Muse Record LabelMuse record label
Muse Records List
I' ve no clue how to get those papers. Bishop, Walter Jr. Rahim, Emanuel K. You Shear Me Hear Talkin' Bishop, Walter Jr. Bishop, Walter Jr. Good Cookin' Hootin' Bishop, Walter Jr. Asseyez-vous ici et pensez à la résurgence de la cuisson de quelque chose ! Ain' t Jivin' I'm Jammin' Doodlin' Crunchin' Munchin' Darkred is reissuing footage - from Jazztime, Cobblestone, Douglas, Seven Seas and Mercury Label (and even previous Muse editions, as you can see) = means precise reproduction, ~ means that there are minor substantive variations (e.g. additional Bonus Tracks).
Since then, Muse has been re-released to 32 different styles of music.
Guide for Muse Records
Muse Records was one of the most productive and collectible US Jazzlabels after the 60s. Except for a BBE collection in 1997, there were no retrospective exhibitions to put the label in its real world. With his serious coverage style, his hot label designs and his trendy aesthetics, which correspond to the intensity of his outputs, Muse earns his place in jazzgeschichte somewhere between Blue Note, CTI and Strata-East.
Founded by Joe Fields in the early 1970s, the label was as fruitful as it was varied and released well over 200 records in this ten-year period alone - from soul-jazz and hard-bop to Latin and merger. The greats James Moody, Sonny Stitt, Grant Green and Chick Corea were some of the greats recorded for Muse.
Musicians like Mark Murphy and Carlos Garnett were joined to Muse by a flood of records at their very height, as were Pharoah Sanders and John Coltrane at Impulse a few years ago. He founded the Cobblestone label as a Buddah affiliate with the help of prestige manufacturer Don Schlitten.
"I wanted to found a record label in the back of my mind," he said to Downbeat. The first two albums were a symbol of the future, with the Soul Jazz of Comin' Home by The Joe Thomas Group and the Brasilian improvisations of Hermeto Pascoals Hermeto.
"and a really gifted guy," says Fields. "Warwell' s afro-centric paintings for Carlos Garnett's Cosmos Nucleus and the exalted photography by Dom Um Romao for Spirit Of The Times (Espirito Du Tempo) are just two of his creative depths. A further frequent muse illustrator was Hal Wilson, who created crisp typefaces for Valley Land by Walter Bishop Jr. and impressive artwork for Mark Murphy's Sing.
The following is a choice of Muse essential. Roy Brooks' intense sessions can be felt in the screams of this glowing mass, while "The Free Slave" vibrates and floats for 12 min. "In the mid-70s Brooks found an even more radically powerful vocal expression in the form of Roy Brooks & the Artistic Truth's sacred music.
As a permanent researcher of sounds, Brooks became a well-known music sawman and even produced a melodious instrument that drew in and out of his percussion. The pause for Carlos Garnett came when he signed up with Freddie Hubbard's group and appeared on the 1968 LP A Soul Experiment, which contained two of his music.
Gararnett was released on the drummer's first two Cobblestone albums, Dancing of Magic and Dark of Light. Connor's Buddah début Slewfoot strengthened this relationship and opened with Garnett's own piece "Mother of the Future", a jazzy dancing beast with Jean Carn's sung. It would be continued on Connors' mid-1970s records for Buddah and Garnett's for Muse.
However, while these are all great records of profound psychic rock music, perhaps the most important thing is Carlos' lead-in. Producer Garnett and Joe Fields, Black Love is best known for his alternate interpretation of "Mother of the Future" with vocal by Dee Dee Bridgwater. Among the names of the performers gathered for his début were Mtume, Buster Williams and Billy Hart.
One of his further jazzmusic hymns, "Banks of the Nile", is stunning. Garnett's composition skills were also evident in the radically jazz-funk of "Black Love" and the spiral shaped balad "Ebonesque". He wrote texts for solo songs and also brought imaginative stories about the songs and the people he worked with, such as Coleman Hawkins, James Moody and Charlie Parker.
In the late 1960s Jefferson taped three albums for Prestige before being contracted by Muse. The four albums for the label include the 1976 excursion Still on the Planet. The album was filmed at Blue Rock Studios, New York and played one of the best releases of "Chameleon". In the 1960s Murphy made a number of LP recordings for Capitol and Riverside before making his muse début in 1973.
The line-up for Mark Murphy Sings was made up of many of the same people as his Muse début, among them Brecker Brothers and arrangements artist Dave Matthews, in 1975 at New York's Basement Studios. Dom's Skins' percussion fire made him a legendary figure in the British hip hop world, with hymns like'Shakin' (Ginga Gingou).
" Batucada's heavier record comes from the 1975 LP Spirit Of The Times (Espirito Du Tempo), whose recordings also produced Dom's homonymous Muse first. The Virgin Islands-born Pucho & His Latino Soul Brothers spurred the piano and organ player in the lat 60', and these aromas were in full blossom when he put together his first music group.
That tumultuous Latin-founded jazz-funk song contained the singing of Jackie Soul of Pucho & His Latin Soul Brothers. Other members of the record are Wally Richardson and Bill Salter, who regularly play on the Prestige label. In the Middle of It All" was the other big song on the LP, an atmospheric song of space jazzy with the outstanding singing of Ann Williams.
During his early leadership careers, vibraphonist Dave Pike went between Soul Jazz and easilistening and many more explorative albums such as the 1970s Door of Perception and his albums for the MPS label. The first LP for Muse - Times Out of Mind - was a rather straightforward one.
However, the 1980s Let The Ministrelsplay On, especially the difficult merger of "Swan Lake", is equivalent to each of his MPSs. Formerly written and taped by Ron Escheté (Swan Lake's guitarist), Pike's other major LP song opens his 1980 LP with Carol Escheté's Latino scating and some serious interactions between Pike's vibe and Escheté's music.
Catalyst were "the funniest group you' ve ever listened to, as a 1999 CD said. "And her muse albums may have been the funniest ever on the label. A Tear and a Smile's calming Rhodes flicks present one of the most wonderful shots of Muse's odean pope's treble-pipe.