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Kérjen
árajánlatot! |
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| 1. | Propulsion
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| 2. | Three We
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| 3. | Ornothoids
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| 4. | Dichotomy
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| 5. | Man Alone
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| 6. | Spasmodic
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| 7. | Yggdrasill
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| 8. | Divided Man
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| 9. | Primordial Call
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| 10. | The Five Ways
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| 11. | Present Notion
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| 12. | Motion Suspended
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| 13. | Future Plans
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| 14. | Past Mistakes
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| 15. | Time Will Tell
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| 16. | Let's See
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Jazz / Modern Creative, Cool, Progressive Jazz, Avant-Garde Jazz
Jimmy Giuffre - Clarinet, Liner Notes
Aaron Rosenbaum Packaging Manager
Don Hunstein Photography
Fred Plaut Engineer
Hank Parker Photography
Howard Fritzson Reissue Art Director
Mark Wilder Mastering, Remixing
Michael Cuscuna Producer
Paul Bley Piano
Randall Martin Reissue Design, Design
Seth Rothstein Project Director
Steve Swallow Liner Notes, Bass
Teo Macero Producer
Jimmy Giuffre's 1962 recording for Columbia with his trio is one of the most revolutionary recordings to come out of the 1960s. While Coltrane and Coleman and Taylor were trying to tear music down from the inside out to discover what it really counted for, Giuffre was quietly creating his own microtonal revolution that was being overlooked by other avant-gardists in jazz. On Free Fall, Giuffre, pianist Paul Bley, and bassist Steve Swallow embarked on a voyage even farther-reaching than their previous two Verve albums, Fusion and Thesis (both recorded in 1961), in their search of pointillistic harmony, open-toned playing, and the power of the nuanced phrase to open new vistas for solo or group improvisation. The original album is comprised of five clarinet solos, two duets for clarinet and bass, and three trio pieces. The CD reissue adds five more clarinet solos to the bank and makes it a stunning view of Giuffre as a master of the idiom of not only jazz free improvisation but also a fine interpreter of the musical languages being discussed by classical composers Darius Milhaud, Stravinsky, Messiaen, and even Morton Feldman and Earle Brown. All of Giuffre's clarinet studies -- particularly "Man Alone," "Yggdrasill," and "Present Motion" -- are studies in tonal coloration, where phraseology opens onto second and third tonal ideas being layered atop one another to de-emphasize one or the other. Of the group interactions, "Threewe" and "Spasmodic" offer the view of intertwining chromatic pointillism as it shapes itself linguistically between one instrument and the next without concern for a dominant harmony, rhythm, or melody. Indeed, Free Fall was such radical music, no one, literally no one, was ready for it and the group disbanded shortly thereafter on a night when they made only 35 cents apiece for a set. Reissued in 1999, Free Fall predates all of the European microtonal studies and is indeed an inspiration to all who have embraced it. ~ Thom Jurek, All Music Guide
Jimmy Giuffre
Active Decades: '40s, '50s, '60s, '70s, '80s, '90s and '00s
Born: Apr 26, 1921 in Dallas, TX
Died: Apr 24, 2008 in Pittsfield, MA
Genre: Jazz
Styles: Modern Creative, Cool, Early Creative, West Coast Jazz, Folk-Jazz, Progressive Jazz, Avant-Garde Jazz
Jimmy Giuffre has had many accomplishments in a long career that has never been predictable. Giuffre graduated from North Texas State Teachers College (1942), played in an Army band during his period in the service and then had stints with the orchestras of Boyd Raeburn, Jimmy Dorsey and Buddy Rich. His composition "Four Brothers" became a hit for Woody Herman, an orchestra that Giuffre eventually joined in 1949.
Settling on the West Coast, the cool-toned tenor started also playing clarinet and occasional baritone. He was with Howard Rumsey's Lighthouse All-Stars (1951-52) and Shorty Rogers' Giants (1952-56), recording with many top West Coast jazz players. In 1956 he went out on his own, forming the Jimmy Giuffre 3 with guitarist Jim Hall and bassist Ralph Pena (later Jim Atlas). Giuffre had a minor hit with his recording of "The Train and the River," a song that he played during his notable appearance on the 1957 television special The Sound of Jazz. In 1958 Giuffre had a most unusual trio with valve trombonist Bob Brookmeyer and guitarist Hall (no piano, bass or drums!), appearing in the movie Jazz on a Summer's Day. After a couple years of reverting back to the reeds-guitar-bass format, in 1961 the new Jimmy Giuffre 3 featured pianist Paul Bley and bassist Steve Swallow and was involved in exploring the more introspective side of free jazz. From 1963 on Giuffre maintained a lower profile, working as an educator although Don Friedman and Barre Phillips were in his unrecorded 1964-65 group. He popped up on records now and then in the 1970s with diverse trios (including a session with Bley and Bill Connors) and his 1980s unit often utilized the synthesizer of Pete Levin. Giuffre, who started late in life playing flute and soprano and seems to have made a career out of playing surprising music, reunited with Bley and Swallow in 1992. He has recorded as a leader through the years for Capitol, Atlantic, Columbia, Verve, Hat Art, Choice, Improvising Artists, Soul Note and Owl.
---Scott Yanow, All Music Guide |
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