Shows that British jazz has now found an identity of its
own and is no longer dependent on the latest trends from
America.
Alun
Morgan, The
Gramophone, 1967
Conversations,
featuring Kenny Wheeler and Dave Aaron.
NB this is from the newly discovered stereo version
released as part of the BGO compilation in 2008.
Featuring
Harry Beckett or Kenny Wheeler (trumpet and flugelhorn)
Dave Aaron (alto sax & flute)
Mike Gibbs (trombone)
Karl Jenkins (baritone sax & oboe)
Philip Lee (guitar)
John Marshall (drums)
Graham Collier (bass)
Recording History
First issued on LP by Deram, 1967
First issued on CD by Disconforme, 2000
Reissued on enhanced vinyl by whatmusic.com, 2001
A newly discovered stereo version was issued as part of a 2 CD combination by BGO, 2008
The Tracks
Blue Walls (composed Charlie Mariano)
El Miklos
Hirayoshi Suite
Crumblin’ Cookie - rumoured to be a great favourite of well known DJ Gilles Peterson, and has been played on the BBC by him and by Craig Charles. The track has also been included in two compilations, Trailer Happiness, Velvet Voodoo and New Tokyo International Jazz Airport meets whatmusic.com
Conversations
Deep Dark Blue Centre
Some reviews
This early, unjustly neglected disc from 1967 reveals a debt to Gil Evans, perhaps, but also a burgeoning talent for color, contrast and melodic twists.
Art Lange, Pulse, 2001.
A remarkable piece of work … a valid and wholly satisfying musical experience.
Audiophile, reviewing the whatmusic vinyl release, 2001.
His writing had economy, daring and just enough whimsy to prevent the music from perishing of an overdose of self-regard, the fate of so much avant garde jazz of the sixties … a perenially interesting introduction to his work.
Doug Ramsey, Rifftides whose review in 2006 also contained the quote used in the subheading.
But nor do [these records] have the individuality and coherence of musical vision you (still) find in Stan Tracey’s Under Milk Wood, released in 1965, and Graham Collier's Deep Dark Blue Centre, released in 1967.
Brian Morton, reviewing a 2006 rerelease of some early records from Collier contemporaries.
The album’s undoubted influence can be heard in the later work of the French composer, and jazz pianist, Michel Legrand; of Mike Gibbs himself, Mike Westbrook, Anouar Brahem, Colin Towns, the orchestral and choral works of Karl Jenkins, and Paolo Damiani. It’s everywhere if you listen. … And Graham Collier goes on, goes on re-writing the rules, taking, as he would say, the best of the past and mixing it with the best and most inventive players and sounds of the now - and that’s as good a definition of jazz as you’re likely to get.
Steve Newman, jazzgroove.com, 2007.
Critic’s Choice (2003) by Brian Morton, Jazz Review.
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