Milford Graves - In Concert At Yale University - VINYL LP
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The late percussionist Milford Graves was one of the most unique artists the world has ever seen. Born in Jamaica, Queens in 1941, he began his career in the early '60s as a part of New York's vibrant Latin jazz scene. His focus quickly turned inward, shifting towards a practice that explored the very nature of self. From his work in the New York Art Quartet and collaborations with Albert Ayler, Sonny Sharrock and more to his important contributions during NYC's loft era-he is, simply put, free jazz royalty.In April 1966, the duo of Graves and pianist Don Pullen played at Yale University. As John Corbett writes in the liner notes, InchThis performance was something of a turning point for Graves. Until then he had been working in other people's bands or collective ensembles. He was phenomenally busy. In 1965 alone, he recorded with NYAQ (two LPs), Giuseppi Logan Quartet, Paul Bley Quintet and Lowell Davidson Trio, and he made his first recording released under his own name, Percussion Ensemble. Every one of these is important in it's own way, but none of them quite anticipate how radical was the music that he and Pullen would unleash that evening in New Haven.InchOriginally released on the artists' own Self-Reliance Program tag, this legendary one-night performance would be split into two volumes In Concert At Yale University and Nommo. While rooted in African rhythms, Graves' music has it's own sense of time. As the drummer stated in a 1966 DownBeat interview, InchTime was always there, and the time I see is not the same as what man says time is. It works by impulsion.Inch
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- GenreRockDescriptionThe late percussionist Milford Graves was one of the most unique artists the world has ever seen. Born in Jamaica, Queens in 1941, he began his career in the early '60s as a part of New York's vibrant Latin jazz scene. His focus quickly turned inward, shifting towards a practice that explored the very nature of self. From his work in the New York Art Quartet and collaborations with Albert Ayler, Sonny Sharrock and more to his important contributions during NYC's loft era-he is, simply put, free jazz royalty.In April 1966, the duo of Graves and pianist Don Pullen played at Yale University. As John Corbett writes in the liner notes, InchThis performance was something of a turning point for Graves. Until then he had been working in other people's bands or collective ensembles. He was phenomenally busy. In 1965 alone, he recorded with NYAQ (two LPs), Giuseppi Logan Quartet, Paul Bley Quintet and Lowell Davidson Trio, and he made his first recording released under his own name, Percussion Ensemble. Every one of these is important in it's own way, but none of them quite anticipate how radical was the music that he and Pullen would unleash that evening in New Haven.InchOriginally released on the artists' own Self-Reliance Program tag, this legendary one-night performance would be split into two volumes In Concert At Yale University and Nommo. While rooted in African rhythms, Graves' music has it's own sense of time. As the drummer stated in a 1966 DownBeat interview, InchTime was always there, and the time I see is not the same as what man says time is. It works by impulsion.InchArtistMilford GravesTitleIn Concert At Yale UniversityFormatVINYLLabelSuperior Viaduct
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The late percussionist Milford Graves was one of the most unique artists the world has ever seen. Born in Jamaica, Queens in 1941, he began his career in the early '60s as a part of New York's vibrant Latin jazz scene. His focus quickly turned inward, shifting towards a practice that explored the very nature of self. From his work in the New York Art Quartet and collaborations with Albert Ayler, Sonny Sharrock and more to his important contributions during NYC's loft era-he is, simply put, free jazz royalty.In April 1966, the duo of Graves and pianist Don Pullen played at Yale University. As John Corbett writes in the liner notes, InchThis performance was something of a turning point for Graves. Until then he had been working in other people's bands or collective ensembles. He was phenomenally busy. In 1965 alone, he recorded with NYAQ (two LPs), Giuseppi Logan Quartet, Paul Bley Quintet and Lowell Davidson Trio, and he made his first recording released under his own name, Percussion Ensemble. Every one of these is important in it's own way, but none of them quite anticipate how radical was the music that he and Pullen would unleash that evening in New Haven.InchOriginally released on the artists' own Self-Reliance Program tag, this legendary one-night performance would be split into two volumes In Concert At Yale University and Nommo. While rooted in African rhythms, Graves' music has it's own sense of time. As the drummer stated in a 1966 DownBeat interview, InchTime was always there, and the time I see is not the same as what man says time is. It works by impulsion.Inch
The late percussionist Milford Graves was one of the most unique artists the world has ever seen. Born in Jamaica, Queens in 1941, he began his career in the early '60s as a part of New York's vibrant Latin jazz scene. His focus quickly turned inward, shifting towards a practice that explored the very nature of self. From his work in the New York Art Quartet and collaborations with Albert Ayler, Sonny Sharrock and more to his important contributions during NYC's loft era-he is, simply put, free jazz royalty.In April 1966, the duo of Graves and pianist Don Pullen played at Yale University. As John Corbett writes in the liner notes, InchThis performance was something of a turning point for Graves. Until then he had been working in other people's bands or collective ensembles. He was phenomenally busy. In 1965 alone, he recorded with NYAQ (two LPs), Giuseppi Logan Quartet, Paul Bley Quintet and Lowell Davidson Trio, and he made his first recording released under his own name, Percussion Ensemble. Every one of these is important in it's own way, but none of them quite anticipate how radical was the music that he and Pullen would unleash that evening in New Haven.InchOriginally released on the artists' own Self-Reliance Program tag, this legendary one-night performance would be split into two volumes In Concert At Yale University and Nommo. While rooted in African rhythms, Graves' music has it's own sense of time. As the drummer stated in a 1966 DownBeat interview, InchTime was always there, and the time I see is not the same as what man says time is. It works by impulsion.Inch
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Various Artists - Songs Without Words [COMPACT DISCS] date 09/11/2007
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Mireille Mathieu, the French singer who sold 200 Million records worldwide in 54 years of career, reveals InchCinemaInch on October 4th, 2019. In this 40-track double album, Mireille sings the greatest films movie composed by Ennio Morricone, Francis Lai, Michel Legrand, George Gershwin, Charlie Chaplin, Maurice Jarre, Cole Porter, Burt Bacharach, Vangelis... This is a collection of the most famous movie themes from the greatest French and English speaking films of modern era. Among these 40 standards, there are no less than 17 unreleased and rare tracks, including a duet with famous French composer Francis Lai on InchUn homme et une femmeInch from Claude Lelouch's eponymous movie, also InchNew York, New YorkInch, InchUn regard d'amourInch on the powerful theme of Chariots of Fire, or InchC'est mieux comme çaInch on The Godfather's theme. 'Cinema' includes also some of the most popular movie themes of all time sung by Mireille InchOver the RainbowInch from the movie The Wizard of Oz, Inch Les yeux de l'amour (The Look of Love)Inch from the movie James Bond/ Casino Royale, InchParis en colèreInch from the movie Is Paris Burning ?, InchUne histoire d'amourInch from the movie Love Story, InchL'amour viendraInch from the movie InchGone with the WindInch, and « Un jour tu reviendras » from the movie Once Upon a Time in the West
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