'Love and Understanding' version of Citadel/Room 315 that predates the RCA record gains first release

Spanning jazz-rock, the orchestral and the avant, blessed with poke-your-ears-out sound first listens make abundantly clear, remastered involving a 96kHz 24 bit transfer from the original tapes, this is huge for fans of 1970s UK jazz that Jon …

Published: 2 Feb 2020. Updated: 4 years.

Spanning jazz-rock, the orchestral and the avant, blessed with poke-your-ears-out sound first listens make abundantly clear, remastered involving a 96kHz 24 bit transfer from the original tapes, this is huge for fans of 1970s UK jazz that Jon Griffiths' My Only Desire Records is to issue on vinyl, CD and downloads a previously unreleased 1974 ''Love and Understanding'' monikered recording of the great pianist/composer Mike Westbrook's Citadel/Room 315, a recording that features the peerless reedist John Surman.

The live recording in Sweden predates the famous recording itself that RCA put out a year later.

'Citadel/Room 315' is a long suite conducted by Westbrook himself the origins of which derive from a Swedish Radio commission. Surman plays both baritone and soprano saxes and adds bass clarinet.

Significant for scholars of Westbrook intent on tracing the development of the work given the chronology and the newly available status of the work, a 16-piece orchestra was involved on the recording drawn from a Swedish band led by saxophonist Arne Domnérus and Argentinian trumpeter Americo Bellotto, personnel includes trumpeters Jan Allan and Bertil Lövgren, guitarist Rune Gustafsson, the great pianist Bengt 'Dear Old Stockholm' Hallberg and drummer Egil Johansen. 'Citadel/Room 315' takes its name from the unlikely circumstances of a tower block at Leeds College of Music where it was composed and where Mike's wife Kate was teaching and who inspired the piece. Mike Westbrook comments: “It’s very much about our early days together. The whole piece is about falling in love.” SG Release date is 3 April.

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Trilok Gurtu, God is a Drummer, Jazzline

Known for his work in recent years with Jan Garbarek and more distantly with John McLaughlin the great tabla player, drummer, percussionist, konnakol artist Trilok Gurtu returns with this storming and infectiously exuberant new studio album …

Published: 1 Feb 2020. Updated: 4 years.

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Known for his work in recent years with Jan Garbarek and more distantly with John McLaughlin the great tabla player, drummer, percussionist, konnakol artist Trilok Gurtu returns with this storming and infectiously exuberant new studio album dedicated to his guru Ranjit Maharaj.

One of the album tracks 'Holy Mess,' is a very unliteral but gutsily head bobbing homage to the Second Great Miles Davis Quintet drummer Tony Williams although the atmosphere of the puckishly titled God is a Drummer is more throw the kitchen sink at it 80s fusion in character that sits alongside say aspects of the Zawinul Syndicate output of yore than the jazz-rock experimentations of the late-1960s that Miles did so much to usher in and Joe Zawinul had his part in nudging along 50 years ago on Bitches Brew.

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Gurtu is joined by trumpeter Frederik Köster, trombonist Christophe Schweizer, keyboardist Sabri Tulug Tirpan with some pleasingly dated sounds offset by his fantastic sense of offbeats and choice of accents, and bass guitarist Jonathan Cuniado who brings an aliveness to the beat. Guests include Indian singer Kaplana Patowary, Turkish singer Zara, Turkish violinist Emre Meralli and for good measure a tad unnecessarily if I am being completely frank the North German Junge Norddeutsche Philharmonie, conducted by one Wolf Kerschek who in 2016 broke a Guinness world record by conducting ''the largest orchestra in the world'' containing 7,548 musicians. But we will not hold that against him.

Highlights? Not surprisingly given that one of the chief reasons you approach a Gurtu record with relish is the propect of some spectacular tabla is the fact that the solo tabla sections however brief rise to the top of my list. God is a Drummer is full of tiny interludes, something that might irritate, but actually I found worked well because they acted as resets especially when one instrumental track gives way to a contrasting vocalised extravaganza such as the riveting 'Obrigado' when the Indian vocals have a rush and ecstasy about them. The konnakol (art of performing percussion syllables vocally) that the album is dotted with and that sits organically within well integrated instrumental and vocal passages is a big plus too.

An album full of life and a reminder of what an all-round musician and big thinking composer Gurtu is and how his art and musical life is a joyous part and representative of the universal vibrations that surround us all and just gets deeper as he journeys on. Stephen Graham
To be released on Friday. Photo of Trilok Gurtu: via Jazzline