Jazz — All Formats  

A cool combo with lots of trombone from Conrad Bauer – blowing beautifully here over well-spun lines from the other members of the quartet! There's a fluid vibe to the record that's very fresh – not really some of the more familiar modal or fusion styles you'd know from the German scene of the time – nor some of the more offbeat work you might also hear from Bauer – and at times, there's even a funky feel to the record, although not in ways we'd conventionally use here in the US! The whole thing's plenty great – full of fresh twists and turns, and great discoveries throughout – with work from Conrad Bauer on trombone, Hannes Zerbe on piano, Christoph Niemann on bass, and Peter Groning on drums. Tracks include "Walzer Fur John", "Uskew", "4 Takte Fur S", "Violett Mit Eisweiss", and "Jumbos Barmusik".

An unusual little record – a set that's a bit "fake" in its pedigree, but which still comes across with some wonderfully vivid results! Fred Kaz is a Chicago pianist, but he works here on a set of original compositions based on his readings on Near Eastern cultures – dubbed by Fred as "Turkish experiments" in the liner notes – and a compelling blend of Eastern modes and modern jazz piano – maybe not as all-out as later experiments of the type on MPS/Saba, but still pretty darn great! The group's a trio – with Victor Sproles on bass and Roger Wanderscheid on drums – and titles include "Sand", "Ameer", "Salaam", "Turkish Blues", "Fez", "Muezzin", and "Tassel".

A long-overdue look at one of the most important groups to grace the British jazz scene of the 60s and 70s – the legendary Blue Notes, a group of South African expatriates with an undeniably huge influence on the music of their new homeland! The ensemble featured key players who went onto do some amazing work on their own, but first came together in this group – trumpeter Mongezi Feza, saxophonist Dudu Pukwana, pianist Chris McGregor, bassist Johnny Dyani, and drummer Louis Moholo – all players as dynamic together and important on their own as the members of the Art Emsemble of Chicago from the US. The set finally brings out all of the group's key albums for the Ogun label, plus some great bonus material too – a rich tapestry of work that shows the combo's evolution from African-tinged jazz of the 60s to some much more farther-reaching sounds in the 70s – all beautifully packaged, with each album presented on its own inside a larger slipcase! The set features The Blue Notes Legacy, a live date in South Africa from 1964; Blue Notes For Mongezi, a double-length set recorded after the passing of group trumpeter Mongezi Feza; Blue Notes For Johnny, a date recorded after the passing of bassist Johnny Dyani; and Blue Notes In Concert, a great live date recorded in 1977. There's a wealth of wonderful music here – and along with the bonus tracks, the set also features a great booklet of remembrances and vintage photos!

A late 70s classic from South African bassist Johnny Dyani – and an album that reunites him with Dudu Pukwana, the saxophonist in their original group The Blue Notes! The album also features John Tchicai on both alto and soprano sax, as well as added guitar from Afredo Do Nascimento, plus some added percussion. Tunes have a nice rhythmic feel, but the solos are also quite raw and searing – really blowing open the whole thing, in the manner of some of the post-Blue Notes early 70s work by Pukwana, Dyanai, and sadly departed bandmate Mongezi Feza. Titles include "Heart With Minor's Face", "Magwaza", "Eyomzi", "Mbiza", and "Radebe".

One of the greatest British jazz albums ever to feature the Blue Notes – the legendary South African jazz group who left their country in the mid 60s, and took up an expatriot home in London! The session's led by pianist Chris McGregor, but it features a sextet that includes Blue Note members Louis Moholo on drums, Dudu Pukwana on alto sax, Mongezi Feza on pocket trumpet, and Johnny Dyani on bass – in addition to British tenor player Ronnie Beer. The sound of the work is pretty tremendous – ranging from completely free and outside jazz to slower, more somber tunes that strongly recall the later work of the players in the group. All tunes are originals by McGregor and Pukwana – save for the track "Don't Stir The Beehive", which is a reworking of a traditional African tune. Other titles include "The Sounds Begin Again", "White Lies", "Heart's Vibrations", and "Marie My Dear".

Classic material by McGregor, recorded in the post-Blue Notes years, but featuring old bandmates Dudu Pukwana, Mongezi Feza, and Louis Moholo. The group also includes some great Brit avant players – like Evan Parker, Radu Malfatti, Harry Miller, and Harry Beckett – and the whole performance was recorded live in Switzerland in 1974. The music is a mix of free out playing, yet still has traces of McGregor's roots in the South African jazz scene. Titles include "Tungis' Song", "The Serpents Kindly Eye", "Ismite Is Might", and "Kongi's Theme".