Saturday, February 10, 2018

MICHAEL GARRICK – Troppo! (Argo – ZDA 163 / LP-1974)




Label: Argo – ZDA 163
Format: Vinyl, LP, Album / Country: UK / Released: 1974
Style: Modal, Free Improvisation
Recorded in Decca No. 2 Studio, London 13, 25, 26 October 1973.
Recorded By – Iain Churches
Producer – Kevin Daly
Liner Notes – Alun Morgan
Matrix / Runout (Matrix on label - side A): ZRG 4025
Matrix / Runout (Matrix on label - side B): ZRG 4026

A1 - Troppo!  (Green, Garrick) ............................................................................... 10:05
A2 - To Henry, A Son  (Garrick) ............................................................................... 4:33    
A3 - Lime Blossom  (Garrick, Winstone) ................................................................. 9:10
B1 - Sons Of Art  (Garrick) ...................................................................................... 8:38
B2 - Fellow Feeling  (Garrick) .................................................................................. 8:17            
B3 - Overtones Of A Forgotten Music  (Garrick) ..................................................... 9:05

Personnel:
Michael Garrick – piano, electric piano [Fender], piano [Hohner]
Henry Lowther – trumpet, flugelhorn, violin
Art Themen – flute, soprano sax, tenor sax (tracks: A1, A2, B1, B2)
Don Rendell –soprano sax, tenor sax, flute (tracks: A1, A2, B1, B2)
Norma Winstone  – voice
Dave Green – bass
Coleridge Goode – bass (track B2)
Trevor Tomkins – drums, percussion


Michael Garrick – Troppo! / Recorded in Decca No. 2 Studio, London  / Argo – ZDA 163 / Original UK pressing  _____ Out Of Stock __



A landmark album from pianist Michael Garrick – one of the sublime recordings he made with vocalist Norma Winstone in the late 60s and early 70s! Garrick's approach is really unique – a flowing, almost modal approach that spirals out in a joyously dancing groove – not nearly as chunky or standard as styles from American jazz, but working in the freer rhythms being explored on the European scene of the time. Winstone's vocals are a perfect accompaniment for this approach – as she sings in a moody style that's often wordless, and which fits nicely next to flowing piano and sax lines on the set. Players include Don Rendell, Coleridge Goode, Art Themen, and Garrick himself – and titles include "Troppo", "To Henry, A Son", "Lime Blossom", "Sons Of Art", and "Overtones Of A Forgotten Music". 
© 1996-2018, Dusty Groove, Inc.



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Friday, February 9, 2018

GORDON BECK TRIO – Gyroscope (Morgan Records – MJ 1 / LP-1969)




Label: Morgan Records – MJ 1
Morgan Records Twin Stereo / MJ1 Jazz Series
Format: Vinyl, LP / Country: UK / Released: 1969
Style: Post Bop, Contemporary Jazz, Free Improvisation
Recorded at Morgan Studios, London, England, 1968.
Engineer – Andrew Johns
Producer – Monty Babson
Matrix / Runout (Side 1 Label): MJ 1 A
Matrix / Runout (Side 2 Label): MJ 1 B

A1 - Gyroscope ................................................................................................. 7:09
A2 - Clusters ..................................................................................................... 7:06
A3 - Suite No. 1 ................................................................................................ 6:40
B1 - Miss T Fying .............................................................................................. 3:58
B2 - Sincerity ..................................................................................................... 5:20
B3 - And Still She Is With Me ............................................................................ 8:22
B4 - Oxus .......................................................................................................... 3:18

All compositions written-by – Gordon Beck, except
track A3 (written-by – Gordon Beck, Jeff Clyne, Tony Oxley)

Personnel:
Gordon Beck – piano
Jeff Clyne – bass
Tony Oxley – drums, percussion

GORDON BECK TRIO – Gyroscope / Extremely rare, original first UK pressing 1969 / 7-tracks / stereo LP of advanced British Jazz on the seldom seen Morgan label, recorded at London's Morgan studios / Catalog Number: MJ1 ___  Out of Print __
Also re-issued on CD in 2002 (Art of Life Records/Catalog Number: AL1003-2) __ Sold Out __


Beck was a self-taught musician who left the engineering world to become a professional player in England. He eventually blossomed into one of Europe's finest studio and session pianists, able to function effectively in many settings and alongside any vocalist or instrumentalist. His father was a violinist, and Beck started his jazz career with various London bands before joining Tubby Hayes in 1962. Beck stayed in that group three years, making his first tours outside England, before beginning his own band. Beck's trio was the house band at the Ronnie Scott's club in the late '60s, and in 1967 Beck began cutting albums and doing studio work. He gained international attention from 1969-1972 as part of Phil Woods' European Rhythm Machine, his strong playing and propulsive solos making him an effective contrasting voice within the group to Woods. The Machine toured America in 1971, and Beck left the following year to start another band, Gyroscope, and also reactivated his trio. He was part of the group Piano Conclave in the early '70s, but became a busy freelancer from 1974 on, working with major stars like Lena Horne, Gary Burton, Clark Terry, Charles Tolliver, and Woods again. He also got involved in education, becoming co-organizer of the Treforest Summer School in 1978.



...Gyroscope , featuring the group of Oxley and Jeff Clyne (Ron Carter-esque in his ubiquity in British Jazz), minus McLaughlin (Experiments with Pops), was six original compositions and comes off as a much more serious album than its predecessor.
The compositions on Gyroscope, all by the pianist except for one trio credit, are pleasant post-bop launching pads. Played with lesser musicians, they may have come off as trite and derivative, as might much British jazz (for a criminally ignored region of jazz, the Brits might have had the highest concentration of notable musicians to be found in one city—London). It was the inventiveness of his "backing band" that pushed the pieces and the leader far past their potential. Oxley, who would go on to play with Riley, didn't stay supportive for very long, adding his free ideas to the mix very quickly, most notably on the title track, "Suite No. 1" and the lengthy closer "And Still She Is With Me" / "Oxus". While closer to the more traditional jazz played by the likes of Johnny Dankworth and Tubby Hayes (Beck's former employ-er), the open experimentation of the Spontaneous Music Ensemble and John Surman were bound to have an effect in a scene as small as late '60s London. This open clash of styles stands as a period document and makes Gyroscope a compelling listen.
(Review by ANDREY HENKIN, July 17, 2002 AAJ)



If you find it, buy this album!

Wednesday, February 7, 2018

ELTON DEAN / ALAN SKIDMORE / CHRIS LAURENCE / JOHN MARSHALL – El Skid (Vinyl Rec. – VS 103 / LP-1977)




Label: Vinyl Records – VS 103
Format: Vinyl, LP, Album, Black Label / Country: Germany / Released: 1977
Style: Post Bop, Contemporary Jazz, Free Improvisation
Recorded at Riverside Studios, 25th and 26th February, 1977, London.
Design [Cover] – John Fewster
Photography By – Bill Triance
Recording Engineer By – John Gill
Produced – Manfred Schiek
Written-By – Skidmore (tracks: A1, B2) / Dean (tracks: A2, B1)
Original German Pressing
Vinyl Records / Labelcode: LC 7284 / Schlüterstraße 53, 1000 Berlin 12, W. Germany
Matrix / Runout: (Side A Etched) A VS.103 A PF
Matrix / Runout: (Side B Etched) A VS.103 B PF

A1 - Dr. Les Mosses  (A. Skidmore) ................................................................. 8:28
A2 - First In The Attic  (E. Dean) .................................................................... 12:45
B1 - That's For Cha  (E. Dean) ....................................................................... 10:55
B2 - K And A Blues  (A. Skidmore) .................................................................. 9:32

Personnel:
Elton Dean – alto saxophone
Alan Skidmore – tenor saxophone
Chris Laurence – acoustic bass
John Marshall – drums, percussion





Elton Dean is probably still best known for his contribution to Soft Machine, where his fuzzy, amplified alto grafted a jazz sensibility onto that band's organ driven psychedelic fusions. Like many of his peers (Lol Coxhill, Nick Evans, Gary Windo, Keith Tippett) Dean flitted between prog rock fusion, post bop jazz and free improv with ease, and he still does. On this long unavailable 1977 date, he teams up with tenorist Alan Skidmore (with the able support of bassist Chris Laurence and Soft Machine drummer John Marshall) for a straightahead acoustic blowing session on four original tunes, and mighty fine it is too.
Skidmore has long acknowledged his debt to John Coltrane, but he tempers the sheets of sound approach with passages of gutbucket bluesiness, recalling his tenure with John Mayall. On the opening "Dr Les Mosses" he sounds more like Sonny Rollins, delivering a concise, melodic solo over the breakneck tumbling swing of the rhythm section, paving the way for Dean's extended skyscraping alto excursion. Laurence contributes a furiously funked duet with Marshall to encouraging shouts from Skidmore...




The tenorist Alan Skidmore peppers the ballad swing of "First in the Attic" with urgent, doubletimed low register flurries, sparking off Laurence and Marshall into explosive commentary; Skidmore settles on a phrase, modulates it, moves to another or breaks out into keening high register lines, but keeps his ear firmly on the changes. Dean's influences are harder to pinpoint; his smeared phrasing, sometimes vocalised tone and quicksilver runs recall Eric Dolphy, Ornette or even Jackie Mclean, but only fleetingly; Dean is his own man. "Thats for Cha" features Dean on his saxello and Skidmore on soprano but despite its attractively Monkish melody fails to ignite, though the rumbustious blues of "K and A Blues" closes proceedings with things back on track.

The somewhat dry, close miked recording sucks the air out of things a little, but this joyous, unpretentious music is much bigger than that; these four fine musicians sound like they're enjoying themselves, and its infectious. Recommended.

(Review By Peter Marsh, 2002, BBC Review)
http://www.bbc.co.uk/music/reviews/4bdp/



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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!