Red Sea Jazz Festival

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This 2LP-set was released on MPS in 1970, it was recorded at the 20th international jazz festival in Zurich, Switzerland and features “gold medal winners” Harry Burgess & Bones Galore, Oliver Berney & Eric Gigante Quartet and The Step Out With Soul Jazz Group, “swiss alumni of the festival” Raymond Droz Dixie Jazz Group, Henri Chaix Quartet, Metronome Quintet and Dennis & The New Rhythm Kings (featuring 13-years old Dennis on drums), “guests from abroad” Aladar Pege Quartet, Dave Pike Set and Dizzy Rece with the German-Swiss Radio Jazz Orchestra, and “international all-stars” with the George Gruntz Dream Group featuring Dexter Gordon and Franco Ambrosetti among others.

1. Love For Sale - Harry Burgess & Bones Galore
2. Mood And Beat - Oliver Berney - Eric Gigante Quintet
3. Blues For J - The Step Out With Soul Jazz Group
4. Big Butter And Egg Man - Raymond Droz Dixie Jazz Group
5. Sunday - Henri Chaix Quintet
6. Japan Suite - Metronome Quintet
7. Crazy Drums - Dennis & The New Rhythm Kings
8. Lampe - Aladar Pege Quartet
9. Mambo Jack The Scoffer - Dave Pike Set
10. Eleven Beat Blues - Dizzy Reece & The German-Swiss Radio Jazz Orchestra
11. Walk And Talk - Dizzy Reece & The German-Swiss Radio Jazz Orchestra
12. Bunauara - George Gruntz Dream Group

Tenor saxophonist Ellery Eskelin and pianist Sylvie Courvoisier have similar conceptions in jazz and improvised music. They both play wide open improvisations drawing from many traditions and streams of music.This is a disc of nine spontaneously improvised pieces where the two musicians prove that they have much common ground and each proves to be a catalyst for the other, encouraging experimentation, exploration and collaboration in a way that makes for very appealing music. Both musicians have developed unique, individual approaches to improvised music, Courvoisier most fascinatingly, as she strums on the strings of the piano and taps percussively upon it, in addition to her traditional technique which expands the range of the music she is able to produce. Eskelin frequently uses short, clipped notes and bursts of notes the propel his ideas forward. This is a very interesting free jazz album, not free in the sense of squalling intensity, but free in the sense of wide open music that is able to move without constraint in musical space-time according to the wishes of the artists.

This is a very exciting modern jazz group consisting of Dave Rempis on alto and tenor saxophones, Anton Hatwich on bass, Tim Daisy on drums and percussion and Frank Rosaly on drums and percussion. They play wide open free jazz with snippets of melody. This isn’t just balls to the wall free jazz though, the music is thoughtfully played and the concept of interaction between all of the musicians is key to the success of the music, particularly here in a spontaneous setting as the music was recorded live in Krakow, Poland on April 6, 2008. “The Disappointment of Parsley” opens the disc with an uptempo improvisation that is very appealing. Rempis plays tenor saxophone here, and this was my favorite piece of the three, a dynamic free-bop collective improvisation with a headlong visceral rush of music like shooting the rapids of a canyon. The dual percussion and bass make for an almost hypnotic underpinning for Rempis to improvise over. The second performance, “Zoni ,” is a slower and moving performance dedicated to the leader’s recently deceased grandmother. The music is quieter and reverential, slowing the pace but keeping the edgy feel. The medley of Julius Hemphill’s “C” and the original “Sold at Ten Percent Discount” is an epic performance that ends the album. The music ebbs and flows in a suite like manner form faster more frenetic sections to abstract artistic portions like the tides weaving in and out from the sore of a distant beach. This was exciting and spontaneous music that I enjoyed quite a bit, the group plays very well together and improvises at a very high level. Music like this and the exciting music being performed by the likes of Billy Harper, Charles Tolliver and Ken Vandermark are among my favorite modern jazz, music that is respectful of the traditions of the music of the past but yet seeking ways to bring that excitement and joy into the future.

This LP was recorded in 1969 at a live concert taped by public radio Bremen, it features several artists from the roster of the MPS label like Attila Zoller, Albert Mangelsdorff, Hans Rettenbacher, Dave Pike, Mark Murphy, Lee Konitz, Milt Buckner and Jimmy Woods.

1. Glady’s Dance - The Milt Buckner Trio
2. Cute - The Milt Buckner Trio
3. Walkin’ Down The Highway In A Raw Red Egg - The Dave Pike Set
4. Slums On Wheels - The Dave Pike Set
5. C C Rider - The Mark Murphy Quartet
6. Brodway - The Mark Murphy Quartet
7. Rumpelstilzchen - The Great Re-Union

Bassist Arlid Andersen has been a presence on the European jazz scene since the late 1960’s leading his own bands and performing with the likes of Jan Garbarek. Long associated with the ECM label, he pushes against the notion of music on that label having a particular airy and light “sound” with a burning live album of post-bop jazz. Along with Andersen (who also adds some electronics) are Tommy Smith on tenor saxophone and Paolo Vinaccia on drums. The album has a four part suite called “Interdependency,” part one of which opens with percussive bass and probing sax looking for an opening into the music, saxophone building and the bass getting an appealing elastic tone. Part two was the highlight of the album for me, an awesome performance featuring Smith on an emotional overblown saxophone solo. His strong burning post-bop exploration is complemented by an excellent bass and drums interlude. Part three slows things back down and makes the music spacier, with some long form sax lines and bass augmented by electronics which provide a framework for the music. Part four ends the lengthy suite with swinging saxophone, dynamically adding some overblowing before moving back to swing. Duke Ellington’s “Prelude to a Kiss” follows with Smith exploring the song and improvising at a nice mellow pace before slowly increasing the tempo. “Outhouse” opens with percussion, before the bass and saxophone build in. Sax bursts forth like blinding sun through clouds, strong and fast with an awesome solo. Smith is just on fire throughout this album, he is someone I would really like to investigate more, he has a very exciting tone and the dramatic and dynamic way in which he organizes his solos is very appealing. “Dreamhorse” concludes the album with a melodic and folk-like performance featuring mellow bass and melodic and elegiac saxophone. I liked this album a lot, the music was very exciting and fresh, and the variety was quite compelling. The openness of the trio setting allowed all three musicians adequate space for soloing and for collective playing. But it was Mr. Smith that was the revelation for me, hopefully this will be a springboard for him getting some recognition and recording opportunities.

With his large physical stature and trademark Flying-V guitar, bluesman Albert King cut an imposing figure who was very influential in rock, blues and soul circles. This album collects King at the height of his powers, recording for Stax Records in the late 1960’s and backed by the incomparable Booker T. and the MG’s. This music is a fine melding of blues and soul - King’s booming, yet subtle voice and great guitar are on display throughout the album. King was never flashy and he rarely overplayed, but always seemed to play the right not at the right time. Among the influential performances on this album is “Born Under a Bad Sign” and “Crosscut Saw,” two compositions that would be envied and covered by countless rock ‘n’ roll bands of the time. King’s stinging guitar is notably featured on some very cool instrumentals like “Funk Shun” and “I Love Lucy.” Also notable are the songs “Personal Manager” and the dark ballad “As the Years Go Passing By” which mark the emotional epicenter of the collection. The music found here is almost all excellent, some of the finest of King’s career. If there is any criticism to be made it is with the muddy sound of the CD, which at 20 years is due for an overhaul to give it the presence and quality that music of this stature richly deserves. But that is a small quibble - if you are interested in blues or soul music, you should find much joy here.