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Kérjen
árajánlatot! |
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| 1. | Great Gorge
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| 2. | Moon Germs
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| 3. | Time's Lie
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| 4. | Bass Folk Song
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Jazz / Hard Bop, Crossover Jazz
Joe Farrell - Sax (Soprano), Flute
Airto Moreira Percussion
Bob Ciano Cover Design
Bob James Harpsichord, Piano, Piano (Electric)
Creed Taylor Producer
Darren Salmieri A&R
Gene Bertoncini Guitar
Herbie Hancock Piano
Howard Fritzson Reissue Art Director
Hubert Laws Flute
Jack DeJohnette Drums
James Isaacs Liner Notes
Jane Taylor Bassoon
Jerry Rappaport Reissue Producer
Joseph M. Palmaccio Digital Remastering
Kristin Kozusko A&R
Patti Matheny A&R
Ron Carter Bass, Cello
Rudy Van Gelder Engineer
Seth Rothstein Project Director
Stanley Clarke Vocals, Bass
Steven Berkowitz A&R
Stuart Scharf Guitar
Wally Kane Bassoon
Walter Kane Bassoon
Recorded in 1972 and released in 1973 with Herbie Hancock, Stanley Clarke, and Jack DeJohnette, Joe Farrell's Moon Germs was a foray into the electric side of jazz. More progressive than groove-oriented, three of the four compositions were written by Chick Corea and certainly reflect that knotty, angular, almost mathematic penchant of his for soaring arpeggios in the solos and contrapuntal basslines that circle DeJohnette's drumming. Nowhere is this truer than on the opener, "Great George," where Farrell leads off with the hint of a melody before careening into legato streams of thought along striated intervallic paths. DeJohnette is like a machine gun, quadruple-timing the band as Clarke moves against the grain in a series of fours and eights, and Hancock's attempts to keep the entire thing anchored are almost insufficient. On the title track there is more of a funk backdrop, but still, there are the knotty runs and insane harmonic reaches Farrell attempts on his soprano that crack, falter, and ultimately turn into something else even more satisfying that what Mr. Math (Corea) wanted, though the sheer business of the track is dizzying. "Bass Folk Song" is by Clarke, and is the only thing on the record that actively engages melody rather than harmonic structures. Farrell uses his flute and Hancock strides into the same kind of territory his explored with Miles Davis, chopping up chordal phrases into single lines and feeding them wholesale to the running pair frontmen in Clarke and Farrell. DeJohnette uses a latin backdrop to hang his drumming on and pursues a circular and hypnotic groove on the cymbals and toms. It's a gorgeous piece of music and utilizes an aspect of space within the melodic frame that the rest of the firebrand tunes do not, though it's no ballad. This is sci-fi Farrell at his most intense. ~ Thom Jurek, All Music Guide
Joe Farrell
Active Decades: '60s, '70s and '80s
Born: Dec 16, 1937 in Chicago Heights, IL
Died: Jan 10, 1986 in Los Angeles, CA
Genre: Jazz
Styles: Hard Bop, Crossover Jazz
Joe Farrell's CTI albums of 1970-1976, which combined together his hard bop style with some pop and fusion elements, made him briefly popular among listeners not familiar with his earlier work. He began playing clarinet when he was 11 and, after graduating from the University of Illinois in 1959, Farrell moved to New York where he worked with the Maynard Ferguson Big Band (1960-1961) and Slide Hampton (1962), and recorded with Charles Mingus, Dizzy Reece, and a notable series with Jaki Byard (1965). A member of both the Thad JonesMel Lewis Orchestra (1966-1969) and Elvin Jones' combo (1967-1970), Farrell's distinctive sound on tenor and general versatility were assets. A member of the original version of Return to Forever (1971-1972), Farrell was fairly prosperous during the 1970s when his solo CTI records sold well, but a drug problem gradually caught up with him. After performing with Mingus Dynasty in the late '70s and recording with Louis Hayes in 1983, he moved to Los Angeles where he scuffled during his last couple of years. In addition to CTI, Farrell recorded as a leader for Warner Bros., Xanadu, Contemporary, Realtime, Timeless, and (with Airto and Flora Purim) for Reference.
---Scott Yanow, All Music Guide |
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