Released in 1970 on Atlantic Records Format: LP
Released in 1969 on Atlantic Format: LP Pressing quality: While this album is a masterpiece, these early pressings/masters sound a … More
Progressive Cool Jazz with thematic structural development, and ECM-Style reverbed production. Recommended track: Ark La Tex
Ryley Walker’s virtuosic fingerpicking and intricate folk-rock songwriting vibe heavily with a backing band of Chicagoan jazz musicians, including upright bass, drums, Rhodes and electric guitar. The first LP of this release is a studio album of jazzy folk rock songs for fans of Van Morrison’s Astral Weeks or Tim Buckley’s Happy Sad, while the Bonus Lp of this “Deep Cuts edition” is a 40 min live improvisation on one of the album cuts that probably beats anything on the studio LP. It’s rad to be able hear both the concise, song-centric studio side and the loose jammy side of this exciting artist in the same release.
On their second LP, Henry Cow weaves together elements of eerie chamber music, free improvisation, and deconstructed prog to create something that seems like the missing link between the Canterbury jazz-rock of Soft Machine and Gong and the dissonant avant-rock of This Heat.
Released in 1983 on ECM Format: LP
Originally released in 1969 on Liberty Records 2014 pressing on Purple Pyramid Format: LP, pink/blue swirl vinyl Includes Poster
Featuring some of Chicago’s finest musicians and founding members of the AACM, (Muhal Richard Abrams, Anthony Braxton, Leroy Jenkins, Richard Davis, Wadada Leo Smith, and Steve McCall), this 36 minute spontaneous composition doesn’t focus on soloing or instrumental technicality or rambunctious improvisIng, but creating and progressing an initially suspenseful, mysterious mood through focused, cohesive movements, with new sounds, moods, and melodies around every corner. Most of the musicians here play multiple instruments to sustain a versatile color palette.
“Functionally, the duet situation gives the greatest possibilities for establishing an affinity relationship with another musician on a one to one basis. This is especially true if the more open-ended forms where an improvisation is directly affected by both musicians on an equal plane” – Anthony Braxton
Originally released under the title Brown Rice in 1975 1977 pressing on Horizon Records Format: LP
Originally released in 1971 on United Artists Records Unofficial pressing on purple and brown marbled vinyl Format: LPx2
Released in 1961 on Impulse Records Format: LP
Released in 1977 on ECM Records Format: LP, white label promo
Released in 1973 on A&M Records Format: LP
Originally released in 1991 on Polydor 2011 pressing on Ba Da Bing Records Format: LP
Released in 1966 on Impulse Records Original Pressing
Released in 2011 on Blackest Rainbow Format: LPx2, 180g Ltd. to 750 copies
Originally released in 1969 on MPS Records 1972 BASF Pressing Format: LP
This was released in 2017 on Black Truffle Records Recorded live on October 28, 2014 at SuperDeluxe Tokyo by Masahide … More
Released in 1969 on Elektra Records
On Towards Language, Norweigan trumpeter Arve Henriksen creates a blend of meditative and suspenseful ambient-jazz, demonstrating a more soothing side to his playing than his noisier output with electro-acoustic improvisers Supersilent.
Released in 1973 on Blue Thumb Records Format: LP, Quadrophonic Pressing
The Whole Thing is Just There is another beautiful and life-affirming release from Young Jesus, the second with the current L.A. iteration of the band. Their inter-band chemistry seems stronger than ever, with telepathic improvisations, symbiotic catharses, and a mutual love for each other that is easily felt from a listener’s perspective. The lyrics deal with self-exploration and one’s relationship with the world around them, finding solace in spirituality, existentialism, literature, and the ethos of free jazz. Stylistically the music seems rooted in late-90’s indie rock and emo, with seamless but adventurous detours into post-rock, noisy post-hardcore, and free improvisation. Excited to see where these guys go next.
Released in 1966 on World Pacific Records Recorded in 1956
Spacious, Raga-inflected improvisations from Collin Walcott, Don Cherry, and Brazilian percussionist Nana Vasconcelos. Walcott has studied sitar directly under Ravi Shankar, and tabla under Alla Rakha, while trumpeter and flutist Don Cherry, after playing regularly with Ornette Coleman, has proceeded to travel around the world to study various musical traditions. Their wide influences come together organically to create meditative and exploratory music. A melodic and atmospheric fusion of airy flutes, watery sitar, hypnotic hammered dulcimer arpeggiations, driving webs of percussion, and bassy throat singing.
The new album from guitarist Yonatan Gat finds cohesiveness in its sprawling diversity. Stylistically it combines the rawness of garage rock, the thematic improvisation of Free jazz, and the experimental editing of musique concréte with psychedelic production, Arabic and Klezmer scales and surfy tremelo guitars.
Released in 1966 on Blue Note Records 1971 United Artists Repress Format: LP
“Four relentless bouts of inspired fire music forged from the true spirit of free jazz, driven by searing poetic narrations of Black trauma, survival and power” (from press release)
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Released in 1981 on ECM Records Recorded in concert in May, 1980 at Amerika Haus München, Germany Format: LPx2
Recorded Dec 3-4, 1965 in Stockholm, Sweden Released in 1966 on Blue Note Records Ornette Coleman – Alto Sax, Violin, … More
Recorded live at Cafe Monmartre in Copenhagen, Denmark on November 23, 1962 Released in 1976 on Arista Records
Released in 1971 on Columbia Records Format: LP
Released in 1959 on Atlantic Records 1970’s Pressing
Information: Released in 1974 on Milestone Recorded on July 7, 1973
This fantastic compilation album consists of 2 hours of unreleased recording sessions ranging from 1970 to 1974. Despite some incohesiveness, this release contains some of the most exciting, creative and uncategorizable music of Miles’ career.
Three volumes of instrumental heavy-psych jams from Denmark, inspired by Black Sabbath, jazz fusion and krautrock.
I highly recommend this album to fans of the innovative and exploratory period of jazz fusion of the early 70’s, where electric instrumentation, funk rhythms, experimental production techniques, and spacey synthesizers met the improvisation, freedom, and uplifting soul of the spiritual jazz of the 60’s. Herbie Hancock’s Mwandishi trilogy, Miles Davis’ Bitches Brew, Weather Report’s first LP are good touchstones, but this album truly offers something unique.
Five intuitive and melodic duets performed by two longtime musical soulmates. Charlie Haden plays upright bass and Ornette plays tenor saxophone and trumpet on the last track.
Peaceful drone meditations and mantras for bass clarinet and sitar. The improvisatory melodies are beautifully expressive, exploratory, and blanketed in a soft, soothing reverb.
Album Information: Released in 1969 on Impulse Records 1972 pressing
Released in 1973 on CBS/Columbia Format: LP
While living in London I had an apartment with a small garden. During he summer around 4 or 5 o’clock in the morning, just as the day began, Birds would gather here one by one and sing together, each declaring its freedom in song. It is my wish to share the same spirit with other musicians and communicate it to the people. -Dave Holland
Album Information: Released in 2017 on Blue Chopsticks Records (Imprint of Drag City Records) Eli Keszler – Drums, Percussion (Tracks … More
Meditative jazz explorations of space, rhythm and textures inspired by Miles Davis’ ambient jazz pieces, Gnawa ceremonial music of North Africa, the spiritual jazz of Pharoah Sanders and Don Cherry, and the mutating minimalism of Steve Reich.
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Shakti means “Creative Intelligence, Beauty & Power” and trust me, these are all in abundance on these devotional jazz ragas. Featuring John McLaughlin joined by a quartet of Indian master musicians, this album is a blissfully uplifting and meditative release.
In this energizing exploration of Hindustani classical music from a jazz perspective, John McLaughlin joins a virtuosic trio of Indian musicians who inspire some of the most impassioned and impressive playing of his career. His acoustic guitar shredding veers close to the bendy sounds of the sitar and fits nicely with the dense web of percussion created by Vikku Vinayakram and Zakir Hussain. Violinist Lakshiminarayana Shankar’s emotive themes and fiery solos make him a perfect foil to McLaughlin.
“Classic creative bop melodies and golden era beat memories woven into a vibrant new thread of psychedelic soul jazz”
“The music in this album is dedicated to creating a better world; a world without war and killing, without racism, without poverty and exploitation; a world where men of all governments realize the vital importance of life and strive to protect it rather than destroy it. We hope to see a new society of enlightenment and wisdom where creative thought becomes the dominant force in all people’s lives” – Charlie Haden
A couple of months before his death in 1967, John Coltrane went into the studio with drummer Rashied Ali to record some of the most free recordings he’s ever made, the freest of free jazz. Perhaps this freeness is due to the absence of other tonal instruments, leaving Coltrane untethered to harmony and 100% free to play whatever raw, unhindered creativity flows through him.