The eleventh issue of We Jazz Magazine, "Oni Puladi" for Carla Bley. 128 pages, 170 x 240 mm in size, and printed on 140g Edixion paper with laminated 300g Invercote covers. All articles are presented IN ENGLISH. Carla Bley, Gondwana Records, [Ahmed], Amirtha Kidambi, Ruth Goller, Abdul Wadud, François Jeanneau, Mette Henriette, Nduduzo Makhathini, Discaholic column by Mats Gustafsson, We Jazz Festival 2023 photo essay, album & live reviews, plus more
Art Pepper's brilliance, fueled by his troubled past, musical talent, and passion for performing, shone brightest on stage. The Genoa concert exemplified his peak performance, surpassing all previous shows.
"Silent, Listening" is a standout addition to ECM's solo piano recordings, featuring Fred Hersch's original compositions and selected standards. Recorded in May 2023 with producer Manfred Eicher in Lugano studio, Hersch's renowned sensitivity and grace shine throughout.
Fourth & fifth volumes in a series of 11 releases documenting the complete Nimbus I.U.C.C. recordings of the Pan Afrikan Peoples Arkestra. These limited to 333 copies only 2CD sets document 2 never before issued recordings of Horace Tapscott leading his legendary Pan-Afrikan Peoples Arkestra, in concert at the Immanuel United Church of Christ - November 25th, 1979 & April 27th, 1980. One-time pressing, sold-out at the source. Hurry up!
In 1985, recordings featuring Baker, Catherine, and Rassinfosse showcased the peak of Baker's late-career brilliance. The trio's synergy displayed a remarkable artistic cohesion, with Baker's lyrical trumpet, Catherine's dynamic guitar, and Rassinfosse's steady rhythms creating a balanced yet contrasting musical landscape.
Heard together, Charles Mingus Presents Charles Mingus and Pre Bird suggest the enormity of Charles Mingus’ artistic vision. No one album encompasses it in its entirety, and perhaps not even two or three. However, these recordings, made six months apart in 1960, vividly summarized his work to date, as he headed towards to jazz’s pantheon.- Bill Shoemaker
"Smokin' at the Half Note," a 1965 recording by Wes Montgomery and the Wynton Kelly Trio, featuring members of Miles Davis' band, has been reissued by Elemental Music Records. Despite being labeled as live, only two tracks were recorded at the Half Note, with three remade later. The album popularized "Unit 7" and "Four on Six" as jazz standards.
Masters of Bass Unite! Experience the fusion of jazz and classical virtuosity in 'But Who’s Gonna Play the Melody?' Their collaboration, blending blues roots with diverse compositions, showcases the limitless potential of the bass. Released through Mack Avenue Records, this album is an intimate journey through the worlds of two legendary bassists.
Analog Productions' UHQR: The pinnacle of high-quality vinyl, limited to 5,000 copies. Mastered from the original tape, pressed at Quality Record Pressings with Clarity Vinyl for unmatched sound fidelity.
Azimuth, featuring John Taylor on piano, Kenny Wheeler on trumpet, and Norma Winstone on vocals, emerged as a seasoned ensemble with their debut album in 1977. They broke free from conventional vocal jazz boundaries, showcasing a progressive ethos. Melody Maker noted the album's elegant beauty intertwined with an exploratory spirit, suggesting John Taylor's potential as a significant composer.
Wadada Leo Smith, the pioneering American trumpeter and composer known for his groundbreaking work in creative music. A finalist for the 2013 Pulitzer Prize for Music with his album “Ten Freedom Summers,” Smith’s innovative approach pushes the boundaries of musical expression. With a career spanning decades, his impact on the world of music is immeasurable. This month, he released an eagerly anticipated album titled “Central Park’s Mosaics of Reservoir, Lake, Paths, and Gardens,” adding yet another gem to his illustrious discography.
Red Records, founded in 1976 by Sergio Veschi and Alberto Alberti, stands as an iconic Italian jazz record company and label. With a rich history spanning decades, it has become synonymous with excellence in the world of jazz. Renowned music critic C. M. Bailey even dubbed it the "Blue Note of Europe," a testament to its esteemed reputation and commitment to quality.
Art Pepper’s brilliance was not in his control, it was like a chemical combination in the laboratory; his horrible childhood and his incredible musical gift, with his desire to communicate, are things he did with great success... For Art, there was nothing better than being on stage. He lived for it. On tour he was spectacular and he always managed to convey something, no matter what it was. The concert in Genoa shows once more how well Pepper played in the last period of his life, perhaps better than he ever did.