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CD |
| 5.353 Ft
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| 1. | Meditation 1
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| 2. | Drumbutu
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| 3. | DizBirdMonkBudMax (A Tribute)
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| 4. | Familytalk
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| 5. | Illuso
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| 6. | Sound Image of the Past, Present and Future
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Jazz / Modern Creative, Modern Free, Post-Bop, Free Jazz
Muhal Richard Abrams - Synthesizer, Conductor, Paintings, Piano
Brad Jones Bass
Flavio Bonandrini Producer
Fred Kevorkian Assistant Engineer
Gennaro Carone Engineer
Jack Walrath Trumpet
John Rosenberg Engineer
Jon Rosenberg Engineer
Joseph Jarman Liner Notes
Patience Higgins Clarinet (Bass), Horn (English), Clarinet, Horn, Sax (Tenor)
Reggie Nicholson Marimba, Drums, Bells
Warren Smith Marimba, Tympani [Timpani], Gong, Timbales, Vibraphone
This CD has such intriguing writing by Muhal Richard Abrams for his sextet that the group sounds like an orchestra at times. Trumpeter Jack Walrath, Patience Higgins (on tenor, bass clarinet, and English horn), bassist Brad Jones, drummer Reggie Nicholson (who also plays marimba and bells), Warren Smith (vibes, timpani, marimba, and gongs), and Abrams (on piano and synthesizer) all have their spots to interact, and the wide variety of colors that Abrams achieves from this instrumentation is always unpredictable. In addition to freer explorations, "DizBirdMonkBudMax" is an effective tribute to Abrams' bebop roots, and several other pieces have sections where there are hints of early jazz while still looking forward to the future. This is one of Muhal Richard Abrams' better-known combo sessions. ~ Scott Yanow, 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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