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| 3.501 Ft
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| 1. | Player Hater
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| 2. | Waterfall
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| 3. | Count On Me
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| 4. | Solitude
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| 5. | Biggie's Ride
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| 6. | One Love
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| 7. | Unchained Melody
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| 8. | Naakkurat Na
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| 9. | Save The Best For Last
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| 10. | When The Spirit Returns
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Jazz
Lester Bowie - Arranger, Author, Mixing, Producer, Soloist, Trumpet
Bob Stewart - Tuba
Dean Bowman - Guest Appearance, Soloist, Vocals
Gary Valente - Soloist, Trombone
Gerald Brazel - Soloist, Trumpet
Josh Roseman - Trombone
Luis Bonilla - Arranger, Trombone
Ravi Best - Trumpet
Victor See-Yuen - Percussion
Vincent Chancey - French Horn, Soloist
Vinnie Johnson - Drums
* Deborah Bowie - Photography
* Earl McIntyre - Arranger, Mixing
* Jean-Francois Deiber - Executive Producer, Liner Notes, Producer
* Joe Marciano - Engineer, Mixing
* Zola Bowie - Repertoire Consultant
This final outing by Lester Bowie's pet project, the Brass Fantasy, was recorded in 1997 as the second of two albums to come from six days of studio sessions. As is typical of Bowie, he chose -- via the critical and aesthetic sensibilities his 15-year-old daughter -- a program of pop, jazz, and R&B hits, most of them coming from the artists of the era: Notorious B.I.G., Lisa "Left Eye" Lopes, Bob Marley, Babyface, India Arie, and others. The Brass Fantasy manifesto was always to record popular music as part of the historical notion that jazz once was popular music. Unlike a lot of the Brass Fantasy outings, the humor, grace, style, and warmth of these sessions are completely consistent. There are no tracks that miss here, whether it's "Count on Me," or Biggie Smalls' "Biggie's Ride," or an a lush, gorgeous, and deeply moving rendition of "Unchained Melody." The aplomb, taste, and exquisite sense of empathy for this music is everywhere in Bowie's arrangement, and his in the grain of his soloist's voices. This is a fitting final project, and easily the most consistent and realized of all the Brass Fantasy albums.
---Thom Jurek, 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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