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| 1. | Announcement by Allan Morrison
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| 2. | Hi-Fly
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| 3. | Expert From Bantu suite
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| 4. | Beef Blues Stew
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| 5. | Introducing by Allan Morisson
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| 6. | Machine Blues
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| 7. | Blues For Strayhorn
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| 8. | Sad Beauty Blues
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| 9. | Afro Black
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Jazz / World Fusion, African Jazz
Tracks 1-6:
Live at The Newport Jazz Festival, July 5, 1958
Randy Weston Trio:
Randy Weston (p), George joyner (b), Gilbert "G.T." Hoogan (d)
Tracks 7-9:
Live at Both/And, San Francisco, October 1966
Randy Weston Sextet:
Ray Copeland (t), Frank Haynes (ts), Randy Weston (p), Bill Wood (b), Lennie McBrowne (d), Big Black (cg)
All tracks composed by Randy Weston.
Although he has achieved neither the popularity of Peterson nor the mystique of Monk, Randy Weston is one of the most important contributors to modern music, both as a pianist and as a composer. In the 1950s he became one of the first soloists to compose and perform jazz successfully in waltz time. He was also among the earliest to bring to his music a sense of the importance of his African heritage, in his search for "the real link between Africa and American jazz. This is the link I want to get into", he said. "I feel it will really make jazz grow".
While many of his works illustrate either one or the other of these initiatives, Weston has also retained his ties with the swinging essence of jazz represented by the Gillespie-Parker school of the 40's.
Randy Weston
Active Decades: '50s, '60s, '70s, '80s, '90s and '00s
Born: Apr 06, 1926 in Brooklyn, NY
Genre: Jazz
Styles: Modern Creative, World Fusion, Highlife, Post-Bop, Hard Bop, Mainstream Jazz, Progressive Jazz, African Jazz, African Traditions, Jazz Instrument, Piano Jazz
Placing Randy Weston into narrow bop-derived categories only tells part of the story of this restless musician. Starting with the gospel of bop according to Thelonious Monk, Weston has gradually absorbed the letter and spirit of African and Caribbean rhythms and tunes, welding everything together into a searching, energizing, often celebratory blend. His piano work ranges across a profusion of styles from boogie-woogie through bop into dissonance, marking by a stabbing quality reminiscent of, but not totally indebted to, Monk.
Growing up in Brooklyn, Weston was surrounded by a rich musical community: he knew Max Roach, Cecil Payne, and Duke Jordan; Eddie Heywood lived across the street; Wynton Kelly was a cousin. Most influential of all was Monk, who tutored Weston upon visits to his apartment. Weston began working professionally in R&B bands in the late '40s before playing in the bebop outfits of Payne and Kenny Dorham. After signing with Riverside in 1954, Weston led his own trios and quartets and attained a prominent reputation as a composer, contributing jazz standards like "Hi-Fly" and "Little Niles" to the repertoire. He also met arranger Melba Liston, who has collaborated with Weston off and on into the '90s. Weston's interest in his roots was stimulated by extended stays in Africa; he visited Nigeria in 1961 and 1963, lived in Morocco from 1968 to 1973 following a tour, and has remained fascinated with the music and spiritual values of the continent ever since. In the '70s, Weston made recordings for Arista-Freedom, Polydor, and CTI while maintaining a peripatetic touring existence -- mostly in Europe -- returning to Morocco in the mid-'80s.
However, starting in the late '80s, after a long recording drought, Weston's visibility in the U.S. skyrocketed with an extraordinarily productive period in the studios for Antilles and Verve. Among his highly eclectic recording projects were a trilogy of "Portrait" albums depicting Ellington, Monk, and himself, an ambitious two-CD work rooted in African music called The Spirits of Our Ancestors, a blues album, and a collaboration with the Master Gnawa Musicians of Morocco. Though he does tend now and then to recycle material written up to nearly half-a-century before, well in to his seventies, Weston remains an unpredictable, unusually enterprising musician, issuing Khepara in 1998.
---Richard S. Ginell, All Music Guide |
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