‘Theme X’ from Bulgarian trumpeter Raicho Ivanov’s 1988 album ‘Rock Jazz Band’, with Boiko Dimitrov soprano saxophone, Vergilii Katalan guitar, Nikolai Zahariev keyboards, Venelin Krustev bass and Emil Alexandrov drums.
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‘An Ode To A Norwegian Strobe’ from bassist Michael Janisch’s 2019 album ‘Worlds Collide’, with Jason Palmer trumpet, John O’Gallagher alto saxophone, George Crowley tenor saxophone, John Escreet keyboards, Rez Abbasi guitar and Clarence Penn drums.
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Some while back, ‘Jazzwise’ magazine ran a countdown article entitled ‘100 Jazz Albums That Shook The World’. Quite high in the rankings, nestled amongst the landmark recordings by Miles, Mingus, Monk, Coltrane and the usual suspects was a live album from 1966 that was completely unfamiliar to me. I knew the artist responsible – John Handy – from his 70’s recordings, but had never bothered to go back any further to his earlier material. What a mistake that was. Once it gets going, the music sounds like nothing else that was around at the time and you can understand why some claim that it was the first jazz-rock album. In particular, the interplay between violin and guitar (from about the 7-minute mark) has definite shades of Mahavishnu, and it makes you wonder if it planted the germ of an idea in the mind of a young John McLaughlin. This is the side-long ‘Spanish Lady’ from that album, ‘Recorded Live At The Monterey Jazz Festival’, with Handy on alto saxophone, Michael White violin, Jerry Hahn guitar, Don Thompson bass and Terry Clarke drums.
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It was probably my misfortune to listen to Andrew Hill at too young an age and before I was properly attuned to anything outside of the mainstream. It was on one of the few occasions that the listening booth at ‘White’s Records & Tapes’ in Tonbridge was free, so I was able to give the album a spin (at a remove of 40+ years I forget which it was) rather than buying it unheard as was my usual and somewhat risky practice. I found the music strange and angular, the melodies unconventional and slightly discordant. It wasn’t my thing at all and I swiftly moved on to something more familiar. I didn’t return to Hill for several decades and, of course, all the things that I didn’t like before I then found (and still do) really compelling. This is ‘New Monastery’ from the 1965 album ‘Point Of Departure’, with Hill on piano, Kenny Dorham trumpet, Joe Henderson tenor saxophone, Eric Dolphy alto saxophone, Richard Davis bass and Tony Williams drums.
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Playlist OTF Jazz#7 is now available on Spotify.
https://open.spotify.com/playlist/4s...61549e6b494006
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‘Voodoo Forest’ from the 1969 album ‘Patent Pending’ by the Johnny Almond Music Machine, featuring Almond on bass clarinet and vibraphone, Johnny Wiggins keyboards, Steve Hammond guitar, Roger Sutton bass and a pre-Yes Alan White on drums.
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‘Mock Orange’ from John Surman’s 1972 album ‘Westering Home’, with Surman on soprano saxophone, piano and percussion. It’s said to be the first jazz album recorded by a single artist overdubbing a number of instruments (Surman also plays baritone saxophone, bass clarinet, trumpet, euphonium and organ on the album), something that he has done several times over the years.
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The title track from Stefano Di Battista’s 2007 Blue Note album ‘Trouble Shootin’’, with Di Battista on alto saxophone, Fabrizio Bosso trumpet, Baptiste Trotignon organ, Eric Legnini piano, Russell Malone guitar and Eric Harland drums.
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‘45 St Nicholas Ave’ from drummer Francesco Ciniglio’s new album ‘The Locomotive Suite’, with Raynald Colom trumpet/flugelhorn, Matt Chalk alto saxophone, Matteo Pastorino bass clarinet, Alexis Valet vibraphone and Felix Moseholm bass.
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‘Open The Gates’, a 2020 single release by Maisha, featuring Binker Golding on tenor saxophone, Johnny Woodham trumpet, Tamar Osborn flute, Amane Suganami piano, Shirley Tetteh guitar, Jake Long drums and Yahael Camara-Onono percussion.
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From his 2020 album ‘Fly Moon Die Soon’, this is Takuya Kuroda’s version of Herbie Hancock’s ‘Tell Me A Bedtime Story’, with Kuroda on flugelhorn, keyboards and percussion, Takeshi Ohbayashi keyboards, Burniss Travis bass, Adam Jackson drums and Keita Ogawa percussion.
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‘First Language from alto saxophonist Miguel Zenon’s 2014 album ‘Identities Are Changeable’, featuring Luis Perdomo piano, Hans Glawishnig bass and Henry Cole drums, with Will Vinson and Michael Thomas alto saxophones, Samir Zarif and John Ellis tenor saxophones, Chris Cheek baritone saxophone, Matt Jodrel, Alex Norris and Jonathan Powell trumpets, Ryan Keberle, Alan Ferber and Tim Albright trombones.
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