With Bitches Brew the jazz-rock message was handed down from the mount on tablets of stone. These days, you can buy the complete Parker Savoys and Dials in a lavish multiple CD set, but you get all the breakdown, alternative takes and other bits and pieces, making it a trial for all but the committed Parker enthusiast.
Undiluted precedent-breaking music from Parker, aided and abetted by the best and most sympathetic colleagues of the day. Recorded not long after his Blues And Roots, but Atlantic deliberately held that back for over a year because the bassist had signed his first contract with Columbia, the major whose distribution, especially to the white audience, was much more powerful. The first new Monk album to receive more than a guarded welcome in the press, the praise was entirely justified.
Rollins and Roach, currently making a success of the newly Clifford Brown-less Roach quintet, had worked for Monk before but both were seriously challenged by his material here. Using the bubbly Clark Terry and Paul Chambers on a subsequent session was a stroke of genius, as was the unaccompanied piano track. And the whole thing was released just as Monk began his historic group with Coltrane.
Was he ready! But Saxophone Colossus towers above them all, not only because it concentrates on a quartet setting allowing undiluted access to the creative process of Sonny at his most inspired, but because it is one of those happy coincidences where all elements came off equally well, including the use of unusual repertoire and inspired originals.
This is still the biggest-selling jazz album of all time in Japan. Two weeks or so later LaFaro was dead and Evans left with the ashes of his first great group. The pianist obviously had great discernment because thousands of people have concurred with him since, naming this not only their favourite Evans album but the one that changed their lives and in some cases, their careers.
Not only were the three trio members individually at their peaks on that particular Village Vanguard Sunday, but they interacted with quietly fierce invention as never before, certainly not on record. Equal partners, they sustained a musical dialogue on selection after selection that has rarely been equalled within the earshot of a professional microphone, with the astonishingly inventive LaFaro perhaps meriting the sobriquet of senior partner at times, so dominant can he be.
The various CD versions of this set come in all manner of configurations, many with as much as five bonus tracks. Original is best, however, and you will not be disappointed by a CD containing the bare LP track line-up. Feature: Ten life-changing jazz piano trio recordings. Anyway, few observers of the day were bothered by the hyperbole, more by the claim that Ornette had any musical worth whatsoever. What this album did in fact contain and represent was a completely different and fresh set of musical signposts within the jazz vernacular, both in terms of the stunningly bright melodic patterns Ornette crystallised in his vibrant and beautiful compositions and in his off-the-wall improvisatory approach.
He also brought back to jazz that rough, keening wail and constant pitch variations of the most basic blues and folk music. Yes, Coltrane plays like a man inspired by something more than the job immediately to hand, as do the other three musicians involved, and yes the themes are unremittingly sober.
Within jazz itself, the album ensured that the music could no longer be considered a social or cultural also-ran, the spiritual and humanistic concerns that made up its inspiration demanding that it be treated in the same way as the master creations of the art-music of any culture. Nothing could be the same again. How does one properly gauge impact? Today, there it is on Hollywood soundtracks, an incontestable signifier of hip.
There it is near the sales till, still moving up to 5, copies a week worldwide, outselling most contemporary jazz recordings. And there it sits in at least five million CD collections. But perhaps Kind of Blue is better measured by the sum of the constituent parts. Five tunes, exceedingly simple in construction, exceptionally deep in evocative power, played by seven post-bop masters, all in their prime.
Certainly, Kind of Blue must be measured by musical influence. Ask any number of influential music-makers who have been around, such as Quincy Jones, Herbie Hancock, and the like, they all agree. Miles was remarkably successful in marrying musical opposites: 20th century classical concepts such as harmonic simplicity, exotic scales and African rhythms all in a relaxed, swinging groove.
For one of its joint creators — John Coltrane — it pointed the way forward: he led much of the jazz world into the s after his modal lessons with Miles. At the close of the 60s, the modal idea became the foundation of fusion jazz. It proved the same for a number of rock groups, such as the Allman Brothers, Grateful Dead and Santana, that used the electric guitar as the solo instrument of choice, and set the standard for generations of jam-oriented bands to follow. My theories on why that particular Miles album maintains its hold on the top of various charts never seem to settle comfortably on one explanation.
I feel the ranking of a musical masterpiece is one that should be open to constant rethink, even if the status remains the same in the end. Or of 20, , or any number that would place one recording before another. Musical value and appreciation is far too subjective a thing to be ordered neatly on a linear scale. One-dimensional exercises such as list-making seem especially un-hip and unrevealing when it comes to jazz, the most porous and democratic of musics, open to all influences, granting all styles equal value and importance.
At least in my view. Of the many ideas I gathered for my book on Kind of Blue , there is one quote in particular that comes to mind whenever the subject of relative value arises. If you like the alto playing, buy a Cannonball Adderley record.
Springsteen was a recent discovery as was Bob Marley. Holding it out to me, he declared it a classic. I looked at it anew and came to enjoy its mood-setting atmosphere. These early Chrysalis singles were allotted catalogue and matrix numbers in the main Island WIP and wipx series, respectively, and bore the legend "manufactured and distributed by island records basing st london" on the upper circumference of the label.
Chrysalis continued to issue singles bearing Island catalogue numbers until Autumn , after which the label broke away completely and began its own series of catalogue numbers in a CHS series. Some records were issued in both forms. For those records in stereo, the catalogue number was changed by adding a fourth figure e. All following Island LPs had the white and red 'flaming sun' label. The Sue label LPs were incorporated into the island numerical system, and had the yellow and red 'bow tie' labels.
At this point, Island introduced the first of three pink label designs. These next releases had the first pink label, with an orange and black 'eyeball' logo on the left, unless otherwise indicated:. At this point, monaural releases are discontinued. Releases below this text are in stereophonic only. At this point, Island introduced the second pink label. It is known as the 'black block' label, as it featured a thick, block-like letter i at the bottom, dotted by a black eyeball in the centre of the label.
This was very quickly replaced by the third pink label, featuring a small white letter i logo. Due to variations in catalogue number assignation and the actual release dates of the records, there is a small cross-over period between the three pink label designs.
The original label designs for the following LPs are detailed in parentheses. This design was used for the remaining pink label issues, interrupted with increasing frequency by green Chrysalis label releases, as denoted in the listing below. Bronze label singles by artists such as Tony Hazzard and Uriah Heep began to appear in the Island listing from May , for a couple of years until that label's own BRO- series was begun.
In the second half of the decade the character of the label began to change and this is reflected in its singles releases from about onwards. They and others enjoyed considerable commercial success in the U. Barbara Pennington and Betty Davis. Island also joined a growing trend amongst U. Also in , another American record label, Shelter Records , began to issue U. Artists included the Dwight Twilley Band, J.
Finally, the Black Swan label was reactivated for certain reggae-styled releases, some of which appeared with WIP-series numbers. More: Album review buy from Norman Records. Suddenly all these birds flew in and surrounded him on the train platform and began singing with him.
Over the last five years, Whities has become one of the UK's most consistently interesting labels for electronic music, responsible for a steady stream of 12's, strange and intoxicating in equal measure. The Act of Falling from the 8th Floor brings together German trio Carl Gari with Egyptian poet and musician Abdullah Miniawy for a suite of six songs united in their strange intensity and otherworldly atmosphere. This is dark and heady stuff, dreamlike in its vividness, unsettling as a late night drive without lights through unfamiliar territory.
It sounds like the best thing the group have yet done, all warm blood pulsing eroticism and hypnotic, narcotic fizz. Luke Turner. More: Interview Buy from Norman Records. Noel Gardner. Those sounds resonated around my brain's memory centres, turning unfamiliarity into something else. Something - if not exactly familiar - that I could connect with, nonetheless. Those things that broke the near-silence were impossible to ignore. The noise they made lingered long after they were gone.
Bernie Brooks. He wanted me to break every single convention that I had and get rid of it. So whether that was narrative technique, or rhythmic flow, or stuff that made it OK for me to put my lyrics out there because it was so technical - no one can really argue with the technicality of sustaining a narrative over the length of an album because it allows you to hide.
What he was interested in me doing, was pushing the lyric right to the front. He wanted me to stop rapping. He wanted me to go with the flow of the lyric instead of the flow of the beat. He wanted to have the beat there but for me to walk alongside it and for me not be reliant on it or in service to it. I'd spent 15 years learning to stay on the beat, it was nearly impossible to unlearn. It's perhaps the most melancholic offering of any of Kevin Martin's projects - sparse, sombre and at points, overwhelming in its bleakness.
Set against haunting, nightmarish drones, Roger Robinson - whose voice sounds like it was created for no other purpose than poetry - tells wounded tales of loss and regret, illuminating the shattered emotional landscape of a man reeling from a perished, destructive relationship.
Adam Quarshie. Listening to him twanging those strings is like being smacked in the face with a tin plate loaded with meat from a carvery serving up nothing but manly emotions. It sounds here like expensive hand cream in winter; like a freezing plunge pool after a sauna; like fur coat against bare skin. I could continue, but I ought not to.
Jennifer Lucy Allan. In this age of cultural whiteout, every year there's a record that you'd have completely missed had it not been for a kindly intervention, and so thanks to Quietus writer Ed Gillett for mentioning this on Twitter a while back and thus encouraging me to backtrack and give it a listen.
I'm glad he did for this, the cellist's finest work to date, is a pure tonic for these times, an often emotional, beautifully constructed layered solo recording of the work by composer John Luther Adams. Stunning and transportive. Spacey, immersive percussion, a dark, dissonant edge and a discernible vitality to it all: this is very impressive music. Tara Joshi. At times its subtly hypnotic, at others brilliantly brash, poppy and direct - Van Etten casts the same shadowy spell over it all.
A towering achievement. Water runs throughout this project, finding tribunes in each track. As a sonic theme it permeates the project as a reminder of the fluidity of life and the potential for change. Ringing metallic chimes play a wondering melody, soon infiltrated by a small church choir. This gradually grows in presence before once again falling away and drowning in the stream, before sparse chimes re-emerge to strike an unsure duet with the semi-melodic gargles of a baby.
An exercise in rigorous minimalism, Environment employs a necessarily limited palette. After 'Act', you'll have heard nearly every sort of sound, tempo, and approach you can expect to. What saves the album from being unbearably austere or monotonous is the way MY DISCO attack with nearly every single sound they employ. If not exactly violent, each carries with it the threat of violence, and with that comes tension. Aaron Skates. It begins with a tinkling and the soft blow of a recorder.
Lara C. TripleGo seem to exist in a permanent nocturnal other-place, a Paris that not too many visitors would recognise. In this fluid environment languages and cultures flow into each other; Panama, Arabic and Spanish mingle with French; amorous or aggressive impulses crystallise briefly then dissolve. David McKenna. Walshe pulls from a confounding variety of sources for inspiration, everything from Johnny Cash lyrics to 4Chan to "the collective unconscious as evidenced by Googull Autocomplete".
At times, it sounds as if the listener has left too many browser windows open, with audio running in each. It would be maddening, were it not arranged in such an engaging, entertaining fashion. Dustin Krcatovich. With that, Reward sounds like a modern classic, because it has a longevity that very few records possess. Hayley Scott. Harry Stott. As well as being a very creepy one. I would think too much about creating the moments on the dance floor I love.
Those moments are still present in some of Celeste's best club cuts to date 'Want', 'Sesame', 'Infinitas' , but they're surrounded by gorgeous explorations of new age and ambient music 'Sun Notification', 'Moons' that vitally serve a purpose as far more than filler in the context of the full LP.
Archived from the original on March 27, Associated Press. December 7, Los Angeles Times. Archived from the original on February 14, December 6, Retrieved December 6, December 1, December 5, Retrieved December 5, Retrieved December 17, Us Weekly. Retrieved November 30, USA Today. The Village Voice. January 25, Archived from the original on February 3, Retrieved December 12, Retrieved November 24, December 13, Retrieved December 13, Drowned in Sound.
December 20, Mojo End Of year Lists Q magazine Recordings Of The Year". British Film Institute. December 2, Retrieved December 2, The Slate Group. November 4, Retrieved November 4, Retrieved December 20, Retrieved December 30, December 23, December 3, Retrieved December 3, November 18, New York Post. November 19, Paste Magazine. October 9, Retrieved October 9, The Key. Retrieved December 23, Tampa Bay Times.
Retrieved December 31, November 5, October 7, The Wild Honey Pie. October 8, Retrieved October 8, December 21, The Sydney Morning Herald. Retrieved March 5, Retrieved March 19, Archived from the original on March 18, September 13, The Quietus. Archived from the original on October 27, July 24, Retrieved July 25, June 26, Retrieved June 28, The Television Academy. July 14, Retrieved July 14, Retrieved July 26, August 28, MTV Japan.
Retrieved September 2, Eldridge Industries. Retrieved March 31, Retrieved January 5, National Academy of Recording Arts and Sciences. Retrieved April 6, March 22, Black Reel Awards. February 17, May 1, Retrieved May 1, May 2, Official Charts Company. Australian Recording Industry Association. Retrieved June 7, Double J. May 3, Retrieved June 18, July 25, Retrieved August 6, Artist Preston Jackson created a life-sized bronze statue in dedication to the beloved comedian and named it Richard Pryor: More than Just a Comedian.
It was placed at the corner of State and Washington Streets in downtown Peoria, on May 1, , close to the neighborhood in which he grew up with his mother. The unveiling was held Sunday, May 3, The show tracked down the two cops who had rescued Pryor from his "freebasing incident", former managers, and even school friends from Pryor's home town of Peoria, Illinois.
It included commentary from fellow comedians, and insight into his upbringing. A retrospective of Pryor's film work, concentrating on the s, titled A Pryor Engagement , opened at Brooklyn Academy of Music Cinemas for a two-week run in February From June 7 to 9, , SiriusXM hosted "Richard Pryor Radio", a three-day tribute which featured his stand-up comedy and full live concerts.
Jennifer Lee also served as an executive producer on the film. The film would have been directed by Bill Condon and was still in development with no release date, as of February The biopic remained in limbo, and went through several producers until it was announced in January that it was being backed by The Weinstein Company with Lee Daniels as director.
Pryor met actress Pam Grier through comedian Freddie Prinze. They began dating when they were both cast in Greased Lightning Kidder stated that she "fell in love with Pryor in two seconds flat" after they first met. Pryor was married seven times to five women:   . Nine years after Pryor's death, in the biographical book Becoming Richard Pryor by Scott Saul stated that Pryor "acknowledged his bisexuality"  and in , Quincy Jones and Pryor's widow Jennifer Lee claimed that Pryor had had a sexual relationship with Marlon Brando , and that Pryor was open about his bisexuality with his friends.
In , Pryor was arrested for drunk driving , for which he was sentenced to 5 months in jail. Late in the evening of June 9, , Pryor poured proof rum all over himself and lit himself on fire. Pryor claimed his injuries were caused by burning rum. He was taken to a hospital, where he was treated for second- and third-degree burns covering more than half of his body. His daughter Rain stated that the incident happened as a result of a bout of drug-induced psychosis. Pryor's widow Jennifer Lee recalled when he began freebasing cocaine: "After two weeks of watching him getting addicted to this stuff I moved out.
It was clear the drug had moved in and it had become his lover and everything. I did not exist. In November , after many years of heavy smoking and drinking, Pryor suffered a mild heart attack at age In , he was diagnosed with multiple sclerosis. In late his sister said he had lost his voice as a result of his multiple sclerosis. However, on January 9, , Pryor's wife, Jennifer Lee, rebutted this statement in a post on Pryor's official website, citing Richard as saying: "I'm sick of hearing this shit about me not talking I have good days, bad days On December 10, , nine days after his 65th birthday, Pryor suffered a third heart attack in Los Angeles.
He was taken to a local hospital after his wife's attempts to resuscitate him failed. His widow Jennifer was quoted as saying, "At the end, there was a smile on his face. His ashes were later spread in by his widow, Jennifer, in Hana, Hawaii. From Wikipedia, the free encyclopedia. This article is about the stand-up comedian. For the broadcaster and humorist, see Cactus Pryor. American stand-up comedian, actor, social critic, writer, and MC. Racism race relations American politics African-American culture human sexuality religion self-deprecation everyday life recreational drug use.
Patricia Price m. Shelley R. Bonus m. Deborah McGuire m. Jennifer Lee m. Flynn Belaine m. Recording Academy Grammy Awards. Vox Magazine. September 30, Archived from the original on September 14, Retrieved September 1, Pryor was voted No.
New York Post. New York City: News Corp. Retrieved June 8,Richard Franklin Lennox Thomas Pryor (December 1, – December 10, ) was an American stand-up comedian, actor, and writer. He reached a broad audience with his trenchant observations and storytelling style, and is widely regarded as the greatest and most influential stand-up .