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Noah Howard
Berlin Concert

jazz/yass/impro
Cien Fuegos, 2025

Średnia ocena klientów: -    oceń

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winyl : 134,90 zł
W magazynie: na stanie
Nr kat.: CF033
EAN: 9120036684089
format : 12"LP
kolor : czarny
liczba nośników : 1
opakowanie : singlefold


nr tytuł play mp3
1 Introduction by Noah Howard
2 Lotus Flower
3 New York Subway
4 Mardi Gras
5 Ole
6 Marie Leveau


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https://youtu.be/sLH87Dy0WUc

Noah Howard - alto saxophone
Kent Carter - double bass
Taskashi Kato - piano
Lamont Hampton - percussion
Oliver Johnson - drums

Trost Records proudly announces the latest release in its ongoing cooperation with Berlin’s legendary FMP label, with the long overdue reissue of two classic live albums by the singular alto saxophonist Noah Howard, a key figure in New York’s free jazz revolution during the 1960s. Berlin Concert was recorded live in the titular city in January of 1975 with a quartet featuring pianist Takashi Kako, bassist Kent Carter, drummer Oliver Johnson, and percussionist Lamont Hampton, while Schizophrenic Blues was a quartet date taped live in Berlin in May of 1977 with a quartet comprising Johnson, bassist Jean-Jacque Avenel, and trumpeter Itaru Oki. Both titles were released on the SAJ sub label in 1977 and 1978, respectively.
These two albums deftly capture the full diapason of Howard’s fiery art. Fueled by the propulsive swing of the great Oliver Johnson, bassist Kent Carter—both Americans who spent many years living and working in Europe, including long stints with Steve Lacy—and percussionist Lamont Hampton, and Berlin Concert nonchalantly toggles between modal workouts, where Japanese pianist Takashi Kako invokes the ironclad drive of McCoy Tyner, and the needling fury of “New York Subway,” summoning the all-out fury of the 60s New Thing. The pianoless quartet Schizophrenic Blues casts the music in a different light, with the great Japanese trumpeter Itaru Oki serving as a worthy frontline partner for Howard’s livewire alto sax. Johnson is back in the rhythm section along with another Lacy disciple in the French bassist Jean-Jacques Avenel, who had already formed a strong musical bond, a mind meld readily apparent in grooves both ferociously energetic and contextually nimble. The leader reveals his curiosity by extending his repertoire to include an unexpected reading of “Bird of Beauty,” a Stevie Wonder tune that released a few years earlier on Fulfillingness' First Finale, while the album concludes wit
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