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| 3.135 Ft
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| 1. | When the Sky Is Clear
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| 2. | Betcha by Golly, Wow
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| 3. | Ain't Misbehavin'
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| 4. | Seascape
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| 5. | So Falls the Past
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| 6. | Dreams Come True
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Jazz
Buster Williams - Arranger, Bass, Bass (Acoustic), Piccolo Bass
Akua Dixon - Strings
Ben Riley - Drums
Billy Hart - Drums
Carl Ector - Strings
Clarissa Howell - Strings
Curtis Rance King, Jr. - Vocals
Darryl Tookes - Vocals
Eddie Drennon - Strings
Eddie Henderson - Flugelhorn, Trumpet
Gayle Dixon - Strings
Guildhall String Ensemble
Hank Crawford - Sax (Alto)
Hubert Laws - Flute
John Blake - Strings
Kenny Barron - Arranger, Piano
Lloyd Carter - Strings
Melvin Roundtree - Strings
Nobu Horushiyama - Percussion
Onaje Allan Gumbs - Arranger, Conductor, Piano (Electric)
Ronald Lipscomb - Strings
Terri Gonzalez - Vocals
Ulysses Kirksey - Strings
* Aram Gesar - Cover Photo
* Bill Messina - Engineer
* David Gahr - Photography
* Harold Tarowski - Engineer
* Llew Horowitz - Engineer
* Mario E. Sprouse - Assistant
* Ted Brosnan - Engineer
* Tom Dwyer - Engineer
With 12 strings and three "background" vocalists sometimes being utilized in keyboardist Onaje Allen Gumbs' arrangements, this effort by bassist Buster Williams is often somewhat commercial. However the guest spots by pianist Kenny Barron, altoist Hank Crawford, flutist Hubert Laws and trumpeter Eddie Henderson are generally worthwhile and the material (four group originals plus "Ain't Misbehavin'" and "Betcha By Golly, Wow") is stronger than expected. In any case, this long out-of-print album will be a difficult one to locate.
---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: Neo-Bop, Post-Bop, Hard Bop, Mainstream Jazz, 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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