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| 1. | Charlie in the Parker
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| 2. | Balladi
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| 3. | Arhythm Songy
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| 4. | Oqa
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| 5. | Ritob
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Jazz / Free Jazz, Avant-Garde Jazz
Muhal Richard Abrams - Synthesizer, Vocals, Piano, Voices
Anthony Braxton Voices, Clarinet, Sax (Alto), Vocals, Flute, Sax (Soprano)
Giacomo Pellicciotti Producer
Giuseppe Pino Photography, Art Direction
Henry Threadgill Sax (Tenor), Sax (Alto), Voices, Flute
Leonard Jones Voices, Vocals, Bass
Steve McCall Drums, Voices, Percussion, Vocals
Timothy Marquand Assistant Producer
Tony May Engineer
Muhal Richard Abrams hasn't presided over many small combos with a more imposing lineup than on this 1977 session. Anthony Braxton and Henry Threadgill played numerous instruments from alto, tenor and soprano saxes to flutes and clarinets, even adding background vocals. Fiery percussionist Steve McCall and bassist Leonard Jones, who also added some vocals, completed the lineup. The unit made demanding, harmonically dense and rhythmically unpredictable material, with Braxton's scurrying solos ably matched by Threadgill's bluesier lines and Abrams' leadership and inventive blend of jazz, blues, and other sources holding things together. ~ All Music Guide, All Music Guide
Muhal Richard Abrams
Active Decades: '60s, '70s, '80s, '90s and '00s
Born: Sep 19, 1930 in Chicago, IL
Genre: Jazz
Styles: Modern Creative, Progressive Big Band, Early Creative, Free Jazz, Progressive Jazz, Avant-Garde Jazz
Composer, arranger, and pianist Muhal Richard Abrams is largely a self-taught musician who was deeply influenced by the bop innovations of the late Bud Powell. Abrams has been a beacon in the jazz community as a co-founder (and first president), in 1965, of Chicago's legendary vanguard music institution, the Association for the Advancement of Creative Musicians (AACM). While Abrams is well-known as a mentor to three generations of younger musicians -- born in 1930 he was a decade older than his closest peer in the AACM -- as a bandleader and professor at the Banff Center, Columbia University, Syracuse University, and the BMI Composers' Workshop, he is not always recognized for his substantial contribution as a player and recording artist. Abrams' first gigs were playing the blues, R&B, and hard bop circuit in Chicago and working as a sideman with everyone from Dexter Gordon and Max Roach to Ruth Brown and Woody Shaw. But Abrams' own recordings reveal his strength as an innovator. His 1967 debut, Levels and Degrees of Light on Chicago's Delmark label, set the course for his own career and that of many of his AACM contemporaries, including Henry Threadgill, the Art Ensemble of Chicago, Leo Smith, and Anthony Braxton. Abrams is also a conduit for the tradition. Though his music is noted for its vanguard edginess, he nonetheless bridges everything in his playing from boogie-woogie to bebop to free improv, as evidenced by Sightsong and Rejoicing With the Light, both on the Black Saint label. Abrams has been a composer that moves through the classical tradition as well. Novi, his first symphony for orchestra and jazz quartet, has been performed at various festivals, and the Kronos Quartet performed his String Quartet, No. 2.
--- Thom Jurek, All Music Guide |
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