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https://cosmic-vibrations.bandcamp.com/album/pathways-passages

< Spiritmuse presents “Pathways & Passages”, the debut album from “Cosmic Vibrations” the LA-based ensemble led by acclaimed jazz vocalist Dwight Trible that defines spiritual jazz in the 21st century. A genre-defying amalgamation of divine vocals, soul-stirring jazz, healing poetry, with a rich tapestry of African, Mesoamerican and indigenous North American percussion and

 

Pathways & Passages: Cosmic Vibrations ft Dwight Trible

 

instrumentation, taking you on a cosmic journey of spiritual improvisation and beyond.

Cosmic Vibrations is a supergroup of heavyweight musicians with a vast combined experience, an ensemble of 6 souls who approach improvisation full of spirit and without ego. Gathered for this very purpose by Dwight Trible, undoubtedly the most acclaimed and in-demand vocalist currently working in the realms of spiritual jazz, the band has been performing steadily over the last three years, building a reputation in LA and further afield for their electric, mesmerising performances. “Pathways & Passages” presents the first time that their transcendental sound has been recorded and publicly released.

A show-stopping performer and artist, Dwight Trible has directed the legendary Horace Tapscott Pan Afrikan Peoples Arkestra, and performed alongside with the likes of Pharoah Sanders, J Dilla, Gary Bartz, Kamasi Washington, Kahil El’Zabar, Madlib, Charles Lloyd, Matthew Halsall, Georgia Anne Muldrow, Soil & “Pimp” Sessions, Mark de Clive-Lowe, and Carlos Niño. There is indeed no one today who better carries on the tradition of legendary jazz vocalists such as Terry Callier, Leon Thomas and Andy Bey, whilst carrying that torch forward and exploring brand new territory. Apart from his rich vocal tones, Trible is also heard on kalimba here.

Improvisation forms the core of this record, but the rhythm, the groove is never absent. The poetry led “Nature’s Vision” sets the tone for the record’s journey, but it peaks on the group’s incredible rendition “Motherless Child”. A live favourite of Trible’s, this bluesy take rides heavy on Williams’ bass and enjoys the addition of guest Scott Fraser’s lap steel guitar. With his rich, emotive singing Trible takes full possession of the song. By the time the beautiful closing ballad, “Some Other Time” ends, the album has truly succeeded in transcending the listener from their earthly surroundings.

A genre-defying amalgam of divine vocals, intuitive improvisation and deeply spiritual music, on Trible’s voice soars among the nexus of winds & skins from an incredibly talented and “deeply rooted” group in complete brotherly connection with one another. If you are looking for genuine, soul-enriching spiritual jazz today, look no further than “Pathways & Passages”. >

 

 

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On 19/09/2020 at 8:41 PM, t_mike said:

Had a listen to this new release from Monk. A previously unreleased recording of a live set at Palo Alto High School. It's obvious that this was never recorded with the intention of release, the SQ is average at best, and I swear that the piano sounds quite out of tune on a number of occasions. The musicianship is exemplary, but the overall sound has me thinking I'll give it a miss as far as purchasing goes.

 

 

Screenshot_20200919-193141_TIDAL.jpg

This is an interesting article on the background to this recording and concert

 

https://www.theage.com.au/culture/music/long-lost-thelonious-monk-gem-unearthed-20200914-p55viy.html

 

Given it was at a high school and wasnt even certain to happen until the last minute.  I am surprised there is any recording.  Full kudos to the guy who organized the whole thing

Edited by Demondes
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From Qobuz info:

 

In 2020, the release of a late-era Thelonious Monk live show recorded at a high school by a custodian may seem like, at best, a historical curio or, at worst, the very epitome of barrel-scraping. But from the first moments of this 45-minute set, it's clear that this unique recording has far more going for it than its provenance or its rarity. But, to be sure, both the provenance and rarity of the recording are worth noting: In the heightened, revolution-ready atmosphere of 1968, a senior at an affluent and predominantly white high school bringing a jazz legend to campus seems like an absurd idea, but this senior was Danny Scher, and this wasn't even the first jazz gig he booked at Palo Alto High (he brought in Cal Tjader during his junior year and would book Duke Ellington a few months after this Monk show). Scher would go on to work for more than two decades with concert promoter Bill Graham, but in 1968, he was a driven and passionate young jazz fan who didn't take no for an answer. So, with Thelonious Monk booked for a two-week stand at the Jazz Workshop in San Francisco, Scher didn't see why he couldn't bring the iconic pianist into Palo Alto for a Sunday afternoon side gig at his high school. Monk, having recently released what would be his last Columbia album (Underground), was on the cusp of forced retirement due both to his struggles with mental illness and the generally waning relevance of bop-era jazz icons; at this point in his career, he wasn't turning down a well-paying gig, regardless of the venue. With mthe rest of his quartet in tow, Monk put on a jubilant, tight, and joyous performance in a high school gym on a rainy Sunday afternoon. It's a pretty standard Monk set for the time—just six songs, mostly Monk-penned stalwarts from '40s and '50s like "Epistrophy" and "Blue Monk," as well as a brief and lovely solo piano take on "I Love You Sweetheart of All My Dreams"—but Monk and the quartet (saxophonist Charlie Rouse, bassist Larry Gales, and drummer Ben Riley) are in light spirit and great form throughout, full of energy and interplay. The quality of the recording— which, again, was made by the school's custodian!—is excellent, with rich low end and a shining clarity showcasing the melodic conversations between Monk's piano and Rouse's tenor sax. The crowd noise is pretty low in the mix compared to many live recordings, and there are occasional moments of audible degradation due to the age of the tape, but overall, this is an incredible recording. The sound is clear, warm, immersive, and enveloping, right down to the audible squeaks of Monk's piano bench, putting the listener right in the middle of a truly unique performance. © Jason Ferguson/Qobuz

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1 hour ago, Demondes said:

This is an interesting article on the background to this recording and concert

 

https://www.theage.com.au/culture/music/long-lost-thelonious-monk-gem-unearthed-20200914-p55viy.html

 

Given it was at a high school and wasnt even certain to happen until the last minute.  I am surprised there is any recording.  Full kudos to the guy who organized the whole thing

Some people have all the luck. We never even had Patsy Biscoe at our school.

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Maybe I should give it another listen, but it was quite an average recording to my ears through tidal.

 

Interestingly, I received an email from UAe regarding a streamed event yesterday where Monk's son and Danny Scher were interviewed together regarding the release. Unfortunately the email was received after the event.

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1 hour ago, mrbuzzardstubble said:

Some people have all the luck. We never even had Patsy Biscoe at our school.

Patsy Biscoe ?  haha, it could have been worse Ralf Harris.    

 

 

 

I think we had Bob Barnard or someone of that vintage come to our primary school in the 1970's  (Clovelly Public School - Sydney's East).   I know Ron Falson (Trumpet) went to Clovelly Public.

 

And for some strange reason I thought Dutch Tilders as well (there were not too many blues muso's in Australia in 1970's) also played one day at the school

Edited by Demondes
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