1961

( 1 )

Editorial Reviews

All Music Guide - Thom Jurek
This reissue of Fusion and Thesis, the two albums the new Jimmy Giuffre 3 made in 1961, prior to their breakthrough and breakup in 1962, is nothing short of a revelation musically. Originally produced by Creed Taylor, who was still respectable back then, the two LPs have been complete remixed and remastered by ECM proprietor and chief producer Manfred Eicher and Jean Philippe Allard and contain complete material from both sessions resulting in one new track on Fusion and three more on Thesis. The music is Giuffre at his finest -- at that point, finding a language with his two collaborators, pianist Paul Bley and bassist Steve Swallow who hadn't made the permanent switch to ...
See more details below
Vinyl LP (Remastered)
$32.29
BN.com price
(Save 5%)$33.99 List Price
Other sellers (Vinyl LP)
  • All (2) from $67.96   
  • New (2) from $67.96   

Editorial Reviews

All Music Guide - Thom Jurek
This reissue of Fusion and Thesis, the two albums the new Jimmy Giuffre 3 made in 1961, prior to their breakthrough and breakup in 1962, is nothing short of a revelation musically. Originally produced by Creed Taylor, who was still respectable back then, the two LPs have been complete remixed and remastered by ECM proprietor and chief producer Manfred Eicher and Jean Philippe Allard and contain complete material from both sessions resulting in one new track on Fusion and three more on Thesis. The music is Giuffre at his finest -- at that point, finding a language with his two collaborators, pianist Paul Bley and bassist Steve Swallow who hadn't made the permanent switch to electric then -- that was outside even the avant-garde at the time, yet in the tradition enough for some listeners and critics to be able to hold onto as modern jazz. Both recordings make use of a profound use of subtlety in gesture -- this is more true of Giuffre and Bley than Swallow, but without a drummer, the guy had a tough gig to hold down -- and a creative use of space, one that allowed for a free contrapuntal interplay between musicians while keeping their distance in order to keep the music in front of them. In other words, space was used as a way to communicate what not to do rather than what to play. While most improvisations did stick to ideas based on chord changes, there are moments, many of them on Thesis, where the formal structures slipped into the ether and gave way to an improvisation that used silence as a cue to innovate and improvise check "Carla," "Sonic," and "Flight" on Thesis, and "Venture" and "Cry, Want," on Fusion. The use of this space is brought to light in the Eicher/Allard remix which highlights and accents the physical distances the three men were playing from one another in the studio. While Fusion features primarily the compositions of Giuffre in his style of accenting counterpoint รก la Debussy and Milhaud within a melodic framework, and making the counterpoint and its resultant interaction with other players the still point of harmonic invention "Brief Hesitation" and "Scootin' About" on Fusion, and "Me Too" and "Whirrr" on Thesis. There are no corners in this music, no jagged edges, everything is rounded off, if not smooth, then at least warm -- no matter how complex the music becomes it has no air of academic elitism or dry didacticism about it, the emotions are transparent and expressed with understatement and grace. This reissue is perhaps, along with Free Fall one of the most essential documents regarding the other side of early-'60s jazz. Giuffre falls clearly between the cracks of the then emergent avant-guardists like Coltrane's quartet, Cecil Taylor, Eric Dolphy, and Ornette's band, and the hard boppers like Horace Silver, Art Blakey, Hank Mobley, and Horace Parlan. Giuffre didn't straddle fences; on Fusion and Thesis, he just walked through them.
Read More Show Less

Product Details

  • Release Date: 1/6/2006
  • Label: Ecm Import
  • UPC: 042284964418
  • Catalog Number: 8496441
  • Sales rank: 102,093

Tracks

Disc 1
  1. 1 Jesus Maria (6:13)
  2. 2 Emphasis (4:12)
  3. 3 In the Mornings out There (6:50)
  4. 4 Scootin' About (3:35)
  5. 5 Cry, Want (5:08)
  6. 6 Brief Hesitation (4:15)
  7. 7 Venture (3:51)
  8. 8 Afternoon (5:10)
  9. 9 Trudgin' (4:33)
Disc 2
  1. 1 Ictus (2:44)
  2. 2 Carla (4:35)
  3. 3 Sonic (4:44)
  4. 4 Whirrrr (4:54)
  5. 5 That's True, That's True (4:41)
  6. 6 Goodbye (4:56)
  7. 7 Flight (3:21)
  8. 8 The Gamut (4:37)
  9. 9 Mee Too (5:03)
  10. 10 Temporarily (6:09)
  11. 11 Herb & Ictus - Paul Bley (0:44)
Read More Show Less

Album Credits

Performance Credits
Jimmy Giuffre 3 Primary Artist, Track Performer
Jimmy Giuffre Indexed Contributor, Clarinet, Tenor Saxophone, Track Performer
Paul Bley Piano, Track Performer
Steve Swallow Double Bass, Track Performer
Technical Credits
Carla Bley Composer
Jimmy Giuffre Composer
Steve Swallow Composer, Contributor
Jean-Philippe Allard Producer, Reissue Producer
Manfred Eicher Producer, Reissue Producer, Remixing
Jan Erik Kongshaug Remixing
Creed Taylor Producer, Original Album Producer
Dick Olmstead Engineer
Steve Lake Liner Notes
Philippe Carles Liner Notes
Barbara Wojirsch Cover Design
Read More Show Less

Customer Reviews

Average Rating 4
( 1 )
Rating Distribution

5 Star

(0)

4 Star

(1)

3 Star

(0)

2 Star

(0)

1 Star

(0)

Your Rating:

Your Name: Create a Pen Name or

Barnes & Noble.com Review Rules

Our reader reviews allow you to share your comments on titles you liked, or didn't, with others. By submitting an online review, you are representing to Barnes & Noble.com that all information contained in your review is original and accurate in all respects, and that the submission of such content by you and the posting of such content by Barnes & Noble.com does not and will not violate the rights of any third party. Please follow the rules below to help ensure that your review can be posted.

Reviews by Our Customers Under the Age of 13

We highly value and respect everyone's opinion concerning the titles we offer. However, we cannot allow persons under the age of 13 to have accounts at BN.com or to post customer reviews. Please see our Terms of Use for more details.

What to exclude from your review:

Please do not write about reviews, commentary, or information posted on the product page. If you see any errors in the information on the product page, please send us an email.

Reviews should not contain any of the following:

  • - HTML tags, profanity, obscenities, vulgarities, or comments that defame anyone
  • - Time-sensitive information such as tour dates, signings, lectures, etc.
  • - Single-word reviews. Other people will read your review to discover why you liked or didn't like the title. Be descriptive.
  • - Comments focusing on the author or that may ruin the ending for others
  • - Phone numbers, addresses, URLs
  • - Pricing and availability information or alternative ordering information
  • - Advertisements or commercial solicitation

Reminder:

  • - By submitting a review, you grant to Barnes & Noble.com and its sublicensees the royalty-free, perpetual, irrevocable right and license to use the review in accordance with the Barnes & Noble.com Terms of Use.
  • - Barnes & Noble.com reserves the right not to post any review -- particularly those that do not follow the terms and conditions of these Rules. Barnes & Noble.com also reserves the right to remove any review at any time without notice.
  • - See Terms of Use for other conditions and disclaimers.
Search for Products You'd Like to Recommend

Recommend other products that relate to your review. Just search for them below and share!

Create a Pen Name

Your Pen Name is your unique identity on BN.com. It will appear on the reviews you write and other website activities. Your Pen Name cannot be edited, changed or deleted once submitted.

 
Your Pen Name can be any combination of alphanumeric characters (plus - and _), and must be at least two characters long.

Continue Anonymously
Sort by: Showing 1 Customer Reviews
  • Posted October 1, 2010

    Very interesting CDs

    I bought this CD for almost 10 years ago-unlike other clarinet jazz, this clarinet jazz stands out due to its originality and challenging (at least in 1960-70s) music. As it may be written in the note, the popular jazz in 60-70s were dominated by be-bop style horns and saxophones. Meanwhile, classic swing jazz with clarinets (like Benny Goodman) was closing its days. Probably this album was too exmerinetal try in 60s, but I like it as a clarinet player.<BR/> No percussion, only clarinet, string base, and piano. But you really feel the tension and energy with occasional silence, and you may realize how much "silence" induces meaningful tension in music.

    Was this review helpful? Yes  No   Report this review
Sort by: Showing 1 Customer Reviews