Peacock shared a long friendship with pianist Masabumi Kikuchi with whom he collaborated on many occasions over his distinguished career.
On this session the same trio is joined by Masahiko Togashi on percussion he and Murakami each sit out one number. The album consists entirely of compositions by Peacock, including the first appearance of two of his most memorable that were to be reinterpreted on later recordings. Even within his favoured format of the piano trio Peacock was a musician sensitive to many different voices.
Like the subsequent Mindset Soul Note, they play together and alone, and as pointed out by Francis Marmade in the liner notes this is music borne out of reciprocal listening and a respect for silence.
A duo with the pair locked in tandem leads to ruminative solos which in turn are precursors to a duet of intimate exchanges, followed by further individual studies, an alternating pattern of contrast and balance repeated at different levels across the album.
Both are supremely melodic musicians, with a poetic understanding of how to work tunes, many of which give the impression of having been invented on the spot, often spawned from a simple figure, scale or combination of chords, true instant composing.
When it came to playing free Peacock saw no meaningful distinction between composed and improvised material—it was more a state of mind than a method—and I suspect Bley felt the same.
By Martin Schray. Gary Peacock was famous for his work in piano trios, and the one with Keith Jarrett and Jack DeJohnette was simply outstanding. The group had already recorded eight albums with standards, when they performed three evenings at the New York jazz club Blue Note in June Producer Manfred Eicher decided to record the performances for a unique sound document from the first to the last note: on the six CDs that were produced in the process, the trio proved not only their own versatility, they also revealed the possibilities that these jazz standards offer.
What Jarrett had previously celebrated in his legendary solo performances, he succeeded in doing here in collaboration with Peacock and DeJohnette. The fact that this was possible was largely due to Gary Peacock. Peacock makes every new note sound like a discovery. Playing jazz standards was considered disreputable even for many jazz fans. This band freed it from boredom. In their live gigs Gary Peacock was standing in the middle of the bandstand and this was not only meaningful because most trios of this kind perform like this.
Every note is an anchor, a rescue station. One of the best bands at the zenith of its career. Now I will quote some words written in the first page of the CD booklet that describes what you will find here: " an anthology of happy little dancing tunes offers dramatic sarcasm, frightful facts and resistance against standardization.
This album released under Fazzul Music features fourteen compositions which make a total time of 70 minutes. What this Swiss trio with some guest musicians offers is a mixture of avant-garde, jazz, progressive rock, with some humor, complex compositions and weird sounds. Despite the songs here were composed several years ago 25 years, some of them this is the first time that these versions appear on a CD, so here we have a kind of old-new album.
Another good thing is that they managed to create music that share different emotions, sometimes it leads you to a moment of tension, while in other you are tranquilized. The music is pretty rich and interesting, though there are a couple of songs that are not really outstanding, and I have to admit that the voice is not actually my cup of tea, the album in general is strong and interesting without a doubt. These three musicians did a great job, and it is a fortune for us prog rock fans that they decided to save from the nothing some of those "forgotten" treasures and give us a CD.
This anthology is recommendable to any prog lover, especially if you like jazz and avant-garde music. My final grade will be three stars, I normally don't rate anthologies or compilation albums with more stars. Enjoy it! After releasing two outstanding records that shined out of the 80s like a beacon of musical hope, Uberfall returned with their third album, simply called Nr. It was hard to imagine that Markus Stauss and Pit Kayser could come up with something even better than previously, but that's exactly what they did.
This album marks the peak of Uberfall's creative process, which is the case probably in no small degree due to the fact that the two previous albums laid the groundworks. The album is made up of two sides LP , which create quite a different impression.
Arranger Anonymous. Arranger Julius Seredy , unattributed. New York: Carl Fischer , Plate Arranger Christian Mondrup. Franz von Gernerth , German text. Plate B This file is part of the Sibley Mirroring Project.
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This band was in the forefront of European jazz for 10 years ,the last years as quartet without piano. Over the last years Arild Andersen has also spent time investing the possibility of combining traditional Norwegian folk music with improvised music.
He started in a collaboration with singer Kirsten Braaten Berg, one of the leading artists in Norwegian folk music. This also lead to several performances of the concert version of the music and a recording for Kirkelig Kulturverksted.
This was a 9-piece band including the Norwegian string quartet Cikada. This performance was a part of the Athens Olympic Games cultural issue. In he also wrote a commission work for a duo with Saxophonist Tommy Smith. Awesome job!! But this is an acquired taste but there are moments when you can hear that my buddy Henry Krutzen an his music ex-partner Aucremanne but present as a guest have also listened to the more adventurous Steve Hackett Oeuvre and sometimes Crimsonian guitars make an appaerance over a Satriani solo Tapoica Com Pimemta closing off disc 1.
The music stays mostly melodic and if dissonances there are, they are not frequent. The jazz influences are still there but really not as frequently as on their previous albums.
If you are inclined towards classical music other than the huge symphonic orchestras and enjoy the better known Univers Zero, this may just be your album of the year.
Starting on the Lemaitre-penned Boleral, the album has to wait the superb Krutzen-penned Italics track to really take off. And we're again gliding into this mix of chamber rock with RIO and twists of Canterburian-jazz-rock and it's almost unmistakably a typical Belgian record. Vocally Henri shares with Celine Thooft the vocals allowing for more weirdness, especially on the Queen Wenceslas, obviously the companion piece to the track o the debut album.
Elsewhere, Celine's raspy and deep vocals give a different flavour to Torquemada's Dream, and probably make this nightmarish track the album's highlight with a lengthy guitar solo over organ layers first, than uncontrollably sliding to the lugubrious.
The closing Mountains and Clouds takes on an ethnic African feel, especially once the vocals get in stride courtesy of Celine , but it's not a typical FW track either. There is one BIG surprise in this album, a cover from Peter Hammill's Squid track, where Henri loves to do Jaxon's sax in his version and we are plunged into a light Graaf-esque ambiance, the arrangements being somewhat important.
Technically all around a better album than Yellow, Green is a very enjoyable album, and is quite accessible for most progheads although I wouldn't use it as mating music.
This would prove FW's last album on Mellow, as could be expected by the small hints and most likely like of sufficient sales, but Green is definitely one of the 90's best album from Belgium.
If you hesitate between colours, this one gets the green light. The group is mostly a trio with Aucremanne on keyboards, Lemaitre on bass and drums and programmed percussions , Krutzen on almost everything else including sax and cello and vocals except for the guitars, handled by Ouchinsky, but there are many other guests including Wendy Ruyman on violin. Opening on the 9-mins highly dramatic Chamber Music with strident guitars and slow martial beat and Krutzen reading James Joyce's lyrics Chamber Music, making it a fantastic entrance into FW's musical world.
These two "things" only get weirder in the short King Wenceslas, and sometimes you'd think of some of the early Hackett strange vocals with a slight Richard Sinclair and Robert Wyatt feel.
The closing Standards To You is probably the catchiest and most conventional "song" on the album, but the constantly crescendoing track ends up with a searing guitar solo to close things up. However, on this debut what strikes me the most is the production: not that it is poor quality recording is fine but rather the lack of it - or more exactly the lack of means. This album could've gotten easily a better rating if someone had done a real job of it.
For the rest, the music is what can be expected from a typical Belgian band doing music between RIO and Canterbury. Worth a spin for the amateur of the genre. Copyright Prog Archives, All rights reserved. Please consider supporting us by disabling your ad blocker.
He had just started a studio in his basement and we decided to give it a try Then, as things were improving, I called my old friend Jean-Louis Aucremanne, with which I had played jazz duets in the 80s.What this Swiss trio (with some guest musicians) offers is a mixture of avant-garde, jazz, progressive rock, with some humor, complex compositions and weird sounds. Despite the songs here were composed several years ago (25 years, some of them) this is the first time that these versions appear on a CD, so here we have a kind of old-new album/5(2).