November 6, 2006
A sweet bit of soulful funk from Hawaii released on Heaven Records (AL 00001) in 1978.
Produced by Kirk Thompson (of Kalapana), co-produced by Master Henry Gibson.
— Kirk Thompson : piano, bass, keyboards, and vibes
— John Rapoza : rhythm and lead guitar
— Gary Sprewel : bass
— Bert de Jesus : drums
— Kit Ebersbach : acoustic and electric piano, 2600 synthesizer , clavinet
— Master Henry Gibson : bongos, congas, timbales and other percussions
— “The Ladies Of Lemuria” – Star Williams, Azure McCall, Merri Lake and Stacie Johnson : vocals
November 1, 2006
Paul Bley’s second album, originally released on Savoy MG 12182 [Reissued on BYG] – Recorded in Aug. 1962, and Sept. 1963.
Paul Bley piano, Steve Swallow bass, Pete LaRoca drums.
October 31, 2006
Composed by Roy Budd, produced by Jack Fishman, PYE Records 1972
Roy Budd’s finest soundtrack (file under: drama-jazzy-orchestral-70’s-action-crime-thriller) based on Alistair MacLean’s novel. Novel first published in 1961, issued in Fontana Books in 1963.
This record is best known for this (10 minutes) track called “The Car Chase” featuring Tubby Hayes, Ronnie Scott. Also known because it has been sampled 2 or 3 times already.
From the back cover:
“More than 50 of the finest musicians in Britain in the studio, including such jazz instrumentalist great as Ronnie Scott, Tubby Hayes, Kenny Baker, Chris Karan, Jeff Clyne… Ronnie Scott plays sax solo for the chase…”
October 31, 2006
Miroslav Vitous – bass, electric piano (3,5)
John McLaughlin (1) – guitar
Joe Zawinul – electric Piano
Billy Cobham – drums
Recorded at Apostolic Studio, NYC, August 25, 1970, engineer : David Baker.
Cat : CBS/SONY RECORDS, SOPM-157(LP)
CBS Sony 37181 (US) – CBS-Sony SOPC 57101 (J)
October 31, 2006
Here is Marvin Holmes 1st album, released on UNI in 1969.
For more infos check out this review at Soul Strut.
and here is the French pressing :
October 22, 2006
Here is Bobby Hamilton and his Quintet Unlimited (a sextet)
Local Jazz from the Central New York area.
Released on Alafia records (ALP372) in 1972.
This album was recorded in Utica.
The players are:
— Bobby Hamilton, piano, vocals, and percussion
— Mike Gipson, vibes, percussion and electronics
— Abram Brown, tenor sax and percussion
— Mike Spengler, trumpet, flugelhorn
— Duane Walker, congas,vocals, percussion
— Pete Manning, Bass, acoutic bass, percussion
— Jason Jeffers, drums, vocals
September 25, 2006
Another Bley’s album today. This one was released just before Improvisie on MILESTONE (MSP 9033) in 1971.
All compositions by ANNETTE PEACOCK.
For more infos on Paul Bley discography there is a book called BLEY PLAY – The Paul Bley Recordings
“Although more than 120 recording sessions (from 1952 to 1994, resulting in more than 400 issued records), 72 private recordings and approximately 100 bibliographic references are included in this compilation, I believe that there will be more.”
Good links :
July 21, 2006
Born in Paris, June 15th 1935.
In 1960 he joins the GEORGE ARVANITAS quintet. He then plays with MARTIAL SOLAL, RENÉ URTREGER, EDDIE LOUISS, BERNARD VITET, MICHEL PORTAL, FRANCOIS TUSQUES, JACQUES THOILOT. He is one of the pioneers of the FREE IMPROVISATION.
He’s one of the member of Triangle, a band formed in 1969.
From 1975 to 1979, he’s part of a famous quartet composed of JEAN-FRANCOIS JENNY-CLARK, ALDO ROMANO and MICHEL GRALLIER (CHRISTIAN ESCOUDÉ after).
And he forms a trio with DANIEL HUMAIR and HENRI TÉXIER.
In 1978, he creates Pandemonium, presented at the Donaueschingen Festival the same year.
1980, he starts QUATUOR DE SAXOPHONES, he composes the music of “Une Sale Affaire”, a movie by Alain Bonnet, he also creates a “Pièce Pour Deux Pianos – ANASTOMOSE”
1982, he organizes Jazz classes at the Conservatoires Municipaux de la ville de Paris/ADAC.
From 1983 to 85, he is on tour all over the world.
He also composes new creations, a second PANDEMONIUM album.
The ONJ (Orchestre National de Jazz) see the light in 1986, he plays with GIL EVANS, STEVE LACY, LARRY SCHNEIDER , MICHAEL GIBBS, MARTIAL SOLAL, ERIC WATSON, CHRISTIAN CHEVALLIER and many more.
1991, he receives the “Grand Prix National de la Musique”
1992, he’s a professor at the CNSM de Paris, at the University of Paris 8 (Saint-Denis)…
and today I’m here trying to convince you to download this album, he’s first album “Une Bien Curieuse Planète” (Such A Weird Planet) on PALM, featuring MICHEL GRAILLER (Keys), JEAN-FRANCOIS JENNY-CLARK (Bass) and BERNARD LUBAT (Drums).
Now you understand what I’m talking about : the
I hope you’ll enjoy listening to it. I love this album.
Une bien curieuse planète (Palm 22, 1975)
Techniques douces (Owl 04, Prix Boris Vian 1976)
Ephémère (Owl 07, 1978)
Paris Jazz Quartet (Horo 101-28, 1979)
Humair-Jeanneau-Texier (Owl 16, 1979)
Akagera (JMS 12, 1980)
Soli Solo Plus (ARC, 1981)
Double-Messieurs (Open 14, 1981)
Mad Sax II (CV 733, Grand Prix du Disque 1982)
Pandémonium, Terrains Vagues (Owl 33, 1983)
Orchestre National de Jazz 86 (Label Bleu BL 6503/4, 1986)
ONJ, Jazz Bûhne Berlin 1986 (Amiga Jazz 8 56 234, 1986)
Pandémonium (Carlyne, C12, 1988)
Taxiway (Label Bleu 6518, 1989)
Mixtures (Music for Media, 1989)
Update 3.3 (Label Bleu, 1990)
Rencontre (Renaudin CC 004, 1991)
Joachim Kuhn Big Band (CMP, 1991)
Maloya Transit, Quartet + Trio Tambour (Label Bleu 6546, 1992)
Tribute to Mingus (Charlotte, 1992)
A Love Affair In Clermont-Ferrand (1993)
Denis Moog Quartet invite François Jeanneau (1994)
Chaude Image, Quatuor Cenoman (1995)
Les Allumés du Jazz (1996)
Le POM (Pee Wee 015, 1997)
Alice (Label Bleu, (1997 à paraître),
Estramadure/Le POM (Pee Wee 025, 1999)
Connection (Pee Wee, 1999 à paraître)
FrameWork (AS 075, 2000)
Charméditerranéen (ECM, 2001-2002)
Eleven (2002, à paraître)
Pap-Pap (duo avec Victor Komenkov, 2003)
Médéo (avec le Youth Almaty Jazz band, 2003)
Rencontre avec Sulé (2003)
Flench Wok (Jean-Philippe Muvien, Bee 011, 2004)
June 14, 2006
You are now entering the Bapt’cave. Welcome.
Roll a blunt, take a Whisky… Do what you want but, please, chill!
Don’t be surprised if you see me posting a VANESSA PARADIS 7″ or LEMURIA , MINDBENDER/Stringtronics, CELIA , GANDALF , THEATRE WEST , ROBERT CHARLEBOIS et LOUISE FORESTIER , RAMP , GAINSBOURG , SUN RA , JEAN GABIN , NEWBAN , THE STOOGES , FRANCOIS JEANNEAU , ZAPPA , TOSHIKI KADOMATSU , CAPTAIN BEEFHEART , NICO , JEANNE MOREAU , HAL GALPER , ROD , CORTEX, MOVING GELATINE PLATES , CESAR MARIANO & Cia , THE ANDREW SISTERS , ROY BUDD , KENNY BURRELL , GERARD MANSET , CECIL MC BEE , STEVE WARING , BERNARD LUBAT , MYSTIC MERLIN , FUTURE FLIGHT, NARA LEÀO … to PAUL BLEY, just to name a few.
It’s just about Music!
The name of my cave is a reference to PAUL BLEY.
He recorded an album called “Improvisie” released on America Records in 1971.
Photo : HORACE
From the back cover :
PAUL BLEY, a revolutionary musician. With the debut of be-bop he accompanied CHARLIE PARKER, BREW MOORE, ALLEN EAGER among others, recorded with CHARLES MINGUS and ART BLAKEY, and replaced OSCAR PETERSON in his own trio.
In the musical revolution that was Free Jazz in 1958, he was at the head of the fabulous Hilcrest Club Quintet in L.A. with ORNETTE COLEMAN, DON CHERRY, CHARLIE HADEN and BILLY HIGGINS. In 1964, he participated in the “October Revolution” of the Jazz Composer’s Guild, when he played with ARCHIE SHEPP, JOHN TCHICAI, and headed a quintet which comprised MARSHALL ALLEN (altist of SUN RA) and MILFORD GRAVES, certainly the most important percussionnist in the history of the “New Thing”.
1967 – Electronic Revolution – “New York is a funny place. It’s really a drag in many ways. Just when you think you’ve got something and are able to relax a little while, there are changes and you’re an amateur again… When we came to N.Y. in 1967, the new thing was electronics and I realized that I was an amateur again, that I knew nothing about it, and that I had two alternatives to take. One is that I could become a very beautiful musician within a idiom, saying that electronic music was another generation, or I could become an amateur again.”
We tend, in fact, to regard these revolutions in the structure of Jazz as emmanating from some whim or fancy of an individual musician. Indeed each time the music of COLTRANE took a sudden plunge in a different direction, weren’t these very same objections offered? But, in listening to the collective works of his Canadian pianist, we find to the contrary, that each revolution in Jazz responded to a real stylistic need to infuse his music with a new richness rendering each successive record more moving and for some, more complicated than the preceding one.
BLEY’s first piano versions of “Touching”, for example, sound strangely classical, though not outmoded, while the version on the present album is purely in the realm of a vivid mental trip, aided by his sensitive use of electronics and by the sensual voice and words of ANNETTE PEACOCK.
The use of timing in this album constitutes another revolution in music and the acceptance of this is the only possible way to effect a total involvment in the perverse paradise created by BLEY, PEACOCK and BENNINK. For the torturous yet thrilling distorsion of sound, ANNETTE PEACOCK and HAN BENNINK are at least as much responsible as the leader himself.
The strength of PAUL BLEY lies not only in his refusal to find security in the shelter of what he has already created, but in his continual openness to the most inspired and yet most destructive musicians on the Jazz scene. This record gives us an almost magical and pracarious balance of three tremendously creative forces of our era. Only a deaf man could ignore it.
by LAURENT GODDET
Photo : PHILIPPE GRAS