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| R E L E A S E D E T A I L S >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> |
| ----------------------------- <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<< |
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| Sonny_Fortune-Long_Before_Our_Mothers_Cried_(1974)-WEB-2013-SOUNDz |
| --------------------------------------------------------------------- |
| |
| Artist______________ Sonny Fortune |
| Title_______________ Long Before Our Mothers Cried |
| Label_______________ Strata-East / SHOUT! Productions |
| Genre_______________ Jazz |
| Year________________ 2013 |
| Release Date________ 2021-03-15 |
| Street Date_________ 2013-04-03 |
| Source______________ WEB |
| Encoder_____________ MP3 / LAME |
| Quality_____________ CBR 320kbps 44.1kHz |
| Size________________ 96.4MiB |
| Playtime____________ 0:42:00 |
| URL_________________ https://amazon.com/dp/B00DVNKDOG/ |
| |
| |
| 1. Long Before Our Mothers Cried 14:25 |
| 2. A Tribute To A Holiday (Billie) 05:51 |
| 3. Sound Of Silents 08:41 |
| 4. Five For Trane 06:26 |
| 5. Wayneish 06:37 |
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| R E L E A S E N O T E S >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> |
| ------------------------- <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<< |
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| An uncommercial island, Stanley Cowell and Charles Tolliver's Strata |
| East Records, stubbornly surrounded by increasingly commercial |
| waters, making music to satisfy its core listening audience rather |
| college boys and the bachelor demographic, who had moved on |
| elsewhere. |
| |
| Venturing further into the 1970's, soul jazz and electric jazz rock |
| fusion were not the only shows in town. Lurking in the shadows, |
| spiritual jazz was defining an alternative direction, from the church |
| of Strata East. Rough-hewn melodies, harmonies and dissonances in |
| equal measure, a groove somewhere but not necessarily to the fore, |
| instrumental virtuosity but the ensemble more important than the |
| individual. A '70s attitude combined with respect for the previous |
| decade and its roots, it makes for unpredictable and interesting |
| listening. |
| |
| Three percussionists join drummer Chip Lyle for the 14 minute |
| overly-long afro-centric percussion title track, shades of Solomon |
| Ilori meets Art Blakey's Afro-drum ensemble. That aside, the four |
| remaining tracks cover all bases: ballad, post-bop modal, new thing, |
| free jazz, funk, cinematic and spiritual. All complete with tricksy |
| song titles. |
| |
| Stanley Cowell's piano is described repeatedly in reviews as |
| "bracing", whatever that means. Angular, forceful figures and chords, |
| Cowell switches between acoustic and electric piano, and each sounds |
| equally at home here. |
| |
| Sonny Fortune favours only the upper range saxophone - alto and |
| soprano. He is full of good musical ideas, whether rapid-fire |
| elongated runs, picking out the melody, or shifting harmonies against |
| Charles Sullivan's bright solid trumpet, and his voice is not |
| obviously anyone elses. |
| |
| |
| "This record is dedicated to the mothers that I've known in my life, |
| but a very special dedication to you, Mom. For without you in so many |
| ways it could not have happened. Thank you, Sonny" |
| |
| Angel Allende - congas, triangle, tambourine |
| Chip Lyle - drums |
| Mario Munoz - bass drum, timbales |
| Richie Pablo Landrum - cowbell, shaker |
| Sonny Fortune - alto saxophone, soprano saxophone, flute |
| Stanley Cowell - electric piano, piano |
| Wayne Dockery - bass |
| |
| Composed, arranged, and produced by Sonny Fortune. |
| Recorded Sept. 8, Sept. 15, 1974 at Minot Studio, White Plains, N.Y. |
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| YOU KNOW YOU HAVE TO BUY THIS SHIT IF YOU LIKE IT RIGHT?! |
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