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Live at the Village Vanguard, Vol. 1
1. The Necessary Blues
2. Solitude
3. Intentions
4. Diane
George Adams - tenor sax
Don Pullen - piano
Cameron Brown - bass
Dannie Richmond - drums
Recorded 1983, NYC
192 KBPS mp3s
This is not the quartet's best record, but at the same time, it' representative of a good show for them. I was somewhat disappointed when I saw them live. The studio albums all seemed to have two killer tracks, and three that were either middle-of-the-road or dogs. They did the same thing live. However, when they were on, they were on. Still, I find when I go back and listen to this group now, there was more happening than I was aware of at the time (cut me some slack, I was a teenager). Link in comments.
I'm just curious why some bloggers feel the need to be tyrannical assholes. There's a popular blog where someone posted something -- attempting to share -- that, evidently without his knowledge, had actually originated on that blog. The offending poster apologized, explaining he'd gotten the files from a friend (I've done that -- most of us have). In response, the blog host threw a profanity-laced mini-tantrum. Why be an asshole about it? The guy made a mistake. This host is one of the same folks who pisses and moans about the way people treat him as a blogger. Perhaps he reaps what he sews. I just don't understand the need people have to be this way. Those of us into this music make up about 2% of the listening population; can't we get along and not act like we're all in high school over silly shit like this? Sad, O.J.... sad.
Congratulations to Herbie Hancock on his recent Grammy... seriously. It's an achievement and I applaud his incorporation of Joni Mitchell's music... really. CBS Sunday morning just did a segment on Herbie, again congrats. Next week, they'll do yet another feature on Quincy Jones. Nothing against these guys, but they're basically the walking dead of this music (Herbie less than Quincy). Quincy has been less about Jazz than about production for years.
CBS Sunday Morning tapes in New York. New York is the home to Billy Harper, William Parker, Rob Brown, Dick Griffin -- all survivors. Or even young guns like Potter, Turner and McHenry. While not my bag, they certainly bring a fresher voice to the table than Hancock or Jones these days.
How 'bout Chicago? Ari Brown, Kahil El Z'abar, Hamid Drake, Fred Anderson, Ernest Dawkins... heck, how 'bout Von Freeman or even Eric Alexander? Point is, this music has an audience and it would be a larger one of they'd get some exposure (can you resist El Z'abar's One World Family!?!??).
So while I'll congratulate Herbie and Quincy, particularly Herbie's comment that his Grammy, "is good for Jazz," I have to give both failing marks for failing to seize the opportunity to point the world to other aspects of this great music. As Z'abar says in the lyrics to One World Family, "This generation's too busy thinking about themselves...." I don't expect Herbie to shoulder this burden on his own -- that's not his job. But many years ago, a famous, respected musician let Herbie earn his shot. It's time to pay back, Herbie.
By request. This is THE Shepp Quintet, from a great period. Unfortunately, this was digitized from the LP, and from the file size, I'm guessing it was mono. I'm not sure why, but if I recall, the reason was something to do with my turntable outs malfunctioning. Anyway, here it is.
It's two long tunes, one soprano, one tenor. Then tenor cut, Lybia, is simply awesome. Shepp is in top form, wailing and crying with some of his fiercest energy on record. At one point early in Shepp's 14-minute solo, Cameron Brown actually drops out -- it burns that much. All the Horos are OOP, though some of them are available from old stock. I've queried the founder of Horo about the plausibility of any of this stuff being reissued on CD. He informed me that there were no plans to do that. Hopefully, someone will buy him out and do just that!
1. Lybia
2. My Heart Cries Out To Africa
Rome, Italy, September 28, 1975
Archie Shepp - tenor sax, soprano sax
Charles Majid Greenlee - trombone
Dave Burrell - piano
Cameron Brown - bass
Beaver Harris - drums
For this generally upbeat session -- recorded in Holland -- Adams is joined by co-leader and longtime colleague pianist Don Pullen, and is backed by drummer Dannie Richmond and bassist Cameron Brown. Richmond spurs the saxophonist on, while Brown strikes hard in support, resulting in some strong solos by Adams on tenor sax. Adams seems to glide effortlessly up and down his horn, his patented licks never tiresome. Most of the original tunes are blowing vehicles, which work well with the superb talent represented here. Pullen is more pensive than usual, but always effective. The lyrical flute work by Adams is a pleasure, but it lacks the verve of his saxophone playing. Some of the best moments come from the interaction between Pullen and Adams, whose legacies left an indelible imprint on late 20th century jazz. ~ Steven Loewy, All Music Guide
1. Earth Beams
2. Magnetic Love Field
3. Dionysus
4. Saturday Nite In The Cosmos
5. More Flowers
6. Sophisticated Alice
George Adams - tenor sax, flute
Don Pullen - piano
Cameron Brown - bass
Dannie Richmond - drums
Recorded August 3-5, 1980
This was my first George Adams record, and from the first needle drop, I hated it. I wouldn't even give it a second chance. Then my father played it on his system and I heard it for the first time. Half the record is quirky to fair; half is outstanding. Adams fiery tenor receives admirable support from the highly underrated and under appreciated Rahn Burton (credited here as Ron Burton). Don Pate is on bass, and Al Foster has the same zing he carries on Abbey Lincoln's People In Me. Azzedin Weston rounds out the band with miscellaneous percussion. The opening track is a burner, and Adams sets the tone for the rest of the record. Track 2, Send in the Clowns, is one of the prettiest ballads I've ever heard Adams do. Track 3 is the first version of this tune I ever heard, it may be the first recorded version. Adams and Foster do the Coltrane and Elvin thing. The title track aims for Interstellar Space, but misses. City of Peace is Burton's contribution, and but for a few moments, seems to fill out the album's time requirements. The album's funky closer would be okay, but just lasts too damned long.
1. Intentions
2. Send In The Clowns
3. Metamorphosis For Mingus
4. Paradise Space Shuttle
5. Invisible Funk-a-Roonie-Peacock
George Adams - tenor sax, flute, vocals
Rahn Burton - piano
Don Pate - bass, electric bass
Al Foster - drums
Azzedin Weston - percussion
Recorded December 21, 1979
This is OOP. If you're unfamiliar with Burton, you need to fix that. James Carter is on three cuts here and Burton acquits himself very well.
www.indiejazz.com says:
In 2000 Yosuke Inoue made a second album as a leader with Abraham Burton entitled Drifting Inward for M&I Records. Together, Burton and Inoue toured the world.
There is little about this record on the web. Little is needed. It's a strong outing, heavy on the young-lion sax work. Also recommended from Burton (and still in print) are Cause and Effect with Eric McPherson and Horace Tapscott's Aiee! The Phantom.
1. Pithecanthropus Erectus
2. Rio
3. Salsamba
4. Just The Two Of Us
5. Softly As In A Morning Sunrise
6. Drifting Inward
7. On A Clear Day
8. A Song For My Teacher
9. Just Friends
10. Dad
Abraham Burton - alto sax, tenor sax
James Carter - ts (4, 5, 9)
James Hurt - p
Yousuke Inoue - b
Eric McPherson - dr
Recorded February 22-23, 1998
