Free Jazz Music

Let mi be honest and straightforward - the audio tape of this compillation was among my favourite early purchases in the field of jazz, so I can hardly be anything but personal and emotional about this cd... After all, it even adds Cecil Taylor (p) with the group that includes Steve Lacy (ss) really digging into Billy Strayhorn's tune...
Actually, it also adds The Jazz Messengers featuring Keith Jarrett (and Chuck Mangione), playing Mangione's tune, but that's not so significant...

I'm not saying that all the numbers are well selected, representative of the respective artist or even that all are very good, but I must say that even today I like to listen to Bud Powell's "The Fruit", Charlie Parker's orchestra (featuring Dizzy and Monk) toying with "My Melancholy Baby"...
One of my favourites is also Red Garland's trio digging into "Daahoud" (Sam Jones on bass and roy brooks on drums)...

Since the stylistic span is from be-bop and mainstream to fusion and avant-guarde I really think this is a good intro to modern jazz.
It also features Modern Jazz Quartet, Bill Evans, Cal Tjader (feat. Chick Corea, Attila Zoler), Herbie Hancock (feat. George Benson, Ron Carter, Billy Cobham), Erroll Garner, Lennie Tristano (with Billy Bauer-g) Oscar Peterson trio (Ray Brown -b, Ed Thigpen - dm)...

This is one of the best modern pianist compilation than a label has ever made. Although not all the great modern pianist are present, you could hear the essence of modern piano. Maybe the titles aren't the best of every performer, but at least you can have an good example of everyone.

At last! Internationally renowned modern jazz genius, Greg Murphy, finally takes pity on jazz hungry ears with the release of Let's Get Started. After a career spanning two decades, taking him from the States, across Europe, to Japan, China and back again, Murphy offers his unique talent to the public in this, his first album recording as a leader of his own band. Starting out in Chicago and New Orleans in the 80's, where he studied with prominent pianist Ellis Marsalis after winning a National Endowment study grant, Murphy has been a part of, and worked with some of the best names in the business; Percussion incorporated, The Fusicians, The New Orleans Jazz Couriers, Carlos Santana, Cindy Blackman, Raphael Cruz, Archie Shepp and the unmistakable Rashied Ali. Already featured on five successful albums, including Meditations, No One In Particular, Heart-Sound, and A Mano, Let's Get Started is a delicious showcase of swinging Murphy originals, enriched by the talented Dale Robbins and the rock-steady beat of John Brown on the drums. Electrifying bass, percussion and counter-melody tease through sophisticated tunes like "Little Miss Tigerfish" or the haunting re-work of "Stranded," shaping a finger-snapping, foot-tapping feast for us all. And the icing on the Snap Happy, jazz sizzled cake? You can currently catch Greg at The Ritz-Carlton on Nanjing Lu, where he indulges the public with hot shifting tunes in the Second Floor Lounge Bar, every Tuesday-Sunday evening. Go on; treat yourself to that groovin' jazz-funk fusion.

Let's Get Started is full of driving energy and lyrical beauty. It swings and surprises. Just when you're nearing your fill of one of the trio's complex rhythms, they switch tempo or return to one of the lovely melodies that make this CD thoughtful and haunting. Just when you think this CD is about technical mastery, you notice the harmonious blend that gives each player an essential role. I can't classify Let's Get Started by style. I just know that when I listen to it I feel I'm in the hands of people (composer Greg Murphy on piano and keyboards, Dale Robbins on electric bass and John Brown on drums) who know what they're doing, and they do it very well indeed. Let's Get Started is complex but accessible to anyone who recognizes original work done with love and skill.

This music alternately rocks, wails, is pensive and quirky. I love the compositions and musicianship of the players. This is one of my favorite Ronald Shannon Jackson recordings. It's only bested by "Barbeque Dog"

Mr. Sanders is in very high form during these sets. But what is even more to my liking is the interplay between Sanders and his ensemble. Each knows how to highlight the other's playing while at the same time providing exceptional virtuosity on their respective instruments.

William Henderson's piano lines would sound contrived and mannered played by a lesser musician, however both Mr. Henderson's approach and execution are at once stellar and delicate. The recorded sound of his piano is like fine crystal--a shimmering diffuse light that contrasts markedly to Pharoah's sometimes machinegun like blasts.

Donald Smith adds an other-worldly aspect, and he is in complete harmony with Henderson's lines--each never getting in the way of the other as they play similar instruments.

Sadly, Mr. Thomas is no longer with us. However, for those who've not heard his wonderful voice, this is a good introduction.

What can be said of Pharoah Sanders? His playing is both melodic and dissonant, but within his art he offers something higher--a supreme spirituality, often raw in form, but always breathtaking.

Pharoah Sanders is no doubt a musician who has had a rough time escaping his own legacy. Known for pushing John Coltrane to his most "out" heights and for free/spiritual jazz blowouts of stunning power and ferociousness ("Karma"), Sanders settled down a bit as he got older. Not in terms of his playing, he maintained a fire and energy to that, but in his music. His forms settled down and he began exploring ballads, standards, and the like. The result of this has been a mixture of brilliance and frustration. It seems at times as though Sanders isn't really feeling what he's playing.

Thankfully, his late '80s reunion with vocalist Leon Thomas, who sung on so many of Sanders' early great records, "Oh Lord, Let Me Do No Wrong", is not one of these albums. Sanders is in a sympathetic light, with his backing band supportive and expressive (particularly pianist William S. Henderson III). And Sanders is totally on fire, particularly on the cuts Thomas joins the band-- the reggae-ish title track (where the vocalist and the saxophonist push each other), goofy blues "If It Wasn't For a Woman", and blues standard "Next Time You See". Sanders comes roaring in ways he hadn't in decades upon Thomas' declaration-- "tell 'em about it, Pharoah!". Fierce and explosive, full of fire and nearly unhinged, its something to behold.

Likewise, Sanders seems to find both COltranes "Equinox" and the two standards he picked up ("Polka Dots and Moonbeans" and "Clear Out of This World") particularly inspiring, whether he's full of fire or balladry. He certainly is on a tear on Trane's theme.

Admittedly it's not quite "Karma" or any of those records, but it's certainly a good record. Highly recommended.

Eric Kloss- Alto Saxophone
Pat Martino- Guitar
Ron Thomas- Keyboards
Dave Holland- Bass
Ron Krasinski- Drums

The album has the perfect blend of raw emotion and technical virtuosity.

Track 1. One, Two, Free- The album starts out with a long and fiery peice that has elements of free jazz and jazz fusion. This peice lasts nearly half of the album.

Track 2. It's Too Late- It's better than the original!!! Eric uses perfect use of dynamics on this one. The melody is played R&B style, yet at perfectly chosen intervals throughout the peice, Eric eases into a R&B solo, which turns into a jazz solo, and then turns into a crazy free jazz solo, and then back into the melody. This is a perfect example of what music is supposed to be about: tension, and then release.

Track 3. Licea- This track is so good that it was included in some very well known fake books. Athough, the peice itself is still not well known. It is a soft, slow jazz ballad and its written in 9/8. It just floats along... and soon enough you find yourself getting totally lost in the music. It is a perfect way to end an album.

You can tell from the moment the music starts that Eric Kloss should be much more well known. His tone is almost perfect, though without sounding cheesy.
He can play a solo for fifteen minutes that'll keep you on the edge of your seat for the whole ride.

It is also easy to tell that all of the musicians had spent time playing together and knew completely what they were doing. The liner notes describe the amount of detail Eric demanded of his fellow musicians.

Buy it!! It'll become one of your favorites.

The great price on this CD makes it a particularly good buy (thanks again, Joel Dorn), but it's worth having anyway.

Anyone who goes back to the late '60s and '70s in Pittsburgh knows of Kloss, a strong alto player who was a fixture in local clubs. He played with Chick Corea (and many others), but never really garnered a national following.

This record, originally released on Muse, features local musicians that Kloss played with regularly in Pittsburgh, but it also includes Philadelphia guitarist Pat Martino, a huge asset. Those familiar with Martino know that he contributes tastefully and meaningfully no matter what the setting, and "One, Two, Free" is no exception.

The whole record is strong, but the blowing feature for Kloss is a surprise: a workout of "It's Too Late," the old Carole King hit. It's an all-too-rare blending of straight-ahead jazz with the just the right measure of funk. (Those of us who lived through the '70s might remember how infrequently that marriage actually worked.)

I love giving a homey a plug here, but it would be deserved whether he was from Pittsburgh or Hamburg. The man can play.