Joe Harriott • Abstract

  

Review by Thom Jurek
This 1961 date recorded in England shows altoist and composer Joe Harriott in full command. Harriott was, like his contemporary Eric Dolphy, a consummate stylist whose tonal and harmonic inquiries led him off the left-hand path of mainstream jazzers. Harriott was interested in how mode and interval, when stretched to their limits by extended harmonics, could create "impressions" of lyricism and melody, without actually engaging them. The reason for this was simple, and a listen to any of the seven originals here -- the cover of "Oleo" is a throwaway -- will attest to it. But "Pictures," "Idioms," and "Tonal" -- constructed by harmony and rhythm, mode, and interval -- could be used to invert standard notions in that space and leave room for musicians or listeners to create their own impressions of what that sound world might be. Rhythmically, the quintet was also interesting, in that they allowed the standard notions of jazz time to fade into freer constructs that undid rhythm altogether -- check out the percussion on "Shadows" and try to find a time signature anywhere, though the ensemble has no trouble playing or keeping together during Harriott's raw, bluesed-out solo. Drummers Bobby Orr and Paul Seamen (who alternated) were both amazing. Pianist Pat Smythe was the driving force in the rhythm section, creating very large chords and pulsing them along modal lines to keep everyone focused. Trumpeter Shake Keane was the perfect lyrical foil for Harriott, in that his smooth, high-register approach contrasted brightly with Harriott's gospel and guttersnipe honk, and bassist Coleridge Goode was the technician of atmosphere for this band. Abstract is wonderful; it shows that the Brits were taking the new jazz of the early '60s and placing a spin on it because they had a few players like Joe Harriott. Here is a musician deserving of a wide reappraisal. Let's hope he gets it.
https://www.allmusic.com/album/abstract-mw0000997054

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Reseña de Thom Jurek
Esta fecha de 1961 grabada en Inglaterra muestra al altoista y compositor Joe Harriott en pleno dominio. Harriott era, como su contemporáneo Eric Dolphy, un estilista consumado cuyas indagaciones tonales y armónicas lo desviaron del camino de la izquierda de los jazzistas convencionales. Harriott estaba interesado en cómo el modo y el intervalo, cuando se extendían hasta sus límites mediante armónicos extendidos, podían crear "impresiones" de lirismo y melodía, sin involucrarlos realmente. La razón de esto fue simple, y una escucha de cualquiera de los siete originales aquí, la versión de" Oleo " es desechable, lo atestiguará. Pero "Imágenes", "Modismos" y "Tonal", construidos por armonía y ritmo, modo e intervalo, podrían usarse para invertir las nociones estándar en ese espacio y dejar espacio para que los músicos u oyentes creen sus propias impresiones de lo que ese mundo sonoro podría ser. Rítmicamente, el quinteto también fue interesante, ya que permitieron que las nociones estándar del tiempo de jazz se desvanecieran en construcciones más libres que deshacían el ritmo por completo check mira la percusión en "Shadows" e intenta encontrar un compás en cualquier lugar, aunque el conjunto no tiene problemas para tocar o mantenerse juntos durante el crudo solo de blues de Harriott. Los bateristas Bobby Orr y Paul Seamen (que se alternaron) fueron increíbles. El pianista Pat Smythe fue la fuerza impulsora en la sección rítmica, creando acordes muy grandes y pulsándolos a lo largo de líneas modales para mantener a todos enfocados. El trompetista Shake Keane fue el contraste lírico perfecto para Harriott, ya que su enfoque suave y de registros altos contrastaba brillantemente con el gospel y el bocinazo de guttersnipe de Harriott, y el bajista Coleridge Goode fue el técnico de atmósfera de esta banda. Abstract es maravilloso; muestra que los británicos estaban tomando el nuevo jazz de principios de los 60 y dándole un giro porque tenían algunos músicos como Joe Harriott. Aquí hay un músico que merece una amplia reevaluación. Esperemos que lo consiga.
https://www.allmusic.com/album/abstract-mw0000997054

Psychedelic Popular Music: A History through Musical Topic Theory

 

 

Recognized for its distinctive musical features and its connection to periods of social innovation and ferment, the genre of psychedelia has exerted long-term influence in many areas of cultural production, including music, visual art, graphic design, film, and literature. William Echard explores the historical development of psychedelic music and its various stylistic incarnations as a genre unique for its fusion of rock, soul, funk, folk, and electronic music. Through the theory of musical topics―highly conventional musical figures that signify broad cultural concepts―and musical meaning, Echard traces the stylistic evolution of psychedelia from its inception in the early 1960s, with the Beatles' Rubber Soul and Revolver and the Kinks and Pink Floyd, to the German experimental bands and psychedelic funk of the 1970s, with a special emphasis on Parliament/Funkadelic. He concludes with a look at the 1980s and early 1990s, touching on the free festival scene, rave culture, and neo–jam bands. Set against the cultural backdrop of these decades, Echard's study of psychedelia lays the groundwork and offers lessons for analyzing the topic of popular music in the twentieth and twenty-first centuries.

 

William Echard (Autor)

Little Richard: The Birth of Rock 'n' Roll

 

A brilliant new biography of the extraordinary, outrageous performer who helped open the floodgates of Rock 'n' Roll. In June, 2007, Little Richard's 1955 Specialty Records single, "Tutti Frutti," topped Mojo magazine's list of "100 Records That Changed the World." But back in the early 1950s, nobody gave Little Richard a second glance. It was a time in America where the black and white worlds had co-existed separately for nearly two centuries. After "Tutti Frutti," Little Richard began garnering fans from both sides of the civil rights divide. He brought black and white youngsters together on the dance floor and even helped to transform race relations.

Little Richard: The Birth of Rock 'n' Roll begins by grounding the reader in the fertile soil from which Little Richard's music sprang. In Macon, Georgia, David Kirby interviews relatives and local characters, who knew Little Richard way back when, citing church and family as his true inspiration. His antics began as early as grade school, performing for his classmates every time the teacher would leave the room, connecting to an age-old American show biz tradition of charade and flummery. On the road, Little Richard faced competition from his peers, honing his stage show and making it, too, an act that could not be counterfeited.
Kirby sees Little Richard as a foxy warrior, fighting with skill and cunning to take his place among the greats. In the words of Keith Richards (on hearing "Tutti Frutti" for the first time), "it was as though the world changed suddenly from monochrome to Technicolor." Those sentiments have consistently been echoed by the music-listening world, and the time is ripe for a reassessment of Little Richard's genius and legacy.


 Amazon ...

Lost Soundsː Blacks and the birth of the recording industry, 1890-1919

Biographies of the first African-American recording stars, and how they succeeded against tremendous odds.

"An act of cultural reclamation - the great lost heroes of black performance." New York Times "Brooks has uncovered a wealth of fascinating detail about the record business, its artists and the range of music they recorded 100 years ago. This engaging work of thorough scholarship is essential reading for anyone interested in the birth of commercial recording and African American music in the early part of the 20th century." Samuel Brylawski, Head, Recorded Sound Section, Library of Congress.

 

 

www.amazon.es/Lost-Sounds-Recording-Industry-1890-1919 ...

The Bruce Katz Band • A Deeper Blue

Review:

Keyboardist Bruce Katz showcases his jazz-meets-blues chops on Deeper Blue. Featuring Katz on both the Hammond B-3 organ and piano, the results sound something like a progressive, post-bop jazz group heavily into early-period Ray Charles. Although Katz is the featured player here, the album plays more like a group effort with guitarists Ronnie Earl and Michael Williams coming front and center much of the time. To these ends, "(Why Don't You Just) Go Home!" is a quick and funky Medeski, Martin & Wood-style burner, "Greasy Sticks" is a suitably greasified shuffle, and "Slinky" is a menacing and atmospheric mid-tempo modern blues. Longtime Katz fans and listeners searching for some rootsy and intelligent improvisational music should find much to enjoy here.

by Matt Collar

https://www.allmusic.com/album/deeper-blue-mw0000209666

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Reseña:

El teclista Bruce Katz muestra sus chuletas de jazz-meets-blues en Deeper Blue. Con Katz en el órgano B-3 de Hammond y en el piano, los resultados suenan como un grupo de jazz progresivo, post-bop, muy metido en el período temprano de Ray Charles. Aunque Katz es el protagonista aquí, el álbum es más bien un esfuerzo de grupo con los guitarristas Ronnie Earl y Michael Williams al frente y en el centro la mayor parte del tiempo. Para estos fines, "(Why Don't You Just) Go Home!" es un rápido y funky Medeski, Martin & Wood-style burner, "Greasy Sticks" es un shuffle adecuadamente engrasado, y "Slinky" es un amenazante y atmosférico blues moderno de medio tiempo. Los fanáticos y oyentes de Katz que han buscado música de improvisación inteligente y de raíz, encontrarán aquí mucho que disfrutar.

por Matt Collar

https://www.allmusic.com/album/deeper-blue-mw0000209666

 

 

www.brucekatzband.com ...