It's full of new directions and just when you think Mal settles with a melody or style he goes into another direction. This should probably have been titled: variations on a theme by Cecil Taylor I'll explain later why. The version of 'A Night In Tunisia' starts completely different than the steaming bebop original from the '40's.
It starts almost like a melancholic ballad with Mal subtly introducting the theme playing louder and more percussive as the music progresses. It's one of the best versions I know and such a contrast with all those versions with horns. It shows Mal's compositional skills as he can twist any note in the direction he wants rebuilding the original with a diffrent sound. This is how I like him to play jazz standards!
Frank Loesser's 'Inch Worm' here stated mistakenly as Inch Work is another huge difference with Coltrane's energetic version from his selftitled album. It's again more in a ballad style with a gentle touch and hints of classical repertoire by Satie for example. Track 1 also really has more variations than the more thematic track 4. Soul Note is a bit sloppy with the title tracks on this one. It's a beautiful melody, with a very Waldronesque sound.
It's dark and touching, almost sad. The closing standards are a beautiful way to bring the album to it's end, especially the pretty basic version of 'I Should Care'.
Soul Note has released some real Waldron classics and this is definitely one of them! It's not very hard to obtain a copy on any format. If you like Mal's solo work, this one is essential. If you consider yourself a Mal afficinado it's also essential. This was never released on vinyl so cd is your only option. A highly successful experiment which should be listened to with headphones on so you can hear even better what Mal and Yosuke are doing separately.
Most of these guys mostly played within the Japanese jazz scene. Umezu is a saxophone player… well it really has to be your style. To me it lacks originality and character at times but I also seriously sometimes doubt if he could actually really play changes that well. But when he does, it does not come natural and sound nice. That really goes for most of the album.
Tones of reissues of essential titles from Impulse! A massive tribute to this overlooked west coast pianist of the postwar years — an overstuffed set that features unreleased recordings, rare albums, and lots of other unusual material from the archives of the great Joe Castro! Data Lords is an expansive and brilliantly realized project, presenting two starkly contrasting views of the digital and natural world and whatever your own take on that is, the music is compelling.
View all. View All. With his lyrical, swinging style, alto saxophonist Art Pepper is recognized as one of the major jazz stars to emerge out of the West Coast jazz scene of the s. Despite a remarkably colorful and difficult life, Art Pepper was quite consistent in the recording studios; virtually every recording he made is well worth getting. In the s he was one of the few altoists along with Lee Konitz and Paul Desmond that was able to develop his own sound despite the dominant influence of Charlie Parker.
Otherwise you miss two solo parts: Thoughtful and Duquility. They should have made it a double cd instead and include the full session. I own the 24bit master edition on cd from Mal was really in prime form this period. He went into the studios and recorded what was probably his most free oriented trio recording he has recorded. He always has been more of a rhythmic player than a virtuoso but on this album that percussive style is really in the spotlights.
And again, just like on the other Paris records of there is a hint of Cecil Taylor in his playing. Especially on the long title track he uses lots of clusters and repeating vamps constantly seeking interplay with both the bassist as with Noel McGhie. And not in the form of melody but more in a rhythmic kind of way. McGhie is in excellent form here by the way.
Another great session with some very intense and pretty free music. Yet I miss again some sort of direction the guys are heading. The compositions are okay but pretty forgettable. Mal did not fall back on one of them later in his career. Also the level of repeating vamps is sometimes a bit too much here. One might want to hear some more diversion in his playing.
But this album definitely is another fascinating sight in how Mal became the pianist he was. There is another influence highlighted here: C. It might already caught your attention but there is something weird going on with this album.
On the other hand there are a few sources on the web that say that Kent Carter claimed he played on this session. Anyway, I do not know either of the bassists well enough to pick out who it is.
The one who is playing bass is doing a fine job, that is one thing I know for sure. There are two versions available of this record. Waldon frequently performed the song for albums, often with tenor saxophonist Johnny Griffin who also played on the Left Alone album.
An instrumental version of the song appeared on Joe Satriani 's Time Machine in The Satriani version, titled "All Alone", was released as a single, reached No. From Wikipedia, the free encyclopedia.
Redirected from I'm Left Alone. As this is a Mal blog I will only review his part but I could say for the rest of the music: it's worth every penny! A modest tribute to one of his own big influences, Mal doesn't play one note too much. And though Mal was influenced by Monk he really is something completely different.
Following his solo tribute are two duets with Lacy. Probably inspired and driven by the Dreher success they wanted to present their ideas to an American audience. There is some nice playing overall but it misses some of the chemistry there usually is between the two.
I cannot exactly lay my finger on what is causing it but you should hear it for yourself. Closing up are three Monk classics played by the entire band of jazz superstars. And it's nice to hear some of the work that was to come as both Rouse and Blackwell would return in Waldron's band.
It starts of with a nice and solid solo by Charlie Rouse followed by some great playing by Cherry. Nice to hear him duelling up with Blackwell introducing a slight Ornette Coleman feel here and there despite the different nature of the music.
Cherry's playing has more in common with Monk than one might actually think. He suites very good for a Monk tribute band. Roswell's muted trombone solo represents a lot of Monk too, playing around one or three notes for a while.
The closing 2 tunes are two very Monkish themes. Rhythm a Ning swings very, very hard thanks to Davis' very tight bass playing and Blackwell's incredible polyrhytmic drum playing. Rouse is in prime form with one of his typical solo's that might have well could have been recorded with Monk himself. Epistrophy is the true highlight of the album with it's sudden speed changes, Richard Davis' hard bowing bass, Charlie Rouse's soloing on it and Lacy playing all kinds of patterns in the background.
The first release of this music was on the Japanese DIW label and contained all four sets. I only have vol. This is some great and interesting music but looking at the big names, one could expect a little more. This is not an album with revolutionary sounds or ideas. It's more of a jam session.
Koltrasten - Lena Willemark - Windogur (CD, Album), Deadliest Bite, Dead Star - Muse - Даёшь Музыку MP3 Collection (CD), Honey, Come Back - Glen Campbell - Classic Campbell (CD), On Christmas Day - Various - Mid Winter: The Songs & Music Of Christmas And The Turning Of The Year, Just When I Brought You A Mother / Banished - Oliver Wallace, Frank Churchill, Bobby Driscoll - Pete, Fascination - David Bowie - Young Americans (CD, Album), Corazón Salvaje - Various - Disco Fiesta Vol.2 - El Disco Para Bailar Sin Parar (CD), Silly - Paradiesvögel (Vinyl), Red Hot Chili Peppers - Under The Bridge / Give It Away (CD) And Hiding Away - The Innocence Mission - Umbrella (CD, Album)