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I asked Marshall Allen to take a quick portrait and he gladly nodded. After my 50mm lens, a mirror and a digital sensor froze that moment and his expression, as I showed him the resulting image on my camera screen, Mr Allen (85 at the time) asserted "oh yeah, that's me!".
2005
Otomo Yoshihide`s New Jazz Orchestra (ONJO)
Otomo Yoshihide’s passion for jazz is well known, and has fuelled two of his most highly acclaimed working units since 1999. The ONJQ evolved into the ONJO around 2004, after the departure of saxophonist Kikuchi Naruyoshi and the arrival of Kahimi Karie, Alfred Harth, Sachiko M and Kumiko Takara. Aside from serving as a showcase for Yoshihide’s unique compositional skills, ONJQ/ONJO have celebrated artists as diverse as Charles Mingus, Eric Dolphy, Jim O’Rourke, James Blood Ulmer and even the Beatles, reinventing their compositions as an utterly convincing mesh of EAI and furious free jazz. Familiar themes expand inexorably into free-for-all improvisation, at times homing in on scattered, near-silent small sounds while on other occasions (such as their version of O’Rourke’s “Eureka”) reaching for Last Exit-style devastation. It’s a peculiar sonic morphology that generates hours of ear-cleansing, high-octane material.
ONJO – the album – is the more “intellectual” of the two Orchestra outings. “Eureka” is sung in Jane Birkin-like French by Kahimi Karie, who whispers and sighs until Otomo’s gentle chordal accompaniment gives way to hundreds of contrasting lines in an explosion of intertwining counterpoint. “Theme from Canary” starts with ruined vinyl and continues with a melodic motif worthy of Gil Evans. Charles Mingus’s “Orange Was the Colour of Her Dress, Then Blue Silk” (already recorded by ONJQ on Tails Out) walks along the cliff-top of pulverized freedom, and Ornette Coleman’s “Broken Shadows” rises out of a boiling lava of false starts and snippets. By contrast, the closing “A-Shi-Ta”, with Hamada Mariko vocalising over a slow percussive pattern, could almost be incidental music to a theatre piece, its evocative depth and intensity perfectly counterbalancing the preceding tracks.
2006, Massimo Ricci
www.doubtmusic.com/dmf-102_e.html
David visiting from the States.
The Microtonal Freedom Band, circa 1973. I was the lone American in the group. I met the fellow musicians at Oxford Students Arts Council. I can't remember why I was there, but when I heard some free jazz, I took bold to sit at the grand piano and play. After 45 minutes of jamming, Robin MacCleary called me "a young McCoy Tyner," a high compliment indeed (but not deserved). Nevertheless, we staged several gigs in Oxford and did shows in Reading, Nottingham, and Birmingham.
Helvetica®
Homage To A Typeface
Lars Müller Publishers (2008)
Keith Jarrett
The Köln Concert
ECM Record (1975)
For GMA's Sound of Helvetica group.
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Anthony "Chick" Corea è un pianista e tastierista statunitense, noto soprattutto per le sue produzioni jazz e jazz fusion negli anni ’70 e sideman di Miles Davis in dischi importanti quali In a Silent Way e Bitches Brew.
Nel 2012 Chick Corea è arrivato alla strabiliante cifra di diciannove Grammy vinti in tutta la sua carriera. Dall’avanguardia al bebop, dalle canzoni per bambini allo straight ahead, dalla fusion più vigorosa ad esaltanti incursioni nella musica classica, durante la sua illustre carriera Chick ha toccato un numero incredibile di generi musicali, mantenendo uno standard di eccellenza davvero sorprendente.
Chick Corea piano
Tim Garland sax
Hadrien Feraud basso
Marcus Gilmore batteria
Charles Altura chitarra
The Sun Ra Arkestra (led by Marshall Allen) played Cafe Oto last night, as part of a 2-day residency that followed their 5-day residency (extended due to the Icelandic volcanic ashes) in the same East London intimate venue last April.
Out of sheer laziness, I haven't posted the photos I took back then yet. Those include some off-stage portraits of the musicians and I'll make sure to post them in the future. Here is the latest batch of live photos of this amazing and seminal band.