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CD |
Kérjen
árajánlatot! |
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| 1. | Outback
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| 2. | Sound Down
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| 3. | Bleeding Orchid
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| 4. | November 68th
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Jazz
Joe Farrell - Arranger, Conductor, Flute, Flute (Alto), Piccolo, Sax (Soprano), Sax (Tenor), Saxophone
Elvin Jones - Drums
Airto Moreira - Percussion
Buster Williams - Bass
Chick Corea - Piano (Electric)
* Bob Ciano - Design
* Chuck Stewart - Photography
* Creed Taylor - Original Session Producer, Producer
* Masahiko Yuh - Liner Notes
* Rudy Van Gelder - Engineer
* Seiji Kaneko - Remastering
* Yoichi Nakao - Reissue Producer
Outback is the second of his dates for the CTI label, all of which are compelling, and some, like this one, are brilliant. Recording in a quartet setting with Elvin Jones, Chick Corea, and Brazilian percussionist Airto Moreira, Farrell, with his reeds and woodwinds, pushes the envelope not only of his own previous conceptualism in jazz, but the CTI label's envelope as well. For starters, this is not a funk, soul, or fusion date, but an adventurous, spacy tightrope-walking exercise between open-ended composition and improvisation. That said, there is plenty of soul in the playing, not only by Farrell, but by all the players -- and Corea never sounded less academic or pointillistic than he does here. There are four compositions on Outback, all of which were arranged by Farrell. The opener is the humid and mysterious title track by John Scott. Staged in a series of minor-key signatures, Farrell primarily uses his winds here, flutes and piccolos, to weave a spellbinding series of ascending melodies over the extended voicings provided by Corea -- not exactly in counterpoint, but in spacious contrast. Jones is his typically uncanny self, skipping over cymbals and using a set of sticks more softly than any man can and still drive a band. Airto is positively hypnotic with his hand-drum fills, rubs and shimmers, going through the beat, climbing on top of it, and playing accents in tandem with Farrell in the solo sections. "Sound Down" is a bit more up-tempo and features Farrell fully engaged on the soprano. Buster Williams lays down a short staccato bassline that keeps Jones' bass drum pumping. As Farrell moves from theme/variation/melody to improvisation, he brings Corea, who, uncharacteristically, vamps off the melody before offering a series of ostinato replies before Farrell clearly surprises everybody with the knottiness of his legato phrasing. Corea's "Bleeding Orchid" is a ballad played with augmented modes and continually shifting intervals that can be heard and mapped best by Williams' adherence to the changes, though his pizzicato fills provide a sharp contrast to Farrell's trills and columnar arpeggiattic meditations that come off as a cross between pastoral jazz classicism and Middle Eastern folk music. Finally, on the leader's own "November 6th," the stops are pulled out in a Latin jazz workout that invokes Coltrane's version of "My Favorite Things," and Farrell digs deep into the tenor's middle register for a singing sound that brings to bear the Latin jazz howling of Gato Barbieri and the deep fire music of 'Trane, while being played through a gorgeously bluesy sophistication as the other players rally around and push through the tenor player's flights of near manic intensity. This is a stunner, an album that is at least as inspired as anything Farrell ever recorded, and perhaps more so.
---Thom Jurek, All Music Guide
Joe Farrell
Active Decades: '60s, '70s and '80s
Born: Dec 16, 1937 in Chicago Heights, IL
Died: Jan 10, 1986 in Los Angeles, CA
Genre: Jazz
Styles: Hard Bop, Crossover Jazz
Joe Farrell's CTI albums of 1970-1976, which combined together his hard bop style with some pop and fusion elements, made him briefly popular among listeners not familiar with his earlier work. He began playing clarinet when he was 11 and, after graduating from the University of Illinois in 1959, Farrell moved to New York where he worked with the Maynard Ferguson Big Band (1960-1961) and Slide Hampton (1962), and recorded with Charles Mingus, Dizzy Reece, and a notable series with Jaki Byard (1965). A member of both the Thad JonesMel Lewis Orchestra (1966-1969) and Elvin Jones' combo (1967-1970), Farrell's distinctive sound on tenor and general versatility were assets. A member of the original version of Return to Forever (1971-1972), Farrell was fairly prosperous during the 1970s when his solo CTI records sold well, but a drug problem gradually caught up with him. After performing with Mingus Dynasty in the late '70s and recording with Louis Hayes in 1983, he moved to Los Angeles where he scuffled during his last couple of years. In addition to CTI, Farrell recorded as a leader for Warner Bros., Xanadu, Contemporary, Realtime, Timeless, and (with Airto and Flora Purim) for Reference.
---Scott Yanow, All Music Guide |
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