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Albert Ayler: New York Eye and Ear Control
by Clifford Allen
Even in a form of music as decidedly left-of-center as “free jazz," a canon of musicians and works has been built. This canon is essentially based upon easily-obtainable recordings rather than a history that falls to documents, primary sources and musical meetings that went commercially unrecorded. A case in point: American creative large ensembles of the ...
Ornette Coleman: Ornette Coleman Town Hall, 1962
by Lyn Horton
Ornette Coleman's theory of harmolodics set a standard for improvised music that is unrivaled. Coleman closed the synaptic gap between the conception and implementation of the musical idea so that spawning the music became a conjugation of the harmonic relationships that live within it. The ESP-Disk re-release of Ornette Coleman Town Hall, 1962 brings the music ...
Paul Bley Trio: Closer
by Jerry D'Souza
Pianist Paul Bley is an innovator whose imagination eclipses the norm. He never wavers from a challenge and there is always an air of expectancy each time Bley sits at the piano. He is comfortable in any setting and his music has been shaped by several peers. Among them were Sonny Rollins, Carla Bley, Jimmy Giuffre, ...
Frank Lowe: Black Beings
by Jerry D'Souza
The age of the LP was often one of compromise for jazz musicians. Given the restrictions on playing time, recordings had to be edited to fit. This meant a loss of ideas and of development with the truncated versions being shadows of the whole. The emergence of the CD has seen the revival of music with ...
Paul Bley: Closer
by Lyn Horton
Piano music has various personalities. It can be extroverted, jamming and far-reaching. It can be self-referential and have form that evolves only as it is played. It can be rigorously confined to form and fit well within conventional or traditional labels that have been assigned to it. Or it can be introverted and mindful, and beg ...
Burton Greene: Bloom in the Commune
by Marc Medwin
In one of the interviews that flesh out this new reissue, pianist Burton Greene states that while he doesn't often listen to a record once it's done, his first date for ESP sounds quite fresh. Bloom in the Commune (originally released simply as Quartet but now retitled via the first track of the original B side) ...
Burton Greene: Bloom in the Commune
by Lyn Horton
How cultural history impacts present practice is a part of a recurring cycle of reminders. Because those who have lived that history continually refresh it, its renewed view in coincidence with our exposure to it collapses time. And then we all become one, moving through now as we moved then but in, perhaps, different global circumstances. ...
New York Art Quartet: New York Art Quartet
by Clifford Allen
Alto saxophonist John Tchicai co-formed the New York Art Quartet in 1964 out of the ashes of the New York Contemporary Five. Enlisting trombonist Roswell Rudd (who arranged some of the latter group's book), the NYAQ was initially to include the Five's rhythm team of bassist Don Moore and drummer J.C. Moses. However, once drummer Milford ...
Billie Holiday: Billie Holiday: Rare Live Recordings 1934-1959
by Lyn Horton
The mystique associated with musical artists who have passed away often preoccupies those who continue to maintain an avid interest in the past of those musicians. A question to ask though is: how can anyone possibly know the internal perils and joys of these intriguing artistic beings? No matter how much research is done or how ...
Lester Young: Live at Birdland
by Graham L. Flanagan
Whenever a label decides to blow the dust off of a live Lester Young recording, the results are unlikely to disappoint. Such is the case with Live at Birdland, which fits on one disc three different live radio broadcasts. The first of the three sets was recorded January 15, 1953 and broadcast on ...
