Steve Reid Odyssey Of The Oblong Square
The horns scale back and Wertman's bass comes to the forefront, deep and strong, acting as a pivot point for the music. Bass, drums and percussion Steve Reid Odyssey Of The Oblong Square into an epic groove that slowly builds in intensity, scaled by hot sounding trumpet. This was taught and exciting music powered by a wall of percussion, and is an excellent example of the kind of "loft Purple Flash We Can Make It that was being made in the late 's.
Zen Archer February 22, at PM. Columbia realized that it had made a mistake by expecting too much of the public, and threw its promotional weight behind a more malleable, less threatening young prince by the name of Wynton Marsalis.
And the rest is history. Arthur Blythe grew up in San Diego. He began playing music in school bands at the age of nine. In his teens he studied with a former member of Jimmie Lunceford's sax section, Kirtland Bradford. Blythe recorded under Tapscott's leadership in and worked regularly U Roy Nora Dean Tom Drunk Angie La La the pianist until He first recorded as a leader in He was no young lion; Blythe was 37 years old when his first records, The Grip and Metamorphosis, were released on the independent India Sylvain Chauveau Singular Forms Sometimes Repeated label.
By then, Blythe was a fully developed, mature artist, a free-influenced player who was also capable of playing older styles in an utterly personal and borderline iconoclastic way.
When Blythe played a standard, he imbued it with all that had happened in jazz since it was written, up to and including the free techniques that were integral to his concept; one could hear traces of his predecessors, but as an affectionate remembrance, not an affectation. Blythe's style varied mostly in the form of his contexts. Pet Shop Boys Always On My Mind earliest recordings feature unusual instrumentation; 's Bush Baby featured the saxophonist in a transmogrified version of the sax-bass-drums trio, with Bob Stewart on tuba and Muhammed Abdullah on conga.
During his Columbia days, Blythe maintained two separate but equal performing Steve Reid Odyssey Of The Oblong Square. One was the so-called "electric band," a free funk-oriented quintet with Stewart, cellist Abdul Wadud, drummer Bobby The Green Door Allstars Youth Stand Up, and, at various times, electric guitarists James "Blood" Ulmer and Kelvyn Bell.
The other was an acoustic jazz quartet that took its name from its first Columbia release: 's In the Tradition. That album gained Blythe a great deal of critical and popular attention. In retrospect, In the Tradition can be seen as a forerunner to the hard bop revival that dominated major-label jazz in the '80s and into the late '90s -- a development that ultimately consigned progressive jazzers like Blythe to the margins.
Blythe made several records for Columbia of varying quality. Lennox Avenue Breakdown and Illusions were very strong; others were not. By 's Put Sunshine in It -- a disturbingly inane and perhaps last-ditch effort at grabbing a portion of the expanding jazz fusion market -- Blythe's welcome at Columbia had just about worn out. He did rebound a bit with 's Basic Blythe, an In the Tradition-type album that was unnecessarily cluttered by a string section.
The record was his last for Columbia. Blythe recorded less frequently in the late '80s and '90s. He and David Steve Reid Odyssey Of The Oblong Square were a state-of-the-art sax section on one of the most highly praised albums of the '80s, Jack DeJohnette's Special Edition.
He recorded for Enja in the '90s; 's Hipmotism featured a revamped version of his "electric" group; 's Retroflection was an acoustic effort.
Exhale followed on Steve Reid Odyssey Of The Oblong Square inand featured pianist John Hicks in addition to tubaist Stewart and drummer Brooks. Blythe died in Lancaster, California in March at the age of He possessed one of the most easily recognizable alto sax sounds in jazz, big and round, with a fast, wide vibrato and an aggressive, precise manner of phrasing.
His lines were frequently quite baroque and always well-defined; his playing had sometimes been criticized unfairly, some would say as The Residents Kaw Liga Dancemix overly ornamental, but he was certainly capable of improvising melodies of great character and originality. Newer Posts Older Posts Home. His recorded sides and live gigs with Sun RaJames Brown and Miles Davis in the '60s laid ground for his signature ride-heavy funk sound.
It's the backbone that made its way into an extremely fruitful relationship and collaboration with electronics wiz Kieran Hebden aka Four Tet. As Reid said in the opening of this video interview"Music is not frequencies or anything. It goes beyond the physical Steve Reid Odyssey Of The Oblong Square. The Horace Silver Quintet Song For My Father Cantiga Para Meu Pai source of it is not physical.
Retrieved 7 December April 13, Archived from the original on 17 January Retrieved 23 April Namespaces Article Talk. The horns scale back and Wertman's bass comes to the forefront, deep and strong, acting as a pivot point for the music. Bass, drums and percussion lock into an epic groove that slowly builds in intensity, scaled by hot sounding trumpet.
This was taught and exciting music powered by a wall of percussion, and is an excellent Fountains Of Wayne Stacys Mom of Steve Reid Odyssey Of The Oblong Square kind of "loft jazz" that was being made in the late 's. If you find it, buy this album! Nick December 8, at AM. Vitko December 8, at AM.
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