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F u F F E N S p r o u d l y p r e s e n t s a r e l e a s e w h i c h
i n t e n t i o n i s t o p l e a s e a n d t o e n l i g h t e n t h
o s e l e s s a w a r e o f t h e t r u e m e a n i n g a n d q u a l
i t y o f m u s i c d u e t o d a m a g e s r e l a t e d t o m t v b
u t w i t h o u t f u r t h e r a d o f u f f e n s o f f e r y o u t
o i n c r e a s e y o u r k n o w l e d e g e a b o u t m u s i c a n
d i n t h a t w a y c r e a t e a b e t t e r w o r l d f o r o u r c
h i l d r e n t h e f o l l o w i n g m a s t e r p i e c e o f a r t
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a r t i s t lester bowie's new york orga..
a l b u m funky t. cool t.
l a b e l n/a
g e n r e jazz
r i p d a t e 06.25.2003
s t r e e t d a t e 1991
o r i g i n a l r e l 1991
s u p p l i e r hoho
s o u r c e cd
b i t r a t e 192 kbps, JS
e n c o d e r lame 3.92
r e l e a s e n o t e s
From the 1970s until his death in 1999, Lester Bowie was the
preeminent trumpeter of the jazz avant-garde ù one of the few trumpet
players of his generation to successfully and completely adopt the
techniques of free jazz. Indeed, Bowie was the most successful in
translating the expressive demands of the music ù so well-suited to
the tonally pliant saxophone ù to the more difficult-to-manipulate
brass instrument. Like a saxophonist such as David Murray or Eric
Dolphy, Bowie invested his sound with a variety of timbral effects;
his work has a more vocal quality, compared with that of most
contemporary trumpeters. In a sense, he was a throwback to the
pre-modern jazz of Cootie Williams or Bubber Miley, though Bowie was
by no means a revivalist. Though he was certainly not afraid to
appropriate the growls, whinnies, slurs, and slides of the early
jazzers, it was always in the service of a thoroughly modern
sensibility. And Bowie had chops; his style was quirky, to be sure,
but grounded in fundamental jazz concepts of melody, harmony, and
rhythm.
Bowie grew up in St. Louis, playing in local jazz and rhythm & blues
bands, including those led by Little Milton and Albert King. Bowie
moved to Chicago in 1965, where he became musical director for singer
Fontella Bass. There Bowie met most of the musicians with whom he
would go on to make his name ù saxophonists Joseph Jarman and Roscoe
Mitchell and drummer Jack DeJohnette among them. He was a founding
member of the Association for the Advancement of Creative Musicians
and (in 1969) the Art Ensemble of Chicago. Bowie's various bands have
included From the Root to the Source ù a sort of gospel/jazz/rock
fusion group ù and Brass Fantasy, an all-brass, post-modern big band
that's become his most popular vehicle. Bowie's catholic tastes are
evidenced by the band's repertoire; on albums, they have covered a
nutty assortment of tunes, ranging from Jimmy Lunceford's "Siesta for
the Fiesta" to Michael Jackson's "Black and White." Besides his work
as a leader and with the Art Ensemble, Bowie recorded as a sideman
with DeJohnette, percussionist Kahil El'zabar, composer Kip Hanrahan,
and saxophonist David Murray. He was also a member of the mid-'80s
all-star cooperative the Leaders. Bowie's music occasionally leaned
too heavily on parody and aural slapstick to be truly affecting, but
at its best, a Bowie-led ensemble could open the mind and move the
feet in equal measure. ù Chris Kelsey
...and remember: s t a y f u f f e n s f o r l i f e
t r a c k l i s t
funky t. 08:04
what's new 09:05
when the spirit returns 09:16
cool t. 10:42
afternoon in brooklyn 10:57
48:04
MB 66,1
g r o u p n e w s
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h e l p f u f f e n s
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g r e e t s
CMS CMG diss DPS HiT2000 IGR JUST kw miso NuHS om sb sfE smc soup YOU
s p e c i a l g r e e t s g o e s o u t t o : SChiZO
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i f y o u l i k e t h i s r e l e a s e t h e n g e t y o u r l e e c
h a s s d o w n t o y o u r l o c a l r e c o r d d e a l e r a n d b
u y t h e s t u f f b e c a u s e t h i s i s m a d e b y r e a l a r
t i s t s a p a r t f r o m t h e m a i n s t r e a m p r o d u c t s
t h a t s i n t h e t o p 2 5 l i s t i n t h a t s t o r e y o u w i
l l v i s i t r i g h t a w a y t o s h o w y o u r s u p p o r t t o
t h e t r u e a r t i s t s o f m u s i c - t h e f u f f e n s a r t
i s t s t h a t s i n i t f o r t h e m u s i c n o t t h e m o n e y
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a l w a y s d o r e m e m b e r : s t a y f u f f e n s f o r l i f e
⌐ FuFFENS 2 0 0 3