John Coltrane - At Temple University 1966

Digitally remastered live archive release from the Jazz great containing one of Coltrane's last preserved live performances ever. Taped in Philadelphia with excellent sound quality, this set presents Coltrane playing probably the freest version of 'Naima', along with readings of two more of his compositions: 'Crescent' and a powerful version of 'Leo'. Coltrane died shortly after this performance at the age of 40 on July 17, 1967.

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After this set, taped on November 11, 1966, ‘Trane would record a number of sessions for Impulse (which would mostly be issued posthumously), and would be recorded privately at the Village Theatre in New York on December 26 (this performance is mentioned in discographies as circulating among collectors, but it has never been released; the audio quality is unknown), and finally at New York’s Olatunji Center, on April 23, 1967. The latter would prove to be his final live performance, which ‘Trane gave despite feeling extreme pain.

tracklist:
01. Naima (John Coltrane) 16:47
02. Crescent (John Coltrane) 26:15
03. Leo (John Coltrane) 20:43

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Dewey Redman Quartet - Look for the Black Star

Although always a bit under-recognized and overshadowed by his contemporaries, tenor-saxophonist Dewey Redman has long been one of the giants of the avant-garde and bop. This early recording finds Redman discovering his own individual voice on five of his frequently emotional originals. Assisted by pianist Jym Young, bassist Donald Raphael Gareet and drummer Eddie Moore, this San Francisco date is quite adventurous and holds one's interest throughout. ~Scott Yanow, All Music Guide

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01 - Look For The Black Star [15:41]
02 - For Eldon [06:29]
03 - Spur Of The Moment [01:54]
04 - Seven And One [13:22]
05 - Of Love [07:58]

Vinyl Rip.

* Dewey Redman - tenor sax, voice
* Donald Garrett - bass, bass clarinet, voice
* Jym Young - piano, kalimba
* Eddie Moore - drums


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Billy Bang Quintet featuring Frank Lowe Above & Beyond: An Evening in Grand Rapids

Few musicians in any category combine violinist Billy Bang's intrinsic understanding of his instrument's tradition with the adventurousness associated with the New York City loft scene of the 1970s and wrap it up in an inside-out style honed and refined over the course of a thirty-plus year career.

For the last few years Bang has been enjoying a creative peak, particularly as a member of the William Parker Violin Trio, which released Scrapbook (Thirsty Ear, 2003), and as the leader of his own projects that draw on his experiences as a Vietnam veteran. Longtime friend and collaborator, tenor saxophonist Frank Lowe, was in the band that made Vietnam: The Aftermath (Justin Time, 2001, but didn't live to see the recording of the follow-up, Vietnam: Reflections (Justin Time, 2005).

Above & Beyond captures Bang's rhythm section (Andrew Bemkey on piano, Todd Nicholson on bass and Tatsuya Nakatani on drums) with Lowe live at the Urban Institute for Contemporary Arts in Grand Rapids, Mich. in April of 2003. By September of that year Lowe would be dead from lung cancer, but at this show the pair's playing on the hour's four long selections is telepathic. Lowe's wind may have been diminished, but his style had evolved away from the fire-breathing of his youth to prettier, pithier mutterings that perfectly complement Bang's staccato solos and rhythmically expansive melodies. Lowe doesn't entirely abandon his free jazz roots and his brief atonal runs help build the intensity that Bang's compositions are designed to release.

Nor does this music lend itself easily to shuffle play: this concert is best experienced as a whole, letting each musician work his way into his improvisation, then marveling at the way his band mates bring the tunes back into focus. In Grand Rapids, the Billy Bang Quintet was at the height of their powers. Frank Lowe is sorely missed. ~Jeff Stockton, allaboutjazz.com

01 - Silent Observation 18:08
02 - Nothing But Love 10:04
03 - Dark Silhouette 23:24
04 - At Play in the Fields of theLord 13:20


* Billy Bang - violin
* Frank Lowe - tenor sax
* Andrew Bemkey - piano
* Todd Nicholson - bass
* Tatsuya Nakatani - drums

Recorded live on 28 April 2003 at The Urban Institute For Contemporary Arts, Grand Rapids, MI.
Dedicated to Frank Lowe (1943 - 2003).

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Medeski, Martin and Wood : The Stone: Issue Four (2010)

Tracklist:
1. Tutrasa’i
2. Riffin Ed/Luz Marina
3. Buster Rides Again/Doppler
4. Amber Gris
5. We’re All Connected

Recorded live at the stone. Nyc.


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Susie Ibarra - Radiance

Drummer Susie Ibarra has in her short time as a leader, assembled a trio that shines so brightly it seems incomprehensible that their "radiance" could be captured in a studio recording. Nonetheless, Radiance is the evidence of this band's wondrous versatility, taste and collective musicianship. Ibarra plays drums and assorted percussion. Veteran pianist Cooper-Moore (in his most understated performance on record) also plays harp and diddley-bo and violinist Charles Burnham from James Blood Ulmer's Odyssey band, join her. Over nine tracks, including the heartbreakingly beautiful title suite, Ibarra and company virtually reinvent modern jazz, carrying its rampant improvisational excesses over the edge into contoured statements of lithe chromatic lyricism and tact, and, creating a compositional framework for the expression of true collective and individual creativity. Radiance's three parts are a jazz folk suite. Ibarra's percussive subtleties are layered over by gorgeous violin work from Burnham playing parsed phrases and elliptical Eastern melodies as Moore offers the harp as a bridge between the two carrying forth melody and rhythm entwined. On the last movement he uses the diddley-bo as a contrapuntal device to Burnham's pastoral yet elegant lines. Further, there exists a wildly inventive cover of Jimi Hendrix's "Up From the Skies," with a gorgeous percussion and drum solo that is so sparse in its beginnings one would never guess that a tune follows it. When the melody finally does enter it's through the back door, with Burnham playing through a wah-wah pedal to bring it out a struggling note at a time. Still it moves and gives way to a phenomenal jam in the center, full of funk and groove. "Jagged Threads" is a Latin-tinged jazz variation on the tango. Cooper-Moore's depth of field here comes in handy, because it's his pacing and multifaceted solo that keeps the tune both focused yet expands its reach with multiples of arpeggiated scales filling up the intervals in the middle when the melody gives way harmonically, yet allowing Burnham to bring it back without a stitch. There are alternate takes of "Dreams" and "Laughter" from Radiance that fill the set, and given their striking melodic invention and extrapolated sense of Eastern harmonic sensibilities and their truly beautiful architecture, they stand alone as well as they do within the suite. This is the band to watch, folks. -- Thom Jurek

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Movie ChoOser - An other blog by jizzrelics!

Started a new blog: http://moviech00ser.blogspot.com/

Of course you will find links to Megavideo and similiar streaming platforms. The films are strictly selected, I will try to make good choices. Bookmark it and spread the world!

Jizz

An array of quotes (by Mingus)

A paint by Jay Mason.

Have a nice Christmas. In the next weeks I'm coming up with a massive Braxtonian upload (9 cds). In the meantime, something to read.

“Just because I’m playing jazz I don’t forget about me. I play or write me the way I feel through jazz, or whatever. Music is, or was, a language of the emotions.”

“Tastes are created by the business interests. How else can you explain the popularity of Al Hirt?”

“If someone has been escaping reality, I don’t expect him to dig my music.”

“Anyone can make the simple complicated. Creativity is making the complicated simple.”

“Most of the soloists at Birdland had to wait for Parker’s next record in order to find out what to play next. What will they do now?”

“In my music, I’m trying to play the truth of what I am. The reason it’s difficult is because I’m changing all the time.”

“They’re singing your praises while stealing your phrases.”

“I’m too busy playing. When I’m playing I don’t pay attention to who’s listening. When I was listening I listened to symphony orchestras, Beethoven, Bach, Brahms, Stravinsky. You don’t listen to one instrument; you listen to music.”

“I always wanted to be a spontaneous composer.”

“I, myself, came to enjoy the players who didn’t only just swing but who invented new rhythmic patterns, along with new melodic concepts. And those people are: Art Tatum, Bud Powell, Max Roach, Sonny Rollins, Lester Young, Dizzy Gillespie and Charles Parker, who is the greatest genius of all to me because he changed the whole era around.”

“Had I been born in a different country or had I been born white, I am sure I would have expressed my ideas long ago. Maybe they wouldn’t have been as good because when people are born free–I can’t imagine it, but I’ve got a feeling that if it’s so easy for you, the struggle and the initiative are not as strong as they are for a person who has to struggle and therefore has more to say.”

“Let my children have music! Let them hear live music. Not noise. My children! You do what you want with your own!”

“It (jazz) isn’t like it used to be. The guys aren’t together. They’re all separated. Individuals now. Bird was a symbol. It was a clique, a clique of people. Who all believed in one thing: gettin’ high. And playin’.”

“That sound in tune to you? Sounds sharp to me. Sounds like I’m playing sharp all the time. My singing teacher told us you should do that. Maybe I got it from her. She said singers when they grow old have a tendency to go flat. So if you sing sharp as a young person, as you get older and go flat, you’ll be in tune. In other words, it’s never thought good to be flat. It means you can’t get to the tone.”

“Most customers, by the time the musicians reach the second set, are to some extent inebriated. They don’t care what you play anyway.”

“Good jazz is when the leader jumps on the piano, waves his arms, and yells. Fine jazz is when a tenorman lifts his foot in the air. Great jazz is when he heaves a piercing note for 32 bars and collapses on his hands and knees. A pure genius of jazz is manifested when he and the rest of the orchestra runaround the room while the rhythm section grimaces and dances around their instruments.”

Rava / D'Andrea / Vitous / Humair - QUATRE (1989 GALA records)

This is the first (of two) record of an european all-star quartet from late eighties. The group is made by the italians Enrico Rava on trumpet and Franco D'andrea on piano, swiss drummer Daniel Humair and Miroslav Vitous on bass. Each member contributes with nice compositions and the collective spirit is impressive, fed by the lyrical voice of Rava, the subtle harmonies of D'Andrea's piano and the variety of rhythms and timbres produced by Humair and Vitous.

I hope you'll enjoy it! ------------------- CJ

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