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| 4.701 Ft
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| 1. | Moments [Poem]
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| 2. | Rapid Transit
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| 3. | Oceans of the Clouds
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| 4. | Larger Astronomical Time
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| 5. | Arcopanorama
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| 6. | Priordained
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| 7. | The Arch Stairwells [Poem]
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Jazz / Avant Garde, Free Jazz
Henry Grimes - Composer, Illustrations, Liner Notes
Jeff Willens - Mastering
Luke Mosling - Layout
Marc Medwin - Liner Notes
Margaret Davis Grimes - Producer
Rashied Ali - Composer
Stefan Arnarson - Engineer, Mixing
Henry Grimes & Rashied Ali convene on this magical live recording that holds aloft Henry's bass and violin, highlighting his recent pointilisms, ringing with the shock-by-shock rebound of the spaces between, each dyad and sweep echoing with command and authority. Below, above, in perfect tune and time, Rashied lays foundations, constructs edifices of rock and crystal that ebb and flow with the malleability and gliding susurrations of melting snow. Moving the many-sided sculpture, bass drum thunder gently queries and booms answers. Sadly this is the final Documentation of these two master musicians as Rashied Ali soon passed after the recording of Spirits Aloft.
This live recording from Febr. '09 documents the second and presumably final collaboration between bassist Henry Grimes, who'd been absent from the music scene for decades until returning in 2002, and drummer Rashied Ali, who died six months after this concert. Ali was probably best known for his collaboration with John Coltrane during the last three years of the saxophonist's life, but he made numerous important albums under his own name and in collaboration with various other players. Grimes was a highly in-demand bassist during the free jazz era, performing with Sonny Rollins, Albert Ayler, Archie Shepp, Don Cherry, and others before disappearing from the music scene around 1970. On this recording, Grimes switches back and forth between bass and violin, and between somewhat conventional free jazz playing and atmospheric pieces during which neither he nor Ali offer any kind of melodic or rhythmic structure, instead improvising in a quietly intense way that forces the listener to wonder who's making what sound. The drummer's powerful soloing on "Larger Astronomical Time" is a highlight of his performance, and Grimes is shown to best effect on the exhausting "Arcopanorama." When the bassist first reappeared on the scene, he was extremely rusty, but free jazz fans welcomed him back because of his pedigree. With this release, and a few before it, he proves that his chops have returned and he's every bit the player he was in the '60s. ~ Phil Freeman, Rovi
Henry Grimes
Active Decades: '50s, '60s and '00s
Born: Nov 03, 1935 in Philadelphia, PA
Genre: Jazz
Styles: Hard Bop, Free Jazz
After over three decades of being "lost," H. Grimes has made a remarkable comeback. He was born and grew up in Philadelphia, studying violin while in junior high school and also playing tuba a bit in high school before settling permanently on bass. Grimes moved to New York City in the early '50s, studied at Juilliard, and then began playing with major jazz musicians. He toured with the bands of Arnett Cobb and Willis Jackson and spent time back in Philadelphia, where he worked with Bobby Timmons and Lee Morgan. Grimes worked with Anita O'Day and Sonny Rollins in 1957 and was a member of the Gerry Mulligan quartet in 1957-1958, during the period that Art Farmer was in the band. A very versatile bassist who could play with anyone, Grimes really stretched himself at the 1958 Newport Jazz Festival when he performed quite capably with the Benny Goodman big band, Lee Konitz, Sonny Rollins, and Thelonious Monk.
Grimes had stints with Lennie Tristano (1958) and Sonny Rollins (touring Europe in 1959, right before the tenor's temporary retirement) and was greatly respected by stylists from all jazz fields. In 1961 he became an important contributor to free jazz, working with Cecil Taylor off and on during 1961-1966 in addition to playing regularly with Perry Robinson (1962), Sonny Rollins (1962-1963), Albert Ayler (1964-1966), and Don Cherry (1965-1966). Grimes led a record date (The Call) for ESP in 1965 and, in addition to the musicians mentioned, recorded with Mose Allison, Chet Baker, Bill Barron, Karl Berger, Gary Burton, Gil Evans, Burton Greene, Coleman Hawkins, Roy Haynes, Steve Lacy, Charles Mingus, Sunny Murray, Jerome Richardson, Annie Ross, Pharoah Sanders, Shirley Scott, Archie Shepp, Billy Taylor, Charles Tyler, McCoy Tyner, Marzette Watts, and Frank Wright. (Not too many musicians have recorded with both Benny Goodman and Albert Ayler)
But then, in 1967 when he was just 31, Henry Grimes disappeared completely from the jazz scene. Decades passed and he became one of jazz's most prominent missing persons. He was long presumed dead because no one in jazz heard a word from him. So in 2002 it was a major surprise when Grimes was discovered living in a hotel in South Central Los Angeles, where he had resided for the past 20 years. Grimes, who had become frustrated with the music world and suffered from some ambiguous mental problems, had spontaneously quit music and worked odd jobs for years. He had long since sold his bass for the money and was unaware of the musical developments of the past 35 years. Grimes was discovered by Marshall Marrotte, a social worker and writer, and was soon interviewed by Sound to Noise magazine. Word went out that Henry Grimes was alive, basically pretty well but destitute, and desiring to play bass again. William Parker donated and sent him a bass in December 2002 and since then Grimes has regained his former form and begun to play in public again. Grimes played at Billy Higgins' World Stage and the Jazz Bakery in addition to several other clubs in the Los Angeles area, began teaching an improvisation class at a local high school, and appeared at the Vision Festival in New York. His comeback became one of the great jazz stories of 2003, an unlikely case of a missing figure suddenly re-emerging on the jazz scene after a 35-year "vacation." He began playing dates and festivals around the world, released several new recordings, took up the violin, and even published a volume of -Signs Along the Road.
---Scott Yanow, All Music Guide |
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