Tag Archives: 1967

Francois Tusques – Dialogue II (1967)

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From the album Le Nouveau Jazz by Francois Tusques, recorded in Paris on January 16 and February 15, 1967 and released on Mouloudji Records.

Pianist and composer François Tusques, while almost unknown outside his native France, is certainly among the rare few in European jazz, not only as a crucial figure in the development of the music in his sector of the continent, but so crucial that he was able to record the first true French free jazz record (Free Jazz, reissued by In Situ)—a claim which, Stateside, is not even Ornette Coleman’s.

Born in 1938 in Paris, Tusques migrated with his family to rural Brittany shortly thereafter, though as his father was a crucial figure in the French Resistance, François and his family moved around quite a bit during and after the War, eventually spending two years in Afghanistan and another two in Dakar before returning to France. As the potential for danger at being ‘outed’ as a member the Resistance was so high, Tusques did not attend any French schools at the time, for fear that he would accidentally divulge his father’s secret to his peers.

Free Jazz was followed in 1967 by Le Nouveau Jazz (Moloudji), which joined Tusques with Wilen in the saxophonist’s first recorded entrée into free playing (he would continue somewhat in this vein over the next several years), backed by Guerin and itinerant Italian drummer Aldo Romano, a fixture in Steve Lacy and Don Cherry’s ensembles of the period. Both Moloudji recordings are among the rarest documents of European jazz and were limited to a pressing of only 200 copies apiece—nevertheless, it was Tusques’ wherewithal that led to the first recorded examples of avant-garde French jazz. [source]

Dialogue II: Performed by Francois Tusques – Piano / Barney Wilen – Tenor Saxophone / Bernard Guérin – Bass / J.F. Jenny-Clark – Bass / Aldo Romano – Drums

Music composed by Francois Tusques

 

Jazz

Bill Dixon Orchestra – Nightfall Pieces I & II (1967)

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Nightfall Pieces I & II is track 2 and 4 on the album Intents And Purposes by The Bill Dixon Orchestra.

Intents And Purposes has long been revered as Bill Dixon’s singular masterpiece.  Since his decisive involvement in 1964′s October Revolution in Jazz and lengthy tenure at Bennington College in Vermont (1968-1995), Dixon has been renowned for his skills as an organizer and an educator rather than his pioneering advancements as an instrumentalist and composer. As a former student of painting as well as music, Dixon’s conceptual organization of sound relies heavily on color, shade and texture, with a keen sensitivity to dynamics—aspects that quickly placed him at the creative forefront of the 1960s New Thing. Originally recorded for RCA when he was 42, Intents And Purposes was Dixon’s third album as a leader, following two efforts for Savoy in 1962 and 1964 that were co-led by tenor saxophonist Archie Shepp. [source]

Bill Dixon - Trumpet, Flugelhorn

George Marge - Flute

 

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The Bill Dixon Orchestra – Voices (1967)

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From the album Intents and Purposes by  Bill Dixon, recorded Jan. 17, 1967 in New York City

Since his decisive involvement in 1964′s October Revolution in Jazz and lengthy tenure at Bennington College in Vermont (1968-1995), Dixon has been renowned for his skills as an organizer and an educator rather than his pioneering advancements as an instrumentalist and composer. As a former student of painting as well as music, Dixon’s conceptual organization of sound relies heavily on color, shade and texture, with a keen sensitivity to dynamics—aspects that quickly placed him at the creative forefront of the 1960s New Thing. Originally recorded for RCA when he was 42, Intents And Purposes was Dixon’s third album as a leader, following two efforts for Savoy in 1962 and 1964 that were co-led by tenor saxophonist Archie Shepp.

“Voices” pushes the aesthetic envelope even further, forming a startling alliance between austere classicism and the primal immediacy of ritualized rhythm. Performed by a string-heavy quintet, the lengthy piece features Dixon’s melancholy horn refrains and Lancaster’s otherworldly bass clarinet drifting over haunting string glissandi that eventually trade the sinuous sustain of legato melodies for the polyrhythmic power of tribal drumming. [source]

Bill Dixon – Trumpet, Flugelhorn
Catherine Norris – Cello
Jimmy Garrison – Bass
Robert Frank Pozar – Drums
Byard Lancaster – Bass clarinet

 

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McCoy Tyner – Passion Dance (full album) (1967)

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The Real McCoy is the seventh album by jazz pianist McCoy Tyner and his first released on the Blue Note label. It was recorded on April 21, 1967 following Tyner’s departure from the John Coltrane Quartet and features performances by Tyner with Joe Henderson, Ron Carter and Elvin Jones. Producer Alfred Lion recalls the recording session as a “pure jazz session. There is absolutely no concession to commercialism, and there’s a deep, passionate love for the music embedded in each of the selections”  [source]

All compositions by  McCoy Tyner:

1. Passion Dance  (8:47),  2. Contemplation  (9:12),  3. Four by Five  (6:37),                                         4. Search for Peace  (6:32),  5. Blues on the Corner (5:58)

McCoy Tyner – Piano

Joe Henderson – Tenor saxophone

Ron Carter – Bass

Elvin Jones – Drums

 

 

 

 

 

John Coltrane – I Love You (1957)

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I love you (originally written By Cole Porter) is the second track on John Coltranes Lush Life. The album is Original recorded May 31 and August 16, 1957, and January 10, 1958, all in New York. First released in 1961.

Lush Life is an album credited to jazz musician John Coltrane, released in 1961 on Prestige Records. It is assembled from unissued results of three separate recording sessions at Van Gelder Studio in Hackensack, New Jersey in 1957 and 1958. As Coltrane’s fame grew during the 1960s long after he had stopped recording for the label, Prestige used unissued recordings to create new marketable albums without Coltrane’s input or approval. [source]

Earl May – Bass
Art Taylor – Drums
John Coltrane – Tenor Saxophone