.___________________________________________________________________________.
|========================-==-..:.::. 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-=----------------------/__\--'