Where is this available please - cannot find !?
Sorry - on Bandcamp in 16/44,1
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James Allsopp Quartet - I’m a Fool To Want You - Impossible Ark (2016)
Exceptional modern (in Jazz terms) quartet playing some very traditional standards
no wailing saxophones or screaming trumpets just beautifully played soothing jazz music by some very talented British based musicians.
You can still buy this limited pressing of only 300 for as little as £15 plus postage on Discogs.
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AllMusic Review by Alex Henderson [-]
When Italian drummer Aldo Romano recorded this Ornette Coleman tribute for Owl Records (a French label) in 1989, Coleman had been recording for more than 30 years – and there were still plenty of people who had difficulty comprehending the alto saxman’s innovative free jazz. But Romano not only comprehended it – he had a very deep appreciation of it. In the liner notes that he wrote for To Be Ornette to Be, Romano exalts Coleman as “one of the key voices in Afro-American music” and asserts that if Coleman had been Italian, he would have composed La Traviata. Some bop snobs would be horrified that Romano would compare Coleman’s work to La Traviata, but Romano does, in fact, know what he’s talking about when he praises Coleman’s genius. And thankfully, Romano is smart enough to salute Coleman on his own terms – To Be Ornette to Be emphasizes Coleman’s compositions, but Romano’s interpretations are far from carbon copies of the original versions. For one thing, this session doesn’t have a saxophonist – and the alto sax is, of course, Coleman’s main instrument. Also, Romano features pianist Franco D’Andrea extensively, whereas Coleman has often gone without a pianist. A variety of influences assert themselves on this album – not only Coleman, but also, Thelonious Monk and Miles Davis. And quite often, To Be Ornette to Be (which employs Paolo Fresu on trumpet and flugelhorn and Furio Di Castri on bass) doesn’t sound like true free jazz but rather post-bop with an inside/outside format (mostly inside). This consistently interesting CD is among Romano’s finest accomplishments.
Dave
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I’m one of those who cannot comprehend Ornette Coleman’s Free Jazz it sounds completely alien to me and totally disjointed like all the players involved are in different rooms unable to hear what the others are playing. This isn’t a criticism of his music there are enough people who do love it to tell me that it has huge appeal but just an admission that I don’t understand it.
I love Miles but there comes a point in his career around 1966 when apart from In a Silent Way which is a masterpiece when I no longer get what’s going on. I recently bought Filles de Kilimanjaro to see if a well pressed vinyl copy would open things up for me but it didn’t.
It’s the same with Coltrane post A Love Supreme both him and Miles in the second half of the 1960’s start to sound very angry to me in their music is that point? I get that Ornette and Coltrane are tearing up the rule book and bringing something totally new and in that respect I would love to get what it is they are playing but I just can’t I suppose I’m just a more traditional type of Jazz fan.
I really would have loved to hear what a 40 or 50 year old Miles would have sounded like playing a more traditional style in a way that Chet Baker playing My Funny Valentine in the 1980’s was so very different to him playing it in the 1950’s.
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George is a fine bass player but very poorly at the moment.
He has his own web page at Georgemraz
N
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You seemed to have summed up my thoughts quite accurately.
I have said before I get lost after ‘Kind of blue’.
No disrespect to those who can chart a course. I get lost in the fog.
N
Well at least if you enjoy Coltrane’s music up to A Love Supreme, you should be able to enjoy Africa Brass and the Village Vanguard dates from November 1961. These are a little more edgy than ALS (which seems to me more composed than improvised), but really do represent a pinnacle of his musical development. Essential listening both.
AllMusic Review by Thom Jurek [-]
Of all the recording sessions completed by Miles Davis with his various bands, the sessions surrounding In a Silent Way Sessions in 1968 and 1969 are easily the most mysterious and enigmatic. For starters, they signified the completion of his transformation from acoustic to electric sound, and secondly, they marked the complete dissolution of the “second” quintet of Davis, Herbie Hancock, Tony Williams, Wayne Shorter, and Ron Carter that had begun on Filles de Kilimanjaro. The addition of Chick Corea as a second keyboard player and the replacement of Ron Carter with Dave Holland had changed the sound of the band’s dynamic, textural, and rhythmic palettes. The final break with Davis’ own previous musical sound happened when he added guitarist John McLaughlin and keyboardist/composer Joe Zawinul (for a temporary three-keyboard sound).
Dave
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Fans of 70s style jazz should give this a listen.
A sort of middle ground between the spiritual jazz and the smoother electric jazz. And plenty of passion on display!
One 2020’s best new albums from the much lauded London Jazz scene IMHO
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Listening day: way to warm to get outside today
I came to below through an equipment-review I was reading. Makes my think a lot of Musica Nuda. Lijbaart, Rambags and Stadhouders team up in various albums. All little jewels if you like the style of music
Iver
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Great album, must play it again.
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Locked Down Jazz Appreciation - Album of the Week
45: Horace Silver: Song For My Father (Blue Note)
A leading exponent of hard bop and a founder member of The Jazz Messengers in the 50s, Horace Silver was a Connecticut-born pianist/composer who was instrumental in establishing the two-horn frontline as de rigueur in post-bop small-group jazz. During his 28-year stint with Blue Note he produced many fine albums, but few as truly satisfying as Song For My Father, whose immortal title track is defined by infectious horn motifs and a loping intro (famously borrowed by Steely Dan for their 1974 hit ‘Rikki Don’t Lose That Number’). Recorded in three separate sessions between 1963 and ’64, the album featured two different incarnations of Silver’s quintet, though it’s the four songs by the newer line-up (featuring trumpeter Carmel Jones and saxophonist Joe Henderson) that impresses the most. Song For My Father remains Silver’s most seminal work.
Key song: ‘Song For My Father’
Enjoy and stay safe.
Dave
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Yes this a jewel if you can appreciate the specific style of music. A good recommendation, while not for all…