This 3 CD set includes radio broadcasts transmitted during this initial period of Tom Waits career, and features complete live performances recorded in; 1975 at the studios of KRQS FM, Minneapolis, featuring just Tom alone at his piano; in December 1976 at Media Sound Studios - another in studio session during which, between numbers, Tom is interviewed by the station presenter; and in 1977, back in the big apple at the famous, My Father s Place venue, out on Long Island.
In the 1970s, Tom Waits combined a lyrical focus on desperate, low-life characters with a persona that seemed to embody the same lifestyle, which he sang about in a raspy, gravelly voice. From the '80s on, his work became increasingly theatrical as he moved into acting and composing…
In his second ECM appearance (following a critically-acclaimed duo recording with Markus Stockhausen) pianist Florian Weber leads a strong cast through a programme of his compositions and sketches. Whether paying tribute to mentor Lee Konitz on “Honestlee”, impressionistically conveying the glittering “Melody of a Waterfall” or generating impactful drama out of fragments of sound on “Butterfly Effect”, Weber continually draws fresh responses from his players. “I wanted this project to be as open as possible”, he says. “It’s the idea of exploration that is important here, and the differences between the players.” The strong, grounded bass of Linda May Han Oh contrasts strikingly with Nasheet Waits’s fleet, fluid drumming, setting up new contexts for Ralph Alessi’s elegantly inventive trumpet and the leader’s highly creative piano playing. Lucent Waters was recorded at Studios La Buissonne.
Not half as well known as he should be, Edwards is a Delta- born jazz saxophonist who impresses for his post-bop inventiveness and his predisposition to the blues. Allowed a rare feature date, he gives lessons in how to delve into a melody for meaning and then express the resulting revelations in down-home terms-relish the poetic beauty of the title song. Tom Waits, an original, molds his vocal excesses into triumphant blues declarations in Edwards's stunning composition "I'm Not Your Fool Anymore." Indeed.