Dec 16, 2014

Attention: Bob James' 1970's CTI Fusion Albums Officially Do Not Stink

On the contrary, not only do Bob James' 70's Fusion albums not stink, they are actually some of the best arranged jazz funk you will ever hear.

These albums are not at all lite jazz, or gasp, smooth jazz. These albums are well produced yes, but have plenty of improvisatory heat, and plenty of challenging arrangements.

I must say right away, I never fell victim to the I hate Bob James Fan club. Sure, some of his later albums are smooth to the point that very little fire is left in the music. But these CTI albums I am talking about, numbered 1 through 3 are masterpieces of bass grooving, tightly arranged jazz funk.

 Lots of fantastic 70's detective thriller music styles thrown in for good measure. I try not to get caught up in the genre box, I don't care if this music isn't classic jazz. It's just plain old good music to my ears.

It also doesn't hurt when Grover Washington Jr's tenor Sax permeates these albums as well.

Bob James One:


The first volume, One from 1974, features 2 of the best Bob James tracks, "Nautilus" and "Valley of the Shadows". The former being covered by so many hip-hop artists it's incredible.

"Nautilus" has been sampled by artists like Run DMC on "Beats to the Rhyme", and by "A Tribe Called Quest" on "Clap Your Hands". At least  20 more sampled versions are available. The track "Valley of the Shadows" is a track that should be sampled, just love the build up of tension and then the release on that one.

Bob also had a charting pop hit with the track "Feel Like Making Love".

If Bob James was no good, why would so many people sample the music?

The main detractors of the music, are the same narrow minded jazz elitists who can't seem to remove this and other fusion music from the jazz box.

 I have never understood the reason why those critics can't just despise the music without making sure everyone knows it ain't jazz.

OK, we get it guys. I don't care that it's not jazz, just like I never cared that Miles Davis' electric period wasn't jazz proper either.

 Seems like a lot of wasted energy worrying about what genre something is, just call it fusion if you need a label. The listener can decide on their own what genres are being fused
together.


Bob James Two:


1975's Two is another fine fusion album to follow up One. Two features another widely sampled track "Take me to the Mardi Gras", a track sampled by the Beastie Boys on their album Licensed to Ill, and by LL Cool J on his album Radio.

The funny thing is, "Mardi Gras" is probably my least favorite track on the album. The second track is a really nice r&b vocal track by Patti Austin, honestly this track is pretty darned good for the genre.

"The Golden Apple" and "Farandole" are the ringers here for me, I like the 70's detective thriller music style.

Both tracks have that Lalo Schifrin soundtrack music vibe. Bass funk grooves, electric piano noodling, and heavy brass punctuation in the back drop. Some tasty guitar from Eric Gale as well throughout the track as well.

Then at the 4 minute mark of "Farandole", Hubert Laws chimes in with a nice flute solo melody that almost takes you to the land of milk and honey, only to have the street wise vibe return you to the concrete jungle sound, with that funked out brass heavy sound.


Bob James Three:

I think over the past 20 years, Three has become my favorite Bob James albums. Even though the first 2 would be a very close second, I feel like Three is the pinnacle of the style being searched for on the previous 2 albums.

Some of the numbers here reach out and grab me. "One Mint Julip" West Chester Lady", and "Storm King".  "One Mint Julip, a cover of a 1952 r&b classic written by Rudy Toombs, is a funky big band work out, with many ups and downs.

I never get bored listening to these albums, the melodies and catchy instrumental hooks keep you interested. If you don't like the Fender Rhodes piano or funky bouncin' bass, you won't find much to savor on these albums.

In the end the music does sound dated a bit, it's firmly etched in the decade of the 1970's.  I do not have an issue with that at all, that adds to the charm of the music in my mind.

You can can get all 3 of Bob James' First CTI albums at very reasonable prices on vinyl, and you can can get them on CD or Download of course.

The double disc Restoration: The Best of Bob James is a great way to acquire the most important stuff from this era, but a lot of post 1980 music comprises disc 2, and it's just a different vibe all together.

I would say it's a good idea to get the original vinyl copies or CD's anyway, as almost all of the music is worth repeated listens.



All LP Cover and Label photos my own.

Dec 1, 2014

John Coltrane's Giant Steps: My Favorite Tributes to the Saxophone Classic

Any saxophonist since 1960 has had to come to grips with Coltrane, much like Coltrane himself had learn from Charlie Parker.

Really, even now, 54 years later the track "Giant Steps" sounds like a Herculean effort. Trane, using his previously developed Coltrane changes to indeed create a literal GIANT STEP with "Giant Steps".

I do not have a background in music theory, I am not a formally trained musician. I don't approach music listening in that way either, I like the music or I don't.  I have been blessed with an inquiring ear so to speak, I like learning and acquiring a taste for different musics that other people seem to shun.

Giant Steps is one of those jazz war horses that is probably overdone to the point of it being an eye rolling experience. Probably like hearing a rock n roll cover band playing yet another rendition of Deep Purple's "Smoke on the Water". Though I can attest, it is infinitely easier to play that on a guitar than "Giant Steps".

Below I have included a few takes on the Coltrane classic. I particular like the David Murray version, nearly 14 minutes of fun. Murray stretches out remarkably on the track.

A different small group Buddy Rich version with Sonny Fortune on Tenor is also fun. Woody Herman's 70's funky big band also takes a turn I rather Like.

Kenny Garrett does his best on alto in a trio setting that seems tame on the album to say the least, but this live version below nearly tears the paint off the wall. Over the years this version from 1995 has grown on me, Garrett is my favorite of the post Jackie McLean alto players.

Kenny seems almost shy at the start, perhaps showing respect, then Jeff Watts nearly blasts off into outer-space, what a great drummer he is!





May 19, 2014

Chick Corea Complete Is Sessions on Vinyl: Is and Sundance on Solid State and Groove Merchant

Both of these albums from Chick Corea that comprise the Complete "Is" Sessions are treated barely as an afterthought in the All Music Guide.

The review site does at least give favorable marks for the Blue Note compilation. Though, one wonders what happened between the original vinyl releases and the compiling of the 2002 reissue, why now do they like this?

I will tell you right now, both of these sessions from 1969 "Is" and Sundance are both absolute must haves if you are an avid post bop fan.

I marvel at the freshness of the 45 year old music, just 4 years after the second great quintet of Miles Davis presided over the Plugged Nickel, and only 4 years after the Coltrane quartet disbanded, this music was created. Again, 45 years old is this music!

Chick Corea brings together a very interesting melange of free jazz, modal jazz, and electronic jazz to the preceding, just a hint of jazz rock only.

I love Corea's use of Fender Rhodes electric piano on both albums, especially the free stuff, I don't remember electric piano on too many free jazz albums, has Cecil Taylor ever went that route? Oh Man I would have to hear that!

The track "Song of the Wind" on Sundance reminds me of a Benny Golson tune, maybe Killer Joe would be a good way to describe it. 

You have Hubert Laws playing his flute and Horace Arnold on skins, and the massively underrated Woody Shaw on trumpet, can't believe All Music give this a star and 1/2, crazy!

The Solid State Records release Is is much freer and pushes things out to the Andrew Hill Grachan Moncur III side of the spectrum.  Definitely a notch further OUT than say for example the typical Blue Note release at the time.

"Jamala" from Is will surely wake you up to the fact we have some serious free jazz going on here, lots of over blowing atonal stuff, perfect! Benny Maupin is insane on this release, "you do realize Maupin is insanely underrated right?"

How could someone play on this track "Jamala" and sound convincing on tenor, then play on albums like his own Slow Traffic to the Right?

Can't say enough about Bennie, bass clarinet on Miles' Bitches Brew, and more Tenor on Lee Morgan's Live at the Lighthouse, just a player when I see his name, it's gonna be good.

Complete Is Sessions

Dave Holland provides his usual solid bass on both sessions, again these guys could do it all, think about it, they were recording groundbreaking stuff with Miles like Bitches Brew and In A silent Way, then wood shedding this stuff?

 An amazing time to have lived, I wonder if Chick thinks back with a big smile thinking about that? There sure as hell doesn't seem to be any Miles' around right now in jazz.

The bully pulpit seems to be filled with neo-conservatives who like the safety of what they're familiar with.

Seems like all the music to be discovered has already been played, I know that's not true, actually European bands like Jaga Jazzist keep me on my toes, when I think no one has anything fresh to say.

I went ahead and included both of these vinyl copy LP covers for Is and Sundance for this post, but I am listening to the Complete "Is" Sessions CD's through my iPod as I write this. Truthfully I can't complain with the sound, sound is on par with the vinyl.

 You can get the download pretty cheap on Amazon, but if you need physical copies, the vinyl might actually be cheaper than this double CD.

Like I mentioned above, if you are a post bop/free jazz nut you need this, also fans of Woody Shaw, Bennie Maupin, and Horace Arnold should really have this music one way or another. If you are iffy on the free jazz stuff, stick with Sundance, and let Is go by for another day.






May 13, 2014

Swingin' Latin Style With Stan Kenton's Orchestra

One of the Early complaints about Stan's first forays into Latin Music was it wasn't authentic enough.

Stan say in the Artistry in Rhythm DVD, something was always missing. Time signatures, or rhythm styles would be just enough of kilter to disappoint those who expected more.

Miles Davis once said: "You couldn't play black music if you weren't black." I suspect Latin music would be much the same. The authenticity is what you need, the deep down in the heart of it folk music, what drives and inspires you side of it.

For example I can only think of a few white blues guitarists that played like the great black players, Stevie Ray Vaughan is one, and another is Johnny Winter. I have grown to really dig Winter over the years, pretty authentic sounding blues guitar.

 I always thought the British guitarists were missing something on that side of it, great guitarists no doubt, but Vaughan and Winter were closer to the source I think, their vibrato and phrasing is more authentic, maybe I am splitting hairs?

Sort of like they are able to tap into a feeling, the emotion that is so elusive for the British players "IS" within them.  So I get it, the need for the real deal feeling when playing any folk music, Kenton's Cuban music was no different.

I also realized Miles was talking about the life experiences of the Black man. Jim Crow in full swing, and civil rights just a hope in the hearts of those concerned. Miles meant those white guys couldn't play black music authentically because they didn't experience the same things blacks did. I suppose Stan was having the same issues with Cuban music?

I think over the years, as other races inter mingled and gained empathy for one another, along with respecting each others musically, they were able to at least put on the shoes of the other guy to some extent.

Stan Kenton certainly did not share much in common with the Latin musicians in and around New York City Circa 1950, but Stan was wise enough to listen to those people who always complained that his first attempts at Cuban infused orchestra music weren't authentic.

The best thing that ever happened to Stan Kenton in my opinion was when arranger Johnny Richards teamed up with Stan. Richards, a Mexican immigrant and influenced by Duke Ellington, was asked by Stan to create an authentic Latin suite that would satisfy those Latin musicians in New York.

Cuban Fire (1956) might be the greatest Kenton album, and may just be the most important and influential Latin big band album ever made. Cuban Fire was so well received, that Richards was offered and accepted a contract to lead his own band and record for Bethlehem Records.


Richards went on to record some of his own classics, like Wide Range and Rites of Diablo, Johnny is one of the real underrated band leaders of all time.

Kenton nearly matched the success of Cuban Fire with Viva Kenton in 1959, and Artistry in Bossa Nova from 1963, both expanding on the authentic world music vibe that Kenton discovered.

Funny isn't it, how Kenton has the reputation of not swinging? I don't know about you, but you can't swing too much harder than Cuban Fire in my mind, I guess swinging is in the ear of the hearer.

I can't think of much after 1956 that I have heard from Kenton that didn't swing,  sure he wasn't swingin' like a mother, like Buddy Rich was in the 60's..... But his music has always been enjoyable to me.

These pictured vinyl copies can be found on eBay in near mint condition for 10 dollars a piece if you shop around, you can always find nice playing Kenton LP lots for sale at good prices.





Mar 31, 2014

Psychedelic Free Jazz: Pharoah Sanders' Karma

Pharoah Sanders was born on October 13, 1940 under the name Ferrell Sanders in Little Rock Arkansas.

 Karma is an album that found a big audience on college radio in the late 60's, with their willingness to play full length album tracks.

Miles Davis also benefited from this young open minded audience with his jazz rock masterpiece Bitches Brew.

Karma is one of my favorite all time jazz albums period, Vocalist Leon Thomas who is also an acquired taste with his nasally yodeling approach, is the perfect foil for Sanders fiery balls to the wall playing.

Karma  is basically one track, "The Creator has a Master Plan":  The track is a 32 minute opus with a smooth droning bass line and Thomas' friendly yodeling. When Sanders's upper register howls and grunts enter, they prove to be very startling, yet ultimately exhilarating.

 This is a powerful album with a hippie, almost psychedelic feel to it, yet it is a free jazz album. Creator is a long journey, offering mellow meditation and contemplation, peaceful really until... Enter Pharoah Sanders.

 Pharoah reminds you that this is indeed the late 60's, Dr.King and the Kennedy's have been killed and those with non white skin haven't exactly received their piece of the American dream, let alone finding the land of milk and honey.

The album is breathtaking, and a must for all jazz and free jazz collectors. I have always felt that Karma was an answer of sorts, or a least a next act to John Coltrane's "A Love Supreme". Both albums, are concept album, both have an opening fan fare, they both have the droning bass and then the powerful saxophone explosions.

Both A Love Supreme and Karma offer a hope for a better path to follow, yet don't sugar coat the indignity man has done to himself, with the way we treat each other.

Karma certainly is influenced by the Coltrane Masterpiece in any event.


You can get Karma the LP, like the pictured vinyl copy for around 20 dollars if you shop around, a pretty desirable record 45 year later.





Feb 28, 2014

Miles Davis at the Fillmore: Vinyl and Now New 4 Disc Bootleg Box Set

Exciting news for March 25th 2014, the Miles Davis Bootleg series releases it's third volume. This time recordings live from the Fillmore East in New York City circa June 1970.

This music was originally released 8 months after Bitches Brew hit the streets, and these live shows featured bands like the Grateful Dead and Santana sharing the bill.

When  I first heard about this release, I immediately thought about Saxophonist Steve Grossman and how he was virtually edited out of the original release, I will be very interested in hearing his tenor sax contribution on these restored sessions.

The title track for Bitches Brew is the glue that holds these sessions together, fact is, it can get a tad monotonous, but it's hard not to enjoy it as rock solid pallet on this double album. I like the twin piano attack of Chick Corea and Kieth Jarret, lets be honest, both of them on the same record, crazy is it not?

Click Photo to Purchase
Corea and Jarrett do a lot of noodling for sure, but they always have something to say, and Miles is really playing well to my ear, in a cocky brash tone. Miles sure has a muscular style from 1969-1971.  After On the Corner, I think the tone becomes more brittle, yet more nuanced.

I think about those solos on A Tribute to Jack Johnson, and the Miles Runs the Voodoo Down, I get that same vibe here, just real good confident Miles in my opinion.

I see a lot of mixed reviews on this Fillmore show, mostly complaints about Corea and Jarrett meandering on and on, but hey I like the searching stuff.

 For me, sometimes the searching for that place to go "is" the place for me music wise. I feel this way about long winded progressive rock too, Yes and Van Der Graaf Generator come to mind, I love the stuff. So when I discovered Miles' electric music years ago it was like a religious experience.

I really am not over analytical about music I listen to, not in a music theory sort of way, I could care less. I am into analyzing moods, textures, and feelings. I am more about what type of emotion is stirred up inside me.

The pictured Vinyl copy still sounds great, and actually I prefer it over the CD reissue. But I will tell you this: With 2 hours of music not heard from the show, and some unreleased Fillmore West stuff thrown in as bonus tracks, I will be there to nab it up.

I also see that the Bootleg Series Vol. 3 has 2 lengthy essays, this time in booklet form, and not the horrid folded poster back notes of Vol. 2. Also the sound quality should be a considerably better than Vol.2. as the original source sound so much better.
 




Feb 10, 2014

Dee Barton: Clint Eastwood, Stan Kenton and Everywhere in Between

One of the fascinating things about life is variety, after all it is the spice of life.  I also like when that variety intermingles seamlessly with the different interests I have.

One such interest is Clint Eastwood, Only a few movies of his I don't like, his whole persona intrigues me, not to mention how he developed into a fine Oscar caliber actor and a Director on par with the likes of Scorsese and Coppola.

Another interest is jazz, with modern progressive big band being one of my particular focuses. I dig Ellington, and Gil Evans quite a bit, but Stan Kenton has always struck a chord with me. He's not universally loved, or even respected.

I have been listening to jazz since around 1996/1997, and Kenton was one of the bands my dad did not like, he was a swing guy, dixieland and such, didn't have taste for the progressive sounds at all.  It trully didn't mean a thing if it didn't have that swing to him.
Stan Kenton-Left, Dee Barton-Right.

I was fortunate, 2 CD's my dad passed off on me were,  ...Plays the Jazz Compositions of Dee Barton. and Adventures in Jazz, Both fantastic 60's albums from Kenton, both albums do swing some, they find a happy median I think.

OK how does Clint Eastwood figure into this? Well, one of my favorite Eastwood films is Play Misty for Me (1971), his directorial debut, and a chilling ahead-of-its-time thriller, long before Glenn Close was cooking rabbits on stove tops, Jessica Walter was going berserk and plunging long blade scissors into unsuspecting  detectives and housekeepers.

I had long been a fan of the film, it all clicked when the credits rolled, music composed by Dee Barton. I was thinking that's the guy who composed that "Waltz of the Prophets" Track I liked so much, and of course the Compositions of Dee Barton.

I then found out that Barton did the score for Thunderbolt and Lightfoot, and High Plains Drifter for Clint as well. Here are some cool photos of Dee, one with Clint I believe from the late 70's.

You won't find a whole lot of jazz from Dee beyond The Kenton Band, and some of the jazzier scores for Eastwood, but you won't find much jazz in High Plains Drifter that's for sure.


Dee Barton was born during the month of Sept in the year 1937, and left this earth in December 2001. Dee not only was an underrated film score composer and jazz orchestra arranger, he was also an accomplished trombonist and Drummer for the Kenton band.

 From what I can gather, Dee spent time with Kenton from 1961 to 1970, with a live show from Redlands University being the final release Dee appeared on with Kenton.

 In any event Dee should go down with all the other fine Kenton arrangers, like Bill Holman, Bill Russo, and Johnny Richards. Kenton's 1960's years are quite good, with that balance between progressive jazz and swing.

 I think Kenton's 60's and 70's albums are all worth acquiring. Kenton allowed much more of a counter culture element into the music, playing many standards of the day, and even allowing some funk elements to drift into the style.



If you get a chance to check out that Play Misty For Me DVD do it, there is a lot of nice jazz stuff mixed throughout the film, even a lengthy segment at the Monterrey Jazz Festival, with Cannonball Adderley's early 70's group.

Feb 5, 2014

Dave Brubeck's Time Out: Underrated or Overrated Timeless Classic?

Vintage Stereo LP Cover of Time Out
I used to be in the camp that Time Out was a tad overrated, not grossly overrated mind you, perhaps just not as groundbreaking as it is touted as being.

 The fact it was released in the same year as Miles Davis' Kind of Blue, Charles Mingus' Mingus Ah Um, and Ornette Coleman's The Shape of Jazz to Come, has lead to much discussion about that mythic year, and Time Out is certainly a part of it.

Brubeck was never considered a ground breaker on the piano, was he? Don't get me wrong, he is fine pianist, with a nice classy block chord heavy sound. Was Paul Desmond considered a firebrand on alto? No!

 I know avant-garde saxophonist Anthony Braxton has said Desmond was influential to him, but really we are not talking about Charlie Parker on alto with Desmond.

The hook here is the odd "for the time" time signatures, by today's standards they seem tame and not at all complex or extraordinary. Even in hindsight I don't get excited, a lot of great progressive jazz was being made at the time.

The Exotic nature of "Blue Rondo a la Turk's" 9/8 Balkan pulse, and the pulsating 5/4 rhythm of "Take Five", with Desmond's surprisingly sultry sounding alto is quite interesting.

The world music charms are shining through, but I am not feeling the groundbreaking nature. Parker and Gillespie, and Stan Kenton's bands were playing more complex music than this years before, of course people never give Stan Kenton his due either.

So what do I have against Time Out? Nothing! It's a fantastic album, I have tried to it analyze over and over, it's  simply not as good as Kind of Blue, or Mingus Ah Um, and Ornette's Shape of Jazz to Come.  Comparatively Time Out seems bland to me.

So why do I return to Time Out as much as those records mentioned above? Well for one. Desmond's "Take Five" is just sublime, and could be right at home on Kind of Blue. In fact, I always wished Miles and his second great quintet would have covered it, you know like "Freedom Jazz Dance" and "Ginger Bread Boy" on Miles Smiles?

 Forgive me, I like thinking in my minds eye sometimes what-if jazz scenarios like that.

Time Out is just a damn good album, and really it's pointless trying to pick it apart I suppose. I like "Rondo","Take Five", "3 to Get Ready", and "Pick Up Sticks" very much.

So in the end, Time Out is what it is, critically the 4th best of those big 4 from 1959. I know this though: More people have Time Out in their music library than Anything from Mingus or Coleman... and there isn't anything wrong with that I guess.



P.S. John Coltrane's Giant Steps was released in 1960, not 1959 like many believe, I thought I would mention that before I am called on the carpet for the omission above.

LISTEN TO THE SONY CD REMASTERED REISSUE OF TIME OUT.

By the way, you can still get nice vinyl copies of Time Out for hardly anything. I have sold more than a few myself for less than 20 bucks, you could probably get a Columbia 2 eye copy for under 10 bucks, and a 70's pressing for 5 dollars.

Just a supply issue the low prices, they are still out there in large numbers. I have both the stereo and mono 6 eye versions, I do prefer the stereo.

Be honest, "Take Five" really holds up well 50 plus years later, even though I feel like the rest of the album is a bit overrated, not by a lot:)

 "Take Five" is one of those Modern jazz classics that even next to Davis' "So What" does hold its own quite well.

Jan 17, 2014

Wayne Shorter's Miles Davis Masterpiece Nefertiti

Nefertiti, recorded in June and July of 1967, and released in 1968 was the last all acoustic album Miles Davis would offer to the masses.

 It is startling listening to Nefertiti, an album that is still very much rooted in hard bop, with the freer elements of the avant-garde stirred in.

To consider only 1 year later In a Silent Way, and 2 years later Bitches Brew was released, which both have  no discernible connection to bop other than possibly some phrasing during solos of the musicians.

I can certainly see how the neo-con jazz critic went berserk. Sometimes you get the feeling reading history, that the acoustic to electric change was more gradual than it really was.

Miles in the Sky was released, then Files De Kilimanjaro before In a Silent Way, but we are talking less than 2 years from the release of Nefertiti to Bitches Brew, and only 4 years until On The Corner.

I can understand why some people just couldn't get on board, at the time it must have been hard enough for the neo cons to accept the second great quintets music and free bop style apposed to the late 50's modal jazz albums, but the rock stuff to come is a whole new bag completely. Since I Have a broad taste in different and am looking at this music historically, and analyzing it that way.

Nefertiti on it's own from a jazz perspective is groundbreaking in its own right, on the title track a Wayne Shorter Composition, the rhythm section and front line of horns switch roles, as the the horns state the melody repeatedly, the rhythm sections improvises underneath, This Track really opened up a lot possibilities for musicians.

Nefertiti is also unusual in that Miles Davis Compose absolutely none of the material, 3 by Wayne Shorter("Nefertiti", "Fall" and "Pinocchio")two by Pianist Herbie Hancock ("Riot" and "Madness") and one by drummer Tony Williams ("Hand Jive")

The music is really right in line with the previous albums by this lineup, ESP Miles Smiles and Sorcerer. High Quality Melodic Free Bop. For what it's worth. other than ESP which is a little thin production wise, all the rest of the second great quintet albums all sonically incredible, the remasters are impeccable as well.

Jan 12, 2014

Impressions of New York: Rolf and Joachim Kuhn, Impulse Records 1967

The first thing I noticed about this album is the well done album cover, definitely makes you think some quality jazz might be hidden in those grooves.

The second thing I noticed was that Rolf Kuhn is a clarinetist, an instrument not widely used in modern jazz. Outside of Jimmy Hamilton, I can't think of too many times I have heard the instrument outside of a swing setting.

Impressions of New York being a thrift store find, I didn't have much invested and honestly since I had only barely heard of these Kuhn brothers, I didn't have high expectations.

In fact I have a jazz funk album from Joachim that is  pretty good, but nothing like this album, this is serious modern jazz.

I have had this record for a few years now, and as an avant garde jazz aficionado, "believe it or not", I never put up for sale, the record has really grown to be one of my favorite free jazz/chamber jazz records I own.

Free jazz is such an acquired taste I know, if you like Ornette Coleman or Cecil Taylor, I think you will have a fine time with this album.

Kuhn really plays well on this album, he does remind one of Cecil Taylor, with his bright percussive attack.

Rolf Kuhn's style won't remind you of Benny Goodman believe me, he does sound a lot like Ornette Coleman to my ears, just Bluesy and exclamatory, darting around structured, but with plenty of imagination.

Coltrane quartet bassist Jimmy Garrison offers some fine bouncy elastic bass playing, actually reminds me a bit of Ron Carter circa- the Miles quintet.

A vinyl copy like this vintage 60's Impulse original will run you around $50 right now. CD versions are commanding almost the same. I paid .99 cents for this copy. For a fan of inside/outside modern jazz you can't go wrong with this record.





All photos are my own of the copy I found at a Goodwill Thrift store.

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