This concert, from the Berlin Jazz Days festival on November 6, 1976, features a great program of tracks from those records. The problem is that the lineage on this recording is not so hot...levels are somewhat low and there is a fair bit of hiss. I felt compelled to offer it up, though, because there is some phenomenal playing if you can deal with the sound quality.
I don't have the personnel line-up though I suspect it is heavy up with his usual suspects of that era, Azar Lawrence and/or Gary Bartz on saxes, maybe Billy Hart on drums, Ron Carter perhaps...I am giving the recording another close listen now to make sure I didn't miss stage announcements of the line-up...If I hear them I will update the post...by the way, the version of Fly With the Wind is friggin' epic.
Third, the music itself. It is very difficult to over dramatize how crucial McCoy Tyner was to jazz in the 70s. For my money, McCoy was the standard and torch-bearer for modal post-bop. He managed to eschew electric fusion (his genre bending focused on experimenting with group configurations and instrumentation, though later on he developed quite a prediliction for Latin sounds...). This show came at the tail end of his Enlightenment work and immediately prior to the recording of Sama Layuca, his two masterpieces of spiritual jazz.
The line-up for this show (which was broadcast on Boston's WBCN, thus this recording) blends the personnel from those two records with Billy Hart on drums, Alex Blake on bass and the mighty Azar Lawrence on soprano and tenor.
The July '73 European festival appearance recordings are of particular interest given that many were broadcast (and thus live on in fan recordings) and one of them (in Montreaux, was released as the LP Enlightenment). It was a fertile and intense period for McCoy's music...
This show, another FM broadcast, was performed at Jazzclub Domizil Munich, Siegestrasse, German, on July 18, 1973. I believe but cannot verify that the versions below can from a reel-to-reel master recording of the FM broadcast which were themselves transferred to digital. I have no information as to any processing or EQ applied to the recordings. My ears say "none".
Though each version below is simply one long MP3, this is what the source info I found details:
1. Radio Announcer Intro>unknown [18:48] 2. unknown [8:43]* 3. unknown [21:13] 4. bass solo [4:44] 5. unknown>Radio Announcer Outro [6:20] * few seconds FM drop outs at the end of the tune (Receiver Connection problems)
The "unknowns" are basically the segments of what came to be known as the "Enlightenment Suite"...
I am including two versions for download, since I have two. They are exactly the same in length and from what I can hear, lineage.
McCoy Tyner Quartet, live, July 14, 1973 8th Pori Jazz Festival, Yhteislyseo, Pori, Finland. I believe "Yhteislyseo" is the name of the venue and was one several that hosted events for the festival.
The Pori Jazz Festival started in 1966 and continues to this day. Their website maintains some interesting historical info about each year's fest, including line-ups, performance schedules, etc. Archival audio and video would be great, though there is a small photo section...here is what the site has to say about the 1973 edition, which this recording is taken from:
"The festival lasted three days, which had become a tradition. It started on July 13th and closing on July 15th.
In the 70's men had to wear jackets to enter restaurants but in the summer of 1973 some of the restaurants in Pori started bending the rules especially during the festival:
"An exception is the jazz festival weekend when the only thing required is to wear something. Clogs aren't allowed though because they may be dangerous while dancing.""
In addition to McCoy on piano, his quartet for this date was rounded out by Azar Lawrence on soprano and tenor saxes, Junie Booth on bass and Alphonse Mouzon on drums. The music seems to be part and parcel of a program McCoy toured with across the European festival circuit that summer (the complete performance from the Montreaux Jazz Fest from this run was released as the LP Enlightenment).
The next few days' worth of posts are going to be live "bootleg" recordings from various McCoy Tyner dates throughout the 70s...If you have any live McCoy shows, from any era, and are willing to share, please leave a comment (and preferably a download link). Thanks.
This show was an FM broadcast from Tokyo and featured the line-up and material from McCoy's auspicious debut for Milestone, Sahara, which I posted about several months ago here.
The line-up for this show featured McCoy on piano and koto, Sonny Fortune on flute, soprano and alto saxes, Alphonse Mouzon on drums and percussion and Calvin Hill on bass and percussion.
The download below is a ZIP file containing two unedited MP3s as well as CD cover and tray art.
MP3 One: Intro Valley Of Life > Ebony Queen Rebirth
"McCoy Tyner has fronted many mid-sized ensembles, but this one ranks with the very best he has led. As violinist John Blake jives and jousts with alto and soprano saxophonist Joe Ford and the incindiary tenor saxophonist George Adams, Tyner realizes a perfectly balanced, extroverted, compatible and utterly unique front line. It enables him to offer some of the most remarkable, memorable and powerful music of his career. It all starts with the magnificent opener "Horizon" (this CD also includes a previously unreleased alternate take) which goes though a variety of dynamic rhythm changes, clarion calls, tinkling or rumbling piano set-ups prior to the band bursting loose, Afro-Cuban incursions, concise, inspired solos, and all powered by absolute perfect rhythm navigating from drummer Al Foster aside colorful percussive inserts by Guliherme Franco. It is one of the greatest single compositions of Tyner's career...sheer genius, period...The front cover has a silhouette of Tyner's face superimposed as lightning strikes fronting a raging thunderstorm, a great piece of art, as is this extraordinary recording, which cannot come more highly recommended."
A better use of violin in modal jazz will be hard to come by...
"During his years on Milestone, McCoy Tyner had the opportunity to record in a variety of settings with many of his favorite players. For this disc the innovative pianist is featured with quite an all-star crew: trumpeter Freddie Hubbard, flutist Hubert Laws, Bennie Maupin on tenor and bass clarinet, vibraphonist Bobby Hutcherson, Stanley Clarke (in a rare appearance at the time on acoustic bass), drummer Jack DeJohnette and percussionist Bill Summers. In addition to a pair of Tyner's originals, songs were contributed by Laws, DeJohnette, Hutcherson and Hubbard...The music is essentially high-quality advanced modal hard bop and each of the sidemen get their opportunities to be showcased."
I can't say more than that. This is a solid record, which you'd expect given the players. Nothing about it is mind-blowing but it is solid throughout...I'm going to serve up the two McCoy compositions...
Almost more music than seems humanly possible to consume!
Billing itself as, "Great music from the past - If you like it - BUY IT", Jolly Joker posts full albums, DVDs, bootlegs and more - in some cases even full artist discographies.
You'll never make it through all of the music shared there but you will have a lot of fun trying...heavy on classic rock, first wave jam bands, some fusion, blues, and more....
While you're there, don't forget to donate...there is just too much available not to! Besides, the site is heavy on pop-ups, pop-unders and other ads...if you donate enough, maybe the site owner will kill that stuff.
Recorded live on July 28, 1978. From the record label's website:
"McCoy Tyner gave an electrifying concert at the 1978 Live Under the Sky Festival in Tokyo. These recordings...present the virtuoso pianist at a peak of inspiration and a degree of keyboard perfection unusual even for him. Bookended by superb trio performances with bassist Ron Carter and drummer Tony Williams, the disc finds Tyner spinning out breathtaking unaccompanied solos on three of his most celebrated compositions. They include a definitive version of “Passion Dance” that lasts nearly twelve minutes and fairly explodes with energy, inspiration, and a moving allusion to his association with John Coltrane and “A Love Supreme.” When Tyner launches into the familiar introduction of “Song of the New World,” the audience explodes, too, in a moment of recognition and appreciation for one of the greatest of jazz pianists."
For an equally glowing but slightly less hyperbolic take on the record, here is what All Music has to say:
"Recorded live in Tokyo, the great pianist McCoy Tyner performs three of his best originals ("Passion Dance," "Search For Peace" and "Song Of The New World") plus two John Coltrane songs ("Moment's Notice" and "The Promise"). He takes three selections unaccompanied while "Moment's Notice" and "Song Of The New World" are with a trio including bassist Ron Carter and drummer Tony Williams. This LP...has plenty of fiery and passionate music..."
"This is a rather welcome addition to McCoy Tyner's reissue catalog on compact disc...this live date featuring his sextet from the Great American Music Hall in San Francisco (1978) is definitely one of the more worthwhile Milestone Tyners...George Adams is on board here, and for some that may be enough to convince that this is probably worth checking out. Indeed, Adams' playing here is fiery and intense, and on "Fly With The Wind" (a Tyner staple that gained most notoriety through its big band manifestation), Adams takes a solo that is remarkable for its reconciling of a purely soulful quality to the modal dogma of Tyner's music...McCoy Tyner is hardly a soulless musician, and on his solo feature of Naima, he shows the penchant for romanticism and lyrical sensitivity that he was to make his name on in solo recordings of later years. This is a relatively brief edition of Naima...but it exudes a certain understatement that is rather unique in comparison to other examples. Certainly, Naima was a tune that McCoy took to as much as his former boss John Coltrane (composer) had in his career...The most beautiful and striking piece on this record is the opening track, “Hand in Hand.” Built on a very simple melody...this involves little soloing outside of a hand percussion intro but is a very emotionally engaging piece...the same melody is repeated, over and over again, but layers of instruments- including the human voice, are added, and the timbre of the ensemble sound becomes increasingly complex. Moreover, as the music develops an emotional quality of deep assuredness and unity amongst the parts becomes tangible. There’s clearly something to be said for melodic persistance in this case...The writing is where the whole Tyner “sound” begins and sets the tone for everything that follows. It’s epic themes followed by solos that attempt to soar into the stratosphere. The Coltrane quartet wrote the book on this, and McCoy Tyner spent a good part of his career thereafter in dialogue with what had already been said...The music here is vital and it breathes...Moreover, if one is only familiar with McCoy from his Blue Notes or early Impulse sides, McCoy's Milestone era is certainly not to be overlooked and this record offers as good an introduction to it as any. If nothing else, McCoy's 70s output offers an important glimpse into the state of the music post-Coltrane...this music had a definite resonance in the 1970s and the resonance was largely owed to, it would seem, the inspiration of one John Coltrane."
Subtitled, "You can find some good music in this place. (I hope.)", I can say that the site's owner needn't worry...I stumbled across Into the Rhythm while looking for some McCoy Tyner records and found not only one I was missing, but also a ton of great reviews and downloads...mostly jazz, a little bit of electronic and world, but all dead-on for readers of burningdervish.com
Two views on an interesting record. First from the record label's website:
"Not all of the voices are inner in this McCoy Tyner album. The prodigious pianist devised choral backgrounds and horn orchestrations for original compositions that have the continuity of a suite. The album displays early evidence of the ability as a big band arranger that was to bring Tyner praise, recognition, and awards in the 1990s. With a superb rhythm section and the high-energy soloing of trumpeter Jon Faddis, saxophonist Alex Foster, trombonist Charles Stephens, and Tyner himself, the album is a rounded and stimulating statement of Tyner's progress and accomplishments in the late Seventies. Bassist Ron Carter, guitarist Earl Klugh, and drummers Jack DeJohnette and Eric Gravatt sustain rhythmic force of an intensity to match Tyner's."
From All Music:
"This project by the powerful pianist McCoy Tyner is a bit unusual in that he is featured with an all-star rhythm section (guitarist Earl Klugh, bassist Ron Carter, and either Jack DeJohnette or Eric Gravatt on drums), a horn section (which includes a few solos for trumpeter Jon Faddis, tenor saxophonist Alex Foster, and trombonist Charles Stephens), and seven voices. Tyner was responsible not only for the five originals but the arrangements, too. In reality, the voices were not needed (they stick out as a bit of a frivolity), but Tyner plays as strong as usual; he has yet to record an uninspired solo."
I have to agree - in part - with the comment about the voices. They really are not choral or background, they are clearly overdubbed and very strong in the mix. The vocal arrangements themselves are interesting and this record has grown on me as I've been listening to it...may not be appropriate as a first-stop on your way into McCoy's world but once you're there have a listen...
"The concept behind this 1977 McCoy Tyner album is an interesting one: one pianist, two different piano trios. Producer Orrin Keepnews had recently recorded Tyner in a trio setting (1975's Trident, with Elvin Jones and Ron Carter). Looking for variety, he hit upon the idea of teaming the pianist with two different rhythm sections...Drummer Tony Williams's off-center virtuosity is a good foil for Tyner...Williams leaves holes in odd places, creating unexpected ebbs and flows, and the result proves even more exciting than Tyner's prior trio recording. Eddie Gomez and Jack DeJohnette bring different qualities to the table. Gomez is a melodic bassist with a unique tone and long, arching, phrases (no doubt a result of his work with Bill Evans), while Jack DeJohnette has a funky implied beat and a musically radical sensibility..."
Let's do one track from each session...'I Mean You' (a Coleman Hawkins/Thelonius Monk composition) with Ron Carter and Tony Williams and McCoy's own 'Consensus', with Gomez and DeJohnette. Powerful stuff.
Anyone have a copy of this record? It appears to be a distinctly different release than a subsequent McCoy record, featuring some of the same players, entitled 4x4...Please leave a comment if you can help me with a copy....Thanks.
So this is the end of my traipse through the Axiom Records Discography. It has been a blast reconnecting with some of these records...they were quite literally the soundtrack to a good 7 - 10 years of my life...
This project also marks the first time in a long time that I have the entire catalog - I was able to reassemble it through a combination of my own holdings, the blogosphere, some generous readers and a friend of mine who shall remain nameless here...
The last post in the series is also the last release on the label and technically, Axiom was really just an imprint under Palm by the time this record came out...but still, the logo is on the packaging so I count it...from All Music Guide:
"Featuring a cast of characters that includes Nils Petter Molvær, Hamid Drake, Amina Claudine Myers, Sly Dunbar, Aiyb Deng, Nicky Skopelitis, Graham Haynes, Karsh Kale, and vocalist Gigi Shibabbaw, this collaboration between bassists Bill Laswell and Jah Wobble is many things, but it is not a dub album. The music found here is a far cry from the stripped-down, spooky reggae created by the economically strapped Lee Perry and King Tubby. What is here is some gobbledy-gook mishmash of world musics and groove jazz. And as such it works very well. From the dubby spirits evoked in "Subcode" and "Orion," to the vocal wonders expressed amid heavily textured instrumentation by Gig on "Anselma Dub" and "Alam Dub," to the wondrous effects these two layer together -- like Skopelitis' slide guitar amid bubbling echo and both basses playing half a beat apart on the same notes -- this is a mind journey of an album that does, at its best, extend the time-space continuum, or at least gives the illusion it does. Also, Haynes' cornet solo on "Orion" is among the most beautifully stated and restrained he's ever recorded. The true identity of the disc can be found on "6th Chamber," with its loopy organ figures (courtesy of Myers) and the percussive weave in the center of the mix that is colored with a gentle, grooved-out soul melody in margins. All of it is smoothed over, edgeless and beautifully understated. This may not be the heavy-duty dub blowout expected by some fans of this pair, but it is an elegant, thoughtful, and very tasteful record, assembling a plethora of melodies, textures, instruments, and rhythms with taste and attention to detail. It would have been easy to wreck such beautiful mind music (in headphones this would be Valhalla) -- God knows Laswell's done it before."
Now back to my regularly-scheduled programming...but first...
"...Given the eclecticism of the label, this sampler veers wildly between musical styles, with mostly successful results. It opens with the sinuously lovely "Sittel Habayeb," an orchestral piece by the Arabic composer Simon Shaheen. This segues nicely into Material's version of the '70s funk classic "Cosmic Slop," a version which benefits greatly from the presence of drummer Sly Dunbar and bassist Robbie Shakespeare. Other high points include pieces by bassist Jonas Hellborg and Indian violinist Shankar. The collection's stylistic diversity is obviously meant as a selling point...this is the sort of willful eclecticism that makes Axiom special."
OK, its not exactly highbrow humor but I come across this every year or so (I think I first saw it at least 10 years back) and it makes me laugh every time. I s'pose I'm just easily amused...Here goes:
This paper was turned in by an Oakland High school student who received the highest honors at the school district’s Ebonics translation competition.
Assignment: Please translate the following Rap song lyrics from Ebonics to standard English. Artist: Notorious B.I.G. Album: Ready to Die Song: One more chance (remix)
Lyrics:
First things first, I poppa, freaks all the honeys Dummies - playboy bunnies, those wantin’ money Those the ones I like ‘cause they don’t get nathan’ But penetration, unless it smells like sanitation Garbage, I turn like doorknobs Heart throb, never, black and ugly as ever However, I stay coochied down to the socks Rings and watch filled with rocks
TRANSLATION:
As a general rule, I perform deviant sexual acts with women of all kinds, including but not limited to those with limited intellect, nude magazine models, and prostitutes. I particularly enjoy sexual encounters with the latter group as they are generally disappointed in the fact that they only receive penile intercourse and nothing more, unless of course, they douche on a consistent basis. Although I am extremely unattractive, I am able to engage in these types of sexual acts with some regularity. Perhaps my sexuality is somehow related to my fancy and expensive jewelry.
Lyrics:
And my jam knock in the Mitsubishi Girls pee pee when they see me, Nava-hoes creep me in they tee pee As I lay down laws like I lay carpet Stop it - if you think your gonna make a profit
TRANSLATION:
I enjoy playing my music loudly on my car stereo. Apparently, women enjoy this also because they become sexually aroused when they see me driving. Oddly enough, when I visit the Native American reservations, some of the more sexually promiscuous Indian women attempt to seduce me in their homes. Their intent is to divest me of my earnings. Such actions are unacceptable.
Lyrics:
Don’t see my ones, don’t see my guns - get it Now tell ya friends Poppa hit it then split it In two as I flow with the Junior Mafia I don’t know what the hell’s stoppin’ ya I’m clockin’ ya - Versace shades watchin’ ya Once ya grin, I’m in game, begin
TRANSLATION:
Understand this fact: you can have neither my money, nor my weapons. I suggest that you inform your peers that we engaged in violent sexual acts. Currently, I am rapping with my associates, the Junior Mafia. I’m having some difficulty understanding why you refuse to approach me. I am attempting to make eye contact with you through my expensive glasses, and as soon as you respond with a smile, I will approach you.
Lyrics:
First I talk about how I dress and this And diamond necklaces - stretch Lexuses The sex is just immaculate from the back I get Deeper and deeper - help ya reach the Climax that your man can’t make Call and tell him you’ll be home real late Let’s sing the break
TRANSLATION:
I prefer to open the conversation with light banter about my wardrobe and jewelry, then I like to discuss my collection of expensive cars. This is more than enough to convince you to have sexual intercourse with me. I am able to insert my penis further into you when I enter you from behind. Furthermore, you will be able to reach orgasm. I understand this to be a problem with your current sexual partner. He needn’t be concerned about your whereabouts. Please phone him and inform him that you won’t be home for a while. By the way, please sing the chorus of the song for me also.
Lyrics:
She’s sick of that song on how it’s so long Thought he worked his until I handled my biz There I is - major pain like Damon Wayans Low down dirty even like his brother Keenan Schemin’ - don’t bring your girl ‘round me True player for real, ask Puff Daddy
TRANSLATION:
Your current love interest no longer wishes to hear your fabrications about the length of your member. After I had sexual intercourse with your woman, she became enlightened as to the proper way it is supposed to be performed; violently and immorally. It would be in your best interest to keep your woman away from me as my sexual prowess is very strong. If you are unconvinced, ask Puff Daddy.
Lyrics:
You - ringin’ bells with bags from Chanel Baby Benz, traded in your Hyundai Excel Fully equipped, CD changer with the cell She beeped me, meet me at twelve
TRANSLATION:
Despite the fact that you attempted to win her at her doorstep with bags full of expensive clothes and a car (the lower end model Mercedes Benz which you financed by signing over your current vehicle) containing an expensive stereo and a cellular phone, your woman has contacted me through my pager indicating that we should rendezvous at midnight.
Lyrics:
Where you at? Flippin’ jobs, playin’ car notes? While I’m swimmin’ in ya women like the breast stroke Right stroke, left stroke what’s the best stroke Death stroke - tongue all down her throat Nuthin’ left to do but send her home to you I’m through - can ya sing the song for me, boo?
TRANSLATION:
You, on the other hand, jump from job to job, barely able to maintain payments on the Mercedes Benz you purchased for your woman. Meanwhile, I continue to engage in sexual intercourse and commit lewd osculatory acts with your women. My only remaining option is to request that she leave my home and return to you because I have reached orgasm and no longer have a need for her presence.
Lyrics:
So, what’s it gonna be? Him or me? We can cruise the world with pearls Gator boots for girls The envy of all women, crushed linen Cartier wrist-wear with diamonds in ‘em The finest women I love with a passion Ya man’s a wimp, I give that ass a good thrashin’
TRANSLATION:
The ultimate decision rests with you. Whom do you choose as your sexual partner. I can take you on cruises around the world. I will dress you in the finest jewelry and footwear. You will be envied by women worldwide in your fine clothes and jewelry. There is a special place in my heart for beautiful women. I will defeat your man in an altercation because he is effeminate.
Lyrics:
High fashion - flyin’ into all states. Sexin’ me while your man masturbates. Isn’t this great? Your flight leaves at eight. Her flight lands at nine, my game just rewinds. Lyrically I’m supposed to represent. I’m not only the client, I’m the player president
TRANSLATION:
You will be dressed in finest clothes on the runways of Paris. I will fly you to every state to shop for fine clothes and jewelry. You will enjoy sexual intercourse with me and your man will be forced to pleasure himself through manual stimulation. What a life! I’ll return you to LaGuardia in time to catch your 8 o’clock flight. The timing is perfect because I have scheduled a date with a second woman who arrives at the same gate at 9 o’clock. I’ll seduce her in the same way that I seduced you. I rap well and I am a positive reflection of my home town. Not only am I a sexually deviant, misogynistic, immoral, wealthy, male prostitute, but I also sit on the board of directors of the organization that governs others of my kind.
A superior example of mid-90s ambient music as well as a sonic embodiment of William Burroughs' "cut-up" approach to composition. With sampling, mash-ups, RSS feeds, photoshop and the countless varieties of digital manipulation available these days, notions like "cut-up" and constructs like Axiom Ambient should seem at least quaint, if not outdated...
They are not and they don't.
Vision comes before realization and is the crucial part of the process. Witness Nikola Tesla...
The tracks on this record are "sound sculptures" created from other recordings Laswell make for Axiom. A full detailing of which tracks went into sculpture can be found here.
Here's a blog I've been grabbing some great stuff from lately...Global Groove, "...brings together music from around the globe" and their, "rips are made without any filters. If the Lp has some cracks, we leave them. Covers that are worn out will not be fixed, just photographed the way they are. All rips at 320 kbps."
I like it...get the music out there, warts and all..
In addition to the electronic items listed the other day I managed to get some CD auctions posted and will continue to over the next week/week-and-a-half...here are some direct links to a few of them:
Dig this review from Amazon, it is short but speaks volumes about this record:
"Although they'd recorded for the Rolling Stones' Brian Jones and played with jazz supremo Ornette Coleman, Morocco's Master Musicians had never really been caught in true sonic clarity until producer Bill Laswell visited them in their village of Jajouka to document their music. And clear it is; the interplay of instruments, drums, and voices is captured with stunning fidelity...The musicians, under the leadership of Bachir Attar, are in superb form, doing what's been done for almost as long as history itself. They feel the music, making for a natural flow on Attar's compositions, which sound as old as the Rif Mountains where they're performed. If you want to hear the Master Musicians as they really are, this is the record to buy."
The problem? As far as I can tell you can't buy it...but you can get your hands on it...
There is much to the story of the Master Musicians and as you might expect, it is easier than ever to get information on them. The Masters even have their own website! The section, aptly titled "The Story", is a great history of the Musicians.
Of the thirteen tracks on this record, track 3, "El Medahey", is my favorite...I could listen to it for hours...
UPDATE Another in print digitally (at the very least on iTunes and Rhapsody, according to a faithful reader...), as such I am removing the download link...
Download: The Master Musicians Of Jajouka Feat. Bachir Attar - Apocalypse Across the Sky
Yeah folks, it's that time of year again...over the next two weeks I expect to be putting a bunch of music and electronics stuff up on eBay and Craigslist...getting things started with:
Pioneer DV-333 DVD player. When I made the jump to the Samsung HDTV I had to get the companion DVD player (didn't I?)...so this workhorse is now for sale...click here for the eBay listing...I cross-posted it on Craigslist in case there any locals that want it and can come pick it up. You can find that listing here.
400GB Hard Drive loaded with music. I had to upgrade to a new drive...was running out of room and have a big music swap coming up. Though this is listed on eBay I don't expect that the listing will last long (I'd have to think they will pull it down) so I am listing this one on Craigslist, too. Click here for the eBay listing and here for Craigslist. If you are not local to me and can't use eBay's shipping calculator to get a price, let me know your ZIP code and I will get you a number.
As I add stuff to eBay it will show up on my My eBay page and I will post notices on this site.
Deep electronic shit here...This is not roots dub, but there is just enough drum-and-bass vibrations, spacey reverb and deconstructed mixing to keep this set stylistically close enough to intrigue traditional dubheads while turning on club kids, too...this record hit during that period in the mid-90s when it seemed electronica was really breaking through...Massive Attack, Portishead, Prodigy, Chemical Brothers, et al were making records that actually met with mainstream acceptance and success...Axiom Dub features some of the characters from that era (notably DJ Olive and The Orb) as well as Laswell stalwarts like Sly & Robbie, Jah Wobble and Nicky Skopelitis. There is a beautiful piece about this album here and a nice track-by-track who's who here.
The offerings are all over the place and include bootleg recordings in the metal/hard rock genres, jazz, fusion, classic rock and more. Most of the links are hosted with RapidShare...
What kind of crazy world is it when a record as monumental as this can remain out of print? Featuring Sonny on guitar, Pharaoh Sanders on tenor and soprano, Elvin Jones on drums and Charnett Moffett on bass, it is the jazz record of the 1990s and certainly deserving of a place in any "best of the 90s" top ten list, regardless of genre...
If you don't know who Sonny Sharrock was, dig this nugget from his All Music Guide bio:
"Of the electric guitar's few proponents in avant-garde jazz, Sonny Sharrock is easily the most influential; he was one of the earliest guitarists to even attempt free playing, along with Derek Bailey and Sonny Greenwich. Sharrock's visceral aggression and monolithic sheets of noise were influenced by the screaming overtones of saxophonists like Coltrane, Sanders, and Ayler, and his experiments with distortion and feedback predated even Jimi Hendrix. Naturally, he provoked much hostility among traditionalists, but once his innovations were assimilated, he enjoyed wide renown in avant-garde circles."
Sonny was semi-retired from music throughout the late 70s and parts of the 80s. By the time Ask the Ages came out in 1991 Sonny had been gigging regularly for a few years in a variety of Bill Laswell-led projects.
Ask the Ages was Sonny's masterpiece. In playing, songwriting, group chemistry, etc. Again, from All Music:
"It's the most challenging jazz work he recorded as a leader, and it's the clearest expression of his roots as a jazz player, drawing heavily on Coltrane's modal post-bop and concepts of freedom...It's far and away the best, most adventurous, and most jazz-oriented backing group Sharrock recorded with during his comeback, and the results are breathtaking. The compositions are all Sharrock originals, and all six have utterly memorable themes that often recall the sweeping lyricism of Sanders' most spiritual '60s works. For his part, Sanders responds with some of his most ferocious playing in years, and Sharrock sounds vitally energized by the tenor's screeching passion. There isn't a wasted moment on the album, but particular highlights include the fiery, majestic opener, "Promises Kept," the searching ballad "Who Does She Hope to Be?," and the awe-inspiring blast-fest "Many Mansions," where Sharrock and Sanders both reach a blistering pinnacle...it's his overall musicality that's on display, but there's still plenty that will scare the bejeezus out of timid jazzbos. It's a tragedy that Sharrock didn't get much of a chance to expand on this achievement, but thankfully it exists in the first place."
Sonny died unexpectedly in May 1994. He was 53. I am so happy to say I was able to see Sonny perform live twice.
Please enjoy this record.
UPDATE: A kind reader let me know that this record is in print digitally from at least two online retailers. Click here for the info. Knowing that, I am going to yank the full album download.
All I can hope is that you enjoy visiting and reading this site as much as I enjoy working on it. If you like what you find here, please leave a comment. It means a lot to hear from you.
Follow Burning Dervish
Burning Dervish Email
Subscribe to receive a digest of Burning Dervish posts each day, just enter your email address here. If there are not posts that day, no email goes out. Do not worry, I will not ever share your info with anyone. Promise.
, 
and 
, from 
and from 
by McCoy Tyner
by Bill Laswell and Jah Wobble
