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| 1. | W.W. [Dedicated to Wilbur Ware]
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| 2. | J. G. [Dedicated to Johnny Griffin]
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| 3. | Sightsong
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| 4. | Two over One
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| 5. | Way Way Way Down Yonder
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| 6. | Panorama
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| 7. | Unitry [Dedicated to the AACM]
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Jazz / Free Jazz, Avant-Garde Jazz
Muhal Richard Abrams - Piano
Giacomo Pellicciotti Producer
Giuseppe Pino Photography
Malachi Favors Bass, Vocals, Percussion
Philippe Carles Liner Notes
Tony May Engineer
The reputation of members of the AACM (Association for the Advancement of Creative Musicians), of which Abrams is a founding member, has long been one of adventurous, dangerous, and difficult music. But in fact, much of the music created out of this organization shows enormous appreciation of the blues and earlier jazz forms. Sightsong is a splendid case in point. The album opens with four duets (two dedicated to Chicago legends Wilbur Ware and Johnny Griffin) which have a swing, a groove, and a delicacy that no fan of "straight-ahead" jazz could ignore. Favors, always one of the great underrated bassists in the music, provides a thick, soulful pulse and solos with huge imagination while Abrams always stays within the song's parameters which provide ample room for his creativity. As fine as these more "traditional" numbers are, the standout piece is perhaps Favors' solo feature, the wonderfully titled "Way Way Way Down Yonder." Opening with what sounds like the riffled pages of a book, Favors then states the deep, bluesy theme with strutting authority and proceeds through one of the richest investigations of the string bass the listener is ever likely to hear. Sightsong is one of Abrams's finest recordings and is also perhaps the best showcase for Malachi Favors' talents outside of his seminal work with the Art Ensemble of Chicago. ~ Brian Olewnick, 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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