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Beiträge
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Danke für den Hinweis auf die Deutschlandfunksendung. Michael Engelbrecht hat bei Flowworker ja bereits seine Fragen an Jakob Bro veröffentlicht, u.a. die Antwort auf diese Frage dürfte Licht ins Dunkel bringen:
Produced in 2014, Taking Turns was in some ways the follow-up of December Song, with Jason Moran instead of Craig, and Andrew Cyrille. At that point in time you had already made Gefion with Manfred, who, as I think, is not present during the Taking Turns recording. (Or was he?) Now, in retrospect, how do you look back on these one or two days of making the album in NYC with a line-up that, in this constellation, never met before or after again. Do the recordings of Taking Turns somehow exist in a bubble, do you see them as an extension of December Song? Or what makes this session stand apart?
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Hey man, why don't we make a tune... just playin' the melody, not play the solos...Highlights von Rolling-Stone.deOh, du Hässliche! Die 25 schrecklichsten Weihnachtsalben-Cover
Legendäre Konzerte: The Concert For Bangladesh 1971
„Kevin allein zu Haus“: Ein Familienfilm ohne Familie
The Beatles: Wie die Aufnahmen zu „Let It Be“ zum Fiasko wurden
Taylor Swift: Alle 274 Songs im Ranking
Stephen King: Die besten Bücher – Plätze 10-01
WerbungDanke! so richtig einleuchtend ist das noch immer nicht, find ich… vielleicht haben sie gemeinsam Gefion und Taking Turns aufgenommen und dann entschieden, welches der beiden das Debut wird… das wäre jedenfalls eine Geschichte, die mit allem, was wir wissen konsistent ist… Alternativ: Bro hat das Album quasi selber produziert, nachdem das ECM Debut im Kasten war, um es Eicher als alternatives Debut anzudienen, aber der lehnte ab… Oder Bro überredete Eicher, das hier schonmal aufzunehmen, weil ja Konitz auch nicht mehr ewig da sein würde, auch wenn es nicht in die Bro-Strategie von ECM passte… mit der Aussicht, es irgendwann rauszubringen.
edit, das war die Antwort an icculus, jetzt den post von atom auch gesehen… in der Tat, das ist genau die Frage, jetzt brauchen wir nur noch die Antwort.
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.Ich finde hier irgendwie gerade nichts zu der neuen Mal Waldron Platte von Sam Records… Auf Pim’s Mal Waldron Blog wurde das Album gerade zum 13. ***** Alben ausgerufen… Das bringt wahrscheinlich Unglück, heißt aber auch, dass an dem Album eigentlich kein Weg vorbeiführt
https://snake-out.blogspot.com/2024/11/1970-mal-waldron-trio-rat-nowparis-70.html?m=1
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.Danke, hatte ich noch gar nicht gesehen… muss dann wohl auf den Einkaufszettel.
Zu Black Friday RSD kommt ja auch wieder was … Sun Ra und Emily Remler hab ich aufgeschnappt, das ist aber bestimmt nicht alles? Edit: und Bill Evans … sowie (gerade erst entdeckt) Al Jarreau und für Bluesfans was von B.B. King.
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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, #158 – Piano Jazz 2024 (Teil 1) - 19.12.2024 – 20:00; #159: Martial Solal (1927–2024) – 21.1., 22:00; #160: 11.2., 22:00 | Slow Drive to South Africa, #8: tba | No Problem Saloon, #30: tba
Bill Evans – In Norway (Elemental)
Al Jarreau – Wow! Recorded Live in Performance at the Childe Harold (Resonance)
Emily Remler – Cookin‘ at the Queens: Live in Las Vegas1 984 & 1988 (Resonance)
Sun Ra – Lights on a Satellite: Live at the Left Bank (Resonance)
B.B. King – In France: Live at the 1977 Nancy Jazz Pulsations Festival
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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, #158 – Piano Jazz 2024 (Teil 1) - 19.12.2024 – 20:00; #159: Martial Solal (1927–2024) – 21.1., 22:00; #160: 11.2., 22:00 | Slow Drive to South Africa, #8: tba | No Problem Saloon, #30: tbaDas vielversprechendste neue Album zum RSD hatte ich noch übersehen:
Cellar Music Group Announces Archival Imprint From Reel to Real Recordings Live at the Captain’s Cabin From Charles Tolliver Music Inc.
2 LP-SET RECORD STORE DAY EXCLUSIVE, OUT NOVEMBER 29, 2024
Package’s extensive booklet features a lead essay by Angelika Beener, a Jeremy Pelt-led interview with Tolliver; essays by Music Inc. bassist John Hicks and leading trumpeter Nicholas Payton; and much more
Reel to Real is thrilled to announce the forthcoming release of Live at the Captain’s Cabin, celebrating the living legend Charles Tolliver. The superlative trumpeter first stepped into the spotlight in the mid-1960s, as a sideman to the great saxophonist Jackie McLean; in 1971, he co-founded Strata-East Records, a nexus of hard bop and spiritual jazz, with undersung piano genius Stanley Cowell. Tolliver took a decades-long recording hiatus, and reemerged in the new millennium, kicking off a creative streak that continues apace; 2020’s Connect was met with critical accolades, including four and a half stars from All About Jazz: “The album finds Tolliver still at the top of his game.”
If Tolliver remains at the top of his game, Live at the Captain’s Cabin — recorded in March of 1973 — arguably represents him reaching that summit. Tolliver cultivated his skills as a bandleader by learning from mentors like Jackie McLean, Horace Silver, and Max Roach. The latter, for whom Tolliver regularly worked in the 1960s ― offered Tolliver room to perform, write, arrange, and learn what it takes to lead with confidence, vision, and brotherhood.
After more than a decade of such tutelage, Tolliver stepped out as a leader in 1968. The following year, he created the Music Inc. Quartet, with Stanley Cowell, bassist Cecil McBee, and drummer Jimmy Hopps. Over the next five years, Tolliver made a name for himself as an adventurous powerhouse, a brilliantly virtuosic musician, bandleader, and arranger.
The early 1970s shifted jazz into previously uncharted territory, under the influence of emergent hard rock and electronic instrumentation. To contend with the magnitude of volume and power harnessed by rock bands, Jazz musicians began utilizing larger drum kits and amplified bass; hybrid styles like jazz rock, jazz funk, and jazz soul materialized. On Live at the Captain’s Cabin, you hear Tolliver and company — foundationally steeped in the bebop tradition — taking risks of their own, bridging bebop with more modal and avant-garde aesthetics, rooted in the paths forged by Coltrane’s later work.
Therein, Tolliver and this stellar incarnation of Music Inc. ― pianist John Hicks, bassist Clint Houston, and drummer Cliff Barbaro ― appear in superb form, during a tour that took them across Canada and the West Coast. Located near downtown Edmonton, Alberta, Canada, The Captain’s Cabin was an intimate, roughly 100-capacity underground venue, concealed beneath a grocery store.
To Tolliver’s recollection, the recording of the live set wasn’t planned. “We just went on and wailed away like we normally did,” he says. Tolliver attributes the cohesive spontaneity of the set to the consistency of being together on the road, and avoiding over-rehearsing to keep the proceedings fresh and exciting: “By the time we got to Edmonton, I mean, we were a pretty tight band.”
The energy required to play with Tolliver was a paramount factor in his recruitment process. “I always used John Hicks,” the maestro explains. “We started together before I even met Stanley [Cowell], so that was always my go-to pianist. And I loved how Clint Houston was playing at the time, and so I brought him on board. And a young Clifford Barbaro… had the kind of drive that was necessary for the group.”
The set consists of a mixture of previously recorded and new compositions, all composed by Tolliver, with the exception of the album opener, “Black Vibrations,” written by Houston, and the Neal Hefti standard “Repetition.”
The band takes off like a rocket with “Black Vibrations,” with exhilarating solos from Tolliver, Hicks, and Houston, and Barbaro’s absolutely explosive drumming. “Drums are essential to every success, either in the studio or on the bandstand,” Tolliver asserts. “You could be one of the greatest articulating artists on whatever your instrument is ― it don’t mean anything if the drummer isn’t in sync. It’s the drums that make it fly.”
“Earl’s World,” written for Tolliver’s younger brother, originally appears on his Charles Tolliver and His All-Stars debut, which featured Herbie Hancock, Gary Bartz, Ron Carter, and Joe Chambers. The live version of this lilting tune, which features a fantastic bass intro from Houston, possesses a fervor that Tolliver progressively builds on over every chorus of the vacillating groove.
Tolliver dazzlingly solos over the entirety of the high intensity “Impact,” with the rhythm section driving the odd-metered groove. Hicks would later interpret the anthemic song on his 1979 trio album, After the Morning. Tolliver also arranged it for orchestra on his 1976 album of the same name. Captivatingly, Tolliver’s performance on Captain’s Cabin effortlessly replicates the energy of an entire big band from his single horn.
“Compassion,” a mid-tempo waltz, opens with a flourishing solo from Hicks. Characterized largely in part by his dynamic energy, Hicks is ethereal here. Barbaro’s loose and swirling drums brilliantly envelop Tolliver’s solo while Houston’s remarkably fluid bass, gifting beautiful countermelodies throughout, is a sublime grounding force holding them all together. “To arrive in this artform as a trumpet player, one needs to have gotten a handle on playing a ballad, you know?” says Tolliver. “With a good tone and the ability to tell a story.”
Written while Tolliver was in college, “Truth” was first recorded on Jackie McLean’s 1964 Blue Note recording, It’s Time, featuring Tolliver, Herbie Hancock, Cecil McBee, and Roy Haynes. “Truth,” which stands as this album’s sole ballad, eventually gives way to an intensifying mid-tempo swing, before the band settles into a resplendent finale.
“Repetition,” initially popularized by Charlie Parker, is performed at a dizzying pace, with Tolliver and Hicks drawing on one another’s vivacity, keeping each other on their toes throughout. Barbaro and Houston are in sensational stride, keeping up with Tolliver’s limitless and stunning phraseology and potency. The aptly titled “Stretch” closes the set with Houston, Hicks, then Tolliver taking breathtaking, extended solos over almost 17 minutes of bebop-inspired, hard-swinging jazz.
Fifty-one years after this recording, there is much to be inspired by in listening to this set. Tolliver and his group are undoubtedly some of the foremost influencers of the generation that followed. Their conspicuous passion ― activated by youth, brilliance, and a determination to be heard over the often thunderous din of oppression and systemic inequities ― clearly resonates today.
Track Listing
Vinyl:
Side A:
Black Vibrations (12:27)
Earl’s World (11:08)Side B:
Truth (9:17)
Repetition (13:09)CD:
CD 1:
Black Vibrations (12:27)
Earl’s World (11:08)
Impact (6:37)CD 2:
Truth (9:17)
Repetition (13:09)
Stretch (16:39)ABOUT REEL TO REAL:
Reel to Real is the archival recording imprint of Cellar Music Group. Co-founded by Cory Weeds and Zev Feldman in 2018, Reel to Real strives to uncover historically important, archival jazz works and make them broadly available in a variety of formats. Last July, Reel to Real’s release of Roy Brook’s Understanding was widely considered one of the top historical releases of the year with accolades from The New York Times, The New Yorker, JazzTimes, All Music Guide and others.
Covertechnisch hat Tolliver das ganze Leben eineinhalb Alben gemacht … ist ja nicht sein Fehler, aber etwas irritierend ist das schon.
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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, #158 – Piano Jazz 2024 (Teil 1) - 19.12.2024 – 20:00; #159: Martial Solal (1927–2024) – 21.1., 22:00; #160: 11.2., 22:00 | Slow Drive to South Africa, #8: tba | No Problem Saloon, #30: tba
Die First Visit-Reihe von Hat/ezz-thetics habe ich noch gar nicht zu erkunden angefangen … die ersten beiden CDs sind Anthony Braxton Solo und mehr von Cecil Taylors „It Is in the Brewing Luminous“ – danach war mir der Kopf die letzten Monate nicht. Jetzt kommen noch ein Set von Taylor dazu, zudem ein Konzert von Steve Lacy (mit Barry Wedgle-g und J.J. Avenel-b) und ein Mitschnitt von Ran Blake (mit David Knife Fabris-g auf der Hälfte der Stücke) dazu. WHO Trio war ja eher neu (Willisau 2023) und Ayler kennt man (Cellar Café 1964 im Trio bzw. Europa 1964 mit Don Cherry), Eine weitere neue Aufnahme erschien auch unter der Überschrift (Barry Guy mit Sergio Armaroli-vib und Francesca Gemmo-p). Schön, dass es weiter geht, aber auch etwas nervig, dass Uehlinger die alten und die neuen Aufnahmen nicht trennen kann … vielleicht ist die Trennung, dass die neuen orangen CDs (im älteren Design) vornehmlich im Studio entstanden sind und neue reine Live-Aufnahmen (WHO, Guy) halt auch als „First Visit“ veröffentlicht werden?
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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, #158 – Piano Jazz 2024 (Teil 1) - 19.12.2024 – 20:00; #159: Martial Solal (1927–2024) – 21.1., 22:00; #160: 11.2., 22:00 | Slow Drive to South Africa, #8: tba | No Problem Saloon, #30: tba
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