Monday, January 21, 2019

WES MONTGOMERY – The Alternative Wes Montgomery (M ‎– 68138 / 2LP-1982)




Label: Milestone Records ‎– 68138 M-47065
Format: 2 × Vinyl, LP, Album / Country: France / Released: 1982
Style: Hard Bop
14 Previously Unissued Takes
All songs recorded between 1960 and 1963.
Art Direction – Phil Carroll
Photography – Jim Marshall
Reprocessing and rerecording by Danny Kopelson
Mastering by George Hora, 1982 (Fantasy Studios, Berkeley)
Producer – Orrin Keepnews
Distributed By – Carrere – CA 271
Matrix / Runout (Runout A): M-47065 / 68138 MA 1
Matrix / Runout (Runout B): M-47065 / 68138 MB 1
Matrix / Runout (Runout C): M-47066 / 68138 MC 2
Matrix / Runout (Runout D): M-47066 / 68138 MD 2

Guitar – Wes Montgomery

A1 - Born To Be Blue .............................................................................................. 7:23
A2 - S.O.S. (Take 2) ................................................................................................ 4:45
A3 - Come Rain Or Come Shine (Take 1) .............................................................. 7:16
         Bass – Paul Chambers
            Drums – Jimmy Cobb
            Piano – Wynton Kelly
            Tenor Saxophone – Johnny Griffin
B1 - Fried Pies (Take 1) .......................................................................................... 6:34
B2 - Besame Mucho (Take 2) ................................................................................. 6:24
         Drums – Jimmy Cobb
            Organ – Mel Rhyne
B3 - The Way You Look Tonight (Take 2) ............................................................... 5:48
         Drums – George Brown
            Organ – Mel Rhyne
B4 - Stairway To The Stars (Take 2) ...................................................................... 3:43
C1 - Jingles (Take 8) .............................................................................................. 6:49
         Bass – Sam Jones
            Drums – Philly Joe Jones
            Piano – Wynton Kelly
            Vibraphone [Vibes] – Milt Jackson
C2 - Bock To Bock (Take 1) .................................................................................... 5:35
C3 - Doujie (Take 7) ............................................................................................... 4:24
         Bass – Monk Montgomery
            Drums – Bobby Thomas
            Piano – Buddy Montgomery
C4 - Movin’ Along (Take 1) ..................................................................................... 6:37
         Bass – Sam Jones
            Drums – Louis Hayes
            Flute – James Clay
            Piano – Victor Feldman
D1 - Body And Soul (Take 2) ................................................................................ 11:17
D2 - Tune Up (Take 9) ............................................................................................ 4:39
         Bass – Sam Jones
            Drums – Louis Hayes
            Flute – James Clay
            Piano – Victor Feldman
D3 - Tune Up (With Strings) (Take 2) ..................................................................... 5:06
         Arranged By [String Orchestra] – Jimmy Jones
            Bass – Milt Hinton
            Concertmaster – Gene Orloff
            Drums – Osie Johnson
            Harp – Margaret Rose
            Piano – Dick Hyman
            Rhythm Guitar – Kenny Burrell
            Woodwind [Woodwinds] – Phil Bodner

Thumbing through the New Arrivals section in a record store, one of the many pleasures of record collecting is the occasional unexpected surprise among the usual stack of common reissues and second division artists.
I recently stumbled on this intriguing ’80s issue of Wes Montgomery. The cover looked like those  “specially priced” Fantasy two-record compilations of previously issued material, which I have found generally disappointing. However, on closer inspection, I discovered it included one whole side of the classic Wes Montgomery Riverside recording Full House, Live at Tsubo’s, in which Wes Meets the Miles Davis Rhythm Section, recorded live in Berkley. Not just one track, but a whole side, and a bonus, alternative takes from the original recording session.



Previously un-issued alternative takes from sessions for Riverside in the golden years 1959-63, before Wes’ migration to “instrumental pop”. Montgomery died in 1968, so there’s no more music where that came from, and vinyl more or less died in the mid ’80s, so… but wait!  French press? Carrere Distribution?  Radin, cheapskate, everything about this reissue says don’t, but the material looked compelling, two records, priced in single figures, what is there to lose?
Artists – “Full House” session:
Wes Montgomery (guitar) Johnny Griffin (tenor) Wynton Kelly (piano) Paul Chambers (bass) Jimmy Cobb (drums) June 25, 1962, recorded live at Tsubo, Berkeley, California, engineer Wally Heider, issued on Riverside 434, 1962, later reissued on a Fantasy two-fer as “Groove Brothers“.
Difficult to find an original Riverside in top condition, friends have resorted to Japan. However we now have another alternative.
Other Montgomery sessions – artists:
Kenny Burrell, James Clay, Victor Feldman, Johnny Griffin, Louis Hayes, Milt Jackson, Philly Joe Jones, Sam Jones, and Mel Rhyne.
Selections curated by Wes’s original producer, Orin Keepnews, from original Riverside session tapes, released on Fantasy Records “Milestone” label in 1982 (35 year old vinyl, from before the CD watershed!). This edition licensed for European distribution through Carrere, with just a hint of garlic.
Wes Montgomery is backed by the dream rhythm team of  Kelly, Chambers and Cobb. Johnny Griffin, fastest tenor in the west, is a welcome addition to the line up, which combined with Wynton Kelly’s rhythmic attack, lifts it from being just a guitar session to a quintet of greater depth and contrast.


Wes elevated the guitar from rhythm accompaniment to a front line instrument, and was one of the first jazz guitarist to fully incorporate the legato approach of the horn players, using the right-hand thumb instead of a plectrum. The fat, warm sound he was able to produce with the thumb created a very vocal, soulful ‘voice’. Guitarist Jim Mullen noted that Wes “had a double-jointed thumb, which meant he could play both up- and downstrokes like a pick player.
After a passage of fluid, bluesy, always relaxed single-string licks, Wes would move onto octaves for the next stage, and play them so effortlessly that you would hardly notice the transition. Yet, the line is now doubled and intensity is added to the solo. The last phase of the solo would see Wes move from octaves to full chords – known as ‘block’ chords – which would further increase the drama and excitement.
Few recordings capture a live set as well as the Full House session, perhaps Miles & Mobley at The Blackhawk, Bill Evans Village Vanguard sessions come to mind. The ambience is luscious, tactile, you have to dim the lights, join the audience, you are there. I guess stereo helps complete the sense of physical presence.



Though reissues can be a slippery slope in terms of audio fidelity, there seems to be a principle, that if the original recording is top quality, and the  re-issue is re-mastered  from a high quality copy tape, and someone  didn’t f*** it up, the quality of parentage can come shining through in the reissue. The apple doesn’t fall far from the tree, they say. That certainly seems to be the case here.

Carrere Records was formed in the ’70s by a french producer Claude Carrere, who created Disques Carrere, a label specialising in Euro rock and pop, but with a significant number of jazz reissues in its book. Carrere was a little like Interdisc in the previous decade, acting as a licensing operation that organised manufacture and distribution in Europe of overseas recordings, mainly from the US. Based on the small number I own, Carrere editions are usually sonically indifferent, possibly a reflection of the rock and pop engineers tasked with re-mastering in the 80’s, and the type of equipment in use . As always, there are exceptions, both good and bad, this was a good one.  Carrere Records was bought finally by the giant Warner Group in the ’90s.

The less said about the budget cover the better, plain fare, but the liner notes are a good use of gatefold space, reproduced here to be readable at full screen.

(Review by londonjazzcollector.)



If you find it, buy this album!

Thursday, January 10, 2019

GILLES PETERSON – Impressed With Gilles Peterson (– 064 749-1 / 2LP-2002)




Label: Universal – 064 749-1
Series: Impressed Re-pressed –
Format: 2 × Vinyl, LP, Compilation / Country: UK / Released: 2002
Style: Modern Jazz, Modal, Big Band, Free Improvisation
Compilation / rare, classic & unique modern jazz from Britain 1963-1974.
Compiled By – Gilles Peterson
Executive Producer – Tony Higgins
Mastered By – Peter Dennett
Sleeve Notes – Tony Higgins
Track C2 is a bonus track on this vinyl release.
Matrix / Runout (Runout (Etched) Side 1): 064 749-1 A1
Matrix / Runout (Runout (Etched) Side 2): 064 749-1 B
Matrix / Runout (Runout (Etched) Side 1): 064 750-1 C2
Matrix / Runout (Runout (Etched) Side 2): 064 750-1 D

A1 - Michael Garrick Trio – First Born ....................................................................... 4:12
          Bass – Dave Green
          Drums – Trevor Tomkins
          Piano – Michael Garrick

A2 - Joe Harriott & Amancio D'Silva Quartet – Jaipur ............................................... 8:07
          Bass – Dave Green
          Drums – Bryan Spring
          Guitar – Amancio D'Silva
          Tenor Saxophone – Joe Harriott
          Trumpet – Ian Carr
          Vocals – Norma Winstone

A3 - Ronnie Ross – Cleopatra's Needle ................................................................... 5:45
          Baritone Saxophone – Ronnie Ross
          Bass – Spike Heatly
          Drums – Ronnie Stephenson
          Piano – Bill Le Sage
          Tenor Saxophone – Art Elefson
          Trumpet – Les Condon

B1 - The Tubby Hayes Quintet – Down In The Village .......................................... 10:06
          Bass – Freddy Logan
          Drums – Allan Ganley
          Piano – Gordon Beck
          Tenor Saxophone, Soprano Saxophone – Tubby Hayes
          Trumpet – Jimmy Deuchar

B2 - Harry Beckett – Rolli's Tune .............................................................................. 6:19
          Bass – Chris Laurence
          Drums – John Webb
          Piano – John Taylor
          Soprano Saxophone – John Surman
          Tenor Saxophone – Alan Skidmore
          Trumpet – Harry Beckett
          Vibraphone – Frank Ricotti

C1 - The Don Rendell / Ian Carr Quintet – Black Marigolds ................................... 13:32
          Bass – Dave Green
          Drums – Trevor Tomkins
          Piano – Michael Garrick
          Tenor Saxophone, Soprano Saxophone,
          Flute – Don Rendell
          Trumpet, Flugelhorn – Ian Carr

C2 - The Mike Westbrook Concert Band – Original Peter ........................................ 8:00
           Alto Saxophone – Mike Osborne
           Bass – Harry Miller
           Drums – Alan Jackson
           Guitar – Chris Spedding
           Piano – Mike Westbrook
           Tenor Saxophone – George Khan
           Trumpet – Paul Rutherford
           Vocals – Norma Winstone

D1 - Graham Collier Sextet – Lullaby For A Lonely Child ....................................... 5:40
           Alto Saxophone – Stan Sulzamn
           Bass – Graham Collier
           Drums – John Marshall
           Piano, Oboe – Karl Jenkins
           Trombone – Nick Evans

D2 - The Don Rendell / Ian Carr Quintet – Dusk Fire ............................................. 12:22
          Bass – Dave Green
          Drums – Trevor Tomkins
          Piano – Michael Garrick
          Tenor Saxophone, Soprano Saxophone, Flute – Don Rendell
          Trumpet, Flugelhorn – Ian Carr

“Information” as to which tracks are on which of the four sides of vinyl is conspicuously absent. Apparently, information is old fashioned, nowadays you are lucky to know who’s album it is. You have to ask, then why tell us which record number and side number it is? There’s the tell. Information does matter, that white space is a modern conceit. Well, that’s how I read it.
Or can’t.



On first site, this is a strange album; the cover design has a large thumbprint on a white background, with a piece of brown tape stuck on it giving the title and the name Gilles Peterson. I have to confess it meant nothing to me and I wondered whether my editor had sent it to the wrong reviewer! What a pleasant surprise I had, the LP contains the music I grew up with. As an avid visitor to The Marquee, The Flamingo Club and Ronnie’s Old Place in London, what a delight to hear again the bands which were also presented in the Midlands, where I live, by the Late Harry Flick.
I find today’s jazz scene nothing like as stimulating as those times, there were weekly sessions in Coventry and most other cities, where the musicians and bands heard on this record performed to packed enthusiastic audiences.

On the LP we realise just what a golden era the sixties and early seventies was for jazz in the UK. The talents of the musicians on display are astonishing for that time, or should I say, someone who did not know of them, should prepare to be astonished. Michael Garrick has always had a good band and he is a very fine pianist, the likes of Joe Harriott would surely have been an international jazz figure if he had chosen the USA instead of the UK to move to from his native Jamaica.
Ronnie Ross must surely be the finest baritone player the UK has produced and Tubby Hayes, I am amazed at the number of local musicians who are digging around in record shops trying to find anything Tubby recorded. The example on this record, with the superb Jimmy Deuchar on trumpet is one of the best and is worth the price of the record on it’s own!
Don Rendell I count as a friend, even though I have not seen him for a while, his contribution to the UK jazz scene has been immense. He was a founder member of the Johnny Dankworth Seven and has worked tirelessly in the cause of British jazz. In more recent times, as well as performing up and down the country, he has also been teaching in a London University, helping along a new generation of jazz musicians. As Gilles Peterson says, Black marigold as another superb track featuring Don, with trumpet player Ian Carr.



If you are from the era, you will love this record, if you came in later, listen to it and be prepared to be surprised at what you hear, A volume two is mentioned, lets hope it comes out soon.

(Review by Don Mather)



If you find it, buy this album!

GILLES PETERSON – Impressed 2 With Gilles Peterson (– 982 107 0 / 2LP-2004)




Label: Universal – 982 107 0
Series: Impressed Re-pressed –
Format: 2 × Vinyl, LP, Compilation / Country: UK / Released: 2004
Style: Modern Jazz, Modal, Big Band, Free Improvisation
Compilation / rare, classic & unique modern jazz from Britain 1963-1974.
Compiled By – Gilles Peterson
Executive Producer – Tony Higgins
Mastered By – Peter Dennett
Sleeve Notes – Tony Higgins
Matrix / Runout (Runout (Etched) Side 1): 982 107 1 – A-1
Matrix / Runout (Runout (Etched) Side 2): 982 107 1 – B
Matrix / Runout (Runout (Etched) Side 1): 982 107 2 – C-2
Matrix / Runout (Runout (Etched) Side 2): 982 107 2 – D

A1 - Amancio D'Silva – A Street In Bombay ................................................................. 10:56
      Bass – Tony Campo
          Drums – Dick Wright
          Guitar – Amancio D'Silva
          Piano – Stan Tracey
          Saxophone [Sax], Flute – Don Rendell
          Tabla – Mick Ripshar
          Vibraphone, Clarinet – Alan Branscombe

A2 - Paul Gonsalves Quartet – Boom Jackie Boom Chick ............................................. 3:54
        Bass – Kenny Napper
           Drums – Ronnie Stephenson
           Piano – Pat Smythe
           Tenor Saxophone – Paul Gonsalves

B1 - Harold McNair – The Hipster .................................................................................. 4:36
        Bass – Spike Heatley
           Drums – Tony Carr
           Flute – Harold McNair
           Piano – Bill Le Sage

B2 - Michael Garrick Septet – Ursula ............................................................................. 5:44
        Alto Saxophone – Joe Harriott
           Bass – Dave Green
           Drums – Trevor Tomkins
           Flugelhorn – Ian Carr
           Piano – Michael Garrick
           Soprano Saxophone – Don Rendell
           Tenor Saxophone – Tony Coe

B3 - Mike Taylor Remembered – Timewind  .................................................................. 1:56
        Bass – Ron Mathewson
           Clarinet, Arranged By – Dave Gelly
           Drums – Jon Hiseman
           Piano – Peter Lemer
           Vocals – Norma Winstone

C1 - Tubby Hayes & The Paul Gonsalves All Stars – Don't Fall Off The Bridg ............. 9:20       
        Alto Saxophone – Tony Coe
           Baritone Saxophone – Jackie Sharp
           Bass – John Lamb
           Drums – Ronnie Stephenson
           Piano – Terry Shannon
           Tenor Saxophone – Paul Gonsalves, Ronnie Scott, Tubby Hayes
           Trumpet – Ray Nance

C2 - The New Jazz Orchestra – Le Dejeuner Sur L'Herbe ............................................. 7:42
        Bass – Jack Bruce
           Conductor – Neil Ardley
           Drums – Jon Hiseman
           Flute, Soprano Saxophone, Alto Saxophone – Barbara Thompson
           Tenor Saxophone, Bass Clarinet – Dave Gelly
           Tenor Saxophone, Flute, Clarinet – Jim Philip
           Tenor Saxophone, Soprano Saxophone – Dick Heckstall-Smith
           Trombone – Derek Wadsworth, John Mumford, Michael Gibbs
           Trumpet, Flugelhorn – Derek Watkins, Harry Beckett, Henry Lowther, Ian Carr
           Tuba – George Smith
           Vibraphone – Frank Ricotti

D1 - Mike Westbrook Orchestra – Metropolis (Part IX) ................................................. 8:01
        Alto Saxophone, Clarinet – Mike Osborne
           Alto Saxophone, Flute – Ray Warleigh
           Alto Saxophone, Tenor Saxophone – Alan Skidmore
           Baritone Saxophone – John Warren
           Bass Trombone – Geoff Perkins
           Bass, Cello – Harry Miller
           Double Bass [Acoustic Bass], Double Bass [Electric Bass] – Chris Laurence
           Drums – Alan Jackson, John Marshall
           Electric Piano – John Taylor
           Guitar – Gary Boyle
           Piano, Producer – Mike Westbrook
           Tenor Saxophone – George Khan
           Trombone – Derek Wadsworth, Malcolm Griffiths, Paul Nieman, Paul Rutherford
           Trumpet – Nigel Carter
           Flugelhorn – Dave Holdsworth, Harry Beckett, Henry Lowther, Kenny Wheeler
           Vocals – Norma Winstone

D2 - The Stan Tracey Quartet – Starless & Bible Black ................................................. 3:47
        Bass – Jeff Clyne
           Drums – Jack Dougan
           Piano – Stan Tracey
           Tenor Saxophone – Bobby Wellins

D3 - Neil Ardley – Will You Walk A Little Faster ............................................................ 3:45
        Bass – Chris Laurence
           Bass Clarinet, Tenor Saxophone – Dave Gelly
           Bass Trombone – Ray Premru
           Bassoon – Bunny Gould
           Conductor – Neil Ardley
           Drums – Jon Hiseman
           Flugelhorn, Trumpet – Derek Watkins, Harry Beckett, Henry Lowther, Nige Carter
           Flute [Alto], Soprano Saxophone, Tenor Saxophone – Don Rendell
           Flute, Piccolo Flute, Soprano Saxophone – Barbara Thompson
           Tenor Saxophone, Soprano Saxophone – Dick Heckstall-Smith
           Trombone – Derek Wadsworth
           Tuba – Dick Hart
           Vibraphone, Percussion – Frank Ricotti
           Vocals – Norma Winstone

Notes:
Sub-titled "Rare, classic & unique modern jazz from Britain 1963-1974".
Two LPs, all four labels are identical aside from the number of  record, 1 or 2,  and which side – 1 or 2. The absence of track listing  led to another breaking of vinyl rules – writing on the label.



Impressed with Gilles Peterson Vol 2 is a second volume of unique, rare and beautiful British jazz . This album sees him uncover more exceptional UK jazz from the 60s and 70s. Featuring landmark recordings, elusive rarities and previously unreleased exclusives, Impressed Vol 2 builds on the success of the first volume, with many of the tracks reissued for the first time since their original release.
Peaceful mellow numbers with lush orchestration is taken care of by the likes of Michael Garrick and the Stan Tracey Quartet, dancefloor bombs belong Tubby Hayes and Paul Gonsalves and Amancio D'Silva  is in charge of the exotic moments. Essential music from a forgotten corner of the jazz spectrum.



Tony Higgins (Executive Producer), London, on September 6, 2018, said:
(LondonJazzCollector)

Hi, I wrote the sleeve notes for both volumes of Impressed, and sourced the tapes we used for the mastering – the Lansdowne tapes were held in the old Polygram archive in Germany (incl Hum Dono which was always assumed lost). The Fontana/Argo/Decca material was from tapes held in the Decca archive in Hampstead. The image of Giles at the DJ controls was taken in the club in Old St called Cargo... I also worked on the BBC TV series Jazz Britannia, researching and writing the script. After Impressed 1 & 2, I suggested to Universal that they do a comprehensive reissue series of selected albums – Garrick, Westbrook, Tubby, Ardley, Rendell Carr, Harriott etc.

They initially agreed and so we set up the Impressed Re-pressed sub-label. The first batch was Amancio D’Silva ‘Integration, Garrick ‘Troppo’ etc, five in total. Sadly, Universal didn’t want to do LPs just CDs – and even then they skimped on the packaging and artwork. I had flagged about 30 titles to reissue. Come the second batch, they decided just to do five Tubby Hayes CDs and basically use the Japanese reissue CDs and sources, not go to the tapes – which existed. Again, cutting costs. There were no more in the series after that – there were personnel changes in Universal and the meagre support for the project that existed was gone – Universal had no interested in it any more and was keener to sign army wives choirs and singing monks (seriously).

I did manage to compile a volume 3 but it was never released but did slip out on a blog. Roll on to about 2009, I contacted Universal (why??) with some other ideas: a comp of Japanese jazz and European jazz drawn from their own catalogue. They agreed, so I duly comped and wrote sleeve notes: 20,000 for ‘Jazz Japan’ & nearly 40,000 for ‘Jazz Europa’. I delivered the comps and notes. I then suggested why not have a trilogy? So, I convinced them to agree to a third, another British comp, ‘Jazz Britannia’. I selected the tracks and wrote 40,000 words of notes. I even got Don Rendell to write an intro piece. Where are they? Still sitting on someone’s desk at Universal, in limbo. I’ll never work with Universal again. Awful people...

Finally, the fingerprints on the Impressed sleeves are mine.

Tony Higgins



If you find it, buy this album!

Thursday, December 6, 2018

WERNER LÜDI SUNNYMOON – Serendipity (C W R – CW 1009 / LP-1987)




Label: Creative Works Records – CW 1009
Format: Vinyl, Album, LP / Country: Switzerland / Released: 1987
Style: Contemporary Jazz, Free Improvisation
Recorded at Soundville Recording Studios, Luzern, January 1987.
Mastered At – CBS Studios, London
Design – Guy Bettini
Engineer – René J. Zingg
Producer – Werner Lüdi Sunnymoon
Liner Notes Verfasser: Werner Lüdi
Matrix / Runout (Side A): CW 1009 A-1 SVS 206 A-1
Matrix / Runout (Side B): CW 1009 B

The cover jacket has two large holes (front and back) and is printed inside so, if it's empty, you can see a far moon in a black sky and a far sun in a clear sky. Insert the inner sleeve and you get a black or white sky. Insert the double insert and you may have a lunar footprint and a sun crown, or a globe with trees and a second one with an ancient map on it, or a washing machine door and an actress' nice face and so on.

side A
A1 - Second Story Twilight : A Manhattan Melodrama ......................................... 7:44
A2 - Jungle Moon In June ..................................................................................... 5:12
A3 - Carolina Morning ........................................................................................... 4:51
side B
B1 - Macho Duck Disco ........................................................................................ 6:06
B2 - Santorini Sailing Sun ..................................................................................... 5:45
B3 - Blindado Flying Circus .................................................................................. 5:18

Personnel:
Werner Lüdi – alto saxophone
Hans Koch – tenor saxophone, soprano saxophone
Stephan Wittwer – electric guitar
Martin Schütz – bass, cello
Dieter Ulrich – drums, percussion, bugle

Werner Lüdi (April 22, 1936 in Poschiavo, Graubünden – June 21, 2000 in Zurich) was a Swiss jazz musician (alto and baritone saxophone) and author.


Lüdi spent the early years of his life in Val Poschiavo and spent his youth in Landquart, where he played accordion in a band. He became familiar with cool jazz and played baritone saxophone in Tone Schädler's band. In 1958, he moved to Hamburg, where he participated in jam sessions. In jam sessions, he got to know Peter Brötzmann.
In 1964, he made a tour as an alto saxophonist with Gunter Hampel's band for one year and then, he went to Munich, where he made jam sessions with Pierre Favre. Then, he came back to Switzerland in 1966 and started to work as a photographer in a public relations office and copywriter in an advertising agency.



In 1981, Lüdi came again to jazz scene and founded the group Sunnymoon with Stephan Wittwer, Fredy Studer and Léon Francioli. In 1984, Hans Koch, Martin Schütz, Timo Fleig and Lüdi played free improvisation in this group. Later, Koch, Schütz, Lüdi and Paul Lovens performed together. At the end of 1980s, he played with Mani Neumeier, Wädi Gysi and the trumpet player Mich Gerber as the group Blauer Hirsch.

He has performed also with Brötzmann's Märzcombo, Butch Morris, Sainkho Namtchylak, Peter Kowald, William Parker, Saadet Türköz, Burhan Öçal, Peter Conradin Zumthor and Daniel Seiler.



If you find it, buy this album!

Saturday, December 1, 2018

TED CURSON with GEORGES ARVANITAS TRIO – Pop Wine (LP-1971)




Label: Futura Records – GER 26
Format: Vinyl, LP, Album & Country: France Released: 1971
Style: Free Jazz, Leftfield, Contemporary Jazz
Recorded 18 June 1971 at Europasonor Studio, Paris
Design – Pierre Delgado
Layout – Jean-Pierre Bonnet
Photography By – Christian Fauchard, Philippe Gras
Recorded By – Claude Martenot
Producer – Gérard Terrones
Composed By – Ted Curson
Matrix / Runout (Side A Etched Runout): Fut. 2028 A MP
Matrix / Runout (Side B Etched Runout): Fut. 2028 B MP

side A
A1 - Pop Wine ...................................................................................................... 5:10
A2 - L.S.D. Takes A Holiday ............................................................................... 12:40
A3 - Song Of The Lonely One .............................................................................. 5:45
side B
B1 - Quartier Latin .............................................................................................. 13:20
B2 - Flip Top ......................................................................................................... 6:30

Personnel:
Ted Curson – trumpet, piccolo trumpet
Georges Arvanitas – piano
Jacky Samson – bass
Charles Saudrais – drums, percussion

This Futura LP issue of vanguard trumpet legend Ted Curson with the Georges Arvanitas Trio in a Paris studio is one of those very special dates where everything seems to go right.



Curson is in excellent form here, whether he is playing free improvisation as on "Latin Quarter," and is a fiery 13-minute excursion into the outer reaches of free jazz, or turning in a slightly bent but nonetheless streaming hard-bop performance as on the "Flip Top." The Arvanitas Trio, an under-celebrated band that backed virtually every major American musician in Paris proves how well it adapts to Curson's muscular style by responding with more muscle. Arvanitas' left-hand rhythm comping is tough and full of fire and edges. On "L.S.D. Takes a Holiday," Arvanitas pushes Curson hard to the edges of a harmonic shelf that finally bleeds off into a blazing symmetry of angles that is propelled into an abyss by the ferocious bass playing of the under-heralded Jacky Sampson. Also noteworthy are Curson's compositions here that, like much music of their time, leave tradition to the dust. He engages it and the blues in a sort of modal inquiry, where he wraps extant ideas about form, tonal sonance, and intervallic architecture in a phraseology and compositional elegance that was beyond most of his peers. Futura's LP sounds warm, lovely, and very much alive.

Review by Thom Jurek, AllMusic



If you find it, buy this album!