This early group of Jordi Soler made an adventurous album of largely improvised jazz-rock with long electric guitar, bowed bass and trumpet solos. It contains only four long tracks (plus 2 bonus tracks on CD edition), with "Excusa Núm. 1" paraphrasing the main theme of Pink Floyd's "Interstellar Overdrive" (which might be a coincidence). This is typical for jazz-rock musicians who want to experiment and comparable to Nucleus, Miles Davis, Min Bul, John McLaughlin, Arbete & Fritid and early Henry Cow.
A Swedish rock kaleidoscope Arbete Och Fritid, founded in 1969 by the key player/cellist/composer Ove Karlsson, had established themselves by means of versatile rock inquiry, based upon purified Swedish folk music. The members, frequently changed except Ove depending upon music styles, had had the point in common that they had been remarkably influenced by experimental jazz/underground rock, and also avantgarde/minimalism like John Cage, Terry Riley, or La Monte Young…
"Pregnant Rainbows For Colourblind Dreamers Taking" is the name from one of the bonus tracks. This stand alone box set is designed as a listening companion to the critically acclaimed reference book "The Encyclopedia of Swedish Progressive Music 1967 - 1979".
It may be fourty years since Neu! became the godfathers of Krautrock, but their influence is still going strong - at least that's what a new compilation hopes to prove. A plethora of stars have stepped up to the plate for a disc not of covers, but of songs influenced by the German legends - and that distinction is precisely what saves "Brand Neu!" from being just another generic celebration. These days every granny and her goldfish are dabbling in electro, but it wasn't so back in the 70s, when Michael Rother and Klaus Dinger split from Kraftwerk and started making some of the most exciting stuff to come out of Germany, well… ever. In doing so, they influenced Bowie, Radiohead and a lot of people in between…
This is an obscure Alphonse Mouzon recording, which, along with Mind Transplant, accounts for Mouzon's best work as a solo artist. The presence of former Weather Report band mate Miroslav Vituous provides for much of the session's excitement ("The Light" being a standout). Fusion vets Philip Catherine, Stu Goldberg, and Joachim Kuhn also turn in fine performances, as does the relatively unknown Bob Malik. There is a great deal of integrity on this session, a quality that was often missing from Mouzon sessions both before and after this. Highly recommended.
This 1953 date matched Webster with such peers as alto saxophonist Benny Carter, trumpeter Harry Edison, and pianist Oscar Peterson for a series of elegant yet soulful and exuberant small group dates. With no cut longer than four and a half minutes, the players didn't have time for excess statements or overkill; they had to quickly get to the heart of the matter in their solos, make their points, and return to the head. The original session has been enlarged by the addition of two previously unissued tracks, plus an alternate version of "That's All" that was later issued as a single. Label head Norman Granz excelled in producing swing-oriented, crisply played mainstream dates. Although this date is more than four decades old, Ben Webster's solos have a freshness and vitality that make them quite relevant to contemporary events.
Philips's collection of major works that have propelled Gavin Bryars to New Music stardom is an effective overview of his music. The longest work is his Cello Concerto, handsomely played by Julian Lloyd Webber with a big, colorful tone and sustained intensity throughout its contemplative half-hour. A comparable mood pervades the bright tintinnabulating textures of the whimsically titled One Last Bar, Then Joe Can Sing. Similar as well, in their attractive serenity and suppressed sadness, are many of the other works here, prime among them the viola concerto in all but name, The North Shore, a tone painting of the rugged cliffs of northeast England. Adnan Songbook, settings of six poems by Lebanese poet Etel Adnan, are beautifully sung by soprano Valerie Anderson and delicately scored for a small ensemble. Bryars's biggest hits, The Sinking of the Titanic and Jesus' Blood Never Failed Me Yet, have inspired him to numerous reworkings and capsuled fragments. They're represented by Titanic Lament, depicting a hymn tune dissolving into gray, watery textures, and two very different four-minute versions of Jesus' Blood, both with Tom Waits.