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| 3.501 Ft
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| 1. | The Birth Of The Blues
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| 2. | Next
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| 3. | Two Become One
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| 4. | Don't Cry For Me Argentina
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| 5. | Beautiful People
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| 6. | In The Still Of The Night
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| 7. | Notorious Thugs
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| 8. | Nessum Dorma
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| 9. | If You Don't Know Me By Now
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Jazz
Lester Bowie - Arranger, Editing, Liner Notes, Mixing, Producer, Trumpet
Bob Stewart - Tuba
Dean Bowman - Vocals
Gary Valente - Trombone
Gerald Brazel - Trumpet
Joseph Bowie - Trombone, Vocals
Josh Roseman - Trombone
Luis Bonilla - Arranger, Illustrations, Photography, Trombone
Ravi Best - Trumpet
Victor See-Yuen - Percussion
Vincent Chancey - French Horn
Vinnie Johnson - Drums
* Alain Francais - Mastering
* Deborah Bowie - Photography
* E.J. Allen - Arranger
* Earl McIntyre - Arranger, Editing, Engineering Supervisor, Mixing, Recording Supervision
* Jean-Francois Deiber - Executive Producer, Producer
* Michael Marciano - Editing, Engineer, Mixing
* Pedro Banha - Photography
* Zola Bowie - Repertoire Consultant
Songbook albums were considered cool and trendy in the late '90s, and that seemed to fit into Lester Bowie's pop-tune agenda with the Brass Fantasy. But he wouldn't be bound to the usual worshipful homages on bended knee to a single composer, directing his Brass Fantasy (brass ensemble plus drums/percussion) toward a mind-boggling assortment of sources that are often thoroughly contemporary. Hence a record that pits Cole Porter back-to-back with Marilyn Manson, Andrew Lloyd Webber with the Spice Girls, or how about Notorious B.I.G. with Giacomo Puccini Bowie's Brass Fantasy is at the ensemble's best when they swagger irreverently through "The Birth of the Blues" or a doo wop "In the Still of the Night" -- and the Manson track, "Beautiful People," is savage, even raucous fun. Other songs are taken quite seriously; the Spice Girls' "Two Become One" becomes a sophisticated ballad chart. However, the Bowie band cannot relieve the tedium of Lloyd Webber's quasi-tango "Don't Cry for Me Argentina" by doing it relatively straight, and they seem a bit intimidated by Puccini's "Nessun Dorma" -- which is probably beyond the reach of a jazz treatment anyway. At the very least, the brasses sound fresh and interested in what they're doing, so there is pleasure to be had here.
--- Richard S. Ginell, All Music Guide
Lester Bowie
Active Decades: '60s, '70s, '80s and '90s
Born: Oct 11, 1941 in Frederick, MD
Died: Nov 08, 1999
Genre: Jazz
Styles: Jazz-Funk, Avant-Garde, Progressive Big Band, Post-Bop, Jazz-Pop, Free Jazz, Free Funk, 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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