Some more Blythe by request

Photo copyright Michael Romanos (www.michaelromanos.com)

Here it is by request from Centrifuge, the great album from Arthur Blythe, "Lenox Avenue Breakdown." How this ever managed to go out of print I will never know. This recording sports a truly dynamic line-up that shares a tremendous amount of chemistry. I remember reading that the group had only been together for a short while before this was recorded, but there aren't any hints in the music to suggest that. Simply stunning. The opening track, "Down San Diego Way" has a real exuberance about it, and it swings with some great ethnic melodies and lyricism. My wife usually isn't a huge fan of the music I listen to, but she really digs this tune when I put it on. It just feels like San Diego itself--sunny, active and vibrant. Or at least the more pleasant aspects of San Diego...)

There are two things that I also really enjoy about this disc that set it apart. First of all it showcases some tuba, and I can't think of too many other albums that make that work. Not just any old tuba work, either--Stewart really gets a lot out of his uberhorn! Secondly, this album also has some great contributions from James Blood Ulmer. If you have been keeping track of this blog and the comments associated, you might have already read that I wasn't always a huge fan of guitar in jazz. This was one of the albums that got me thinking differently about all of that.
What else can I say? Really give this one a chance to sink in--highly interesting and entertaining, cohesive and it never seems to get stale!



Lenox Avenue Breakdown
Arthur Blythe
1978
128 Rate AAC files (Equivalent to 192 rate Mp3 files)

Line-up:
Arthur Blythe - Sax (Alto), Mixing
Jack DeJohnette - Drums
Guilherme Franco - Percussion
Cecil McBee - Bass, Guitar
James Newton - Flute
Bob Stewart - Tuba
James Blood Ulmer - Guitar

1 Down San Diego Way Blythe - 7:44
2 Lenox Avenue Breakdown Blythe - 13:11
3 Slidin' Through Blythe - 9:33
4 Odessa Blythe - 9:30

Air-in' it Out!

Well, here's a little bit extra due to some interest over at Church Number 9. I am sure Atanase already has his hands full with everything else that has been posted there lately (absolutely amazing music, by the way) and I thought I would throw this up for everyone to enjoy.

Yup, this album definitely lives up to the hype. Imagine ragtime jazz gone free, and that pretty much sums this up. It has some fantastic swinging moments, mixed up with the creative inflections of Hopkins, McCall and Threadgill. I think the thing that stands out the most that really drags you in to the music is the infectious sense of fun created here. Quite a session, and dang, I was going to try and single out a song to talk about, but it all jams. The folks over at Destination Out posted a couple tracks and some interesting information about Buddy Bolden, the book Coming Through Slaughter by Michael Ondaatje (highly recommended--very vivid), and another version of "Buddy Bolden's Blues" by Jelly Roll Morton. Needless to say, an amazing post and I haven't been able to listen to the song in the same way since. Here's the link if you are interested (you should be):

http://destination-out.com/?cat=4

Unfortunately the tracks there are dead, but the important stuff you can get here...Enjoy! As Flux'us said, part of the Air "Holy Trinity"!

Air Lore
Air
1979
128 Rate AAC Files (Equivalent to 192 MP3)

Fred Hopkins - Bass
Steve McCall - Drums
Henry Threadgill - Sax (Alto)

1. Ragtime Dance - 9:20
2. Buddy Bolden Blues - 9:27
3. King Porter Stomp - 3:48
4. Paille Street - 2:19
5. Weeping Willow Rag - 11:35

http://www.rapidsafe.net/rc-UjMjJjZ4UTM/Air_Lore.zip

A Little Bit O' Bowie

(photo : Damien Lafargue / GetThePicture)

I apologize for not getting this post up last week, but with the weather taking a nice turn here, sitting in front of a computer was the last thing on my mind. On to the album...

Lester Bowie stood out as one of the truly interesting, entertaining and enlightening personalities in the jazz world. His sense of humor always seemed to find its way out in whatever he did (just check out this photo above--this guy was one eclectic individual), yet he took his music very seriously. I was just watching an Art Ensemble of Chicago DVD last weekend with our 5 year-old, and it really made me realize just how talented Bowie was. He had a definite showman's air about him, but he was very much in tune and focused into what was being created on the stage. He energized his work with so much soul and feeling, it would seem impossible to not get into it. Oh yeah, our little guy was fascinated with the amount of instruments on the stage as well (About Don Moye at one point, "How many different drums is that going to try and play?")and was totally into it. What kind of effect will this have on him? Positive, of course! :)

While I admit that my favorite Lester Bowie stuff was recorded with the Art Ensemble of Chicago, this album definitely has its great moments. Here he is paired with his AEC buddy Malachi Favors and manages to put together a pretty decent session. Kind of cool that a younger Arthur Blythe appears on this album as well. This definitely has its hard blowing moments, but much of it is more laid back--as always, very creative. Enjoy!



The 5th Power
Lester Bowie
1978
128 Rate AAC Files (Equivalent to 192 MP3)

Arthur Blythe Sax (Alto)
Lester Bowie Trumpet
Malachi Favors Bass
Amina Claudine Myers Piano, Vocals
Giacomo Pellicciotti Producer
Phillip Wilson Drums

1 Sardegna Amore (New Is Full of Lonely People) Bowie 6:20
2 3 in 1 (Three in One) Bowie 9:32
3 BBB [Duet] Blythe, Myers 5:52
4 God Has Smiled on Me (Traditional Gospel) Bowie, Myers 18:02
5 The 5th Power (Finale) Bowie 4:58


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Who would it be?

Well, if you haven't already noticed, things around here are starting to take on a different appearance. There have been some sites that I have been meaning to add to the link section, I didn't like the look of the layout and the title was just lacking. Hopefully these changes are a step in a positive direction.

On to another thought I wanted to discuss here. One of my favorite parts of creating my own blog (besides sharing some of my obscure tunes) is the open discussion that has gone on here. I really appreciate the people who have taken the time to write down their own opinions of things (good or bad), give suggestions or recommendations for music that might follow a similar vein, and even post some of their own stuff here. There are many interesting and fascinating things going on around us, why not share your favs with others around? It's always cool finding something fresh to enjoy, or at least forming a new opinion. Exploration.

Okay, enough of all of that philosophising. Down to the meat and potatoes for this post--a hypothetical situation. If you were isolated somewhere for a year (hokey and overused I know, but bear with me here) and could only take one musical artist's complete discography (as leader and sideman) with you, who would it be? I don't know what spurred this question in my head, but I probably have spent too much time thinking about it lately (Perhaps a lull at work?). As the idea progressed, I realized that I would want someone who has a wide variety of recorded music under his or her belt. Too much of one style would burn me out. Big time names floated in and out until finally it hit me. The man pictured above. Max Roach. Who else could it be? Let's start off with all of his classic albums with Bird and Diz, or the Massey Hall date. In the mood for some trumpet? How about all of his recordings with Clifford Brown. Hmmm, too mellow and straight ahead you might think. Turn to 70's Max. The one who recorded with Cecil Taylor, Anthony Braxton and Archie Shepp. "Force" and "The Long March" (with Shepp) are two of my all-time favorites, and that "Historic Concerts" disc with CT is just something else entirely. No shortage of creativity there. Heck, I even like (thoroughly) his Paris concert recerded with Dizzy (1989), despite the somewhat mixed reactions. And those are just some of the standout albums that come to mind immediately.

To sum it up simply: Max Roach. The most talented individual? Definitely up there, but obviosuly not. Am I way off base here by choosing him? Who would you pick? What would be the defining factors in your choice? Inquiring minds want to know!

Here's an interesting link to a BBC site that follows along similar lines:

http://www.bbc.co.uk/radio4/factual/desertislanddiscs.shtml

p.s. For all of you album junkies, I'll try and put up some Lester Bowie later this week...

His momma called him Leo...

I was up in the Pacific Northwest just recently on a bit of a road trip, and with a bit of driving ahead of me I decided to plug my iPod into the deck and listen to Wadada Leo Smith's box "Kabell Years: 1971-1979." Fantastic! This guy is an amazing trumpet player, the music is very interesting and imaginative and the set (at least for me) just seemed so easy to get into. It ranks very high on my recommendation list--if you don't have it already I suggest checking it out! Fortunately, it is in print and very easy to find, two thinks which would nix it from my blog.

Alternatively, I decided to throw on another of his albums, Smith's 1978 recording for ECM "Divine Love," which, based on its used prices on Amazon.com and AllMusic.com, seems to be out of print. This album has an all-star cast, including Charlie Haden on bass and even an appearance by Lester Bowie and Kenny Wheeler. Things on this album really seem to mesh, despite a less than stunning review at AllMusic.com. If you haven't heard it already, I suggest you give it a listen and then go buy the Kabell box!

Divine Love
Wadada Leo Smith
Released 1978
128 Rate AAC Files

Line-Up:
Dwight Andrews Flute, Clarinet (Bass), Sax (Tenor), Triangle
Lester Bowie Trumpet
Charlie Haden Bass
Bobby Naughton Marimba, Bells, Vibraphone
Wadada Leo Smith Percussion, Trumpet, Flugelhorn, Gong
Kenny Wheeler Trumpet

Track List:
1 Divine Love Smith 21:47
2 Tastalun Smith 6:38
3 Spirituals: Language of Love Smith 15:28

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Enjoy!

How Swede it is!

So, basically this little Swedish gem (helped back into reissue by none other than Mats Gustafsson) is truly impressive. What ever happened to these guys? As far as I know, this is the only album that got released from the group. There is some great energy on this album, with some true blowout moments mixed in with some nice rhythms and melodies. Their version of Ornette's "Ramblin'" really jams and Orinoco has a wonderful ominous beginning and Holmstrom really gets into it. I can't remember how I even learned about this album, but it is definitely a keeper--its a shame this is the only recorded version of their work. This one is a little less abstract than the last post, and a great overall listen. Enjoy!

Mount Everest Trio
"Waves from Albert Ayler"
Recorded in 1975
128 Rate AAC Files

Gilbert Holmstrom Sax (Alto), Sax (Tenor)
Kjell Jansson Bass
Conny Sjokvist Drums

1 Spirits 4:26
2 Ramblin' 5:54
3 Orinoco 7:05
4 Bananas Oas 4:13
5 No Hip Shit 7:26
6 Elf 3:15
7 Eritrea Libre 3:46
8 People's Dance 6:55
9 101 W. 80th Street 6:25
10 Consolation 5:29
11 Ode to Albert Ayler 5:25

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Gustafsson/Drake Masterpiece

Apologies to the people over at Okka (and Susie Jae of WKCR) where I got this review, but I couldn't put it any better:

"Rhythmic virtuoso Hamid Drake and reeds innovator Mats Gustafsson deliver a jaw-dropping and all-too-brief set recorded in Chicago on Oct. 19, 1995, the day of Don Cherry’s death. One of the few live records to make this listener earnestly wish she’d been in attendance, Drake and Gustafsson’s meeting is a perfect example of the phenomenal synergy possible between two musicians. The two in question are an ideal match; both temper the muscularity of their playing with sensitivity and musical sophistication. Neither artist allows the other the option of sitting on his heels at any point; this recording is challenging, intense, and enjoyable from start to finish.

Plus, it seems like they’re having fun; have a listen to the frenetic, playful second piece, wherein Gustafsson presumably forgoes his saxophones for a bit to yelp and whoop in response to Drake’s inspired djembe playing. Gustafsson, frequently touted as a "rising star" of European jazz, is in my opinion rarely matched among powerhouse reedsmen in creativity. Meanwhile, the tireless and infallible Drake delievers one of the more visceral and thrilling percussion solos to make it to records. This is improvisation, and it rocks, to boot; my favorite live record of the year. Only 600 copies entered the world, so you know what that means."

- Susie Jae, ON AIR magazine, WKCR 89.9 FM (New York)

This one took some serious time to track down. I am happy to say that I wasn't let down at all by the final results. Drake and Gustafsson are perfectly suited together and they really build off of one other. SIMPLY AMAZING!



For Don Cherry
Recorded at Urbis Orbis, Chicago, IL, October 19, 1995
128 AAC Files

Hamid Drake — percussion
Mats Gustafsson — reeds

Tracks:
1. (4:53)
2. (6:28)
3. (17:30)
4. (11:09)

Total time: 40:02

(Link Removed)