Barney Wilen - Dear Prof. Leary flac album

The Fool On The Hill. Ode To Billie Joe. 8:15. Leary ‎(LP, Album, Promo). Barney Wilen And His Amazing Free Rock Band.

Completely mad 1968 European free-jazz/acid rock mash-up, with French saxophonist Wilen (he played with Miles Davis) leading a double trio – one jazz, one rock – with Joachim Kuhn on keyboards and Aldo Romano on drums among the musicians. The tunes include "Ode to Billie Joe", "Respect" and the brilliant opener of the Beatles' "The Fool on the Hill". So of its time that unintentionally comic or tedious moments abound, it's still worth hearing. The beautifully presented reissue series also features Dave Pike and John Tchicai.

Wilen returned to composing for French films in the 1980s and 1990s. In the mid-to-late 1960s he became interested in rock, and recorded an album dedicated to Timothy Leary. Wilen toured in Japan for the first time in 1990. He also worked with punk rockers before returning to jazz in the 1990s. Wilen played with modern jazz musicians until his death in 1996. He died of cancer in Paris at the age of 59. In 1987, French comic book artist Jacques de Loustal and author Philippe Paringaux paid homage to Wilen in their "bande dessinée" Barney et la note bleue ("Barney and the blue. 1968 Auto Jazz: Tragic Destiny of Lorenzo Bandini (MPS). 1972 Moshi (Saravah).

Barney wilen dear prof leary. barney wilen and his amazing free rock band dear prof. leary (original, gatefold). MPS Records - Germany - MPS 15 191 ST - 1968.

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The late French saxophonist Barney Wilen was already thirty-one when he recorded Dear Prof. Leary with His Amazing Free Rock Band in 1968 for the German MPS label. Best-known by then (and, likely, afterwards as well) as Miles Davis' saxophonist on the trumpeter's noir-esque soundtrack to director Louis Malle's Ascenseur pour L'échafaud (1958), Promising Music's reissue of Dear Prof. Leary presents another side to the largely forgotten Wilen. Electric and acoustic textures mix throughout the album, but nowhere are they more paradoxically opposed yet integrated as on "Lonely Woman," where Lenz's arco bass and Kühn's exploratory piano mesh with Wilen's lyrical yet liberated soprano. It's a combination that makes Dear Prof. Leary less of a masterpiece than some of Promising Music's reissues, but remains an intriguing curiosity of its time that's certainly worth revisiting.