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Album · 2014 · Post Bop
Cover art 4.00 | 1 rating
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I spent bigger part of my life in regions influenced by Slavic culture(all - Eastern,Western and Southern Slavs)and as result together with deep understanding what it is learned one thing - how much I hate that over-exalting "Slavic spirituality". That sweet-and-sour dreamy sadness with no reason,painful melancholy,anxiety,continuing awaiting of something what probably happens (combined with intuitive knowledge that nothing really happens ever)... Some strangers even see it attractive but it only means they never lived aside of that twilight zone of irrationality, fatalism and sensual mysticism.Just get me right - I mean exactly overdosed spiritual sensuality which is far different from Slavic culture in whole.

Trumpeter Tomasz Stanko is with no doubt leading Polish jazz musician and probably one of the best European jazz trumpeter. His international fame came mostly after ECM contracted him, soon he became label's trade mark and leading voice (personally I really like his early adventurous albums coming from early 70s; they are mostly released domestically in Poland and are almost unknown abroad). Success of his music comes from his great, quite free Miles Davis post-bop period influenced techniques combined with strong European chamber tradition and above mentioned "Slavic soul". On his best albums Tomasz finds only his own unique proportions between all three components making music close to masterpiece. On not so successful recordings he loses that balance and magic almost disappears.

Being a real fan of Stanko's early albums,I'm quite critical towards many his ECM releases - all of them are technically perfect, but far not every is real musical joy.Some Stanko most current releases were all quite disappointment (knowing how great music he can play), probably with "Wislawa" being a real disaster. Stanko reclocated to New York from native Poland and formed his New York quartet with really great local artists (incl, pianist David Virelles and drummer Gerald Cleaver, plus ECM bassist Thomas Morgan). New collective debut work (released on ECM in 2013) is dedicated to late Polish poet and Nobel Laureate Wisława Szymborska. Working with lyrical,soulful and very Slavic material Tomasz recorded studio double-CD album with American band who simply didn't find right place in all that sensitive balladry.

Next on line Stanko album came on the last days of 2014 and was full of surprises. First of all, it was released by Museum Of The History Of Polish Jews (being their first ever musical release). It's not a first Stanko work of such kind - one of his albums ("Wolność w sierpniu")has been already released in co-operation with Warsaw Uprising Museum some years ago. Than,being recorded in New York,in Sear Sound Studio, it is free from ECM high but very predictable sound standard.And at the end - Stanko seriously reformed his American quartet for this recording: only Cuban pianist David Virelles stays from his classic New York Quartet, new rhythm section contains Dezron Douglas on bass and drummer Kush Abadey, plus all team is improved with sax man Ravi Coltrane (alternatively,all quintet could be seen as Tomasz Stanko plus new Ravi Coltrane quartet with different drummer - quartet's original drummer is Johnathan Blake)

So, I listen this new album again and again and the main bad thing here is how short it is!Less than 38-minutes long - that's quite a common size for old vinyl but in digital age we are often expecting at not less than twice more. And the music - it's excellent! For the first time ever Stanko plays real groovy jazz with all-American band! Sound is full,warm and tasteful(and here one can ensure how different some ECM artists sound when their music is recorded without that drug-store sterility in sound). Stanko demonstrates excellent collection of catchy tunes - rare event in modern jazz, and surprisingly enough he plays here one of his most straight music for years. If on European releases his freer digressions were all blood of his music, here he somehow founded a right decision - he plays tuneful,groovy post-bop without useless embellishment and it works perfectly.

Since all album is dedicated to holocaust theme ("Polin" means "Poland" in Hebrew) it contains some ballad-like elements and chamber moments,but in all it's a small magic how Tomasz(generally known by his sensitive tunes and melancholic compositions)avoids sentimental melancholy or even dramatic notes here. Muscular and lively,this music sounds more like a hymn to life.

The only sad news is it's announced that album will be distributed by Museum direct sales only so I afraid such a great work will stay unnoticed by many listeners. If by any chance you'll find "Polin" - don't have any doubts,it's Stanko at his very best.

JIMMY COBB The Original Mob

Album · 2014 · Hard Bop
Cover art 3.95 | 2 ratings
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Jimmy Cobb has been drumming for 70 years at the time of this recent release, “The Original Mob” and is best remembered for his participation in the classic Miles Davis album “Kind Of Blue” as well he contributed to 6 others with Miles during that period from the late fifties to the mid sixties. Played on half a dozen John Coltrane albums around the same time, worked with Bill Evans, Dizzy Gillespie, Billy Holiday, Wes Montgomery, Nat Adderley and his slightly more famous brother Cannonball. He states on the albums notes that it was through Cannonball Adderley that he was originally introduced to Miles but that all happened over 50 years ago. Today Jimmy at age 86 is playing his drums superbly and he has not lost any touch with age as evidenced upon hearing this new album from Smoke Sessions. If you are wondering, Smoke is a Jazz Club in New York and where the album was recorded. The club was empty at the recording time making the album closer to a studio session with great fresh results emanating from the one day.

Cobb’s Mob is the name of Jimmy’s band and throughout the last twenty years has gone through changes in its line up but with “The Original Mob” as the title implies the line up is precisely that from 20 years prior. Peter Bernstein the guitarist is credited with naming them when he and Brad Mehldau were students in one of Jimmy Cobb’s Jazz classes and it was Peter who brought in the bassist John Webber. Since this time Brad Mehldau’s Jazz career has passed orbit and one only knows where he keeps all his awards for pianist of the year after really hitting the scene when he started to release his “Art Of The Trio” albums back in the later nineties. Peter Bernstein’s career is not far behind Brad’s with Jimmy stating in the notes that he plays with a similarity to Grant Green the famous Blue Note Jazz guitarist. Peter has been leading an organ based trio primarily with Larry Goldings and drummer Bill Stewart since to rave reviews and worked with quite a few current big names in Jazz such as Joshua Redman, organist Melvin Rhyne, Nicholas Payton, Diana Krall, Dr Lonnie Smith, Tom Harrell and even Sonny Rollins. The bassist John Webber is another having played with Johnny Griffiin, George Coleman, Eric Alexander and freelance appearances with Etta James, Horace Silver, Lou Donaldson and a list of many more which one could add to all his past collaborations.

The albums compositions are a quite a nice mix with standards, covers and original numbers from the band with all supplying one each and Jimmy providing two of his own.”Old Devil Moon” starts the album off with John Webber’s bass coming in first being quickly joined by drums and piano. Peter Bernstein’s guitar provides a wonderful solo which is followed by Brad’s turn on piano over this fairly up tempo take. Brad Mehldau is an absolute joy with his piano input and it keeps coming with the following mid tempo George Coleman composition, “Amsterdam after Dark” where Peter Bernstein provides one lovely little groove again right across the top followed by more from Brad. “Sunday In New York” has a great skip for all the band to work around, “Stranger In Paradise” with its quick time and Jimmy’s cracker of a drum solo just keeps the album motoring along quite nicely. The album’s fifth composition “Unrequited” is from Brad with Peter Bernstein’s guitar dropped and Brad plays with that beautiful touch that he has on piano with John Webber’s bass providing a wonderful counter and solo combined with Jimmy’s stick work and drumming. Great stuff. The two Jimmy Cobb compositions follow providing plenty of groove from “Composition 101”with the next, “Remembering U” being the album’s only ballad. The standard “Nobody Else But Me” is next with the Peter Bernstein composition “Minor Blues” following being quite a delight. John Webber’s composition “Lickety Split” with it’s up tempo timing and stellar contributions from Peter Bernstein’s guitar and Jimmy’s drum solo brings the album to a close.

Fabulous Jazz with plenty of good old fashioned Bop. Peter Bernstein and his guitar almost steal the show but with such other wonderful musicians present he did not quite get away with it. Highly recommended new release from a smokin’ new Jazz label, Smoke Sessions Records.

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DUKE ELLINGTON Ellington Uptown (aka Hi-Fi Ellington Uptown)

Album · 1951 · Progressive Big Band
Cover art 4.95 | 2 ratings
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We don’t normally think of Duke Ellington as an LP oriented sort of artist, much of his best music came out before the LP existed, and once it became the medium of choice, Ellington was beginning to lean on recording his past hits. One notable exception is “Ellington Uptown”, one of the earlier ‘long playing’ albums Duke ever recorded, and it’s a power packed release laden with fine gems. Alongside “Such Sweet Thunder” and “Newport 56”, “Ellington Uptown” is possibly the best LP of Duke’s lengthy career. As if the original LP wasn’t already good enough, the 2004 CD re-issue added the excellent “Controversial Suite” and “The Liberian Suite” to make it ‘the one Ellington CD you should own if only own one‘.

Even without the two added suites, the original album carries an excellent variety of material. Album opener “Skin Deep” is a flamboyant mini concerto for jazz drums that features Louie Bellson and his newly invented double bass drum. The power and volume of this piece was once considered a good test for a hi-fi system. “The Mooche” follows with some classic Ellington styled slinky noire minor key chords and crying vocal like horns. The double clarinet solo has one clarinet drenched in reverb for an interesting proto-exotica effect.

“Take the ‘A’ Train” is probably one of the most overplayed songs in jazz history, and its often subjected to unimaginative heavy handed arrangements that sound nothing like the subtle and charming version on here. Betty Roche’s vocals are light and sexy and display the modern bop influence of the time. Scat singing is often the dreaded bane of the jazz world, but that’s because most can’t do it like Betty with her effortless flow of onomatopoeia cool. “A Tone Parallel to Harlem”, which follows, is one of Ellington’s most ambitious works ever. It’s a thirteen and a half minute 3rd stream type construction that seeks to rush someone through Harlem at night where they will hear a variety of musical styles, often jammed right up next to each other. Of all of Ellington’s work’s in this direction, “Tone” is probably the best at showing true concert hall type development, as it often can remind one of a work by Stravinsky or Gershwin.

“Uptown” closes with classic rave up Ellington swing in the name of “Perdido”, thus completing the entire picture and including at least one example for all of Ellington’s major styles. As mentioned earlier, the CD re-issue also includes two more suites. “The Controversial Suite” was Ellington’s satirical shot at the musical arguments of the day that tended to pit modernist boppers against traditional Dixieland revivalists, tired arguments that exist in similar forms today. Turning both sides of the argument upside down, Ellington’s suite jumps from style to style so that all bases are covered from early New Orleans to modern avant-garde, all tongue-in-cheek. Finally we get to “The Liberian Suite”, which is practically a mini-album in itself and also one of Ellington’s top creations.

MASAHIKO TOGASHI Masahiko Togashi, Isao Suzuki : A Day Of The Sun

Album · 1979 · Jazz Related Improvisation
Cover art 3.50 | 1 rating
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"A Day Of The Sun" is two Japanese jazz greats duo's album. Percussionist Masahiko Togashi (besides of pianist Masahiko Satoh) are key figure of Japanese free jazz,played with virtually everyone of important Japanese advanced jazz musician and recorded lot of albums,some of them (especially recorded in late 60s - early 70s)are part of Japanese jazz "golden fund". Acoustic bassist Isao Suzuki is even more legendary figure - in Japan he is usually titled "Godfather of Jazz".

Born in Tokyo in 1933,he started his jazz career in 1953 playing bass with Louis Armstrong when the later to Japan that year.I have read in Isao's interview that he was in Armstrong concert and next day found out that Armstrong band is searching for bassist. Isao asked his mother to buy him a bass (he never played the instrument before) and went to rehearsal. According to Isao, bandleader hired him and showed how to play bass - that's how he started.Later he played for two or three years in US Navy base band and than joined Jun Kiyomizu band - his first Japanese band ever.He played around Japan (mostly in local cabarets) till late 60s when "Ginpary"(or "Silver Paris" - psychedelic jam sessions on very early Japanese free jazz stage) fashion pushed mainstream jazz musicians aside.Isao still participated in some gigs and even was one-time member of quartet with Sadao Watanabe,Togashi and Kikuchi(that was one of "Ginpary" session where Isao met Masahiko Togashi for the first time).In 1969 he played with Art Blakey who invited him to America where Isao stayed for two years (mostly traveling around the country and Canada in old Caddilac with Art Blakey and playing gigs mostly in black clubs).Art Blakey's band of the time included George Cables,Woody Shaw and Ramon Morris.Isao played lot of jams with Jim Hall, Kenny Burrell,Elvin Jones,Duke Pearson and Lee Morgan among others. He spent a lot of time in Rudy Van Gelder recording studio as well where Rudy tough him many secrets of good recording sound.Isao even was a bassist in Ella Fitzgerald band, but when one day in airport on their way to Canada Art Blakey got basted on cocaine,Isao same day just took the flight back to Japan.On return he made a lot introducing his experience in development of jazz in Japan.His first albums for Three Blind Mices (cult audiophile label,kind Japanese ECM but with very physical,deep and warm sound)built recordings sound and mix quality standard for decades to come.In 1980 he released "Self-Portrait" - first ever one-man recording using multilayer techniques in Japanese jazz (Isao played 22 different instruments on this album).

Main Isao's personality importance is still that that he's one among few extremely respectable Japanese jazz artists having hard-bop background.Other his generation known jazzmen come mostly from big bands (formed under US bases orchestras influence),late 60s pushed ahead new noisy and angry generation which stepped right to radical avant-garde.

With all series of strong hard-bop albums,Isao stayed innovative for decades though. His second important influence was fusion,but he released albums containing Latin jazz or even modern electronic remixes. During his long career Isao played with percussionist Masahiko Tagashi quite regularly, on Masahiko's or his own albums. "A Day of The Sun" is duo's collaboration,significant for both artists. Similarly like fusion popularity fast decrease in mid-late 70s on Western jazz scenes left lot of jazz musicians on the thin ice (and sometimes without job),in Japan that time is a time when jazz lost its importance as major part of modern musical culture. One of popular trend where many previous avant-garde and fusion artists switched to became etno-influenced improvisational (often meditative) music. "A Day Of The Sun" (percussionist and bassist duo recording,both uses some synth and other instruments though) is one good example. Fortunately differently from many of similar releases music here doesn't become endless hypnotizing noodling and successfully avoids similarities with upcoming new age. Two musicians are both too big personalities and too great masters to fade to grey zone - even if there are very free form compositions presented,them all have lot of blood and bones (deep physical bass, multilayered and complex percussion,all the time changing rhythms and grooves); probably good comparison is some ECM early proto-ambient recordings, where sound still wasn't all that liquid and super-polished.

Togashi will continue developing same formula on his later works,Suzuki will return to his more usual mainstream jazz, but "A Day Of The Sun" will stay as great evidence of two giant collaboration and excellent example of non-boring improvisational music.


Album · 1969 · Latin Rock/Soul
Cover art 4.32 | 22 ratings
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siLLy puPPy
Nothing screams the summer of 69 and the Woodstock event for me more than SANTANA. One day they were simply the Carlos Santana Band doing small gig venues in San Francisco and the next day after performing at that event they were watching their debut album racing up the charts and reaching number 4 on Billboard. “Evil Ways” also proved to be a huge top 10 hit as well. This rags to riches story may have happened anyway but perhaps not so fast. Their slot on the Woodstock event was actually won by the flip of a coin. Michael Lang, the concert promoter was pressured by Bill Graham to include one of the the acts that Bill managed. It was down to SANTANA and It's A Beautiful Day, another San Francisco band. The coin was flipped, SANTANA won, and enjoyed instant popularity and as we all know, much more was to come.

This is gorgeous album from beginning to end. SANTANA started out as a jam band but was advised to write a few more structured songs by Graham. The result is a perfect mix of free jam energy with structured songwriting that the band perfectly performs knowing when enough is enough and to move on to something else. This new Latin jazz fusion of the day took the world by storm and with half of the band dedicated to percussive instruments it's no wonder the world was mesmerized by this energetic mix of Latin jazz, Afro-Cuban rhythms and heavy psych blues that tied it all to the era. This is one of those album I never tire of. It has a timeless quality to it yet it always brings me to that time and place before my time. My personal favorite SANTANA is this one and what a beauty it is.

CORNELL DUPREE I'm Alright (aka Doin' Alright)

Album · 2011 · Soul Jazz
Cover art 4.00 | 1 rating
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Call it Blues, Jazz, or RandB, this terrific album could be the crown jewel in Cornell Dupree's solo career. Bluesy and funky, this treat seems to hit it's mark square in the bullseye - parts King Curtis, parts Booker T, parts Kenny Burrell, parts Albert Collins - Cornell Dupree is a polished vet who unearthed the rarest gem in the twilight of an outstanding career - a career spanning effort boiled down to eleven songs. I hope fans don't have to wait 13 years for another album, because Dupree could have a renaissance like Booker T, Andre Williams, Loretta Lynn, and Dr. John. I don't know who anybody in the band is but they simmer when they should simmer and boil when they should boil. Props to Dialtone records for ringing this one


Album · 1976 · Avant-Garde Jazz
Cover art 3.50 | 1 rating
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Drummer Barry Altschul is one of the most respectable advanced jazz drummers ever,co-founder of Chic Corea's Circle (together with Dave Holland and Anthony Braxton), member of ARC(Altschul-Holland-Corea),long-time Anthony Braxton quartet's member,etc,etc. His career as leader was mostly unnoticed though, fortunately after Finnish TUM label released his trio's strong "3Dom" in 2013 it looks he attracted more attention.

At the very beginning of his musical career Barry played with already respectful Canadian pianist Paul Bley (as his trio members) for five years.Together with Bley,they were two permanent trio members,bassist position was filled with some different musicians as Mark Levinson,Ken Carter or Steve Swallow.Gary Peacock was one of them as well.

"Virtuosi", formally Altschul debut as leader,was released in 1976,nine years after the material has been recorded.In all but the name musicians participated is just a Paul Bley Trio of the moment.Albums contains two long compositions,one on each vinyl side,both written by Annette Peacock (what only enforces the feeling that you're listen to Paul Bley band).It's difficult to imagine why recorded material coming from 1967 Paul Bley trio's have been released after nine years stating Barry Altschul as leader (album was released on Bley's own Improvising Artists Inc.)At least one good thing here is that being in all but the name Bley album from late 60s as almost any other pianist recording from that time it contains quality music.

As one can expect nothing here reminds Circle or Arc or Anthony Braxton quartet's music - complex multilayered avant-garde jazz presented on other Altschul-participated recordings from same period. "Virtuozi" contains dreamy melancholic and tuneful if quite free characteristic Anette Peacock signature's music,similar to what one can find on other Payl Bley trio's albums. The main difference is probably that Bley's piano doesn't dominate here - very often it takes an accompaniment role for leading rhythm section. To say truth,Gary Peacock's physical acoustic bass is even more notable that Barry's drums here(as on many his other earlier recordings,Gary Peacock plays very free here).

Being a pleasant listening (and one of very early recordings predicted upcoming so-called "ECM sound"), "Virtuozi" are a bit bulky and in moments sound directionless; probably it's a reason why tapes spent even nine years in attic before they were released. Not the best album,released under Altschul name, this release still is one valuable evidence of early Bley/Peacocks' music and worth listening especially for such music fans.


Album · 1978 · Jazz Related RnB
Cover art 2.92 | 3 ratings
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siLLy puPPy
PRINCE Rogers Nelson showed musical talent at a very early age and released several demos before this debut album FOR YOU which emerged in 1978. At this time he was only 17 and i have to say…. sounds like it. This album is a far cry from the masterpieces of “Purple Rain” and the gazillion hits that would follow, but for what this album isn’t, it has kernels of what PRINCE would become yet at this point anyone listening to this album at the time would have a hard time predicting that this strange dude with that funny falsetto would become one of the biggest stars in all of musical history.

This first release by “The Purple One” was a rather modest affair. There is R&B, disco and synth-funk. Pretty much standard affair for the day and improving on none of the greats of the day in even the slightest. The music is nice and catchy and if this was PRINCE’s only album ever to emerge then it might even be a little bit beyond OK, but as we all know the best was yet to come and come again over and over and over again.

This may be one of PRINCE’s lesser appreciated albums simply because it gets drowned in the sea of albums he has released over the years, yet there is something special about a debut album for me whether it is their swan song or not. It displays a time where the artist shows a unique potential (or not) and a portrait of their roots. That is definitely the case with PRINCE here. In all his reserved efforts there is a sense of something lurking beneath the surface ready to unleash itself on an unsuspecting world. The album? OK. I got to this well after being exposed to pretty much everything after, but there is a smattering going on here that points to something more albeit unperceivable at the time.

NAOJI KONDO Live At The Tarupho

Live album · 1986 · Avant-Garde Jazz
Cover art 4.00 | 1 rating
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Japan is a big jazz country but for Westerners it always was (and still is) Terra incognita. Sadao Watanabe's international success during late 60s and 70s plus extremely creative Japanese free jazz scene between 1969 and 1972 (with Masahiko Satoh and Masahiko Tagashi) - that's all even experienced European or American jazz fan knows about it. Chick Corea's student Hiromi is great but only Japanese jazz well-known representative on modern international jazz scene.

To be correct,it looks even inside of Japan non-commercial jazz (count all jazz excluding j-fusion and j-pop jazz) starting from late 70s got quite nonconformist underground art's image.The only form which won higher respectful social status is mainstream (mostly hard bop)and for last some decades Japanese gigs and regular releases are one important source of income for best US straight jazz veterans.At the same time creative jazz didn't die on the Far East,it exists in form of plenty of small clubs gigs and some limited edition releases.Living its own life in stone jungles of Japanese cities',modern country's free jazz is quite different from what could be heard on Western scenes. Since one of most influential Japanese post-70s music trend was brutal avant-rock (Ruins,etc),big part of contemporary free jazz is influenced by it. Still there are more different streams,including very interesting eclectic mix of funk,etno-tunes,urban r'n'b and free improvs all in one. Main problem for those interested in more modern Japanese jazz is there isn't possible to find almost any systematic info if you don't speak Japanese. Rare occasional available releases are costly and often aren't all that representative since as rule you have no idea what you're listening.

Fortunately for me,annual Vilnius Jazz Festival contains Japanese artists in their program on annual basis,usually presenting leading creative music,so it helps at least at starting point.Mid-generation sax player Naoji Kondo played here in Vilnius in 2009 as part of Yoriyki Harada - Naoji Kondo duo (with piano veteran Yoriyuki Harada).Short fest's press release informs that Kondo plays free jazz from early age but works as practicing psychoanalyst during day time. He played at Moers Fest in Germany,toured Korea - and it's almost all what is known. On many Japanese clubs' sites one can find he's regularly plays in Japan,often - beside of best domestic artists. As far as I know he released only one album recorded live in 1986.

And this album is great - almost no-one plays like that anymore! Acoustic Kondo-lead sax-bass-drums trio contains another interesting modern Japanese creative jazz artist Daisuke Fuwa on bass (played here on Vilnius Jazz in 2012 leading his own Fuwa Works (with two sax players on board)and lesser known drummer Shiro Ohnuma. Surprisingly enough,Kondo trio plays tuneful,even soulful early free jazz recalling Coltrane's transitional works circa late 1965. All musicianship is based on soloist's (usually Kondo himself,but both bassist and drummer has more than enough time for longish solo improvisations)pushing groovy muscular and very bopish music ahead with support of two rest trio members. Kondo plays lot of themes and tunes,very free but never leaves the ground. It's a real joy listen to his human voice-like sax telling stories, emotive,worm and playful. Fuwa is a bit too modern drummer for that music,slightly too heavyweight and rock-like,but he successfully balances on the edge without destroying Kondo's built fragile beauty. Ohnuma is good bassist,if not too original but very successfully continuing great Isao Suzuki's tradition of deep physical acoustic bass. Lot of tunes,tempos (incl.even marching),very warm and inspired live gig with really enthusiastic public,quite good recording quality - all these makes this obscure release worth time and funds spent.Dedicated listener feels like he participates on concert played in modern days by one of late 60s jazz greats without sense of nostalgia. It like time machine brings you right to New York circa 1966 - no-one plays like that in real world anymore.

CODONA Codona 2

Album · 1981 · World Fusion
Cover art 3.54 | 3 ratings
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Continuing where they left off on their debut album CO-llin Walcott, DO-n Cherry and NA-na Vasconcelos continue their experimental fusion of American jazz, various African styles and Indian influences but this time around they up the experimental ante a notch or two and require the listener to invest a few more listens in order to understand where they are coming from. Upon first listen I didn't like this as much as the debut. Whereas the debut CODONA album kind of had a logic to where they were coming from, this second album throws you for a loop. It's not that it's ridiculously lost in the clouds and creates a whole new musical experience, it's just that the melodies are more intricate and subtle and there are more liberties in the individual instruments creating separate and distinct roles which don't immediately sound pleasant and even ring a little dissonant at times. The band, in effect, are demanding that you evolve as they do in order to understand their progression.

There are all kinds of differences here. For one the band likes to expound on certain ideas. They present a theme and then kind of throw in an extended weirdness, or perhaps you would call it musical variation. On “Malinye” for example, a 12:39 progressive walk through fusion-land, there is an introductory cohesiveness to the song but it changes into a wild vocal frenzy that then turns into an African instrumental affair that incorporates many an ethnic flair to the mix. This is one of the major accomplishments of CODONA, which is the progressive fusion of hitherto unmixed styles of world music. Despite all my praise trying to elevate this album to such heights, I still like it a tad less than the debut, however it is very much recommended for fusion freaks who like a bit more bite and unexpected tumult to their music. This album can be quite exciting and surprising at moments but for an overall appreciation must be heard a few times. A particular sound that remains unique in the musical world as far as I know. I also really like how DO-n Cherry makes his trumpet sound like an elephant at times.

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