KEITH TIPPETT

Avant-Garde Jazz • United Kingdom
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Keith Tippett left Bristol in 1967 and came to prominence in London in the late 1960s with his Sextet and his astonishing 50-piece ensemble Centipede. He is widely recognised as one of the most distinctive and radical pioneers in contemporary jazz today.

From solo performances through a myriad of duos, trios, quartets, sextets and septets to the 21-piece orchestra The Ark and the never-to-be-forgotten Centipede, he has shown a discipline, dedication and creative energy unparalleled in contemporary music in Britain.

Performance, composition, recordings, broadcasts, masterclasses, film scores, workshops and children’s education projects – all of these elements constitute Keith Tippett’s work over the past three decades.

Critics have continued to document Tippett’s work throughout his career. From the 1971 comment by Melody Maker about Centipede: "In this one piece he has done more than almost anybody else that comes to mind in breaking down barriers in rock, jazz and classical music", to the
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BlueprintBlueprint
Remastered
Bgo - Beat Goes on 2004
$10.42
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Nine Dances Of Patrick O'GonogonNine Dances Of Patrick O'Gonogon
Discus Music 2016
$12.85
$16.98 (used)
Mujician Solo IvMujician Solo Iv
Dark Companion 2015
$23.72
$19.63 (used)
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KEITH TIPPETT Discography

KEITH TIPPETT albums / top albums

KEITH TIPPETT You Are Here... I Am There album cover 4.00 | 5 ratings
You Are Here... I Am There
Avant-Garde Jazz 1970
KEITH TIPPETT Dedicated To You, But You Weren't Listening album cover 4.34 | 10 ratings
Dedicated To You, But You Weren't Listening
Avant-Garde Jazz 1971
KEITH TIPPETT Blueprint album cover 2.25 | 2 ratings
Blueprint
Avant-Garde Jazz 1972
KEITH TIPPETT T'N'T album cover 0.00 | 0 ratings
T'N'T
Avant-Garde Jazz 1974
KEITH TIPPETT Warm Spirits Cool Spirits album cover 0.00 | 0 ratings
Warm Spirits Cool Spirits
Avant-Garde Jazz 1977
KEITH TIPPETT Frames (Music for an imaginary film) album cover 5.00 | 1 ratings
Frames (Music for an imaginary film)
Avant-Garde Jazz 1978
KEITH TIPPETT 66 Shades Of Lipstick (with Andy Sheppard) album cover 0.00 | 0 ratings
66 Shades Of Lipstick (with Andy Sheppard)
Avant-Garde Jazz 1990
KEITH TIPPETT Linückea album cover 0.00 | 0 ratings
Linückea
Avant-Garde Jazz 2000
KEITH TIPPETT From Granite To Wind album cover 0.00 | 0 ratings
From Granite To Wind
Avant-Garde Jazz 2011
KEITH TIPPETT Keith Tippett Octet : The Nine Dances Of Patrick O'Gonogon album cover 0.00 | 0 ratings
Keith Tippett Octet : The Nine Dances Of Patrick O'Gonogon
Avant-Garde Jazz 2016

KEITH TIPPETT EPs & splits

KEITH TIPPETT live albums

KEITH TIPPETT The Unlonely Raindancer album cover 0.00 | 0 ratings
The Unlonely Raindancer
Avant-Garde Jazz 1980
KEITH TIPPETT No Gossip (with Louis Moholo) album cover 0.00 | 0 ratings
No Gossip (with Louis Moholo)
Avant-Garde Jazz 1982
KEITH TIPPETT Mujician album cover 0.00 | 0 ratings
Mujician
Avant-Garde Jazz 1982
KEITH TIPPETT Weekend With Keith Tippett - Live At Ronnie Scott's album cover 0.00 | 0 ratings
Weekend With Keith Tippett - Live At Ronnie Scott's
Avant-Garde Jazz 1983
KEITH TIPPETT A Loose Kite in a Gentle Wind/Floating with Only My Will for an Anchor album cover 0.00 | 0 ratings
A Loose Kite in a Gentle Wind/Floating with Only My Will for an Anchor
Avant-Garde Jazz 1986
KEITH TIPPETT Mujician II album cover 0.00 | 0 ratings
Mujician II
Avant-Garde Jazz 1987
KEITH TIPPETT Mujician III (August Air) album cover 0.00 | 0 ratings
Mujician III (August Air)
Avant-Garde Jazz 1990
KEITH TIPPETT The Dartington Concert album cover 0.00 | 0 ratings
The Dartington Concert
Avant-Garde Jazz 1992
KEITH TIPPETT Une Croix Dans L'Ocean album cover 0.00 | 0 ratings
Une Croix Dans L'Ocean
Avant-Garde Jazz 1995
KEITH TIPPETT Friday the 13th album cover 0.00 | 0 ratings
Friday the 13th
Avant-Garde Jazz 1997
KEITH TIPPETT Pianoforte (with Riley • Grew • Thomas) album cover 0.00 | 0 ratings
Pianoforte (with Riley • Grew • Thomas)
Avant-Garde Jazz 2004
KEITH TIPPETT Live at Le Mans album cover 0.00 | 0 ratings
Live at Le Mans
Avant-Garde Jazz 2007
KEITH TIPPETT Keith Tippett/ Giovanni Maier: Two For Joyce album cover 0.00 | 0 ratings
Keith Tippett/ Giovanni Maier: Two For Joyce
Avant-Garde Jazz 2013
KEITH TIPPETT Keith Tippett/Michel Pilz/Paul Rogers/Jean-Noël Cognard : L'Étau: Choses Clandestines album cover 0.00 | 0 ratings
Keith Tippett/Michel Pilz/Paul Rogers/Jean-Noël Cognard : L'Étau: Choses Clandestines
Avant-Garde Jazz 2014
KEITH TIPPETT Mujician Solo IV (Live In Piacenza) album cover 4.50 | 1 ratings
Mujician Solo IV (Live In Piacenza)
Avant-Garde Jazz 2015

KEITH TIPPETT demos, promos, fans club and other releases (no bootlegs)

KEITH TIPPETT re-issues & compilations

KEITH TIPPETT Mujician I & II album cover 0.00 | 0 ratings
Mujician I & II
Avant-Garde Jazz 1998

KEITH TIPPETT singles (0)

KEITH TIPPETT movies (DVD, Blu-Ray or VHS)

KEITH TIPPETT Reviews

KEITH TIPPETT You Are Here... I Am There

Album · 1970 · Avant-Garde Jazz
Cover art Buy this album from MMA partners
ALotOfBottle
”The jazz scene in Britain was never that exciting. It was always such hard work.” -Pete Sinfield [BBC Prog Rock Britannia, 2009]

Simultaneously with the explosion of “new” post-psychedelic rock music in the United Kingdom in the late sixties, the country’s youth was also breeding a distinctive jazz scene. One of the key figures in the movement was Keith Tippett, born in 1947. As a teenager, he studied piano and church organ, playing with various local bands in Bristol. At the age of 20, Tippett moved to London, wanting to find fulfillment as a jazz musician. Soon, he founded The Keith Tippett Group, a sextet consisting of Elton Dean on saxophone, Mark Charig on cornet, Nick Evans on trombone (all three musicians also contributed with Soft Machine at the time), as well as Alan Jackson on drums and Jeff Clyne upright bass. In January 1970, the band recorded what came to be, You Are Here… I Am There, Keith Tippett’s debut as a bandleader. The album was released on the Polydor label. As a side note, it was at that time that the pianist guested on King Crimson’s second album, In the Wake of Poseidon.

The overall atmosphere and aura of You Are Here… I Am There points at the influences of American jazz musicians such as John Coltrane, Archie Shepp, and Charles Mingus. The record shows a strong tendency, however, towards a distinctive sound that was, at the time, new, embraced by musicians such as Jan Garbarek and Ian Carr. Above all, Tippett’s compositional style bears traces of the artist’s classical training, unveiled by his harmonic and dynamic awareness and careful balance between improvisation and composition. At the same time, in a reasonable dose, the sextet also captures the kind of spiritual aspect of American jazz, particularly powerfully displayed by Albert Ayler, John and Alice Coltrane, and Sun Ra.

A calm, meditative solo passage carefully bowed by Jeff Clyne on upright bass opens the first piece on the album. “This Evening Was Like Last Year (To Sarah)” acts as a thoroughly absorbing foreplay. The crystal-like piano joins the instrument, working towards an uncertain atmosphere. The effective interaction is disturbed by the joining horn section. Very sleepy, yet pronounced notes of a saxophone, cornet, and trombone help the piano grow powerful with the band following the mode it sets. Suddenly, the whole band is given an adrenaline rush, the music becoming louder and more intricate. The dream-like texture of the opening is proficiently combined with wholesome horns. When the drums enter the equation, completing the whole line-up, the composition appears to have finally found its path, becoming less fluid. After reaching the climax, all of the instruments retreat, leaving the piano alone to open “I Wish There Was a Nowhere.” Very quickly, however, bass and drums join, settling on a repetitive groove, a base for what will turn out to be a lengthy jam, for Elton Dean on saxophone. Kurt Vonnegut’s description of Angela Hoenikker’s clarinet playing from his novel Cat’s Cradle would well render Dean’s solo which seems to go ”from liquid lyricism to rasping lechery to the shrill skittishness of a frightened child, to a heroin nightmare.” Soon, the groove fades away with Mark Charig’s cornet taking the lead. The mood becomes very mellow, recalling some of the most beautiful cool jazz ballads of Miles Davis. Unnoticeably slowly, the piece reclaims its weight, with all the musicians exploring countless improvisational regions. After a long piano solo, all of the instruments meet, leading to a beautiful ending of the track, adding a few whimsicalities on the way.

On side two, “Thank You For The Smile (For Wendy And Roger)” is based on a progression that seems a little… contrasted, different. The purpose becomes apparent after a very brief jam, where the wind instruments make a direct quotation of the theme from The Beatles’ hit “Hey Jude.” The listener comfortably lays back thinking ”Oh, okay, so this is the nature of the track, that’s where they are taking me.” Such a tongue-in-cheek interjection is very welcome, adding a bit of spice to the progress of the work as a whole. “Three Minutes From An Afternoon In July (To Nick)” opens with a Peter Brötzmann-esque sax, setting the stage for Nick Evans’ trombone melodies. The bells played by Giorgio Gomelsky, an iconic film maker, impresario, music manager, songwriter and record producer, add a little mysticism. Towards the end, Evans gets an a capella solo, before the dark “aftermath” from the whole band. “Battery Point (To John And Pete)”, a relatively short affair, starts with a carefully designed interplay between the horns, before a quieter passage with added upright bass, on which Jeff Clyne showcases his abilities without the support of the group. “Violence” reminisces bebop in its rapid pace, but utilizes harmonic solutions untypical of the movement. Every musician gets to display their improvisational skill on top of this rhythm. Just like every other instrument before, Alan Jackson is given some time for a drum solo, very energetic and accurate. “Stately Dance for Miss Primm” makes a bit of a difference in comparison to the material of side two with its funky pulse. Listeners should take note of the amazingly-thought wind instrument arrangements in the main theme. Elton Dean plays another wonderful, emotional solo, followed by Nick Evans’ take on improvisation. After the return of the main motif, the piece slowly descends into silence and that’s when we can hear a snippet of Tippett using something different than an acoustic piano. To my ears it sounds like an electric piano of a sort. An interesting mystery indeed.

Keith Tippett’s solo debut, You Are Here… I Am There showcases his distinguished compositional style in addition to exploration of numerous improvisational fields by him and his band mates. The material The Keith Tippet Group have got to offer on this release should be of interest to fans of jazz of musicians such as Pharoah Sanders, Albert Ayler, and the already-named John Coltrane. However, those, who appreciate the jazzy side of progressive music with bands such as Soft Machine and Nucleus, should definitely get their hands on You Are Here… I Am There. A beautifully-tangled masterpiece!

KEITH TIPPETT Dedicated To You, But You Weren't Listening

Album · 1971 · Avant-Garde Jazz
Cover art Buy this album from MMA partners
Sean Trane
With an arresting artwork, depicting a brainchild, on its cover, the KTG managed to climb up from the Phillips generalist label to the Vertigo Swirl prestigious and progressive label, and I can’t think of a better promotion. Line-up wise, Jeff Clyne shares the bass with Roy Babbington and the drums are shared between Wyatt, Brian springs and Phil Howard (who would go on to replace Wyatt in Soft Machine), but on the horns, the Dean/Charig/Evans trio remained. Please note the pun title is from Soft Machine’s “Dedicated To Hugh…..”

The album opens on a conga-driven groovy track that gets its inspiration between the three horn players, but in the background, Keith’s piano is the one thing that makes this piece so rollicking. Followed up by the tough to grasp Thoughts To Geoff, a 10-mins corker that often veers dissonant and improvisational, which strangely enough becomes more fluid and melodic as it unravels. Even young Gary Boyle (out of auger’s trinity) manages to follow this difficult track, which had to faded out to be stopped. In Green & Orange Night Park, McCoy Typpett then shows with all three horns holding the Trane in the station, until Elton pulls his best solo (I would almost add ever in such a fanboy moment) while the other two are providing a descending line behind him that slowly morphs into another lead line, which had to be terminated again by a fade-out. Absolutely flabbergasting and jaw-dropping piece.

The flipside starts on the most difficult Gridal Suite, an Elton Dean improvised piece that he shares well with Phil Howard (just think of side 1 of Soft Machine’s 5 album), this track probably being the low point of the album. Five After Dawn might appear at first to be just as difficult, but it’s not quite the same nature, this one is written and impressionist track, evoking early life movement after the dead of night. After your stupor segued into surprise, it should normally give into joy and eventually glee. The short but sweet reprise of SM’s theme is only a wink, leading us to Black Horse, which is a bit the book-ending of the opening track (both tracks are written by trombonist Nick Evans, a very rhythmic groove with plenty of enthralling horn-section arrangements (a bit ala brass-rock), and it comes complete with a superb guitar solo from future Isotope Gary Boyle.

Not that this second album is that much better than their debut, but it grabbed all of the sunshine, shadowing all of the debut album, which consistently remains more difficult to find. Both are much worth the discovery and are excellent early UK jazz-rock



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