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Roswell Rudd, Minnie Riperton, Tomoko Omura and Others
by Jerome Wilson
This vintage show from October 2021 has the usual eclectic mix of artists, including Roswell Rudd, Minnie Riperton, Herbie Hancock, Tomoko Omura, Denis Charles, and much more. Playlist Henry Threadgill Sextett “I Can't Wait Till I Get Home" from The Complete Novus & Columbia Recordings of Henry Threadgill & Air (Mosaic) 00:00 John Nyerges “Life" from Jazz, Pictures and Poems (NBR Jazz) 00:54 Lee Morgan “Boy, What A Night" from The Sidewinder (Blue Note) 7:38 Host Speaks 15:10 ...
read moreTerry Adams: Terrible [Deluxe Edition]
![Read "Terrible [Deluxe Edition]" reviewed by Dave Linn](https://s3.amazonaws.com/allaboutjazz/coverart/large/1915e29cbe092b861b4848bdfe28ad6b.jpg)
by Dave Linn
Terry Adams is best known for his work with the seminal band, NRBQ (New Rhythm & Blues Quartet). Their self-titled debut (Columbia, 1969), included Sun Ra's “Rocket Number Nine." The follow-up was a collaboration with early rock legend Carl Perkins called Boppin' The Blues. In 1974 singer, songwriter, and guitarist extraordinaire, Big Al Anderson and drummer Tom Ardolino joined the band. For the next 20 years that lineup thrilled live audiences around the world. In 1994, Anderson (dismayed by the ...
read moreNew York Art Quartet: New York Art Quartet Revisited
by Alberto Bazzurro
Questa preziosa (ancora una volta) riedizione di oltre un'ora e un quarto di musica riunisce i primi due album di uno dei gruppi più leggendari della stagione free, il primo intitolato semplicemente col suo nome e pubblicato dall'altrettanto leggendaria ESP fondata nel 1963 da Bernard Stollman (incisione del 16 novembre 1964), il secondo, Mohawk, di pochi mesi successivo (17 luglio 1965), edito su Fontana. Il gruppo è per tre quarti identico in entrambe le occasioni, allineando figure nodali di quella ...
read moreArchie Shepp: Fire Music To Mama Too Tight Revisited
by Chris May
In 2022, it is widely accepted that, when free jazz (aka the New Thing) was in its ascent in New York in the 1960s, there was, despite superficial appearances, no fundamental incompatibility between it and the historical jazz tradition. More contentiously, revisionist historians are now suggesting that there was no real conflict between New Thing and changes-based or modal-based musicians either. They should try telling that to Archie Shepp. In autumn 1966, during the Miles Davis quintet's ...
read moreRoswell Rudd, Duck Baker: Live
by Mario Calvitti
La combinazione in duo tra trombone e chitarra (particolarmente se acustica) non è mai stata molto frequente, ma d'altra parte anche Duck Baker non è proprio un chitarrista convenzionale. Partito dal fingerpicking tradizionale nella scuderia di Stefan Grossman, ha ben presto allargato il suo raggio d'azione fino a comprendere tutta la storia del jazz, dal ragtime al free d'avanguardia, soffermandosi in particolare su alcuni nomi (notevoli i suoi omaggi a Herbie Nichols e Thelonious Monk), unendo spesso le forze con ...
read moreAlbert Ayler: New York Eye and Ear Control Revisited
by Mark Corroto
The backstory of New York Ear and Eye Control is a significant factor in the music and the direction free jazz took in the 1960s. Filmmaker Michael Snow commissioned Albert Ayler's trio with bassist Gary Peacock and drummer Sunny Murray to record a thirty-minute soundtrack for a movie, “Walking Woman," he had yet to film. As explained in the liner notes, he “wanted to buy a half hour of music." Also invited to the session were trumpeter & cornetist Don ...
read moreAlbert Ayler: New York Eye And Ear Control Revisited
by Chris May
The development of so-called free jazz in New York during the first half of the 1960s was topped and tailed by three landmark recordings: Ornette Coleman's Free Jazz (Atlantic, 1961), John Coltrane's Ascension (Impulse, 1966) and Albert Ayler's New York Eye And Ear Control (ESP, 1966). Of the three discs, only New York Eye And Ear Control broke away completely from jazz's normative structure of theme/solos/theme. Commissioned as an art-film soundtrack, Ayler's recording was also the product of an altogether ...
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