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| 5.638 Ft
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| 1. | Improvisation 12
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| 2. | Blue Monk
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| 3. | She
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| 4. | Comin On
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| 5. | She
Bonus
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Jazz
Recorded live April 2, 1977. This date stems from a California radio broadcast.
The line up is Bobby on trumpet, James Newton (flute), Richard Rehwald (bass) and John Goldsmith (drums). Includes a bonus track duet with Vinny Golia (clarinet) from a 2003 gig.
This release is the first time this late night radio broadcast has been available to the public at large. Many of you know of Bobby Bradford's work as the trumpet player for Ornette Coleman prior to his recording debut. Bradford also appeared on the seminal Science Fiction album by Coleman. Bradford's work as a leader also includes several issues under his own name. No stranger to the outer realms of music, Bradford appeared on albums with the Spontaneous Music Ensemble which were released as several sessions on Freedom, Nessa and Emanem. Of no small consequence were Bradford's releases on the Flying Dutchman label with longtime partner John Carter. On Midnight Pacific Airwave, Bradford is joined by the incomparable James Newton on flute, Richard Rehwald on bass and John Goldsmith on drums. It was not uncommon for Bobby to perform over the air with an ensemble. This is perhaps one of the most special documents of his live performances. Included as a bonus track is a duet with Vinny Golia recorded more recently. There is an element of timelessness to Bradford's music as evidenced by historical and more recent recordings included herein. Midnight Pacific Airwaves stands to fill a gap in Bradford's recording career. Lovingly mastered from the original tapes, this release is a document of a true master whose music is under represented."
---Entropy Stereo
Bobby Bradford's switch from trumpet to cornet exclusively gave the world of creative improvised music one of its sole progenitors on the instrument, allowing him to carve out a unique voice on it that has never been matched. During that transition circa 1977, these live sessions were recorded over the airways of Pacifica station KPFK-FM in Los Angeles, and have finally been released for public consumption some 30-plus years hence. Teamed with the extraordinary flute wizard James Newton, Bradford plays free music unencumbered by fads or trends of any kind, reflective of his days with Ornette Coleman, yet showcasing his own approach to spontaneous compositions that identified him as not only a pioneer and a maverick, but a highly intelligent improviser and democratic teammate. Bassist Richard Rehwald was with Bradford for a handful of years, while drummer John Goldsmith was a member of Sun Ra's Arkestra in the early '70s. Together they all fit feelings, sonic texts, and lengthy loose associations with great variations of color and dynamic spins. "Comin' On" borrows Coleman's approximate note theory, with churning drums and bass converted to free thought buzzing from Bradford, some easy swing, then Bradford and Newton dueling it out with Newton winning the discussion. There's always room for soloing in Bradford's concept, and everyone gets their turn, especially Rehwald and Goldsmith by themselves. The dirge ballad "She" parallels Coleman's "Lonely Woman" in pace and phrasings, but over 18 minutes is free and unencumbered until bass drum bomps start the engine roaring with a ton of blues before decomposing, and reverting to the desolate theme. There's a pagan ritualism extant in "Improvisation #12" where Newton and Bradford are everywhere at once, yet centered. African style drumming and the overwhelmingly overblown vocal flute of Newton cannot be denied, switching to bop, and a second rumble in the jungle keyed by great listening skills and direct responses. A version of "Blue Monk" sounds more in the pocket, but Newton's unusual off minor interpretations set it apart from previous versions, always thinking of another way to play it. Bradford is at his most thoughtful and measured here, digging deep into the blues of his at times misguided Los Angeles home. There is an alternate version of "She" from a 2003 recording with Bradford and clarinetist Vinny Golia that is vastly different than the quartet take, less dirge and with an open feeling, as they discourse on buzzing and scattered trading of tones and ideas, a less defined spacious blues, featuring the fluttering, trilled sounds of the woodwind. As there are few Bobby Bradford recordings available, and that the source material, as old as it is, was well preserved and digitally reproduced, this is an important and easily recommended addition to his discography. It fully displays Bradford's unique contribution to the modern creative idiom, right alongside peers such as Don Cherry, Raphe Malik, or Bill Dixon, and contemporaries Hugh Ragin, Ralph Alessi, or Cuong Vu.
--- Michael G. Nastos, All Music Guide
Bobby Bradford
Active Decades: '50s, '60s, '70s, '80s, '90s and '00s
Born: Jul 19, 1934 in Cleveland, MS
Genre: Jazz
Styles: Avant-Garde, Post-Bop, Avant-Garde Jazz
One of the best trumpeters to emerge from the avant-garde, Bobby Bradford largely fulfilled the potential of Don Cherry (whose chops declined through the years due to the amount of time allocated to performing on flute and other instruments). Bradford grew up in Dallas, playing trumpet locally with such local players as Cedar Walton and David Newman. In 1953, he moved to Los Angeles where he met and played with Ornette Coleman and Eric Dolphy. Bradford spent time in the military and in school before becoming Don Cherry's replacement with the Ornette Coleman Quartet in 1961-1963, a period when the group unfortunately rarely worked. After moving to Los Angeles, Bradford became a school teacher and also began a longtime association with clarinetist John Carter; his mellow trumpet blended in well with Carter's dissonant flights. He recorded with Ornette Coleman in 1971, but otherwise is best known for his playing and recordings with Carter. Since the clarinetist's death, Bradford frequently led a quintet (the Mo'tet) featuring Vinny Golia and occasionally Marty Ehrlich. In the '90s, he also performed with John Stevens' Freebop, the David Murray Octet, and Charlie Haden's Liberation Music Orchestra.
---Scott Yanow, All Music Guide |
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