Until it was swept aside by the pop explosion of the 1960s, jazz was the most popular modern sound on earth. From the New World and the Caribbean to Africa, across the Soviet Bloc and the British Empire to the Far East, jazz music was embraced, adopted, played and enjoyed.
Esoteric, Modal and Progressive Jazz inspired by Islam 1957 - 1988. Songs ancient and divine - the seventh volume of our acclaimed Spiritual Jazz series examines the influence and impact of Islam on four decades of jazz innovation.
The Blue Note Record label needs little introduction. Musically, graphically and sonically iconic, the label created and defined the golden age of modern jazz on record. Founded in 1939 by German émigré Alfred Lion, the label's roster of artists is a litany of giants – Thelonious Monk, Sonny Rollins, Horace Silver, Lee Morgan, Art Blakey, Lee Morgan, Herbie Hancock and many more. With peerless musicians in the grooves, the legendary Rudy Van Gelder behind the boards, and graphic design genius Reid Miles creating emblematic artwork for every release, Blue Note – 'the Cadillac of the jazz lines' – was outstanding in every way.
Groundbreaking sounds from the Norwegian scene of the late 60s – an album that's got George Russell's name on the cover, but which actually features brilliant performances from a quartet who'd go onto become huge names in the ECM scene of the 70s! Yet the sound here is quite different than ECM, too – very full and free – with vibrant work that really illuminates the younger years of these musicians – a sublime quartet that includes Jan Garbarek on tenor and soprano sax, Terje Rypdal on guitar, Arild Anderson on bass, and Jon Cristensen on drums! Some tunes are quite free, while others have a spiritual sense of soul that's equally grat – and throughout the record, all players express themselves in an unfettered way.
1970 serves as a tectonic shift within the crossroads of American popular music. With rock and roll on the cusp of dive bombing into its arena-era, the more adventurous and esoteric off-shoots tended to be whisked away from the spotlight while oppressive corporate behemoths drooled at the opportunity to rule labels, touring, publicity and all of their ancillary business interests with an iron fist.