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author=SlushPuppy link=topic=26231.msg692839#msg692839 Props to Robin (satfrat) too for keeping me up on the new releases
Quote from: mjosef on 10 Nov 2009, 06:09 amBack to my regular programing... Jazz improvisation. Recorded 15th October 1966 and 14th January 1967 at Revelation's Mt. Washington Studio, Los Angeles.Anthony Ortega (alto saxophone)Bobby West, Chuck Domanico (bass)Bill Goodwin (drums)Quote"Eric Dolphy used to mow his lawn. So, we used to go down to Central Avenue; we weren't old enough to get into the clubs. But, at that time they weren't really that strict. We used to go down there and just kind of lurk in the background. When Dexter Gordon or some other heavyweight like Wardell Gray, Sonny Criss or Hampton Hawes came and if there weren't that many people or if it was late we would get a chance to sit in with those guys. After hearing these guys playing, maybe a couple of them would want to go out and get high and we'd go up and play. So, I got to play a lot over there."http://www.allaboutjazz.com/php/article.php?id=27285Track #2, the shadow of your smile....just beautiful.http://www.cdbaby.com/cd/anthonyortega2Anthony Ortega, new danceOh my, I'm mesmerized by the samples. Don't know this man and I think I'm smart. Oh, well. There's another avant garde player from England not well known that I'm gonna revisit having heard this . . a 60's cat whose name has temporarily escaped me, an alto player. Help!
Back to my regular programing... Jazz improvisation. Recorded 15th October 1966 and 14th January 1967 at Revelation's Mt. Washington Studio, Los Angeles.Anthony Ortega (alto saxophone)Bobby West, Chuck Domanico (bass)Bill Goodwin (drums)Quote"Eric Dolphy used to mow his lawn. So, we used to go down to Central Avenue; we weren't old enough to get into the clubs. But, at that time they weren't really that strict. We used to go down there and just kind of lurk in the background. When Dexter Gordon or some other heavyweight like Wardell Gray, Sonny Criss or Hampton Hawes came and if there weren't that many people or if it was late we would get a chance to sit in with those guys. After hearing these guys playing, maybe a couple of them would want to go out and get high and we'd go up and play. So, I got to play a lot over there."http://www.allaboutjazz.com/php/article.php?id=27285Track #2, the shadow of your smile....just beautiful.http://www.cdbaby.com/cd/anthonyortega2Anthony Ortega, new dance
"Eric Dolphy used to mow his lawn. So, we used to go down to Central Avenue; we weren't old enough to get into the clubs. But, at that time they weren't really that strict. We used to go down there and just kind of lurk in the background. When Dexter Gordon or some other heavyweight like Wardell Gray, Sonny Criss or Hampton Hawes came and if there weren't that many people or if it was late we would get a chance to sit in with those guys. After hearing these guys playing, maybe a couple of them would want to go out and get high and we'd go up and play. So, I got to play a lot over there."
Peter Green White Skyhttp://www.amazon.com/gp/recsradio/radio/B000A1IKUQ/ref=pd_krex_listen_dp_img?ie=UTF8&refTagSuffix=dp_img
In the Fall of 2003, Ottawa double bassist John Geggie invited the internationally renowned improvising pianist Marilyn Crispell to perform with him as part of his annual jazz concert series staged at the National Arts Center. Eight months later, this duo was reunited on stage at the concert hall of the National Library of Canada during the city?s international jazz festival. Buoyed by these performances, the bassist set out to capture some of their musical magic for posterity, this time with a long-time acquaintance of his, Toronto-based drummer Nick Fraser. On October 31, 2006, the trio convened for a three day recording session in the aforementioned hall, a room with a reputation for pristine acoustics ...Divided equally between composed themes for group improvisation (all penned by Geggie) and spontaneously created pieces, the tracks span a wide array of moods and textures, ranging from the lyrical, to the driving, to the spiky, even the abstract.
Although indexed as four tracks, the music is from one continuous performance. Fernandez is joined by John Edwards on bass and Mark Sanders on drums, a pairing with a long and distinguished history together. This combination emphasises Fernandez's well-established links with the London improv scene. The threesome combine well, sounding comfortable and natural together...Fernandez's playing is full of contrasts. Beginning slowly and tentatively, he picks out lines that are clear and deliberate. Edwards responds with delicate bow work, matching the sense of control. Imperceptibly, with no sudden changes, the piano picks up momentum and becomes more energetic. As the deliberate lines become more fractured and impressionistic, during "Secondo," Edwards and Sanders provide tumultuous support. Further ebb and flow ensures that the music is gripping throughout its 47 minutes.The album title translates as "A lightning that never ends." Spot on.
