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| 4.100 Ft
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| 1. | Night Time (Is the Right Time)
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| 2. | For Louis
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| 3. | Journey Towards Freedom
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| 4. | Remember the Time
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| 5. | Strange Fruit
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| 6. | Siesta for the Fiesta
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| 7. | Night Life
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| 8. | Black or White
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| 9. | Three for the Festival
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| 10. | The Great Pretender
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Jazz
Lester Bowie - Producer, Trumpet
Bob Stewart - Tuba
E.J. Allen - Arranger, Trumpet
Famoudou Don Moye - Percussion, Producer
Frank Lacy - Trombone
Gerald Braxel - Trumpet
Luis Bonilla - Trombone
Tony Barrero - Trumpet
Vincent Chancey - French Horn
Vinnie Johnson - Drums
* A. Taylor - Photography
* Byron Bowie - Arranger
* Deborah Bowie - Photography
* Johannes Wohlleben - Engineer
* Martin Lachmann - Engineer
* Steve Turre - Arranger
During this live recording of the Brass Fantasy at The Moonwalker Club in Aarburg, Switzerland, Bowie and his nonet go through many phases of jazz, funk, and progressive music. Old favorites of the Brass Fantasy are complemented by some new material added to the repertoire. Arrangements are assigned to notables such as brother Byron Bowie, Steve Turre, E.J. Allen, and Earl McIntyre. Trumpeters L. Bowie, Allen, Gerald Brazel, and Tony Barrero are joined by Vincent Chancey on French horn, Frank Lacy and Louis Bonilla on trombone, Bob Stewart on tuba, Vinnie Johnson on drums (replacing Phillip Wilson who was murdered in the streets of NYC weeks before this performance), and Famoudou Don Moye on other percussions. Of the well-known pieces, there are non-vocal versions of the soul ballad "The Great Pretender" and the slow gospel dirge blues "For Louis" (Armstrong) dedicated to Wilson. Funk, in its myriad conjugations, rears up on the fun Ray Charles number "Night Time," and on the harder, marching band-like Michael Jackson tune "Remember the Time," as well as on Jackson's hot-to-heavy dance tune "Black or White." The hard-driving Latin funk of Bruce Purse's "Night Life" sports more soloing from Allen, Lacy, and Lester. At their most fervently swinging, Rahsaan Roland Kirk's "Three for the Festival" is a little ragged, but pretty hot featuring a solo from Johnson. Jimmie Lunceford's "Siesta for the Fiesta" is the surprise; it's a jumping chart with a funky edge and outer-limits solos from Chancey and Bonilla. The heaviest pieces are "Strange Fruit" and Allen's "Journey Towards Freedom." On the latter, a Billie Holiday classic about a lynching in the south, Bowie terms racism as "the crime of the century" with an abstract intro leading to a solemn, hymn-like theme and a whip or pistol-shot sequence; the music tells stark tales of what has not changed, and all without speaking a word. The "Journey" is a heavy water experiment, a 6/8 strutting, juggernaut melody with a tuba ostinato that has a distinctly forward motion, counterpointed horns that call out/respond in loud symmetry, and a rather seriously wrought solo by Stewart. A polyphonic coda concludes this stunning piece of modern creative music for the ages. The variations on themes and styles, and a sense of utter outrage as well as good feelings toward those in their family and in the audience, earmarks this session as one of the most important in the Brass Fantasy's history and development.
---Michael G. Nastos, All Music Guide
Lester Bowie
Active Decades: '60s, '70s, '80s and '90s
Born: Oct 11, 1941 in Frederick, MD
Died: Nov 08, 1999
Genre: Jazz
Styles: Jazz-Funk, Avant-Garde, Progressive Big Band, Post-Bop, Jazz-Pop, Free Jazz, Free Funk, Avant-Garde Jazz
From the 1970s until his death in 1999, Lester Bowie was the preeminent trumpeter of the jazz avant-garde -- one of the few trumpet players of his generation to successfully and completely adopt the techniques of free jazz. Indeed, Bowie was the most successful in translating the expressive demands of the music -- so well-suited to the tonally pliant saxophone -- to the more difficult-to-manipulate brass instrument. Like a saxophonist such as David Murray or Eric Dolphy, Bowie invested his sound with a variety of timbral effects; his work has a more vocal quality, compared with that of most contemporary trumpeters. In a sense, he was a throwback to the pre-modern jazz of Cootie Williams or Bubber Miley, though Bowie was by no means a revivalist. Though he was certainly not afraid to appropriate the growls, whinnies, slurs, and slides of the early jazzers, it was always in the service of a thoroughly modern sensibility. And Bowie had chops; his style was quirky, to be sure, but grounded in fundamental jazz concepts of melody, harmony, and rhythm.
Bowie grew up in St. Louis, playing in local jazz and rhythm & blues bands, including those led by Little Milton and Albert King. Bowie moved to Chicago in 1965, where he became musical director for singer Fontella Bass. There Bowie met most of the musicians with whom he would go on to make his name -- saxophonists Joseph Jarman and Roscoe Mitchell and drummer Jack DeJohnette among them. He was a founding member of the Association for the Advancement of Creative Musicians and (in 1969) the Art Ensemble of Chicago. Bowie's various bands have included From the Root to the Source -- a sort of gospel/jazz/rock fusion group -- and Brass Fantasy, an all-brass, post-modern big band that's become his most popular vehicle. Bowie's catholic tastes are evidenced by the band's repertoire; on albums, they have covered a nutty assortment of tunes, ranging from Jimmy Lunceford's "Siesta for the Fiesta" to Michael Jackson's "Black and White." Besides his work as a leader and with the Art Ensemble, Bowie recorded as a sideman with DeJohnette, percussionist Kahil El'zabar, composer Kip Hanrahan, and saxophonist David Murray. He was also a member of the mid-'80s all-star cooperative the Leaders. Bowie's music occasionally leaned too heavily on parody and aural slapstick to be truly affecting, but at its best, a Bowie-led ensemble could open the mind and move the feet in equal measure.
---Chris Kelsey, All Music Guide |
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