Jazzis Web Shop News 01/2007

A great Prog album added today, one that is unfortunately out of print most of the time... as usual for corporate bullsh*t reasons... grab it while you can:

IT`S A BEAUTIFUL DAY ~ AT CARNEGIE HALL
COLUMBIA 480970 (Barcode: 5099748097026) ~ USA ~ Progressive Rock
Recorded: 1972 Released: 1995
4th album by this short-lived legendary San Francisco band. Recorded at the NYC most prestigious venue the band was at its peak at the time supporting their 3rd studio album (Choice Quality Stuff / Anytime). Leader and violin player David LaFlamme plays some amazing improvisations supported by a group of excellent musicians, including future Frank Zappa bassist Tom Fowler. The material includes only one track from the third album and a few of earlier hits (including the legendary "White Bird"). The rest of the material is new and this is the only album it was ever released on. The group made a formidable transition from their early Psychedelic days into a full-blown Prog band by the time this music was recorded, with strong jazzy and world music influences. Shortly after this recording the group started to disintegrate and the leader left to start a solo career. This is an excellent document of this fruitful era and one of the best live albums ever recorded. Essential item in any serious collection of 1970s music.

https://www.jazzis.com/shop/default.asp?item=102197

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The last (for the while) of the new South American items added today, the long unavailable debut Tempus Fugit album:

TEMPUS FUGIT ~ TALES FROM A FORGOTTEN WORLD (EXTENDED EDITION)
MASQUE 0406 ~ BRAZIL ~ Progressive Rock
Recorded: 1993 - 1997 Released: 2006
1st album by the Brazilian Prog band Tempus Fugit took the Prog wold by surprise, as it was a superbly written and executed worthy of a veteran band and not a newcomer. Heavily influenced by classic Italian bands (PFM and others) as well as British Prog (Marillion, Yes, etc.) this is a beautifully lyrical album, full of outstanding melodies and long epic themes. The guitar and keyboards provide rich and colorful sonic textures and the vocals (in English), although sparse, are also well suited to the entire musical fabric. Fans of Symphonic Prog will be delighted by this masterpiece from start to finish. The Extended editions add two demo tracks from 1993, previously unreleased. Most warmly recommended!

https://www.jazzis.com/shop/default.asp?item=102195

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One more Chilean beauty added today, this time a Fusion one:

EVOLUCION ~ UMBRALES
MYLODON 040 (Barcode: 3426300046413) ~ CHILE ~ Jazz-Rock Fusion
Recorded: 2006 Released: 2006
2nd album by this excellent Chilean Prog and Fusion band. Active sine the early 1980s, Evolucion started as a Prog band and played music based on the genre's classic period. For many years they didn't manage to record an album and it took 20 years to get their debut out, which collects their recorded output in the 1980s. This album is however completely new, presenting the current lineup of the band and an almost complete change of style from Prog to Fusion. The level of musicianship displayed by the band is truly astounding, especially the virtuoso guitar player Fernando Bravo, who could be very easily mistaken as being Allan Holdsworth in the flesh. The all-instrumental music is very good as well, mostly up-tempo but a couple of beautifully melodic ballads sneak in as well. A superb Fusion album which should be thoroughly enjoyed by any fan of the genre.

https://www.jazzis.com/shop/default.asp?item=102193

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As promised, here is another South American Prog release which was added today:

SUPAY ~ CONFUSION
MYLODON 022 (Barcode: 3426300046345) ~ PERU ~ Progressive Rock
Recorded: 2003 Released: 2006
1st album by this very interesting Prog band form Peru. The band includes the usual guitar / keyboards / bass / drums lineup but this is supplemented by two woodwind players who play a myriad of traditional Andean instruments like quena, quenacho, zampona, bastos, tarca, toyo, maltas and chachas - if these names mean nothing to you, they are different kinds of Andean flutes. The overall sound is pretty impressive and the all-instrumental music exhibits a superb amalgam of Prog and ethnic elements. The seven compositions present here are quite different from each other and there is no danger of boredom on the horizon. This is a very impressive debut indeed, which will hopefully be followed by a new release soon. Recommended to all Prog lovers, who are open enough to step outside the symphonic MOR.

https://www.jazzis.com/shop/default.asp?item=102191

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In the next few days I'll be adding a bunch of new South American Prog beauties for all of you to enjoy. Here is the first of these:

AKINETÓN RETARD ~ 21 CANAPÉS
MYLODON 014 (Barcode: 4011222210258) ~ CHILE ~ Progressive Rock
Recorded: 1998 - 2003 Released: 2003
3rd album by this sensational Prog / RIO band from Chile. Quite an unusual album (even for them) as it collects (as the title suggests) 21 short pieces of music, most between 1 and 2 minutes long, which were originally written as background music for 3 theatre performances staged in 1998, 1999 and 2003. It is not stated on the album if the music was recorded at these respective dates (I assume so) or is a re-recording of all these pieces done in 2003 (there is one additional piece dated 2000). Regardless of this little confusion, the music is overall absolutely brilliant, as is everything else they ever recorded. The jazz undertones created by the two sax players in the group and the unusual melody lines take the listener to uncharted territory, which is always a good thing. The earlier influences of King Crimson and Zappa are less evident here, which means the group arrived at a point where they have their own unique tonal language well in place. The album differs also from their other output by being more acoustic (using guest musicians playing violin and cello or even vocals for example) and atmospheric at times, which is surely a result of the music being written for theatre. If one disregards all the background information, this album can be regarded as a beautiful example of contemporary "minimal music", as good as anything created earlier in this genre. Essentially brilliant!

https://www.jazzis.com/shop/default.asp?item=102189

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Today's addition is one of the greatest albums ever recorded:

COLTRANE, JOHN ~ THE COMPLETE 1961 VILLAGE VANGUARD RECORDINGS
IMPULSE! 232 (Barcode: 011105023221) ~ USA ~ Jazz
Recorded: 1961 Released: 1997
When this music was recorded in November of 1961 I was only 10 years old and yet it changed my life forever. Living in (Socialist) Poland, my access to contemporary (at the time) jazz originating in the US was pretty limited and the only beacon of light was the daily Willis Conover's radio jazz program on Voice Of America, beamed from across the Iron Curtain. Millions of Eastern European listeners would risk freedom (listening to VOA was a criminal act then) to gain freedom, myself included. These broadcasts changed the life of countless people and particularly in Poland would eventually be a dominant factor in the process of forming a burgeoning and extremely fruitful local jazz scene. Many hours of my early childhood were spent with myself standing on a conductor's podium (e sledge), in front of an imaginary orchestra playing inside the enormous radio (a pre WW II antique). Since classical music was less censored and sponsored by the Establishment, it was there for us to enjoy most of it of very high quality. I remember listening for hours at end to the annual Chopin competition, which was Poland's most prestigious music event, getting to know his music inside out before I even knew anything about him. My Mother encouraged my "conducting" aspirations warmly, supplementing them with occasional background information. But the discovery of jazz and its strange convoluting patterns and unfamiliar rhythms was a revelation. I just couldn't get enough of it and every new artist or piece of music was an instant bliss. By the time I was about to hear Coltrane for the first time I was already familiar with the music of Ellington, Basie, Parker and Gillespie (thanks to Mr. Conover). Conover, in contrast to many of his peers (who were stuck in be-bop or some earlier jazz sub-genre for the rest of their lives), was remarkably open-minded and understood the genius of Coltrane and his visionary contribution to the development of the Jazz Art form. He therefore featured every new Coltrane album as soon as it was released. So here I was, 10 years old, some time in early 1962, listening to the Village Vanguard sessions - an experience equivalent to a 10,000 Volts electricity shock. My life would definitely be never the same again. I hope these personal reminiscences don't put you off too much, but I just couldn't resist the temptation. Taking the time-travel express to now here are my comments about this music from a "45 years later" point of view. In 1961 Coltrane left Atlantic (his second label, Prestige being the first) and signed a contract with Impulse!, the new and ambitious jazz label run by producer Bob Thiele, where he would stay for the rest of his life. Coltrane was already following a path (mostly subconsciously) which would lead him to the edge of the known jazz explorations and beyond. His monumental Atlantic albums like Giant Steps and My Favorite Things were just a glimpse of things to come. Coltrane felt that Thiele would allow him to speed up the process of reaching the quest of musical enlightenment by allowing him total artistic freedom and supporting him all the way and he was of course right. The extensive volume of music recorded for Impulse! in the span of almost 7 years right up to his death would become the most important musical legacy of the 20th Century, so innovative and groundbreaking that it is still a mystery to many contemporary listeners and musicologists today. Coltrane's first recording for Impulse! (in the spring of 1961) would be the Africa / Brass sessions, an ambitious project involving a large ensemble of the most gifted players on the scene (Freddie Hubbard, Booker Little, Eric Dolphy and many others) - see The Complete Africa / Brass Sessions album, another essential Coltrane release. These sessions introduce several new elements in Coltrane's music, like Far-Eastern motifs, African rhythms and other ethnic influences. In November of 1961 Thiele decided to record Coltrane live, using the 4 nights booking at the NY club The Village Vanguard (where many jazz albums were recorded live) for this purpose. The booking was for a John Coltrane Quintet and it was only natural that the Quintet would include Eric Dolphy, whom Coltrane knew, respected and played with earlier. The legendary Quartet (with McCoy Tyner, Jimmy Garrison and Elvin Jones) was not entirely crystallized at the time, so Coltrane and Thiele decided to expand the line-up (on some takes) to include an oud player (Ahmed Abdul-Malik) and alternative bassist (Reggie Workman) and drummer (Roy Haynes). Since this music was recorded for a future release Thiele (as any produce would do) recorded several takes of each tune, some with an alternating line-up. This 4CDs box set includes all the music that was recorded during these four days (mind you not all the music that was played, as some of it was not recorded hence the "complete" being not entirely true) in the exact order it was recorded. This music was to be released later on two albums (Live At The Village Vanguard and The Other Village Vanguard Tapes) as well as parts of other albums (Impressions) and collections. Collected here together for the first time, this is a monumental piece of jazz history and an unforgettable musical experience. Coltrane's circular breathing technique and his "wall of sound" approach are clearly evident here for the first time in their full glory. The comparison of the different versions of the same tunes are both fundamental and clairvoyant examples of the "one time experience" that every jazz performance essentially is. The power, the vision, the super-human strength of will of the Master and Profit (please excuse the almost religious references) that Coltrane was, are here for us, his disciples, to discover, study, revere and bequest to future generations. This box set is something one has in one's record collection for life. It is not only timeless, but also constantly evolving in parallel to one's private (musical) evolution. Listening to it time after time (especially after a long period of abstention) will be revealing and constantly surprising. It is a superb example of great Art, which keeps alive for eternity, adopting itself to the changing cultural surroundings, and therefore being truly eternal. I can't imagine anybody, who calls himself a music lover, not owning this music, as naive as this might sound, since I believe there is something in it for everybody. Beyond essential!

https://www.jazzis.com/shop/default.asp?item=102187

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Have a great weekend and celebrate life.

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Here is the second Japanese mini-sleeve edition of David Bowie. Please remember these editions come in extremely limited quantities, so they will be sold out very quickly. I have only these two for the time being:

BOWIE, DAVID ~ THE RISE AND FALL OF ZIGGY STARDUST AND THE SPIDERS FROM MARS
EMI JAPAN 70144 (Barcode: 4988006849808) ~ UK ~ Classic Rock
Recorded: 1972 Released: 2007
5th album and one of the Rock's all time most famous (and most hyped) icons. Following the release of two albums with his band (The Man Who Sold The World and Hunky Dory), Bowie began working on a concept album involving an androgynous bisexual rock star from outer space. He named his band (which included guitarist Mick Ronson, bassist Trevor Bolder and drummer Mick Woodmansey) The Spiders From Mars and he himself adopted the name Ziggy Stardust. The resulting album soon turned into an immediate success, based on the created hype and supporting tour of concerts, which Bowie skillfully used to perfect his incredibly strong on-stage personality. The hype spilled over to the US and Bowie became a world class star soon after. The music, very innovative at the time, mixes elements of Rock and theatrical drama, creating a genre that is all Bowie. The album still sounds very strong 35 years later, including the timeless Rock classics like Starman or Ziggy Stardust. A classic!
Limited Edition

https://www.jazzis.com/shop/default.asp?item=102185

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Today's addition is another album by the great Johnny Winter, which completes his early discography:

WINTER, JOHNNY ~ STILL ALIVE AND WELL
COLUMBIA 472767 (Barcode: 5099747276729) ~ USA ~ Blues-Rock
Recorded: 1973 Released: 1997
5th album, recorded almost two years after his last live album with And. The grueling and exhausting touring schedule resulted (same as with so many of his peers) in drug related problems, which would haunt Winter for many years to come. On this album, his most successful commercially, Winter returns to the basic trio format, but gets help from a host of guest appearances by such distinguished musicians as Rick Derringer on guitar, jazz flautists Jeremy Steig and Todd Rundgren on Mellotron. The material is the usual mixture of rock and blues masterfully executed and perfect in every respect. There are just no dull moments here and many Winter's fans regard this album as his strongest, although many others prefer his later, more blues oriented releases. A perfectly well preserved glimpse of the era, most warmly recommended!

https://www.jazzis.com/shop/default.asp?item=102183

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Time to spice the new additions with some excellent blues-rock titles by the master of the trade Mr. Johnny Winter. Here is the first of them:

WINTER, JOHNNY ~ AND
COLUMBIA 472769 (Barcode: 5099747276927) ~ USA ~ Blues-Rock
Recorded: 1970 Released: 2001
3rd album, which was recorded by a new band Winter formed with ex-McCoys members, including the guitarist / singer / songwriter Rick Derringer, who was to be Winter's associate for many years. The new quartet had a rockier sound, based on guitar and vocal duets. Still strongly rooted in the blues legacy, this is one of the strongest examples of early Southern Rock (see Allman Brothers). Derringer contributes some notable songs, which are rockier than the traditional Winter material and the bland of tunes works perfectly. Winter's guitar pyrotechnics are of course the highlight time after time, but the entire album is just a superb trip down the memory lane, when everything just sounded right. Edgar Winter, Johnny's brother and future band member helped with the excellent production. Just listen to the track "Nothing Left", where Winter plays in similar fashion to Jimmy Hendrix, in order to appreciate his guitar playing skills. As excellent as this album is, it was to be overshadowed by the bands live performances of some of these songs captured on the next album.

https://www.jazzis.com/shop/default.asp?item=102181

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Great weekend everybody!

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I finally managed (mind you this took a few years) to lay my hands on the follwing beauty added today:

WEATHER REPORT ~ LIVE IN TOKYO
COLUMBIA 489208 (Barcode: 5099748920829) ~ USA ~ Jazz-Rock Fusion
Recorded: 1972 Released: 2001
Following the release of their eponymous album in 1971 and in spite of the hype and show-biz brouhaha created by Columbia at the time, which presented WR as the first ever jazz super group (a term already used in reference to rock acts), the band found it difficult to secure any US venues to perform live. Europe and Japan of course couldn't get enough of them and WR spent most of 1971 performing there in front of ecstatic audiences. In November of 1971 WR entered the NYC CBS studios to record material for their second album. These sessions were interrupted by another Japanese tour, during which this legendary album was recorded on January 13, 1972. The music was released as a double LP immediately, but due to the usual corporate bullsh*t the release was intended for the Japanese market only, and it stayed this way for almost thirty years (it was released finally on CD in Europe in 2001), making the album unobtainable to most WR fans outside Japan. Well, not entirely, as heavily edited excerpts of this recording found their way to the B side of the 2nd official WR album I Sing The Body Electric, which included the a.m. November studio recordings as side A - all this probably due to the fact that Columbia was anxious to have the next WR album out ASAP and didn't want to wait for the more studio recordings. So much for the background and now for the music. As usual with WR, the personnel changes started already at this early stage and in the cause of the very few months since the recording of the debut album the original WR drummer Alphonse Mouzon was replaced by Eric Gravatt and original percussionist Airto Moreira was replaced by another Brazilian Master Don Um Romao. More importantly however, the music of the band changed also quite dramatically. The debut album was an all-acoustic affair and here we have Zawinul using electric piano, modulators and other electronic devices, which eventually would dominate the WR sound. The overall sound is now almost
 identical to the Miles Davis In A Silent Way / Bitches Brew sessions, with the intensity equal to the legendary Miles' Fillmore concerts. The music is presented in a form of four extended medleys (the longest of which lasts for over 26 minutes), mixing expanded versions of compositions present on the debut album with those recorded during the a.m. November sessions and yet others that appear only here. The group improvisations and the telepathic interplay are fearfully intense. Vitous bravely provides the steady pulsation, which cements the basis on which his companions embark into their sonic ventures. Gravatt is all over the rhythmic patterns and Romao brilliantly fills the spaces. WR strength was always in their live performances, since their studio efforts somehow lacked much of the spontaneity, drive, inspiration and vigor present on stage. This recording, in addition to its heavenly contents, has also a tremendous historic value, as it is the only one in existence documenting the early (and to many the most interesting) stage of the band. It also provides the wonderful introspective peek at the most interesting (regardless of genre) period in the history of 20th Century music, during the convoluted period where all boundaries seemed to be irrelevant and the unexpected was expected. There would be very few moments in the tears that followed that either WR or any other band for that matter would reach the same level of creative genius or performance intensity. Absolutely essential!

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https://www.jazzis.com/shop/default.asp?item=102179

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