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Milford Graves
Born:
Milford Graves was into his own version of World Music long before there was the term. His individualistic approach to the rudiments of drumming and its rhythmic pulses were light years ahead of most musicians. Yet he found musical colleagues and an audience for his forays into the deep end of free jazz. A native New Yorker, and exposed to Latin rhythms, he started out as a child on congas, then became a teenage timbales player in a Latin band from 1959 through the early ‘60’s, Graves switched to a trap set after seeing Elvin Jones with Coltrane. From 1964 he was an essential member of the New Thing movement in New York City, and backing up Amiri Baraka's Harlem poetry readings. Graves became a devout student of percussion on an international level, and went on to study not only its African roots and development, but expanded his studies on the Indian tablas with acknowledged master Wasantha Singh. He had quite an extensive resume in the 1960’s playing with Hugh Masakela and Miriam Makeba, Giuseppi Logan, was a member of the Jazz Composers’ Orchestra Association, and collaborated with avante-garde pianist Paul Bley. Graves recorded with pianist Don Pullen in 1966,(Graves Pullen Duo) and worked recurrently with Albert Ayler in 1967 and 1968, performing at the 1967 Newport Festival
Alma Tree: Sonic Alchemy Suprema
by Karl Ackermann
New York native Ra Kalam Bob Moses grew up in the same building as Max Roach, Art Blakey and Elvin Jones. Early on he saw performances by many of the best jazz drummers in history, including Roy Haynes, Rashied Ali, Milford Graves, Billy Higgins, and Ed Blackwell. As a teenager in the mid-1960s, he played with ...
New 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 ...
More Lost Performances Revisited
By Albert Ayler
Label: Ezz-thetics
Released: 2023
Track listing: Our Prayer; Japan (Traditional) Universal Indians; Truth Is Marching In / Omega; Love Cry / Truth Is Marching In / Our Prayer; Four.
New York Art Quartet Revisited
Label: Ezz-thetics
Released: 2023
Track listing: Short; Sweet / Black Dada Nihilismus; Rosmosis; No. 6 (1964); Rufus 3rd; Mohawk; Banging on the White House; No. 6 (1965); Everything Happens to Me.
Albert Ayler: More Lost Performances Revisited
by Chris May
A state-of-the-art sonic restoration of obscure but historically important Albert Ayler material by Switzerland's ezz-thetics label, which with its parent label, Hat Hut, has been creating an audiophile archive of Ayler recordings with the support of his estate since 1978. All too often, “more" in an album title means “Beware: barrel scraping in ...
Brass Players: Clark Terry, Rob Mazurek and More
by Jerome Wilson
This vintage episode of The Outer View from November 9, 2021, features all brass players, trumpeters, trombonists, and a tuba player. Musicians heard on the program include Clark Terry, Rob Mazurek, Steve Turre, Sarah Wilson, Bob Stewart, and Terence Blanchard. Playlist Henry Theadgill Sextett “I Can't Wait Till I Get Home" from The Complete ...
Henry Threadgill: The Other One
by Giuseppe Segala
Giunto sulla soglia delle ottanta primavere, Henry Threadgill non lascia sbiadire la propria splendida vitalità creativa. Lo ha fatto quest'anno sia con la pubblicazione dell'imperdibile autobiografiaEasily Slip into Another World, che con una nuova realizzazione discografica, The Other One. Pure questa imperdibile, si colloca tra i lavori che lo hanno visto impegnato esclusivamente come ...
John Blum: Nine Rivers
by Mark Corroto
Pianist John Blum's solo Nine Rivers is not so much a hit as it is a HIIT. His music is and has consistently been, to borrow a term from sports, a HIIT workout. HIIT or High Intensity Interval Training is a series of repeated all-out efforts with a brief recover time in between each effort. This ...
Henry Threadgill: The Other One
by John Ephland
Listening to Henry Threadgill's music, the bobbing and weaving doesn't maintain a continuity but can jump from one strand to another, one scene to another, as in a dream. It is tonal and not, just as dreams are, perhaps, rhapsodic or unkempt, the story or plot being as tangible, fungible as a summer breeze.
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