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Graham Collier: Hoarded Dreams
by Roger Farbey
A fanfare of trumpets launches this most exciting but hard-to-describe live recording into its own orbit of jazz. It's part Charles Mingus, part Sun Ra, part Duke Ellington, part Carla Bley, but all original, captivating the listener's attention immediately and not letting go. Following the frenetic opening of “Part 1 and a relatively frenetic opening to ...
Workpoints
Label: Cuneiform Records
Released: 2006
Track listing: CD1: Deep Dark Blue Centre; The Barley Mow; Workpoints Part One; Workpoints Part Two;
Workpoints Part Three; Workpoints Part Four. CD2: Little Ben; Under the Pier; Darius Part one;
Darius Part Three; Darius Part Four; Darius Part One Reprise; Clear Moon; Mackerel Sky.
Graham Collier: Workpoints
by Peter Aaron
While leading figures like George Shearing, John McLaughlin, Evan Parker and Derek Bailey have long been revered, many pundits still greet the topic of early British jazz with a smirk and a wink--no doubt due to the high profiles of hokey Dixieland revivalists like Chris Barber and Acker Bilk. But thanks to a spate of new ...
Workpoints
Label: Cuneiform Records
Released: 2005
Track listing: Disc One: Deep Dark Blue Centre; The Barley Mow; Workpoints Part One; Workpoints Part
Two; Workpoints Part Three; Workpoints Part Four. Disc Two: Little Ben; Under the Pier;
Darius Part One; Darius Part Three; Darius Part Four; Darius Part One Reprise; Clear Moon;
Mackarel Sky.
Graham Collier: Workpoints
by Nic Jones
With the often dubious benefit of hindsight it's possible to see bassist/composer/bandleader Graham Collier as something of a catalyst in the British jazz scene of the late 1960s and 1970s. The two discs here certainly lend substance to that impression, bringing together two different bands, with only Collier himself and trumpeter/flugelhornist Harry Beckett common to both, ...
Graham Collier: Workpoints
by Jerry D'Souza
Graham Collier's emergence in the sixties heralded the presence of a jazz musician with a fertile and unbridled imagination. His voice was adventurous and provoking, and it helped underline the fact that jazz in Britain was setting a tone of its own. When the Arts Council of Britain commissioned its first work for jazz, the honour ...
Graham Collier: Workpoints
by John Kelman
As British jazz entered the '60s, it began developing its own complexion. While still unquestionably indebted to the American roots that dominated prior decades, it acquired a more defined aesthetic that combined improvisation and composition in ways which were far removed from the earlier blues and American Songbook sources, yet it still remained rooted in basic ...
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