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In The Tradition / Lenox Avenue Breakdown / Illusions / Blythe Spirit

チコ・フリーマン形式: CD

4.9 31個の評価

￥2,893 税込

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曲目リスト

ディスク： 1

1	Jitterbug Waltz
2	In a Sentimental Mood
3	Break Tune
4	Caravan
5	Hip Dripper
6	Naima
7	Down San Diego Way
8	Lenox Avenue Breakdown
9	Slidin' Through
10	Odessa
11	Bush Baby

ディスク： 2

1	Miss Nancy
2	Illusions
3	My Son Ra
4	Carespin' with Mamie
5	As of Yet
6	Contemplation
7	Faceless Woman
8	Reverence
9	Strike Up the Band
10	Misty
11	Spirits in the Field
12	Just a Closer Walk with Thee

商品の説明

Digitally remastered two CD set containing a quartet of albums from Jazz alto saxophonist Arthur Blythe: In The Tradition (1978), Lenox Avenue Breakdown (1979), Illusions (1980) and Blythe Spirit (1981). Blythe had previously been a sides man for Gil Evans, McCoy Tyner and Lester Bowie amongst other. Blythe has had a long and successful recording career, though in later years he has been plagued by ill-health and Parkinson's Disease.

登録情報

製品サイズ ‏ : ‎ 13.41 x 14.4 x 0.89 cm; 110 g
メーカー ‏ : ‎ Bgo Records
EAN ‏ : ‎ 5017261212429
オリジナル盤発売日 ‏ : ‎ 2016
レーベル ‏ : ‎ Bgo Records
ASIN ‏ : ‎ B01DD02A7E
ディスク枚数 ‏ : ‎ 1

Amazon 売れ筋ランキング: - 122,922位ミュージック (ミュージックの売れ筋ランキングを見る)
- - 28,700位輸入盤

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4.9 31個の評価

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5つのうち4.9つ

31グローバルレーティング

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沈思黙考

Blytheの一番良い時期のアルバムがぎっしり

2017年5月2日に日本でレビュー済み

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ソニー系だったので、iTune store では手に入らないだろうし、中古CDもくそ高かったのでずっとと諦めていましたが、欲しかったものが全部揃ってこの価格！

3人のお客様がこれが役に立ったと考えています

役に立った

おだ　いそぐ

初CD化３点を含む徳用版！

2016年10月14日に日本でレビュー済み

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「レノックス・アベニュー・ブレイクダウン」は既にCD化されていたものの、他の３点は未CD化であったので、なんともお得なアルバムとなっています。特に気に入ったのは「イン・ザ・トラディション」に含まれている６曲です。ブライスのサックスの音色はジョニー・ホッジスのような音色で、ファッツ・ウォーラーやエリントンやコルトレーンのナンバーを軽快な調子で快演しています。１９７９年当時、ジョニー・ホッジスが健在であったなら、必ずや、このような演奏をしていたであろう、などという空想が広がります。また、「ブライス・スピリット」に含まれている７曲ではコルトレーン風の演奏を披露していますし、「イリュージョンズ」ではかなり、フューションに接近しています。このようにアーサー・ブライスという人はジャズの歴史にいろいろと学んでいる演奏家であることが判ります。しかし、いろいろと学んでいるからこそ、ある意味、器用貧乏のようなところがあるのかもしれません。結局、現在に至るまで、アーサー・ブライスは時代の主流となることはありませんでしたよね・・・・。
　なにはともあれ、価格も手頃なので、興味のある方は是非！

10人のお客様がこれが役に立ったと考えています

役に立った

他の国からのトップレビュー

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David Keymer

IT'S NOT JUST THE SOLO PLAYING, WHICH IS FANTASTIC. LISTEN TO THESE ENSEMBLES!

2017年5月19日にアメリカ合衆国でレビュー済み

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In the Tradition (1978): AB, alto sx; Stanley Cowell, p; Fred Hopkins, b; Steve McCall, dr.
Lenox Avenue Breakdown (1979): AB, alto sx; James Newton, flt; James ‘Blood’ Ulmer, guit; Bob Stewart, tuba; Cecil McBee, b; Jack DeJohnette, dr; Guillermo Franco, perc.
Illusions (1980): AB, alto sx; John Hicks, p; Abdul Wadud, cello; James ‘Blood’ Ulmer, guit; Bob Stewart, tuba; Fred Hopkins, b; Bobby Battle, Steve McCall, dr.
Blythe Spirit (1981): AB, alto sx; John Hicks, p; Amina Claudine Myers, org; Abdul Wadud, cello; Bob Stewart, tuba; Fred Hopkins, b; Bobby Battle, Steve McCall, dr.

The four albums, originally from the period 1978-81, are all good ones. One, Lenox Avenue Breakdown, is an acknowledged classic, and deservedly so, with the unorthodox front line of alto sax, flute and sometimes guitar, cello or tuba, and the killer backing of Cecil McBee on bass and a young Jack DeJohnette on drums. This was in some ways DeJohnette’s breakthrough record: the unusual melody and rhythm lines of the four tunes, and the penchant of all his fellow players for a freer jazz if not completely free jazz, allowed him to spread his wings: his drumming is absolutely marvelous on this album, playful, forceful, alternating passages of strict timekeeping and others much looser, and throughout it all powerful swells and ebbs of percussion. Everyone solos well at some point but mention should be made of Bob Stewart’s tuba work: this album includes what is probably the first classic and modern tuba solo on a major recording label. (I know! Ray Draper came before him. I owned a Max Roach with Draper on it and had a copy of Draper’s Tuba Jazz. Roach blew him away –a matter of speed above all else—and on Draper’s own album, it was Coltrane I listened to most, not the tuba.)

Illusions and Blythe Spirit are almost as good, and In the Tradition isn’t far behind them –I just miss the cello and bass. (In the Tradition has a version of Fats Waller’s “Jitterbug Waltz” that almost made me wince at the start –Blythe’s tone seemed all wrong for it—but then smoothed out into an intelligent and rousing modernist reworking of that venerable tune.)

Throughout Blythe is a wonder. His sax sound, rough and vibrant, with plenty of vibrato at times and straight-bore no vibrato sound at others, just cuts through all the other players. His solos are unfailingly immediate in their impact. Equally impressive is the ensemble dynamic in his outings with cellist Wadud (who has very good solos on these albums) and tuba player Stewart. It’s interesting. Blythe is a fleet player who moves across the changes fluidly. You would expect him to favor a sleek rhythm section playing along with him but he tended instead to favor the almost clunky sound of tuba backed by cello and guitar –no bass- but usually drums. I still remember the first recording of his I bought: Adelphi Records, 1977, Bush Baby, Blythe on alto accompanied by Stewart on tuba and Akmed Abdullah on congas. The rhythm charged ahead but smooth it was not. Chunky is a better word. I liked it then and I like it now. These are superior jazz recordings. Some of what happens on these unique recordings may startle the new listener at first but there is so much to please her, and the music is so good, intelligent, and Blythe is such a good and versatile musician –no Johnny One Track—that anyone who buys this collection should be delighted with it within one or two listenings.

11人のお客様がこれが役に立ったと考えています

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Ian Thumwood

When the avant garde was fun.......

2017年4月17日に英国でレビュー済み

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This double CD features four albums by altoist Arthur Blythe in the early 1980's. This was broadly the point at which I was discovering jazz for myself and the time immediately before Wynton Marsalis when Columbia saw Blythe as the future of the music. I was aware of Arthur Blythe's music and he seemed to be very much at the forefront of things in my teenage mind but I was oblivious to the context in which his music existed.

Looking back, it is staggering that music like this should have been issued on a conservative record label which last had a jazz artist on it's roster in the early 2000' when The Bad Plus were on it's books. Despite it's pedigree with solid jazz artists like Ellington and Davis, Blythe's addition to the roster must have been a surprise given his avante garde credentials. With the hindsight of 30-odd years this music now seems squarely in the tradition and the leader's sunny tone on his instrument is in no small way a component in making this collection so agreeable. Of the discs, "Lennox Avenue Breakdown" is the sure-fire classic and one of the very finest jazz records from the 80's (it was actually recorded in 1979.) The instrumentation with Bob Stewart's tube does add to the appeal but the presence of Jack DeJohnette on drums makes this collection worth the money alone. "In the tradition" offers a more standard quartet date and the familiar repertoire is no reason to ignore a studio performance which is pulled off with the intensity of a live session. Blythe is on fire in this session which is not far behind the "Lennox" set.

The second disc offers more material of a similar ilk with an electric guitar and cello added to the almost ubiquitous tuba. The records are equally enjoyable although not quite of the ridiculously brilliant fire disc. A roster of talent such as James Blood Ulmer, James Newton, Abdul Wadid, John Hicks, Stanley Cowell, crop up amongst the personnel, offering a good indication of the vibrancy of the jazz scene in the early 1980;s. It is a shame that the Monk tribute disc is included in this collection although a relief that Columbia's efforts to recast Blythe against type as an alternative Dave Sanborn are not included.

Looking back to the early 1980's, it is clear that jazz was in a much stronger position than is the case today even prior to the renaissance represented by Wynton Marsalis. The music had not dated in the least, rather being a reminder that this kind of "heart on sleeve" approach to jazz seems to be no longer fashionable. Arthur Blythe offered a non-conformist approach to jazz, especially in comparison with the New-Neo's who followed in his wake yet , if anything, these discs reveal the fruit of much of the radical jazz of the loft era emerging as music where the shear enjoyment of the music making process takes precedence. I have read that Columbia were perplexed as to how to market this music. Later efforts showed that the executives started to meddle with the output. The four albums on this set are totally unfettered by commercial constraints and what emerges is something that is not only fantastic jazz but also devastatingly catchy to listen to. It is a shame that these kinds of records just don't seem to be made anymore.

4人のお客様がこれが役に立ったと考えています

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Joseph Branco

2 disques sur 4 sont des chef d'oeuvre, un ...

2017年3月8日にカナダでレビュー済み

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2 disques sur 4 sont des chef d'oeuvre, un autre est magnifique et le dernier est très bon. Quoi demander de plus pour ce prix ?

レビューを日本語に翻訳する

mauro scarabelli

A.Blythe, l'Ornette melodico

2017年1月8日にイタリアでレビュー済み

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Ovviamente ispirato dal genio di Fort Worth (Ornette Coleman. N.d.R.), Blythe ha una timbro espressivo totalmemte autonomo. Non e` avanguardia, non e` mainstream: he's a smooth Ornette. He got the groove

レビューを日本語に翻訳する

S.Magus

A must have +++

2017年3月17日に英国でレビュー済み

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This edition consists of four albums, three of which I found superb in every way. The fourth one, 'In the tradition' lacks some of the qualities unique to Blythe's music while not contributing much that is new (probably because it's not supposed to). Blythe is a very thoughtful composer who does things for good reason and he uses tuba to achieve perfect balance of deep and high which he does quite successfully. The musicianship is first class on all of the albums. The sound is very good too though better on some albums than others. Remastering is probably the best you can get but don't expect total naturalness of ECM sound because these albums were recorded the way they were by people who were not Manfred Eicher. Still, the sound is very good and BGO records did a grat job to ensure you get the best out of the master tapes (remastering is done in 2016 by Andrew Thompson). Now, the presentation of these couple of discs is superb. The artwork is rich in information and put together with care and knowledge. The liner notes are I suppose the original ones, written by Stanley Crouch, Garry Giddins, Jim Fishel and somebody called Fatisha. They are all graat read but it gets even better because BGO comissioned Charles Waring to write his essey on Blythe just for this edition, elevating the whole project a further notch and creating someting that could be called a serious re-issue worth your every penny. The booklet is 12 long made of quality paper and replete with well reproduced b&w photos. The jewel case is the best there is, very rigid all over. What more can I say? I didn't expect such a quality re-issue for so little money. BGO records is a seriouos label and I'll be ploughing through their catalogue in search of more great music (their Wishbone Ash re-issues also sound great and are worth having, if you like WA).

2人のお客様がこれが役に立ったと考えています

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In The Tradition / Lenox Avenue Breakdown / Illusions / Blythe Spirit

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