-
Beiträge
-
redbeansandrice
Chet Baker – Blue Room
Erscheint im April, eine Doppel-CD mit zwei Baker sessions von 1979, die eine mit Markowitz, Rassinfosse und Charlie Rice, die andere mit einer niederländischen p/b/dr-Gruppe (Frans Elsen, Victor Kaihatu, Eric Ineke), link, die erste Band ist bekanntermaßen gut, die zweite wegen Elsen zumindest interessant…John Fordham im Guardian – „stoned-chorister vocals“ trifft’s sehr, finde ich
– „mostly low-key“ finde ich beim späten Baker kein Problem, „everbody-solos-in-turn“ könnte aber etwas ermüdend sein:[…] The previously unreleased Blue Room joins together two 1979 studio sessions for Dutch radio, with classy trios led by pianists Phil Markowitz and the late Frans Elsen. The Latin-swaying Beautiful Black Eyes introduces Baker’s inimitable trumpet sound, blown as if he’s barely exhaling, the phrasing a mix of drowsy musing and impulsive flurries that hardly jolt his hypnotically flatlining dynamics.
Three of Baker’s haunting stoned-chorister vocals develop as whispery wordless-scat improvisations as capricious as his horn-playing, and the uptempo bebop sprints on The Best Thing for You, Miles Davis’s Down and the ageless Old Devil Moon are shapely, long-lined improvisations that barely need a rhythm section. The mood is mostly low key, and the everybody-solos-in-turn ensemble format might be too formulaic for some, but Blue Room is a fascinating snapshot of a unique improvising artist’s muse. Illuminating, savvy liner notes from fellow players, producers and friends are a big bonus.
--
"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, #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: tbaHighlights von Rolling-Stone.deDies sind die 10 Lieblingsalben von Marianne Faithfull
Warum das „Dschungelcamp“ niemals langweilig wird
John Lennon schrieb sich mit „Help!“ den Beatles-Kummer von der Seele
G3: Joe Satriani, Steve Vai und Eric Johnson im ROLLING-STONE-Interview
Dire Straits und „Brothers In Arms“: Gitarre in den Wolken
Alle Alben von Paul McCartney im Ranking
WerbungNeue Musik von Jim Hall, „Uniquities“, Aufnahmen von 2012 im Trio mit Scott Colley und Joey Baron – scheint schon im Dezember bei ArtistShare erschienen zu sein, zog aber bisher völlig an mir vorbei:
https://www.artistshare.com/Projects/Experience/7/530/1/Jim-Hall-Music-UniquitiesMarc Myers auf Jazzwax (gibt dort auch „All the Things You Are“ zum Probehören:
From 2009 onward, producer-composer Brian Camelio traveled with guitarist Jim Hall on tour to lend assistance as Jim recovered from back surgery. During this performance period, Jim fronted a trio and played duets. Fortunately, Brian recorded as much as he could and stashed away the tapes. Recently, Brian was asked by Jim’s widow, Jane Hall, to assemble an album of the recorded material in celebration of what would have been his 92nd birthday on December 4, 2022.
So Brian went through his archives and stumbled upon tracks recorded in May and June of 2012. The result is Uniquities, 12 previously unreleased live tracks released in two separate volumes in March. Jim was joined by bassist Scott Colley and drummer Joey Baron. The sound is fantastic, and Jim’s playing is first-rate, thanks to the recording process used and the fine playing by Scott and Joey.
„Uniquities“ is a word invented up by Jane to describe how Jim would take musical ideas and constantly reinvent them, similar to Bill Evans’s revisiting of specific standards and Monet’s Water Lilies series. One shot isn’t enough when it comes to artistically interpreting beauty’s nuances.
The songs on Vol. 1 are Without A Song, All The Things You Are, Careful (Jim Hall), Chelsea Bridge, Is What It Is (Scott Colley), Uniquities Part 1 (Hall, Joey Baron and Colley) and St. Thomas (Sonny Rollins).
The songs on Vol. 2 are Without A Song, Body and Soul, Big Blues (Hall), In a Sentimental Mood, Uniquities Part 2 and St. Thomas.
This album is superb and an exceptional document, since no official post-2010 small-group recordings by Jim have surfaced until now. […]
https://www.jazzwax.com/2023/04/new-jim-hall-uniquities.html
--
"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, #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
Marion Brown Quartet – Mary Ann: Live in Bremen 1969
(Moosicus, 2023)Das scheint mit dem Plazet der Nachkommen zu erscheinen – obwohl das Cover heftigste Bootleg-Vibes verströmt:
On April 24, 1969, Brown performed together with Ed Kroeger (trombone), Sigi Busch (bass), and Steve McCall (drums) at the legendary Bremen jazz club „Lila Eule“. Radio Bremen was on site and recorded the concert. This recording of the Marion Brown Quartet will be released in a 2 CD set and of course online as streaming and download as well.
Available April 28, 2023https://www.instagram.com/p/CrHkd95OysD/?igshid=YmMyMTA2M2Y%3D
--
"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, #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
Alan Skidmore – A Supreme Love (6xCD box set + twenty page booklet)
How do you represent a seven-decade career in only six CDs? In our favour, Alan Skidmore’s vast private archive: from every stage of his professional life, there are radio, concert, and studio recordings surviving in very good order. But what to leave out? We begin in 1961, with Skid’s radio debut, playing with his father Jimmy. He was just 19. This was the year he witnessed John Coltrane’s famed appearance in Walthamstow. Coltrane’s impact was immediate, and Skid’s love and respect for him has lasted a lifetime. Throughout the recordings, we hear how Skid absorbs Coltrane’s music and transforms it into his own. With just a handful of exceptions, the tracks in this box are previously unreleased. They include collaborations with some of Skid’s most talented contemporaries. You’ll hear him with Alexis Korner, Humphrey Lyttelton, Dave Holland, Kenny Wheeler, Tony Oxley, Wayne Shorter, Tony Levin, Paul Dunmall, Joe Zawinul, John Surman, Mike Osborne, John Taylor, Elvin Jones, Colin Towns, and many others. There is much to discover along the way, and Skid’s seriousness and respect for the music are obvious everywhere. Our journey concludes in 2019, with Skid’s beautiful — and only — rendition of Coltrane’s “Psalm” from A Love Supreme. A stunning finale to this crucial portfolio. (Mark Wastell)
„John Coltrane has had a profound effect on my life for over sixty years, I had never heard the tenor saxophone played the way he played it. And I never will again: that would be impossible. And what an amazing composer. So thank you Trane for all your help and spiritual guidance. It has been an incredible experience listening to you all these years. It truly has been A Supreme Love.“ (Alan Skidmore)
It’s Skid’s wish, that once this project has eventually recouped it’s costs, any future profit be donated to http://www.thejazzcentreuk.co.uk
A SUPREME LOVE: CHAPTER ONE (disc I)
The Skidmore’s with Alan Haven
1. Now’s The Time (Charlie Parker)
2. Don’t Get Around Much Anymore (Duke Ellington)
3. The Preacher (Horace Silver)
Jimmy Skidmore (tenor saxophone), Alan Skidmore (tenor saxophone), Alan Haven (organ), unidentified (drums)
Recorded London 1961Alexis Korner Blues Incorporated
4. Wednesday Night Prayer Meeting (Charles Mingus)
5. Honesty (David Baker)
Alexis Korner (guitar), Alan Skidmore (tenor saxophone), Chris Pyne (trombone), Danny Thompson (double bass), Terry Cox (drums)
Recorded London, April/June 1965Humphrey Lyttelton Big Band
6. Skid’s Kid (Kenny Graham)
Humphrey Lyttelton, Greg Bowen, Bert Courtney, Kenny Wheeler, Ian Carr (trumpets), Chris Pyne, Eddie Harvey, Mike Smith (trombones), Ray Warleigh, Ronnie Ross, John Surman, Tony Coe, Alan Skidmore (saxophones), Colin Purbrook (piano), Ron Mathewson (double bass), Jackie Dougan (drums), Kenny Graham (composer, arranger, director)
Recorded London 1966Alan Skidmore Quartet
7. What Is This Thing Called Love (Cole Porter)
8. Autumn Leaves (Joseph Kosma)
Alan Skidmore (tenor saxophone), Bob Cornford (piano), Dave Holland (double bass), Alan Jackson (drums)
Recorded London, 29 August 1967Alan Skidmore Quintet
9. Old San Juan (John Warren)
10. Once Upon A Time (John Surman)
11. Free For Al (Alan Skidmore)
Alan Skidmore (tenor saxophone), Kenny Wheeler (trumpet), Harry Miller (double bass), John Taylor (piano), Tony Oxley (drums)
Recorded at Monteux Jazz Festival, Casino de Montreux, Switzerland, 19 June 1969Alan Skidmore Quintet
12. Double Meaning (Fritz Pauer)
Alan Skidmore (tenor saxophone), Kenny Wheeler (trumpet), Harry Miller (double bass), John Taylor (piano), Tony Oxley (drums)
Recorded London, 27 October 1969A SUPREME LOVE: CHAPTER TWO (disc II)
Weather Report + Guests (NDR Workshop 73)
1. Directions (Joe Zawinul)
Wayne Shorter (soprano saxophone), Josef Zawinul (keyboards), Miroslav Vitous (double bass), Alphonse Mouzon (drums), Dom Um Romao (percussion), Eje Thelin (trombone), Alan Skidmore (tenor saxophone), John Surman (baritone saxophone)
Recorded at Funkhausstellung, Berlin, Germany, September 3, 1971Alan Skidmore Quintet
2. Folk Nik (John Surman)
Alan Skidmore (tenor saxophone), Malcolm Griffiths (trombone), John Taylor (piano), Chris Laurence (double bass), Tony Levin (drums), Dietrich Schulz-Köhn (announcer)
Recorded at 13th Deutsches Jazzfestival, Kongresshalle, Frankfurt, Germany, 24 March 1972S.O.S.
3. Country Dance (Alan Skidmore/Mike Osborne/John Surman)
Alan Skidmore (tenor saxophone), Mike Osborne (alto saxophone), John Surman (soprano saxophone)
Recorded London, 27 January 1974Alan Skidmore with Österreichische Rundfunksender Big Band
4. Up There (Alan Skidmore/arr. John Warren)
Recorded at ORS Jazz Time, Vienna, Austria, 25 May 1976Alan Skidmore / Tony Levin
5. Oxford Road, B13 (Alan Skidmore/Tony Levin)
Alan Skidmore (tenor & soprano saxophone, drums, percussion), Tony Levin (drums, percussion)
Recorded in Tony Levin’s music room, Oxford Road, Birmingham, 21 July 1977Alan Skidmore / Tony Levin / Tony Oxley
6. Way Out East (Alan Skidmore/Tony Levin/Tony Oxley)
Alan Skidmore (drums, percussion), Tony Levin (drums, percussion,) Tony Oxley (drums, percussion)
Recorded in Tony Levin’s music room, Oxford Road, Birmingham, November 1977A SUPREME LOVE: CHAPTER THREE (disc III)
S.O.H.
1. Dutch Dreams (Ali’s Waltz) (Jan Huydts/Ali Haurand)
Alan Skidmore (soprano saxophone), Ali Haurand (double bass), Tony Oxley (drums)
Recorded at Fabrik, Hamburg Germany, 19 October 1981Alan Skidmore with Radio-Philharmonie Hannover des NDR
2. Nature Boy (Eden Ahbez)
Alan Skidmore (tenor saxophone), Radio-Philharmonie Hannover des NDR, Colin Towns (arranger)
Recorded at Norddeutscher Rundfunk, Hannover, Germany, December 1989Tenor Tonic
3. Modal Tonic (Alan Skidmore)
Alan Skidmore (tenor saxophone), Paul Dunmall (tenor saxophone), Paul Rogers (double bass), Tony Levin (drums)
Recorded at Pendley Jazz Festival, Tring, England, 6 July 1985Alan Skidmore with Radio-Philharmonie Hannover des NDR
4. I Remember Clifford (Benny Golson)
Alan Skidmore (tenor saxophone), Radio-Philharmonie Hannover des NDR, Horst Mühlbradt (arranger)
Recorded at Norddeutscher Rundfunk, Hannover, Germany, December 1989Alan Skidmore Trio
5. Moving Along (Alan Skidmore)
Alan Skidmore (tenor saxophone), Mick Hutton (double bass), Spike Wells (drums)
Recorded London, 26 October 1987Alan Skidmore with Colin Towns’ Mask Symphonic
6. After the Rain (John Coltrane)
Alan Skidmore (tenor saxophone), Colin Towns’ Mask Symphonic, Colin Towns (arranger)
Recorded, CTS, Wembley, London 1989Elvin Jones Jazz Machine
7. George And Me (Elvin Jones)
Alan Skidmore (tenor saxophone), Sonny Fortune (tenor saxophone), unidentified (piano), unidentified (double bass), Elvin Jones (drums)
Recorded Ronnie Scott’s, London 1988A SUPREME LOVE: CHAPTER FOUR (disc IV)
Alan Skidmore & Kenny Wheeler with Jazz Live Trio
1. Just Once (Alan Skidmore)
Alan Skidmore (tenor saxophone), Kenny Wheeler (trumpet), Klaus Koenig (piano), Peter Frei (double bass), Pierre Favre (drums)
Recorded at Radio Studio DRS ( Studio 2 ), Zurich, Switzerland, 19 January 1980Alan Skidmore / John Surman
2. Jass (Alan Skidmore/John Surman)
3. Ist (Mike Osborne)
4. Riffing Together (Alan Skidmore/John Surman)
Alan Skidmore (tenor saxophone), John Surman (baritone saxophone)
Recorded at Mike Osborne Benefit Night at 100 Club, London, 30 April 1991Alan Skidmore Quartet
5. Easy to Remember (Richard Rogers/Lorenz Hart)
6. K.A.N.S.Y. (Alan Skidmore)
Alan Skidmore (tenor saxophone), Steve Melling (piano), Arnie Somogyi (double bass), Mark Taylor (drums)
Recorded London, 1992Alan Skidmore Quartet
7. Spiritual (John Coltrane)
8. Take the Coltrane (Duke Ellington)
Alan Skidmore (tenor saxophone), Steve Melling (piano), Arnie Somogyi (double bass), Stephen Keogh (drums)
Recorded at Cheltenham Jazz Festival, Cheltenham, England, 5 April 1997A SUPREME LOVE: CHAPTER FIVE (disc V)
Alan Skidmore Quartet
1. But Not For Me (George Gershwin/arr. John Coltrane)
2. Naima (John Coltrane)
3. Impressions (John Coltrane)
Alan Skidmore (tenor saxophone), Steve Melling (piano), Arnie Somogyi (double bass), Gary Husband (drums)
Recorded NDR Studio, Hamburg, Germany, 10 March 2000Colin Towns Mask Orchestra
4. John (Colin Towns)
Colin Towns Mask Orchestra featuring Alan Skidmore (tenor saxophone), Colin Towns (composer, arranger, conductor), Guy Barker, Henry Lowther, Martin Shaw, Graham Russell, Nathan Bray (trumpets), Barnaby Dickinson, Roger Williams, Pat Hartley, Liam Kirkman (trombones), Nigel Hitchcock, Simon Allen, Phil Todd, Julian Arguelles (saxophones), Dudley Phillips (double bass), David Hartley (piano), Ian Thomas (drums), John Parricelli (guitar), Paul Clarvis (percussion)
Recorded at Moers Festival, Moers, Germany, 13 May 2005Alan Skidmore’s Ubizu
5. Africa (John Coltrane)
Alan Skidmore (tenor saxophone), Ingolf Burkhardt (trumpet), Steve Melling (piano), Mike Paxton (drums), Colin Towns (keyboards), Neville Malcolm (double bass), Saidi Kanda (percussion), Musa Mboob (percussion)
Recorded London, England, January 2008Alan Skidmore Quartet
6. Giant Steps (John Coltrane)
Alan Skidmore (tenor saxophone), Steve Melling (piano), Geoff Gascoyne: double bass, Tony Levin: drums
Recorded at Fleece Jazz Club, Suffolk, England, 2011Alan Skidmore Quartet + Georgie Fame*
7. Mr. PC (John Coltrane)
8. Jumpin with Symphony Sid* (Lester Young/lyrics by King Pleasure
Alan Skidmore (tenor Saxophone), Steve Melling (piano), Geoff Gascoyne (double bass), Ian Palmer (drums), Georgie Fame (vocals)
Recorded at A European Jazz Jamboree, Kammermusiksaal der Philharmonie Berlin, Germany, 19 September 2008A SUPREME LOVE: CHAPTER SIX (disc VI)
Alan Skidmore Quartet + Ed Jones & Howard Cottle
1. Transition (John Coltrane)
2. Chasin’ the Trane (John Coltrane)
Alan Skidmore (tenor saxophone), Steve Melling (piano), Andrew Cleyndert (double bass), Miles Levin (drums), Ed Jones (tenor saxophone), Howard Cottle (tenor saxophone)
Recorded at Café OTO, London, England, 17 July 2019Alan Skidmore Quartet
3. Resolution (John Coltrane)
4. Pursuance (John Coltrane)
5. Psalm (John Coltrane)
Alan Skidmore (tenor saxophone), Steve Melling (piano), Andrew Cleyndert (double bass), Miles Levin (drums)Ich glaube fast, das muss her!
--
"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, #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
Woody Shaw – Liebe Istgerade zufaellig auf Spotify entdeckt, youtube scheint es auch zu haben, und einen download wird man auch kaufen koennen… soviel Shaw von 1965 oder frueher gibt es ja nicht, auch wenn er damals schon in grosser Form war (Unity!), die Saxophonisten bekanntermassen top, Rokovic auch… auch wenn man vielleicht doch lieber Hancock/Carter/Williams oder so da sitzen haette…
May 7, 1965 (b) (4 items; TT = 31:51)
WDR Studio 2, Annostrasse, Köln
Source/Quality: RB (B+)Woody Shaw (tpt); Derek Humble (as); Wilton Gaynair (ts); Karl Drewo (ts); Bora Rokovic (p); Joe Sydow (tb); Stuff Combe (d)
1 Sonnymoon for Two (S. Rollins) 5:17
2 All the Things You Are (J. Kern-O. Hammerstein) 9:58
3 When Lights Are Low (B. Carter-C. Williams) 8:34
4 You Don’t Know What Love Is (D. Raye-G. DePaul) 8:02--
.
Und für Fans von südafrikanischer Musik gibt’s heute auch eine Neuheit (Bandcamp Friday, also bei Interesse am besten gleich heute ordern):
Down Lucky’s Way
by The Malombo Jazz Makers1. Tribute to A. Motjuoadi 02:45
2. Bahula Dithabeng 09:53
3. Gae Mamelodi 10:32
4. Sefuralong 07:54
5. Matshenyogo 04:50
6. Lucky’s Way 06:20about
First issue since 1969 of the Malombo Jazz Maker’s unknown third album, fully licensed from Julian Bahula, with liner notes featuring interviews with Julian Bahula and Lucky Ranku.
‚Malombo music is an indigenous kind of music. If you listen to it, you can feel that it can heal you, if you’ve got something wrong. It’s healing music.‘
Lucky RankuLucas ‘Lucky’ Madumetja Ranku (1941-2016) was one of the greatest African guitarists of his generation. He first made his name with the Malombo Jazz Makers – the successor group to the legendary Malombo Jazzmen, formed in Mamelodi township by guitarist Philip Tabane, drummer Julian Bahula and flautist Abbey Cindi. When Tabane left the Jazzmen in 1965, Bahula and Cindi called on Lucky to replace him, and the Malombo Jazz Makers were born. Building on the popularity and success of the original Malombo Jazzmen, the Malombo Jazz Makers become immensely popular, touring widely, winning numerous jazz competitions, and recording two successful albums for the Gallo label.
The deep and hypnotic ‚Down Lucky’s Way‘ was their third album. Recorded in 1969, it was the first Malombo Jazz Makers album to feature additional instruments, and the first to feature Abbey Cindi on soprano saxophone as well as flute. But more than anything else, ‚Down Lucky’s Way‘ is a transfixing showcase for Lucky Ranku’s sui generis guitar virtuosity. Quite different from their previous recordings, the album shifted the Jazz Makers’ sound toward hypnotic, extended compositions, layered by organ bass and guitar overdubs. Of all the Malombo Jazz Makers recordings, ‚Down Lucky’s Way‘ is the deepest of mood, and the richest of vision.
However, through one of the erasures that are ubiquitous in South African musical history under apartheid, it seems that the record may not ever have been properly issued. Original copies are outrageously rare – only a few are known among collectors. When we asked Lucky about the album, he was unaware it had ever been released, and had never seen a copy. Perhaps it was pulled; perhaps it was pulped; perhaps Gallo simply took their eye off the ball. Nobody knows, but it is not impossible that the apartheid authorities were involved, for by 1969, the Malombo Jazz Makers were well known to them.
Julian Bahula’s introduction of malopo drums to the music of the original Malombo Jazzmen was a moment of crucial political and cultural radicalism for South African jazz. Traditionally used by BaPedi people for healing, the malopo drums of Malombo music re-centered jazz around indigenous sounds and culture, and over the next decade, the Malombo Jazz Makers became deeply involved in political opposition to apartheid. Their recovery of indigenous sounds made them the musical standard bearer for the Black Consciousness movement, and they toured South Africa clandestinely with the writer and anti-apartheid activist Steve Biko. They also broke apartheid laws by playing with the white rock group Freedom’s Children, sometimes appearing on stage in masks or made up with UV paint to avoid detection by the authorities; they appeared regularly at the rule-bending Free People’s Concerts organized by David Marks, where Marks’ clever exploitation of a loophole – mixed audiences were prohibited from attending ticketed concerts where anyone was being paid, but the law said nothing about private functions played by artists for free – meant people could come together in defiance of apartheid laws. The notorious Special Branch would raid their concerts; Lucky remembered police storming an auditorium, throwing smoke bombs.
Eventually the political situation became too dangerous, and the band were being actively sought by the police. Though Abbey Cindi remained in South Africa, both Julian Bahula and Lucky Ranku went into political exile in the UK, where Bahula founded the group Jabula with Lucky and former members of Cymande, Steve Scipio and Michael ‘Bami’ Rose. With Jabula, Julian and Lucky worked tirelessly for the anti-apartheid movement, raising funds and awareness all over Europe and in the US. They played with Dudu Pukwana’s Spear in the joint formation Jabula-Spear, and worked together in Bahula’s Jazz Afrika formation; in 1984 Bahula organized the first Concert for Mandela, and it was Jabula that supplied the chorus for The Special A.K.A.’s hit single ‘Nelson Mandela’. Lucky also played and recorded with Chris McGregor’s South African Exiles Thunderbolt group. After the fall of apartheid, they both remained living and working in the UK. In 2012 the South African government awarded Julian Bahula the Gold Order of Ikhamanga for his cultural work during the struggle against apartheid.
Until his death in 2016, Lucky continued to play with countless groups and musicians, putting together the band Township Express with Pinise Saul, and leading his own African Jazz Allstars. The influence of his playing on the international perception of South African township music was immense, and he was held in the highest regard by his peers – ‘Lucky was a guitarist who could bring any house down’, said Michael ‘Bami’ Rose.
But despite his continuous presence on the UK live circuit over four decades, Lucky Ranku never recorded an album as leader. And so as well as restoring an important lost piece of South African musical heritage, ‚Down Lucky’s Way‘ is a precious opportunity to hear one of Africa’s foremost guitarists stretching out, in focus and in his element.
For distribution enquiries please contact Honest Jons Records – distribution (at) honestjons (dot) com
—
credits
released May 5, 2023Lucky Ranku: guitar
Julian Bahula: malombo drums
Abbey Cindi: flute, soprano saxophone
Dick Khoza: drums
Zakes Mkhubule: bass
Andrew Mfundi: organLicensed from Julian Bahula
Produced for reissue by Federico Bolza and Francis Gooding
Liner notes, interviews, editing: Francis Gooding
Mastering: Colin Young at See Why Audio
Layout: Andrew Symington at Divine Inc.
Produced in collaboration with Honest Jonshttps://tapestryworks.bandcamp.com/album/down-luckys-way
Das mit dem „first issue since“ ist glaub ich nicht so klar – zwei der Stücke (#4 und #5) sind auf der „Spirit of Malombo“-Compilation (Strut, 2014) zu finden, und dort ist in den Liner Notes die Rede von „the mysterious 1968 ‚Down Lucky’s Way‘ Lp. The album is not listed in the Gallo catalogue or archive, and the company has no masters for the LP. The Malombos themswelves are certain it was never released.“
Das ist zwar ein anderer Albumtitel, und ein Cover gibt’s ja tatsächlich (es ist auch in klein im CD-Booklet der „Spirit of Malombo“-Compilation zu sehen) – aber die Zeitangaben für die zwei Tracks passen, drum denke ich, das ist schon dieselbe Session.
Und falls jemand das wunderbare Solo-Album von Bheki Mseleku noch nicht hat, kann man die zwei auch gleich im Bundle kaufen und 5£ sparen.
--
"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, #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
soulpope "Ever Since The World Ended, I Don`t Get Out As Much"Registriert seit: 02.12.2013
Beiträge: 56,509
Interesting stuff indeed ….
--
"Kunst ist schön, macht aber viel Arbeit" (K. Valentin)gypsy-tail-wind
Marion Brown Quartet – Mary Ann: Live in Bremen 1969
(Moosicus, 2023)
Das scheint mit dem Plazet der Nachkommen zu erscheinen – obwohl das Cover heftigste Bootleg-Vibes verströmt:On April 24, 1969, Brown performed together with Ed Kroeger (trombone), Sigi Busch (bass), and Steve McCall (drums) at the legendary Bremen jazz club „Lila Eule“. Radio Bremen was on site and recorded the concert. This recording of the Marion Brown Quartet will be released in a 2 CD set and of course online as streaming and download as well.
Available April 28, 2023https://www.instagram.com/p/CrHkd95OysD/?igshid=YmMyMTA2M2Y%3D
Ein tolles Tondokument dieser „Internationalen Spitzengruppe“ (so das damalige Plakat der Lila Eule), wie bei vielen anderen Veröffentlichungen des Labels ein Mitschnitt von Radio Bremen. Das ist schon alles Offiziell was Manfred Schütz da macht, mit dem Rockpalast-Programm hat er ja eine ähnliche Kooperation mit dem WDR. Allerdings haben die Cover häufig den Charme von Bootlegs.
Die Liner Notes von Djinji Brown sind leider etwas mager ausgefallen.--
Hey man, why don't we make a tune... just playin' the melody, not play the solos...Werd’s mir auf jeden Fall holen!
--
"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, #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: tbaKurzer Hinweis, dass die Tapscott-CDs auch bei Soundohm verfügbar sind:
https://www.soundohm.com/artist/horace-tapscottAufgrund der absurden Limitierung sollte man da wohl zuschlagen, wenn man Tapscott mag.
Danke auch für die zahlreichen Hinweise…die Shaw und die Skidmore-Box sehen spannend aus. Brown vielleicht auch..
--
Ohne Musik ist alles Leben ein Irrtum.
soulpope "Ever Since The World Ended, I Don`t Get Out As Much"Registriert seit: 02.12.2013
Beiträge: 56,509
https://www.jazzwax.com/2023/05/bill-evans-trio-and-herb-geller.html
--
"Kunst ist schön, macht aber viel Arbeit" (K. Valentin)soulpope
https://www.jazzwax.com/2023/05/bill-evans-trio-and-herb-geller.htmlHm wieder eine seltsame Geschichte … Webster/Peterson gab’s (ohne das anscheinend von Peterson solo gespielte „Autumn Leaves“) vor ein paar Jahren offiziell als CD/DVD- bzw. 2-LP-Set:
https://www.discogs.com/master/646902-Oscar-Peterson-Ben-Webster-During-This-TimeKann ja sein, dass das ein paar dieser Bootlegger sind, die sich wirklich bemühen, aber eben …
Das Evans/Geller-Material machte die Runden, meine alte Version (aus den frühen Nullern, keine Ahnung, ob ich das noch irgendwo habe) kam mit diesen Infos (vermutlich als zwei „CDs“ – das war damals immer noch die gängige Einheit bei Dime -, weil zwei Quellen):
Bill Evans Trio
Hamburg (DE), NDR Funkhaus, Studio 10
February 14, 1972Bill Evans – piano
Eddie Gomez – bass
Marty Morell – drums
Herb Geller – flute (*)CD1/53:21
1. Introduction by Michael Naura (0:40)
2. Re: Person I Knew (7:23)
3. Turn Out The Stars (5:15)
4. Gloria’s Step (7:29)
5. The Two Lonely People (7:51)
6. São Paulo (6:49)*
7. Stockenhagen (7:35)*
8. Nardis (10:16) [inc]CD2/21:04
1. 1 Waltz of Dissention (6:36)*
2. Quarter Tone Experiments (8:03)*
3. Northern Trail (6:23)*TT: 74:25
Sound: A/A-
Lineage:
CD1: FM (analog cable) >Telefunken HT 870 tuner >Telefunken HA 870 amplifier >Denon DR-M 24HX three head tape deck w/ Dolby C HXpro >Sony UX-S cassette >Terratec DMXFire 1024 soundcard>WaveLab Lite >harddisk >CDR >.wav >FLAC level 8]
CD2: FM > ?Auf video gab’s auch einen „Backstage-Report über die Proben für ein Jazzkonzert“ (NDR):
Bill Evans Trio & Herb Geller
Hamburg (Germany), NDR Funkhaus
February 1972 (prior to Feb 14, when the actual concert took place)NDR production „Backstage-Report über die Proben für ein Jazzkonzert“ (backstage report on the rehearsals for a jazz concert) Producer: Michael Naura
Bill Evans – piano
Eddie Gomez – bass
Marty Morell – drums
Herb Geller – flute, piccolo, alto flute, alto sax1. 00:00 – 3:12 [piccolo]
2. 03:12 – 4:16 studio chatter
3. 04:16 – 9:48 [alto flute]
4. 09:48 – 9:59 studio chatter
5. 09:59 – 14:25 [alto sax] [inc]
6. 14:25 – 14:46 studio chatter
7. 14:46 – 16:43 [flute] [inc]
8. 16:43 – 16:54 studio chatter
9. 16:54 – 21:28 [flute]
10. 21:28 – 23:30 chatter & rehearsal
11. 23:30 – 25:23 [flute] [inc] [credits from 24:54-25:23]TT: 25:24
Source: Digital Satellite -> raw data to HDD -> ProjectX -> TMPGEnc DVD Author -> Video_ts;
two audio tracks:
primary: 2 channel MP2@192, secondary: AC3@384Bei Piazzolla und Brel kann ich’s nicht sagen, aber die Jazz-Aufnahmen stammen vermutlich alle von Dime (www.dimeadozen.org, eine Seite, auf der nur nicht veröffentlichtes oder eindeutig als Bootleg bewertetes Material geteilt wird). Finde ich nach wie vor unschön … und wirft halt auch ein schräges Licht auf die Streaming-Plattformen, das ist dann einfach Napster 3.0 oder so.
—
PS: „Funkhouse“ … der letzte Scheiss, die weissen Bartträger haben den in der provinziellen Isolation von Hannover in den bleiernen Siebzigern erfunden, nimmt diverse spätere Strömungen der elektronischen Musik vorweg, so wurde Marty Morell der meistgesamplete Drummer in der House-Musik. [Nerd-Emoticon]
—
PPS: falls wer drüber stolpert, die Miles Davis-Mitschnitte aus Stockholm sind nicht umfangreicher als auf dem 4-CD-Set von Dragon – bloss haben die Herren bei den zwei Konzerten mit Stitt die jeweils zwei Sets auf insgesamt 4 CDs (verteilt – zumindest beim Apple-Music) – nur umgruppiert, nichts weiteres dabei. (Die Sets mit Coltrane sind bei Dragon gemäss Losin verkehrt rum, das haben sie korrigiert, drum sind die ersten zwei Sets andersrum als gewohnt).
--
"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, #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
soulpope "Ever Since The World Ended, I Don`t Get Out As Much"Registriert seit: 02.12.2013
Beiträge: 56,509
@ „gypsy“ : Dank bezüglich der Hintergrundinfos bezüglich Geller/Evans, welche ich nicht kannte ….
--
"Kunst ist schön, macht aber viel Arbeit" (K. Valentin)… und sorry, mich triggert sowas halt immer etwas, auch wenn ich bei Dime schon seit einem Dutzend oder mehr Jahren nicht mehr aktiv bin.
Mag schon sein, dass diese beiden Herren gute Absichten haben (und Geld verdienen sie mit sowas ja auch kaum) – aber der korrekte Weg wäre halt, ihre „Remaster“ einfach bei Dime wieder zu teilen (und sich dort auch der Kritik auszusetzen, die es allenfalls gibt – gibt ja genügend Fälle, in denen wohlmeinende Leute Aufnahmen beschädigen oder schlechter machen und das selbst nicht merken).
Wie sich die Video-Aufnahmen von den Proben zum Material in der ersten Zitatbox verhält, weiss ich nicht – wäre mal ein Projekt für, hüstel hüstel, den Jazzdetektiv
--
"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, #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: tbagypsy-tail-wind… und sorry, mich triggert sowas halt immer etwas, auch wenn ich bei Dime schon seit einem Dutzend oder mehr Jahren nicht mehr aktiv bin.
Ohhhhh Wortspiel!
--
Ohne Musik ist alles Leben ein Irrtum.
Du musst angemeldet sein, um auf dieses Thema antworten zu können.