- Audio CD (28 Jan. 2013)
- Number of Discs: 1
- Format: Original recording remastered
- Label: Esoteric
- ASIN: B00ADQ7IUG
- Other Editions: Audio CD | Vinyl | MP3 Download
- Average Customer Review: 4.6 out of 5 stars See all reviews (7 customer reviews)
- Amazon Bestsellers Rank: 117,412 in CDs & Vinyl (See Top 100 in CDs & Vinyl)
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Dedicated To You; But You Weren't Listening Original recording remastered
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Official Uk Edition Of The Classic 1971 Album By The Legendary Pianist Keith Tippett s Group. Remastered From The Original Vertigo Master Tapes. Featuring Robert Wyatt, Elton Dean, Marc Charig & Nick Evans. Booklet With Fully Restored Artwork & Essay. Reviews In Uncut , Mojo , Record Collector & Classic Rock Prog Magazines. Coverage On Relevant Websites & Fanzines. Esoteric Recordings are pleased to announce a newly remastered edition of the 2nd album by THE KEITH TIPPETT GROUP. Famed Jazz pianist Keith Tippett is one of the greatest and innovative figures in modern jazz. His work has also seen him cross into the world of Progressive rock, working with King Crimson and his own outfit Centipede. Dedicated to You, But You Weren t Listening took its name from the Soft Machine track of the same name and was the group s second album. Recorded for the legendary Vertigo label, the album featured such celebrated alumni as Elton Dean on Alto Saxophone, Marc Charig on Cornet (also in Soft Machine), Nick Evans on Trombone, bass players Roy Babbington and Neville Whitehead, drummers Robert Wyatt, Phil Howard and Bryan Spring, along with the virtuosity of pianist Keith Tippett. A legendary work, Dedicated to You, But You Weren t Listening has been newly remastered from the original Vertigo master tapes and the booklet fully restores the original album artwork and includes a new essay.
Top customer reviews
I thought of titling the review 'not for neo-cons' because it embraces the Marsalis school's two pet hates, free jazz and jazz-rock fusion. Some of the fusion, I find, has not lasted too well, with some of the drumming being too insistent, mechanical and even ponderous at times, not the most propitious rhythmic setting for attempts at creative improvisation. (Billy Cobham's drumming in those days wasn't really about subtlety either, I suppose.) Three kit drummers plus congas produces an enormous clatter, which at times unfortunately becomes a clutter. On the plus side Gary Boyle's electric guitar is mixed well in and he does not fall into the trap of turning the volume control up... and up.
As for the 'free jazz' side I'd question how much of it is actually free. Each track has its own distinctive character, and bears the stamp of a presiding intelligence, namely Keith Tippett. But he probably didn't write out solos for the musicians to play, which jazz composers in the past have been known to do. Near the beginning of 'Gridal suite' there is a brief passage of sax plus drums improvising which is probably free, and is really unoriginal, sounding like a pale reflection of 'Interstellar space.' While 'Thoughts to Geoff' has some high-energy contrapuntal passages, it does have a structure of its own that is developed with a due sense of momentum. Detractors of this kind of music sometimes compare it to 'a fire in a pet-shop' but 'Five after dawn' is slow and atmospheric, maybe on a superficial listening it would sound rambling, but it does actuallly have quite a rigorous structure.
I would tend to say 'to hell with the neo-cons', and leave us to cultivate our own taste with this album, which might be a good way to start a Keith Tippett collection. Sometimes Amazon has a gizmo that lets you listen to a snippet of each track, but that would be misleading here, as each track might begin in one way, and then develop altogether somewhere else. Full of energy and imagination, but if you think you'd prefer the more mature Keith Tippett, you should go for 'Mujician' or his duos with Julie, or 'Tern' which is a great trio with Larry Stabbins and Louis Moholo.
The contention brings us far from nicely to the Keith Tippett Group, six musicians who on the basis of this evidence were striving for something deeper and far more nebulous than ever greater technical accomplishment. They achieved it too. As I write these words I'm getting a head full of "Green And Orange Night Park" -an evocative title if ever there was one- and Elton Dean's saxello in particular, all of which manages to be both ragged and shot through with the kind of commitment that's so thin on the ground these days. The music's momentum, aided in no small part by the presence of an unusually large amount of percussion, is a force unto itself and the resulting drive raises a smile of no little satisfaction.
"Thoughts To Geoff" is similarly enlivened by an undertow of energy and indeed urgency which suggests that these guys were motivated by more than time passing marked by the clock on the studio wall. Gary Boyle, a guitarist who can match John McLaughlin in the fast, multi-noted run stakes, puts in some of his most fractious and thus most telling work on record on this one, while trombonist Nick Evans and Tippett on acoustic piano and the perennially undervalued Mark Charig on cornet, fall right in with the urgency. But then being jazz musicians at a time of deep cultural flux was probably a significant spur.
In the final analysis this is an album which in its way is just as effective as anything out there in highlighting how moribund things are right now. But of course this doesn't put the mockers on buying, listening, wondering, and grinning.
How to describe it? Well it is what it is, an entity in itself. A bunch of musicians enjoying themselves in the studio and that's what comes across. You can tell that they do what they do because they love it and nothing else matters. The sheer exhuberance of the performance is totally infectious.
The last track on side two "Green and Orange Night Park" is a cracking piece of work and also turns up in an extended form in Centipede's "Septober Energy" Album of which Tippett was the inspiration.
Contrary to some reviews Julie Tippett (the erstwhile Jools Driscoll) is not on this disc. Also a good remastering job - would that they all were - but no extras, vault scrapings etc and no worse for that. Still fresh and vital 40 plus years on.