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| Ubiquity |
| Roy Ayers |
| első megjelenés éve: 1971 |
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| (2009)
[ DIGIPACK + BONUS ]
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CD |
| 3.324 Ft
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| 1. | Pretty Brown Skin
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| 2. | Raindrops Keep Fallin' On My Head
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| 3. | I Can't Help Myself
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| 4. | Love
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| 5. | The Fuzz
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| 6. | Hummin'
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| 7. | Can You Dig It?
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| 8. | Painted Desert
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| 9. | He Gives Us All His Love
Bonus Track
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1 Pretty Brown Skin
Written-By Michelle Birdsong, Roy Ayers
5:42
2 Raindrops Keep Fallin' On My Head
Written-By Burt Bacharach-Hal David
4:52
3 I Can't Help Myself
Written-By Roy Ayers
3:07
4 Love
Written-By Edwin Birdsong, Michelle Birdsong
4:27
5 The Fuzz
Written-By Roy Ayers
4:11
6 Hummin'
Arranged By [Special Arrangement] - Edwin Birdsong, Roy Ayers
Written-By Gene McDaniels, Nat Adderly
3:45
7 Can You Dig It?
Written-By Edwin Birdsong, Michelle Birdsong
5:53
8 Painted Desert
Written-By Josef Zawinul
4:43
Bonus Track
9 He Gives Us All His Love
Producer [For Junat Productions] - Ed Kollis
Written-By Randy Newman
3:20
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Congas [Conga] - Jumma Santos
Drums - Alphonzo Mouzon
Electric Bass - John Williams
Electric Piano - Harry Whitaker (tracks: 1 to 3, 5, 6, 8, 9), Bill Henderson (tracks: 4, 7)
Guitar - Richie Resnicoff
Organ, Vocals - Edwin Birdsong
Vibraphone, Vocals - Roy Ayers
Originally released as Polydor 24-4049 (1971).
Tracks 1, 2, 3, 5, 6, 8 and 9 Recorded at A & R Studios.
Tracks 4 and 7 Recorded at Mayfair Studios.
Recorded: 1970
Roy Ayers' leap to the Polydor label inaugurates his music's evolution away from the more traditional jazz of his earlier Atlantic LPs toward the infectious, funk-inspired fusion that still divides critics and fans even decades after the fact. Although Ubiquity maintains one foot in Ayers' hard bop origins, the record favors soulful grooves and sun-kissed textures that flirt openly and unapologetically with commercial tastes. Several cuts feature the male/female vocals that would become a hallmark of subsequent Ubiquity efforts, while mid-tempo instrumentals like "Pretty Brown Skin" and "The Painted Desert" feature evocatively cinematic arrangements and intriguing solos that unfurl like psychedelic freak flags. The crack supporting cast including bassist John Williams, keyboardist Harry Whitaker, and drummer Alphonso Mouzon proves equally effective on high-energy numbers like "Can You Dig It" and the Nat Adderley-penned "Hummin' in the Sun," which point the way to the mind-expanding funk Ayers would perfect across the sessions to follow. An outstanding record.
--- Jason Ankeny, All Music Guide
Roy Ayers
Active Decades: '60s, '70s, '80s, '90s and '00s
Born: Sep 10, 1940 in Los Angeles, CA
Genre: Jazz
Styles: Instrumental Pop, Jazz-Funk, Soul-Jazz, Fusion, Jazz-Pop
Once one of the most visible and winning jazz vibraphonists of the 1960s, then an R&B bandleader in the 1970s and '80s, Roy Ayers' reputation s now that of one of the prophets of acid jazz, a man decades ahead of his time. A tune like 1972's "Move to Groove" by the Roy Ayers Ubiquity has a crackling backbeat that serves as the prototype for the shuffling hip-hop groove that became, shall we say, ubiquitous on acid jazz records; and his relaxed 1976 song "Everybody Loves the Sunshine" has been frequently sampled. Yet Ayers' own playing has always been rooted in hard bop: crisp, lyrical, rhythmically resilient. His own reaction to being canonized by the hip-hop crowd as the "Icon Man" is tempered with the detachment of a survivor in a rough business. "I'm having fun laughing with it," he has said. "I don't mind what they call me, that's what people do in this industry."
Growing up in a musical family -- his father played trombone, his mother taught him the piano -- the five-year-old Ayers was given a set of vibe mallets by Lionel Hampton, but didn't start on the instrument until he was 17. He got involved in the West Coast jazz scene in his early 20s, recording with Curtis Amy (1962), Jack Wilson (1963-1967), and the Gerald Wilson Orchestra (1965-1966); and playing with Teddy Edwards, Chico Hamilton, Hampton Hawes and Phineas Newborn. A session with Herbie Mann at the Lighthouse in Hermosa Beach led to a four-year gig with the versatile flutist (1966-1970), an experience that gave Ayers tremendous exposure and opened his ears to styles of music other than the bebop that he had grown up with.
After being featured prominently on Mann's hit Memphis Underground album and recording three solo albums for Atlantic under Mann's supervision, Ayers left the group in 1970 to form the Roy Ayers Ubiquity, which recorded several albums for Polydor and featured such players as Sonny Fortune, Billy Cobham, Omar Hakim, and Alphonse Mouzon. An R&B-jazz-rock band influenced by electric Miles Davis and the Herbie Hancock Sextet at first, the Ubiquity gradually shed its jazz component in favor of R&Bfunk and disco. Though Ayers' pop records were commercially successful, with several charted singles on the R&B charts for Polydor and Columbia, they became increasingly, perhaps correspondingly, devoid of musical interest.
In the 1980s, besides leading his bands and recording, Ayers collaborated with Nigerian musician Fela Anikulapo-Kuti, formed Uno Melodic Records, and produced and/or co-wrote several recordings for various artists. As the merger of hip-hop and jazz took hold in the early '90s, Ayers made a guest appearance on Guru's seminal Jazzmatazz album in 1993 and played at New York clubs with Guru and Donald Byrd. Though most of his solo records had been out of print for years, Verve issued a two-CD anthology of his work with Ubiquity and the first U.S. release of a live gig at the 1972 Montreux Jazz Festival; the latter finds the group playing excellent straight-ahead jazz, as well as jazz-rock and R&B.
---Richard S. Ginell, All Music Guide |
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