Bobby Enriquez: Live In Tokyo, Tape
Bobby Enriquez: Live In Tokyo, Tape
€11.90
Net price (incl. 19% VAT) excl. shipping costs
Bobby Enriquez
Live In Tokyo
  • Compact Cassette
  • United States
  • GNP Crescendo
  • (GNPS 2161)
  • 9 Tracks
  • no barcode
  • EX+ / EX
  • virgin
  • still sealed, cut-out hole in spine

tracks

A1

Killer Joe

Written by
5:38
A2

Airegin

Written by
2:48
A3

After Hours

Written by
5:32
A4

Meditation

Written by
6:12
B1

Misty

Written by
7:10
B2

Groovin' High

Written by
3:59
B3

Ain't Misbehavin–Honeysuckle Rose

Written by
3:27
B4

Holiday For Strings

Written by
3:34
B5

Donna Lee

Written by
1:42

Credits

A r
  • Yoichi Nakao
Bass
  • Isoo Fukui
Drums
  • Shinji Mori
Engineer
  • Hatsuro Takanami
  • Seiji Kaneko
  • Shigeyuki Kawashima
Executive producer
  • Kazuo Takeda
Lacquer cut by
  • John Golden
Liner notes
  • Masahiko Yuh
  • Elizabeth Handover
Photography by
  • Michio Mikami
Piano
  • Bobby Enriquez
Producer
  • Gene Norman

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2×LP (Vinyl)
1968. France, Incorporated. The entire building was being consumed by flames and was slowly collapsing. Nothing would survive. Out of the rubble of the old world jumped the children of Marx and Coca-Cola, ripping the white and blue stripes off the French flag. Yet, the socialist revolution was more mythic than real and music did nothing to mitigate people's behavior. It was time for innovation. While singles from the Stones, Who, Kinks and MC5 provided an incendiary soundtrack for the revolution, it was Black Americans who truly blew the world from its foundations in the 60s. Ornette Coleman, Cecil Taylor, Eric Dolphy, Albert Ayler and Archie Shepp left behind the jazz of their fathers' generation, liberating the notes, trashing the structures, diving headfirst into furious improvisations, inventing a new land without boundaries – neither spiritual nor political. Free jazz endowed the saxophone with the power to destroy the established order. In 1969, the Art Ensemble of Chicago arrived at the Théâtre du Vieux Colombier in Paris and a new fuse was lit. Their multi-instrumentalism made use of a varied multiplicity of "little instruments" (including bicycle bells, wind chimes, steel drums, vibraphone and djembe: they left no stone unturned), which they employed according to their inspirations.