Jazzis Web Shop News 04/2008

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What better to end this month’s additions than a new Israeli Jazz album by one of our best musicians, Albert Beger:

8^th album by Israeli saxophonist Albert Beger recorded with his new quartet, which includes two new members: Aviram Ben Naim on piano and Yoav Zohar on drums. Veteran bassist Gabriel Meyer is still with Beger, the only member of his ensemble who plays with him since the first album recorded twelve years ago. Beger composed and arranged all the music, which is surprisingly much more melodic than his previous recordings. Of course there is plenty of free improvisation, but the musical themes are clearly stated and adhered to. The two new members prove to be a wise choice and play splendidly, creating the strongest version of Beger’s quartet ever. Pianist Ben Naim is an ideal accompanist for the leader, with his beautifully harmonic rapid movement all over the keyboard and Zohar on drums builds up the tension skillfully. Meyer’s steady bass foundation keeps the music on track with taste and apparent superb feel for the music. Beger is a great player; comfortable in any situation the music takes him to, regardless of key, tempo or the complexity of the tunes. His writing is getting better all the time and this new music is definitely his strongest statement to date, as a composer. This album stands proudly shoulder to shoulder with any contemporary Jazz recording from Europe or the US, positioning Beger firmly as a world-class Jazz artists. Brilliant stuff!

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Here are a few new additions on the small UK label Market Square, which are all quite rare and surprising. The next is another little known album by the legendary Curved Air soloist Sonja Kristina:

Following the demise of the legendary band Curved Air in 1976, their soloist Sonja Kristina continued her career as a solo artist, with a few attempted Curved Air reunions over the years. This, her eponymous first solo album, which was recorded with her band Escape, proves that she lost none of her vitality over the years and her magical and unique voice was still at full bloom. Accompanied by a great group of musicians, including her Curved Air partner violinist Darryl Way (who at the time was leading his group Wolf), she delivers a splendid set of songs, some of which include her lyrics. Although the album suffers slightly from the dreadful 1980s production standards, this can be easily put aside in view of her magnetic presence. The bonus tracks are especially interesting, as they include the only single (A/B) recorded by the 1984 Curved Air reunion called “Renegade” and an ultra rare Kristina single from 1985, recorded with the band Tunis. The album is a must have for all Curved Air fans and all people who are mesmerized by Kristina’s unique vocal delivery.

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It’s time to return to the British Jazz albums recorded during the pivotal late 1960s / early 1970s – a favorite subject of mine as everybody knows by now. Here is the next album on the wonderful FMR label, home of great British Jazz and Improvised Music:

British violinist / composer John Mayer invented the fusion between Jazz and traditional Indian music in the 1960s, when he and the brilliant saxophonist Joe Harriott co-led an ensemble, which recorded a series of groundbreaking albums which fused the two musical genres, being one of the pioneers of Jazz-World Fusion. Unfortunately the ensemble ceased to exist when Harriott died tragically in 1973. From that time on Meyer continued his work mainly in the field of Classical music, but by the end of 1990s he formed a new ensemble called Indo-Jazz Fusions and recorded with them a series of superb albums until his death in 2004. This album was unfortunately the last he recorded with this ensemble before he died. The lineup is identical to the one, which recorded the beautiful “INJA”, and again a British Jazz veteran contributes one of the compositions on this album, this time saxophonist Stan Sultzmann. The music is as beautiful and perfect as anything Mayer ever touched - a great example of Jazz-World Fusion and a must for all lovers of cross-cultural inspirations. Mayer’s fans need no further inducement to grab this one ASAP.

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It’s time to return to the British Jazz albums recorded during the pivotal late 1960s / early 1970s – a favorite subject of mine as everybody knows by now. Here is the next album on the wonderful FMR label, home of great British Jazz and Improvised Music:

British saxophonist / composer Mike Osborne was an integral part of the modern Jazz scene in the late 1960s / 1970s, recording numerous albums as member of the most important ensembles at the time, led by Mike Westbrook, Harold Beckett, John Surman and Chris McGregor (Brotherhood Of Breath). He was also the founding member of the momentous saxophone trio SOS with John Surman and Alan Skidmore. A brilliant improviser, he was an absolute master of the alto saxophone with very few contenders. Stylistically Osborne tendencies were always oriented towards Free Jazz and he was one of the great pioneers of the genre in UK. Unfortunately his personal life was deeply disturbed by mental illness, which resulted in time spent on and off in mental institutions. By early 1980s the illness became so severe that he had to be institutionalized for life and never again played music. He died in 2007. Although Osborne recorded quite a few albums as a sideman, his output as leader is very limited. This was his debut session as a leader, which took a lot of persuasion to materialize, as Osborne hated to be in the limelight. Released on the legendary Turtle label (the first album to be recorded for the label, which was actually started to release this album), the album was a rare collector’s item for many years and the reissue is a blessing. The music consists of just two long tracks (which used to be the LP sides), performed by a quintet with Osborne on alto saxophone, Harry Beckett on trumpet, Chris McGregor on piano, Harry Miller on bass and Louis Moholo on drums (the rhythm section of Brotherhood Of Breath). On both tracks the quintet states the theme and then ventures into extended free improvisation passages, with splendid long solos by Osborne and Beckett. The album is a classic example of European Free Jazz, capturing the atmosphere of the era, when music was created because musicians had something to say. Not easy music, but essential to all enthusiasts of the genre and a most important historical document.

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It’s time to return to the British Jazz albums recorded during the pivotal late 1960s / early 1970s – a favorite subject of mine as everybody knows by now. Here is the next album on the wonderful FMR label, home of great British Jazz and Improvised Music:

In complete contrast to the first stage of British saxophonist John Surman’s career, which lasted for about four years (between 1968 and 1971) and was characterized by almost obsessive recording and touring, he decided to “hold his horses” from that point on and record a limited number of albums each year – a modus operandi he adheres to consistently to this very day. 1972 saw the release of just one Surman album, the revolutionary “Westering Home” - a complete solo project. Similarly, 1973 brought us just one Surman album entitled “Morning Glory”, which was also the (collective) name of the group that recorded the album. Consisting of the top players on the British scene it included Surman on soprano saxophone and bass clarinet (note the fact that he does not play here his primary instrument – the baritone saxophone) with Malcolm Griffiths on trombone, Norwegian guitarist Terje Rypdal, John Taylor on acoustic and electric piano, Chris Lawrence on bass and John Marshall on drums. Musically the album is quite surprising, as it marks Surman’s first venture into the field of Jazz-Rock Fusion (under his flag that is). Although the structure of the music is still very free form and the solos tend to float into free improvisational spheres, the guitar, electric piano and the rhythmic patterns are close to Fusion (which was at the peak of its development at the time). One might call this Free-Fusion, but of course labeling this magnificent music is completely senseless. Surman’s solos are, as usual, brilliant but all the musicians contribute more that a fair share to the album’s overall mastery. Originally released on Island, the album was unavailable for many years and having it back in circulation is a marvel. Of course it is an absolute must have for every follower of the British Saxophone Colossus and fan of modern British Jazz. Highly recommended!

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It’s time to return to the British Jazz albums recorded during the pivotal late 1960s / early 1970s – a favorite subject of mine as everybody knows by now. Here is the next album on the wonderful FMR label, home of great British Jazz and Improvised Music:

British saxophone Colossus John Surman was one of the busiest European Jazz musicians in the late 1960s. Between the time he recorded his eponymous debut album as a leader in 1968 and this 1972 recording Surman took part in no less than 45 recording sessions, both as a leader and sideman, recorded in UK, Germany and France. His position at the vortex of the burgeoning European modern Jazz and Improvised Music scene was a catalyst expanding the musical horizons and contributing to the scene’s rapid development by creating new musical discoveries. Surman’s musical fingerprints were all over the music, regardless if his input was just a guest solo appearance or a leading position. His legendary group called simply The Trio (with bassist Barre Phillips and drummer Stu Martin), active between 1969 and 1971, was one of Europe’s most visionary ensembles and its recording legacy stands out as a beacon of European Jazz to this very day. Following this frantic activity Surman decided to take a radical side step and re-evaluate his output and musical approach. The result was this magnificent album, recorded completely solo by Surman by multi-tracking (overdubbing) the instruments (various saxophones, keyboards and percussion instruments) – an extremely bold and innovative approach to recording at that time (Surman will use this same approach in the future). These “conversations with himself” are all deeply personal statements; soul-searching, revealing and contemplative, all exquisitely executed. Baritone and soprano saxophone duels, long solos, shifting rhythms and moods – all the ingredients of great music are here for the listener to absorb and delight in. Surman proves again not only his brilliant technique as a player and composer, but must importantly as an innovator and pioneer of groundbreaking ideas. The album remains to this very day as a milestone of modern European Jazz and one of the great achievements of Surman’s illustrious career. The album was originally released on the Help label – a short-lived subsidiary of Island dedicated to “bizarre” stuff - and unavailable for many years. Great to have it back in circulation. Wholeheartedly recommended.

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It’s time to return to the British Jazz albums recorded during the pivotal late 1960s / early 1970s – a favorite subject of mine as everybody knows by now. Here is the first album on the wonderful FMR label, home of great British Jazz and Improvised Music:

British pianist / composer John Taylor was an integral part of the British modern Jazz revolution in the late 1960s / 1970s and continues to be a dominant figure on the British scene to this day. He was a member of the John Surman’s group and his immense contributions to Surman’s early recordings earned him respect and admiration among his peers and music lovers. He was also a member of Harry Beckett’s group and appears on the first 3 albums Beckett recorded as well as on early albums by Alan Skidmore, Kenny Wheeler, German guitarist Volker Kriegel and many more. Taylor’s brilliant technique and wonderful feel for modern Jazz make him an model for a modern Jazz hero and his incredible work over the years firmly confirms the high hopes he promised during the early days of his career. This album is Taylor’s debut recording as a leader and focuses on his abilities as a composer. Produced by Surman, it was originally released on the legendary Turtle label. The album was recorded by a sextet, which includes Taylor on piano with Kenny Wheeler on trumpet, Chris Pyne on trombone, Stan Sulzmann on alto saxophone, Chris Lawrence on bass and Tony Levin on drums. Surman guests on soprano saxophone as does the divine Norma Winstone, who contributes one vocal track with her lyrics. The music, all written by Taylor, is absolutely amazing. Not only in its melodic and rhythmic structures, but also being amazingly diverse stylistically. Although there are five tracks on the album, two of them are in fact “double treats”, combining two different compositions, resulting in seven original compositions written for this album. Taylor cleverly uses the entire palette of modern Jazz, with the composition ranging is style from serenely melodic to frantically and freely improvised. Of the seven compositions, only one is a piano trio and the rest all feature one of the musicians as a soloist. Surman is featured on the free style piece and his solo there ranks amongst his finest ever. Winstone, as usual, adds her magical siren’s mysticism on the tune that closes the album. Of all the British modern Jazz albums recorded at the time, this one is perhaps the most “perfect” one, encompassing and representing the period and the music it created. All the elements of this enchanting music just come together here in a most sensitive way making the total rise above the sum of the ingredients. Not only do all the musicians play perfectly and the music is impeccable, but also the spirit of adventure and the drive to discovery are omnipresent. I can’t even begin to emphasize how important this album is and how vital it is for every modern Jazz enthusiast to savor and cherish. Beyond essential!

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My recent review of John Bostock’s “Journey To Gythia” is featured on the front page of the Rate Your Music site (http://www.rateyourmusic.com). This is the 8^th of my reviews to be featured on the front page, a rare distinction.

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Following the addition of John Bostock’s fabulous piano solo album a few days ago, here comes his earlier piano trio album, which is as delightful:

Australian born pianist / composer John Bostock has been living in Israel since the late 1980s and by now is an integral part of the local music scene. Although primarily celebrated for his work in the contemporary Classical Music, his ongoing flirt with Jazz has become his second nature by now. Although some Jazz motifs have sneaked here and there into his Classical compositions over the years, this is debut Jazz album. The music was written about a decade prior to the recording, inspired by his trip in Greece. Bostock attempted to record the music shortly after it was written but abandoned the project, obviously not “ready” at the time. His instinct paid off big time, as I can’t imagine a more perfect execution of this music other than what is present on this record. Supported by two marvelous players: Guy Levy on bass and Danny Benedict on drums, this piano trio (my favorite Jazz format) is truly exceptional, bringing immediate associations with Bill Evans being the most obvious, especially in view of the absolute technical brilliance and fluidity of Bostock’s piano playing, the amazing interplay between the trio members and the romantic, lyrical character of the music. The music, all composed by Bostock (except for one standard) is also exceptional. Beautifully melodic and yet full of brilliant ideas and harmonic surprises, seemingly “easy” on the ear but full of unique ideas. In short – a great example of what Jazz is really all about. I must admit that this album shatters one of the “commonly known” cliches: “Classical musicians can’t swing”, as it swings like hell from start to finish. Beautifully recorded (by Yair Nisimov at HaOgen studios – where I recorded many of my productions), with perfect balance between the three instruments, which is so devilishly difficult to achieve, it surely deserves the title of an audiophile recording. I can say with clear conscience that this is one of the best Jazz albums ever recorded in Israel and I can’t wait for the next Bostock piano trio album. Marvelous!

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The fantastic Polish Jazz items (Komeda, Kosz, Urbaniak, Namyslowski, Stanko) are finally back in stock! Almost impossible to get, these will disappear really quickly I suppose, so please don’t delay. Check you Waiting Lists!

To browse Polish Jazz albums, select Browse from the top menu and then Polish Jazz & Fusion from most popular searches.

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Here is the next item in the batch of new additions on the excellent Sunbeam label:

Only album by British duo Fresh Maggots, which consisted of Mick Burgoyne (vocals, lead guitar and assorted instruments) and Leigh Dolphin (acoustic guitar). Basically a Folk-Rock album, but the Psychedelic lead guitar with a heavy fuzz effect turned the effort into an Acid Folk anthem. Although the album disappeared from the shops shortly after its release, in time it achieved a legendary status with collectors paying unearthly prices for a copy. The album was intended to be called “Hatched” originally, but as usual the label (RCA) thought differently and the album was released as self-titled. This reissue puts things right again and by adding some extremely rare bonus tracks expands the original significantly. The music is quite unusual, combining the gentle folk melodies with some intense rock riffs, all in good taste. For British Folk-Rock enthusiasts this is a must have, especially since the music stands the test of time rather well, providing us with yet another opportunity to glimpse on the glorious past.

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Massive re-stocking from small British labels: Sunbeam, Fallout and Dusk Fire. Check you Waiting Lists!

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Here is the next batch of new additions on the excellent Sunbeam label:

2^nd album by Scottish duo Bread, Love And Dreams, which included singer David McNiven, who also wrote most of the material, and female singer Angie Rew. The group started originally as a trio with another female singer Carolyn Davis and they recorded their debut album a year earlier. After Carolyn left to pursue a solo career, the duo engaged in an extensive recording project, which produced enough material for a double album. Unfortunately the record label (Decca) refused to issue a double album (originally intended to be called “Mother Earth”) and as a result the first of the two was released under this title, taken from the title of the epic song included on the album, and the second a few month later as “Amaryllis”. The duo was lucky to have some great musicians taking part in the recording sessions, namely Pentangle’s rhythm section of Danny Thompson on bass and Terry Cox on drums, as well as saxophonist Dick Heckstall-Smith from Colosseum. Some of the songs were also beautifully arranged and orchestrated. The resulting music is a prime example of British Folk-Rock with some Psychedelic influences as well. Although the original albums sold poorly at the time they were released, in time they achieved a legendary status among British Folk-Rock enthusiast and became rare collectors’ items. Having them back in circulation is a long-awaited dream come true and no Acid Folk fan can call his collection complete without these two albums.

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Massive re-stocking from small British labels: Sunbeam, Fallout and Dusk Fire. Check you Waiting Lists!

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