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Showing results for tags 'jazz contemporaries - reasons in tonality'.
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One of the most interesting early Strata-East recordings (that label was a monster when it started, then fell off a cliff). Two long cuts, provocative front line of Coleman/Jordan/Watkins, the inimitable Harold Mabern on piano. Larry Ridley and Keno Duke holding down the rhythm duties. Two very long (20+ minutes each) tracks giving everyone more room to stretch out than they were likely accustomed to. Not without its flaws, but it has always been a very invigorating listen for me, and I have returned to it often over the 40+ years I've had it, always experiencing substantial pleasure. Great joy of talented players pushing forward rather than looking back, seeking inspiration here ahead of exhibiting craft, which is the opposite of what the principals seemed to do later in their careers. As such, it holds a magic for me beyond what maybe its pure musical merits are (though those also are substantial). Jordan had a great period from the early 60'ss (when he seemed to find his voice with Roach and Mingus) to the late 70's (the great Magic Triangle recordings with Walton/Jones/Higgins), then seemed to start mailing it in to me. Coleman also at some point seemed to give up the quest in favor of the craft, say, late 80's-early 90's. I've always thought his work with Miles Davis was underestimated because of him preceding Wayne Shorter. I'm glad Mabern experienced increased appreciation later in his career, I love his work with Eric Alexander (who is a monster to my ears). Thoughts?