  |
|
|
 |
| Afro Fire |
| Eddie Gale |
| első megjelenés éve: 2004 |
|
| (2004)
|
|
CD |
| 4.300 Ft
|
|
| 1. | Welcome to Silicon Valley
|
| 2. | Free You Free Me
|
| 3. | Inner Peace to You
|
| 4. | Afro-Fire
|
| 5. | New York After Hours
|
| 6. | Route 95
|
| 7. | Tribal Future
|
Jazz
Eddie Gale - Arranger, Producer, Trumpet, Voices
David R. Hayden - Arranger, Bass, Engineer, Mastering, Producer, Rhythm Track, Synthesizer
William Nichols - Piano (Electric)
* Patrick Roques - Art Direction
Afro Fire marks Eddie Gale's comeback as a bandleader, and is long overdue. As a sideman his trumpet graced such seminal recordings as Larry Young's 1966 masterpiece Of Love and Peace, Cecil Taylor's 1964 classic Unit Structures, and no less than four Sun Ra offerings, the most notable of which is the revolutionary -- and under-noticed -- Lanquidity. But Gale is best known for his two Blue Note recordings, Ghetto Music and Black Rhythm Happening, issued in 1968 and '69, respectively. These wild platters employed tough soul-jazz, funk, and gospel choruses, and melded militant politics and '60s Aquarian-generation optimism. They are both underground jazz classics. Gale recorded one more date as a leader in 1992, his fine Minute With Miles -- a kind of tribute album to Miles Davis -- with pianist and keyboardist Larry Willis. From its cover, Afro Fire apes the look of a Blue Note title. And though it is an ultramodern side, it feels right as an extension of what he accomplished for that label in the late '60s. Gale is not only unafraid of technology and musical evolution; he actively courts it here and in the numerous dates he's played with hip-hop tribes, rock and funk bands, and electronic ensembles. Assembling a non-traditional quartet for the date, synthesizers and rhythm tracks underscore and complement his spacey, muted trumpet playing, David R. Hayden's bass playing and rhythmic programming construction, and William Nichols' Rhodes piano work. Chet Smith plays "orchestral synthesizer"; he steeps everything here in deep textures and atmospheres. The set opens on the electronica fringe with "Welcome to Silicon Valley," displaying everything from cut-up vocals and treated triple-tracked brass to breakbeats, all of which lace through and boil everything down into a punchy, space-age, jazzy house jam. On "Free You -- Free Me," funk is the teacher, where rhythm tracks lace through Gale's trumpet, and synth and bass pop the space-is-the-place-groove and ease the whole thing into a soulful and trippy groove. But don't let the po-mo feel throw you. This is a jazz record with great soloing, beautiful emotional grooves, and compelling compositions, like "Afro Fire," with its funked-up future Latin tinges; the nocturnal, sensual ambience of "New York After Hours," and the bluesy, space-age soul-jazz on "Tribal Future." Chances are trad-heads jazz-neo-cons won't dig this, but then they didn't like his '60s records, either. For those interested in the edges -- where jazz meets the new musics of the technologic age creating a new sense of "organic" sound -- this is for you.
---Thom Jurek, All Music Guide
Eddie Gale
Active Decades: '60s, '70s, '90s and '00s
Born: 1941 in Brooklyn, NY
Genre: Jazz
Styles: Modern Creative, Avant-Garde, Post-Bop, Free Jazz, Free Funk, Avant-Garde Jazz
Having developed his skills amongst the cream of New York's hard bop players, Eddie Gale helped ring in jazz's controversial new thing during the 1960s and 1970s on a series of influential releases. His inspired trumpet playing graced Cecil Taylor's Unit Structures, Larry Young's Of Peace and Love and a series of recordings and performances with Sun Ra's Arkestra. He also cut a pair of under-acknowledged soul-jazz influenced albums as a leader for Blue Note at the end of the '60s.
Born in Brooklyn, NY, in 1941, Eddie Gale experienced the world of jazz firsthand through the borough's community of jazz musicians. The great bebop pianist Bud Powell lived nearby and occasionally stopped outside the young musician's house to hear him practice. Gale received lessons from trumpeter Kenny Dorham and before long was sitting in on jam sessions with the likes of drummers Art Blakey and Max Roach and saxophonists Illinois Jacquet, Sonny Stitt, and Jackie McLean. During these years, Gale absorbed the styles of the trumpet greats from pioneers like Louis Armstrong and Dizzy Gillespie to hard bop practitioners like Donald Byrd, Lee Morgan, and Freddie Hubbard. Though these musicians made a lasting impression, Gale came of age during the dawn of jazz's new thing. John Coltrane's 1965 album Ascension heralded the arrival of a new generation of players like Eric Dolphy, Archie Shepp, Albert Ayler, Cecil Taylor, and Pharoah Sanders. The new sounds made a strong impression on the young musician. Though he never recorded with the great tenor saxophonist, Gale had the privilege of sharing the stage with Coltrane on a number of occasions.
In the early '60s, Gale (then in his early twenties) was introduced to composer, keyboardist, and intergalactic bandleader Sun Ra. Gale toured and recorded with Ra's Arkestra throughout the '60s and '70s and remained in touch with Ra until his death in 1993. Ra's perplexing tutelage extended from practical musical instruction to lessons on subjects like Egyptology, Phonetics, and Hieroglyphics. Gale's trumpet can be heard on the Arkestra's 1965 recording Secrets of the Sun.
The year that followed was a major breakthrough for Gale. Cecil Taylor brought the trumpeter on board for the recording of the pianist's classic Blue Note debut Unit Structures. As a part of a seven-piece ensemble, Gale played alongside alto saxophonist Jimmy Lyons, bassist Henry Grimes, and drummer Andrew Cyrille: some of the finest proponents of the developing free jazz. Following the date with Taylor, Gale joined organist Larry Young's group for the recording of Of Love and Piece. Besides having a direct impact on his developing sound, the recordings won the trumpeter an admirer in Blue Note co-founder Francis Wolff, who funded the release of Eddie Gale's Ghetto Music (1968) and Black Rhythm Happening (1969). For the sessions, Gale assembled a sextet and nonet respectively, the latter of which included the great Coltrane drummer Elvin Jones and the soprano saxophone of Jimmy Lyons. On both dates, the ensemble was joined by an 11-piece vocal group dubbed the Noble Gale Singers. Combining the bebop and hard bop of his early teachers, the avant-garde sensibilities acquired from Taylor and the soul-jazz fire of Young, Gale's music expertly bridged the gap between long-standing jazz traditions and the newer styles that attempted to shatter them. Unfortunately, with the transition of Blue Note into the hands of Liberty records, Gale's contract was not renewed, thus ending a potentially fruitful partnership.
At the start of the '70s, Gale headed for the West Coast where he eventually settled, connecting with a community of musicians in and around the California Bay Area. Following a brief stint as Artist in Residence at Stanford University, the trumpeter took the same position at the university in San Jose. As a result of his work within the city's musical community, Mayor Norm Mineta proclaimed Gale San Jose's Ambassador of Jazz in 1974.
Gale continued to perform and record with Sun Ra during the decade, playing on a series of late-'70s albums including Lanquidity, The Other Side of the Sun (both 1978), and On Jupiter (1979). Though the trumpeter released few of his own albums in the decades that followed, his creative spirit remained undiminished. In the 1990s, Gale formed the Inner Peace Jazz Orchestra which performed at the Concert for World Peace. Helping to bring jazz into the 21st century, the trumpeter made numerous appearances with Oakland hip-hop outfit the Coup, whereby Gale's trumpet could be heard engaging with the music's breakbeats and turntables.
--- Nathan Bush, All Music Guide |
|
CD bolt, zenei DVD, SACD, BLU-RAY lemez vásárlás és rendelés - Klasszikus zenei CD-k és DVD-különlegességek |  | | Webdesign - Forfour Design |
|
|
