#the keith tippett group

[jt1674]

[fugengulsen]

The Keith Tippett Group - I Wish There Was A Nowhere (1970) #BritishP...

[jazzandother-blog]

TJF 2023 - Roberto Ottaviano quintet "Eternal love"

Roberto Ottaviano - Saxophone

Marco Colonna - Clarinet

Alexander Hawkins - Piano

Giovanni Maier - Bass

Zeno De Rossi - Drums

Having undergone highly qualifying training experiences with Giacomo Manzoni, Luigi Nono, Evan Parker, Jimmy Giuffre, George Russell and Andrea Centazzo, Roberto Ottaviano has made and continues to make the history of Italian jazz. The list of his international collaborations is impressive: Dizzy Gillespie, Art Farmer, Mal Waldron, Albert Mangelsdorff, Chet Baker, Keith Tippett, Steve Swallow, Kenny Wheeler, Paul Bley, Aldo Romano, Tony Oxley, Misha Mengelberg, Han Bennink, Trilok Gurtu and Paolo Fresu. Eternal Love, his latest project, has its roots in African spirituality. As in a prayer or an evocation, the group pays homage to the music of Don Cherry, Charlie Haden, John Coltrane and Dewey Redman. Immersed in this mystical bath, jazz returns to embody that spirit of total music that often seems lost, with the collective work of an ensemble of exceptional level.

                                        ______________________

Después de haber pasado por experiencias de formación altamente cualificadas con Giacomo Manzoni, Luigi Nono, Evan Parker, Jimmy Giuffre, George Russell y Andrea Centazzo, Roberto Ottaviano ha hecho y sigue haciendo la historia del jazz italiano. La lista de sus colaboraciones internacionales es impresionante: Dizzy Gillespie, Art Farmer, Mal Waldron, Albert Mangelsdorff, Chet Baker, Keith Tippett, Steve Swallow, Kenny Wheeler, Paul Bley, Aldo Romano, Tony Oxley, Misha Mengelberg, Han Bennink, Trilok Gurtu y Paolo Fresu. Eternal Love, su último proyecto, tiene sus raíces en la espiritualidad africana. Como en una oración o una evocación, el grupo rinde homenaje a la música de Don Cherry, Charlie Haden, John Coltrane y Dewey Redman. Inmerso en este baño místico, el jazz vuelve a encarnar ese espíritu de música total que muchas veces parece perdido, con el trabajo colectivo de un conjunto de nivel excepcional.

Fuente: ohjazz.tv/home-esp

[mucillo]

Keith Tippett Group - Dedicated To You, But You Weren't Listening

[theyearlywalk]

The Keith Tippett Group – Dedicated To You, But You Weren't Listening

[sheetmusiclibrarypdf]

Tubular bells (Intro) – Mike Oldfield sheet music

Tubular bells (Intro) – Mike Oldfield sheet music Mike Oldfield The Road to Tubular Bells: 1971-1973 The Shooting Star: 1974-1975 Out of the limelight: 1976-1978 Touring Band: 1979-1984 Please, subscribe to our Library. Thank you!The Video Years: 1985-1988 Best Sheet Music download from our Library.The end of the Virgin Era: 1989-1991 The story is not over

Tubular bells (Intro) – Mike Oldfield sheet music

https://dai.ly/x8jdphe

Mike Oldfield

He was born in the city of Reading, England on May 15, 1953. His father Raymond was a doctor who had a guitar he bought while serving in the Royal Air Force in Egypt during World War II. Mike remembers how his father 'used to play the guitar every Christmas Eve, singing the only song he knew how to play, Danny Boy.' Mike also attributed his early interest in music to virtuoso guitarist Bert Weedon. 'I saw it on TV when I was seven years old and immediately convinced my father to buy me my first guitar. In fact, I think if it hadn't been for Bert I never would have become the main thing in my life.' The Oldfields became a musical family. Mike's older brother, Terry is now a renowned composer in the field of TV documentary music and already has several albums on the market. His sister Sally became a professional singer and had a hit in the early 80's with everyone known as 'Mirrors', she now calls herself Natasha Oldfield. By the age of 10, Mike was already composing instrumental pieces for acoustic guitar. The guitar was for him more than an instrument. it was an escape route from a family situation that was worsening and cutting him off from the outside world for a long time. Throughout the past decade, the acoustic music scene had been in very good health. Music was played in many of the clubs that were open during that period. It was in one of those clubs where young Mike began to realize that his musical ideas were accepted by a large majority of the public. 'He used to have two 15-minute instrumentals that he would play at the local folk clubs where he would go through all the styles,' he would say. 'He would even totally detune the strings and bend them over the neck and do all sorts of things. As soon as I got vacations from school, he would spend the whole week practicing and playing the guitar.' He also tried electronic music, him playing instrumental pieces from 'The Shadows' in an amateur band. When he was 13 years old, the Oldfield family moved to Romford in Essex. In 1967, he dropped out of school and together with his sister Sally formed Sallyangie, a folk voice and guitar duo. They were signed by the Transatlantic company, which released the album 'Children Of The Sun' in 1968 and the single 'Two Ships' in 1969. Around this time Mike's guitar playing was heavily influenced by 'baroque folk' popularized by John Renbourn, Pentangle leader and Bert Jansch. After a year, the end of Sallyangie came. Mike returned to rock music, forming another group of similar duration called Barefeet. That led to a job as a bassist with Kevin Ayers & the Whole World. Ayers was a founding member of Soft Machine but left the group in 1968. The following year they made the 'Joy Of A Toy' album which led to a tour in 1970. Among the members of the Whole World was David Bedford taking care of the keyboards. Bedford, who was a classically trained composer, struck up a good friendship with Mike, helping him compose an early version of Tubular Bells. While on tour with The Whole World, Mike came into contact with the Centipede, a huge jazz band conducted by Keith Tippett. The wide range of instruments available to them influenced Mike in the multi-instrumental character that he would later give to his own compositions. Kevin Ayers & the Whole World recorded two albums, Shooting At The Moon and Whatevershebringswesing before splitting up in August 1971. Until then Mike had been playing electric guitar and his masterful solos with Kevin Ayers had already earned him a reputation as a master. The Road to Tubular Bells: 1971-1973 During that period Mike began to order the musical ideas that would later form part of Tubular Bells. Using a four-track recorder with two tracks going one way and two tracks going the other that Kevin Ayers lent him, he discovered that if he covered the erase head with a small piece of cardboard he could record on four tracks. In this way he could begin to record the ideas necessary to realize his dream. That dream was to create a symphony, similar to the large-scale compositions for orchestra with different movements that could be found in many works of classical music. With Ayers' tape recorder he went into his bedroom in the house he shared with the other members of the group, and ideas for his new work slowly began to take shape. Already involved in the work, Mike insisted on playing all the instruments himself. And he thought that it would not be difficult for him with his natural gift to master almost any instrument; from the glockenspiel to the grand piano, the classical guitar, the Farfisa organ… . While continuing to work with Kevin Ayers, he also assisted with recordings being made at London's famous Abbey Road Studios. He soon discovered that the studio had a warehouse full of all kinds of instruments, so he would manage to arrive early and while the others arrived, he would experiment with those instruments and thus incorporate new sounds and textures into his musical ideas. Engrossed in his work, he set out to capture all the deep emotions he was experiencing at that time in his music. Either way, one would have to wonder if Mike's state of mind would have allowed him to withstand the pressure of working with other people much longer. Especially considering that what he was doing would be a job that he would gradually become a vehicle to unload his deepest emotions and those with which he was having the most trouble living. After creating a small demo, he started going through all the record labels trying to convince someone to support his project. They all gave him a resounding NO for an answer, saying that this was 'not commercial' and that if it were ever published, no one would buy it. Obviously, that had happened to him for putting his faith in that little worked model. After having composed the hypnotic introduction (the theme that would form the main part of his magnum opus after developing it), he would still remember that. If only he could have recorded, edited and promoted it! But a ray of light would illuminate his future. Mike left the Kevin Ayers band and worked occasionally as a guitarist to earn a living. One such job was in the backing band for the £5 a night London production of Hair, the 'tribal love-rock musical'. He also played bass for a time in a band led by soul singer Arthur Lewis. The group was to record at a recently opened studio in a mansion in Shipton-on-Cherwell, 20 miles from Oxford. The Manor recording studios were built for Richard Branson by Tom Newman, assisted among others by Simon Heyworth. It was a team of good friends. The girlfriends of some of them were also there to attend to them, as well as a cook, cleaners and gardeners. As Mike later commented, 'We treated any problems that came up like we were one big family.' The great atmosphere in the studio and the attitude of Newman and Heyworth gave Mike the opportunity to record a demo of his musical ideas. They both loved it. Heyworth and Newman launched a campaign to persuade Branson to edit it and to leave the studio for a while to record it. From the outset it seemed that this was not the appropriate moment. The project had to wait a bit for the arrival of Simon Draper who would join Branson to create the Virgin record company. Draper had extensive musical knowledge and when he heard Mike's ideas, he was immediately enthusiastic. Mike continued to develop and refine his ideas that he could now give a name to: Tubular Bells, although it initially carried names like Breakfast in Bed and Opus One (Opus 1). But she had almost given up hope of realizing her dream when Draper offered her a week of study time at The Manor. A wide selection of instruments was brought into the studio and work began. During that week something else of the first part was recorded, and the rest of the work during sessions spread over the following months. From the beginning Mike put the facilities that the technology of the time gave him to the limit to make his recordings. Very soon he started using 16 tracks. As more and more instruments were added to the recording, the sessions were also a test of the inventive resources of Newman and Heyworth who mixed it all together as well as they could be based on their knowledge. The studio's equipment was not automated, and all the work was done manually by Mike. Simon Heyworth and Tom Newman were already using every finger at their disposal on the mixing desk. This made the relationship between producers and artist less close, but even so, each of the three learned many things from their other two companions. During the session, Mike played over 20 instruments and approximately 2000 test tapes were recorded. The music was played almost entirely by himself, except for Viv Stanshall (Vocals), Jon Field (Flute), Steve Broughton (Percussion) and Mundy Ellis (Vocals). Tom Newman and Simon Heyworth earned credit as co-producers. When the sessions were over, Branson took the Tubular Bells tapes with him to the music industry fair, MIDEM, in Cannes in January 1973. An executive from an American company told him, 'if you put lyrics on it, I'll buy it for $20,000. '. With no one showing interest, Branson and Draper decided to release the album themselves on their new Virgin Records label. Tubular Bells was released on May 25, 1973. It came out of a recording and mixing process that could have been called art in its purest form. Critics did what they could to define it. The public simply opened their hearts to him. The press in his country was perplexed. Influential BBC radio DJ John Peel wrote that it was 'a record that genuinely covered new and uncharted territory', with music that 'combines logic with surprise, sunshine with rain'. 'A lengthy work, almost classical in its structure and in the way the theme is established and deftly worked', said the Melody Maker. Some interviewers even thought they could tell what Mike's influences were: 'The texture of Tubular Bells is quite reminiscent of Sibelius, Vaughan Williams, Michel Legrand and The Last Night Of The Proms,' wrote television producer Tony Palmer. Tubular Bells will always be remembered as a moment in rock music history that captured the hearts and imaginations of many people. It was also a starting point from which to appreciate the many changes and discoveries made by this creator who, starting at the age of 19, grew in maturity. The album entered the UK charts in July and soon reached No. 1. Tubular Bells began selling out across Europe. In June 1973, a live concert by Tubular Bells was given at the Queen Elizabeth Hall in London. Mike was joined for this occasion by guitarists Mick Taylor (of the Rolling Stones), Steve Hillage (of Gong), Fred Frith (of Henry Cow) and Ted Speight. Also taking part were David Bedford, Kevin Ayers and Pierre Moerlen, the percussionist for the avant-garde rock band Gong and who would be a fixture on Mike's band of musicians for many years. Although his appearance was announced, Stevie Winwood could not play at the end because due to certain problems she had not had much time to rehearse. The audience's response was described by a New Musical Express journalist as follows: 'The entire audience stood up and started asking for more. That was just one of those rare, spur-of-the-moment tokens of appreciation.' Tubular Bells was also released in the United States, but everything was happening more slowly there. The necessary push for the album's sales to skyrocket came when film director William Friedkin, encouraged by Richard Branson, decided to use a 4-minute excerpt in the controversial horror film The Exorcist. Mike was not consulted regarding the association of his work with that film and would later tell reporters that he had not liked it. In the UK, a Tubular Bells single was released with a remixed version of the album in a 'quadraphonic' version, a system that required four speakers for full use. To show the wonders of that new system, the Tubular Bells 'Quad' included an extra sequence of an airplane appearing to move around the listener, which was recorded after The Sailor's Hornpipe. The Shooting Star: 1974-1975 Mike Oldfield had long dreamed of the time when Tubular Bells would be released. When that happened he couldn't take the pressure and still emotionally exhausted from the recording process for Tubular Bells he retired to his new home in Herefordshire. It was there that he began creating his new work that would later take the name of nearby Hergest Ridge. Released in England in September 1974, like its predecessor Tubular Bells, this was an album containing a single theme song. Again almost all the instruments are played by Mike himself. The most talked about effect was what one reviewer called a 'electrical storm'. Other musicians who contributed to the album included Sally Oldfield and Clodagh Simmonds (vocals), June Whiting and Lindsay Cooper (oboes), and Ted Hobart (trumpet). For Mike, music composition was a constant work in progress. The symphonic scheme used in Tubular Bells was continued in a series of later works: Hergest Ridge, Ommadawn, Incantations, QE2 and Amarok. Hergest Ridge went straight to number one on the UK sales chart. Virgin Records also advertised it on television, although the slogan had to be changed for this purpose. The ad originally said the album was available from 'Virgin and other immaculate record stores'. It had to be changed for another due to the possible objections that the Catholic Church could present. Although some critics viewed Hergest Ridge as inferior to Tubular Bells, most loved it. One said it was 'The most everyday rock music with some classical symphony'. Another wrote that it was 'a series of emotional spikes exploding here and there through a tickling stillness'. In December 1974, the orchestral versions of Tubular Bells and Hergest Ridge were presented in concert at the Royal Albert Hall in London. The concert was planned by David Bedford who conducted the Royal Philharmonic Orchestra with guitar solos by Steve Hillage. Mike himself would play the guitar in the studio version of that concert, which was released in January 1975 under the name The Orchestral Tubular Bells. In that same year but a little later those same orchestral arrangements were presented in concerts in Glasgow and Newcastle. In Scotland, Steve Hillage played guitar parts with the Scottish National Orchestra, and the soloist in the North East was Andy Summers, later a member of The Police. The sense of humor that was evident in the 'introduction to the instruments' of Tubular Bells was prominently featured on Don Alfonso, a single that was released in March 1975. With the help of Chris Cutler (drums), David Bedford (vocals ) and Kevin Ayers (Wine Bottles), Mike told the story of a bullfighter who worked for Oxo ('Worked for Oxo'). In a slightly more serious direction, he released Ommadawn in September 1975. His third great work of symphonic rock had taken him nine months to record. At Ommadawn, Mike played about 20 instruments, ranging from guitars to grand piano to spinet. The album incorporated music from Africa and Ireland by way of Jabula's African percussion group and the Uilean bagpipes of Paddy Moloney, leader of the Chieftains. Other contributing artists included Terry and Sally Oldfield, members of the Hereford City Band, and recorder (a type of flute) soloist Leslie Penney. Penney also accompanied Mike on the Christmas single, a version of the traditional Christmas carol In Dulci Jubilo which managed to reach number four in the UK charts. Although many journalists hailed Ommadawn as yet another triumph, some resentment began to show in some criticism of the album by others. Perhaps influenced by the influx of rock fashion into previously retro-style pubs, one UK pop newspaper called Ommadawn 'bland and inconsequential'. An excellent background music for banquets.' Although he had not yet returned from the tour he was doing to promote that work, Mike contributed to albums by other musicians with whom he was associated. His guitar playing can be heard on records released in 1975 by David Bedford, Edgar Broughton and Tom Newman. The impact of Tubular Bells continued in 1975. In that year it was awarded a Grammy for Best Instrumental Composition and the enormous popularity that these instruments (tubular bells) were reaching led the company that manufactured them, Premier, to launch a selling a new range of rigid metal tubes. In a different vein, a reader wrote to Mayfair magazine: 'The most exciting moment of my sex life came recently when we both finally climaxed together listening to the end of Mike Oldfield's Tubular Bells.' Out of the limelight: 1976-1978 In the following years the then world famous Tubular Bells theme appeared in a disco version by the Champs Boys, a group of French studio musicians. That was almost all that was heard of Mike's music in 1976, although fans of equestrian sports did hear an excerpt from Ommadawn as an intro to the televised broadcast of the Horse Of The Year Show. Mike hid from the public for longer than he did from 1976 to 1978. He would later tell reporters that he had psychological problems and that is why he went into seclusion in the country at his home in Gloucestershire to create the music that would later be called Incantations. . To hide it from the public eye, Virgin compiled Boxed, a four-disc set containing their three albums released to date and a fourth disc containing singles, special collaborations on records by other artists, and a song sung by Mike himself called Speak (Tho ' You Only Say Farewell). Mike's only new work in 1976 was the Christmas single, Portsmouth, another traditional song arranged by Oldfield. It reached number 3, one position above that of In Dulci Jubilo. Read the full article

[golgotha-picnic-club]

Keith Tippett Group ► Black Horse [HQ Audio] Dedicated to You but You We...

[herbgroom]

@whyareweherereally arrghh look at what you have done!!! unstoppable rant incoming!

so, the history of king crimson doesn't start with king crimson at all - but with two brothers, peter giles and michael giles living in dorset, england, who in 1967 start looking for a singing organist to join their group. they post an ad, and who responds? robert fripp, a guitarist who can't sing one bit! they form a psychedelic trio (as it was common at the time) under the name "giles, giles and fripp" (very original) and record their first and only album "the cheerful Insanity of giles, giles and fripp" (they were just so good at names)

they get fairly decent success, and recruit ian mcdonald on keyboards and wind instruments, who brings along a lyricist, peter sinfield (remember them)

fripp thinks that peter giles' songs are too poppy and boring, and proposes to fire him in place of greg lake, an old friend he learned to play guitar with (from a banjo player!)

so now we have a band with robert fripp (guitar) greg lake (bass and voice, although he had to be convinced to play bass as he was primarily a guitarist) ian mcdonald (wind instruments, synthesisers, and the beloved mellotron) mike giles (drums) and pete sinfield (lyrics and pet hippy, his words not mine) who are all an ambitious bunch, what they want to do is play something no one has ever done before

peter suggests the name king crimson, and the band is born! in 1969, they make their first album, in the court of the crimson king, play it in front of 500k people in hyde park who were there to see the rolling stones, and everyone loses their fucking minds! the album is H U G E. even pete townshend of the who writes a review gushing all over the album. inadvertently, they have launched the genre progressive rock.

so what happens next? the band breaks up. literally. after one album, mike and ian decide to leave, thinking the band is getting nowhere. greg too decides to leave, he's been seduced by a certain keith emerson of the nice to form a new, fresh trio, along with a guy called carl palmer, formerly of atomic rooster

the only ones remaining are pete and robert, in 1970, on the next album in the wake of poseidon, greg and mike are only there to play as session musicians, the new guys to join the band are mel collins (sax, flute, anything you can blow into) keith tippett (piano) and gordon huskell (who briefly sings on cadence and cascade) after that, the past members scuttle to do their own thing (mike and ian would record an album together, mcdonald & giles, while ELP would be on their way to become REALLY FUCKING HUGE)

in the same year the album lizard comes out, which even features jon anderson from the band yes! there's a funny story about that too, but let's not digress...

a year later the band releases islands, the new additions are ian wallace (drums) and boz burrell (bass and voice)

mind you, in this time, pete sinfield is in charge of all lyrics, while robert (and the others ig) handle the music

after an exhausting tour in the us, the parents co-founders, pete and robert, have a falling off. a line is drawn, one of them has to go. pete leaves, robert breaks up the band

in 1972, robert, after some other business ventures (mainly producing and playing on van der graaf generator's albums, and playing inventor with brian eno) starts gathering ideas, and new members, for king crimson 2.0. this time, he's looking to move completely away from the old sound, and focusing on something harder, punchier. the guys who join are john wetton (bass and voice, formerly of family and renaissance) bill bruford (drums, formerly of yes) david cross (violin and mellotron) and jamie muir (additional drums and other weird stuff, formerly of scotland)

their first album, lark's tongues in aspic, is a complete game changer. the new sound of king crimson is born.

after literally two live shows in october of 1972, jamie sprains his ankle and decides to leave the band, to become a buddhist monk instead (as you do)

the rest of the quartet tour extensively, so much that their 73 album starless and bible black is mostly live songs transposed to studio

but it can't all go so smoothly can it? no, it can't. david's violin is too soft compared to the strong strings and drums section of the others, his personality too, he's more reserved and quiet. robert fripp (convinced by john) decides to fire him, but only after the tour is done and they start recording their new album

in 1974 the album red comes out, their darkest and heaviest album yet, which only features robert, bill, and john

in this time, the appointed lyricist is richard palmer james, the band does the music

after that, robert has a literal mental breakdown. convinced that the world is going to end, he breaks up the band for good.

let's do a timeskip, during which bill and john decide to put together a prog-pop band called uk, robert stays in a cult and then works with peter gabriel and david bowie, (ever listened to heroes? that's his playing on there!) bill ends up doing jazz and john forms a mega arena pop band with carl palmer (remember him?) and steve howe (yes)

it's the 80s, and in lack of better things to do, robert wants to form king crimson again, again with a brand new sound and brand new people. although he calls back bill (who's more than eager to join!) along with new recruits tony levin (bass, formerly a musician for peter gabriel) (yes, robert stole his bassist) and adrian belew (guitar, the first american in king crimson! a disciple of frank zappa and a pal of talking heads)

their first album, the '81 discipline, is a huge success! and completely different from any music that is going around during that period! it's fun, playful, but also heavy, almost neurotic

it's quickly followed up by beat (1982) and after a lot of touring, three of a perfect pair (1984)

during this time adrian writes the lyrics, while the band, collectively, does the music

the album covers are iconic too, solid colors of red, blue and yellow. they really pop out!

after that, lo and behold, fripp breaks up the band. out of fatigue and stress

you have to wait for the 90s for a new iteration of king crimson, but those albums are bad and I don't really care for them <3

the end

ps: these are all the records I own, practically all of them (except the 72 live album earthbound)

Not an ask but you've reminded me how much I like king crimson so thank you :)

I'm really glad to hear this but also don't, this triggers a tangent in me none of us can stop

[progballerina]

Keith Tippett Group - Dedicated To You, But You Weren't Listening

キース・ティペット・グループのデディケイテッド・トゥー・ユー('71英)。キース・ティペットというひとはご存知だろうか？。ここを読んでいるひとにとって一番なじみ深いとすればクリムゾンのキャットフードでの変態的なピアノプレイであろう。一瞬子供が適当に鍵盤をバンバン叩いているだけにも思えてしまうが当然そんなことはなく、このアドリブプレイがとてつもなく凄い。聴いたことのないひとは、テレビ番組でのライブ映像があがっているのでぜひご覧いただきたい↓、、、

まあ、ライブではなくアテフリではありますが、キース・ティペットのピアノのハジケ具合は分かってもらえたと思う。この曲ですがビートルズのカム・トゥゲザーのパクリだとか言われてますが、たしかにベースラインなんかもうほぼそのまんまだったりして、言い逃れできないほど似ているのですが、ティペットの変態プレイにすべてを持っていかれてしまうので、パクリだなんだなんて関係なくなってしまう。それほどにこのピアノが凄いんです。ちなみに個人的にはパクリではなくビートルズに対抗してわざと似た曲を作ったんじゃないかと思ってますが。アンサーソング的な、、、

さて私的Ｔシャツにしたいアルバムジャケット１位です、これ。女性は子宮で考えるなどと言いますが、もはや脳が子宮になっちゃって胎児に支配されちゃった、ていう。脳も子宮も脊髄の末端ですから当然のごとく繋がっているので女性の精神というのはこのジャケットのような状態なのか、と。男がチ〇コで行動するのといっしょですな。いや、違うか。まあ、そんなことは置いておいてこのデザイン単純にカッコイイですよね。じつはロジャー・ディーンということを、じつは最近になって知りました。あんまりぽくない。でも良いデザイン、、、

さてさて音楽。各プレーヤーの出処はググってもらうとして、出来上がった音楽はとにかくカッコイイ。ティペットの変態ピアノ、ブラス隊、リズム隊、ジャズ寄りのロックというよりロック寄りのジャズ。「ああ、自分もこんなふうに思うままに自由に演奏できたら楽しいだろうなあ」てほんと思う。そう、自由なのである。ロックだとかジャズだとかそんなこときっと意識してなくて思ったまま感じたままのプレイが詰まっているのだろう。もちろんここまで来るのにとてつもない鍛錬を積んでいるに違いない。そうして届いた自由は気持ち良くノリノリでカッコイイのだと。デジタルに支配されない時代の貴重な遺産である、、、

Amazon.co.jpでこのＣＤを購入する

[jazzfunkdid]

The Keith Tippett Group ‎– Black Horse

The Keith Tippett Group ‎– Dedicated To You, But You Weren't Listening. Alto Saxophone, Saxello – Elton Dean. Bass – Neville Whitehead. Bass, Bass Guitar – Roy Babbington. Congas, Cowbell – Tony Uta. Cornet – Marc Charig. Drums – Bryan Spring, Phil Howard, Robert Wyatt. Guitar – Gary Boyle. Piano, Electric Piano – Keith Tippett. Trombone – Nick Evans.

[jt1674]

[fugengulsen]

The Keith Tippett Group - I Wish There Was A Nowhere (1970)

[dustedmagazine]

Centipede—Septober Energy (Esoteric)

In June of 1971, the impossible happened, or maybe it’s just impossible now. An aggregate residing under the rather misleading, or at least incomplete, moniker “big band” converged on Wessex Sound Studios in London and recorded, under the direction of Keith Tippett and for a major label, the diverse and ultimately indescribable music comprising Septober Energy. It was to be the only album by Centipede, performing Tippett’s variously organized compositions, and it has now been reissued from the original tapes in a package that should prove as definitive as the disparately fragmenting and congealing sound-energies swirling from the speakers.

Listing the musicians would be a fruitless task; just check out the album’s Wikipedia entry for full details. Suffice it to say here that core membership from King Crimson, Soft Machine and Nucleus forms the heart of the venture, which was also produced by Robert Fripp. While he doesn’t play, Brian Godding, guitarist from Blossom Toes (whose albums have also enjoyed recent deluxe Esoteric reissues) provides still underappreciated distorted riffage, especially on the second piece. Even to cite those three groups as the orchestra’s power nexus is far from complete, as the personnel list comprises many of the finest improvisers on the English scene at the time, including Paul Rutherford, Maggie Nicols, Mongezi Feza, Dudu Pukwana, Harry Miller and so many others. Their ensemble and individual contributions fuse all manner of transcultural classical, jazz and prog influence to form the four-part epic, each piece one side of the double album.

Yes, there was a previous CD version taken from the master tapes, but there’s something richer about the sonorities here, something full, dark and sparkling by turn, presenting all instrumental and vocal details with new depth and amazing perspective. What now emerges with the most stunning clarity are the dynamic extremes. Godding’s raunchy lines blast their way onto the soundstage as wasn’t even the case with the first vinyl issue, but the album’s opening moments ring forth with crystal percussive clarity. Ditto the third part’s inaugural minutes, the vocals floating over the silence in something conjoining icy serenity and anticipation, and then those sinewy and delicious percussion dialogues, courtesy of Robert Wyatt and John Marshall, thrum, rush and roar only to fade, making room for a fusion of military and circus as exciting as it is confounding, as if Charles Ives had contributed passages to King Crimson’s Lizard. Best of all is the droning sections bookending the first piece, somehow raw and delicate, a foundation of tone transformation supporting constantly changing color and ensemble size, the initial six-minute arc anticipating the kaleidoscopic freakout and ritualistic repetitions to follow. Equally poignant are Keith Tippett’s effortless piano arpeggiations and the meditative unisons of Nicols and Julie Tippetts voices as they buoy shimmering string harmonics later in the track.

The album is a minor miracle of constantly morphing acoustic space, and this must be a consequence of Fripp’s production, which can now be appreciated afresh. Even beyond that, it cries freedom, a communal salute to a point in time when the enthusiasm underpinning such multileveled cross-reference and the projects housing it was real and immediate, perhaps less defined but inimitably palpable. If excess occasionally looms large, it is always tempered by a chamber-music veracity as the never-murky waves and rivulets ebb, flow and trickle in majestic succession. Syd Smith’s superb liner notes set the stage and spin the narrative yarn in his typically engaging and inclusive fashion. Taken as a whole, the package speaks to a time and a musical environment in which anything seemed not only to be possible but in reach, nearly tangible, the proximate dawn of another day that cycles through Julie Tippetts’ lyrics manifest. The organization gave several concerts; were any of them preserved? Either way, with the exception of Carla Bley’s monumental Escalator Over the Hill, it is difficult to think of another album encapsulating so completely the diversity in unity occurring when so many talented musicians gather in creative celebration. The fact that it is now reissued with the care it deserves is heart-warming. 

Marc Medwin

[trevorbarre]

Howard’s Way: Riley at 78

It happens to be Howard Riley’s birthday today (born 16th. February 1943), something that I only found out, fortuitously, on commencing this piece. He remains one of our finest-ever pianists, and has stuck with the acoustic version of the instrument: as far as I know, he has never explored the electric piano or any other electronic keyboard, unlike the late Keith Tippett, who famously played the former on his celebrated contributions to King Crimson’s output in the early 70s. Pete Lemer (born 1942) is perhaps the last surviving member of his peer group, Stan Tracey (1926-2013) was arguably the greatest pianist of the previous generation, and of the younger crop, Alexander Hawkins seems to be very convincingly stepping up to this (tem)plate.

The occasion for the blog is an hour-long conversation that I was lucky enough to have with Riley on Saturday afternoon just gone. I felt honoured to have a chance to exchange a few ideas with this great musician, whose health has not been good over the past few years, but who I did manage to catch live relatively recently (remember live gigs?) in a reconfigured Howard Riley Trio, at The Vortex a couple of years back, with Barry Guy and the Swiss percussionist Lucas Niggli. Now, Niggli is a fantastic drummer, but wouldn’t it have been great to have seen Tony Oxley in the drum seat (or even Paul Lytton), both of whom occupied that position (Lytton only on occasion) in the early iterations of the Trio, in the late 60s/early 70s? “Time slides down the wall” (a Dali-esque image that paraphrases John Cooper Clarke) might be an appropriate image for such a meeting?

Riley’s memory, whatever he might think, appeared to me to be fairly unclouded, especially as we were largely discussing events from around 50 years ago. (We were mulling over his input into the Musicians’ Cooperative, for my ongoing project on that very subject.) He clearly remains justifiably proud of the accomplishments of his classic trio, across a decade of performing and recording. (The Howard Riley Trio released around 8/9 nearly faultless albums, that mixed free improv with composed material, the latter a feature that the pianist was at pains to remind me of.) As a series, these recordings can compare to Andrew Hill’s ‘run’ of Blue Notes throughout the 60s, and those of Paul Bley’s various small groups, across six decades. 1970′s The Day Will Come, which garnered a Cook/Morton ‘crown’, is generally considered to be one of the pinnacles of British jazz (of whatever idiom), with Barry Guy on double bass duties and the grossly underrated Alan Jackson on the traps. (And there were four more decades of recordings still to come from Riley, in group and solo formats.) The Trio’s subsequent Flight, from 1971, replaces Jackson with Oxley, whp proved to be an entirely different metro(g)nomic presence.

At 78 years of age, Howard can look back at a jazz/improv life well lived, both as a recording artist and as a regular live performer. (His Trio was one of the only consistent live ‘acts’ in the early free improvisation years, and it regularly performed at many universities and colleges, in support of the many and various ‘progressive rock’ bands of the era, to which Barry Guy’s detailed diaries attest.)

I’d hence like to wish him a ‘happy birthday’, and sincerely hope that his music will become even more recognised than it is already. As with Andrew Hill, Paul Bley and (even?) Herbie Nichols, the sometimes dark, melancholic hues of his music have potentially robbed him of wider recognition. Thelonious Monk is the guiding spirit here, as it is/was for so many pianistic modernists, and this is the bar at which Howard Riley should be ultimately judged.

[whquotes]

1969 - Gunter Hampel Group + Jeanne Lee 1970 - Charlie Haden - Liberation Music Orchestra 1971 - Frank Wright Quartet - Uhuru Na Umoja 1972 - Archie Shepp - Attica Blues 1973 - Willem Breuker – Baal Brecht Breuker 1974 - Dollar Brand / Johny Dyani - Good News From Africa 1975 - Charles Mingus - Changes One & Two 1976 - Evan Parker-Paul Lytton Duo - Ra 1+2 1977 - André Jaume – Le Collier De La Colombe 1978 - Harry Miller – In Conference 1979 - The Carla Bley Band – Musique Mecanique 1980 - Rova - This, This, This, This 1981 - Max Roach / Anthony Braxton - One In Two, Two In One 1982 - Keith Tippett & Louis Moholo – No Gossip 1983 - Günter Sommer – Hörmusik Zwei 1984 - Jack DeJohnette's Special Edition – Album Album 1985 - Lee Konitz Terzet – Dovetail 1986 - Lol Coxhill – Café De La Place 1987 - Steve Beresford / Han Bennink - Directly To Pyjamas 1988 - Gil Evans / Steve Lacy - Paris Blues 1989 - Yves Robert, Bruno Chevillon, Aaron Scott - Des Satellites Avec Des Traces De Plumes 1990 - Sidsel Endresen, Bugge Wesseltoft – Out Here. In There 1991 - Maarten Altena – Cities & Streets 1992 - John Lindberg / Albert Mangelsdorff / Eric Watson – Dodging Bullets 1993 - Claude Tchamitchian – Jeu d'enfants 1994 - Jon Rose – Violin Music For Supermarkets 1995 - Italian Instabile Orchestra – Skies Of Europe 1996 - Gianluigi Trovesi Octet – Les Hommes Armés 1997 - Uri Caine / Gustav Mahler – Urlicht / Primal Light 1998 - Robert Marcel Lepage – Les Clarinettes Ont-Elles Un Escalier De Secours? 1999 - Claude Tchamitchian Grand Lousadzak – Bassma Suite 2000 - Maria Schneider Orchestra – Allégresse 2001 - Dave Bargeron, Michel Godard – Tuba Tuba 2002 - Supersilent - 1-3 2003 - Various – Money Will Ruin Everything (compilation label Rune Gramofon) 2004 - Eugene Chadbourne, Ron de Jong, Darren Williams - The Unauthorized Biography Of Richard Monsour 2005 - Various – Le Chronatoscaphe (compilation du label Nato) 2006 - Hollis Taylor And Jon Rose – Infidel 2007 - La Marmite Infernale – Envoyez La Suite 2008 - Medeski Martin & Wood – Let's Go Everywhere 2009 - Orchestre National De Jazz / Daniel Yvinec – Around Robert Wyatt 2010 - Kamilya Jubran, Werner Hasler – Wanabni 2011 - Donkey Monkey – Hanakana 2012 - The National Jazz Trio Of Scotland – The National Jazz Trio Of Scotland's Christmas Album 2013 - The Heliocentrics – 13 Degrees Of Reality 2014 - Angles 9 – Injuries 2015 - Eve Risser – Des Pas Sur La Neige 2016 - Martín Escalante – Destroyed on Every Level 2017 - Zu – Carboniferous 2018 - No Tongues – Les Voies Du Monde 2019 - Matana Roberts – Coin Coin Chapter Four : Memphis 2020 - Kim Giani, Quentin Rollet - Mettent Une Ambiance De Malade! 2021 - Don Cherry's New Researches Featuring Naná Vasconcelos – Organic Music Theatre Festival De Jazz De Chateauvallon 1972 2022 - Jean-Jacques Birgé, Lionel Martin - Fictions