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| Live at Pep's Volume Two [ ÉLŐ ] |
| Yusef Lateef |
első megjelenés éve: 1964
59 perc |
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| (1999)
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CD |
| 3.824 Ft
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| 1. | Brother John
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| 2. | P. Bouk
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| 3. | Nu-Bouk
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| 4. | Yusef's Mood
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| 5. | I Remember Clifford
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| 6. | Listen to the Wind
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| 7. | I Loved
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| 8. | Delilah
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| 9. | The Magnolia Triangle [Alternate Version]
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Jazz / World Fusion, Hard Bop
Yusef Lateef - Oboe, Tambourine, Arghoul, Flute, Sax (Tenor)
Bob Thiele Producer
Charles Stewart Photography
Edward Odowd Graphic Design
Erick Labson Remastering
Ernie Farrow Bass
Hollis King Art Direction
James Black Drums
Michael Cuscuna Reissue Producer, Liner Notes
Mike Nock Piano
Richard Gene Williams Trumpet
Robert Flynn Cover Design
Rudy Van Gelder Engineer
Thankfully Impulse had the good sense to complete the entire Live at Pep's evening by releasing Volume 2 in 1999. Impulse has been notoriously slow to release Yusef Lateef's material that he recorded for them in the 1960s onto CD (shamefully, only the two Live at Pep's albums were domestically available in 1999). Volume Two carries on this document of a live Yusef hard bop date in much the same fashion as Volume One. Both are particularly incredible in their recording quality and the performances of each player. The selections and the energy that is put into each and every song is especially moving, but shines specifically bright on "P-Bouk" and "Yusef's Mood," -- both showcase Yusef's highly personal and breathy approach to the flute. If you've got Volume One, Volume Two is an absolute, unquestionable must-have. If you don't have Volume One (or any Yusef Lateef recordings for that matter), buy them both. ~ Jack LV Isles, All Music Guide
Yusef Lateef
Active Decades: '50s, '60s, '70s, '80s, '90s and '00s
Born: Oct 09, 1920 in Chatanooga, TN
Genre: Jazz
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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