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Presents:
Steve Reid Ensemble - Spirit Walk
RiPPER..: Billy Cristal GENRE......: Jazz
LABEL...: Soul Jazz SCENE DATE.: 03/06/2006
bITRATE.: VBR/44,1Hz STORE DATE.: 10/17/2005
ENCODER.: Lame 3.903 APS TRACKS.....: 09
SiZE....: 82,0 MB SOURCE.....: CDDA
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- TRACKLIST
01 Lugano 07:03
02 Drum Story 14:30
03 Bridget 05:50
04 For Coltrane 08:04
05 Blind Tom 01:24
06 Which One? 06:45
07 Lions of Juda 08:27
08 It Cannot Be True 06:05
09 Unity 09:11
Total Playtime: 67:19
- NOTES
* Ripped with the old Plextor this time *
An uber-visceral, trance-centric celebration of Great
Black Music ancient-to-modernùmixing up free improv,
Afrobeat, the astral jazz of Pharoah Sanders and Alice
Coltrane, North African Sufi music, early '70s electric
Miles, chicken shack B3 grooves, Gil Scott Heron and the
Last Poets, and more, all of it laced with real time
electronicaùSpirit Walk is serious mindbending business,
as in free your ass and your mind will follow.
Led by the Bronx-born, currently Swiss-based, itinerant US
drummer Steve Reid and recorded in London this summer, the
album features an international crew of musical
cosmonaughts, both established and unsung, including some
new and on the face of it highly promising young European
talent.
Despite a forty year career at jazz and African music's
cutting edgesùor perhaps, because of itùReid's ever
restless, always searching, on-the-margins musical and
lifestyle odyssey has been largely overlooked in the
standard jazz histories. At seventeen he played the drums
on Martha & The Vandella's iconic Motown hit ôHeatwave.ö
He hung with Coltrane in New York, and then spent three
years travelling in Africa, playing first with Fela Kuti
in Nigeria and later with Guy Warren in Ghana and Randy
Weston in Morocco. Returning to the US at the height of
the Vietnam war in '68, he joined Sun Ra's Science Myth
Solar Arkestra before serving two years in jail for draft
evasion. He's played with Ornette Coleman, Archie Shepp,
Sam Rivers, Charles Tyler, Lester Bowie, Miles, Arthur
Blythe, and a host more A-listers.
Reid's key collaborators on this album are 23 year-old
Russian keyboard player Boris Netsvetaev and 4tet
electronicist Kieran Hebden. Netsvetaev plays B3,
Wurlitzer, Moog, and electric piano, also acting as
arranger and MD. Hebden's arresting and musicianly
off-planet sonic inventions give an of-the-moment edge to
what is essentially timeless music, providing roots and
references simultaneously in the future and the past.
Soprano saxophonist Chuck Henderson and bass saxophonist
Tony Bevan lead a wilfully ragged, hard-hitting reed
section. Bevan as always is astonishing: a fluent master
of the highest, false-fingered harmonics and the down
there, lowest bass frequencies of his unwieldy instrument.
Reid and bassist John Edwards lock everything down tight
with deep, deep ostinatos.
Most of the tracks are extended, bass register-heavy,
seven or eight-minute jams around simple riffs, more
concerned with vibe and rhythmic intensity than with
harmony and melody. The exceptions are ôBlind Tom,ö
inspired by and blending together references to Moroccan
gnawa music and Tibetan temple chanting (yes, really), and
ôDrum Story,ö a fifteen minute drum and percussion workout
over which Reid recites an Afro-American musical and
social history. He's the man, and he's got a mutant mutha
for you.
-- Chris May
*
Looking back at where Steve Reid has been is just as
intriguing as looking ahead to where he's going. A
visionary drummer with a CV dating back to the early
1960s, Reid has an epic backstory that would make crate
diggers swoon: Self-taught Motown session player. In-house
drummer at the Apollo Theater. Jailed during Vietnam as a
conscientious objector. Member of Sun Ra's Arkestra. A
teenaged sojourn through Africa resulting in a stint with
Fela. Four roiling, passionate records-- limited to just
1,000 pressings each, filed under the loosely-defined
kosmigroov genre-- released on his own Bronx-based
Mustevic Sound label from 1975 -79. After Reid's 20-plus
years off the map, it's a minor miracle that the
spelunkers at Soul Jazz unearthed his Rhythmatism and Nova
albums for reissue in 2004. And it's nothing short of
divine intervention that Reid, who now makes his home in
Switzerland, recently found a kindred spirit in Four Tet's
Kieren Hebden.
The two have been collaborating since a series of European
performances in early 2005. Hebden plays a minor yet
important role in Reid's latest, Spirit Walk: As part of
an eight-man ensemble that includes Reid's propulsive
drums, tenor, soprano, and bass saxophones, a vast array
of keyboards, and upright bass, Hebden's interjections add
luminous filigree to a sound galvanized by bottom-end
groove. It's a next-gen enrichment of Reid's earlier work,
much of which was marked by acoustic instrumentation and
less ornate, more syncopated spaciousness. That kind of
digital detailing renders Spirit Walk at once timeless and
totally in the moment, stretching out towards jazz's
greatest potential.
Take the steamrolling "Lions of Juda"-- a track Reid
revisits from Nova. Where the previous version was played
with hectic urgency, this one rumbles along with a
commanding, marshal steadiness. Hebden stitches a glitchy
silver lining around the rest of the band, his minimal
electronic deviance emphasizing rather than obscuring the
music's sanguine, organic heart. "Bridget" and "Which
One?" are likewise illuminated, while bellicose bass sax
argues with bubbly electric organ or righteous soprano
horn, landing somewhere between Afrobeat's dark march,
Bitches Brew-style incantation, and Yesterday's New
Quintet's streetwise shuffle.
Melody occasionally takes the reigns, even as Reid's
percussive cantor and bassist John Edward's hearty upright
bass stay the course. Album opener "Lugano", with its
reverent alto line, or the gurgling, tumbling staggers of
23-year-old Russian keysman Boris Netsvetaev on the
apt-named "For Coltrane", both highlight sweet, yearning
progressions. These are songs that could've come from
Pharaoh Sanders' Karma period, minus the discord, or
Trane's Crescent-era recordings, but Reid tethers these
spiritual flights with a rhythmic root that's both supple
and strong.
Spirit Walk's one misstep is "Drum Story", an overlong,
spoken-word ode to the history of percussion recited by
Reid himself. There's no need for hindsight here-- thanks
to its coy foreplay with Four Tet, Reid's music is going
nowhere but forward.
-Jonathan Zwickel, February 2, 2006
*
Wieviel muss man ⁿber einen Musiker sagen, der schon fⁿr
fast alle Gr÷▀en des Jazz, Soul & Funk seine Talente
darbieten konnte? Der New Yorker Steve Reid ist in erster
Linie ein phΣnomenal guter Drummer. Komponiert und
experimentiert aber seit Jahren mit allen m÷glichen
Instrumenten und kennt sich inzwischen auch mehr als gut
an einem Keyboard aus. Ein Multitalent, das auch schon von
DeeDeeBridgewater, James Brown, Afrobeataltmeister Fela
Kuti, den Jazzfreigeister Archie Shepp, Miles Davis und
SunRa gerne in Anspruch genommen wurde. Das er seit Jahren
immer wieder neue Weg sucht und auch findet beweissen
nicht nur sein Kooperationen mit hunderten von Kⁿnstlern.
Auf seine musikalisches Genie und Wissen wird gerne und
oft von vielen sehr verschiedenen Kⁿnstlern hingewiesen.
Geehrt fⁿhlen sich die meisten Kⁿnstler wenn sie mit einer
lebenden Legende wie ihm arbeiten durften. Bereit 1986
hatte Steve Reid keine BerⁿhrungsΣngste mit der
elektronischen Musik von NuShooz (Album:
äPoolsideôAtlantic) oder The Associates (auf WEA
International). Diese Offenheit brachte ihn dann auch mit
Kieran Hebden vom Projekt Fourtet zusammen. Dieser hat
sich seit Mitte der 90er Jahre mit seinen extravaganten
Remixen (u.a. fⁿr 2 Banks of Four, Cinematic Orchestra,
Bonobo) eine Namen gemacht. Das Ergebnis der
Zusammenarbeit dieser beiden wurde vor den Aufnahmen zu
diesem Album älive on stageô getestet und von einer ganzen
Riege an Kritikern als äThe bridge between today, tomorrow
and the 60s spiritô bezeichnet und gefeiert. TatsΣchlich
ist der äSpirit Walkô freejazzig, weird und experimental
wie wenige Releases dieser Tage. Eine Scheibe voller
Kraft, Mut zum Modernen und einem unbeirrbaren Weg mit
seitlichem Blick zurⁿck auf das Universum der Freigeister.
-- Peter Hagen (Jazzriots)
*
Another Quality Release from OSC!!
Enjoy!!
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-NEWS
OSC is still holding it down after more than 2 years in
tha scene. Our dedication to bringing you the best in
ol skool classics is, and always will be, our driving
force. Quality over quantity.
"It's all about the music, fuck the other ish." - OSC
Because of this motto we strive to continue bringing you
releases in the highest possible quality, whether it be
urban, house, latin or any other genre.
ASCII BY CACIQ^ACL #ascii.cl