.___________________________________________________________________________. |========================-==-..:.::. SOUNDz .::.:..-==-=====================| | ___________/_ _______ /\ |\/\/| _\___________ | : |_ /_ _( )_ \/ .---. _|____//> __ /\ _\ _| : . | __ / | |____ | |___\_ | /_____\ \ \/ \ __ | . ! | /___/_ | ___ | | | || \ | \/ |_ \ _\___\ | ! . | \ ! \ / | | | || \| \ | \ / | . <>!_______ \ / | | | || \ \ | |\ \ _______!<> ==\-----. \ \ \ | )_( || \ \ \| |_\ \ / .-----/zNr .==/\ /___\ |_ _| || \ \ \ /___\ /\dS! :=/ |'-------'/_________\! |\ \_________/ \= /____/\_________|===================='-\-'=\________|=====|_________/\____\ ___\/_______________________________/_\___________________________\/___ //// // // // // // // // // / \ \ \\ \\ \\ \\ \\ \\ \\ \\\\ /// // // // // // // // // / /\\ \ \\ \\ \\ \\ \\ \\ \\ \\\ /___/___/___/___/___/___/___/___/___/_//\\\_\___\___\___\___\___\___\___\___\ \\ \\ \\ \\ \\ \\ \\ \\ \\ \ \\_// / // // // // // // // // \\\ \\ \\ \\ \\ \\ \\ \\ \\ \ \\/ / // // // // // // // /// \\\___\___\___\___\___\___\___\___\___\ \ /___/___/___/___/___/___/___/___/// . ------------------------------------\ /-------------------------------- . : \ : | / \ | | | | | | R E L E A S E D E T A I L S >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> | | ----------------------------- <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<< | | | | Jaki_Byard-The_Jaki_Byard_Experience_(1968)-WEB-2007-SOUNDz_iNT | | --------------------------------------------------------------------- | | | | Artist______________ Jaki Byard | | Title_______________ The Jaki Byard Experience | | Label_______________ Fantasy Records | | Genre_______________ Jazz | | Year________________ 2007 | | Release Date________ 2021-05-18 | | Street Date_________ 2007-03-06 | | Source______________ WEB | | Encoder_____________ MP3 / LAME | | Quality_____________ CBR 320kbps 44.1kHz | | Size________________ 82.6MiB | | Playtime____________ 0:35:59 | | URL_________________ https://amazon.com/dp/B000UBNTQQ/ | | | | | | 1. Parisian Thoroughfare (feat. Roland Kirk, Richard Davis & Al 10:06 | | 2. Hazy Eve (feat. Richard Davis) 04:34 | | 3. Shine On Me (feat. Roland Kirk, Richard Davis & Alan Dawson) 04:16 | | 4. Evidence (feat. Roland Kirk, Richard Davis & Alan Dawson) 04:24 | | 5. Memories Of You (feat. Roland Kirk) 07:14 | | 6. Teach Me Tonight (feat. Roland Kirk, Richard Davis & Alan Da 05:25 | | | | | | R E L E A S E N O T E S >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> | | ------------------------- <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<< | | | | | | No doubt, those that long for the continuous flow of the sounds of | | surprise go to Jaki Byard and Roland Kirk. In particular The Jaki | | Byard Experience, which most likely brings about shock, curiosity, | | delight and finally surrender. Two distinctly unconventional | | individuals for the price of one. The quartet of Byard's eleventh | | album on Prestige is completed by bassist Richard Davis and drummer | | Alan Dawson, a sublime duo that bonded with Byard for the first time | | in 1963 and whose instincts are cooperative instead of merely | | supportive. | | | | Although active in the Boston area since the late 40s, Byard made his | | mark in New York with Charles Mingus in the early 60's, dazzling | | listeners and audiences with his eclectic style. Kirk burst on the | | same scene around that time; blind one-man-band playing tenor sax and | | exotic saxes that he found in shops like the stritch and manzello, | | adding whistles that hung on his chest, shoulder, hip or even ear, | | appearing to be a sideshow attraction to the general audience, a | | musician with exceptional declarations of independence to cogniscenti | | and colleagues. | | | | Both shared the gift of mining the multi-faceted tradition and | | simultaneously pushing it to its outer limits, both were unique | | personalities that refused to take indiscriminately the innovations | | of Ornette Coleman, playing a kind of hide and seek with avant-garde | | instead of merely engaging in ersatz Free Jazz. Byard's encyclopedic | | knowledge of early jazz forms is legendary. Kirk, who also landed a | | place in Charles Mingus's band in the early 60's, mixed blues with | | modernity and unusual virtuosity. Their music is a world unto its | | own. And it brims with enthusiasm. Like Thelonious Monk's music. | | | | An improviser should work with the fixed material in a piece to avoid | | hackneyed phrases. | | | | That's Monk, the Buddha of jazz, occasionally breaking silence with | | conceptions that are at once practical and enigmatic. Paradoxically, | | what seems to be a knockdown argument led him down the path of | | "rooted freedom" as opposed to freedom for freedom's sake. Freedom | | for freedom's sake is a dead end street. Free love is ok but mostly | | equates with detachement. The opportunities inherent to mass | | consumption suck: fast food and sugar are killers. Both conceptions | | ultimately exhaust themselves in the need to preserve meaning. The | | equilibrium of passion and reason cannot blossom in the absence of | | transcendence. Monk may have been a puzzling personality but he most | | likely had rooted freedom on his mind while teaching beautiful and | | original alternate chords to friends and journeymen, and writing | | Trinkle Tinkle and Criss Cross. | | | | And Byard and Kirk understood. As a result, one gets served a dish of | | delicious music that while worked out within the textures of harmony | | and melody, sends mysterious scents out the backyard into the alley | | and teases the palate with an abundance of spicy flavors; implicit | | loyalty to unpredictability and deeds of gutsy passion that keeps any | | negative sensation of self-consciousness out the door. | | | | One gets a rebellious version of Bud Powell's Parisian Thoroughfare, | | which is introduced by a turbulent intro in the root key, segues | | crisply into the theme and is developed with the thunderous blasts of | | Kirk's solo's on, respectively, manzello and tenor saxophone. | | Manzello Kirk is a scudding jaguar. Tenor Kirk is the leader of the | | buffalo tribe, deceptively light on his feet and howling with | | fatherly authority. On both instruments, Kirk's sense of | | old-fashioned swing is palpable and his timing is angular and agile | | throughout his long story, which ends with a roar on simultaneously | | played horns. | | | | Byard throws himself into battle with hammering bass notes, shrewd | | combinations of distorted chords, endless staccato bop motives and a | | climax of tart Earl Hines-ish embellishments. His rubato interaction | | with Alan Dawson's snare rolls is one of the examples of the | | quartet's sublime and lively interaction. As is the high energy of | | bassist Richard Davis. Davis has his share of storytelling, mixing | | strong arco bass with mischievous dissonance and bended notes on | | multiple strings. This is jazz that rivals the archetypical rock | | bands of the late 60's. Mind you, on acoustic instruments! | | | | It makes sense that Byard included a composition of Monk, himself a | | master of dedication. Evidence is the session's second example of | | controlled mayhem. Perhaps the curious balancing act of Kirk, a | | rollercoaster ride of phrases that are wrenched from his gut and | | purposefully evade the changes, may be hard to digest. Regardless, it | | is a rare feat. Kirk apparently only takes a breath twice. Cat with | | the lungs of a whale. | | | | One gets the hefty boogaloo treatment of the traditional Shine On Me, | | romantic and sardonic piano-bass duet of Hazy Eve, twisted Fats | | Waller homage of Memories Of You. Coasting is absent in Byard's case. | | He's the guy that wears haute couture on top and shorts beneath, | | strollin' on the snow-bound path. Kirk's the man on the barstool whom | | everyone tells his stories too. And he'll remark: "Never end your | | sentences on a vowel." They are the proud underdog. One wonders if | | Byard's recorded vocal that precedes the opening of Parisian | | Thoroughfare and the record - "Say it loud, I'm black and I'm | | proud" - is pride or pastiche. | | | | Definitely the things they're saying so loud are of the utmost | | excitement and authority. | | | | Recorded on September 17, 1968 at Rudy van Gelder Studio, Englewood | | Cliffs, New Jersey, USA. | | | | | | YOU KNOW YOU HAVE TO BUY THIS SHIT IF YOU LIKE IT RIGHT?! | | | | | | . . | | |\/\/| | | |____| | |------------------------------=---=-======-=---=-------------------------| |===/\===============================SOUNDz==========================/\===| '--/__\--------------------------=-2013-2021-=----------------------/__\--'