| | Herbie Mann Gagaku & Beyond/Astral Island CD Herbie Mann Discography of CDs
This two-disc set from Collectables features a pair of out of print Herbie Mann LPs: Gagaku and Beyond and Astral Island, originally issued in 1976 and 1983, respectively. These 14 smooth jazz/pop tracks include "Mauve Over Blues," "Jazz Dancing," and "Theme from Tootsie (An Actor's Life)." Most listeners would be better served with one of Mann's compilations on Rhino/Atlantic. ~ Al Campbell
Recorded at Mori Studio, Tokyo, Japan and Atlantic Studios, New York, New York. Originally released on Atlantic.
Contains 2 LPs on 2 CDs: GAGAKU & BEYOND (1976)/ASTRAL ISLAND (1983).
Personnel includes: Herbie Mann (tenor saxophone, flute); Tom Malone (trombone); Pat Rebillot (keyboards); Kinny Landrum (synthesizer); Sam Brown, Lou Volpe (guitar); Frank Gravis (bass, bass synthesizer); Tony Levin (bass); Buddy Williams (drums,percussion); Steve Gadd (drums); Minoru Muraoku & His New Dimension.
Personnel: Herbie Mann (flute, tenor saxophone); Sam T. Brown, Lou Volpe (guitar); Tom "Bones" Malone (trombone); Pat Rebillot (keyboards); Frank Gravis (bass synthesizer); Buddy Williams (drums, percussion); Steve Gadd (drums).
Audio Remixer: Lewis Hahn.
Liner Note Author: Arthur Levy .
Recording information: Atlantic Studios, N.Y.C; Mori Studio, Tokyo, Japan.
Unknown Contributor Role: Ted Takashi Ono. Gagaku & Beyond/Astral Island Music Herbie Mann Gagaku & Beyond/Astral Island Songs | | Gagaku & Beyond/Astral Island CD DISC 1: GAGAKU & BEYOND: |
| 1. | Shomyo (Monk's Chant) - (Monk's Chant) | |
| 2. | Mauve Over Blues | |
| 3. | Kurodabushi (Sake Drinking Song) - (Sake Drinking Song) | |
| 4. | Etenraku - (Traditional) | |
| 5. | Gagaku and Beyond | |
| | Gagaku & Beyond/Astral Island Songs DISC 2: ASTRAL ISLAND: |
| 1. | Astral Island | |
| 2. | Nueba | |
| 3. | More You (Piu Su) :: Piu Su | |
| 4. | Gold Rush | |
| 5. | Push Push | |
| 6. | Theme from Tootsie (An Actor's Life) | |
| 7. | Capim  | |
| 8. | Feel It All Over | |
| 9. | Jazz Dancing | |
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Gagaku & Beyond/Astral Island Review
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Recorded about six years after his first ventures into ghost trance music, this sprawling, four-disc set shows significant advances in Braxton's conception of this territory, although it, in general, lacks some of the ecstatic quality of the earlier releases on Braxton House. While the general notion of a consistent pulse that defines ghostly trance music is present, the tempi are for the most part rather slow and march-like. This imparts something of a plodding quality to several of the works, acting against the nervous and pleasurable giddiness one derived from the prior albums. The pieces are arranged for a variety of ensembles, the number of members gradually decreasing from ten to two over the course of the set. In the 90-plus minute "Composition 286," the tentet allows Braxton to use the collage strategy he developed in the '80s with his classic quartet, that of interpolating earlier compositions into a performance. There's a lovely moment late in the piece where "Composition 23A," the gorgeous final track from his New York, Fall 1974 release, emerges from the dense ensemble work that's worth the price of the album. There is a certain looseness (or expansiveness) to the work that, oddly enough, ends up sounding very similar to some Sun Ra sides from the '60s. The remaining five compositions are scored for groups ranging from quintet to duo and what they lose in richness (not much, actually), they make up for in clarity of form. Here the individual contributions come to the fore and there's particularly exciting work from percussionist Gino Robair and guitarist John Shiurba. The latter, along with trumpeter Greg Kelley on the first track, provides fresh doses of non-idiomatic, free improvisation ...
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BACCHANAL/1969 is a reissue of two late 1960s releases by psychedelic jazz composer Gabor Szabo and features the tracks "Three King Fishers," "Love Is Blue," and a cover of Donovan's "Sunshine Superman."
This two-fer includes two late-'60s recordings guitarist Gabor Szabo released on his own Skye label (his partners were Gary McFarland and Cal Tjader). As an m.o. in his career as a leader, Szabo found not only commercial viability in covering the pop tunes of the day -- as opposed to the dusty standards that were the norm for jazz pickers at the time -- but creative expression as well. The first, Bacchanal, was the last to feature the band that had previously recorded for Impulse! The group included drummer Jim Keltner, guitarist Jim Stewart, bassist Louis Kabok, and percussionist Hal Gordon (Keltner and Kabok would remain for 1969). Szabo had been raising eyebrows ever since his tenure with Chico Hamilton for his blend of jazz and gypsy styles, but his Impulse! recordings, most notably Spellbinder, Jazz Raga, and Sorcerer, put him in a league of his own as he added pop, rock, and Indian modal and Middle Eastern scales to his intoxicating brew. After leaving Impulse!, Szabo moved toward the mainstream but in a decidedly angular way, moving through the hits of the day with exotic and often poignant and canny arrangements, the center of which was always his scintillating, mysterious guitar tone. Bacchanal is the stronger of the two recordings, but they are both excellent examples of jazz moving into psychedelic terrain. On the former album, whether covering Donovan's "Three King Fishers" or Lee Hazlewood's "Some Velvet Morning" (which bear a remarkable, almost uncomfortable resemblance to one another), "Love Is Blue," "Theme from The Valley of the Dolls," the Bacharach/David classic "The Look of Love," or his two stunning originals, the effect is the same. Szabo takes the listener deeply into a song's lyric melody by building textures and dynamics all around it, surrounding it with different modalities and droning octaves while accenting the beat and providing a polyrhythmic backdrop, making it swing and pop. On the latter recording, ...
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