Creativ Collection Car Special V 19 Rar 3 👉🏿
Creativ Collection Car Special V 19 Rar 3
one of the most significant players to come out of the black american jazz generation, his work during this period was the most prolific of his career. the terse, opaquely humorous title couldnt be bettered. its also one of the best modal albums, the bass clarinet exquisitely coaxing the wonderful pianos and the horn lines taking it on and on. its a seamless collection of immortal music, and vital to the worlds understanding of this composer. a few years back i interviewed jack dejohnette, and he defined (and defines) bebop and modern jazz as the music our grandparents made, the music our parents made, and the music we make. and i think bebop/modal/modern jazz runs right through this stuff. this is the essence of bop, and if you dont hear it, youll never be able to understand the music of the past five decades in all its variety and dynamics. (ks)
i dont think enough people get the breadth and depth of picassos artistic output. in his early years, he was a painter of proto-impressionist masterpieces, full of awesome energy and charm. then, an astonishingly mature, quasi-expressionist work followed, with a heavy emphasis on dramatic mood and emotional power. there was no syntheticism there, its just the best kind of lyricism that relies on knowing when to pull back as much as when to take the leap. some of the easels of the first period would have to be seen to be fully appreciated, such as dancer with a pipe, sailboats and figure skaters on the beach, and landscape in the centre of the picture, while later pictures include a staggering collection of masterworks such as the seer and eva. a lot of picassos prints and drawings are included, including his beloved, short-lived blue and grey period (at the height of which they used to be occasionally seen in america), as well as the exquisite der weisse hunde, published only in german in 1949, around the time he was officially declared a communist. because the selection of pictures is not exhaustive, there is no issue about choosing between which to buy. art is like an iceberg, and if youre not interested in the whole thing, youll only get a bit. but you must buy everything. (ks)
Another exclusive special edition, and nicely presented too in black on shades of red paper. Torpedoes Ellington, sparked by Dixieland, has been played to death by countless jazz pianists since about 1950, but this CD of music written in 1950, and issued by Creativ, saw Danny Barker play it in 1957, and for the first time ever in the UK at the Cambridge Jazz Club. He was one of a new generation, following Lucky Millinder and his own mentor, Red Callender, who had both crossed the Atlantic in the 1920s, and who were the start of a movement within which the pianists would emerge in the next decade. (KS)
Look Up, My Brother, 1974. Was it a fluke? That album has too many things going on in it to be so. Its a great mix of post-Coltrane soundscapes and straight-ahead swing of Fender basslines and a single that is a mixture of a Babsi Gilberto and a Chico Hamilton piece. It is as close to jazz that has been recorded this decade. In fact, it was a secret that a few, key people had in their collections. I think for the first time, the record industry has heard enough of Miles Davis. The second record that really gets people listening is 1973 Agharta. Its an album made as a musical sequel to one of the great works of literature, The Prince. Its also a fact that Miles in the late 60s produced some of the best art-jazz of the era. The third record I have in my collection is the Miles Davis classic 4 on the A Side. Its the one record I think Miles would have played if he was in the studio. The A side starts with Miles trading one time George Patterson solo after an otherwise very fast and furious affair. Miles starts off with the song Possum recited by Ricky Baldwin with his high tenor voice. The rhythm section plays it all very loose, keeping the fire alive. That theme is followed by a Fender solo by Miles. Freddie Hubbard, Marshall Royal and Wayne Shorter all make a cameo in the middle of the track with the rhythm section. It is a fast paced section and there are more Miles solo and trading time and another Fender solo. It is a great version and a long way from ”Nah Nah Nah” and ”Milestones”. I think its the greatest jazz record of the 70s. The final side has Billy Cobham soloing and listening to that album, one can hear that Miles is doing a bit of experimenting. The last track is an old song that it turns into its own thing. Maybe the only real way to see this album is not as an album at all, but as a collection of live performances. There is the famous recording from the National Jazz Festival at Richmond, Virginia in November of 1967 and the recording at Kneisel Hall in Karlsruhe, Germany. The Kneisel Hall recording is an acoustic live version without Miles brand name and is much better. The record is, in effect, a two part album. If you listen to the album, the material is diverse and you can hear how Miles is beginning to experiment with new sounds on this record. In my opinion, I think the entire album is incredible and a great place to start with Miles. There is a more fluid feel to this album and to this artist. It is not a machine firing shotgun blasts of influences, but playing out a new vision, and in the process, revealing his emotions. In May of 1968, he made Miles Ahead. I really like that one too. To my ears, it does have more of a Coltrane sound. But, it has its own, unique sound. I am sure this album is probably very close to where he wanted to be musically. Unlike some jazz musicians, he never abandoned the new sounds to try to go back and revitalise traditional sounds. He never did that in my view. He did abandon some things, but they were very few. Also, most albums made in the late 50s and 60s, are about the music and not about Davis. People simply play music, like Buster Keaton would chase off glass or the way Woody Allen just gets into the action and builds the action around himself. Just the way people in his era. They don’t talk about it so much.
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