Form is Vision is a collection of music unified by the same vision but not by the same form. It’s the vision making the form, without being influenced by the form itself. Here, visionary electronic artists as Afrikan Sciences and Juju & Jordash meet cross over jazz bands like Hobby Horse and Where is Mr. R?!. The music was compiled by Autre & Two Thou, whose productions here form a bridge across different moods. The result is a synergistic leap away from genre-bound music.
‘Esoteric, modal and deep jazz from Prestige Records, 1961-73’. The tenth edition of Spiritual Jazz takes a closer look at the music Prestige was recording at the start of the 1960s. This was the period when the modal jazz sound pioneered by Miles and Coltrane was starting to percolate through the jazz underground. In its heyday, Prestige was the only jazz label that could hold a candle to Blue Note. Prestige was always quick off the mark to record new artists, and in the years after Kind of Blue the label was quick to release some of the most innovative early explorers of the new style. Founded as New Jazz in 1949 by 20-year old jazz fan and entrepreneur Bob Weinstock, Prestige was the only other imprint besides Blue Note to capture the iconic jazz sounds of the 1950s, and like its rival it grew to be an icon itself. If Blue Note documented the sound of hard bop in its most carefully crafted and beautifully presented form, the low-key, jam-session approach that Weinstock preferred meant that the music captured by Prestige has a tough, unfiltered energy that was a lot closer to the way it was being played live, night after night, by New York’s most prominent jazz musicians. Featuring Afro-Eastern visions from Yusef Lateef and Ahmed Abdul-Malik, deep modal excursions from Mal Waldron and Walt Dickerson, and essential spiritual jazz grooves from Gary Bartz and Idris Muhammed, Spiritual Jazz vol. 10 documents the sound of modal jazz in full flight, unabashed and authentic from the pioneers.
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Recording at Malcom Catto’s analogue studio has been an ambition of Greg’s for a long time, not only for the studio itself but for Malcolm’s skill using this vintage equipment, very few people can achieve such an incredibly big sound. Moving to a more rhythmic space, you could call it Jazz funk or Fusion, but labels suck so just listen and appreciate the pure sense of space Malcom achieves with this recording. Instruments float in space, aided by the Vintage EMI desk and a host of valve equipment which has taken Malcolm a lifetime to collect. In amongst the more rhythmic pieces we also have some classic Foat style compositions; ‘Lake Kussharo’ and ‘The Dreaming Jewels’ as emotive and personal as ever, a feeling that can only be expressed and articulated in music. These past few years will no doubt be looked back on with great favour in musical history, with prolific and high quality output in all his various projects this LP is his crowning achievement of 2019.
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