Tag Archives: YouTube

Jef Lee Johnson – Jungle (2001)

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It’s somewhat amazing that this bold, bizarrely eclectic CD by three guys from Minneapolis would come out on a French label. All three players on this CD are renowned session musicians who have played with everybody from Miles Davis to Billy Joel, but News From the Jungle is anything but the slick production you might expect from a trio of session men. The album starts out with a heavy, menacing sound portrait of a bad night in a bad neighborhood, with Sonny Thompson grimly reciting crime statistics over a pounding beat, wailing guitar, and a collage of police calls and urban sound effects. [Source]




jefleejohnson

[In memory of Jef Lee Johnson - via Jamaaladeen Tacuma]

Sonny Sharrock – Black Woman (1969)

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What more can possibly be said about Sonny Sharrock? It is widely agreed upon that he is the greatest free jazz guitarist, period. He worked within the most important circles of the jazz world from the late ’60s until his death in 1994, playing with Dave Burrell, Norris Jones (a.k.a. Sirone), Milford Graves (all of whom appear on this record), as well as Peter Brötzman, Ronald Shannon Jackson, John Zorn, Miles Davis (he has an uncredited appearance on A Tribute to Jack Johnson), Byard Lancaster, Cecil Taylor, Pharoah Sanders, and Herbie Mann. Since jazz musicians are often judged more by who they played with than what they played, those credentials alone are probably enough to solidify his place in the out-jazz canon. [Source]




Black Woman

Anthony Braxton – Black Monday (2000)

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Drawing heavily on the post-bop songbooks of 60s icons Andrew Hill and George Coleman Braxton’s quartet almost approximates the sound of a forward thinking Blue Note era hard bop band. Programmatically speaking it has antecedents in earlier projects like his pair of In the Tradition albums for Steeplechase and later tribute vehicles like The Charlie Parker Project and Eight (+3) Tristano Compostions (both on Hat Art). Hearing Braxton’s ripe interpretations of these classic compositions is consistently captivating treat. His sound on alto edges deliciously close to soprano range and his acrobatic agility at defying harmonic/melodic strictures is often the only hint at freer leanings. His sidemen two of who are former pupils, fit perfectly into his designs. O’Neil takes on the role of hard bop plectrist, but still evidences the speed and veracity of a plucker well versed in the rigors of free improvisation. Norton moves from colorful texturalist to propulsive catalyst crafting a variety of engaging rhythms and Eulau often offers up flexible walking support. [Source]




[Dedicated to Rikke Malene Nielsen with a happy birthday!]

Louis Armstrong – The Creator Has a Master Plan (1970)

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In 1970, a year before he died, Louis Armstrong participated in this odd but ultimately winning crossover project, singing (but not playing) pop tunes, including “Everybody’s Talkin’” and “Give Peace a Chance,” spiritual uplifters such as “We Shall Overcome” (featuring an unlikely “We Are the World”-type vocal chorus that includes Ornette Coleman, Tony Bennett, and Miles Davis), and three different edits of “The Creator Has a Master Plan (Peace)” (featuring Afro yodeler Leon Thomas). This was not one of the esteemed arranger Oliver Nelson’s better days: dig, or don’t, those hammy orchestrations. But even at less than full strength, Satchmo transcends the setting and the weaker material with his surpassing warmth, authority, and genial spoken asides. “Love, baby, love, that’s the secret,” he says in defending the sentiments of “What a Wonderful World,” here offered in a relaxed, less saccharine version than his 1968 original. More than 30 years on, no one spreads that gospel better. [Source]