La Monte Ypung - Cologne Germany 1984
2014年7月5日土曜日
音楽 ： Behrman, Klingensmith, DeMarinis & 小杉武久 / New York 1980
Behrman, Klingensmith, DeMarinis & 小杉武久 / New York 1980
音楽 ： Cromagnon - Cave Rock
ESP 2001
Cromagnon - Cave Rock
Already commercially successful as tune-smiths for teenyboppers, Austin Grasmere and Brian Elliot approached Bernard Stollman looking to focus their talents on something more original and unrestrained. Stollman asked, “What would be your theme?” and Elliot replied: “Everything is one.” Bernard said, “Go do it.” What followed was Cromagnon's (Grasmere, Elliot and the Connecticut Tribe) non-linear journey through the subconscious, weaving together bizarre instrumentation and meter with a psychotic blending of musical styles. Bagpipes, pounding percussion, blood-curdling yelps, chanting, laughing, and billowing subterranean rumblings create the otherworldly soundscape that is Cave Rock. Heralded as one of the best freak-out records of all time, Cave Rock was ridiculously ahead of its time and brings to mind the savage sound-fuckery of Nurse with Wound and Throbbing Gristle as well as the hallucinations of early Red Krayola.
Personnel
Austin Grasmere (lead vocals, music)
Brian Elliot (lead vocals, music)
Connecticut Tribe:
Peter Bennett (bass)
Jimmy Bennett (guitar, bagpipes)
Vinnie Howley (guitar)
Sal Salgado (percussion)
Nelle Tresselt (honorary tribe member)
Mark Payuk (vocals)
Gary Leslie (vocals, multi-sound effects)
Track Listing
1. Caledonia
2. Ritual Feast Of The Libido
3. Organic Sundown
4. Fantasy
5. Crow Of The Black Tree
6. Genitalia
7. Toth, Scribe I
8. First World Of Bronze
All compositions by Austin Grasmere
Except Caledonia by Austin Grasmere & Brian Elliot
ESP Disk Ltd. ASCAP
* also issued on ESPCD 2001 entitled "Orgasm"
Credits
Recorded 1969, A1 Sound Studio, New York City
Co-produced by Austin Grasmere and Brian Elliot
Engineered by Onno Scholtze
Original cover illustration: Howard Bernstein
Original cover art from the collection of Gregor Kessler
Production Manager: Adam Downey
Digital remastering by Douglas McGregor
Design by Miles Bachman
Press Quotes
"An aural stew of experimental vocal sounds (tribal chanting, eerie whispering, animal-like screeching, monster sounding growls, ghostly howls, outright screaming, violent puking sounds, etc), various effects (over-dubbed sound bites played backwards, old sirens, common household sounds, manipulated electronics, field recordings) and the occasional use of a conventional instrument (spooky bagpipes, frantic rhythm guitar, scratchy fiddle) that are all meshed and held together with various forms of primitive percussion. A couple tracks have no rhythm instruments and are simply gravity defying acts of freeform music. Surprisingly, after being subjected to over 30 minutes of unintelligible voices, Cromagnon finally reap the benefits of evolution and use coherent words from the English language on the final two songs on the album. Cromagnon is ominous and experimental tribal music for the bad acid trip." J Scott Brubig, The Acid Archives
“An anomaly, even on the always far out ESP label, Cromagnon was the brainchild of Brian Eliot and Austin Grasmere,...They made a truly inspired music, a sort of Dadaist psychedelic folk, tribal and raw, ridiculous but enchanting. It's hard to believe that a record as completely far-out as Orgasm was recorded in 1969. Bands these days can't be this whacked even if they try, especially if they try." – Andee Connors
音楽 ： New York Eye & Ear Control
ESP 1016
New York Eye & Ear Control
Re-mastered from original tapes
Digital download included
It isn't strictly an Albert Ayler album but a very interesting collaborative freely improvised soundtrack project for Michael Snow's film of the same name. Recorded in July 1964 by Albert Ayler, Don Cherry, Roswell Rudd, John Tchicai, Gary Peacock and Sunny Murray. Liner notes, photos and more... digitally remastered from the original tapes.
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Michael Snow, the Toronto based film maker and pianist and catalyst for free improvisational performers everywhere; painter, sculptor and record producer, and the pride of Canada, used the image of pianist-composer Carla Bley as the inspiration for ah art film, NY EYE & EAR CONTROL. For his sound track, he assembled a group of ESP artists in his loft, and recorded them on July 17, 1964.
Personnel
Albert Ayler: tenor sax
Don Cherry: trumpet, cornet
John Tchicai: alto saxophone
Roswell Rudd: trombone
Gary Peacock: bass
Sunny Murray: drums
Track Listing
1. Don's Dawn 1:05
2. A Y 21:24
3. ITT 23:22
All compositions by Albert Ayler (Syndicore Music BMI)
Credits
Recorded in NYC, on July 17, 1964 by Michael Snow for use as the soundtrack to his film "Walking Woman" (aka New York Eye and Ear Control). Original cover design by Michael Snow. Production Manager: Tom Abbs. Analog to digital transfer by Michael D. Anderson. Digital remastering by Douglas McGregor. Design & Layout by Miles Bachman & Michael Sanzone.
Press Quotes
"Something of a missing link between Ornette Coleman’s “Free Jazz” and John Coltrane’s “Ascension,” this recording is superior to those performances in its freer, truly group-oriented format, with no specified soloists and accompanists. Joined by the trumpeter and cornetist Don Cherry, the saxophonist John Tchicai, and the trombonist Roswell Rudd, as well as by Peacock and Murray, Ayler guides the group through the powerful authority of his playing; the riotous revelry joins the joy of New Orleans traditions to the urbane furies of the day." - Richard Brody, The New Yorker
"Ayler's wide-vibrato wail, gutbucket honks and folksy abstractions are all here, but they're constantly goading and commented on by Tchicai's slinky repetition, Rudd's braying tailgate and Cherry's darting bebop shards." - Clifford Allen, All About Jazz
音楽 ： Peter Lemer - Local Colour
ESP 1057
Peter Lemer - Local Colour
British pianist Peter Lemer studied with Jaki Byard, Paul Bley, and Bill Dixon, so his roots in jazz are strong. His lengthy and distinguished career has found him in a wide variety of settings. As an avant-garde jazz pianist, he recorded with Spontaneous Music Ensemble; in the jazz fusion realm, he was a member of Gilgamesh and Paraphernalia; as a progressive rock keyboardist, he played with Gong, Baker Gurvitz Army, the Mike Oldfield Group, Seventh Wave, and In Cahoots. Sideman credits include work with Annette Peacock, Harry Beckett, and more.
Surprisingly, Local Colour – his debut recording – is Lemer's only album as a leader. Recorded in London in 1966, before jazz fusion or prog-rock even existed, it belongs in the collection of anyone who cares about the British jazz scene, and not only because of Lemer's talents. Everyone in this quintet went on to notable achievements. This was sax great John Surman's recording debut; he is now arguably the premiere British jazz saxophonist, with a prolific and much-praised discography. Chances to hear the also scintillating sax sound of the more obscure Nisar Ahmad Khan (AKA George Khan) in a jazz context are much rarer, though prog-rock fans may remember his appearance on Robert Wyatt's Ruth Is Stranger than Richard and his work with Cream lyricist Pete Brown and The Crazy World of Arthur Brown. Drummer Jon (then going by John) Hiseman had already established himself on the British jazz scene by co-founding the New Jazz Orchestra in 1964; two years after the Local Colour session he started Colosseum, one of the most successful British jazz-rock bands, and he even collaborated with Andrew Lloyd Webber on the musical Cats. Bassist Tony Reeves had had a hit single in 1965 with Sounds Orchestral ("Cast Your Fate to the Wind"); after a brief stint with John Mayall's Bluesbreakers, Reeves joined Hiseman in Colosseum; he was also a member of Greenslade and Curved Air in addition to session work with Fairport Convention singer Sandy Denny and guitarist John Martyn. That's a whole lot of talent in the Peter Lemer Quintet! Together, they make a sort of inside/outside jazz that doesn't abandon themes and harmony but is still quite freewheeling when it wants to be. A lost classic, revived with this 50th Anniversary Remaster rESPlica Edition in a 750-copy limited edition slipcase copied from the original LP art.
Personnel
Nisar Ahmad Khan (tenor saxophone)
John Surman (baritone saxophone, soprano saxophone)
Peter Lemer (piano)
Tony Reeves (bass)
Jon Hiseman (drums)
Track Listing
1. Ictus
2. City
3. Frowville
4. In The Out
5. Carmen
6. Enahenado
London, England, 1966
Press Quotes
"...another ESP-Disk gem back from the massive archives of one of the finest labels in avant-garde jazz." - Forced Exposure
音楽 ： Giuseppi Logan - More
ESP 1013
Giuseppi Logan - More
More, Giuseppi Logan's second album, has two tracks from the same legendary May 1st, 1965 Town Hall concert, produced by ESP-Disk' owner Bernard Stollman, that gave us Albert Ayler's Bells. This ESP-Disk' 50th Anniversary Remaster edition of More includes previously unissued music from Logan's set that reissue producer Michael D. Anderson discovered at the end of the Bells master tape. The astonishing thing about this 10-minute segment of audio tape is that it is the continuation of the second track, “Shebar,” extending its length to 19 minutes. On the original album, there is a fade, but with the inclusion of this newly discovered segment, the performance continues to the end of the song and of the group's performance. Note: The slight distortion heard momentarily on the added portion exists on the original master tape and could not be corrected, but the historical value in hearing the entire performance warrants its inclusion.
50th Anniversary Remaster - 2013
Personnel
Giuseppi Logan (alto saxophone, bass clarinet, flute -1,2,4; piano -3)
Don Pullen (piano -1,2,4)
Reggie Johnson (bass -1,2)
Eddie Gomez (bass -4)
Milford Graves (drums, percussion -1,2,4)
Track Listing
1. Mantu
2. Shebar
3. Curve Eleven
4. Wretched Sunday
The Town Hall, NYC, May 1, 1965
音楽 ： Yma Sumac - Recital
ESP 4029
Yma Sumac - Recital
With the release of Voice of the Xtabay in 1950, people all over the world were astounded by one of the most unusual voices to emerge on the musical scene: Peruvian singer Yma Sumac, who glides effortlessly from contralto to coloratura, her voice covering a range of no less than four octaves!
The voice of Yma Sumac is indeed a miracle of nature. However, if that were all she was, the public's interest would not have gone beyond mere curiosity. What has made the singer's abilities so striking is the fact that she has managed to use the immense vocal resources at her disposal, resolutely striving for genuine artistry.
In June, 2006, Yma was honored by Peru's highest tribute, the Order del Sol (Order of the Sun) medal. To Recieve the award, and many others including the Key to the City of Lima, she visted Peru, where she created a reawakening of her music in South America. She was recieved warmly by fans of all ages. We hope, in our own small way, to also honor her with this release of a rare moment in musical history!
Personnel
Yma Sumac
Moises Vivanco
Track Listing
1. Fuego Sobre Los Andes Vivianco
7:30
2. Ataypura Vivianco
3:19
3. Montana Mama Vivianco
4:01
4. Amor Indio (Indian Love Song) Traditional
3:00
5. Serenata India (Indian Serenade) Vivianco
2:18
6. Supay Taki (Enchanted Flute) Vivianco
3:23
7. Goomba Boomba Vivianco
3:46
8. Llama Caravana (Llama Caravan) Traditional
2:16
9. Cueca Chilena Vivianco
3:22
10.
Ccori Canastitay
2:35
11. Wambra Vivianco
3:10
12. Taita Inti (Hymn to the Sun) Vivianco
5:50
13. Marinera Traditional
3:12
14. Chuncho (Forest Creatures) Vivianco
6:45
Credits
Recorded live in 1961, Bucharest, Romania.
Produced by Don Pierson, SunVirgin.com, for ESP-Disk'
Released under license from Electrecord
Layout and Design by Carl Glatzel
Press Quotes
"The great sound allows one to hear all the nuances of Sumac's performance from her whispers to growls to flights of high-pitched fancy. Her voice is simply amazing. "Goomba Boomba" and "Amor Indio" are uptempo highlights with swinging orchestral accompaniment. "Cueca Chilena" and "Ccori Canastitay" are female duets with Cholita Rivera accompanied by just Vivanco on guitar. But it's on the moody "Chuncho" that Sumac pulls out all the stops, making unreal sounds and even getting some echo added to her voice to excellent effect. Yma Sumac may still be seen by some as kitsch, but the fact is that she was an amazing vocal talent the likes of which has not been seen since. Listeners who know her real value will be delighted with this excellent live date." - Sean Westergaard
音楽 ： Burton Greene - The Burton Greene Trio On Tour
ESP 1074
Burton Greene - The Burton Greene Trio On Tour
First-ever American CD edition of this lost classic, recorded "live" during ESP's 1966 New York State College Tour. The "piano harp" credit is Greene's way of noting that he plays inside the piano, directly on the strings – the first jazz pianist to do so on record, taking a page from avant-gardist Henry Cowell's book. In his notes to the original LP, included complete in this reissue, Greene writes, "The tour found people largely unexposed to this music. They were often shaken up. Some were deeply moved. Those who came for a total body and soul experience were rewarded with the vibrations. The people who constantly needed the theoretical approach or 'road maps' were not.... Like the time a boat load of people left the hall at a lecture following a performance at Fredonia State Teacher's College. We had the audacity to tell people that not only was our approach to music valid but that often the results were as musically complex and often more so than, let's say Beethoven. Throughout the tour we continued to denigrate the idea of the 'sacred cow' and tried to encourage people to learn to do their own thing rather than to follow us blindly and mimic our techniques etc."
Personnel
Burton Greene (p, piano harp)
Steve Tintweiss (b)
Shelly Rusten (per)
Track Listing
1. Bloom In The Commune
2. Ascent
3. Tree Theme
4. Transcendence
"The New York State College Tour", NYC, April-May, 1966
Press Quotes
"Pianist Burton Greene ('37) is a major figure in the free jazz revolution of '60s New York." – Portland Monthly
"Pretty far out work from pianist Burton Greene...Steve Tintweiss on bass and Shelly Rusten on drums…give Burton plenty of space to stretch out in an open-ended, freely improvised sort of way. There's a very spacious, dynamic style to the music – with oblique segments interspersed with more wide open ones, and occasional crescendos with wide sheets of sound." – DustyGroove.com
音楽 ： Bud Powell - Birdland 1953
ESP 4073
Bud Powell - Birdland 1953
Bud Powell ranks as one of the most influential pianists in jazz history, his style having provided the template for innumerable bebop pianists who followed in his wake. This newly compiled and mastered three-CD set captures Powell at his peak on his home turf at the famed Birdland club, recorded onsite (these are not "air checks" taped from radio), and mostly working with top-notch sidemen such as Charles Mingus, Oscar Pettiford, Roy Haynes, and Art Taylor, along with guest appearances by Charlie Parker and Dizzy Gillespie. Producer Michael D. Anderson fixed pitch problems and personnel listings that have plagued previous versions of some of this material from the collection of Boris Rose as issued on other labels.
From Russ Musto's booklet essay: "Powell biographer Peter Pullman noted, in his carefully researched volume Wail: The Life of Bud Powell, that 1953 was 'the busiest year of Powell’s career.' After having spent more than sixteen months in various mental institutions, where he was subjected to electroshock therapy, the great pianist was finally released early in that year. Declared 'incompetent' by the state of New York, he was placed under the supervision of Oscar Goodstein, his personal manager and the manager of Birdland, who booked 'Powell to play for twenty weeks at the club,' according to Pullman. The regular work that the pianist had during the year allowed him to regain much of the virtuoso technique that had often eluded him after repeated nervous breakdowns; on good nights (several of which are documented here) he once again proved that he was indeed 'The Amazing Bud Powell.'"
BUD POWELL: BIRDLAND 1953
DISC 1
February 7, 1953 – THE BUD POWELL TRIO
Oscar Pettiford, bass; Roy Haynes, drums
1. Theme: Lullaby of Birdland (George Shearing) / Announcer Introduction
2. Tea for Two (Vincent Youmans & Irving Caesar)
3. It Could Happen to You (Johnny Burke & Jimmy Van Heusen)
4. Bean and the Boys (Coleman Hawkins); previously listed as "Lover Come Back to Me" (Sigmund Romberg & Oscar Hammerstein II)
February 14, 1953 – THE BUD POWELL TRIO
Oscar Pettiford, bass; Roy Haynes, drums
5. Theme: Lullaby of Birdland (George Shearing)
6. I Want to Be Happy (Vincent Youmans & Irving Caesar)
7. Embraceable You (George & Ira Gershwin)
8. I’ve Got You Under My Skin (Cole Porter)
9. Ornithology (Charlie Parker & Benny Harris)
10. Theme: Lullaby of Birdland (George Shearing)
March 7, 1953 – THE BUD POWELL TRIO
Franklin Skeetes, bass; Sonny Payne, drums
11. Theme: Lullaby of Birdland (George Shearing)
12. Hallelujah! (Clifford Grey/Leo Robin/Vincent Youmans)
13. I’ve Got You Under My Skin (Cole Porter)
14. Embraceable You (George & Ira Gershwin)
15. How High the Moon (Morgan Lewis & Nancy Hamilton) / Ornithology (Charlie Parker& Benny Harris)
16. Budo (Miles Davis & Bud Powell)
DISC 2
March 14, 1953 – THE BUD POWELL TRIO
Charles Mingus, bass; Roy Haynes, drums
1. I Want to Be Happy (Vincent Youmans & Irving Caesar)
2. I’ve Got You Under My Skin (Cole Porter)
3. Sure Thing (George & Ira Gershwin)
4. Embraceable You (George & Ira Gershwin)
5. Woody'n You (John Birks Gillespie)
6. Salt Peanuts (John Birks Gillespie & Kenny Clarke)
7. Theme: Lullaby of Birdland (George Shearing)
Possibly May 16, 1953 – THE BUD POWELL TRIO WITH DIZZY GILLESPIE
Dizzy Gillespie, trumpet; Charles Mingus, bass; Roy Haynes, drums
8. Woody'n You (John Birks Gillespie)
9. Salt Peanuts (John Birks Gillespie & Kenny Clarke)
Possibly May 23, 1953 – THE BUD POWELL TRIO WITH CHARLIE PARKER
Charlie Parker, alto saxophone; Charles Mingus, bass; Art Taylor, drums
10. Dance of the Infidels (Bud Powell)
May 30, 1953 A – THE BUD POWELL TRIO
Charles Mingus, bass; Art Taylor, drums
11. I’ve Got You Under My Skin (Cole Porter)
12. Autumn in New York (Vernon Duke)
13. I Want to Be Happy (Vincent Youmans & Irving Caesar)
May 30, 1953-B – THE BUD POWELL TRIO WITH CHARLIE PARKER AND CANDIDO
Charlie Parker, alto saxophone; Charles Mingus, bass; Art Taylor, drums; Candido, congas
14. Moose the Mooche (Charlie Parker)
15. Cheryl (Charlie Parker)
June 20, 1953 – THE BUD POWELL TRIO
Charles Mingus, bass; Art Taylor, drums
16. Budo (Miles Davis & Bud Powell)
17. My Heart Stood Still (Richard Rodgers & Lorenz Hart)
DISC 3
July 11, 1953 – THE BUD POWELL TRIO
Charles Mingus, bass; Art Taylor, drums
1. Dance of the Infidels (Bud Powell)
August 29, 1953 – THE BUD POWELL TRIO
Charles Mingus, bass; Art Taylor, drums
2. Dance of the Infidels (Bud Powell)
September 5, 1953– THE BUD POWELL TRIO
George Duvivier, bass; Art Taylor, drums
3. Un Poco Loco (Bud Powell)
4. Parisian Thoroughfare (Bud Powell)
5. Dance of the Infidels (Bud Powell)
6. Glass Enclosure (Bud Powell)
7. My Heart Stood Still (Richard Rodgers & Lorenz Hart)
September 19, 1953 – THE BUD POWELL TRIO
George Duvivier, bass; Art Taylor, drums
8. Parisian Thoroughfare (Bud Powell)
9. Dance of the Infidels (Bud Powell)
10. Un Poco Loco (Bud Powell)
11. Oblivion (Bud Powell)
September 26, 1953 – THE BUD POWELL TRIO
Curley Russell, bass; Art Taylor, drums
12. Parisian Thoroughfare (Bud Powell)
13. Dance of the Infidels (Bud Powell)
14. Embraceable You (George & Ira Gershwin)
15. Un Poco Loco (Bud Powell)
16. Oblivion (Bud Powell)
Press Quotes
"...arguably the largest pianistic influence to appear after the war….As a soloist, Powell owned a superhuman technique that allowed him percussively to pop syncopated accents out of long lines of eighth notes, often at blindingly fast tempos. By doing so, he was able to deliver jazz's characteristic accenting, its rhythmic DNA, into a more complex musical universe; rhythmic patterns that might have appeared 10 years earlier as big-band riffs showed up in Powell's work as the accented notes in long, serpentine melodic lines." – Tom Piazza, The New York Times
音楽 ： Various Artists - The East Village Other (EVO)
ESP 1034
Various Artists - The East Village Other (EVO)
This album was intended to raise funds for The East Village Other, an underground newspaper. This is the first North American CD release of the "electric newspaper," an archetypal Sixties counterculture 'happening' from August 6, 1966, this is also the first edition anywhere since the original vinyl to include the lengthy closing track, "Interview with Hairy." A legendary all-star cast of performers got together to make an anti-war collage of words and sounds that defies mere track listings—one of the elements is "Silence" by Andy Warhol, which, contrary to at least one wrong-headed European reissue, is not actually a separate track (so don't write in complaining about its supposed absence): For some period of time, while the radio played and/or other performers did their things, Andy stood in the studio silently. Hey, it was the '60s. It's a concept, man.
Personnel
Steve Weber (g, vo)
Gerard Malanga, Ingrid Superstar (performer)
Velvet Underground
Marion Brown (as) Scotty Holt (b) Ronald Shannon Jackson (d)
Allen Ginsberg (spoken word) Peter Orlovsky (performer)
Peter Rawson (g) Tuli Kupferberg, Viki Pollon (vo)
Ishmael Reed (spoken word)
Andy Warhol (silence)
Track Listing
1. "Luci's Wedding" by plastic clock radio
2. "If I Had Half a Mind" by Steve Weber
3. "Gossip" by Gerard Malanga and Ingrid Superstar
4. "Noise" by The Velvet Underground
5. "Jazz Improv" by Marion Brown, Scott Holt, & Ronald Shannon Jackson
6. "Mantras" by Allen Ginsberg & Peter Orlovsky
7. "Luci's Wedding" (cont) by plastic clock radio
8. "Love and Ashes" by Tuli Kupferberg 7 Viki Pollon, with Peter Rawson on guitar
9. "The Free Lance Pall Bearers" by Ishmael Reed
10. "Interview with Hairy" by Ken Weaver & Ed Sanders
RLA Sound Studios, NYC, August 6, 1966
Press Quotes:
"ESP-Disk released some freaky discs. That was kind of the whole idea of the label, in fact. But of all the discs they released, none were freakier than The East Village Other Electric Newspaper. A mind-bending sonic collage, [it] consists of a radio report of First Daughter Luci Baines Johnson's wedding on August 6, 1966 (coincidentally -- and prophetically, to the staff of the pioneering underground newspaper The East Village Other -- the 21st anniversary of the bombing of Hiroshima) overlaid with a variety of underground oddities. These include a song fragment by the Holy Modal Rounders' Steve Weber, a two and a half minute improvisation by free jazz saxophonist Marion Brown, a song by Tuli Kupferberg of the Fugs, a ten-minute chant by Allen Ginsberg and Peter Orlovsky, a reading by Ishmael Reed from his novel The Freelance Pallbearers, a gossip section by Warhol superstars Gerard Malanga and Ingrid Superstar, and, most famously, a 1:44 instrumental by the Velvet Underground aptly titled 'Noise.' This was the very first Velvets recording to be released. Obviously, this is much more of a curio than anything anyone will want to listen to regularly, but, as curios go, it's oddly fascinating." – Stewart Mason, All-Music Guide
音楽 ： Ran Blake Plays Solo Piano
ESP 1011
Ran Blake Plays Solo Piano
This album, Blake's solo debut, has barely been heard since its appearance in ESP-Disk's first batch of LP releases in 1965. The reissue programs in Europe on ZYX and Calibre did not include it; there was only one very poorly distributed Italian CD issue in the mid-'90s. Fans and aficionados, including members of the jazz press, have clamored for it to be included in our 50th Anniversary Remaster program, citing its musical and historical importance, so here it is! The slight distortion on a few high notes is a small price to pay to hear this jazz master at the beginning of his illustrious career.
Born in 1935, Blake developed a style of jazz playing unlike anyone else's by incorporating classical elements (the Impressionists, of course, but Stravinsky, Prokofiev, and Messiaen have also been cited), gospel music (which he experienced first-hand in a Pentecostal church while growing up in Connecticut), Thelonious Monk's highly personal style (back when Monk was still considered a good composer but an overly eccentric pianist), and an abiding love of film noir that influenced the mood of his playing as much as his purely musical influences. Recording opportunities were sparse at first; by age 40 he had released only three albums: his 1962 debut with vocalist Jeanne Lee, The Newest Sound Around (RCA), Plays Solo Piano, and another solo album, The Blue Potato and Other Outrages (Milestone, 1969, long out of print). Since then, fortunately, he has received many more opportunities to get his music heard and has established himself as one of the reigning masters of jazz.
Personnel
Ran Blake (p)
Track Listing
1. Vanguard
2. Stratusphunk
3. Sleepy Time Gal
4. On Green Dolphin Street
5. Eric
6. There'll Be Some Changes Made
7. Good Morning Heartache
8. Sister Tee
9. Lonely Woman
10. Birmingham U.S.A.
NYC, May 1, 1965
Press Quotes:
"For a debut album Plays Solo Piano was a courageous statement. Clearly in the jazz tradition, and very much a personal, stylistic explosion of the idiom, Blake belonged on ESP Records.." - Steve Wilson, Blurt
"…the pianist has honed an aesthetic that is the antithesis of jazz's prevailing pyrotechnic postures. Blake's virtuosity is not expressed through quicksilver speed…but through touch and shading. As a result, Blake has a singular ability to make a single note speak volumes about the human condition, and to turn silence into a withering cry. These attributes are best experienced on his many solo albums. Blake made a signal, early entry into solo piano, recording Ran Blake Plays Solo Piano in 1965 for the usually explosive ESP label. At a time when being a jazz progressive meant spooling out expansive, explosive and ecstatic tomes, Blake achieved what was, for the times, a unique, if not contrarian introspection and intimacy." – Bill Shoemaker, JazzTimes
"…alone at the piano is how Ran Blake reveals the depth of his musical universe most completely." – John Medeski
"Ranks among the music's most brilliant and engaging improvisers" – Boston Herald
音楽 ： Tiger Hatchery - Sun Worship
Tiger Hatchery - Sun Worship
Chicago power-jazz trio Tiger Hatchery proudly comes out of the ESP-Disk' free jazz tradition, as saxophonist Mike Forbes's playing makes clear, but there's an added noise-rock edge, especially in Ben Billington's aggressive drumming, that keeps the sound modern. Bassist Andrew Scott Young does much more than lay down the bottom, emerging as a fully equal member of their glorious cacophony. This is one of the most powerful albums in the storied 50-year history of ESP-Disk', and that's saying something! Liner notes by John Olson of Wolf Eyes.
ESP 5003
Personnel
Mike Forbes, saxophones;
Andrew Scott Young, basses;
Ben Billington, drums
Track Listing
1. Chieftain 8:43
2. Sonic Bloom 7:03
3. Grand Mal 15:30
Press Quotes
"One of the best openings in music I’ve heard this year happens on 'Chieftain,' the first of three tracks on Sun Worship, a short and to-the-point CD by the young Chicago free-jazz band Tiger Hatchery. There's no lead-in, no windup: It's as if all members were running as hot as possible, frozen in time, and then unfrozen: Blam, drums and cymbals under attack, tenor saxophone gasping, electric bass on extreme low judder. Sun Worship is released on ESP-Disk, the imprimatur of some of the best New York free jazz in the early- and mid-'60s, but it feels different, especially after the initial onslaught, through its various episodes of velocity and mood. Andrew Scott Young, the bassist, uses the rugged tone you'd associate less with jazz than, say, the Jesus Lizard's David Wm. Sims; the tenor player Mike Forbes and drummer Ben Billington have 50 years of free jazz from around the world, as well as nearly that much of improvised noise, to assimilate. They bring these three pieces home rather elegantly, and begin the other two much more softly. But I’m fine with the record's first five seconds." - Ben Ratliff, The New York Times
"Right away, it smacks you. The opening 'Chieftain' attacks with the explosiveness of Albert Ayler, Ornette Coleman's frenzy and John Coltrane's scream, and doesn't let up until the closing 'Grand Mal' fades to silence. Saxophonist Mike Forbes rages like Peter Brötzmann, Evan Parker and John Butcher all morphed into one being, while Ben Billington's drums recall the pace of Rashied Ali and Han Bennink's solid insanity. Andrew Scott Young employs both electric and amplified stand-up bass for a sound that's as much Alan Silva and Peter Kowald as it is Chuck Dukowski and David Wm. Sims. Sun Worship is in-your-face brutality, an all-out assault on your preconceived notions of music." - Chuck Foster, The Big Takeover
"Tiger Hatchery, a trio from Chicago, fits in the lineage of free jazz squonk that launched ESP, but their m.o. is born more out of a love of pure noise than the extreme blues and spiritual elements of Albert Ayler, Pharoah Sanders or Marion Brown." - Mike Shanley, Blurt
"I thought, these motherfuckers are playing with the violence of European free jazz, but also birthing tuned, full-bodied edifices of sound that encapsulate the audience in the nearly tangible environment of their sustained harmonic interplay. I'm talking repetitive, prolonged interactions that were captivating in the way 60s minimalist performances were experiential." – Critilogues
"The classic jazz trio is turned upside down and wrung out for all the noise shred it can muster." – KillingBirds
音楽 ： Albert Ayler
Albert Ayler, one of the most controversial and polarizing musicians in the history of jazz, was accused of not being able to play his instrument, so radically did he reboot the whole idea of jazz saxophone and jazz improvisation. This set chronologically examines his career with music and artist interviews explaining what took place during historically important recording sessions and concerts. The many musical recordings here include, among other sources, at least one track from each of Ayler's ESP-Disk' albums.
Press Quotes:
"Ayler has probably, next to Coltrane and Cecil Taylor, held the most sway on the direction of improvisation from a "thematic" or "phrase-based" approach to that of a purely sonic one." - Clifford Allen, All About Jazz
"A Salvation Army band on LSD." – Dan Morgenstern, Down Beat
"Tonally, Albert's horn was the closest a saxophone ever came to resembling the soaring feedback of psychedelic guitarists Jimi Hendrix or John Cippolina of Quicksilver Messenger Service and brings to mind pure electronic sound waves as produced by the Theremin." – John Kruth, Signal to Noise
Track Listing:
1. Albert Ayler: Early Childhood/The Army 1960, Part 1
2. "Tenderly" - U.S. Army 76th Adjutant General's Band
3. Albert Ayler: The Army 1960, Part 2/Sweden 1962, Part 1
4. "Summertime" - Herbert Katz Quintet
5. Albert Ayler: Sweden, Part 2
6. Sunny Murray: Europe 1962/Cecil Taylor, Part 1
7. "Four": Albert Ayler solo section - Cecil Taylor Quintet
8. Sunny Murray: Cecil Taylor, Part 2
9. Albert Ayler: Playing with the Candy Greene Band 1962
10. Bernard Stollman: The Cellar Café 6-14-64
11. "Spirits" - Albert Ayler Trio
12. Bernard Stollman: Meeting Albert Ayler/Spiritual Unity
13. "Ghosts (First Variation)" - Albert Ayler Trio
14. Bernard Stollman: Spiritual Unity, Part 2
15. Albert Ayler: After the Spiritual Unity recording
16. Milford Graves: The New Black Music
17. Milford Graves: Bernard Stollman and ESP-Disk’
18. Bernard Stollman: Michael Snow/Film: Walking Woman
19. "I.T.T." - Albert Ayler Sextet
20. Sunny Murray: Explains the film Walking Woman
21. Don Cherry: Meeting Albert Ayler
22. Albert Ayler: Ollie Vestegard/Denmark 9-30-64
23. "Vibrations" - Albert Ayler Quartet
24. Albert Ayler: John Coltrane and Eric Dolphy
25. "Ghosts" - Albert Ayler Quartet
26. Don Cherry: Seeing Albert Ayler in 1964
27. Bernard Stollman: Meeting Don Cherry and Albert Ayler
28. Albert Ayler: Sympathy for Sunny Murray
29. Milford Graves: Hanging out with Albert
30. Albert Ayler: Adding His Brother Donald to the Group
31. Bernard Stollman: The Town Hall Concert/Bells, Part 1
32. "Bells" (excerpt) - Albert Ayler Quintet
33. Bernard Stollman: Bells, Part 2
34. Milford Graves: The Town Hall Concert
35. Bernard Stollman: Spirits Rejoice, Part 1
36. "Spirits Rejoice" - Albert Ayler Septet
37. Bernard Stollman: Spirits Rejoice, Part 2/Play a Short Tune
38. "Holy Family" - Albert Ayler Septet
39. Bernard Stollman: Spirits Rejoice, Part 3
40. Bernard Stollman: Albert Ayler Introduces Patty Waters
41. Bernard Stollman: Albert Ayler Live at Slug’s Saloon
42. "Truth Is Marching In" - Albert Ayler Quintet
43. Burton Greene: Albert Ayler Playing with Burton Greene
44. untitled - Burton Greene Collective
45. Burton Greene: Albert Ayler Playing with Burton Greene 2
46. Milford Graves: Albert’s Sound
47. Albert Ayler: Playing in Clubs
48. Sunny Murray: Musicians and Magic
49. Albert Ayler: Music and the Creator
50. Albert Ayler: Performing with John Coltrane/Drummers
51. "Zion Hill" - Albert Ayler Quintet plus Frank Wright
52. Andrew Cyrille: Being Possessed by the Music
53. Albert Ayler: Michel Sampson and Bill Folwell
54. Burton Greene: Ayler Live at Newport/George Wein
55. "Our Prayer" - Albert Ayler Quintet
56. Albert Ayler: The Passing of John Coltrane
57. "Love Cry/Truth Is Marching In/Our Prayer" - Albert Ayler
58. Albert Ayler: Signing with Impulse Records
59. Bernard Stollman: The Fondation Maeght Concert, Part 1
60. "Music Is the Healing Force of the Universe" - Albert Ayler
61. Bernard Stollman: The Fondation Maeght Concert, Part 2
62. Albert Ayler: The Fondation Maeght Concert
63. Bernard Stollman: The Fondation Maeght Concert, Part 3
64. Sunny Murray: Condolences for Albert Ayler
65. Milford Graves: What He Misses About Albert Ayler
66. Don Cherry: Condolences for Albert Ayler
67. "Vibrations" AKA [tune Q]2- Albert Ayler Quartet
68. "End Theme: Spirits" - Albert Ayler Quartet
音楽 ： Albert Ayler
When Ayler's band went through Customs in July 1970 on their way to play at a festival in France, keyboardist Call Cobbs got held back and arrived a day late. Minus the keyboards, the band played anyway. The music-making of the resulting ensemble is freer and more adventurous than on the quintet's following Maeght Foundation concerts. This unique document, Ayler's penultimate recording, thus brings him back to something close to the trio setting in which he first found fame on 1964's epochal Spiritual Unity (though, on Live on the Riviera, with Mary Maria adding occasional vocals and, once, another sax). Exactly four months later, Ayler's body would be found in the East River.
ESP-Disk's 50th Anniversary Remaster brings the seminal free-jazz saxophonist's last unfettered blast of expression back into print after several years out of the catalog.
2014年7月3日木曜日
2014年7月1日火曜日
2014年6月30日月曜日
音楽 ： La Monte Young / Live in Augsburg 1992(Bootleg)
La Monte Young / Live in Augsburg 1992 2CDR Box
1992年ドイツで収録された超貴重な未発表ライヴ音源。全曲デジタル・リマスター済。
Disc 1
Young's Dorian Blues in G Part 1
Disc 2
Young's Dorian Blues in G Part 2
La Monte Young: Korg synthesizer
Jon Catler: guitar
Brad Catler: bass
Jonathan Kane: drums
Marian Zazeela: light design
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