Ruth Copeland's second Invictus recording retains the services of Funkadelic vets Eddie Hazel, Bernie Worrell, Tiki Fulwood, and Ron Bykowski, but like the preceding Self-Portrait, I Am What I Am simply fails to jell. Without the leadership and focus of George Clinton, the music zigs and zags in too many opposing directions. Credit Copeland for ambition – the opening antiwar epic "The Medal" recalls the politicized psychedelic soul of Norman Whitfield-era Temptations classics like "Cloud Nine" and "Ball of Confusion," while "Crying Has Made Me Stronger" shifts gears completely to embrace gospel – but her reach consistently exceeds her grasp. When I Am What I Am does come together, it's impressively heady stuff. Particularly noteworthy is the deep-fried funk outing "Suburban Family Lament," which showcases Hazel's scorching guitar as well as Fulwood's much-sampled and monstrous introductory drum break.
Akira Ifukube was a Japanese composer of classical music and film scores, perhaps best known for his work on the soundtracks of the Godzilla movies by Toho. Despite his financial success as a film composer, Ifukube's first love had always been his general classical work as a composer. In fact his compositions for the two genres cross-fertilized each other. He also published Orchestration, a 1,000-page book on theory.
Akira Ifukube was a Japanese composer of classical music and film scores, perhaps best known for his work on the soundtracks of the Godzilla movies by Toho. Despite his financial success as a film composer, Ifukube's first love had always been his general classical work as a composer. In fact his compositions for the two genres cross-fertilized each other. He also published Orchestration, a 1,000-page book on theory.
George Russell's The African Game is a major statement, a highly eclectic, nine-part, 45-minute suite for augmented big band that attempts to depict no less than the evolution of the species from the beginning of time to the present from an African perspective. Well, yes, this theme has been taken on by many an ambitious artist in every field, but Russell's work is remarkably successful because it tries to embrace a massive world of sound in open, colorful, young-thinking terms, with degrees of timbral unity and emotion to keep the idioms from flying out of control.
This set has been a favorite with critics since it was issued in 1979. Vlado Perlemuter studied Ravel's music with the composer. His approach is more colorful and dramatic than that of many other pianists. All the rigorous classical form Ravel used comes through, but so does a powerful musical personality. Just try, for example, the Toccata from Le Tombeau de Couperin, where Perlemuter builds up to a thrilling climax. The sound is more resonant than ideal, but this is still the best recording of Ravel's piano works ever made. Perlemuter's own Vox mono versions are poorly recorded; stick with the Nimbus edition.