60s jazz meets Japanese bamboo flute – all in a session with a great mix
of groovy and exotic touches! The record's a unique meeting of jazz
and folkloric elements – done in a style that's a bit like some of the
late 60s sessions of this nature on MPS, but a fair bit groovier overall
– as the tracks are shorter and more focused, and often have a nice
sort of bounce at the bottom. Flute is by Minoru Muraoka, and
arrangements are by Takashi Ikeda and Kozaburo Yamaki, conducting their
New Dimension and New Emotion groups respectively. Bits of sitar bring
in an even groovier sound to the record – and the flute itself has some
oddly off-kilter notes that further trip out the tunes.
The best and most valued volume of GLP series featuring the fantastic
modal madness of "André", "Peroche", "Suoni Distorti" and the milestone
“Alfio” feat the flute by Alfio Galigani. The music goes from insane
Psychedelic tunes to Jazz, Funk and more Bossa and Lounge tracks with
plenty of Fuzz guitars, amazing Hammond job, and totally catching drum
Breaks. An insane trip into early gold Italian Psychedelic and
Underground vibes with loads of laden beats and grooves with the mark of
the legendary Italian quartet. Simply essential!
Deep jazz from a teenage prodigy. The first self-released album by
vibraphonist/composer/arranger Phil Hewitt. Originally custom pressed in
a run of fifty pieces.
An incredible album from this hip studio combo – and one that's every
bit a Hammond jazz album as it is a sound library rarity! The set's got
more organ than usual from I Marc 4 – mixed with some tracks that have a
great piano vibe too – all at a level that's very soulful, and which
feels a lot more like a small combo working the US underground scene of
the late 60s – instead of a bunch of cats working overseas in an Italian
studio!
It's hard for us to realize today how fresh was how exuberantly jazz
flowered in the sixties. In the United States Miles Davis was about to
gather his magnificent last quintet, and Coltrane - his last wonderful
quartet, their music doomed by the encroaching changes, while our
jazzmen barely discovered their possibilities...This Lp,
originally recorded in December 1964, reflecting upon unlimited creative
potential of Polish jazz legend Jan Ptaszyn Wroblewski who is joined on
this record by Polish jazz piano prodigy Karolak and the best rhythm
section in Poland those days: Sandecki / Dabrowski.
Taste :
Polish Jazz Quartet - Pola Elizejskie, Dwunasta W Nocy
A legendary bit of funky fusion from the French scene of the 70s – the
standout set from Cortex, a combo who's very heavy on the keyboards!
The tunes have a feel that's quite different than American electric work
of the time – funky, but also a bit breezy too – with a strong
Brazilian influence in some of the rhythms, and hip use of female vocals
alongside the Fender Rhodes – which makes for a double layer of sound
that's totally great! There's a bit of alto sax in the instrumentation,
but most of the sound comes from the interplay between keyboards,
voice, bass, and drums – rolling along in a sound that's stunningly
soulful, and which makes the record one of the hippest European dates
from the decade.
Απ την Cleo Laine να τραγουδά All Gone για την ταινία του
Joseph Losey “Ο Υπηρέτης”,στις “Ομπρέλες του Χερβούργου” Vic Dana“I Will Wait For You”, στον Cole Porter “Julie London - So in Love” στηνBlossom Dearie “Lonely Town”, στην Billie Holiday“Stormy Weather” και μετά στην Καλιφόρνια, στο νέο-νουάρτου Robert Altman“The Long Goodbye” John Williams - Jack
Sheldon (vocal ), στον Howard Blake“The New Sounds - Night Tapestry
(Largo)”, στον Claude
Nougaro“Le Cinema”, στον Serge Gainsbourg “Angoisse” από
την ρομαντική κωμωδίατου Jacques Doniol
Valcroze “L'eau À La
Bouche”, στην Ζυρίχημε την Elsie Bianchi “No
Moon At All”, στην
Ελλάδα του 65 με τον Τάσο Παπασταμάτηκαι τους Forminx “Our
Last September”, στην Ιαπωνία με τον Ryo Fukui “Scenery” .
16 Jazzunmixedκομμάτια για να κάνεις τα φθινοπωρινά σου ταξίδια όπως και
όπου γουστάρεις…
Taste :
Cleo Laine - All Gone
Vic Dana - I Will Wait For You
Julie London - So in Love
John Williams - The Long Goodbye (Jack
Sheldonvocal )
To 1969 ο τρομπονίστας Peter Herbolzheimer δημιουργεί τους Rhythm
Combination & Brass. Μια super μπάντα με 5 τρομπέτες : llan
Botschinsky, Art Farmer, Dusko Goykovich , Palle Mikkelborg, Ack van
Rooyen, ένα σαξόφωνο και φλάουτο : Herb Geller, τρία τρομπόνια : Jiggs
Whigham, Rudi Fuesers και Peter Herbolzheimer, έναν οργανίστα : Dieter
Reith, τέσσερις μπασίστες : Niels Henning Ørsted Pedersen, Peter Trunk ,
Jimmy Woode jr. και Heinz Kitschenberg (E-bass), ντραμς : Tony Inzalaco,
τρεις περκασιονίστες : Horst Muhlbradt, Hermann Mutscheler, Joe Harris
και ένα σιτάρ και κιθάρα : Sigfried Schwab! Κατα καιρούς έβαζε και
κάποιους έξτρα μουσικούς, κιθάρα η δυο πλήκτρα. Για μένα η πιο δημιουργική περίοδος του Peter Herbolzheimer ειναι αυτή στην MPS. Απ το 1972 ως και το 1975-76.
Το 1995 κυκλοφόρησε η συλλογή "Peter Herbolzheimer Rhythm Combination
& Brass - Masterpieces" σε cd οπού περιέχει τις πιο χαρακτηριστικές
ηχογραφήσεις του απ αυτή τη πενταετία- εξαετία που είπα παραπάνω. Η
κορύφωση του cd για μένα το My kind of sunshine (από live του 1970).
Ένα δεκαπεντάλεπτο live κομμάτι, που ενώ αρχικά θα νόμιζες ότι πρόκειται
για κάποιο ψυχεδελικό (ξεκινάει με σιτάρ), στην συνεχεία νομίζεις ότι
ειναι κάποιο ακυκλοφόρητο κομμάτι του David Axelrod (μπασαδούρα, φλάουτο
και τα χαρακτηριστικά "Axelord" ντραμς απ το 2:03) ώσπου!! Μπαίνουν
πνευστά και hammond (2:54) με επιφωνήματα! Πως μπορεί να τελειώσει αυτό κομμάτι?? Είπα τη πρώτη φορά που τ άκουσα. Αυτός ειναι ο τεράστιος Peter Herbolzheimer! My kind of sunshine - My kind of MUSIC!! Taste :
Peter Herbolzheimer Rhythm Combination & Brass - My Kind Of Sunshine
Lyrical magic from pianist Ryo Fukui – a lost gem from the Japanese
scene of the 70s, and a beautifully flowing album throughout! Fukui's
got a wide-open touch to the piano that we totally love – and is easily
one of the best of his contemporaries on the Japanese trio scene of the
time – working in the open-ended mode that was allowed by labels in
Tokyo during the 70s, a style that was never too far outside, but which
really allowed the pianist to soar with a driving, rhythmic intensity.
There's a bit of a modal groove to some of the tracks on the album, but
more than that, there's just a beautiful sense of freedom – a love of
sound and texture that's never reduced to mere experimentation, and
which has Ryo taking full command of the keys to soar to the skies on
waves of acoustic soul. The group on the set features Yoshinori Fukui
on drums and Satoshi Denpo on bass – and tracks include "I Want To Talk
About You", "Scenery", "Autumn Leaves", "Early Summer", and "It Could
Happen To You".By Dusty Groove
Based on the novel written by Australian actor Roger Ward (Mad Max,
Stone, Turkey Shoot) The Set was a highly controversial film upon its
release in 1970 in which it's alternate attitudes towards sexuality
challenged the traditional mores of the mainstream society. Scored by
the highly respected and unique jazz original Sven Libaek, the music has
also been unjustly overlooked from any recent focus on Australian
cinema. Incorporating elements of Baroque and sunshine pop as well as
moody mod jazz, The Set is an incredible timeðpiece of Swinging Sydney.
Featuring Libaek regulars and top rank Australian jazz players, (Don
Burrows, John Sangster, Errol Buddle etc).
A very cool record – and one with a sound that's as dreamy as the
group's name – a laidback mix of vibes, saxes, piano, and percussion –
all used in ways that are airy and open, and very different than most
other underground jazz of the time! The group hail from New England,
and there's maybe some of the inventiveness of Stark Reality in their
style – even if the overall sound is much more acoustic, but still has a
slightly fuzzy feel via the production! Instrumentation shifts from
track to track – and these guys can definitely swing when they want, too
– which they do so more as the album moves on creating these
rough-edged groovers that are unlike anything else we can think of. By Dusty Groove
Ο Manfred Burzlaff γνωρίζει τον παραγωγό ταινιών Hansjürgen Pohland.
-Χρειάζομαι ένα soundtrack", λέει και ο Manfred Burzlaff απαντά:
- Δεν έχω γράψει ποτέ.
- Τότε θα γράψετε ένα τώρα.
Ο Manfred Burzlaff συνθέτει το πρώτο του soundtrack για τη μικρού μήκους ταινία "Schatten" (χθεσινό ποστ), στην οποία της απονέμεται το "Berliner Kunstpreis" ("Βραβείο Τέχνης του Βερολίνου").
Φαίνεται ότι το να επενδύει μουσική σε film αρέσει στον Manfred Burzlaff. Έτσι γράφει μουσική για περισσότερες από 40 ταινίες, μεταξύ των οποίων οι περισσότερες έχουν να κάνουν με τουριστικά τηλεοπτικά σποτ για το Βερολίνο,ταινίες για την σεξουαλική εκπαίδευση και διαφημίσεις. όπως το "Max Knaak" (χθεσινό ποστ).
Ο Manfred Burzlaff πεθαίνει τον Οκτώβριο του 2015, αφού πρώτα έχει διδάξει στη σχολή τέχνης HdK (Hochschule der Künste) και στη μουσική σχολή Berlin-Neukölln,έχει γράψει άρθρα για εξειδικευμένα περιοδικά και έχει εργαστεί ως λέκτορας στη Στοκχόλμη.
Κάθομαι και παρακολουθώ το σύντομο αριστούργημά Schatten (9 λεπτά και 22
δευτερόλεπτα),του Hansjürgen Pohland. Μια πειραματική μικρού μήκους
ταινία στην οποία η μουσική τζαζ δίνει το ρυθμό μιας σειράς εικόνων που
σχηματίζουν σκιές και σιλουέτες στους τοίχους και τους λόφους της
δυτικής πλευράς του Βερολίνου εν έτη 1960. Ο Hansjürgen Pohland είχε κάνει και το "Tobby". Μια ταινία για τον Toby Fichelscher
ο οποίος στις αρχές της δεκαετίας του '60, ήταν απ τους γνωστότερους
μουσικούς στο Βερολίνο. Έτσι έγινε ο Tobby, ένα πορτρέτο του Fichelscher
και της τζαζ του Βερολίνου. Μια ταινία (δεν την εχω δει) στο στυλ του
New Wave της εποχής η οποία πήγε και στο Φεστιβάλ Κινηματογράφου των
Καννών το 1959.Ο Joachim Ernst Berendt το χαρακτήρισε ως "μια ταινία που
παράγει την πραγματική ατμόσφαιρα της τζαζ του Βερολίνου" λίγο πριν
χωριστεί στα δυο. Τέλος,μια συναρπαστική διαφήμιση μόδας του Hansjürgen Pohland το "Max Knaak"!
The soundtrack to Franco Rossi's 1962 film Smog is the second-to-last collaboration between famed Italian composer Piero Umiliani and then self-exiled trumpeter Chet Baker.
The pair had previously worked together on 1958's I Soliti Ignoti,
1959's Audace Colpo dei Soliti Ignoti, and 1960's Urlatori Alla Sbarra,
and later collaborated on 1964's Intrigo a Los Angeles. On Smog
we get the best of both worlds: the composer and arranger is featured
prominently his charts for "Dawn" and the title track -- both excellent
vehicles for vocalist Helen Merrill -- are the stuff of dreams. Umiliani's
sense of timing, space, texture, and color is magnificent. In addition,
his sophisticated sense of humor is displayed on "California in the
Summer," as it fully engages Latin rhythms in a hard bop setting (not to
mention deliberate quotes from "Tequila" in one section). Baker's
soloing is as meaty and muscular and as it is on his Roulette sides
from a year later. (Check "Tension," with the orchestra kicking in on
the back of the quartet delivering a mean Latin bop groove, or his
soulful flügelhorn on the noir-ish fingerpopper "Smog II.") That said,
whenever his requisite expressiveness is called for -- as on "Twilight
in Los Angeles" -- he delivers big. And though Baker doesn't solo on every track, Umiliani's
tunes are so hip and his charts so imaginative that he doesn't need to.
Schema's Rearward imprint has done it again in reissuing this priceless
gem. (A note for audiophiles: the sound on this single volume is far
better than on the box set of the complete film scores from the Moochin'
About label.)
Taste :
Piero Umiliani with Chet Baker – Neapolitan Phantasy
"A jazz harpist is a
rare thing. First of all the harp is a rather unlikely instrument to
swing. It's an awfully difficult instrument to play really well and it
demands technique that is incongruous with swinging. Perhaps as
important is the thinking that the harp, by the very nature of the
instrument, is likely to attract musicians who, in themselves, are
improbable swingers. Dorothy Ashby is, then, a rare thing. She is indeed
a jazz harpist and she does swing. This is not hard jazz. This is an
album that says jazz can, after all, be melodic, that a thing can be
gentle without being weak and can be sweet without being saccharine.
What is done here is done well, the improvisation is creative, and in
typical Dorothy Ashby thinking - it's done in beautiful taste." -- Jim Rockwell, Station WKMH, Detroit (from original liner notes).
A brilliant album – and real turning point for Herbie Hancock! After
first coming onto the scene as the soul jazz hero between Blue Note
funky classics like "Watermelon Man" or "Blind Man, Blind Man" – Herbie
emerges here as a concerned modernist with a strand of spirituality that
runs deeper than previously expressed. The key track in this vision is
his brilliant modal number "Maiden Voyage" – one of those tunes that
sounded totally fresh immediately, and which was picked up by many
others as a jazz anthem during the 60s. The rest of the album's equally
great – and features George Coleman on tenor, Freddie Hubbard on
trumpet, Ron Carter on bass, and Tony Williams on drums – all making for
a very hip lineup that really lets Herbie open up stylistically!
A bit more of a high concept album than some of Wynton Marsalis'
previous efforts – a set with a few more added horns on side one, and an
extended suite on side two! The work definitely shows Wynton's
increasing concern with jazz history – his desire to embrace, and
sometimes represent, decades of past musical expression in his work – a
real Lincoln Center sort of impulse, but one that still comes off
relatively well here, and without as much hoke as you'd expect. Side
one has Wynton working with regular pianist Marcus Roberts, plus Todd
Williams on tenor and soprano sax and Wes Anderson on alto – and side
two features a completely different group, much more in an older-styled
jazz vein – with Michael White on clarinet, Danny Barker on banjo, Teddy
Riley on trumpet, and Freddie Lonzo on trombone.
An incredible record from Jerzy Milian – easily one of the hippest vibes
players in Europe in the 60s, and a key member of the Polish jazz scene
that also included Krzystof Komeda and Tomasz Stanko! The album's an
extremely evocative session that features Milian's vibes and marimba
mostly in a spare trio setting – stepping out with a highly chromatic
tone that has echoes of Bobby Hutcherson's straighter Blue Note work of
the 60s, but which also flows out with a unique sense of color and
timing. A few tracks feature great wordless vocals from singer Ewa
Wanat of the Novi Singers – drifting along with the tunes in a haunting
way that has a bit of a soundtrack feel – and the album also features a
bit of guest flute from Janusz Mych. Titles include "Bazar W
Aszchabadzie", "Tempus Jazz 67", "Serial Rag", "Valse Ex Cathedra", and
"My Favourite Band".By Dusty Groove
Taste :
Jerzy Milian Trio - Rewelacyjny Luciano (Sensational Luciano)
Sweet vibes from the great Lionel Hampton – sounding different here than
both his early swing years, and his later small combo modes – and
working in a style that has his instrument in the lead over hip Chicago
soul backings from the team at Brunswick Records! The album's got a
nicely laidback vibe, and a mix of core instrumentation with larger
charts that's not unlike some of the cool Cadet Records work by Ramsey
Lewis at the end of the 60s – except with vibes, not piano. Willie
Henderson and Tom Tom Washington did the arrangements – and nearly every
track's an original by Eugene Record.
A producer called Alfa Mist. Alfa Mist makes brilliant, multilayered hip hop and instrumentals – often featuring some of the best of the UK’s
vocal and MC talent (previous album’s featured Tom Misch and Lester
Duval). His latest album release is ‘Antiphon’; a beautiful album of
creatively executed hip hop beats with a real jazz and soul sensibility.
‘Antiphon’ has been based around a conversation Alfa Mist had with
his brothers – and although undeniably influenced throughout by hip hop,
the melancholy notes that come through on each track make it a more
complex and moving beast than your usual head-nod hip hop LP. My
personal favourite tracks are ‘Breathe’ featuring the eerie vocals from
Kaya Thomas-Dyke and ‘Errors’ a track that epitomises Alfa’s mastery of
chilled out jazz and is soul soothing and sonically vibrant in equal
measure. By Mahogany
