Gary Burton Lofty Fake Anagram / A Genuine Tong Funeral (2-CD)
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- Number of Discs: 2
- Released: June 17, 2006
- Label: Bgo - Beat Goes On
Tracks on Disc 1:
- 1.June the 15, 1967
- 2.Feelings and Things
- 3.Fleurette Africaine
- 4.I'm Your Pal
- 6.The Beach
- 7.Mother of the Dead Man
- 8.Good Citizen Swallow
- 9.General Mojo Cuts Up
Tracks on Disc 2:
- 1.The Opening / Interlude: Shovels / The Survivors / Grave Train
- 2.Death Rolls
- 3.Morning, Part 1
- 4.Interlude: Lament / Intermission Music
- 5.Silent Spring
- 6.Fanfare / Mother of the Dead Man
- 7.Some Dirge
- 8.Morning, Part 2
- 9.The New Funeral March
- 10.The New National Anthem / The Survivors
Personnel: Gary Burton (vibraphone); Larry Coryell (guitar); Steve Lacy (soprano saxophone); Leandro "Gato" Barbieri (tenor saxophone); Howard Glover "Johnny" Johnson (baritone saxophone, tuba); Michael Mantler (trumpet); Jimmy Knepper (trombone, bass trombone); Carla Bley (piano, organ); Lonesome Dragon, Bobby Moses (drums).
Audio Remasterer: Andrew Thompson .
Liner Note Authors: Alyn Shipton; Carla Bley.
Photographer: Fred Seligo.
This two-fer brings together two key Gary Burton Quartet works of the the late '60s. After 1967's DUSTER, the Quartet went on to collaborate with composer Carla Bley on A GENUINE TONG FUNERAL, a quirky, mordant jazz "opera" that owes as much to Kurt Weill as to Charles Mingus. Besides Burton, guitarist Larry Coryell, and bassist Steve Swallow, the free-spirited drummer Bob Moses makes his appearnce, having replaced veteran Roy Haynes. Other Bley stalwarts include saxophonists Gato Barbieri and Steve Lacy, who pop in and out of the vivid cartoon-like musical narrative.
The shaggy Moses is key to the musical feel of LOFTY FAKE ANAGRAM, the official follow-up to the outstanding DUSTER. With the exception of Duke Ellington's "Fleurette Africaine" however, the writing isn't quite as strong as on the previous date's--there's nothing here on the level of Mike Gibb's "Sweet Rain" or Bley's "Sing Me Softly Of The Blues" or Swallow's pop-like "General Mojo's Well-Laid Plan." This time the bassist contributes "General Mojo Cuts Up," a chance-based exploration along the same lines. Still, Burton and co. are in peak form. Larry Coryell just naturally played like a rock guitarist while retaining the harmonic sophistication of a jazz musician. Here his playing is fluent and innovative, as is that of the Quartet as a whole.
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