Alan Skidmore Quintet - Once Upon A Time (1970)
Artist: Alan Skidmore Quintet
Album: Once Upon A Time
Released: 1970
Label: Dutton Vocalion UK
Genre: Jazz
Alan Skidmore (born Alan Richard James Skidmore, 21 April 1942, London) is a tenor saxophonist of jazz and blues music, son of the saxophonist Jimmy Skidmore.
Skidmore began his professional career at 16 and early in his career toured with comedian Tony Hancock. In the mid to late 1960s he worked with John Mayall's Bluesbreakers and Ronnie Scott's group. In the 1970s, he was part of Keith Tippett's jazz fusion bigband project Centipede and worked - among others - with Soft Machine, The Nice, Graham Collier, Brotherhood of Breath, Mike Gibbs, Elton Dean, Kate Bush and Curved Air. He has since played with many other musicians in blues and jazz, including Chick Corea, Alexis Korner, Georgie Fame, and the Van Morrison band.
His first album under his own name was 1969's Once Upon A Time and on this and his other albums a strong John Coltrane influence can be heard, especially on his 1988 album Tribute to 'trane, and 1998's After the Rain, orchestral settings of tunes that had been recorded (and some of them written) by Coltrane. In 1973 he co-founded the all-saxophone ensemble S.O.S. with John Surman and Mike Osborne. At the end of the Apartheid regime he went to South Africa to record with musicians from the percussion group Amampondo, including pianist Simpiwe Matole, playing modern jazz over a texture of African percussion and chants. (http://en.wikipedia.org/w/index.php?title=Alan_Skidmore&oldid=464227102)
Discography:
Once Upon A Time (1969) Deram Records
TCB (1970)
SOS (1975)
Tribute To Trane (1988)
From East To West (1992)
After the Rain (1998) - playing ballads with Colin Towns' Mask Orchestra.
The Call (2001) - with Amampondo
Ubizo (2003) - with Amampondo
Tracklist:
1. Once Upon A Time 7:01
2. Majaera 3:56
3. The Yolk 5:52
4. Old San Juan 11:48
5. Free For All 4:31
6. Image 4:57
Alan Skidmore Quintet - Once Upon A Time (1970)
Sunday, September 2, 2012
Ahmad Jamal - Outertimeinnerspace (1972)
Ahmad Jamal - Outertimeinnerspace (1972)
Artist: Ahmad Jamal
Album: Outertimeinnerspace
Recorded on June 17, 1971 at Casino Montreux, Switzerland
Originally released on Impulse AS-9226 in May 1972
Unissued on CD.
Ahmad Jamal's final Impulse! date documents (with 1971's Freeflight album) his appearance at the 1971 Montreux Jazz Festival. Featuring Ahmad on acoustic and electric piano, the album contains two long tracks -- "Bogota" and "Extensions". The groove is fairly lively, with lots of long flowing solos from Ahmad, and nary a dull moment from Jamil Sulieman on bass and Frank Gant on drums. Although the record isn't as moody as some of his other ones from the time, it's a strong straight jazz session, with a good spacey groove.
Born Frederick Russell Jones in Pittsburgh, PA, on July 2, 1930, he began using the name 'Ahmad Jamal' after his conversion to Islam in the early 1950s. Jamal scored a major hit with his version of "Poinciana," recorded while live on tour from The Pershing nightclub in Chicago. His style has changed steadily over time - from the lighter, breezy style heard on his 1950s sides to the funk & Caribbean stylings of the 1970s and onto the large open voicings and bravura-laden playing of the nineties. Jamal has always been distinctive, however, for his use of space, his dramatic crescendos, and for a very staccato orientation with chords.
Jamal experienced a minor resurgence in popularity during the late '60s thanks to albums like 1967's Standard Eyes and 1968's Cry Young, the latter of which returned him to the pop charts for the first time in eight years. Later that year, he moved from Cadet to Impulse, and recorded five albums over the next four years, including the live Montreux Jazz Festival set Freeflight (1971) and Outertimeinnerspace (1972), both of which found him experimenting with the Fender Rhodes electric piano in addition to his standard sound. Additionally, in 1970, he performed an oft-heard version of the theme from the film M.A.S.H. that was included on the soundtrack.
Jamal moved to 20th Century in 1973 for a series of decent-selling albums that kicked off with Ahmad Jamal '73, another session with arranger Richard Evans. Others included 1974's Jamalca, 1975's Jamal Plays Jamal, 1976's One, and 1980's Genetic Walk; of those, the former two made the R&B charts, while Genetic Walk was Jamal's fifth and final album to reach the pop charts. Nasser left the trio in the mid-'70s and was replaced by John Hurd, and the lineup was also expanded to include guitarist Charlie Keys for the 1976 concert set Live at Oil Can Harry's (a one-off for the short-lived Catalyst label).
Ahmad Jamal - piano
Jamil Sulieman - bass
Frank Gant- drums
Comprising two epic improvisations, each occupying an entire side of the LP, Outertimeinnerspace is a challenging but deeply rewarding effort that captures the pianist at his most profoundly spiritual, exploring otherworldly dimensions of space and sound. Jamal, bassist Jamil Nasser, and drummer Frank Gant all deliver performances of uncommon intensity, channeling the energy of the audience into music that pulses with life and crackles with inspiration. Both "Bogota" and "Extensions" demand listeners' full immersion, and reward their efforts with music of uncommon daring.
Tracklist:
01. Introduction/Bogota (Evans) 17:05
02. Extension (Jamal) 19:28
Ahmad Jamal - Outertimeinnerspace (1972)
Artist: Ahmad Jamal
Album: Outertimeinnerspace
Recorded on June 17, 1971 at Casino Montreux, Switzerland
Originally released on Impulse AS-9226 in May 1972
Unissued on CD.
Ahmad Jamal's final Impulse! date documents (with 1971's Freeflight album) his appearance at the 1971 Montreux Jazz Festival. Featuring Ahmad on acoustic and electric piano, the album contains two long tracks -- "Bogota" and "Extensions". The groove is fairly lively, with lots of long flowing solos from Ahmad, and nary a dull moment from Jamil Sulieman on bass and Frank Gant on drums. Although the record isn't as moody as some of his other ones from the time, it's a strong straight jazz session, with a good spacey groove.
Born Frederick Russell Jones in Pittsburgh, PA, on July 2, 1930, he began using the name 'Ahmad Jamal' after his conversion to Islam in the early 1950s. Jamal scored a major hit with his version of "Poinciana," recorded while live on tour from The Pershing nightclub in Chicago. His style has changed steadily over time - from the lighter, breezy style heard on his 1950s sides to the funk & Caribbean stylings of the 1970s and onto the large open voicings and bravura-laden playing of the nineties. Jamal has always been distinctive, however, for his use of space, his dramatic crescendos, and for a very staccato orientation with chords.
Jamal experienced a minor resurgence in popularity during the late '60s thanks to albums like 1967's Standard Eyes and 1968's Cry Young, the latter of which returned him to the pop charts for the first time in eight years. Later that year, he moved from Cadet to Impulse, and recorded five albums over the next four years, including the live Montreux Jazz Festival set Freeflight (1971) and Outertimeinnerspace (1972), both of which found him experimenting with the Fender Rhodes electric piano in addition to his standard sound. Additionally, in 1970, he performed an oft-heard version of the theme from the film M.A.S.H. that was included on the soundtrack.
Jamal moved to 20th Century in 1973 for a series of decent-selling albums that kicked off with Ahmad Jamal '73, another session with arranger Richard Evans. Others included 1974's Jamalca, 1975's Jamal Plays Jamal, 1976's One, and 1980's Genetic Walk; of those, the former two made the R&B charts, while Genetic Walk was Jamal's fifth and final album to reach the pop charts. Nasser left the trio in the mid-'70s and was replaced by John Hurd, and the lineup was also expanded to include guitarist Charlie Keys for the 1976 concert set Live at Oil Can Harry's (a one-off for the short-lived Catalyst label).
Ahmad Jamal - piano
Jamil Sulieman - bass
Frank Gant- drums
Comprising two epic improvisations, each occupying an entire side of the LP, Outertimeinnerspace is a challenging but deeply rewarding effort that captures the pianist at his most profoundly spiritual, exploring otherworldly dimensions of space and sound. Jamal, bassist Jamil Nasser, and drummer Frank Gant all deliver performances of uncommon intensity, channeling the energy of the audience into music that pulses with life and crackles with inspiration. Both "Bogota" and "Extensions" demand listeners' full immersion, and reward their efforts with music of uncommon daring.
Tracklist:
01. Introduction/Bogota (Evans) 17:05
02. Extension (Jamal) 19:28
Ahmad Jamal - Outertimeinnerspace (1972)
Cactus - Cactus (1970)
Cactus - Cactus (1970)
CD reissue of the classic 1970 debut by this super group featuring Vanilla Fudge's rhythm section (Tim Bogert on bass and Carmen Appice on drums), the Amboy Dukes' Rusty Day on vocals and Detroit Wheels guitarist Jim McCarty.
Tracklist:
1. Parchman Farm 3:07
2. My Lady from South of Detroit 4:26
3. Bro. Bill 5:12
4. You Can't Judge A Book By The Cover 6:31
5. Let Me Swim 3:51
6. No Need To Worry 6:15
7. Oleo 4:51
8. Feel So Good 6:04
Cactus - Cactus (1970)
CD reissue of the classic 1970 debut by this super group featuring Vanilla Fudge's rhythm section (Tim Bogert on bass and Carmen Appice on drums), the Amboy Dukes' Rusty Day on vocals and Detroit Wheels guitarist Jim McCarty.
Tracklist:
1. Parchman Farm 3:07
2. My Lady from South of Detroit 4:26
3. Bro. Bill 5:12
4. You Can't Judge A Book By The Cover 6:31
5. Let Me Swim 3:51
6. No Need To Worry 6:15
7. Oleo 4:51
8. Feel So Good 6:04
Cactus - Cactus (1970)
The Moody Blues - Days Of Future Passed (1967)
The Moody Blues - Days Of Future Passed (1967)
This 1967 album was one of the first of the progressive rock genre. The first mainstream release to feature a rock band and orchestra playing together, and being a linked suite of songs on a common theme, this of course spawned the massive hit single "Nights In White Satin." It also includes the haunting "Tuesday Afternoon", and the frankly evil sounding 'Twilight Time'. A groundbreaking album in rock and roll history, and one everybody should own. Although not the first concept album ever (that honour may fall to Joe Meek's "I Hear A New World" seven years earlier) it's fair to say all that was ever regarded as 'prog' started here, although the band themselves never liked the term and of course moved away from it into an AOR-MOR direction. Nevertheless, this album is as important as 'Sgt Pepper' 'Pet Sounds' 'Forever Changes' 'SF Sorrow' 'Odessey And Oracle' 'Ogdens Nut Gone Flake' and 'Village Green Preservation Society', and to count the amount of bands its sound influenced would take a whole week. (Freak Emporium)
1. The Day Begins (Graeme Edge/Peter Knight/Redwave) 5:51
2. Dawn, Dawn Is A Feeling (Michael Pinder/Peter Knight/Redwave) 3:49
3. The Morning, Another Morning (Peter Knight/Ray Thomas/Redwave) 3:56
4. Lunch Break, Peak Hour (John Lodge/Peter Knight/Redwave) 5:33
5. The Afternoon a) Forever Afternoon (Tuesday?) b) (Evening) Time To Get Away (John Lodge/Justin Hayward/Peter Knight/Redwave) 8:23
6. Evening a) The Sun Set b) Twilight Time (Michael Pinder/Peter Knight/Ray Thomas/Redwave) 6:40
7. The Night - Nights In White Satin (Justin Hayward/Peter Knight/Redwave) 7:25
This 1967 album was one of the first of the progressive rock genre. The first mainstream release to feature a rock band and orchestra playing together, and being a linked suite of songs on a common theme, this of course spawned the massive hit single "Nights In White Satin." It also includes the haunting "Tuesday Afternoon", and the frankly evil sounding 'Twilight Time'. A groundbreaking album in rock and roll history, and one everybody should own. Although not the first concept album ever (that honour may fall to Joe Meek's "I Hear A New World" seven years earlier) it's fair to say all that was ever regarded as 'prog' started here, although the band themselves never liked the term and of course moved away from it into an AOR-MOR direction. Nevertheless, this album is as important as 'Sgt Pepper' 'Pet Sounds' 'Forever Changes' 'SF Sorrow' 'Odessey And Oracle' 'Ogdens Nut Gone Flake' and 'Village Green Preservation Society', and to count the amount of bands its sound influenced would take a whole week. (Freak Emporium)
1. The Day Begins (Graeme Edge/Peter Knight/Redwave) 5:51
2. Dawn, Dawn Is A Feeling (Michael Pinder/Peter Knight/Redwave) 3:49
3. The Morning, Another Morning (Peter Knight/Ray Thomas/Redwave) 3:56
4. Lunch Break, Peak Hour (John Lodge/Peter Knight/Redwave) 5:33
5. The Afternoon a) Forever Afternoon (Tuesday?) b) (Evening) Time To Get Away (John Lodge/Justin Hayward/Peter Knight/Redwave) 8:23
6. Evening a) The Sun Set b) Twilight Time (Michael Pinder/Peter Knight/Ray Thomas/Redwave) 6:40
7. The Night - Nights In White Satin (Justin Hayward/Peter Knight/Redwave) 7:25
If - If (1970)
If - If (1970)
Repertoire 2006
If was Great Britain's contribution to the jazz-rock movement begun and popularized in the late '60s/early '70s by Blood, Sweat & Tears and Chicago. Formed in 1969 by Melody Maker jazz poll winners Dave Quincy, Dick Morrissey, and Terry Smith, the band never found popular success in the United States. However, If produced several albums noteworthy for placing jazz players in a pop/rock band context and producing a true fusion of the two genres without diluting the players' improvisational skills. Unlike most of their horn-band contemporaries, If had no brass players in the band, relying solely on the saxophones of Dick Morrissey and the flute and saxophones of Dave Quincy. But what really gave If its unique sound were the vocals of J.W. Hodgkinson and the guitar of Terry Smith. Hodgkinson's vocal timbre was unusual -- smooth, flexible, and strong in the high end, sounding like no other vocalist. Smith's trebly guitar sound was also unique, combining a rocker's use of sustain with the jazz fluency of Wes Montgomery and Django Reinhardt. The original incarnation of If produced five excellent albums between 1970 and 1972, but these albums failed to find an audience. Morrissey soldiered on with the If name for two more albums with a totally different lineup and a more generic rock-type sound, but these, too, went nowhere. Drummer Dennis Elliott was later a member of the platinum-selling rock band Foreigner.
AMG Review:
If's first album came out in the summer of 1970, while most horn-driven jazz-rock bands were still mimicking the successful formula employed by Chicago and Blood, Sweat & Tears. If was different, with more of a jazz feel on both the instrumental and the vocal ends. The material on If provides plenty of room for reedmen Dave Quincy and Dick Morrissey, plus guitarist Terry Smith, to stretch out. Though not particularly deep or profound, the lyrics nonetheless express the positive, optimistic sentiments prevalent at the time. J.W. Hodgkinson's unusual tenor vocal timbre fits like a lead instrument in the mix, soaring above and within the arrangements. "What Can a Friend Say" kicks the album off in fine style, setting the parameters within which the band works throughout the rest of the disc, with the horns complementing Hodgkinson's rendering of the verses, which wrap around excellent, extended sax and guitar solos. The instrumental "What Did I Say About the Box, Jack?" showcases Quincy's high-octane flute work and the speedy fingers of guitarist Smith. The album continues in the same consistently excellent vein, with the ballad "Dockland" providing a beautiful respite toward the end of the album.
Recorded in February, March 1970 at Island Studios, London.
1. I'm Reaching Out On All Sides 5:45
2. What Did I say About The Box, Jack 8:23
3. What Can A Friend Say 6:56
4. Woman, Can You See 4:13
5. Raise The Level Of Your Concious Mind 3:18
6. Dockland 4:46
7. The Promised Land 3:45
8. Raise The Level Of Your Concious Mind (7' Version) 3:17
9. I'm Reaching Out On All Sides (7' Version) 5:44
Repertoire 2006
If was Great Britain's contribution to the jazz-rock movement begun and popularized in the late '60s/early '70s by Blood, Sweat & Tears and Chicago. Formed in 1969 by Melody Maker jazz poll winners Dave Quincy, Dick Morrissey, and Terry Smith, the band never found popular success in the United States. However, If produced several albums noteworthy for placing jazz players in a pop/rock band context and producing a true fusion of the two genres without diluting the players' improvisational skills. Unlike most of their horn-band contemporaries, If had no brass players in the band, relying solely on the saxophones of Dick Morrissey and the flute and saxophones of Dave Quincy. But what really gave If its unique sound were the vocals of J.W. Hodgkinson and the guitar of Terry Smith. Hodgkinson's vocal timbre was unusual -- smooth, flexible, and strong in the high end, sounding like no other vocalist. Smith's trebly guitar sound was also unique, combining a rocker's use of sustain with the jazz fluency of Wes Montgomery and Django Reinhardt. The original incarnation of If produced five excellent albums between 1970 and 1972, but these albums failed to find an audience. Morrissey soldiered on with the If name for two more albums with a totally different lineup and a more generic rock-type sound, but these, too, went nowhere. Drummer Dennis Elliott was later a member of the platinum-selling rock band Foreigner.
AMG Review:
If's first album came out in the summer of 1970, while most horn-driven jazz-rock bands were still mimicking the successful formula employed by Chicago and Blood, Sweat & Tears. If was different, with more of a jazz feel on both the instrumental and the vocal ends. The material on If provides plenty of room for reedmen Dave Quincy and Dick Morrissey, plus guitarist Terry Smith, to stretch out. Though not particularly deep or profound, the lyrics nonetheless express the positive, optimistic sentiments prevalent at the time. J.W. Hodgkinson's unusual tenor vocal timbre fits like a lead instrument in the mix, soaring above and within the arrangements. "What Can a Friend Say" kicks the album off in fine style, setting the parameters within which the band works throughout the rest of the disc, with the horns complementing Hodgkinson's rendering of the verses, which wrap around excellent, extended sax and guitar solos. The instrumental "What Did I Say About the Box, Jack?" showcases Quincy's high-octane flute work and the speedy fingers of guitarist Smith. The album continues in the same consistently excellent vein, with the ballad "Dockland" providing a beautiful respite toward the end of the album.
Recorded in February, March 1970 at Island Studios, London.
1. I'm Reaching Out On All Sides 5:45
2. What Did I say About The Box, Jack 8:23
3. What Can A Friend Say 6:56
4. Woman, Can You See 4:13
5. Raise The Level Of Your Concious Mind 3:18
6. Dockland 4:46
7. The Promised Land 3:45
8. Raise The Level Of Your Concious Mind (7' Version) 3:17
9. I'm Reaching Out On All Sides (7' Version) 5:44
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