This 1965 release was saxophonist Marion Brown's debut recording as a leader. There are three tracks here, two of which go on for some time. As was the case with most of ESP's releases from the period, this is a free jazz blowing date. There are two bassists on the program, Ronnie Boykins and Reggie Johnson, along with John Coltrane's future drummer Rashied Ali, and Brown playing with either trumpeter Alan Shorter or saxophonist Bennie Maupin.
The second ESP issue from the Paul Bley Trio is a contrast as dramatic as rain against sunshine. The earlier album, Barrage, recorded in October of 1964, was full of harsh, diffident extrapolations of sound and fury, perhaps because of its sidemen; Marshall Allen and Dewey Johnson on saxophone and trumpet, respectively, were on loan from Sun Ra and joined Eddie Gomez and Milford Graves. Indeed, the music there felt like one long struggle to survive. On this date, recorded over a year later and released in 1966, Bley's sidemen are two more like-minded experimentalists, drummer Barry Altschul and bassist Steve Swallow.
Producer/guitarist Tony Lowe and drummer Mark Brzezicki are at the forefront of ‘Invisible Din’, an album project that is a unique Symphonic, Progressive Rock experience, and a collaboration with musicians from King Crimson, Van der Graaf Generator, Big Country, Procol Harum, GTR, Lifesigns, and Landmarq, amongst others.
Released in November 2016, ‘Invisible Din’ can be compared to Genesis, King Crimson, Yes, Roger Waters, Alan Parson’s Project and Brand X. It is written and produced by Tony Lowe who recently co-produced the ‘Starless Starlight‘ album by David Cross & Robert Fripp and the amazing ‘Cold Reading‘ 2014 album by Bram Stoker, which became one of that year’s best selling Prog titles at CDS Towers…
Founded in 1978 by Trombonist/Vocalist Joseph Bowie (brother of Association for the Advancement of Creative Musicians and Art Ensemble of Chicago co-founder/trumpeter Lester Bowie), Defunkt has existed as somewhat of an anomaly, a Black band that initially gained notoriety while being active in New York’s No Wave Punk scene. Musical circles alongside noisy Punk legends like James Chance and The Contortions, DNA and Teenage Jesus & The Jerks while remaining steeped in the deep reservoirs of Jazz, Funk and the Avant Garde.
ESP marks the beginning of a revitalization for Miles Davis, as his second classic quintet – saxophonist Wayne Shorter, pianist Herbie Hancock, bassist Ron Carter, and drummer Tony Williams – gels, establishing what would become their signature adventurous hard bop. Miles had been moving toward this direction in the two years preceding the release of ESP and he had recorded with everyone outside of Shorter prior to this record, but his addition galvanizes the group, pushing them toward music that was recognizably bop but as adventurous as jazz's avant-garde.
According to the liner notes of this new edition, Steve Lacy walked into the ESP-Disk offices in New York in 1966 and offered to sell Bernard Stollman a tape of a concert he had recorded with his quartet during a concert in Argentina (where they had been stranded). That band was truly an international one: Lacy and Italian trumpeter Enrico Rava made up the front line, and the rhythm section included South African expats Johnny Dyani on bass and drummer Louis Moholo – who had both been members of the Blue Notes and the Brotherhood of Breath with Chris McGregor. Engineer Ken Robertson brought the tape back to Stollman in 1992, claiming the entire album had been recorded out of phase. This makes sense given the lags on the original. The remastered and reissued CD version issued in 2008 claims to have fixed that problem.
« Je chanterai maintenant la beauté de ce monde qui est notre tout fragile, passager, fluctuant et qui est notre seul trésor pour nous autres, pauvres hommes, aveuglés par l'orgueil, condamnés à l'éphémère, emportés dans le temps et dans ce présent éternel qui finira bien, un jour ou l'autre, par s'écrouler à jamais dans le néant de Dieu et dans sa gloire cachée. » …