Bitrate: MP3@320K/s
Time: 50:53
Size: 116.5 MB
Styles: Bop, Big band
Year: 1982/2010
Art: Front
[10:50] 1. Living Time, Event V
[ 9:25] 2. Big City Blues
[ 4:36] 3. Listen To The Silence, Pt. 1
[10:31] 4. Cubano Be, Cubano Bop
[ 6:02] 5. Mystic Voices
[ 5:28] 6. God Bless The Child
[ 3:59] 7. Listen To The Silence, Pt. 2
Alto Saxophone – Arne Domnérus, Ian Uling, Marty Ehrlich; Baritone Saxophone – Erik Nilsson; Baritone Saxophone, Bass Clarinet – Carl Atkins; Bass – Cameron Brown, Lars-Urban Helje; Bass Trombone – Dave Taylor, Sven Larsson; Congas – Babafumi Akunyon (tracks: 1 to 3, 5 to 7)Congas, Vocals – Sabu Martinez; Drums – Lars Beijbon, Warren Smith; Electric Piano, Organ – Ricky Martinez; French Horn – John Clark; Guitar – Mark Slifstein, Rune Gustafsson; Piano [Acoustic] – Goetz Tangerding; Piano [Acoustic], Electric Piano – Vlodek Gulgowski; Tenor Saxophone – Bernt Rosengren, Lennart Åberg, Ricky Ford, Roger Rosenberg; Trombone – Bengt Edvarsson, Gary Valente, Jörgen Johansson, Lars Olofsson; Trumpet – Americo Bellotto, Bertil Lövgren (tracks: 4), Håken Nyquist, Jan Allan, Stanton Davis. Recorded August 16, 1978, New York, except track 4, recorded live in Estrad, Sodertalje, Sweden, March 10, 1977.
George Allen Russell (1923 - ), American jazz pianist, composer and theorist, is considered one of the first jazz musicians to contribute to general music theory with a theory of harmony based on Jazz rather than European music, in his 1953 book, The Lydian Chromatic Concept of Tonal Organization which paved the way for the modal revolutions of Miles Davis and John Coltrane. Russell's stylistic reach in his own compositions eventually became omnivorous, embracing bop, gospel, blues, rock, funk, contemporary classical elements, electronic music and African rhythms in his recent, ambitious extended works most apparent in his large-scale 1983 suite for an enlarged big band, The African Game. Like his colleague Gil Evans, Russell never stopped growing, but his work is not nearly as well-known that that of Evans, being more difficult to grasp and, in any case, not as well-documented by U.S. record labels. We try to remedy this here with this magnificent 1978 session when Russell led a 19-piece big band at New York's Village Vanguard for six weeks, in a tremendously diverse performance displaying the many facets of his art including his first famous composition, the two-part "Cubano Be, Cubano Bop" written in 1947 for the Dizzy Gillespie Orchestra that served as a solid vehicle of that band's pioneering experiments in fusing bebop and Cuban jazz elements, enjoy.
George Allen Russell (1923 - ), American jazz pianist, composer and theorist, is considered one of the first jazz musicians to contribute to general music theory with a theory of harmony based on Jazz rather than European music, in his 1953 book, The Lydian Chromatic Concept of Tonal Organization which paved the way for the modal revolutions of Miles Davis and John Coltrane. Russell's stylistic reach in his own compositions eventually became omnivorous, embracing bop, gospel, blues, rock, funk, contemporary classical elements, electronic music and African rhythms in his recent, ambitious extended works most apparent in his large-scale 1983 suite for an enlarged big band, The African Game. Like his colleague Gil Evans, Russell never stopped growing, but his work is not nearly as well-known that that of Evans, being more difficult to grasp and, in any case, not as well-documented by U.S. record labels. We try to remedy this here with this magnificent 1978 session when Russell led a 19-piece big band at New York's Village Vanguard for six weeks, in a tremendously diverse performance displaying the many facets of his art including his first famous composition, the two-part "Cubano Be, Cubano Bop" written in 1947 for the Dizzy Gillespie Orchestra that served as a solid vehicle of that band's pioneering experiments in fusing bebop and Cuban jazz elements, enjoy.
New York Big Band
