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Keep the feeling real.uu d e e p h o u s e 2 0 2 1 uu. Music that makes you groove no matter where you are. If you're down with the deep house music, music with feeling. 10:00p Kyoto Jazz Massive: Eclipse 10:07p South Copa: Delicado 10:13p Trüby Trio: Carajillo 10:19p Sarah Vaughn: Whatever Lola Wants (Gotan Project. Uuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuu Shoutouts to the groups that love the music they promote. Uuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuu Uuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuu Uuuuuuuu uuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuu Quality : 320kbps / 44.1 kHz / Dual Channel Uuuuuu uuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuu U2 UU UUU2 UU UUUUU UU U UUUU2U UUU UU UU U UUUUU U 2U UU2UUU2 U UU UU U UU UUU UUU UUU UUUU U U U2U U UUUU UUUUUU UUU U U2 U UU UU UU Unless, that is, your timeline stopped during the big band era.Download ZIP Download Individual Files 2U The group caught these implications and amplified them there are moments when the free interplay moves at head-snapping velocity, a torrent of new ideas interspersed with antic inversions of jazz themes like Sonny Rollins’ “Pent-Up House.”ĭespite the density of information, the jazzness of this one is pretty clear. Without imposing a rigid structure, Taylor used small chordal phrases in writerly ways, as provocations, or rhetorical questions, or, sometimes, as meta framing devices that return when least expected. The new release includes a previously unavailable opening piece, the 88-minute “Autumn/Parade,” and it’s an essential document.

The two-part “Spring of Two Blue-J’s” was issued in 1974 and hailed by Village Voice critic Gary Giddins as the jazz album of the year. A chunk of the performance has been available before. What transpired was free improvisation that pushed well beyond the expected frenetics, and re-established Taylor as the most thoughtful magician in a fertime time. He’d not documented any music for five years when several key members of the Cecil Taylor Unit - alto saxophonist Jimmy Lyons and percussionist Andrew Cyrille - along with bassist Sirone (Norris Jones) assembled at Town Hall. As this terrific story in the New York Times explains, Taylor, then age 44, had deliberately shifted his emphasis from recording to teaching in the late 1960s, after a run of acclaimed records for Blue Note. This week’s most significant jazz release is Return Concert, the 1973 Town Hall concert by visionary pianist Cecil Taylor and an agile, profoundly conversational small group.