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I realized that the tape had run out. The engineer and I were so absorbed, we hadn't been paying attention. I thought, "Oh God, this remarkable thing is lost. It was interrupted in the middle, and it’s gone." Richard got on the intercom and said, "Giuseppi, the tape ran out." Without a pause, Giuseppi said, "Take it back to before where it stopped and we'll take it from there." So, Richard wound it back and played some bars of it and hit the record button, and they resumed exactly what they were doing—there was no way of telling where the break had occurred. It was unreal.
200:
with
Giuseppi as a sideman; that's how that took place." However, according to Stollman, on the day of the recording, "Milford Graves and filed through the studio and as they walked in to record, Giuseppi turned to me and said 'if you rob me, I'll kill you.' Milford was mortified—he had asked me to record Giuseppi—I'd given him a record date and he threatened me with death."
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When
Giuseppi made his first album for ESP, I stood with Richard L. Alderson, the engineer, in the control room. I thought the piece they were playing was stunningly beautiful. It sounded totally spontaneous, as if they were engaging in an engrossing conversation. Suddenly, I heard a "thwuuunk," and
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Milford Graves recalled: "After the New York Art
Quartet recording, Bernard approached me and asked me to do something. Fine, but then I thought about Giuseppi. I told Bernard, 'I'm a young guy, and I have time. Let's give it to Giuseppi.' I don't know if Giuseppi ever knew that. So I just recorded
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review, Stewart Mason awarded the album 4.5 stars, calling it "one of the most uncompromisingly 'out' free jazz records of its time" and stating that the album "is definitely only for the free jazz faithful, but it's a solid, often fascinating set." Writing for
324:, Giovanni Russonello wrote that on the album, "harmony, rhythm and melody became agents of texture and suspense: Whether Mr. Logan is playing in apoplectic fits or in a long atonal smear, the radical open-endedness of each moment is palpable."
315:, Pierre Crépon wrote that the album "is widely considered a free jazz classic, its use of odd meters and non-Western instrumentation preceding their common acceptance".
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label. His first recording as leader, it features Logan on alto saxophone, tenor saxophone, Pakistani oboe, bass clarinet, and flute along with pianist
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552:
Always in
Trouble: An Oral History of ESP-Disk, the Most Outrageous Record Label in America
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Always in
Trouble: An Oral History of ESP-Disk, the Most Outrageous Record Label in America
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Always in
Trouble: An Oral History of ESP-Disk, the Most Outrageous Record Label in America
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Always in
Trouble: An Oral History of ESP-Disk, the Most Outrageous Record Label in America
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included the album in his list "Ten Free Jazz Albums to Hear Before You Die".
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660:"Henry Grimes and Giuseppi Logan, Lost and Found Jazz Stars, Are Both Gone"
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192:, at which Logan performed, and during which he met ESP-Disk founder
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in
September 1964, and the recording took place shortly after the
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Recorded at Bell Sound
Studios, New York on November 11th, 1964
378:- alto sax, tenor sax, Pakistani oboe, bass clarinet, flute
570:"Giuseppi Logan Quartet: The Giuseppi Logan Quartet"
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203:Regarding the recording session, Stollman stated:
455:"Henry Grimes and Giuseppi Logan: Parallel Lives"
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686:"Ten Free Jazz Albums to Hear Before You Die"
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513:. Wesleyan University Press. p. 112.
498:. Wesleyan University Press. p. 181.
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160:is an album by American jazz saxophonist
554:. Wesleyan University Press. p. 47.
483:. Wesleyan University Press. p. 22.
658:Russonello, Giovanni (April 20, 2020).
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16:1965 studio album by Giuseppi Logan
526:"Bernard Stollman: The ESP-Disk Story"
524:Allen, Clifford (November 21, 2005).
222:
7:
684:Sharp, Elliott (November 15, 2012).
604:The Penguin Guide to Jazz Recordings
274:The Penguin Guide to Jazz Recordings
168:in 1964 and released in 1965 on the
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453:West, Michael J. (June 23, 2020).
338:All compositions by Giuseppi Logan
60:11 November 1964 or 5 October 1964
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632:Crépon, Pierre (April 2020).
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634:"Giuseppi Logan 1935–2020"
356:"Bleecker Partita" - 15:34
190:October Revolution in Jazz
157:The Giuseppi Logan Quartet
132:The Giuseppi Logan Quartet
22:The Giuseppi Logan Quartet
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418:"Giuseppi Logan Quartet"
347:"Dance of Satan" - 6:17
442:Don Pullen Discography
318:In an article for the
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717:Giuseppi Logan albums
550:Weiss, Jason (2012).
509:Weiss, Jason (2012).
494:Weiss, Jason (2012).
479:Weiss, Jason (2012).
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184:. Logan had moved to
344:"Tabla Suite" - 5:48
218:Professional ratings
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166:Bell Sound Studios
618:978-0-141-03401-0
353:"Taneous" - 11:56
350:"Dialogue" - 8:23
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37:Studio album
722:1965 albums
388:Eddie GĂłmez
178:Eddie GĂłmez
711:Categories
459:Jazz Times
401:References
382:Don Pullen
176:, bassist
174:Don Pullen
119:chronology
69:Bell Sound
695:April 18,
370:Personnel
213:Reception
638:The Wire
601:(2008).
574:AllMusic
422:ESP Disk
313:The Wire
308:AllMusic
237:AllMusic
170:ESP-Disk
110:ESP-Disk
57:Recorded
49:Released
39: by
609:Penguin
396:- drums
384:- piano
306:In his
145:(1966)
136:(1965)
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390:- bass
231:Rating
228:Source
88:Length
65:Studio
105:Label
77:Genre
697:2021
671:2020
645:2020
613:ISBN
581:2020
537:2020
466:2020
429:2020
141:More
82:Jazz
52:1965
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