Monday, January 22, 2018

MIKE OSBOURNE (Osborne) – Outback (Turtle Records – TUR 300 / LP-1970)




Label: Turtle Records – TUR 300
Format: Vinyl, LP / Country: UK / Released: 1970
Style: Free Jazz, Free Improvisation
Recorded in London, 1970. Made in England.
Also CD released on FMR Records ‎– FMR CD07-031994 (Unofficial Release / 1994)
Artwork – John Eaves
Photography By – Geoff Collins, George Mallett, Jake Jackson, Tony Wimlow
Engineer – Robin Sylvester
Producer – Peter Eden
Executive-Producer – Mark Wastell
Matrix / Runout: (Side A etched) TUR 300 A-1
Matrix / Runout: (Side B etched) TUR 300 B-2

Notes:
Mike Osborne's name is printed as "Mike Osbourne" on this release.

A - So It Is ........................................................................................................... 24:44
B - Outback ........................................................................................................ 18:28

Personnel:
Mike Osborne – alto saxophone
Harry Beckett – trumpet
Chris McGregor – piano
Harry Miller – bass
Louis Moholo – drums, percussion

Mike Osbourne – Outback (Rare British jazz 1970 UK LP, released on the small independent free jazz label Turtle Records (home of similar rarities from Howard Riley and John Taylor) set up by producer Peter Eden, and packed with the super stars: Harry Beckett (trumpet), Chris McGregor (piano), Harry Miller (bass) and Louis Moholo (drums). The album soon is became know as an absolute classic and probably the most important record he made, with two tracks of impassioned playing of the finest order!
Absolutely major release in his short, but fiery career!



Early genius from British saxophonist Mike Osborne – his first session as a leader, recorded in the company of some of the greatest players on his scene! Osborne's got a strong vision here that's apparent from the first note of the set – a mixture of freedom and cohesive energy that resonates with the best modes of the ESP albums cut a few years before this one – stretching out with the new imagination that was setting the London jazz scene on fire at the start of the 70s. Osborne's alto is at the lead of a quintet that also includes Harry Beckett on trumpet, Chris McGregor on piano, Harry Miller on bass, and Louis Moholo on drums – and the sound is a mixture of some of the post-Blue Notes work of McGregor with bolder-blown trumpet/sax lines from Beckett and Osborne. The album features 2 long tracks – the stark, angular "So It Is", and the slower-building "Outback", which features some especially nice solos from Beckett.
( _______ Out of print . ) 
© 1996-2016, Dusty Groove, Inc.



If you find it, buy this album!

Saturday, January 20, 2018

AMALGAM – Samanna (Vinyl Records – VS 104 / LP-1977)




Label: Vinyl Records – VS 104
Format: Vinyl, LP, Album / Country: Germany / Released: 1977
Style: Free Jazz, Jazz-Rock
Recorded at Riverside Studios, 26th January 1977.
Design [Cover Design] – John Fewster
Liner Notes – Trevor Watts
Engineer [Recording Engineer] – Adam Skeaping
Executive-Producer – Manfred Schiek
Producer – Trevor Watts
Matrix / Runout: (Side A Etched) A VS.104 A PF
Matrix / Runout: (Side B Etched) A VS.104 B PF

A1 - Samanna ................................................................................................... 20:47
A2 - Maas ........................................................................................................... 4:54
B1 - Unity .......................................................................................................... 14:44
B2 - Berlin Wall ................................................................................................... 6:50

Personnel:
Trevor Watts – alto Saxophone, percussion
Dave Cole – guitar
Colin McKenzie – bass (el. bass)
Pete Cowling – bass (el. bass)
Liam Genockey – drums, percussion

5th  album by the superb British Jazz / Improvised Music ensemble Amalgam, one of the precursors of British / European Free Jazz scene in the late 1960s and 1970s, founded by saxophonist Trevor Watts. On this album the lineup is a quintet, including guitarist Dave Cole, bassists Pete Cowling and Colin McKenzie and drummer Liam Genockey, which marks an extension of the quartet that recorded the previous album at beginning of the second phase of Amalgam, characterized by the dual saxophone – guitar frontline. The music is written entirely by Watts. This album was released on the tiny German independent Vinyl label, and was unavailable for many years. With the guitar and double electric bass the sound of the band becomes even more close to Fusion, but the extended improvisations and the virtuosity of the performers are still the same. This is still a classic and brilliant stuff as always!...



The opening sidelong title track is a wild fusion piece with some slightly dissonant passages, but the wild double bass-guitar attack is quite impressively funky (ala Stanley Clarke) and drives effortlessly the track throughout its 21-mins duration. Cole’s guitar shines occasionally (notably in the 2/3 to3/4 of the track. but mostly remains discrete, leaving clear the 8-lane freeway open to Watt’s wild sax meanderings.
Over the flipside, the 5-mins Mass features a cooler funky fusion, still double-bassed, where the both take turn in playing lead bass over a “simple” descending sax riff.
The B-side’s highlight is the almost 15-mins Unity, despite a slow start, where Watts lets it all hang out, but the double-bassed slowly and gradually clutch in the overdrive gear, letting Cole’s guitar get a wide chunk of funk in the mix as well. As the track climaxed around its 2/3, it slowly dies down to nought.
The 7-mins Berlin Wall closes the album in a pronounced dissonant sax spree, it is a raw, restless free-jazz sax wail over a punchy Prime Time undertow. Some of Watts' best work on record...   (Review by Sean Trane)


Well, Amalgam’s musical directions vary much from album to album, but Samanna is firmly entrenched in the funky jazz-fusion. Watts’ sax adventures are indeed still the driving force of the album, but here, the two bass-cylinder and Cole’s guitar unleash plenty of energy and power to the aural expansions...



If you find it, buy this album!

Sunday, January 14, 2018

CLARKE / COREA / HENDERSON / HUBBARD / WHITE – The Griffith Park Collection 2 In Concert (2LP-1983)




Label: Elektra Musician – 96-0262-1
Format: 2 × Vinyl, LP, Album / Country: Germany / Released: 1983
Style: Hard Bop, Post Bop, Contemporary Jazz
Recorded Live April 3, 1982 at the Circle Star Theater, San Francisco
(US release: Elektra Musician ‎– 60262-1-I )
Cover [Painting] – Edward Hopper
Photography By [Back Cover] – Andrew Su
Photography By [Freddie Hubbard] – Ron Slenzak
Executive-Producer – John Smith
Produced by – Lenny White
Producer [Production Consultant] – Jeffrey Weber
Mastered By – Bruce Leek
Other [Administration] – Norva Smith
Liner Notes – Lenny White
Art Direction – Norm Ung/Design
Edited [Digital] by – Jeffrey Weber, Jim Wolvington, Tom MacClusky
Matrix / Runout (Side A Etching): EM-96-0262-1 A-2 -ST
Matrix / Runout (Side B Etching): EM-96-0262-2 B-1 -ST
Matrix / Runout (Side C Etching): EM-96-0262-3 C-1 -ST
Matrix / Runout (Side D Etching): EM-96-0262-4 D-1 -ST

A  -  Why Wait  (Stanley Clarke) .............................................................................. 18:53
B  -  Guernica  (Lenny White) .................................................................................. 19:35
C1 - Happy Times  (Freddie Hubbard) .................................................................... 12:30
C2 - October Ballad  (Chick Corea) ......................................................................... 14:36
D1 - I Mean You  (Coleman Hawkins, Thelonious Monk) ........................................ 11:51
D2 - Here's That Rainy Day  (Johnny Burke, Jimmy VanHeusen) .......................... 12:22

Personnel:
Freddie Hubbard – trumpet, flugelhorn
Joe Henderson – tenor saxophone
Chick Corea – piano
Stanley Clarke – bass
Lenny White – drums, percussion

Manufactured in Germany by Record Service GmbH. ELEKTRA MUSICIAN 96-0262-1, Stereo. Phonographic Copyright (p) – Elektra/Asylum Records.



Realizing the wealth of talent that had assembled, Bruce Lundvall at Elektra/Musician asked for an album featuring just the instrumentalists. The Griffith Park Collection opens with White's "L's Bop," a 60's Blue Note paean showcasing some vintage Hubbard hornwork that evokes those sunny days when Blue Note producer Alfred Lion was repeatedly capturing the blinding brilliance of an era. Clarke's "Why Wait" is a blues that sneaks up barefooted as the bassist strums a slow amble of a walking rhythm, White riding a cymbal step-for-step, Hubbard and Henderson blowing sweet unison notes and somehow managing to create the additional harmonic of a trombone between them, when Corea's aggressive comping style finally gives the meter a push and Henderson punches a full-throated solo with his thick, unmistakable copper-and-zinc tone. A little over a minute into it when White bounces a snare roll that introduces the chorus' arrival like the low roar of an incoming tide, the boys are swinging so hard that you can feel it in your body...





... This is a stunning live recording. Magically resurrected from a soundboard cassette of one of the shows during the group's five day California tour, Griffith Park Collection 2: In Concert starts with "Why Wait," this time at a slightly slower tempo that seems to open up the arrangement and allow the soloists room to swing even harder. Like wanderers returning to their home hearth, they play with a mounting sense of urgency and passion as the night wears on, pursuing the music like it was the source of life itself.
Stalwart rhythm aces White and Clarke could both have turned in longer and more frequent solos, but this particular night they were largely content to lay down strong-shouldered support for the incendiary energies of Hubbard, Henderson and Corea—three players bursting with energy and clearly in a mood to solo on some unrestrained bop. Especially Hubbard.
These guys were certainly ready for something. Without preamble Hubbard starts by blowing a series of runs that sound like cascades of sparks sprayed from an arc welder's torch (it's tempting to imagine the other players wearing protective goggles as they watch him intently.) No question, Hubbard's unbridled, over-the-ramparts approach might have had a daunting effect on another stage, but on this spring evening it leads the charge and sets a standard. Each player's solo invites the next until it is clear that each is ready to take full advantage of this rare opportunity. White's "Guernica" is an unforgettable, hair-raising blowing session that evokes the passionate emotional landscape of that war-torn Spanish city. Hubbard's flashy, headlong bopper "Happy Times" is followed by Corea's tone poem "October Ballade," and then it's back to the races with a hard-driving "I Mean You," and finally a gently swaying "Here's That Rainy Day" with a handful of lyrical flourishes from Hubbard to close things out.
(Review By CARL L. HAGER)


The world's greatest musicians? Who knows... What is certain is that the kind of mastery and dynamic synergism on display in these performances comes from musicians who possess that exceedingly rare ability to listen as well as they blow. As Lenny White said when asked about his composition "Guernica": "When you write for musicians like this, all you need to do is give them a few notes and let them play."



If you find it, buy this album!

Thursday, December 28, 2017

KLAUS WEISS QUINTETT / CLIFFORD JORDAN – Live At Opus 1 (2LP-1988)





Label: Jazzline – JL 20830, Delta – JL 20830
Format: 2 × Vinyl, LP, Album / Country: Germany / Released: 1988
Style: Contemporary Jazz, Improvisation
Recorded live by Christian Sodl at "OPUS ONE" Wien-February 9,1987.
Coverdesign – A. Backhausen - Köln – Foto: ZEFA
Executive Producer – Paul Polansky
Recording Engineer – Christian Sodl
Digital Mastering – Wolfgang Meyscheider / Tonstudio Kraus München
Photos – Max Mühlherr / P. Brunner
Matrix / Runout (Side A): DMM JL 20830-1 A-1
Matrix / Runout (Side B): DMM JL 20830-1 B-1
Matrix / Runout (Side C): DMM JL 20830-2 C-2
Matrix / Runout (Side D): DMM JL 20830-2 D-2

Note:
An ORF Production Recorded / Live at Opus One,Vienna, Austria
Audiophile Pressing - ADA Extended Version ________ OUT OF STOCK
DMM Direct Metal Mastering
Copyright DMM: Teldec
Deutsche Pressung - German Pressing
℗1988 – Ein Produkt der DELTA-Music GmbH

A1 - Blue'n Boogie  (Dizzy Gillespie) .......................................................................... 6:03
A2 - Eye Witness Blues  (Clifford Jordan) ................................................................. 11:12
B1 - Lush Life  (Billy Strayhorn) ................................................................................. 9:00
B2 - Highest Mountain  (Clifford Jordan) .................................................................... 8:48
C1 - L.A.Calling  (Isla Eckinger) ................................................................................ 12:32
C2 - Lover Man  (Roger Ramirez) .............................................................................. 5:38
D1 - Don't Get Around Much Anymore  (Duke Ellington) ......................................... 13:03
D2 - Una Noche Con Francis  (Bud Powell) ............................................................... 4:26

Personnel:
Clifford Jordan – tenor saxophone
John Schröder – guitar
Roberto Di Gioia – piano
Thomas Stabenow – bass
Klaus Weiss – drums, percussion

Delta Music is German label founded 1970 by Philippe Sautot and Dr. Jürgen Moll. Located in Großkönigsdorf / Frechen near Cologne.




... In the first half of the 1970s, Klaus Weiss worked with the Horst Jankowski Sextet, the trio of former Mingus saxophonist Bobby Jones and the Eugen Cicero Trio. From 1975 to 1977 he toured with Mal Waldron and with the Dusko Goykovic Big Band and then, between 1978 and 1983, Weiss led a quintet which featured various guest soloists, including Sal Nistico, Roman Schwaller, Clifford Jordan and Andy Scherrer. He also played with Catalan pianist Tete Montoliu, with Eddie "Lockjaw Davis" and with the WDR and NDR big bands.

In the 1980s toured with Clifford Jordan and Horace Parlan, played with multi-instrumentalist Jerome Richardson and toured with his new quintet. In 1984 he recorded a big band album, "Lightnin' " which was nominated for the Süd West Funk Jazz Prize...

... In a highly varied career, Klaus Weiss has made 17 albums under his own name, with formations ranging from trio, quartet, quintet and sextet to full orchestra, and has appeared on numerous other albums as a sideman.

Weiss's musical philosophy is that good jazz music - which means jazz played by consummate professionals who have a powerful rapport with one another and the same sense of musical direction - is a highly durable music. He says: "Count Basie's music will still be up to date 50 years from now."

It is significant that Klaus himself defines his approach to drumming as directly derived from some of the great American drummers which he began listening to in the early 1950s.
Says Klaus: "For me, the essence of great jazz drumming was epitomized by those giants, like Big Sid Catlett, Klook, Blakey, Buddy and Philly Joe. These have all been listening drummers, each with his own personality, but having in common a great ability to swing, to generate excitement, and to stimulate the soloists. And besides their sound and way of playing, I got really interested in the American drum rudiments because, as I discovered at the time, all great American drummers know and use those essential rudiments - but few of the European drummers in the fifties seemed to have assimilated these elements - at least, to my ears." ...


With this gorgeous double album I wish you all a HAPPY NEW YEAR!
Enjoy!..... Cheers !!!!!!!



If you find it, buy this album!

Tuesday, December 19, 2017

B. PETROVIC'S NONCONVERTIBLE ALL STARS – Swinging East / Recorded Live At The Berlin Jazz Festival (LP-1973)




Label: MPS Records/BASF – 21 21282-3
Format: Vinyl, LP, Album / Country: W. Germany / Released: 1973
Style: Contemporary jazz, Big Band
Recorded on November 4, 1971 at Berlin Jazz Festival, W. Germany.
Also on label PGP RTB ‎– LP4345 (Yugoslavia)
Design – MPS-Atelier
Photography By [Cover] – Ralph Quinke
Photography By [Inside And Reverse] – Hans Harzheim
Liner Notes [English Translation] – Andrew Carnegie
Liner Notes [German] – Peter Baumann
Producer – Joachim E. Berendt
Matrix / Runout (Side A): 1<¬ 0666 15B S1 2121282 3 S1 ℗1973
Matrix / Runout (Side B): 1<¬ 0666 15B S2 2121282 3 S2 ℗1973

A1 - Balkan Blues ................................................................................................. 14:40
        (Written-By – Bosko Petrović)
A2 - Sigo's Garden ............................................................................................... 10:30
        (Written-By – Bosko Petrović)
B  -  With Pain I Was Born .................................................................................... 20:45
        (Folksong , Arranged By – Bosko Petrović)

Musicians:
Bosko Petrović – vibraphone, flute [darmarofon], goblet drum [tarabrooka], marimba
Ozren Depolo – alto saxophone, bass clarinet
Dan Mandrila (Mîndrilă) – tenor saxophone
Salko Mujićić – flute, alto-flute, piccolo flute
Simeon Shterev – flute
Michał Urbaniak – electric violin
Tihomir Pop Asanović – organ
Aladár Pege – double bass
Miljenko Prohaska – electric bass
Ratko Divjak – drums

German pressing / MPS Records/BASF – 21 21282-3_____Out of stock –  (never on a CD)

Note:
Darmarofon as played by Bosko on track B1 is a custom made wooden flute from Istria (now part of Croatia & Slovenia) with a sizable mouthpiece and two reeds producing a multiphonic sound.



Recorded Live at the 1971 Berlin Jazz Festival, Swinging East is testimony to jazz’s ability to cross over international boundaries. Representing various Communist Bloc countries, the musicians were all-stars in their own lands, and three of the players, Croatia’s Bosko Petrovic, Polish violinist Michal Urbaniak, and Hungarian bassist Aladar Pege, gained international fame. Czech flutist Jiří Stivín and Polish violinist Zbigniew Seifert were originally billed for this unique concert but due to difficulties with the officials in their countries they couldn’t travel to Berlin.

Based on a melody from the Kolo, an old Serbian folk dance, Balkan Blues starts off in 7/4 then swings into a slow blues with emotive solos, and Pege’s virtuoso bowed bass. There’s a Latin and funk feel to Sigo’s Garden, with fine flute solos and Bosko’s warm marimba play. Based on an Macedonian folk song, With Pain I was Born to Live fluctuates between a 7/4 and 4/4, with a beautiful section in which Bosko improvises on the tarabrooka, a traditional Macedonian drum, accompanying a short flute solo that captures the timeless Balkan soul. A fascinating mix of jazz and East European folk.


To pretty brian  Enjoy!



If you find it, buy this album!

FRIEDRICH GULDA TRIO – Fata Morgana / Live At The Domicile (LP-1971)




Label: MPS Records – 21 20886-9
Format: Vinyl, LP, Album / Country: W. Germany / Released: 1971
Style: Fusion, Modal, Cool Jazz
Recorded Live at the Domicile, Munich, April 1971.
Design – Bernhard Wetz
Photography By – Franz Hubmann, Sepp Werkmeiste
Engineer – Willi Schmidt
Liner Notes – Ulrich Olshausen
Producer – Willi Fruth
Distributed By – BASF
Matrix / Runout (Side A): 0654 987 S 1
Matrix / Runout (Side B): 0654 987 S 2

A1 - Sunshine .................................................................................................... 8:36
A2 - Im Wald ...................................................................................................... 8:29
A3 - Encore ........................................................................................................ 5:26
B  -  Fata Morgana ........................................................................................... 17:58
        a) - Part 1: Die Wüste
        b) - Part 2: Die Oase
        c) - Part 3: Tanz

All compositions of Fritz Pauer

Personnel: 
Friedrich Gulda – pianoelectric piano
Fritz Pauer – electric piano, piano
Klaus Weiss – drums, percussion

Classical and jazz pianist and composer, Friedrich Gulda was one of Austria's premiere pianists. Born in Vienna in 1930, Gulda started piano lessons at the age of seven. When he was 12, he enrolled in the Vienna Music Academy, and four years later received first place in the Geneva International Music Festival.




In 1949, Gulda toured Europe and South America, earning international acclaim for his treatments of Bach, Mozart, and Beethoven, and the following year he successfully debuted at Carnegie Hall. Gulda became more involved in jazz from 1951 on, when he improvised with Dizzy Gillespie following a performance with the Chicago Symphony. Five years later, Gulda played his first American jazz concert at Birdland (N.Y.C.), followed by a performance at the Newport Jazz Festival. After this, Gulda formed the Eurojazz Orchestra, a jazz combo and big band which drew from both jazz and classical compositions. In 1966, ten years after his Birdland appearance, Gulda organized a modern jazz competition in his native city. He was awarded the Vienna Academy's Beethoven Ring in 1970, but later returned it to protest what he regarded as a constricting educational system. This only reinforced the public's perception of Gulda as an eccentric...
_ Review By Joslyn Layne

This live 1971 recording includes Friedrich and second pianist Fritz Pauer both on electric and acoustic pianos, plus drummer Klaus Weiss. It's a cross between aspects of jazz, fusion and contemporary music.



If you find it, buy this album!

Saturday, December 2, 2017

DANIEL HUMAIR / GORDON BECK / RON MATHEWSON ‎– Morning! (Musica Records – MUS 3009 / LP-1975)




Label: Musica Records – MUS 3009
Format: Vinyl, LP, Album / Country: France / Released: 1975
Style: Modal, Free Jazz, Free Improvisation
Recorded at Fontana Studios in Milan, Italy in January 1972.
First recorded on label: Dire – FO 341 / Released 1972 / Country: Italy
Design – Studio Chouette
Photography By – Lucille Whan Humair
Composed By – Gordon Beck, Daniel Humair, Ron Mathewson
Producer – Alain Boucanus
Matrix / Runout (Side A runout): MPO MUS 3009 A
Matrix / Runout (Side B runout): MPO MUS 3009 B

         MORNING !
A1 - 1er Movement ............................................................................................... 12:10
A2 - 2e Movement .................................................................................................. 5:10
         (D. Humair / G. Beck / R. Mathewson)
         SUITE 5
B1 - 1er Movement ................................................................................................. 8:20
B2 - 2e Movement .................................................................................................. 5:45
B3 - 3e Movement .................................................................................................. 4:50
         (Gordon Beck)

GORDON BECK – piano
RON MATHEWSON – bass
DANIEL HUMAIR – drums, percussion

Originally recorded at Fontana Studios in Milan, Italy in January 1972 and subsequently released on the Italian Dire label on LP the same year. 



Recorded during a tour of Italy with Phil Woods, the European Rhythm Machine, consisting of Gordon Beck, Ron Mathewson and Daniel Humair, recorded this entire album in the course of one morning. The album features two long compositions; on the first page of vinyl "Morning!", composed by Gordon Beck, Ron Mathewson and Daniel Humair performed in two movements and on the other side "Suite 5", composed by Gordon Beck performed in three movements followed by the track.



Easily overlooked as a piece of obscure 1970s Britjazz nostalgia, and short and sweet at 36 minutes, this is an Italian recording of two suites that pianist Gordon Beck conceived with bassist Ron Mathewson and drummer Daniel Humair in 1972. It is short, but far from insubstantial.
The propulsive rhythm section of what at that time constituted the Phil Woods Rhythm Machine gets two extended workouts, all recorded in one morning while on a European tour. It would be fine to cite the Bill Evans primer as a major influence on Beck, but it would be selling him short. The breadth and diversity of ground covered in this session is astounding, from gorgeous postbopflurry to sparse and razor-sharp post-Webernianpointalistic free jazz. None of this should come as any surprise, Beck having worked previously with the incredible and irrepressible timbral powerhouse Tony Oxley. In other hands, such forays into experimentation might come off as mere flirtations, but the trio is obviously so comfortable with every gesture, composed or otherwise, that the album coheres beautifully and seamlessly.
In the first track "Morning!" Humair takes a driving solo that quickly turns funky and everyone follows suit with alacrity. Morning sometimes sounds like Herbie Hancock baiting Tony Williams in Miles's 1960s band before it becomes an astonishing collective improvisation, Beck's steel-hard chords calling and responding to Humair's chattering snare and lashing rimshots.
Suite 5 reflects Beck's immensely sophisticated grasp of the alternative implications of Bill Evans - his faultless timing of the turn of a fast phrase is always startling, and there's an unexpected amount of free-improv. About half way through the track, when freer terrain is traveled, Daniel Humairs brushwork is complemented beautifully by Ron Mathewsons effortless fast slides and runs on bass. Eventually, Beck can be found inside the piano, Humair and Mathewson bowing and scraping along with him. But there's a wide span leading from piano-led tunes, recognisably from the same pen as those on "Gyroscope", to free group improvisations that are exciting but not wild.

Review by MARC MEDWIN, All About Jazz, New York



If you find it, buy this album!