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Mumbo Jumbo

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Download links and information about Mumbo Jumbo by Jim Staley. This album was released in 1994 and it belongs to Electronica, Jazz genres. It contains 22 tracks with total duration of 01:32:03 minutes.

Artist: Jim Staley
Release date: 1994
Genre: Electronica, Jazz
Tracks: 22
Duration: 01:32:03
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Tracks

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No. Title Length
1. Untitled (featuring Wayne Horvitz, Elliott Sharp) 5:36
2. Untitled (featuring Wayne Horvitz, Elliott Sharp) 2:43
3. Untitled (featuring Wayne Horvitz, Elliott Sharp) 5:39
4. Untitled (featuring Wayne Horvitz, Elliott Sharp) 8:09
5. Untitled (featuring Samm Bennett, Shelley Hirsch) 2:01
6. Untitled (featuring Samm Bennett, Shelley Hirsch) 4:41
7. Untitled (featuring Samm Bennett, Shelley Hirsch) 3:38
8. Untitled (featuring Samm Bennett, Shelley Hirsch) 3:51
9. Untitled (featuring Samm Bennett, Shelley Hirsch) 4:21
10. Untitled (featuring Samm Bennett, Shelley Hirsch) 4:17
11. Untitled (featuring Bill Frisell, Ikue Mori) 4:23
12. Untitled (featuring Bill Frisell, Ikue Mori) 1:09
13. Untitled (featuring Bill Frisell, Ikue Mori) 3:36
14. Untitled (featuring Bill Frisell, Ikue Mori) 4:45
15. Untitled (featuring Bill Frisell, Ikue Mori) 2:07
16. Untitled (featuring Bill Frisell, Ikue Mori) 4:35
17. Untitled (featuring Bill Frisell, Ikue Mori) 4:34
18. Untitled (featuring Bill Frisell, Ikue Mori) 0:55
19. Untitled (featuring John Zorn, Fred Frith) 6:02
20. Untitled (featuring John Zorn, Fred Frith) 4:50
21. Untitled (featuring John Zorn, Fred Frith) 5:51
22. Untitled (featuring John Zorn, Fred Frith) 4:20

Details

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Jim Staley is one of the best trombonists you've never heard. His playing combines the technique of George Lewis with the playfulness of Jack Teagarden to produce wonders on his instrument. This recording is a series of four trio groupings with elite members of New York's downtown crowd in the mid-'80s, and fairly represents some of the state-of-the-art performances at the time. Among Staley's partners are John Zorn (alto saxophone), Bill Frisell (guitar), Shelley Hirsch (vocals), and Elliott Sharp (double-neck guitar/bass and soprano saxophone). While the novelty of these unions has paled somewhat over time, the playing is first-rate, and the self-effacing, under-recorded Staley is featured throughout. Most of the pieces sound like snippets, without melody or linear development. Still, they are fascinating structures, both for the quality of improvisation and for capturing a slice of an important freestyle genre.