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Jimmy Giuffre 3&4 - New York Concerts 1965


colinmce

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Gave mine a first spin ... great stuff! Will have to listen a few times, but this seems indeed to be a major discovery and addition to what we know!

Giuffre back to using tenor (next to the clarinet of course) and having drums with him is not just a nice change of pace (the only other 1965 recording around, from Paris, has him in trio with Barre Phillips and Don Friedman) but something we simply couldn't hear so far.

Also, there's a rather thick booklet (28p) coming along with a preface by producer Zev Feldman (telling the story), various essays (Philippe Carles, Bob Blumenthal), remembrances (Juanita Giuffre, Steve Swallow, plus Jim Hall by way of a JazzTimes article and Paul Bley by way of his autobiography), and finally a conversation with George Klabin, the guy who recorded the tapes in 1965 (he runs Resonance Records, for whatever reason didn't want to release this himself). Klabin agreed to release on condition that all musicians were paid ... so I guess there's indeed nothing fishy about this release.

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Very interested in checking this out after just reacquainting myself with Giuffre (I grew up with "The River" on a Columbia Jazz Masterpieces sampler), discussing "Spasmodic" for the blog."Free Fall" is one of the essential small group recordings on the list

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  • 4 weeks later...

Have listened to both discs a few times and this is a quality, quality product all round. Not that i think a release of this nature would be a 'cash-grab' by any stretch you can rest assured that this is not scraping the bottom of the barrell/vault material. On the flip side it's probably not "OMG if this had been released at the time it would have been spoken of in the same breath as Kind of Blue or A Love Supreme," but if you're a Giuffre fan beyond the fifties it's definitely essential. Buy with confidence, as they say. Although it is on the free side it is quite accessible (more so than Free Fall if that is scaring anyone off).

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To hear this 1965 music years and years after having read Martin Williams' account of this group's rehearsal session in his WHERE'S THE MELODY -- and dreaming about what it might be -- is mind-blowing. This is special music. Important. Challenging. Delightful.
For me there are some high-water marks in 1965: Sonny Rollins and Ornette Coleman (both with various live recordings in Europe), Andrew Hill's COMPULSION, Paul Bley with CLOSER and BLOOD, Mingus AT MONTEREY, Ayler, Miles at the PLUGGED NICKEL, and Sun Ra's HELIOCENTRIC WORLDS. (I'm not a huge Coltrane fan, but will mention ASCENSION.)
These Giuffre concerts from 1965 stand every bit as tall as any in this esteemed company. The sound is unbelievable, really more of studio quality. And the quartet program was in recorded with no audience present. The music itself is simply spectacular. Special mention must be made of Joe Chamber's drum and percussion work. On bass, Richard Davis and Barre Phillips. Don Friedman on piano for the earlier date. And hearing Giuffre play so much tenor (quantity and quality) makes for a fascinating comparison to what Newk was doing contemporaneously. And of course, Ornette too on alto. There is even a spine-tingling trio exploration of Coleman's "Crossroads". The packaging is well-done with a great booklet of liner notes and all of the artists receiving royalties. A textbook in how to do this right.
If you have even the slightest interest in Jimmy Giuffre, modern jazz, or improvised music of any stripe, these are performances to experience and savor.
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First impression is that the trio portion is certainly good but more of a "collector" interest, whereas the quartet side is about as good as you'd want/expect it to be, perhaps even better. That quartet is together.

It might prove to be interesting to contrast/compare this music to Bley's Turning Point session w/John Gilmore, as well as with Don Friedman's Metamorphosis, not in terms of "style" or "quality", but just in terms of what ideas were being passed around by who, and maybe how, all in the space of about, what, a year or so? And what other documentation might exist to fill out that still somewhat sketchy "thing" more fully (sketchy, that is, relative to other things).

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To hear this 1965 music years and years after having read Martin Williams' account of this group's rehearsal session in his WHERE'S THE MELODY -- and dreaming about what it might be -- is mind-blowing. This is special music. Important. Challenging. Delightful.

Just got this yesterday, along with that Braxton 12 CD set, as a birthday present. Can't wait to dig into both (if I wasn't constantly working) :(

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  • 2 weeks later...
  • 1 month later...

I've been listening to this. My short review would be . . . well, I'll just quote Chewy: "HELL YEAH."

Totally agree with this and all the other positivity this lovely set has generated. Finally got it from my local bricks 'n motor (Music Mullennium, a great but frustratingly uneven store) just the other day. The music is well worth hearing (and rehearing for years, no doubt) and the packaging is everything that could be hoped for, an obvious labour of love.

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