#barry altschul

[jt1674]

[radiophd]

barry altschul / paul bley / gary peacock -- virtuosi [album, 1976]

[jazzdailyblog]

Conference of the Birds: Dave Holland's Avian Jazz Masterpiece

Introduction: In the ever-evolving landscape of jazz, certain albums emerge as transformative milestones, redefining the boundaries of the genre and leaving an indelible mark on its trajectory. “Conference of the Birds,” an album by bassist and composer Dave Holland, stands as a testament to the boundless creativity and collaborative spirit of jazz musicians. Released in 1973, this album is not…

[zef-zef]

Anthony Braxton Quartet - Montreux 1975

Anthony Braxton - reeds Kenny Wheeler - trumpet Dave Holland - bass Barry Altschul - drums

[onetwofeb]

Listen/purchase: STOP TIME by Barry Altschul / David Izenson / Perry Robinson

[cdbrainrecords]

Barry Altschul, Paul Bley, Gary Peacock - Virtuosi (LP, Album, Promo)

Vinyl(VG+) Sleeve(VG) Insert(VG+) Obi(missing) // missing Obi 帯なし / nice vinyl, plays nice / minor shelf wear / コンディション　盤 : Very Good Plus (VG+) コンディション　ジャケット : Very Good (VG) コンディションの表記について　  [ M > M- > VG+ > VG > G+ > G > F > P ] レーベル : Improvising Artists Inc. – RJ-7138 フォーマット : Vinyl, LP, Album, Promo 生産国 : Japan 発売年 : 1976 Recorded New York City / Nola Studios / June 28, 1967. Includes…

[theloniousbach]

HANGING OUT AT MEZZROW’S

MIKE LEDONNE with John Webber and Willie Jones III, 3 FEBRUARY 2024, 7:30 pm

STEVE ASH with Harvie S and Alvester Garnett, 3 FEBRUARY 2024, 10:30 pm

RAY GALLON with Paul Gill and Jason Brown, 1 FEBRUARY 2024, 10:30 pm

It is rarely a bad week for pianos in general and at Mezzrow’s, I have been pleasantly “stuck” with them after a sojourn of drummerless trios with brass. Back to basics and yet there are connections to those standards heavy shows. Most especially, the best parts of Richie Vitale’s gig were STEVE ASH’s forceful piano and Paul Gill’s bowed bass solos. So I got to see both of them more on their own terms, including Gill with regular partner RAY GALLON.

I had also ventured into Alvaro Torres’ freer/New Music set with John Hebert and Barry Altschul comfortable enough to have my ears stretched that way. He is a sparer pianist, so the counter was a strong set from Miki Yamanaka and then, in person, Billy Childs with Ari Hoenig. Yamanaka, Childs, MIKE LEDONNE, and Ash all play with rich power and insistent swing. Far from tame, they each have nifty surprises within structures that give a sense of familiarity.

I have often found MIKE LEDONNE a bit heavy handed particularly in trios (his role in large ensembles plays to that strength), but he was well suited to my mood. The tunes were bright and interesting—from Billy Eckstine, Cedar Walton, Coltrane maybe (it was a not too reverential After the Rain), and a couple of originals. He was like all of them, a nice mix of fluidity, percussiveness, and lyricism. Willie Jones III was, as always, delightful and important; John Webber was strong and fluid. They were a big, bright band.

STEVE ASH was also very strong and dynamic, maybe a tiny bit subtler. He did have Harvie S on bass and, with Alverster Garnett, they had a new recording to highlight. I liked their material—You and the Night and the Music, I’m Just a Lucky So and So, Bud Powell’s Una Nocha Con Francis (bebop and Latin!), a Jobim, Effendi (strong and modal but evoking McCoy Tyner, not imitating him), an original (I think) ballad, and Speak Low. Harvie S’s strums high on the finger board on Effendi stood out, but it was interesting to see him with a “bigger” trio than with Alan Broadbent and Billy Mintz.

I hope it is not faint praise to call RAY GALLON a welterweight among these cruiser- even heavy- weights. Calling Hank Mobley the middleweight champion of the tenor in the 1950s was meant as an insult, though it shouldn’t be. I simply mean his touch is lighter and he goes a bit back into the source material. He did not open, as he did the last few times I saw him, with Ellington’s Harlem Air Shaft, but did include Moon Song from a 1959 Louis Armstrong date with Oscar Peterson. Pops is Pops and timeless, but he doesn’t get as directly referenced much these days. Still the original opener Plus One sounded Ellington-ish, particularly given my expectations. His previous second tune Two Track Mind was the closer, but a slightly deconstructed Nardis was third almost as expected. His Zombette did have a French feel, a bit of those Debussy Preludes discordances. His touch is just slightly lighter and the rhythmic drive subtler. Perhaps Gill’s arco solos are part of that, but Jason Brown’s drumming with just one ride cymbal was as crisp and inventive as Garnett and Jones III.

Throw in Yamanaka and Childs and this is a strong run for me with my preferred format.

[sheetmusiclibrarypdf]

Chick Corea

Chick Corea - Spain - Live At Montreux 2004 Chick CoreaBiography Best Sheet Music download from our Library. Please, subscribe to our Library. Thank you! Spain - Chick Corea (Piano solo arr.) with sheet music

Chick Corea - Spain - Live At Montreux 2004

https://dai.ly/x881w8d

Chick Corea

Biography Born Armando Anthony Corea in Chelsea, Massachusetts on June 12, 1941, Chick was studying piano by age four and enjoyed a childhood home filled with the sounds of Charlie Parker, Dizzy Gillespie, Bud Powell, Lester Young and Horace Silver - not to mention the likes of Beethoven and Mozart, who inspired Chick's compositional instincts. Chick's earliest compositions were recorded during one of his first professional stints, three years with trumpeter Blue Mitchell ('64-'66), which led up to the pianist's first project as a leader, Tones For Jones Bones. Early gigs with the likes of Willie Bobo, Cal Tjader, Herbie Mann and Mongo Santamaria instilled a love of Latin music, prevalent in much of Chick's early work. After a year accompanying Sarah Vaughan, he rose to true prominence in the jazz world by joining Miles Davis' band playing electric piano. In his years with Miles, Chick played on the groundbreaking classic fusion recording Bitches Brew and In a Silent Way. From there, Chick formed his own avant-garde improvisational group, Circle, with bassist Dave Holland, drummer Barry Altschul and sax man Anthony Braxton.

In 1971, after three years of Circle, Chick changed his focus. Jazz has never been quite the same since the birth of Return to Forever. The early edition of that group (which featured the young Stanley Clarke on bass) was a softer, samba-flavored ensemble featuring Flora Purim on vocals, her husband Airto on drums and reed man Joe Farrell. After two albums with this lineup and a few solo piano released on the side, Chick plugged in and went the electronic fusion route, incorporating into RTF the firepower of drummer Lenny White and guitarist Bill Connors. While Corea was forging a unique style on the Moog synthesizer, RTF (with Al Di Meola replacing Connors) spearheaded the mid-70's fusion movement with such innovative albums as Where Have I Known You Before, the Grammy-winning No Mystery and Romantic Warrior. When RTF disbanded in 1975, Corea delved into a diverse series of recordings -- electronic ensembles, solo piano, classical music and high-powered acoustic duos -- with artists like Herbie Hancock and Gary Burton. Other Corea projects leading up to his mid-80's formation of the Elektric Band were the Grammy winning Leprechaun, My Spanish Heart and Musicmagic, (the latter of which was a new Return to Forever project with vocalist Gayle Moran) followed by Mad Hatter, RTF Live, and work with Joe Henderson, Freddie Hubbard, Hubert Laws, Chaka Khan and Nancy Wilson, among countless others. In 1992, Chick realized a lifelong goal, along with manager Ron Moss, forming Stretch Records, a label committed to stretching musical boundaries (like its founder) and focusing more on freshness and creativity than on musical style. Among its early releases have been projects by Bob Berg, John Patitucci, Eddie Gomez and Robben Ford. "My interests change and vary as the years go along, with different emphases all the time," Chick muses. "The more I play in different situations, the more possibilities I discover for what I can do. Rather than think in terms of my music developing, I choose to bask in the glow of one thing for a few minutes, then let it go." In 1996, as the last release for GRP Records, Ron Moss produced Music Forever & Beyond a 5 disc box set of selected works from 1964-1996. Corea states, "The single emotion that this box set has left me with is a profound feeling of gratitude and thankfulness to have had the opportunity and the honor to create music with so many inspiring musicians through the years." After his relationship with GRP ended in 1996, Stretch Records became a subsidiary of Concord Records and Chick decided to be part of Stretch's artist roster. His first release on Stretch was a tribute to pianist Bud Powell. Therefore, it was suitable to contact Roy Haynes to be a part of this project, as Haynes had performed with Powell in the early 60's. Remembering Bud Powell was met with much excitement due, in part, to the participants that Corea had on the project. Along with Haynes were Kenny Garrett, Joshua Redman, Wallace Roney and Christian McBride. Corea said, "All the musicians poured themselves so unselfishly and creatively into this project…we all felt Bud's lasting inspiration during the recording and touring." That same year, Chick released a recording with the St. Paul Chamber Orchestra with Bobby McFerrin as conductor. This was their 2nd recording for Sony Classical, entitled The Mozart Sessions. Their first duet recording, Play, was honored with a Grammy Award. Also, in 1997 Chick teamed up with Gary Burton. It had been over 20 years since their Crystal Silence duet recording and the two thought it was time to do another. Native Sense - The New Duets was released on Stretch Records and gave Chick his 9th Grammy Award in 1998. Moving forward is something at which Chick is well adept. Toward the end of 1997, Chick decided to once again form a new group - a base in which he could once again perform on acoustic piano. The band's self-titled debut release was a live recording at the Blue Note club in New York City. Chick's strategy behind the recording was to try to capture the band's sound and feel as it is in a live performance. "When we play to an audience, as opposed to playing in a recording studio, there's never a thought of playing perfectly or making no mistakes," Chick comments, "so the music flows more freely and there comes a comfort in stretching out. So what you hear on that recording is the unedited performances." Those shows generated so much enthusiasm that the veteran bandleader took another leap, after the initial release of Origin - Live at the Blue Note. In 1998, Chick released the six-disc set A Week at the Blue Note. The boxed set, featuring music played during three of the four evenings that heralded the debut of "Origin," caught the band in all its spontaneously combustible glory. The sextet took on Miles Davis' "Four", Thelonious Monk's "Blue Monk", "Straight, No Chaser" and "Four in One", Bud Powell's "Tempus Fugit", Charlie Parker's "Bird Feathers", the Rodgers-Hart standard "Bewitched, Bothered & Bewildered" and Corea's "Matrix", "Hand Me Down" and "Sifu", not to mention alternate versions of tunes heard on the first album. In the summer of 1999, Chick released Origin's 3rd recording, Change. This was recorded within the relaxed confines of the home Chick shares with singer and wife Gayle Moran in Florida. Chick and the band went to work on a set of material written specifically for Origin since the release of the debut. "The first record was a mishmash of all kind of stuff; old tunes, standards, jam-session tunes and new written music, whereas Change is focused on music specifically written for a known group that has become an entity. With this record, I wanted to try more thorough writing with the band. Everyone responded to it very well." Change brings Origin one step closer to Chick's conception of a dream ensemble, a group of musicians unusually attuned to each other's playing, united under the like-minded goal of bringing to life the music of a leader able to compose and arrange challenging material with specific instrumental voices in mind. Chick completed a recording with the London Philharmonic Orchestra, Corea Concerto, for Sony Classical, released October 1999. Back in the early '80s, Chick was introduced to Mozart's music by Friedrich Gulda. Since then, Chick was determined to write a Piano Concerto of his own. This was completed in 1984. Over a 10-year period, Chick performed the piece with various orchestras in New York, Japan and Italy but had not had the opportunity to record it. In 1998, Chick was invited to perform in Vienna with the London Philharmonic Orchestra for a special 1999 Easter event. This concert opened up an opportunity to record the Concerto. After a successful evening in Vienna, Chick, group members from Origin and the London Philharmonic Orchestra went back to London to do the recording. The recording features Piano Concerto No.1 - (dedicated to the spirit of religious freedom) and a new version of Chick's tune Spain (arrangement for Sextet & Orchestra). "I chose almost the exact same instrumentation as the Mozart piano concerto orchestrations for my concerto. I figured that I could perform the Mozart and my own piece with the same size orchestra, and that would be a good practical start for me. So, with the spirit and sound of Mozart's piano concerto music, I wrote this piece and dedicated it to the spirit of religious freedom which, for me, is on the same level as the creative freedom that is the basic right of all people." Chick also speaks about why he chose to do a new version of Spain: "If there is anyone song that listeners seem to know me best by, I guess that song is "Spain," as I get the most requests for it and hear it mentioned more than any of the others. I wrote the song in 1971 and played it frequently with RTF and many other bands of mine. I reharmonized the theme and made a brand-new arrangement of it for the Akoustic Band trio in 1988, and have generally turned the song inside out through the years. This is a final visit to "Spain" in grand fashion and with a tip of the hat to the art cultures of Spain, Cuba, Brazil, Argentina and New York."

Spain - Chick Corea (Piano solo arr.) with sheet music

https://vimeo.com/512551418 Read the full article

[doomandgloomfromthetomb]

Paul Bley - Great American Music Hall, San Francisco, California, August 20, 1976 / December 16, 1976

Sometimes you just have to listen to Paul Bley all damn day. These two 1976 performances in San Francisco will help you reach this elevated plane. The August date features the pianist in a trio setting, with bassist Gary Peacock and drummer Barry Altschul providing sensitive, searching (and occasionally searing) accompaniment. The December date is nothing but Bley — two-plus hours of Mr. Joy bringing some wonderful solo explorations to O'Farrell Street.

Paul says: So much of the music is improvised that the line between improvisation and composition pretty much disappear, so that the goal in improvising is to sound like it is composed. From the audience's point of view, they are not really supposed to know whether it's written or improvised, so what you're really talking about is spontaneous composition, which is often called improvisation. The audience responds not so much to composition or improvisation, they respond to the individual players and what they respond to with the player is pretty much the timbre and tone of the player and the passion of a player. That's what engages an audience.

[ozkar-krapo]

David HOLLAND Quartet

"Conference of the Birds"

(LP. ECM rcds. 1973 / rec. 1972) [GB/US]

[dustedmagazine]

Paul Bley Trios – Touching & Blood Revisited (Ezz-thetics)

Canadian pianist Paul Bley was an inarguable artistic giant further blessed with the advantage of longevity. His vast and varied professional career stretched from the nascent jazz modernism of the 1950s to an eventual retirement six-years prior to his passing at the age of 83 in 2016. Across that temporal distance he played virtually every style within the idiom and in the cumulative process created a signature approach to improvisation bridging freedom and structure entirely his own. Touching & Blood Revisited surveys a particularly fertile pair of points on that continuum, and finds Bley firmly embracing the singular vernacular that would shape his investigations in the coming decades.

Bill Evans is a common, if mostly imperfect and reductionist, corollary to Bley. Both dealt in introspective and impressionistic expression often rooted in figurative pastoralism. But where Evans often painted pianistic portraits in vibrant pastels, Bley frequently smudged, shaded and elided his shapes in charcoals. That preference for grain and texture is all over the excursions that make up the disc’s composite program. Drummer Barry Altschul is a common denominator of both dates, which are separated by almost exactly a year. Bassist Kent Carter serves as fulcrum on the first from November 1965 in a program that combines Bley originals with a handful of other compositions from his erstwhile spouses Annette Peacock and Carla Bley.

The trio approaches the tunes faithfully, but with ears also collectively cocked to opportunities for loose-limbed extemporization. “Cartoon” echoes its namesake, expanding and contracting on the complimentary surfaces set up by stuttering chords, snapping strings and swishing brushes. “Touching” is delicacy coupled with curled melancholy, Altschul’s spare cymbals framing Bley’s staggered statement of theme. Peacock’s “Mazatlan” pivots on a jaunty Latin syncopation and a tightly wound progression parsed by Bley’s overlapping hands. There’s a similar relationship between density and openness on the closing “Pablo” as Carter and Altschul agitate a series of cross-rhythms under the leader’s questing chords.

“Blood” switches locales from Copenhagen to The Netherlands with Mark Levinson installed on bass in place of Carter. Sprawling the entirety of an LP side, the largely improvised performance builds from a commodious compositional lattice by Peacock. Long-form improvisational excursions rooted in rhythm and melody were still something of an exception when it was recorded and the players’ collective concentration over the course is remarkable, especially considering its vintage. Altschul, in particular, is fire, ranging all over his kit and forging an energy source that neither falters nor overwhelms. Levinson knows when to lay out and Bley balances his leader role with an unwavering respect for his colleagues. It’s a platinum standard fidelity toward teamwork that he would largely sustain over the next half-century.

Derek Taylor

[jt1674]

[mrdirtybear]

Barry Altschul (born 1943) is an American jazz drummer who came to the attention of the musical world in 1969 when joined the jazz ‘supergroup’ Circle along with Dave Holland and Chic Corea among others. The above album was made in 1978, there are a modest eighteen albums with his name as the artist, but over sixty albums on which he collaborates with others where their name is the one to ask for it by.   

[jazzdailyblog]

Sam Rivers: Pioneering Pathways in Jazz

Introduction: In the sprawling landscape of jazz, certain musicians emerge as trailblazers, charting new courses and pushing the boundaries of the genre. Among these visionaries stands Sam Rivers, a multi-instrumentalist and composer whose innovative spirit left an indelible mark on the world of improvised music. This article delves into the life, contributions, and enduring legacy of Sam…

[kneipho]

Dave Holland Quartet – Conference of the Birds (Reissued on 180g Vinyl)

Youtube Source Channel:  EMC Records

Runtime: 4:34