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4 x CD |
| 8.501 Ft
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| 1. CD tartalma: |
| 1. | Beauregard
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| 2. | O'Blues
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| 3. | Happyology
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| 4. | Midday
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| 5. | Polarity
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| 6. | Ameena
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| 7. | Space
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| 8. | Metaphor
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| 9. | Morning
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| 10. | The Beginning
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| 2. CD tartalma: |
| 1. | G. Bouk
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| 2. | Blues In Space
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| 3. | Yusef's Mood
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| 4. | Passion
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| 5. | Love Is Eternal
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| 6. | Pike's Peak
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| 7. | Open Strings
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| 8. | Before Dawn
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| 9. | Twenty Five Minute Blues
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| 10. | Chang Chang Chang
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| 11. | Constellation
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| 12. | Seulb
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| 13. | Sounds Of Nature
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| 3. CD tartalma: |
| 1. | Song Of Delilah
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| 2. | 8540 Twelfth Street
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| 3. | I Got It Bad And That Ain't Good
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| 4. | Check Blues
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| 5. | Prayer To The East
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| 6. | A Night In Tunisia
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| 7. | Lover Man
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| 8. | Endura
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| 9. | Love Dance
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| 10. | Sram
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| 11. | Gypsy Arab
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| 4. CD tartalma: |
| 1. | Playful Flute
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| 2. | Taboo
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| 3. | Ecaps
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| 4. | All Alone
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| 5. | Anastasia
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| 6. | Love And Humour
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| 7. | Buckingham
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| 8. | Lambert's Point
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| 9. | Meditation
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| 10. | Mahaba
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| 11. | Minor Mood
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| 12. | Take The "A" Train
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Jazz
Featuring: Yusef Lateef (ts, fl, argol, scraped gourd, tambourine, Indian reed whistle, vcl), Curtis Fuller (tb, tambourine, Turkish finger cymbals), Wilbur Harden (flgh, tambourine, cow bell, balloon), Hugh Lawson (p, metalphone, ocarina, cow bells, Turk
4CD Set, 32 page book-let
Digitally Remastered 24-BIT / 96 kHz
In 1950, after a year on tour with Dizzy Gillespie's band, Yusef Lateef returned to Detroit, the city where he had grown up as a jazz musician. With his powerfully preaching tenor sax tone and fluent, driving style he established himself as an influential presence in the Motor City scene, forming his own quintet in 1955. He made his first recordings as a leader in 1957, a productive year for him, as this gripping 4-CD set reveals. On it he plays tenor and flute with a compelling directness and overpowering honesty, surrounded by a nucleus of Detroiters like Curtis Fuller, Ernie Farrow, Louis Hayes, Oliver Jackson, Wilbur Harden and, especially, Hugh Lawson, whose rolling, two-handed piano is as exciting in solo as it is in his intelligent comping. The entire group plays in inspired fashion, speaking authoritatively for the Detroit jazz scene.
The hardcore of these sessions were recorded by Rudy Van Gelder in Hackensack, New Jersey
Note: In addition to the standard jazz instrumentation, some compositions, notably for the time, included several near-Eastern ethnic instruments to produce a remarkable blend of oriental harmonies, sounds and effects, superimposed on wailing jazz without compromising its unity or quality. These include the rebob, earth board, argol, tambourine, Chinese gong, finger cymbals, scraped gourd, bells, and other devices, among them a balloon and a 7-up bottle to achieve some uniquely arresting effects.
More details and information in the booklet.
Yusef Lateef
Active Decades: '50s, '60s, '70s, '80s, '90s and '00s
Born: Oct 09, 1920 in Chatanooga, TN
Genre: Jazz
Styles: Modern Creative, World Fusion, Post-Bop, Hard Bop
Yusef Lateef has long had an inquisitive spirit and he was never just a bop or hard bop soloist. Lateef, who does not care much for the name "jazz," has consistently created music that has stretched (and even broke through) boundaries. A superior tenor-saxophonist with a soulful sound and impressive technique, Lateef by the 1950s was one of the top flutists around. He also developed into the best jazz soloist to date on oboe, an occasional bassoonist and introduced such instruments as the argol (a double clarinet that resembles a bassoon), shanai (a type of oboe) and different types of flutes. Lateef played "world music" before it had a name and his output was much more creative than much of the pop and folk music that passes under that label in the 1990s.
Yusef Lateef grew up in Detroit and began on tenor when he was 17. He played with Lucky Millinder (1946), Hot Lips Page, Roy Eldridge and Dizzy Gillespie's big band (1949-50). He was a fixture on the Detroit jazz scene of the 1950s where he studied flute at Wayne State University. Lateef began recording as a leader in 1955 for Savoy (and later Riverside and Prestige) although he did not move to New York until 1959. By then he already had a strong reputation for his versatility and for his willingness to utilize "miscellaneous instruments." Lateef played with Charles Mingus in 1960, gigged with Donald Byrd and was well-featured with the Cannonball Adderley Sextet (1962-64). As a leader his string of Impulse recordings (1963-66) were among the finest of his career although Lateef's varied Atlantic sessions (1967-76) usually also had some strong moments. He spent some time in the 1980s teaching in Nigeria. His Atlantic records of the late '80s were closer to mood music (or new age) than jazz but in the 1990s (for his own YAL label) Yusef Lateef has recorded a wide variety of music (all originals) including some strong improvised music with the likes of Ricky Ford, Archie Shepp and Von Freeman. ~
---Scott Yanow, All Music Guide |
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