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"In the beginning, the legend goes, it was Miles Davis’ electrifying jazz on In A Silent Way and Bitches Brew – modernizing the ensemble sound as well as reconfiguring compositional flow with repetition and variation – that begat what was to become …
"It was, all things considered, just an unexceptional whistle stop on a wearying circuit of dance halls and theaters – the night before they had played in Winnipeg, Manitoba and, conveyed by train the 200 miles to this evening’s North Dakota gig, wou…
"The shock and awe that Bitches Brew produced within and without the jazz world on its release in March 1970 was largely unexpected, the result of the music’s uncompromising power and what many felt to be its perplexing, eccentric sound and structure…
Books have been written, recordings analyzed, colleagues questioned, and nevertheless Bix Beiderbecke remains as much an enigma today, ninety-five years after his death, as he was to friends and fellow musicians during his all-too-brief, personally a…
The rhythm team by Rashied Ali and Reggie Johnson (with former Sun Ra member Ronnie Boykins adding texture on "Capricorn Moon") establishes a solid foundation, complemented by Alan Shorter's sharp trumpet, while Benny Maupin's close expressions in mo…
The album "Spirits," released by a debut label based in Copenhagen, marked the first opportunity for Ayler to record his "free music" in February 1964 in New York. The musicians selected by him included notable figures such as Cecil Taylor (with drum…
On Hot Five & Hot Seven at 100, Louis Armstrong’s seminal Chicago sides are reborn in vivid new mastering, letting his trumpet solos, daring rhythms and easy charisma speak afresh as the very moment jazz pivots into a true soloist’s art.
"These powerful performances from Copenhagen and Bordeaux, released officially here for the first time, and the Newport Festival in the U.S., provide further evidence of the music’s collective necessity – the true ensemble coordination which Ayler …
“I didn’t realise it at the time, but this recording, made in 2006, marked a change in my musical thinking. All the elements came together – my roots, the use of blues structures and the lifelong search for expression in music. I had unlimited time t…