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| 4.161 Ft
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| 1. | Blue 'N' Boogie
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| 2. | Precious Moments for Right Now
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| 3. | Sir Phyllis Blues
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| 4. | Thinking About It
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| 5. | Jimmy and Me
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| 6. | Bari-Ed Treasure
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| 7. | Head Start
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| 8. | Blues in F and G
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Jazz
Hamiet Bluiett, bari sax, producer
Jack Walrath, trumpet
Mark Shim, tenor sax
Larry Willis, piano
Keter Betts, bass
Jimmy Cobb, drums
The Village Voice's Gary Giddins picked this as one of his Best Jazz Discs of the Year. If you're a fan of blues-steeped jazz with an unstoppable groove, you have to hear this CD. The line-up is stellar: Bluiett on bari sax; ex-Mingus star Jack Walrath on trumpet; young lion Mark Shim on tenor and a peerless rhythm section-Larry Willis, Keter Betts and Jimmy Cobb. Stereophile says "…this disc sounds awesomely present…these guys are having a rompin', stompin', honkin' good time …Irresistible." Their set ranges seamlessly from Dizzy's hard-rocking "Blue 'N Boogie" all the way to Willis' nostalgic ballad "Thinking About It" and the soul-drenched "Sir Phyllis Blues." (#02932)
* Bob Katz - Digital Mastering
* Daniel Vong - Art Direction
* Eldon Baldwin - Photography
* Jeffrey Kliman - Photography
* Martin Beadle - Cover Sculpture
* Pierre M. Sprey - Engineer, Liner Notes
Two baritone players front sextets including a hot young tenor, which barrel straight through the mainstream idiom. Neither the personnel nor the approach on Hamiet Bluiett's Young Warrior, Old Warrior (Mapleshade, ) are what you'd expect from World Saxophone Quartet's anchor; his rhythm section is Larry Willis, Keter Betts and Jimmy Cobb. You may be surprised by how much Bluiett sounds at ease and at home, trading solos with trumpeter Jack Walrath and tenor-to-watch Mark Shim (a David Murray big band regular), or mixing it up in duets with bass and drums. Bluiett's limber blowing may put you in mind of Pepper Adams or vintage Cecil Payne, no small thing, ever. Don't let this sleeper slide by.
---Kevin Whitehead
Although an adventurous improviser always associated with the avant-garde, baritonist Hamiet Bluiett shows throughout this intriguing CD that he can also play blues and bop quite effectively. In fact, "Blues in F and G" is a straight-ahead duet by Bluiett with bassist Keter Betts. Some of the other songs feature the other musicians stretching themselves in Bluiett's direction, including a fairly free duet that he has with drummer Jimmy Cobb ("Jimmy and Me"). The music -- which is interpreted by a sextet also including trumpeter Jack Walrath, tenor saxophonist Mark Shim, and pianist Larry Willis -- certainly keeps one constantly guessing and has no slow moments.
---Scott Yanow, All Music Guide
Hamiet Bluiett
Active Decades: '70s, '80s, '90s and '00s
Born: Sep 16, 1940 in Lovejoy, IL
Genre: Jazz
Styles: Avant-Garde, Avant-Garde Jazz, Free Jazz, Post-Bop
The most prominent baritone saxophonist of his generation, Bluiett combines a blunt, modestly inflected attack with a fleet, aggressive technique, and (maybe most importantly) a uniform hugeness of sound that extends from his horn's lowest reaches to far beyond what is usually its highest register. Probably no other baritonist has played so high, with so much control; Bluiett's range travels upward into an area usually reserved for the soprano or even sopranino. His technical mastery aside, Bluiett's solo voice is unlikely to be confused with any other. Enamored with the blues, brusque and awkwardly swinging -- in his high-energy playing, Bluiett makes a virtue out of tactlessness; on ballads, he assumes a considerably more lush, romantic guise. Like his longtime collaborator, tenor saxophonist David Murray, Bluiett incorporates a great deal of conventional bebop into his free playing. In truth, Bluiett's music is not free jazz at all, but rather a plain-spoken extension of the mainstream tradition.
Bluiett was first taught music as a child by his aunt, a choral director. He began playing clarinet at the age of nine. He took up the flute and bari sax while attending Southern Illinois University. Bluiett left college before graduating. He joined the Navy, in which he served for several years. He moved to St. Louis in the mid-'60s, where he met and played with many of the musicians who would become the musicians' collective known as the Black Artists Group -- Lester Bowie, Charles "Bobo" Shaw, Julius Hemphill, and Oliver Lake, among others. Bluiett moved to New York in 1969; there he joined Sam Rivers' large ensemble, and worked free-lance with a variety of musicians. In 1972, Bluiett's avant-garde garrulousness and his competency as a straight-ahead player gained him a place in one of Charles Mingus' last great bands, which also included pianist Don Pullen. Bluiett stayed with Mingus until 1975. In 1976, he recorded the material that would comprise his first two albums as a leader, Endangered Species and Birthright.
In December of '76, Bluiett played a one-shot concert in New Orleans with Murray, Lake, and Hemphill. That supposedly ad-hoc group continued to perform and record as the World Saxophone Quartet, which in the '80s became arguably the most popular free jazz band ever. The WSQ's early free-blowing style eventually transformed into a sophisticated and largely composed melange of bebop, Dixieland, funk, free, and various world musics, its characteristic style anchored and largely defined by Bluiett's enormous sound. Bluiett continued to record and tour with the WSQ through the '80s and '90s; he also led his own ensembles and recorded a number of strong, progressive-mainstream albums for Black Saint/Soul Note. By the mid-'90s, Bluiett was recording and supervising sessions for Mapleshade Records.
---Chris Kelsey, All Music Guide |
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