"Those who cannot remember the past are condemned to repeat it."
George Santayana (1863-1952)
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▓▓▀▄▄█▀▀▀ ▄▄███▓▓▓▒▒▒░░░░ ░░░░ ░░░ ░░▒ ▒▒▓█▓▓▓███▓▓▄▄▓▄███▀▀▀▀██
▓██▀ ░▀▄ ▄▄████▀▀▐▒▓▓▒▒▒▒░░░░ ░░░░ WASHED ░ ░░░▒▒▓▓██▓███████▀▀░ █
██▀▀▓▄▄▄▓████▀ ▄ ░█▓▓▒▒▒▒▒░░░░ ░░░░ UP ░░ ▒▒▒▒▓▓██▓█████▓░░ ░░ ▐
█ ▒ ▐████▌ ▐▓▐▒▓▓▒▓░▒▒▒░░░░ ░░░ SCENESTERS ░░ ▒▒▓▓▓▓██▓██████▄▒▄ ▄█
▓ ░ █████▄▄▓▓▐▒▓▓▓▓▌░▒▒▒▒░░░░░ ░░░ MMViii ░░░▒▒▓▓▓██▓▓██████▓▒▒▀▀█▓▓
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█▒▓█▌ ░░▒▒▓▓▓ ░▒▐▓▒▒█ ░░▀▓███▓▓▓▀▀ ███ ▄▀▀▄▄▄█████▀ ░░▒▒▓█▓▓████▄░ ░ █
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▓▒▒▒▒▓▓▓▓▓▓▓▓▓░:░ Release notes ░▒▓▓▓▓▓▒▒░░░░░░░░░░ ░░░░░░░░░░░░░░░░░░▓▒░
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▒▒ ▀ ▄ ■ ▀ ▒▒
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▒░ Arthur Blythe - Lenox Avenue Breakdown ░░
░░ ░░
░░ Artist ....: Arthur Blythe ░░
░░ Album .....: Lenox Avenue Breakdown ░░
░░ Genre .....: Jazz ░░
░░ Label .....: Koch Jazz ░░
░░ Catalog # .: 7871 ░░
░░ Language ..: English ░░
░░ ░░
░░ Source ....: CDDA ░░
░░ Size ......: 56,5 MB ░░
░░ ░░
░░ Rel. date .: Feb-03-2008 ░░
░░ Str. date .: Oct-20-1998 ░░
░░ ░░
░░ http://www.cduniverse.com/productinfo.asp?pid=1285378 ░░
░░ ░░
░░ ----------------------------------------------------------------------- ░░
░░ ░░
░░ For a time in the late '70s and early '80s, it seemed as if jazz's ░░
░░ avant-garde was on the verge of a popular breakthrough in the person ░░
░░ and music of Arthur Blythe. Blythe was signed by Columbia Records; the ░░
░░ label's hype-heavy promotion of the saxophonist almost made him a star. ░░
░░ It didn't work; Blythe was too "out" for the masses. Columbia realized ░░
░░ that it had made a mistake by expecting too much of the public, and ░░
░░ threw its promotional weight behind a more malleable, less threatening ░░
░░ young prince by the name of Wynton Marsalis. And the rest is history. ░░
░░ ░░
░░ Arthur Blythe grew up in San Diego. He began playing music in school ░░
░░ bands at the age of nine. In his teens he studied with a former member ░░
░░ of Jimmie Lunceford's sax section, Kirtland Bradford. After moving to ░░
░░ Los Angeles in 1960, he began playing with pianist/bandleader Horace ░░
░░ Tapscott. In 1961, the two became founding members of the Union of ░░
░░ God's Musicians and Artist's Ascension. Blythe recorded under ░░
░░ Tapscott's leadership in 1969 and worked regularly with the pianist ░░
░░ until 1974. ░░
░░ ░░
░░ After moving to New York, Blythe worked and recorded as a sideman with ░░
░░ Chico Hamilton (1974-77) and Gil Evans (1976-80). Blythe first recorded ░░
░░ as a leader in 1977. He was no young lion -- Blythe was 37 years old ░░
░░ when his first records, The Grip and Metamorphosis, were released on ░░
░░ the independent India Navigation label. By then, Blythe was a fully ░░
░░ developed, mature artist, a free-influenced player who was also capable ░░
░░ of playing older styles in an utterly personal and borderline ░░
░░ iconoclastic way. When Blythe played a standard, he imbued it with all ░░
░░ that had happened in jazz since it was written, up to and including the ░░
░░ free techniques that were integral to his concept; one can hear traces ░░
░░ of his predecessors, but as an affectionate remembrance, not an ░░
░░ affectation. Blythe's style varied mostly in the form of his contexts. ░░
░░ His earliest recordings feature unusual instrumentations; 1977's Bush ░░
░░ Baby featured the saxophonist in a transmogrified version of the ░░
░░ sax-bass-drums trio, with Bob Stewart on tuba and Muhamed Abdullah on ░░
░░ conga. During his Columbia days, Blythe maintained two ░░
░░ separate-but-equal performing units. One was the so-called "electric ░░
░░ band," a free-funk-oriented quintet with Stewart, cellist Abdul Wadud, ░░
░░ drummer Bobby Battle, and, at various times, electric guitarists James ░░
░░ "Blood" Ulmer and Kelvyn Bell. The other was an acoustic jazz quartet ░░
░░ that took its name from its first Columbia release -- 1979's In The ░░
░░ Tradition. The band included bassist Fred Hopkins, drummer Steve ░░
░░ McCall, and pianist Stanley Cowell. That album gained Blythe a great ░░
░░ deal of critical and popular attention. In retrospect, In the Tradition ░░
░░ can be seen as a forerunner to the hard bop revival that dominated ░░
░░ major-label jazz in the '80s and into the late '90s -- a development ░░
░░ that ultimately consigned progressive jazzers like Blythe to the ░░
░░ margins. Blythe made several records for Columbia of varying quality -- ░░
░░ Lennox Avenue Breakdown and Illusions were very strong; others were ░░
░░ not. By 1984's Put Sunshine In It -- a disturbingly inane (and perhaps ░░
░░ last-ditch) effort at grabbing a portion of the expanding jazz fusion ░░
░░ market -- Blythe's welcome at Columbia had just about worn out. He did ░░
░░ rebound a bit with 1987's Basic Blythe, an In the Tradition -type album ░░
░░ that was unnecessarily cluttered by a string section. The record was ░░
░░ his last for Columbia. ░░
░░ ░░
░░ Blythe recorded less frequently in the late '80s and '90s. He and David ░░
░░ Murray comprised a state-of-the-art sax section on one of the most ░░
░░ highly praised albums of the '80s, Jack DeJohnette's Special Edition. ░░
░░ Blythe also joined Lester Bowie, Chico Freeman, Don Moye, Kirk ░░
░░ Lightsey, and Cecil McBee in a band rather presumptuously called the ░░
░░ Leaders, which recorded a pair of well-received albums for Black Hawk ░░
░░ and Black Saint. Blythe briefly replaced Julius Hemphill in the World ░░
░░ Saxophone Quartet in 1990. He recorded for Enja in the '90s -- '91's ░░
░░ Hipmotism featured a revamped version of his "electric" group; '93's ░░
░░ Retroflection was an acoustic effort. In 2002, Blythe enlisted marimba ░░
░░ player William Tsillis, tuba player Bob Stewart, and drummer Cecil ░░
░░ Brooks III, releasing Focus on Savant. ░░
░░ ░░
░░ Blythe possesses one of the most easily recognizable alto sax sounds in ░░
░░ jazz -- big and round, with a fast, wide vibrato and an aggressive, ░░
░░ precise manner of phrasing. His lines are frequently quite baroque and ░░
░░ always well-defined; Blythe's playing has been criticized (unfairly, ░░
░░ some would say) as being overly ornamental, but he is certainly capable ░░
░░ of improvising melodies of great character and originality. ░░
░░ ░░
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░░ THIS IS *NOT* A SUBSTITUTE OF THE ORIGINAL. ░░░
░░ --------------------------------------------------------------------- ░░░
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░░ NB TRACKNAMES: LENGHT: ░░░
░░ ░░░
░░ 01. Down San Diego Way 07:47 ░░░
░░ 02. Lenox Avenue Breakdown 13:28 ░░░
░░ 03. Slidin' Through 09:38 ░░░
░░ 04. Odessa 09:32 ░░░
░░ 40:25 min ░░░
░░ --------------------------------------------------------------------- ░░░
░░ TO THE INVOLVED ARTIST(S), CONSIDER THIS AS A FREE WORLDWIDE ░░░
░░ PROMOTION CAMPAIGN. TO THE END USER, SUPPORT THE ARTIST(S) OR DEL! ░░░
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██████▀▀▀▀ ▀ ▀ ▒ ░▒▒░ ▓▓▒▒░ ▓█▓▒ ▀▀▀▀▀▀▀▓███████▓▓▓▒▒░░
▓██▀ "Oi" to: ░▒▒░ ░ ▓▓▒▒░░ ▀▓▓▒▒▒░░░ ▀▀▓██▓▒▒░░
▓█▌ ░▒▒░░ ▀▓▓▓▒▒▒░░ ▀▀▓▓▓▓▒▒▒▒░░ ░▓█▓▒░
▒█░▒▓▓▓▒▒▒▒▒▒▒▒▒▒░░░░░░░░░░░ ░░░ ░ ░░▒▒░░ ▀▀▓▓▓▒▒▒▒▒▒▒▒▒▒▒▓▓▓▓▓▄░░░▓▓░░
▒█ ░░▒▒▒░░░░░▀▀▀▀▀▀▀▀▀▀▓▓▓▄▄▀▀▓▓▄▓▓░░
▒▓ ░ ▀▀▓▓▄░▀▓▓░░
░▓ ▀▓▓░░▓░░
░▓ █▓░▓░░
░▒ 4 HORSEMEN, █▓▓░░
░▒ 801, █▓░░
░▒ ADDiCTED TO MUSiC, APOCALYPSE PRODUCTiON CREW, AUDiO ARCHiVE FORCE, ▓░░
░░ BEAT MASTERS iNTERNATiONAL, BEATS iN CONTROL, ▒░░
░░ CHROMANCE, CiTADEL CREW MP3 DiViSiON, COMPRESS DA AUDIO, CRiSiS, ▒░░
░░ CSWCN, ░░░
░░ DA OLDSCHOOL CREW, DEAFNESS, DECiBEL, DiGiTAL SOUND PROPHETS, ░░
░░ DiSSiDENT, ░░
░░ EViGHET, ░░
░░ FRENCH SOUND PROViDER, ░░
░░ iMAGiNE, iMPULZ, iNDECENT XPOSURE, iNTERNET MUSiC PiRATE GUiLT, ░░
░░ JAZ, ░░
░░ KiLOHERTZ, ░░
░░ LOGOS, ░░
░░ MUSiC AND DECiBELS, MUSiC TO MASSES, ░░
░░ NEW WORLD ORDER MP3, NORDiC MUSiC ENSEMBLE, ░░
░░ NUTRiCiOUS HEARiNG SUPPLiES, ░░
░░ OTAKU, ░░
░░ PROViDERS OF SOUND, PSiLOCiBiN, ░░
░░ RABiD NEUROSiS, radial, RARE MUSiC FiNDER, REVOLUTiON, ░░
░░ ROCKERS' BREWiNG CORP, ROTATiON, RUDE BWOY KUTZ, ░░
░░ SCHOOL OF THE OLD, STRONGER THAN ALL, SYNTHESiS MEDiA, ░░
░░ THE FLAME ARROWS MP3, TOUCHDOWN, TWEE, ░░
░░ WALL OF SOUND, WE LOVE WAREZ MP3, ░░
░░ ░░
░░ FAITHMUSE, MCKENNA, MORGOTH, MISTAHWAX, SDL & ░░
░░ ░░
░░ *ALL* of our friends and family. ░░
░░ ░░
░░ ░░
░░ ░░
░░ ▄▄█▓▀ ▄▄ - If you don't like our release(s): ░░
░░ ▄▄▓███▓▓▓░░███▓▓▓▄▄▄ FUCKING ENCODE IT YOURSELF! ░░
░░ ▄▓████▀░░▒▒▒▒▒▓▓▒▒▒▒▒▒▓█▄▄ ░░
░ ▄▀▀▄░░░▒▒▒▓▓▓▓▓▓▓▓▓▓▓▓▒▒▓▓██▄ - We shit on ALL scene-idiots: ░░
░ ▄░░▒▒▓▓▓▓█▀▀▀▀▀▓▓██▀▓▓▓▓▓▒▒▓█ h8ers, nukers, just to name a few... ░░
░ █▓▓▓▀██▓▀▀▀▄▓▒░░▄██▌░░ ▓▀▓▓▓▓█ ░░
█▓▓▀▄▓█▓▓░░░░█████▓█▓▄▄▄█▓ ▀▓▀▓▓ - We only believe NOW is good music. ░░
█▀ █▓▀▓███▄▄▄███▓▓▓█████▓█▀▄▐▌ █ ░░
█ ▐█████▀ ████▓▓█▌▀██▓▓ ▐▓ ░░
░ ███▀ ▐████▓█▓ ▐▓▀ ▀ Furthermore, we want to affil 1+Gb/s- ░░
░░ ▓ ███▓███▓ ▀ 3+Tbs sites with 0sec attitude that manage ░░
░░ ▐███▓▓██▌ to remain up for <12 months! PLZ AFFIL US!!! ░░
░░ ██▓▓▓▓█▌ ░░
░ ▓█▓▒▒▓█ Lastly, to those who think they are in charge: ░░
░░ ██▒▒▒▓█▌ PLZ give us some RiAA2k8 encoding standards, as we ░░
░░ ▐█▌░▒▒▓██ rightfully need a _6th_ rule change ever! ░░
░░ ▐█▌░░▒▓█▌ ░░
░░░ ██▒░▒▓█▌ ▓ ▄■ PLZZZZZZZZZZZZZ!!!!!!! ░░
░▒░ ▐█▌▓▀▓█▌ ▓▄▓ · As usual, iCQ US. ░░
░▒▒ ░██▌▒▒▓█▓▌▓▒█▀·▄■▄ ▄ ▓▓▄▄▄ ░░
░▒▒▌ ▒▒██▒▒▓▓░█▓▒▒▒▀▒▒▄▄ ▄ ██▓▓███▄▄▄▄▄ WUZZiES' iNK░░
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THIS IS NOT PIRACY.