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| All the Magic! |
| Lester Bowie |
első megjelenés éve: 1982
80 perc |
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| (2002)
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2 x CD |
| 6.000 Ft
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| 1. CD tartalma: |
| 1. | For Louis
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| 2. | Spacehead
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| 3. | Ghosts
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| 4. | Trans Traditional Suite
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| 5. | Let the Good Times Roll
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| 2. CD tartalma: |
| 1. | Organic Echo
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| 2. | Dunce Dance
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| 3. | Charlie M, Pt. 2
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| 4. | Thirsty?
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| 5. | Almost Christmas
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| 6. | Down Home
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| 7. | Okra Influence
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| 8. | Miles Davis Meets Donald Duck
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| 9. | Deb Deb's Face
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| 10. | Monkey Waltz
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| 11. | Fradulent Fanfare
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| 12. | Organic Echo, Pt. 2
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Jazz / Avant-Garde Jazz
Lester Bowie - Trumpet
Ari Brown Sax (Tenor), Sax (Soprano)
Art Matthews Piano
Barbara Wojirsch Design
David Peaston Vocals
Fontella Bass Vocals
Fred Williams Bass
Manfred Eicher Producer
Paul Foster Translation
Peter Kemper Liner Notes
Phillip Wilson Drums
Two very different sessions are combined on this two-LP set. Trumpeter Lester Bowie and a quintet also including Ari Brown on tenor and soprano, pianist Art Matthews, bassist Fred Williams, and drummer Phillip Wilson, are often used to accompany the soulful and gospel-oriented vocals of Fontella Bass and David Peaston (in addition to taking colorful solos). The 12-minute "For Louie" and a suite that is dominated by an emotional version of "Everything Must Change" are highlights; also memorable is a brief version of Albert Ayler's "Ghosts." The second album is quite a bit different, a set of unaccompanied trumpet solos by Bowie that are often quite humorous. On "Miles Davis Meets Donald Duck," the meeting does seem to take place; "Thirsty?" is a funny joke, and some of the other pieces (including "Organic Echo," "Dunce Dance" and "Fraudulent Fanfare") are brief but effective wisecracks. All in all, this two-fer shows off both Lester Bowie's playing abilities and his sense of humor. ~ Scott Yanow, All Music Guide
Lester Bowie
Active Decades: '60s, '70s, '80s and '90s
Born: Oct 11, 1941 in Frederick, MD
Died: Nov 08, 1999 in New York, NY
Genre: Jazz
Styles: Jazz-Funk, Avant-Garde, Progressive Big Band, Post-Bop, Jazz-Pop, Free Jazz, Free Funk, Progressive Jazz, 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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