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| 3.333 Ft
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| 1. | Firefly
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| 2. | Living Inside Your Love
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| 3. | Everything Is Coming to the Light
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| 4. | Hop Scotch
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| 5. | Sweet Hour of Prayer
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| 6. | Grasshopper
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Jazz / Crossover Jazz
Jazz-Funk
Avant-Garde
Fusion
Post-Bop
Produced by Creed Taylor himself, Jeremy Steig's jazz-funk throwdown, Firefly, is one of the great forgotten masterpieces of the genre. Steig is a monster flutist who may lack some of Herbie Mann's subtlety, but more than makes up for it with his chops. Taylor surrounded Steig with a band that was testosterone-fueled yet knew how to get the sexy grooves. Firefly was designed for the purpose of being a hit in the dance clubs, and it should have been, because it kicks ass on that level as well as on the jazz-funk beam. Arranged and conducted by pianist Dave Matthews, the band included guitarists Eric Gale, Hiram Bullock, and John Scofield, Richard Tee on keys, drummers Steve Gadd and Allen Schwarzberg, conguera Ray Mantilla, percussionist Sue Evans, and vocalist Googie Coppola. As for the commercial edge, tracks like Dave Grusin and Earl Klugh's sublime groover "Livin Inside Your Love," features beautiful double-tracked flute solos going into the red on the funky soul edge; then there's the title track opener where Steig plays inside and out in shimmering interplay with Gary King's popping bassline. But it's on "Grasshopper," a Steig original, that this disc really soars. Overdriven chunky guitars, cutting across one another, electric Rhodes, and acoustic piano in counterpoint on two different melodies, bass bubbling like Sly Dunbar's, and orchestral horns giving Steig a punch lead line he can really mess with in his fills and solo. This is burning.
---Thom Jurek, All Music Guide
Jeremy Steig
Active Decades: '60s, '70s, '80s and '90s
Born: Sep 23, 1942 in New York, NY
Genre: Jazz
Styles: Avant-Garde, Avant-Garde Jazz, Fusion, Post-Bop
One of the earliest and finest jazz-rock flutists, Jeremy Steig is an outstanding soloist. He's mastered the entire flute family, including bass, and also plays piccolo well. He has a similarly rich, classically pure tone and timbre as James Newton or Hubert Laws, and uses almost as many devices, such as tongue fluttering, humming, and swirling lines. But he's not as blues- or swing-oriented, and his associations include working in the early '60s with Richie Havens and heading Jeremy and the Satyrs in 1967. Steig's father is the famous artist William Steig; he began playing recorder at six and took flute lessons at 11. Steig attended the High School of Music and Art. He played with Gary Peacock and Paul Bley in the early '60s, then led a jazz-rock combo in 1967 backing Tim Hardin before heading his own groups. Steig played with Mike Manieri and Eddie Gomez in the '60s, and Jan Hammer in 1970. He began using electronics and synthesizers in the '70s, and toured Europe both as a soloist and heading quartets and quintets. He recorded with Gomez and Joe Chambers in the late '70s, and did sessions with Mike Nock, Karl Ratzer, Nana Vasconcelos, Ray Barretto, Steve Gadd, and Jack DeJohnette in the '80s.
---Ron Wynn, All Music Guide |
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