Arthur+blythe

Chico Freeman & Arthur Blythe - Luminous and The Unspoken Word: Live at Ronnie Scott's (2000) {Carlsberg JHDE204 rec 1989-1993}
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© 1989-93, 2000 Ronnie Scott's Jazz House / Carlsberg | JHDE 204
Jazz / Post Bop / Mainstream Jazz / Saxophone

I bought this twoffer after I got acquainted with the music and playing of A Blythe. I'm glad I did. Both discs are documents of some very fine playing by all of the musicians that took part in the gigs recorded at the Ronny Scott's on two separate occassions some twenty or so years ago. The playing is immaculate and the sound superb. If you've been to the club you'll know that the interior is acoustically very well treated and that more than pays off here. There is not a grain of digital harshness in the sound, all is very 'analogue' and that really compliments the music and the atmosphere.

Arthur Blythe - Lenox Avenue Breakdown (1978) {Koch Jazz KOC-CD-7871 rel 1998}
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© 1978, 1998 Koch Jazz / Sony Music | KOC-CD-7871
Jazz / Contemporary Jazz / Post Bop / Avant-Garde Jazz / Saxophone

R.I.P. Arthur. In Memoriam. Given the urban title of alto saxophonist Arthur Blythe's debut Columbia album, it's quite a shock when he and his red-hot band of collaborators that include James Blood Ulmer on guitar, Bob Stewart on tuba, flutist James Newton, bassist Cecil McBee, and Jack DeJohnette open with the decidedly funky Latin breaks on "Down San Diego Way." It's not a vamp and it's not a misleading intro, the first of four tracks showcases not only the deep versatility of the rhythm section, but Blythe's own gift as both a composer and as a soloist. He states the melody, handing off the harmonics to Ulmer and Newton and then flies high into the face of its chosen changes, allowing the beat to change under him several times before bringing back a theme and letting Ulmer solo.

Arthur Blythe - Exhale (2003) {Savant Records SCD 2050}
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© 2003 Savant Records | SCD 2050
Jazz / Contemporary Jazz / Post Bop / Saxophone

Arthur Blythe's alto saxophone was first heard in combination with Bob Stewart's tuba during the late '70s on Blythe's earliest albums Metamorphosis, The Grip, and Bush Baby. Exhale, which was released by Savant Records in 2003, was something like the 14th Blythe album to feature Stewart on the big horn. Stewart's pre-Blythe adventures included dates with Taj Mahal, the JCOA, Charles Mingus, Lester Bowie, Sam Rivers, and Gil Evans. His muscular bass clef virtuosity has always proven peculiarly well suited for interaction with Blythe's soulful soaring alto sax.

Arthur Blythe - Night Song (1997) {Clarity Recordings CCD-1016}
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© 1997 Clarity Recordings | CCD-1016
Jazz / Contemporary Jazz / Post Bop / Saxophone

This is a particularly intriguing and enjoyable release. Arthur Blythe, who has always had a piercing, passionate, and fairly accessible sound on alto, is joined by Bob Stewart on tuba, Gust Tsilis (doubling on marimba and vibes), three hand drummers (Arto Tuncboyaciyan, Josh Jones, and David Frazier), and occasionally his producer, Chico Freeman, on bass clarinet and percussion. The instrumentation varies from cut to cut, with several duets (including one in which the bass clarinet and tuba blend perfectly together), opportunities for Blythe to play with just the percussionists, and rather unusual versions of Thelonious Monk's "We See" and Billy Strayhorn's "Blood Count." Whether it be hints at New Orleans parade rhythms, Afro-Cuban jazz, older styles of jazz, or freer explorations, this is a fascinating set that is well worth several listens.

Arthur Blythe - Focus (2002) {Savant Records SCD 2044}
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© 2002 Savant Records | SCD 2044
Jazz / Contemporary Jazz / Post Bop / Saxophone

Altoist Arthur Blythe has always loved to play in unusual instrumental settings. His soulful sound and adventurous style are quite flexible and they sound right at home in this set with Gust William Tsilis on bass marimba, Bob Stewart on tuba, and drummer Cecil Brooks III. The performances are lyrical and often melodic, but searching and unpredictable. Blythe contributed eight of the dozen songs (including "Opus 1," "My Son Ra," and "Bubbles") in addition to digging into "C.C. Rider," Thelonious Monk's obscure "Children's Song," "Stuffy Turkey," and "In a Sentimental Mood." In grooves ranging from New Orleans to R&B-ish, along with freer explorations, this is a continually colorful set of high-quality music.

Julius Hemphill - Coon Bid'ness (1975) {Freedom CD 741028}
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© 1972, 1975 Arista / Freedom | CD 741028
Jazz / Avant-Garde Jazz / Alto Saxophone

This historic LP includes a 20-minute performance with altoist Julius Hemphill, trumpeter Baikida Carroll, baritonist Hamiet Bluiett, cellist Abdul Wadud and drummer Philip Wilson ("The Hard Blues") taken from the same session that resulted in Dogon A.D. In addition, there are four briefer tracks that feature Hemphill, Bluiett, Wadud, altoist Arthur Blythe, drummer Barry Altschul and the congas of Daniel Zebulon. The music throughout is quite avant-garde but differs from the high-energy jams of the 1960s due to its emphasis on building improvisations as a logical outgrowth from advanced compositions. It's well worth several listens.

Chico Hamilton - Chico Hamilton And The Players (1976) {2013 Japanese BNLA Series 24-bit Remaster TOCJ-50557}
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© 1976, 2013 Blue Note / EMI Music Japan | TOCJ-50557
Jazz / Hard Bop / Post Bop / Cool

Chico Hamilton in the 70s just can't miss – he's really changed loads from his mellow 50s work in LA, and has a tendency to go for a hard grooving sound – but also one that's slightly left of center than the work of most other 70s jazz drummers – and we mean that in a good way! This cooking set for Blue Note is a great example of that offbeat approach – a tight set of fusion tracks with a warm finish and an edgey approach to the rhythms – awash with some really compelling numbers that will have you hunting down the rest of Chico's work from the decade!

Chico Hamilton - Peregrinations (1975) {2013 Japanese BNLA Series 24-bit Remaster TOCJ-50544}
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© 1975, 2013 Blue Note / EMI Music Japan | TOCJ-50544
Jazz / Post Bop / Jazz Funk / Groove / Drums

One more amazing chapter in the mighty development of drummer Chico Hamilton – a killer 70s session for Blue Note – and a record that goes way beyond his earlier experiments of the 50s, modal grooves of the 60s, and funk work for the Flying Dutchman label! The style here is fusion, but way fresher than the usual type – neither jamming rock-styled, nor mellow and smooth – and instead always tickled by Hamilton's sense of a unique rhythm, and his continued great ear for inventive use of reeds – in this case handled by Arthur Blythe on alto and Arnie Lawrence on soprano and tenor sax. The set's also got Steve Turre on bass and trombone, and both Barry Finnerty and Joe Beck on electric guitars – but the real genius is Chico himself, who handled arrangements and wrote most of the album's great tracks. Titles include the exotic number "Abdullah & Abraham" – plus "Andy's Walk", "Peregrinations", "It's About That Time", "Sweet Dreams", "On & Off", "Little Lisa", and "Space For Stacy".

Gil Evans - Live At The Public Theater Vol. I (1980) {Evidence Music ECD 22089-2 rel 1994}
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© 1980, 1994 Evidence Music | ECD 22089-2
Jazz / Progressive Jazz / Post Bop

One of arranger Gil Evans's main talents was his ability to fuse diverse, unique performers into a unified ensemble. He accomplishes that on the first of two LPs taken from a pair of 1980 concerts, even if his presence is felt more than heard. Although Evans is on electric piano, he also employed two other synthesizer players (Masabumi Kikuchi and Pete Levin) in his eclectic band, which at the time included such notables as Lew Soloff, Jon Faddis and Hannibal Marvin Peterson on trumpets, altoist Arthur Blythe, trombonist George Lewis, baritone saxophonist Hamiet Bluiett and drummer Billy Cobham, among others. A lengthy "Anita's Dance" and a remake of "Gone, Gone, Gone" are the more memorable selections.

Gil Evans - Priestess (1977) {Antilles Japan J33D-20001 rel 1985}
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© 1977, 1985 Antilles / Polystar Japan | J33D-20001
Jazz / Post Bop / Modern Big Band / Progressive Jazz

Gil Evans never stopped growing as the years went on – a leader who was always open to new ideas and new modes of expression – which he reached for strongly, even as his older "modern" contemporaries started to sound out of date! This excellent late 70s session is a key illustration of Evans' continual drive – as he works in modes that equally embrace acoustic and electric elements, but never like a funky big band record, or some of the electrification added to older groups – instead with this richly visionary way that brings all the elements together at a level that's completely sublime!