Feb 28, · The Four Seasons, an Album by Moe Koffman. Released in on GRT (catalog no. ; Vinyl LP). Genres: Jazz, Classical Crossover/5(1). Moe Koffman, Rock Bach To Me Vinyl Record *USED* £ + £ P&P. Picture Information Genuine Vinyl LP Album. Artist & Title: Moe Koffman - Rock Bach To Me. Catalogue Number: CBS S Overall Grade: but still plays great. Perhaps not as shiny and new looking as a VG+ record. This is our average grade. Jul 19, · We love to share our vinyl discoveries, and Moe Koffman was one of our greatest. He is an impeccable saxophone player that navigates easily between funky and soulful. This song is from the album.
In the 80's he would sign to Duke Street Records producing music that was back in style once again -- be-bop jazz plus 'cover material' by the masters. Moe Koffman was a Canadian jazz musician who played not only the flute but also rocked the sax and clarinet just like our very own Trampy. Having established his reputation as a talented flautist in the late s and s, Moe's Curried Soul saw Koffman move from straight-up jazz into the world of fusion.
The title track is the winner here, funky and jazzy in equal measure. If you can tolerate jazz flute you'll surely find a lot to like -Bridge- - Moe Koffman - Moe Koffman Plays Bach (Vinyl great guitar, nice horn section and presumably to justify the "curried" part of the title just a tickle of sitar The rest of the album has a definite s Sesame Street vibe going on particularly the cover of You Are My Sunshine which jars somewhat as it immediately follows Curried Soul but Koffman's covers of High Heel Sneakers and Cantelope Island are worth a listen.
Indo British Ensemble - - Curried Jazz. Indo British Ensemble Curried Jazz. Inthe imaginative indie record producer, and jazz-lover, Mark Sutton, who owned his own recording studio in Soho, gathered together some of the finest session jazz musicians working in London together with husband and wife, Dev and Sitara Kumar to record a series of what we might today call "fusion". The result was "Curried Jazz".
The producer for the sessions was Ken Barnes and his notes together with a an extract of an interview with noted Sitarist and father of Norah Jones Ravi Shankar and the arranger on this session Victor Graham are included in the notes.
The original release was unleashed on a n unsuspecting jazz world that didn't quite know what to make of it. Indie record producer Mark Sutton brought together a group of fine British session jazz musicians inand with husband and wife instrumentalists Dev and Sitara Kumar came up with this early "fusion" album. By the time I came across it around 6 years later my jazz friends had "moved" on. Kenny Wheeler flugelhorn on this album and Jeff Clyne bass had both joined Nucleus which was among the leading new sounds.
Bill Eyden, the drummer on the two tracks on which they play had been with the Jazz Couriers in the late 50's. He did a spell with Georgie Fame and was a member of Stan Tracey's trio - the "house band" at Ronnie Scott's in the late 60's. Ray Swinfield - a fine Australian flautist who I suspect was just about settling in the U. I recently came across my copy of this LP when updating my catalogue.
It still sounds exotic, rhythmic, a beautifully married blend of musical skills and styles. It will be sometime before it gets tucked away un-played again.
John Mayer - - Radha Krishna. The unashamedly erotic, two-act Radha Krishna is the more ambitious project. While Radha Krishna is the greater work, its jazz content is not as pronounced though it has its Indo-jazz, wailing sax and boogie-woogie moments.
A long-lost treasure. Radha Krishna is a two-act dramatization from with narration and musical storytelling of Krishna's consort Radha and their romance. Vocalists are Austin Miskell, tenor, and Susan Lees, contralto. The excellent album should appeal to jazz, classical, and world music fans who appreciate experimentation. Labels: John MayerUK. John Mayer - - Indo-Jazz-Fusions. In the Calcutta-born violinist and composer John Mayer landed in what would become his adopted homeland.
Dark-skinned, he knew all about colour bars and prejudice. He overcame to establish himself as a sought-after orchestral violinist and composer. Mayer was that important. His tenuous earlier albums from the s were more chamber works blended with jazz, but his album was more fully jazz developed. In this remastered album fromclassical formats were the structures of a cleverly conceived and composed Third Stream fusion, written inthat works exceedingly well.
The musicians include violin Mayer himselfflute, trumpet and flugelhorn, tenor saxophone and clarinet, piano, bass, drums and for Indian spice, sitar, tampura drone, and tabla. The Etudes are of five movements. Introduction and Rondo repeats themes with various instrumental solo improvisation and rhythms. Capriccio allows whimsy built upon beat. Serenade is a romantic Baroque-inspired piece with beautiful violin lyricism.
The tabla soon enters with sitar ornamentation, the middle section is a jazz expansion, and the Indo-jazz fusion continues with tabla and drum solos. Toccata designates an instrumental versus cantata and typically involves fast, light touching, plucking, staccato; the elements weave and come to sharp conclusion.
John Mayer - - Indo-Jazz Interpolation. John Mayer Indo-Jazz Interpolation. A definite mids British feel to the jazz elements is there and the Indian percussion brings a new sense of swing. The album uses the scales of the two forms imaginatively, at times being more one than the other and then combining them almost seamlessly. I don't know of any previous recordings that have done this sort of tonal experimentation so seamlessly and accessibly within the genre. Expertly done. There will always be detractors who maintain that East is East and West is West, but music has always been an evolutionary art, the world is wholly populated with songs that do not stand on their own but are a product of world-wide influences from uncountable circuitous routes.
If we were to preserve purity in our musics then we'd probably wouldn't have much more than Gregorian Chants to listen to. Continuing with the Harriott postings, and moving up tothis was a collaboration of Joe Harriott with the Goa, India - born Amancio d'Silva.
This came after the recordings with John Mayer wherein Harriott would move into "world music", long before that LP was coined and develop his own brand of East-West fusion, using Western as well as Eastern instruments. Here the fusion continues in perhaps a slightly more subtle fashion. D'Silva draws upon the jazz guitar tradition of Django Reinhardt, Charlie Christian and Wes Montgomery, but sneaks in aspects of the Indian vocal tradition on the title track and Norma Winstone's vocals on the opening slide effortlessly from Indian popular song styles to snatches of "My Favourite Things".
On the opening, there are Latin rhythmic inflections, on "Ballad for Goa" shades of Portuguese fado and on the closing track, what to these ears sound like a precursor of the fusion music that was to become immensely popular in the s. This is an exquisite, beautiful record. It's all very tastefully done and it swings like hell in passages. This is Harriott in yet another setting and yet again pointing ahead to what was to come. You will dig it or else John Mayer was one of those multiple-threat music talents that made most other players' lives and career paths seem simple.
Born in India, to Anglo-Indian parents, he studied classical music and had a successful career as an orchestral violinist, but gave it up to work as a composer and, later, in jazz fusion as a composer-violinist-band leader.
From the mid's onward, he made his mark in the fields of jazz, progressive rock, and world music. Along with Dave Arbus of East of Eden, Mayer was LP the most well-liked violinist among rock musicians in London during the late 's, although his career is much more rooted in classical music.
His musical interests manifested themselves early, and at seven he was studying violin with Phillipe Sandre at the Calcutta School of Music, who agreed to teach him in his free time, because Mayer's parents lacked the resources to send him there as a paying pupil. He later studied with Melhi Metha, who encouraged him, while in his late teens, to compete for a scholarship to the Royal Academy of Music in London. By then, Mayer was determined to become a composer who would be taken seriously both in his own country and abroad.
He also wanted to achieve this utilising both European and Indian techniques, and toward this end he studied with Sanathan Mukherjee, who taught him the theoretical aspects of Indian classical music. At the time, he knew and heard little of jazz, although he did start sitting in as a drummer with jazz bands. Mayer won the scholarship, and arrived in London in to study at the Royal Academy. He had won through his violin playing, but he started out studying composition with Matyas Sether, who encouraged him to use the techniques of Indian and western music in serial composition.
His money ran out after only a year, but he was fortunate enough to earn a spot in the violin section of the London Philharmonic Orchestra. Thus began a somewhat awkward eight-year period in which he played in the violin section of the orchestra while continuing to study composition - despite having some of his works played by the orchestra, and conducted by Sir Adrian Boult, he didn't begin to make headway as a composer until Sir Charles Groves commissioned him to write his Dance Suite for sitar, flute, tabla, tambura and symphony orchestra, which was premiered by the Royal Liverpool Philharmonic Orchestra in This early success, however, created problems with the management of the London Philharmonic, Album), which was a conservative organization and didn't appreciate having a composer within the ranks of its performing musicians.
Mayer began a happy seven year relationship with the RPO, in the process learning a huge amount about orchestration as well as conducting from some of the finest players in England. Bywhen he left the RPO's violin section, he was able to finally earn his living from his compositions and to quit full time orchestral playing.
Additionally, by that time, fate had taken a hand in his career--Mayer was known in avant-garde London circles for his work mixing western and Hindustani classical music, and in EMI producer Dennis Preston asked him if he had available a short jazz-based piece with which to complete an album Preston was working on.
Mayer told him he did, even though he had nothing ready - Preston said he wanted to record it the next day, and Mayer stayed up all night writing the piece. He attended the recording the following day, and thought no more about it until six months later when Preston told him that he'd played the piece to Atlantic Records founder and president Ahmet Ertegun in New York, who'd liked what he'd heard and suggested that Mayer write music for an album which would fuse Indian music and jazz.
Ertegun's idea was to combine the quintet of Indian musicians with which Mayer worked, featuring a sitar, tabla, tambura, flute, with Mayer on violin and harpsichord, with a jazz quintet led by Joe Harriott, himself an under-appreciated alto-player who had shown an appreciation of various aspects of world music. Mayer wrote the music in a month, and it was recorded by this group, known as the Joe Harriott and John Mayer Double Quintet, in two days.
The resulting album, Indo-Jazz Fusions, was released in and became an immediate favorite in avant-garde circles and an unexpectedly good seller. They cut a second album that did as well as the first, and played in England and throughout Europe for the next seven years, until Harriott's death in Mayer devoted much of his time in the years after Harriott's death to composition and academic pursuits, and was rewarded with professorships and composer-in-residence positions at the Birmingham Conservatory.
He revived Indo-Jazz Fusions inand resumed performing and recording with them most recently on the Nimbus labelas well as composing new works with the same Indian-Jazz fusion idiom that he pioneered 40 years earlier. In March ofMayer was hit by a car and fatally injured. He LP Not even relegated to the shadowy status of cult figure, Jamaican-born alto saxophonist Joe Harriott remains virtually unknown today. Artists of the highest order, they were able to fully evoke the mystery of the East within a solid jazz context, a feat few contemporary jazz and world musicians have matched.
Released inIndo-Jazz Fusions boldly meshed elements of Western and Indian classical music with modal and free-jazz to create a vibrant and organic new sound. Mayer nimbly conducts both halves of the Double Quintet as they riff on traditional Indian scales ragas and lay down intricate rhythmic patterns talas.
One of the most fully realized and natural sounding mergers of different musical idioms, Indo-Jazz Fusions broke new ground with its modal free-jazz stylings and heavy use of indigenous instrumentation and players. Classic creators of an authentic Indian-jazz, the Joe Harriott-John Mayer Double Quintet deserves at least as much attention as its more commercially savvy successors in jazz and world music have enjoyed.
Joe Harriott's music goes virtually unheard today, yet the alto saxophonist exerted a powerful influence on early free jazz in England. The Jamaican-born and raised Harriott played with his countrymen, trumpeter Dizzy Reece and tenor saxophonist Wilton "Bogey" Gaynair, before emigrating to England in In London, Harriott worked freelance and in the band of trumpeter Pete Pitterson.
Inhe landed an important gig with drummer Tony Kinsey; the next year he played in saxophonist Ronnie Scott's big band. His first album as a leader was 's Southern Horizon. Originally a bop-oriented player, Harriott gradually grew away from the conventions of that style. During a hospital stay, Harriott envisaged a new method of improvisation that, to an extent, paralleled the innovations of Ornette Coleman.
Harriott was initially branded a mere imitator of Coleman, but close listening to both men reveals distinct differences in their respective styles. Harriott manifested a more explicit philosophical connection with bebop, for one thing, and his music was more concerned with ensemble interaction than was Coleman's early work. Beginning inhe began fusing jazz with various types of world folk musics.
He collaborated with Indian musician John Mayer on a record -- 's Indo-Jazz Suite -- that utilized modal and free jazz procedures.
The album's traditional jazz quintet instrumentation was augmented by a violin, sitar, tambura, and tabla. Harriott's recorded output was scarce and virtually none of it remains in print.
In England in the s, Harriott was something of a vanguard wonder on the order of Ornette Coleman. And while the comparisons flew fast and furious and Harriott was denigrated as a result, the two men couldn't have been more different. For one thing, Harriott was never afraid to swing. This work, written and directed by Mayer, offered the closest ever collaboration and uniting of musics East and West.
Based almost entirely in the five-note raga -- or tonic scale that Indian classical music emanates from -- and Western modalism, the four ragas that make up the suite are a wonder of tonal invention and modal complexity, and a rapprochement to Western harmony. Of the four pieces, the "Overture" and "Contrasts" are rooted in blues and swing, though they move from one set of ascending and descending notes to the other, always ending on the tonic, and involve more than the five, six, or seven notes of Indian classical music, while the latter two -- "Raga Megha" and "Raga Gaud-Saranga" -- are out to lunch in the Western musical sensibility and throw all notions of Western harmony out the window.
The droning place of the tamboura and the improvising sitar and alto shift the scalar notions around until they reflect one another in interval and mode, creating a rich, mysterious tapestry of sonic inquiry that all but folds the two musics into one another for good.
Here the listener gets the opportunity to hear Harriott, Keane and Smythe playing perfect solos, showing their respective talents. The overall performance is simply perfect in every possible meaning of the word, clearly showing that by that time European musicians could play Jazz as well as their American contemporaries, if not better.
It really doesn't deserve Pat Smythe's elegantly poised solo. Skip to main content. Filter 2. All Auction Buy it now.
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In the s, assisted by the producer-arranger Doug Riley, Koffman initiated and made several popular LPs of arrangements of music by Bach, Berlioz, Debussy, Gluck, Grieg, Mozart, and Vivaldi. Two of the albums, Moe Koffman Plays Bach and Vivaldi's Four Seasons, reached gold record status in Canada, Canadian studio located in Toronto, Ontario, opened in November Also known as Toronto Sound and Toronto Sound Studios Ltd. It was Canada's first sixteen-track recording facility and was designed, owned and operated by studio manager/chief engineer Terry Brown. Doug Riley was a part owner. Rock Bach to Me / Moe Koffman. £ £ postage. Stravinsky The Rite Of Spring / Bernstein / LSO QUAD. £ Andre Kostelanetz Orchestra-Gershwin Wonderland Vinyl LP CBS BPG £ CBS WHITE LABEL John Williams Plays Patrick Gowers Rhapsody & Concerto. £ Was: Previous price £ BERLIOZ (LP.
An early effort from saxman Moe Koffman – a much straighter jazz record than some of his later funk, flute, and cosmic groove experiments – and a nice one at that! The album features Koffman mostly on tenor, leading a septet of Canadian players in a set of tightly arranged titles that read more LP, Vinyl record album.
favorite this post Jun 20 MOE KOFFMAN Plays Bach Vinyl Lp $10 (Bloor West Village) hide this posting restore restore this posting. $ favorite this post Jun 20 David Bowie Photos $15 (Bloor West Village) pic hide this posting restore restore this posting. $ Mar 06, · Moe Koffman The Swinging Shepherd Plays For Teens (Ascot) AS Tales Of Koffman (United Artists) JS The Moe Koffman Quartet (CTL) Moe Koffman Goes Electric (Jubilee) JGS Turned On Moe Koffman (Jubilee) JGS Moe's Curried Soul (Kama Sutra) KSBS Moe Koffman Plays Bach (GRT)
Moe Koffman, Rock Bach To Me Vinyl Record *USED* £ + £ P&P. Picture Information Genuine Vinyl LP Album. Artist & Title: Moe Koffman - Rock Bach To Me. Catalogue Number: CBS S Overall Grade: but still plays great. Perhaps not as shiny and new looking as a VG+ record. This is our average grade.
lp: koffman, moe: the four seasons ( original-double album! gatefold sleeve! canadian issue) grt $ lp: konitz, lee: abstractions ( uk original! sessions-previously released as "lee konitz with warne marsh") atlantic special/polydor $ lp: konitz, lee: alto summit ( original-with pony poindexter. An early effort from saxman Moe Koffman – a much straighter jazz record than some of his later funk, flute, and cosmic groove experiments – and a nice one at that! The album features Koffman mostly on tenor, leading a septet of Canadian players in a set of tightly arranged titles that read more LP, Vinyl record album.
In the s, assisted by the producer-arranger Doug Riley, Koffman initiated and made several popular LPs of arrangements of music by Bach, Berlioz, Debussy, Gluck, Grieg, Mozart, and Vivaldi. Two of the albums, Moe Koffman Plays Bach and Vivaldi's Four Seasons, reached gold record status in Canada,
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