Brit-Jazz and related
This fine album was John's second album, recorded just a few months before he left England to join up with Stu Martin and Barre Phillips and start The Trio. It's a landmark of Brit-jazz and, imo, a much better album than his first, self-titled solo album. Various musicians are featured in various combinations, but the musicians appearing here include: Harold Beckett (trumpet, flügelhorn), Malcolm Griffiths (trombone), Mike Osborne (alto sax), Alan Skidmore (tenor sax), John Surman (baritone sax), John....
Paul Dunmall tenor & soprano saxes, James Gardiner-Bateman alto sax, Peter Fairclough drums, Kevin Figes alto & baritones saxes, Thad Kelly double bass, Ben Waghorn tenor sax, bass clarinet, Julie Tippetts voice, seed pods, Balinese xylophone, toy...
Keith Tippett: piano, wood blocks, pebbles, wind chimes, maracca, music boxes, plastic pan pipe.
Julie Tippett: voice, twizzle drum, Little bells, Thumb piano, seedpod shaker, Sri Lakan hand drums, Singing bowls, Tamborine sticks,
Balinese...
This 1969 double album was the third release by Mike Westbrook and it was a quite radical anti-war release, featuring 26 amazing musicians, including Alan Skidmore, David Holdsworth, John Surman, Kenny Wheeler, Malcolm Griffiths, Paul Rutherford, Mike Gibbs, Mike Osborne, Harry Miller, Barre Phillips, Alan Jackson, John Marshall and many others legends.
This has over a full album's worth of unreleased, never-before heard material on disc 3 from the beginning of the modern Brit-jazz movement...
"The New Tony Williams Lifetime, featuring Allan Holdsworth, live from the Village Gate, New York, September 22nd, 1976.
In 1975, the groundbreaking drummer Tony Williams assembled a new version of Lifetime, this time featuring the visionary guitar of Allan Holdsworth, as well as Alan Pasqua's innovative keyboards and Tony Newton's funky bass. They collaborated on two albums, as well as playing acclaimed gigs. Their unique brand of fusion is perfectly captured on this remarkable set, originally....
This album has a long and complicated history. In April, 1976, saxist Gary Windo, who was working part time for Nick Mason of Pink Floyd as a mechanic for Nick's car collection, was offered the opportunity to record a album at Pink Floyd's brand-new studio. He would be offered this opportunity as a 'test', to allow the engineers to test, with real musicians, the over-all systems and sound.
Between the years 1976-1978, as time allowed, Gary and a number of other musicians, including Pam Windo-piano...