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David Izenzon

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9
Album Review

Barry Altschul, David Izenson, Perry Robinson: Stop Time: Live At Prince Street, 1978

Read "Stop Time:  Live At Prince Street, 1978" reviewed by John Sharpe


If at all familiar to modern day listeners, David Izenzon's name is most likely to ring a bell for his bass wizardry on Ornette Coleman's two-volume At The Golden Circle Stockholm (Blue Note, 1965). But the archive recording Stop Time is a reminder of just what listeners are missing. Izenson remained active well after his sojourn with Ornette, playing in New York City, with the likes of Jaki Byard and Paul Motian, until his untimely death in 1979, aged 47. ...

5
Album Review

Ornette Coleman Trio: At The Golden Circle Stockholm Revisited

Read "At The Golden Circle Stockholm Revisited" reviewed by John Eyles


As the ezz-thetics label has already released two of Ornette Coleman's Blue Note albums together on New York Is Now & Love Call Revisited, both recorded in April and May 1968, it was always in the cards that both volumes of At the Golden Circle Stockholm, recorded in December 1965, would not be far behind. Sure enough, here they are, both together on one disc with a running time of eighty minutes. That means this single disc includes all of ...

10
Album Review

Bill Dixon: With Archie Shepp, 7-Tette & Orchestra Revisited

Read "With Archie Shepp, 7-Tette & Orchestra Revisited" reviewed by Chris May


If Bill Dixon is today, in 2023, less widely remembered than other New Thing warriors such as Archie Shepp, Cecil Taylor and Albert Ayler, it is partly because he had little desire for celebrity, devoting much of his energy to organizing on behalf of his fellow musicians and composers, and teaching. In 1964, midway through making the 1962-1967 recordings collected on this album, Dixon organized the historic October Revolution in Jazz at the Cellar Café in Manhattan, which ...

8
Album Review

Archie Shepp: Fire Music To Mama Too Tight Revisited

Read "Fire Music To Mama Too Tight Revisited" reviewed by Chris May


In 2022, it is widely accepted that, when free jazz (aka the New Thing) was in its ascent in New York in the 1960s, there was, despite superficial appearances, no fundamental incompatibility between it and the historical jazz tradition. More contentiously, revisionist historians are now suggesting that there was no real conflict between New Thing and changes-based or modal-based musicians either. They should try telling that to Archie Shepp. In autumn 1966, during the Miles Davis quintet's ...

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