(Free Jazz, Post Bop) [CD] The Joe Harriott Quintet - Movement (1963), High Spirits (1964) (2CD) - 2012, FLAC (tracks+.cue), lossless
Треклист:
The Joe Harriott Quintet - Movement, High Spirits
Жанр: Free Jazz, Post Bop
Носитель: CD
Страна-производитель диска (релиза): Великобритания
Год издания: 2012
Издатель (лейбл): Vocalion
Номер по каталогу: 2CDSML8486
Аудиокодек: FLAC (*.flac)
Тип рипа: tracks+.cue
Битрейт аудио: lossless
Продолжительность: 1:20:29
Источник (релизер): wikieup (what)
Наличие сканов в содержимом раздачи: нет
Жанр: Free Jazz, Post Bop
Носитель: CD
Страна-производитель диска (релиза): Великобритания
Год издания: 2012
Издатель (лейбл): Vocalion
Номер по каталогу: 2CDSML8486
Аудиокодек: FLAC (*.flac)
Тип рипа: tracks+.cue
Битрейт аудио: lossless
Продолжительность: 1:20:29
Источник (релизер): wikieup (what)
Наличие сканов в содержимом раздачи: нет
CD1 - Movement (1963) {41:58}
01. Morning Blue (Harriott) - 4:43
02. Beams (Harriott) - 5:18
03. Count Twelve (Harriott) - 3:42
04. Face in the Crowd (Garrick) - 5:17
05. Revival (Harriott) - 3:14
06. Blues on Blues (Garrick) - 4:56
07. Spaces (Harriott) - 6:31
08. Spiritual Blues (Harriott) - 3:43
09. Movement (Harriott) - 4:34
02. Beams (Harriott) - 5:18
03. Count Twelve (Harriott) - 3:42
04. Face in the Crowd (Garrick) - 5:17
05. Revival (Harriott) - 3:14
06. Blues on Blues (Garrick) - 4:56
07. Spaces (Harriott) - 6:31
08. Spiritual Blues (Harriott) - 3:43
09. Movement (Harriott) - 4:34
Лог создания рипа
Exact Audio Copy V1.0 beta 3 from 29. August 2011
EAC extraction logfile from 31. July 2015, 13:54
Joe Harriott Quintet / Movement [2012 Reissue]
Used drive : TSSTcorpDVD-ROM TS-U333B Adapter: 0 ID: 1
Read mode : Secure
Utilize accurate stream : Yes
Defeat audio cache : Yes
Make use of C2 pointers : No
Read offset correction : 6
Overread into Lead-In and Lead-Out : No
Fill up missing offset samples with silence : Yes
Delete leading and trailing silent blocks : No
Null samples used in CRC calculations : Yes
Used interface : Native Win32 interface for Win NT & 2000
Gap handling : Appended to previous track
Used output format : User Defined Encoder
Selected bitrate : 1024 kBit/s
Quality : High
Add ID3 tag : No
Command line compressor : C:\Program Files\Exact Audio Copy\Flac\flac.exe
Additional command line options : -8 -V -T "ARTIST=%artist%" -T "TITLE=%title%" -T "ALBUM=%albumtitle%" -T "DATE=%year%" -T "TRACKNUMBER=%tracknr%" -T "GENRE=%genre%" -T "PERFORMER=%albuminterpret%" -T "COMPOSER=%composer%" %haslyrics%--tag-from-file=LYRICS="%lyricsfile%"%haslyrics% -T "ALBUMARTIST=%albumartist%" -T "DISCNUMBER=%cdnumber%" -T "TOTALDISCS=%totalcds%" -T "TOTALTRACKS=%numtracks%" -T "COMMENT=%comment%" %source% -o %dest%
TOC of the extracted CD
Track | Start | Length | Start sector | End sector
---------------------------------------------------------
1 | 0:01.00 | 4:43.36 | 75 | 21335
2 | 4:44.36 | 5:17.71 | 21336 | 45181
3 | 10:02.32 | 3:42.13 | 45182 | 61844
4 | 13:44.45 | 5:17.27 | 61845 | 85646
5 | 19:01.72 | 3:13.38 | 85647 | 100159
6 | 22:15.35 | 4:55.49 | 100160 | 122333
7 | 27:11.09 | 6:31.02 | 122334 | 151660
8 | 33:42.11 | 3:42.52 | 151661 | 168362
9 | 37:24.63 | 4:33.51 | 168363 | 188888
Track 1
Filename C:\EAC Rips\01 - Morning Blue.wav
Pre-gap length 0:00:03.00
Peak level 76.0 %
Extraction speed 2.9 X
Track quality 100.0 %
Test CRC 17EE6071
Copy CRC 17EE6071
Accurately ripped (confidence 2) [8995F6D3] (AR v2)
Copy OK
Track 2
Filename C:\EAC Rips\02 - Beams.wav
Pre-gap length 0:00:00.14
Peak level 92.1 %
Extraction speed 3.3 X
Track quality 100.0 %
Test CRC 7DCFACC4
Copy CRC 7DCFACC4
Accurately ripped (confidence 2) [5A42A02B] (AR v2)
Copy OK
Track 3
Filename C:\EAC Rips\03 - Count Twelve.wav
Pre-gap length 0:00:02.22
Peak level 84.8 %
Extraction speed 3.4 X
Track quality 100.0 %
Test CRC 5A3EF54D
Copy CRC 5A3EF54D
Accurately ripped (confidence 2) [A10E8D4E] (AR v2)
Copy OK
Track 4
Filename C:\EAC Rips\04 - Face In The Crowd.wav
Pre-gap length 0:00:02.57
Peak level 86.3 %
Extraction speed 3.2 X
Track quality 99.9 %
Test CRC 492739C7
Copy CRC 492739C7
Accurately ripped (confidence 2) [2F464D92] (AR v2)
Copy OK
Track 5
Filename C:\EAC Rips\05 - Revival.wav
Pre-gap length 0:00:02.50
Peak level 87.5 %
Extraction speed 2.9 X
Track quality 99.9 %
Test CRC 2F17C64C
Copy CRC 2F17C64C
Accurately ripped (confidence 2) [61D926A8] (AR v2)
Copy OK
Track 6
Filename C:\EAC Rips\06 - Blues On Blues.wav
Pre-gap length 0:00:02.06
Peak level 83.7 %
Extraction speed 4.0 X
Track quality 100.0 %
Test CRC 5DD92F21
Copy CRC 5DD92F21
Accurately ripped (confidence 2) [0C409885] (AR v2)
Copy OK
Track 7
Filename C:\EAC Rips\07 - Spaces.wav
Pre-gap length 0:00:01.74
Peak level 66.6 %
Extraction speed 4.4 X
Track quality 100.0 %
Test CRC EAEC5FD9
Copy CRC EAEC5FD9
Accurately ripped (confidence 2) [E1273015] (AR v2)
Copy OK
Track 8
Filename C:\EAC Rips\08 - Spiritual Blues.wav
Pre-gap length 0:00:02.22
Peak level 73.1 %
Extraction speed 4.3 X
Track quality 100.0 %
Test CRC 6710B5C6
Copy CRC 6710B5C6
Accurately ripped (confidence 2) [7DB118B4] (AR v2)
Copy OK
Track 9
Filename C:\EAC Rips\09 - Movement.wav
Pre-gap length 0:00:02.48
Peak level 86.7 %
Extraction speed 4.3 X
Track quality 100.0 %
Test CRC 09A77946
Copy CRC 09A77946
Accurately ripped (confidence 2) [5627EE5B] (AR v2)
Copy OK
All tracks accurately ripped
No errors occurred
End of status report
==== Log checksum B7E9D54CD9AA641AE52954B0F6E52D89F4B2821713EEF73B94AC712F0B85A8A3 ====
Содержание индексной карты (.CUE)
REM GENRE Jazz
REM DATE 1963
REM DISCID 6709D509
REM COMMENT "ExactAudioCopy v1.0b3"
PERFORMER "Joe Harriott"
TITLE "Movement"
FILE "01 - Morning Blue.wav" WAVE
TRACK 01 AUDIO
TITLE "Morning Blue"
PERFORMER "Joe Harriott"
PREGAP 00:01:00
INDEX 01 00:00:00
TRACK 02 AUDIO
TITLE "Beams"
PERFORMER "Joe Harriott"
INDEX 00 04:43:25
FILE "02 - Beams.wav" WAVE
INDEX 01 00:00:00
TRACK 03 AUDIO
TITLE "Count Twelve"
PERFORMER "Joe Harriott"
INDEX 00 05:15:54
FILE "03 - Count Twelve.wav" WAVE
INDEX 01 00:00:00
TRACK 04 AUDIO
TITLE "Face in the Crowd"
PERFORMER "Joe Harriott"
INDEX 00 03:39:45
FILE "04 - Face in the Crowd.wav" WAVE
INDEX 01 00:00:00
TRACK 05 AUDIO
TITLE "Revival"
PERFORMER "Joe Harriott"
INDEX 00 05:14:64
FILE "05 - Revival.wav" WAVE
INDEX 01 00:00:00
TRACK 06 AUDIO
TITLE "Blues on Blues"
PERFORMER "Joe Harriott"
INDEX 00 03:11:33
FILE "06 - Blues on Blues.wav" WAVE
INDEX 01 00:00:00
TRACK 07 AUDIO
TITLE "Spaces"
PERFORMER "Joe Harriott"
INDEX 00 04:53:68
FILE "07 - Spaces.wav" WAVE
INDEX 01 00:00:00
TRACK 08 AUDIO
TITLE "Spiritual Blues"
PERFORMER "Joe Harriott"
INDEX 00 06:28:60
FILE "08 - Spiritual Blues.wav" WAVE
INDEX 01 00:00:00
TRACK 09 AUDIO
TITLE "Movement"
PERFORMER "Joe Harriott"
INDEX 00 03:40:16
FILE "09 - Movement.wav" WAVE
INDEX 01 00:00:00
Отчет CUETools
[CUETools log; Date: 01.09.2015 0:19:39; Version: 2.1.5]
Pregap length 00:01:00.
[CTDB TOCID: WYRwzbKJXcrNHWzaqkQ8b3tGfG0-] found.
Track | CTDB Status
1 | (1/1) Accurately ripped
2 | (1/1) Accurately ripped
3 | (1/1) Accurately ripped
4 | (1/1) Accurately ripped
5 | (1/1) Accurately ripped
6 | (1/1) Accurately ripped
7 | (1/1) Accurately ripped
8 | (1/1) Accurately ripped
9 | (1/1) Accurately ripped
[AccurateRip ID: 000e6d54-0069b90b-6709d509] found.
Track [ CRC | V2 ] Status
01 [c842fabc|8995f6d3] (0+2/2) Accurately ripped
02 [8addeb2b|5a42a02b] (0+2/2) Accurately ripped
03 [31933d7a|a10e8d4e] (0+2/2) Accurately ripped
04 [4c646760|2f464d92] (0+2/2) Accurately ripped
05 [10a8a074|61d926a8] (0+2/2) Accurately ripped
06 [3635a566|0c409885] (0+2/2) Accurately ripped
07 [9a96f269|e1273015] (0+2/2) Accurately ripped
08 [634faf08|7db118b4] (0+2/2) Accurately ripped
09 [ffc2b955|5627ee5b] (0+2/2) Accurately ripped
Track Peak [ CRC32 ] [W/O NULL] [ LOG ]
-- 92,1 [60A3CF8D] [2351FB5B]
01 76,0 [17EE6071] [F42F50CB] CRC32
02 92,1 [7DCFACC4] [CF60B2EB] CRC32
03 84,8 [5A3EF54D] [20F5B003] CRC32
04 86,3 [492739C7] [B4A56AC4] CRC32
05 87,5 [2F17C64C] [A70C5E3E] CRC32
06 83,7 [5DD92F21] [CE07F28F] CRC32
07 66,6 [EAEC5FD9] [4C261B0E] CRC32
08 73,1 [6710B5C6] [357C7761] CRC32
09 86,7 [09A77946] [966B0D11] CRC32
CD2 - High Spirits (1964) {38:31}
01. Home Sweet Heaven (Martin; Gray arr Smythe) - 3:40
02. If I Gave You (Martin; Gray arr Smythe) - 5:57
03. Go into Your Trance (Martin; Gray arr Smythe) - 4:21
04. You'd Better Love Me (Martin; Gray arr Smythe) - 4:24
05. I Know Your Heart (Martin; Gray arr Smythe) - 3:46
06. Was She Prettier Than I? (Martin; Gray arr Smythe) - 5:36
07. Forever and a Day (Martin; Gray arr Smythe) - 5:33
08. Something Tells Me (Martin; Gray arr Smythe) - 5:14
02. If I Gave You (Martin; Gray arr Smythe) - 5:57
03. Go into Your Trance (Martin; Gray arr Smythe) - 4:21
04. You'd Better Love Me (Martin; Gray arr Smythe) - 4:24
05. I Know Your Heart (Martin; Gray arr Smythe) - 3:46
06. Was She Prettier Than I? (Martin; Gray arr Smythe) - 5:36
07. Forever and a Day (Martin; Gray arr Smythe) - 5:33
08. Something Tells Me (Martin; Gray arr Smythe) - 5:14
Лог создания рипа
Exact Audio Copy V1.0 beta 3 from 29. August 2011
EAC extraction logfile from 31. July 2015, 15:02
Joe Harriott Quintet / High Spirits [2012 Reissue]
Used drive : TSSTcorpDVD-ROM TS-U333B Adapter: 0 ID: 1
Read mode : Secure
Utilize accurate stream : Yes
Defeat audio cache : Yes
Make use of C2 pointers : No
Read offset correction : 6
Overread into Lead-In and Lead-Out : No
Fill up missing offset samples with silence : Yes
Delete leading and trailing silent blocks : No
Null samples used in CRC calculations : Yes
Used interface : Native Win32 interface for Win NT & 2000
Gap handling : Appended to previous track
Used output format : User Defined Encoder
Selected bitrate : 1024 kBit/s
Quality : High
Add ID3 tag : No
Command line compressor : C:\Program Files\Exact Audio Copy\Flac\flac.exe
Additional command line options : -8 -V -T "ARTIST=%artist%" -T "TITLE=%title%" -T "ALBUM=%albumtitle%" -T "DATE=%year%" -T "TRACKNUMBER=%tracknr%" -T "GENRE=%genre%" -T "PERFORMER=%albuminterpret%" -T "COMPOSER=%composer%" %haslyrics%--tag-from-file=LYRICS="%lyricsfile%"%haslyrics% -T "ALBUMARTIST=%albumartist%" -T "DISCNUMBER=%cdnumber%" -T "TOTALDISCS=%totalcds%" -T "TOTALTRACKS=%numtracks%" -T "COMMENT=%comment%" %source% -o %dest%
TOC of the extracted CD
Track | Start | Length | Start sector | End sector
---------------------------------------------------------
1 | 0:01.00 | 3:40.36 | 75 | 16610
2 | 3:41.36 | 5:57.31 | 16611 | 43416
3 | 9:38.67 | 4:21.08 | 43417 | 62999
4 | 14:00.00 | 4:24.16 | 63000 | 82815
5 | 18:24.16 | 3:45.42 | 82816 | 99732
6 | 22:09.58 | 5:35.48 | 99733 | 124905
7 | 27:45.31 | 5:33.31 | 124906 | 149911
8 | 33:18.62 | 5:13.49 | 149912 | 173435
Track 1
Filename C:\EAC Rips\01 - Home Sweet Heaven.wav
Pre-gap length 0:00:03.00
Peak level 77.9 %
Extraction speed 2.7 X
Track quality 100.0 %
Test CRC C7F8027D
Copy CRC C7F8027D
Accurately ripped (confidence 2) [FE8BA5C1] (AR v2)
Copy OK
Track 2
Filename C:\EAC Rips\02 - If I Gave You.wav
Pre-gap length 0:00:02.86
Peak level 55.7 %
Extraction speed 3.2 X
Track quality 100.0 %
Test CRC 861983CF
Copy CRC 861983CF
Accurately ripped (confidence 2) [7F3623DE] (AR v2)
Copy OK
Track 3
Filename C:\EAC Rips\03 - Go Into Your Trance.wav
Pre-gap length 0:00:01.34
Peak level 82.8 %
Extraction speed 3.4 X
Track quality 100.0 %
Test CRC BBA26B48
Copy CRC BBA26B48
Accurately ripped (confidence 2) [4C4595E3] (AR v2)
Copy OK
Track 4
Filename C:\EAC Rips\04 - You'd Better Love Me.wav
Pre-gap length 0:00:02.74
Peak level 78.0 %
Extraction speed 3.7 X
Track quality 100.0 %
Test CRC B2550427
Copy CRC B2550427
Accurately ripped (confidence 2) [4747E2ED] (AR v2)
Copy OK
Track 5
Filename C:\EAC Rips\05 - I Know Your Heart.wav
Pre-gap length 0:00:03.66
Peak level 81.4 %
Extraction speed 3.9 X
Track quality 100.0 %
Test CRC CA695834
Copy CRC CA695834
Accurately ripped (confidence 2) [2D6899FC] (AR v2)
Copy OK
Track 6
Filename C:\EAC Rips\06 - Was She Prettier Than I.wav
Pre-gap length 0:00:04.64
Peak level 78.1 %
Extraction speed 3.6 X
Track quality 99.9 %
Test CRC 49151C3B
Copy CRC 49151C3B
Accurately ripped (confidence 2) [7D68D4FA] (AR v2)
Copy OK
Track 7
Filename C:\EAC Rips\07 - Forever And A Day.wav
Pre-gap length 0:00:04.88
Peak level 41.7 %
Extraction speed 4.3 X
Track quality 100.0 %
Test CRC 9D07E4B3
Copy CRC 9D07E4B3
Accurately ripped (confidence 2) [4532A554] (AR v2)
Copy OK
Track 8
Filename C:\EAC Rips\08 - Something Tells Me.wav
Pre-gap length 0:00:04.88
Peak level 77.0 %
Extraction speed 4.5 X
Track quality 100.0 %
Test CRC D3B2B0AF
Copy CRC D3B2B0AF
Accurately ripped (confidence 2) [83BA4ECB] (AR v2)
Copy OK
All tracks accurately ripped
No errors occurred
End of status report
==== Log checksum B0CB5A524CD9E5F3660E8B76704768D481BE0FBF84109D9E6B2CA1E719E00018 ====
Содержание индексной карты (.CUE)
REM GENRE Jazz
REM DATE 1964
REM DISCID 4B090708
REM COMMENT "ExactAudioCopy v1.0b3"
PERFORMER "Joe Harriott"
TITLE "High Spirits"
FILE "01 - Home Sweet Heaven.wav" WAVE
TRACK 01 AUDIO
TITLE "Home Sweet Heaven"
PERFORMER "Joe Harriott"
PREGAP 00:01:00
INDEX 01 00:00:00
TRACK 02 AUDIO
TITLE "If I Gave You"
PERFORMER "Joe Harriott"
INDEX 00 03:37:46
FILE "02 - If I Gave You.wav" WAVE
INDEX 01 00:00:00
TRACK 03 AUDIO
TITLE "Go into Your Trance"
PERFORMER "Joe Harriott"
INDEX 00 05:56:05
FILE "03 - Go into Your Trance.wav" WAVE
INDEX 01 00:00:00
TRACK 04 AUDIO
TITLE "You'd Better Love Me"
PERFORMER "Joe Harriott"
INDEX 00 04:18:27
FILE "04 - You'd Better Love Me.wav" WAVE
INDEX 01 00:00:00
TRACK 05 AUDIO
TITLE "I Know Your Heart"
PERFORMER "Joe Harriott"
INDEX 00 04:20:41
FILE "05 - I Know Your Heart.wav" WAVE
INDEX 01 00:00:00
TRACK 06 AUDIO
TITLE "Was She Prettier Than I?"
PERFORMER "Joe Harriott"
INDEX 00 03:40:69
FILE "06 - Was She Prettier Than I.wav" WAVE
INDEX 01 00:00:00
TRACK 07 AUDIO
TITLE "Forever and a Day"
PERFORMER "Joe Harriott"
INDEX 00 05:30:57
FILE "07 - Forever and a Day.wav" WAVE
INDEX 01 00:00:00
TRACK 08 AUDIO
TITLE "Something Tells Me"
PERFORMER "Joe Harriott"
INDEX 00 05:28:40
FILE "08 - Something Tells Me.wav" WAVE
INDEX 01 00:00:00
Отчет CUETools
[CUETools log; Date: 01.09.2015 0:19:50; Version: 2.1.5]
Pregap length 00:01:00.
[CTDB TOCID: GlEKFy4lb.dHGjeCKGQwVucsNwg-] found.
Track | CTDB Status
1 | (1/1) Accurately ripped
2 | (1/1) Accurately ripped
3 | (1/1) Accurately ripped
4 | (1/1) Accurately ripped
5 | (1/1) Accurately ripped
6 | (1/1) Accurately ripped
7 | (1/1) Accurately ripped
8 | (1/1) Accurately ripped
[AccurateRip ID: 000b80f2-004d3fbc-4b090708] found.
Track [ CRC | V2 ] Status
01 [f804694e|fe8ba5c1] (0+2/2) Accurately ripped
02 [1643dcf6|7f3623de] (0+2/2) Accurately ripped
03 [e8762fa6|4c4595e3] (0+2/2) Accurately ripped
04 [4e37d452|4747e2ed] (0+2/2) Accurately ripped
05 [fa763db5|2d6899fc] (0+2/2) Accurately ripped
06 [81e9ee68|7d68d4fa] (0+2/2) Accurately ripped
07 [4ecf5d4c|4532a554] (0+2/2) Accurately ripped
08 [7c61b86c|83ba4ecb] (0+2/2) Accurately ripped
Track Peak [ CRC32 ] [W/O NULL] [ LOG ]
-- 82,8 [DDBAD821] [72C04F3B]
01 77,9 [C7F8027D] [F18087FD] CRC32
02 55,7 [861983CF] [001F7BDA] CRC32
03 82,8 [BBA26B48] [9609836F] CRC32
04 78,0 [B2550427] [A6BB2C8C] CRC32
05 81,4 [CA695834] [BFCE02EE] CRC32
06 78,1 [49151C3B] [D3A6242B] CRC32
07 41,7 [9D07E4B3] [B8A605F7] CRC32
08 77,0 [D3B2B0AF] [18E64078] CRC32
Review by Duncan Heining
The acquisition, ownership and handling of a back catalogue of classic British jazz from the sixties by first Polygram and then Universal Supersession is a story of meanness and incompetence. It meant that key recordings by the likes of saxophonists Joe Harriott and John Surman, pianists Mike Westbrook and Stan Tracey, the Don Rendell-Ian Carr Quintet and quite a few others have either never been issued on CD or been patchily available at best. Some of this material is now entering or about to enter the public domain. On the one hand, this means that fans may at last actually get to hear these sides. On the other, it also means that these are likely to appear in poorly presented packages, often using vinyl copies rather than original masters in the reissue.
Two British companies stand out from the rest in all respects-Beat Goes On and Dutton-Vocalion. Over the last few years, both labels have ensured the availability of records that tell the rich and varied story of British jazz in the 1960s. Ideally, one would like to see expensive, Mosaic-like box sets of Westbrook's Deram albums or Joe Harriott's Lansdowne releases, complete with original sleeve notes and artwork, full and annotated recording details and more. The market just wouldn't stand it, of course. In a way, that makes the efforts of Dutton-Vocalion and BGO all the more important.
Harriott's career is beautifully recalled in Alan Robertson's biography, Fire In His Soul (Northway 2012). The Jamaican alto saxophonist recorded and released ten LPs for Denis Preston's Lansdowne Series between 1960-69. Of these, three saw him experiment with an abstract approach to jazz that paralleled but was quite different from saxophonist Ornette Coleman's work in the USA. Free Form (1960) was reissued last year as part of the four-CD The Joe Harriott Story (Properbox, 2011). Abstract (1961), his best album, came out on Universal in 1999 but has long since been deleted. Movement (1963) is the third and last in that sequence. As to the reasons why Harriott abandoned his experiments, these are well-documented in Robertson's biography and elsewhere on this site.
Movement is perhaps the best representation of a typical Joe Harriott Quintet gig of the period, combining as it does straight-ahead tracks with his free-form work. British pianist Brian Dee has remarked, in my recently released Trad Dads, Dirty Boppers and Free Fusioneers (Equinox, 2012), that Harriott's way of mixing sets in this way did not help his cause, leaving audiences puzzled and unsure about how they should respond. Indeed, there are intimations of this when hearing this record. And yet, that does not ultimately detract from it. In fact, it allows conclusions to be drawn and, more than that, the opportunity to see how the experimental stuff is to some degree derived from and related to the more bop-oriented music.
So, it opens with the easy swing of "Morning Blue" with Harriott's alto warm, sunny and optimistic and Shake Keane's flugelhorn light as air. "Beams" follows, echoing Harriott's two previous records in several ways. Firstly, it is immediately apparent that this is very much a group music. The horns, in particular, seem almost mutually dependent, with Harriott and Keane interlocking and playing off each other. The music is held in place by Coleridge Goode's walking bass, with piano and even drums having greater licence within the rhythm section. Secondly, it's clear that this music is not really modal at all; rather, it is developed from melodic fragments and motifs.
"Count Twelve" is pure bebop rooted in the blues with some simply lovely flugelhorn from Keane and delightful piano from Pat Smythe. The relationship between Goode and drummer andBobby Orr here is almost symbiotic, while Harriott's own solo is wild and free-flowing.
Michael Garrick's quirky "Face in the Crowd" follows. Originally, it accompanied Jeremy Robson's poem of the same name on Poetry & Jazz-Record Two (Dutton-Vocalion, 1967) and on which Harriott played as part of Garrick's quintet. It's a fine, angular performance that sits well with Harriott's own more abstract writing. "Revival" is one of the saxophonist's most Caribbean-inflected tunes and is perhaps the record's highlight, whilst Garrick's "Blues on Blues" reveals perfectly how very, very good this group really was.
The album concludes with three tracks: "Spaces," which was arguably the most abstract piece Harriott ever recorded; the fine, if mainstream bop "Spiritual Blues," with some great bowed bass from Goode and excellent drums from Bobby Orr; and the album's title track. "Movement" itself has an intensity not found in all of Harriott's free form work. It's a stunning group tour de force, again building from comparatively simple melodic materials into something that is dark, brooding and even slightly unsettling. Of the two records in this package, Movement is the one that is absolutely essential. Were it not for these earlier achievements, High Spirits might come more highly recommended. It is of a much lighter weight but it does have its share of pleasures. It is doubtful that Harriott could ever have made a bad record and, by most other people's standards, this would be top flight.
The shortcoming of High Spirits lies in the sense that these show tunes, from the musical based on Noel Coward's play Blithe Spirit, are really fairly average West End/Broadway fare. "You'd Better Love Me" is a case in point. It really doesn't deserve Pat Smythe's elegantly poised solo. Smythe did the arrangements here and he made a more than adequate fist of the task. In fact, Smythe has the album's finest moment in his lovely, limpid performance on "Forever and a Day." The band's playing, however, is lively and authoritative throughout, and Shake Keane is on wonderful form and particularly so on "If I Gave You." There's also a certain poignancy to the way Harriott plays on each of these eight tracks, almost as if somehow he can compensate for the lack of depth to the original tunes. In any other context, his solos on "I Know Your Heart" and "Was She Prettier Than I?" would count as prime Harriott. Perhaps, this a little ungenerous. This is a strong pairing of one very good record with another that is more than acceptable. Many people may want this release for Movement alone, in which case High Spirits is a bonus.
Two British companies stand out from the rest in all respects-Beat Goes On and Dutton-Vocalion. Over the last few years, both labels have ensured the availability of records that tell the rich and varied story of British jazz in the 1960s. Ideally, one would like to see expensive, Mosaic-like box sets of Westbrook's Deram albums or Joe Harriott's Lansdowne releases, complete with original sleeve notes and artwork, full and annotated recording details and more. The market just wouldn't stand it, of course. In a way, that makes the efforts of Dutton-Vocalion and BGO all the more important.
Harriott's career is beautifully recalled in Alan Robertson's biography, Fire In His Soul (Northway 2012). The Jamaican alto saxophonist recorded and released ten LPs for Denis Preston's Lansdowne Series between 1960-69. Of these, three saw him experiment with an abstract approach to jazz that paralleled but was quite different from saxophonist Ornette Coleman's work in the USA. Free Form (1960) was reissued last year as part of the four-CD The Joe Harriott Story (Properbox, 2011). Abstract (1961), his best album, came out on Universal in 1999 but has long since been deleted. Movement (1963) is the third and last in that sequence. As to the reasons why Harriott abandoned his experiments, these are well-documented in Robertson's biography and elsewhere on this site.
Movement is perhaps the best representation of a typical Joe Harriott Quintet gig of the period, combining as it does straight-ahead tracks with his free-form work. British pianist Brian Dee has remarked, in my recently released Trad Dads, Dirty Boppers and Free Fusioneers (Equinox, 2012), that Harriott's way of mixing sets in this way did not help his cause, leaving audiences puzzled and unsure about how they should respond. Indeed, there are intimations of this when hearing this record. And yet, that does not ultimately detract from it. In fact, it allows conclusions to be drawn and, more than that, the opportunity to see how the experimental stuff is to some degree derived from and related to the more bop-oriented music.
So, it opens with the easy swing of "Morning Blue" with Harriott's alto warm, sunny and optimistic and Shake Keane's flugelhorn light as air. "Beams" follows, echoing Harriott's two previous records in several ways. Firstly, it is immediately apparent that this is very much a group music. The horns, in particular, seem almost mutually dependent, with Harriott and Keane interlocking and playing off each other. The music is held in place by Coleridge Goode's walking bass, with piano and even drums having greater licence within the rhythm section. Secondly, it's clear that this music is not really modal at all; rather, it is developed from melodic fragments and motifs.
"Count Twelve" is pure bebop rooted in the blues with some simply lovely flugelhorn from Keane and delightful piano from Pat Smythe. The relationship between Goode and drummer andBobby Orr here is almost symbiotic, while Harriott's own solo is wild and free-flowing.
Michael Garrick's quirky "Face in the Crowd" follows. Originally, it accompanied Jeremy Robson's poem of the same name on Poetry & Jazz-Record Two (Dutton-Vocalion, 1967) and on which Harriott played as part of Garrick's quintet. It's a fine, angular performance that sits well with Harriott's own more abstract writing. "Revival" is one of the saxophonist's most Caribbean-inflected tunes and is perhaps the record's highlight, whilst Garrick's "Blues on Blues" reveals perfectly how very, very good this group really was.
The album concludes with three tracks: "Spaces," which was arguably the most abstract piece Harriott ever recorded; the fine, if mainstream bop "Spiritual Blues," with some great bowed bass from Goode and excellent drums from Bobby Orr; and the album's title track. "Movement" itself has an intensity not found in all of Harriott's free form work. It's a stunning group tour de force, again building from comparatively simple melodic materials into something that is dark, brooding and even slightly unsettling. Of the two records in this package, Movement is the one that is absolutely essential. Were it not for these earlier achievements, High Spirits might come more highly recommended. It is of a much lighter weight but it does have its share of pleasures. It is doubtful that Harriott could ever have made a bad record and, by most other people's standards, this would be top flight.
The shortcoming of High Spirits lies in the sense that these show tunes, from the musical based on Noel Coward's play Blithe Spirit, are really fairly average West End/Broadway fare. "You'd Better Love Me" is a case in point. It really doesn't deserve Pat Smythe's elegantly poised solo. Smythe did the arrangements here and he made a more than adequate fist of the task. In fact, Smythe has the album's finest moment in his lovely, limpid performance on "Forever and a Day." The band's playing, however, is lively and authoritative throughout, and Shake Keane is on wonderful form and particularly so on "If I Gave You." There's also a certain poignancy to the way Harriott plays on each of these eight tracks, almost as if somehow he can compensate for the lack of depth to the original tunes. In any other context, his solos on "I Know Your Heart" and "Was She Prettier Than I?" would count as prime Harriott. Perhaps, this a little ungenerous. This is a strong pairing of one very good record with another that is more than acceptable. Many people may want this release for Movement alone, in which case High Spirits is a bonus.
Состав
Joe Harriott - alto saxophone
Bobby Orr - drums
Shake Keane - trumpet, flugelhorn
Pat Smythe - piano
Coleridge Goode - bass
Recorded at Lansdowne Studios, London in 1963 (CD1) and September 1964 (CD2).
Bobby Orr - drums
Shake Keane - trumpet, flugelhorn
Pat Smythe - piano
Coleridge Goode - bass
Recorded at Lansdowne Studios, London in 1963 (CD1) and September 1964 (CD2).