.
Personally, playing in NU with these gentlemen was an unmitigated joy for me.Mark Helias, 2021
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released February 5, 2021
1. Art Deco (Don Cherry) 7:21
2. Pettiford Bridge (Carlos Ward)
3. Dousson Gouni/Bird Boy (Don Cherry, Nana Vasconcelos 10:01
4. First Love (Carlos Ward) 3:27
5. Pitchfield Blues (Mark Helias) 6:47
6. Nana solo/Don Tune2/Lito (Don cherry)(Carlos Ward)Live performance recorded in Glasgow Scotland October 24, 1987
Post Production and Mastering – Mark HeliasTracks 2,4 and 6 by Carlos Ward (Lito Publishing Company BMI)
Tracks 1 and 3 and 6 by Don Cherry (Eternal River Publishing BMI)
Track 5 by Mark Helias (Radio Legs Music BMI, GEMA)Don Cherry – trumpet, dousson gouni, voice
Edward Blackwell – drums, percussion
Nana Vasconcelos – birembau, percussion, voice
Carlos Ward – alto saxophone, flute
Mark Helias – double bassCover photo and design – Mark Helias
Album Notes – Mark Heliashttps://markhelias.bandcamp.com/album/nu-live-in-glasgow
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"Don't play what the public want. You play what you want and let the public pick up on what you doin' -- even if it take them fifteen, twenty years." (Thelonious Monk) | Meine Sendungen auf Radio StoneFM: gypsy goes jazz, #151: Neuheiten aus dem Archiv – 09.04., 22:00 | Slow Drive to South Africa, #8: tba | No Problem Saloon, #30: tbaSehr erfreuliche neue CD bei Fresh Sound:
JEROME RICHARDSON – GROOVIN‘ HIGH IN BARCELONA, WITH THE TETE MONTOLIU TRIO
Fresh Sound 5000 SeriesReference: FSRCD 5065
Bar code: 8427328650656INFO TRACKLIST ALBUM DETAILS PRESS
In May 1988, Jerome Richardson (1920-2000) was touring Spain accompanied by the Tete Montoliu Trio. On their way through Barcelona, the quartet played in the old “Cova del Drac” club. Richardson’s alto and soprano sax performances with Tete’s trio sparked not only the enthusiasm of fans across the city, but also the interest of Fresh Sound Records. All four musicians happily agreed to set a recording session that took place on May 22 at the now-defunct studio Estudi Gema.Richardson was a talented jazz improviser of the bop tradition, his passion for blowing was tempered only by the stringent discipline that emanated from his well-schooled musical mind. He was a sensitive balladeer as well as a virile swinger. His versatile yet consistent jazz style on alto was the result of different influences, from the clean tonality of the best altoists of the swing era, Willie Smith, Johnny Hodges and Benny Carter, through to the phrasing of Charlie Parker or even the fiery hard bop style of Cannonball Adderley and Phil Woods. Yet in the end, it all turns out to be individualistically Jerome Richardson.
His old friend pianist Tete Montoliu contributed his share of rewarding, sensitive, comping and rippling solos, and they complemented each other well, as Tete was always firm enough to keep up with Jerome, but also subtle and smooth enough to counteract him.
A stirring set full of truly high moments of very good solo work and a rhythm section with bassist Reggie Johnson and drummer Alvin Queen that, in addition to its flawless timekeeping, is pure energy and fire.
________________________________________________________________________________________„I would like to thank Jordi Suñol and Jordi Pujol for making this project finally come to life after 32 years of having been recorded. It was definitely a most special event for me after having played at the “Cova del Drac” in Barcelona with the Tete Montoliu Trio with our special guest, Jerome Richardson.
Back then, the decision was made to record the group and I am witness to this release following the loss of all three mentors. My hope is that you will join us to keep this music alive, as well as making this CD successful.“
—Alvin L. Queen
01. A Child is Born (Thad Jones) 8:32
02. Manha de Carnaval (Luiz Bonfá) 7:40
03. Groovin‘ High (Dizzy Gillespie) 6:40
04. Where is Love? (Lionel Bart) 7:37
05. When Lights Are low (Carter-Williams) 7:13
06. Warm Valley (Duke Elington) 8:38
07. Hi-Fly (Randy Weston) 8:47
08. I Thought About You (Van Heusen-Mercer) 10:40
09. A Night in Tunisia (Dizzy Gillespie) 6:30
10. J & T Blues (Richardson-Montoliu) 6:55Jerome Richardson (alto sax, soprano sax on #1), Tete Montoliu (piano), Reggie Johnson (bass), Alvin Queen (drums).
Recorded at Estudi Gema, Barcelona, May 22, 1988Recorded and Mixed by Paco Benages
Mastered by Pieter De Wagter
Color photos by Jordi Suñol
Graphic design: Rafael Ros
Liner notes: Jordi PujolProduced by Jordi Suñol and Jordi Pujol
Executive Producer: Jordi PujolStereo · 24-Bit Digitally Remastered
Blue Moon Producciones Discograficas S.L.https://www.freshsoundrecords.com/jerome-richardson-albums/53685-groovin-high-in-barcelona.html
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"Don't play what the public want. You play what you want and let the public pick up on what you doin' -- even if it take them fifteen, twenty years." (Thelonious Monk) | Meine Sendungen auf Radio StoneFM: gypsy goes jazz, #151: Neuheiten aus dem Archiv – 09.04., 22:00 | Slow Drive to South Africa, #8: tba | No Problem Saloon, #30: tba
soulpope "Ever Since The World Ended, I Don`t Get Out As Much"Registriert seit: 02.12.2013
Beiträge: 56,400
Jerome Richardson mit dem Montoliu Trio definitiv eine sehr erfreuliche Veröffentlichung …
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"Kunst ist schön, macht aber viel Arbeit" (K. Valentin)Jerome Richardson (soprano sax), Tete Montoliu (piano), Horacio Fumero (bass), Peer Wyboris (drums). Àngel Casas Show, 11-02-1986.
Das hatte ich hier neulich auch gepostet oder? Andere Band, 2 Jahre früher, aber auch toll! Das Stück war ja auch ein staple der Thad Jones/Mel Lewis Band.
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"Don't play what the public want. You play what you want and let the public pick up on what you doin' -- even if it take them fifteen, twenty years." (Thelonious Monk) | Meine Sendungen auf Radio StoneFM: gypsy goes jazz, #151: Neuheiten aus dem Archiv – 09.04., 22:00 | Slow Drive to South Africa, #8: tba | No Problem Saloon, #30: tba
soulpope "Ever Since The World Ended, I Don`t Get Out As Much"Registriert seit: 02.12.2013
Beiträge: 56,400
A never-before released Billy Harper 1975 live recordings.
Virgil Jones (Trumpet) Billy Harper (Tenor saxophone) Joe Bonner (Piano, arranger) David Friesen (Double Bass) Malcolm Pinson (Drums)
Wieder mal nur Vinyl und nur 2 (lange) Tracks – ob dies das gesamte Konzert war …. hmmmmmh ….
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"Kunst ist schön, macht aber viel Arbeit" (K. Valentin)
soulpope "Ever Since The World Ended, I Don`t Get Out As Much"Registriert seit: 02.12.2013
Beiträge: 56,400
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"Kunst ist schön, macht aber viel Arbeit" (K. Valentin)Ich glaube die braucht man, oder?
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How does it feel to be one of the beautiful people?Ich bin im Team ja klar natürlich
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soulpope "Ever Since The World Ended, I Don`t Get Out As Much"Registriert seit: 02.12.2013
Beiträge: 56,400
clau
Ich glaube die braucht man, oder?
Diese Veröffentlichung interessiert mich sehr ….
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"Kunst ist schön, macht aber viel Arbeit" (K. Valentin)clau
Ich glaube die braucht man, oder?
Toller trockener Humor im Penguin Guide To Jazz ON CD zu „The Max Roach Trio featuring the legendary Hasaan: „The legend of Hasaan hasn’t really stretched much beyond this record.“ :D
Und wie alle Atlantic-Alben ist auch dieses Album alles andere als rar, es sei denn, man sucht es in mono und selbst dann…
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Ohne Musik ist alles Leben ein Irrtum.Neben tausend Bill Evans Veröffentlichungen gibt es ja noch Freaks, die machen anderes (und damit bestimmt kein Geld):
Auf der Website von Dark-Tree gibt es dazu noch keine Ankündigung, aber auf Facebook schon:
Soon Available!! (early March)
Roberto Miranda’s Home Music Ensemble „Live at Bing Theatre – Los Angeles, 1985“
feat. Bobby Bradford, John Carter, James Newton and Horace TapscottPreviously unpublished live recording
This CD will include a 16-page booklet with liner notes by David Keller, photos by Joel H. Mark and some rare documents.
1- Platform for Freedom
2- Faith
3- Agony in the Garden
4- Prayer #1
5- Deborah Tasmin
6- Improvised Bass Solo 5/25/85
7- Dance of Blessings, Happiness & Peacewith ROBERTO MIRANDA, b, cga; BOBBY BRADFORD, cnt, tp; JOHN CARTER, cl; JAMES NEWTON, fl; HORACE TAPSCOTT, p; THOM DAVID MASON, as, ts, bcl; LOUIS R. MIRANDA, SR., voc, perc; LOUIS R. MIRANDA, JR., ds; DAVID BOTTENBLEY, g, elb, perc, voc; ELIAS „BUDDY“ TOSCANO, ds; timb; CLIFF BROOKS, timb, cga, bgo
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"Don't play what the public want. You play what you want and let the public pick up on what you doin' -- even if it take them fifteen, twenty years." (Thelonious Monk) | Meine Sendungen auf Radio StoneFM: gypsy goes jazz, #151: Neuheiten aus dem Archiv – 09.04., 22:00 | Slow Drive to South Africa, #8: tba | No Problem Saloon, #30: tbaUnd gleich nochmal gute Neuigkeiten … Don Rendell/Ian Carr, Neil Ardley … und jetzt auch Vol. 2 von Ray Russell – mit Harry Beckett! – bei Jazz in Britain. Erfreulicherweise auch wieder LP/CD/DL (und nicht wie bisher oft bei Jazz in Britain entweder LP/DL oder CD/DL):
The Ray Russell Sextet featuring Harry Beckett – Forget To Remember: Live Vol.2 1970
releases May 10, 20211. Forget To Remember 07:28
2. Triple Goddess
3. Rites & Rituals
4. Disinterested Bystander
5. The Third Real
6. Forget To Remember (false start & take 1)
7. Rites & Rituals (take 1)Previously unreleased live session recorded at the Aeolian Hall 2, New Bond Street, London on the 2nd January 1970.
All tracks from the Ray Russell tape archive.Ray Russell – guitar
Harry Beckett – trumpet/flugelhorn
Tony Roberts – saxes
Nick Evans – trombone
Daryl Runswick – bass
Alan Rushton – drumsAll tracks composed by Ray Russell
Liner notes by Richard Williams
Tape transfer by John ThurlowProduced by Matt Parker for Jazz In Britain Ltd.
© 2021 Jazz In Britain Ltd.https://jazzinbritain1.bandcamp.com/album/forget-to-remember-live-vol-2-1970
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"Don't play what the public want. You play what you want and let the public pick up on what you doin' -- even if it take them fifteen, twenty years." (Thelonious Monk) | Meine Sendungen auf Radio StoneFM: gypsy goes jazz, #151: Neuheiten aus dem Archiv – 09.04., 22:00 | Slow Drive to South Africa, #8: tba | No Problem Saloon, #30: tba
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