Well you really have to also listen to Extrapolation, just ask @Yesternow ... Really astounding song writing on both
That seems to be a common statement from many friends and I've come close to buying a copy but for some reason I have yet to do that. One of these days..... NP Coltrane Live At Birdland (Impulse) early, possibly first cd reissue of this title. I'm tempted at getting this from CDJapan in that "mew fangled" version a few of you are raving about. One of my favorite live albums from Trane & Co.
If Covid19 did not made her appearance, The Montreal International Jazz Festival would have been in full motion as of now. So what the festival did is to present a virtual festival which is now going on. The whole schedule is here Festival international de Jazz de Montréal - Accueil If you miss one of the concert then you can see a replay. Yesterday a concert from Mile Davis which he performed in 1985 (I could be wrong on the year) was shown, and I am currently watching it Now.
Pacific Eardrum 1977 Jazz & Jazz fusion Dave MacRae (born 2 April 1940, Auckland, New Zealand) is a keyboardist from New Zealand, noted for his contributions in jazz and jazz rock, and his collaborations with musicians from the Canterbury scene. MacRae studied at the New South Wales Conservatorium of Music and then worked in Australia in the 1960s as an arranger for Festival Records. He moved to the United States in 1969, playing with experimental groups in Los Angeles before joining Buddy Rich's ensemble in 1970. He relocated to London in 1971, working that year with jazz musicians Clark Terry, Chet Baker, Jon Hendricks and Gil Evans. In 1971 he was briefly with a group called Caparius before he joined Matching Mole, where he remained until 1972. In March 1973 he recorded for the Labyrinth album with Ian Carr's group Nucleus. Concurrently he played in Elton Dean's band Just Us. He played in WMWM and Giles Farnaby's Dream Band in 1973 and did session work for Back Door in 1974, but left Nucleus around this time to concentrate on his own project called Pacific Eardrum, which he led with his wife Joy Yates until 1979. He continued working with Canterbury musicians such as Robert Wyatt, Mike Gibbs, and Richard Sinclair through the 1970s. In the 1980s MacRae worked briefly with False Alarm, a band led by Allan Holdsworth which eventually became I.O.U. with the addition of vocalist Paul Williams;[1] and then played in a reconstituted version of Soft Machine in 1984. During the 15 years he spent in the U.K., MacRae also worked with Ronnie Scott, Clifford Jordan, Annie Ross, Cliff Richard, and Scott Walker, and as musical director to The Goodies television show[2] from series six/1976. He returned to Australia later in 1984, and played in the Sydney area with Bernie McGann and Ronnie Scott. He is the father of singer Jade MacRae.[3] Full album: s/t 1977 Members · A - Dave MacRae - Isaac Guillory - Jeff Seopardie - Jim Cuomo - Joy Yates - Wiremu Karaitiana : "Billy Kristian"
A bit of guitar god Isaac Guillory (Pacific Eadrum for a while), Cryan Shames, and an illustrious solo career. Guillory came to earn a reputation as one of the best guitarists ever. Many guitarists today emulate techniques Guillory evolved in the early 70's while living in the south of Spain. A particular signature technique that he developed was 'hybrid picking', where he would sustain a bass line with a plectrum held between his thumb and first finger, whilst picking chord and melody lines with his second and third fingers. Just Is Just A Bad Dream/Swining Little Guitar Man....live After active resistance to the Vietnam War, Guillory left the USA in November 1970, acquired a Martin D-35 and lived throughout Europe. He worked as an acoustic solo performer and settled in the United Kingdom. Guillory came to earn a reputation as one of the best guitarists ever. Many guitarists today emulate techniques Guillory evolved in the early 70's while living in the south of Spain. A particular signature technique that he developed was 'hybrid picking', where he would sustain a bass line with a plectrum held between his thumb and first finger, whilst picking chord and melody lines with his second and third fingers. Having studied classical guitar in his younger years, Guillory would often incorporate quasi-classical techniques into his playing and on occasions would even throw in some pure classical guitar pieces, merging them into various songs as a medley. His soft American accent always went down well with British audiences and Guillory would exploit this with his witty on-stage banter between songs. Throughout his career, Guillory sought to encourage younger musicians at every opportunity and would often allow them to play as a 'floor-act' before he came on stage. He was widely known for insisting on carrying his own PA sound system with him from gig to gig. This allowed him to reproduce the exact sound he wanted night after night regardless of the venue. This was quite rare at the time with solo singer/guitarists on the folk circuit and certainly helped him to communicate his renowned performing skills to his audiences without having to fear the usual technical blips that can occur using a venue's house PA. He always concentrated on live solo performances (which put him up-close with more intimate small audiences) and sharing his understanding of music; touring, creating his own online guitar school.[3] After an initial recording deal with Atlantic Records published five more CDs on his own independent label, Personal Records.[4] As a performer he was dedicated to sharing his gift with both audience and fellow musicians, and as a teacher he never hesitated to share in a manner that others could understand. He performed frequently as a guest artist for recordings and films with, among many others, Al Stewart, Donovan, Mick Jagger, Elkie Brooks, Peter Sarstedt, Buggles, Barbara Dickson, and Nick Heyward. Guillory released Isaac Guillory, a self-titled album in 1974. For a while he delved into jazz fusion and recorded with Pacific Eardrum. Isaac lectured at the Guildhall School of Music in London. His music can be heard on 'A' Net Station,[5] a web radio station that he helped found, where his website continues to be available.[6] He also wrote The Guitar Hand Book with friend, Ralph Denyer, which became the foundation for the BBC series Rockschool. In his later years, he performed on the folk club circuit in Great Britain. His virtuoso guitar playing made him popular with audiences and ensured a steady stream of work as a performer and teacher. His final album, The Days of '49, recorded on tour during late 1999 and released in early 2000, included a number of solo compositions as well as arrangements of some folk standards. His tribute to the British guitarist John Renbourn, "Dear John", is one of the highlights of an outstanding album. Brussels YouTube
Looks like there were no recordings (studio) made of the 1988 Soft Machine with MacRae (I wonder if there are live boots out there or on youtube?). They released a new one in 2018, called Hidden Details, but not with MacRae.
Richard Sussman’s debut starts out relatively benign with the benignly named “Lady of the Lake” and then escalates into the intense post bop title track.
@Stu02 - Thanks for the reminder. I listened through Zulu in its entirety and moved it to the trade pile. I realized that among Randy Weston's discography (and this twofer compiles a lot of early material), I preferred later work where Weston was incorporating more diverse sounds and experimenting. These felt tame in comparison to his releases on the Freedom label. That said, its a twofer that I see often for just a few bucks, so low risk to find out first hand.
Listening to some Horace Tapscott, in this case the recent LP release of last year's Horace Tapscott with the Pan Afrikan Peoples Arkestra and the Great Voice of UGMAA - Why Don't You Listen? on Dark Tree Records.
