Yusef Lateef Before Dawn The Music Of Yusef Lateef
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Salim Categories : Jazz discographies Yusef Lateef albums. Yusef at Cranbrook. Stable Mates. Jazz and the Sounds of Nature. The Fabric of Jazz. Angel Yusef Lateef Before Dawn The Music Of Yusef Lateef. The Dreamer. The Three Faces of Yusef Lateef. Lost in Sound. Eastern Sounds. Into Something. The Centaur and the Phoenix. Blues for the Orient. Yusef Lateef Plays for Lovers. Gettin' It Together. Yusef's Bag.
Club Date. Live at Pep's. The Live Session. Jazz 'Round the World. Live at Pep's, Vol. A Flat, G Flat and C. The Golden Flute. The Complete Yusef Lateef. Yusef Lateef [Cadet]. The Blue Yusef Lateef. Label M. Yusef Lateef Before Dawn The Music Of Yusef Lateef The Diverse Yusef Lateef. The Gentle Giant. WEA Japan. Hush 'N' Thunder. With his deep-textured sound, Yusef Lateef remained in the Detroit tenor saxophonist tradition while making a lifelong commitment to assimilate other musical forms, particularly non European scales.
He also made a concerted effort to master instruments not usually associated with Jazz such as the oboe, the bassoon, and a variety of Middle Eastern instruments. So Lateef headed east in April, with his working band on its day off to produce Before Dawn [Verve ] - his sole outing for that label - and until Synchrojack Cash Machines reissue on CD inone of the rarest of the s Jazz recordings.
Bob Blumenthal wrote the insert notes to the CD and has graciously granted JazzProfiles copyright permission to reproduce them below. It contains particularly eloquent playing by Yusef Lateef, in a program that casts a clear light on the origins of his innovative style; but rt was overlooked during the two LP reissue booms, of the Seventies and the Eighties- There were reissues in those decades, on the Savoy and Prestige labels, of Lateef's efforts that were contemporary with Before Dawn, as well as of his later work on Riverside, Impulse, and Atlantic.
Yet Before Dawn is mentioned in Modern Jazz: The Essential Records Aquarius Books, London,in which five British critics compile a list of two hundred albums that comprise a basic jazz collection.
The authors do not place Before Dawn among the two hundred, opting instead for Lateef's Eastern Sounds Prestige,which includes examples of his oboe work as well as that of his tenor saxophone and flute, which are heard here.
In the cogent essay on Lateef in Modem Jazzhowever, Jack Cooke notes that Lateef's consistency was such that "it is possible to name seven or eight LPs as being among Lateef's best. Lateef at the time of Sweet Linda Divine Sweet Linda Divine record was beginning to emerge as a singular and quite prescient voice.
It would be mistaken to call Before Dawn the beginning for Lateef, though. Just shy of his thirty-eighth birthday when he made Tinariwen Amassakoul tracks, he had patiently practiced and studied to arrive at the distinctive sounds that make this music so compelling.
Starting with a drum pad, then moving to the alto saxophone, Evans received instruction at Sidney D. Miller High School, where vibraphonist Milt Jackson was one of his classmates, and began hanging out with such other future stars as saxophonists Billy Mitchell and Lucky Thompson. The live music these teenagers heard at such places, as the Arcade Theater, the Graystone Ballroom, and the Paradise Theatre made a lasting impression, as did the many recordings they studied.
Lateef has recalled being particularly struck by alto saxophonist Charlie Parker, whom he heard for the first time on Jay McShann's big-band recording, "Hootie Blues". By he was back in Detroit and had begun using his Muslim name, having converted to Islam during his years on road.
Family responsibilities initially brought Lateef home, but coming off the road also provided him with an opportunity to return to the serious study of music. Lateef was particularly impressed by the example of the Karlheinz Stockhausen Prozession guitarist Kenny Burrell, who had recently received a bachelor's degree from Wayne State University, and who encouraged Lateef to take up the flute, which became his major when he enrolled in college in For the remainder of the decade, Lateef studied and played locally and, over time, gained wider recognition through Yusef Lateef Before Dawn The Music Of Yusef Lateef recordings.
A band that he formed in became a mainstay of the Detroit scene, and at various times it included Burrell, trumpeter Donald Byrd, pianist Barry Harris, and two of the musicians heard here, Curtis Fuller and Louis Hayes. InLateef's group began making the quick Various Acid Arab Collections EP03 to the East Coast recording studios that resulted in Before Dawn as well as in the more familiar titles issued on Savoy and Prestige.
That's the way it went untilwhen everyone in the band moved to New York together. Before Dawn captures Yusef Lateef's band Yusef Lateef Before Dawn The Music Of Yusef Lateef in this traveling regimen, being preceded in his discography by two April Savoy sessions with the same personnel.
Two of Lateef's sidemen had previously left Detroit and were making names for themselves in New York: Hayes, barely out of his teens, had been the drummer in pianist Horace Silver's quintet for nearly a year at this point, and Fuller was building his own multi-label discography as J. Johnson's heir-apparent, with sessions for Prestige, Blue Note, and Savoy already under his belt. Hugh Lawson and Ernie Farrow, still in Detroit and working nightly with Lateef, continued making important contributions to his music over the decade Before Dawn.
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