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| 3.501 Ft
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| 1. | A Different Place
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| 2. | Lost in a Memory
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| 3. | Deja
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| 4. | I Thought About You
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| 5. | Why Should I Pretend
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| 6. | Skim Coat
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| 7. | Ambiance and Pie
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| 8. | Christina
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| 9. | Tunnel Wind
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Jazz
Buster Williams - bass, vocal, arranger
Stefon Harris - vibes
Geri Allen - piano
Lenny White - drums
* Alan Nahigian - Photography
* Aleardo G. Buzzi - Photography, Producer
* Bret Primack - Liner Notes
* Darryl Turner - Photography
* Peter Schmidlin - Executive Producer
* Roy Cicala - Engineer
Bassist Buster Williams contributed eight of the nine selections (all but the standard "I Thought About You") for this well-conceived set of advanced straight-ahead jazz. Williams (who had recently turned 50) teams up with vibraphonist Stefon Harris, pianist Geri Allen and drummer Lenny White. Harris is mostly the lead voice and the group does sound at times a little like the Modern Jazz Quartet, due to the identical instrumentation. Williams takes a surprisingly effective vocal on his "Why Should I Pretend" and otherwise is mostly in the background behind Harris and Allen. Due to the excellent originals, this is one of Buster Williams' strongest dates as a leader.
---Scott Yanow, All Music Guide
Buster Williams
Active Decades: '60s, '70s, '80s, '90s and '00s
Born: Apr 17, 1942 in Camden, NJ
Genre: Jazz
Styles: Hard Bop, Mainstream Jazz, Neo-Bop, Post-Bop, Progressive Jazz, Standards
One of jazz's most valuable sidemen, Buster Williams has been able to flourish through many periods of changing fashions in jazz. Best known since the 1980s for his solid, dark tone and highly refined technique on the acoustic bass, the jazz-rock generation knew him as the mobile anchor of Herbie Hancock's exploratory "Mwandishi" Sextet from 1969 to 1973, doubling on acoustic and electric basses sometimes attached to electronic effects devices.
Williams learned both the double bass and the drums from his father, but having been enormously impressed by Oscar Pettiford's recordings, he ultimately decided to concentrate on the bass. After studying theory and composition at Philadelphia's Combs College of Music in 1959, Williams joined Jimmy Heath's unit the following year and played with Gene Ammons and Sonny Stitt in 1960 and 1961, as well as behind singers Dakota Staton (1961-62), Betty Carter (1962-63), Sarah Vaughan (1963) and Nancy Wilson (1964-68). The gig with Wilson prompted a move to Los Angeles, where the Jazz Crusaders used him on concert dates and recordings from 1967 to 1969, and he also played briefly with Miles Davis in 1967 and the Bobby HutchersonHarold Land quintet. Moving to New York in 1969, Williams joined Hancock's sextet, appearing on all of his Warner Bros. albums, as well as The Prisoner (Blue Note), Sextant (Columbia) and with trumpeter Eddie Henderson's spinoff group on Capricorn and Blue Note. Over a five-year period (1976-1981), Williams led numerous recording sessions for Muse, Denon and Buddah while continuing to freelance before, during and after that span. In the 1980s, he was a member of both the Timeless All-Stars and Sphere, writing a number of compositions for the latter. Among the musicians for whom he has played from the 1980s onward are Kenny Barron, Frank Morgan, Stanley Cowell, Steve Turre, Emily Remler and Larry Coryell.
---Richard S. Ginell, All Music Guide |
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