Though too often hailed as revolutionary back in 1952 for not including a pianist, one should note the several tracks here from Mulligan's first recordings for Pacific Jazz that clearly have a piano (which Mulligan himself also played). Regarded by some as a defining example of west coast jazz, an accomplishment for musicians from Ohio and Oklahoma. Note that the original graphic designer messed up the album number in the upper right; it should be PJLP-1. The version I am listening to has additional tracks the Mulligan Quartet recorded for Pacific Jazz in the early 50s. Still great listening.
Unfortunately underrated - I think - both as a performer and a composer (this has Melody for Melonae). McLean did make a pretty successful transition from hard bop to a more free form of jazz; this is a good example. Some of McLean's earlier Prestige albums are available on BandCamp.
Just popped this on while getting ready to go out to what may be my last ever BRAK improv event down the road at WaterIntoBeer due to the impending move. End Times but happy ones I hope.
On her debut album Belgian based multi-instrumentalist Ann Eysermans explores the possibilities of the train as a music instrument: a deep quest into a fascinating and mesmerizing world, which started as a five year old kid, when she climbed on board of the train helm station during a trip from Antwerp to Ostend.
For the compositions ‘Prelude and Fuga For Four Diesel Locomotives And Harp’ Eysermans had the chance to capture the sounds of diesel locomotives (HD 51, 54, 55 and 60) of the Belgian Train World Heritage collection.
Microscopic hissing vibrations of steaming engines slowly entwine and resonate with fragile harp playing, getting on track for an unconventional sonic rail journey.
A melancholic odyssey of sound in motion: Ann Eysermans let the sparkling harp notes dissolve into the tones of pulsating train wheels.
On the B-side she bends her soft singing voice around deranged horn melodies in ‘Le Départ’, connects delayed organ harmonies in ‘De Vertraging’ with the dying frequencies of a trembling and humming locomotive from the 60’s.
On the key track ‘For Trainspotters Only’ Ann Eysermans assembles a hauntingly piece of musique concrete with clanging chimes, broken music boxes, ghostly whispers and throbbing machine room sounds.
A lonely barking dog and the last train announcement on a desolate platform in ‘Chorale’ also mark the last part of this spellbinding record.
On ‘For Trainspotters Only’ Ann Eysermans takes you on an immersive and meandering ride, connecting the dots between the free spirit of Alice Coltrane, the orchestrated field recording compositions of Chris Watson, Basil Kirchin soundtrack vibes and the magic realism of Claire Rousay.
Yes, speedy recovery indeed! Wow, that Masekela cut brings back very fond memories. I'll have to bring that album out again. One of my first albums I ever owned back in the late 60s.
Comments
Though too often hailed as revolutionary back in 1952 for not including a pianist, one should note the several tracks here from Mulligan's first recordings for Pacific Jazz that clearly have a piano (which Mulligan himself also played). Regarded by some as a defining example of west coast jazz, an accomplishment for musicians from Ohio and Oklahoma. Note that the original graphic designer messed up the album number in the upper right; it should be PJLP-1. The version I am listening to has additional tracks the Mulligan Quartet recorded for Pacific Jazz in the early 50s. Still great listening.
Bit of a grower this one...
Freaky People
by al doum & the faryds
Unfortunately underrated - I think - both as a performer and a composer (this has Melody for Melonae). McLean did make a pretty successful transition from hard bop to a more free form of jazz; this is a good example. Some of McLean's earlier Prestige albums are available on BandCamp.
Rollins' return to the studio after his bridge sabbatical was helped by his good sense to have Jim Hall join him.
After a bit of an accident listening to this has helped with the healing.
Sea Olenea - Shallow. Free download on Bandcamo, rest of her music is NYOP
Aswad - New Chapter in Dub
Ouch! "Let's be careful out there!" as Sarge used to say.
Showing as $8 here. Fine sound though.
Here's a link (with proper spelling).
On her debut album Belgian based multi-instrumentalist Ann Eysermans explores the possibilities of the train as a music instrument: a deep quest into a fascinating and mesmerizing world, which started as a five year old kid, when she climbed on board of the train helm station during a trip from Antwerp to Ostend.
Belgian Train World Heritage collection.
Microscopic hissing vibrations of steaming engines slowly entwine and resonate with fragile harp playing, getting on track for an unconventional sonic rail journey.
A melancholic odyssey of sound in motion: Ann Eysermans let the
sparkling harp notes dissolve into the tones of pulsating train wheels.
On the B-side she bends her soft singing voice around deranged horn melodies in ‘Le Départ’, connects delayed organ harmonies in ‘De Vertraging’ with the dying frequencies of a
trembling and humming locomotive from the 60’s.
On the key track ‘For Trainspotters Only’ Ann Eysermans assembles a hauntingly piece of musique concrete with clanging chimes, broken music boxes, ghostly whispers and throbbing machine room sounds.
A lonely barking dog and the last train announcement on a desolate platform in ‘Chorale’ also mark the last part of this spellbinding record.
On ‘For Trainspotters Only’ Ann Eysermans takes you on an immersive and meandering ride, connecting the dots between the free spirit of Alice Coltrane, the orchestrated field
recording compositions of Chris Watson, Basil Kirchin soundtrack vibes and the magic realism of Claire Rousay.
Perhaps this track will help - “Bajabula Bonke (The Healing Song)” by Hugh Masakela.
https://open.spotify.com/track/5djGIsAkgBc5HhXsPk1nX6
Have just downloaded their “Marbin Free Sampler” album from Bandcamp at NYOP.
Wow, that Masekela cut brings back very fond memories.
I'll have to bring that album out again.
One of my first albums I ever owned back in the late 60s.