Julian Priester
Love, Love
ECM
Got Herbie Hancock’s Mwandishi, Crossings and Sextant? Got Eddie Henderson’s Realization, Inside Out and Sunburst (yes, that one too)? Then you need this.
Two side-long suites of drifting electronics, a steady rock/funk rhythm (but nothing that would make you get up off the meditation mat to shake your ass) and surprisingly self-effacing horn charts – well, on the first half, anyway.
The first track, “Prologue/Love, Love,” drifts along kinda aimlessly, despite what would be a pretty rockin’ drumbeat had it been higher in the mix and not washed over with layer upon layer of synths from Pat Gleeson, not to mention the Michael Henderson-like 12-note bassline (played by either Henry Franklin or Ron McClure; the credits are somewhat unclear) that throbs through the whole thing. The horns stay in back, letting keyboards and some excellent electric guitar from Bill Connors take the spotlight.
The second half of the disc, “Images/Eternal Worlds/Epilogue,” is more aggressive – not faster, just more traditionally “jazz” and less spacious. At moments, particularly when Priester actually steps up and justifies his top billing, it could be a Blue Note date by Grachan Moncur III, except for all the electric keyboards hovering, humming and zapping away. It's easy to let your attention lapse while listening to Love, Love, but the moments when it does jump up in your face make it well worthwhile, despite its short running time - only about 37 minutes. I can’t say it’s the best of the Mwandishi-and-related albums; that title would either go to Sextant or Eddie Henderson’s Realization. In a way, it’s easily summed up with the immortal phrase “those who like this sort of thing will find this the sort of thing they like.” So, maybe not the ideal introductory point for this particular school of spacy fusion. But a damn good record for those of us who think Hancock never did anything better than the three Mwandishi albums, and that the first two Henderson discs (only recently back in print, as a twofer) are lost classics – nice to have it back in print.
I love this disc and am excited to see it back in print. (altho with the ECM hating going around, I've found a few pressings in dollar bins...) For an early 70s Miles influence with an international flavor, check out Jorge Lopez Ruiz 5 - "De Prepo" and Joe Chambers - "New World".
Posted by: Andrew Schrock at January 15, 2006 7:59 PMMwandishi bassist Buster Williams' PINNACLE is another related album that's worth checking, although here the space fusion is slightly tempered by post-bop. Still, the opening cut "The Hump" would likely gyrate Phil's ass. 32Jazz did a CD reissue a few years back, sadly now oop. Also, the second album by SF-based Smoke (EVERYTHING from 1973, I think DustyGroove has vinyl repressings) shares both a geographical and sonic nexus with the Mwandishi ensemble. More recently in the Pacific Northwest, bassist Paul Rucker's HISTORY OF AN APOLOGY worked a similar slinky drift, with Julian Priester guesting. Fantastic stuff.
Posted by: Doug Watson at January 16, 2006 3:34 AMThe real thrill on rediscovering this one (I'd been waiting for a reissue for well over a decade) was Bayete Umbra Zindiko (Todd Cochran) on acoustic and electric pianos and clavinet. Anyone out there have an idea of how I can get hold of his 1973 album Seeking Other Beauty (Prestige?
"The Hump" eh? I'm looking for an original copy of a Patrice Rushen tune of the same name that I had on a Rare Groove compilation a while back. I guess this track isn't the same - but from what you're saying Doug it sounds like I need a copy of Pinnacle too while we're at it.
Dan, I've some earlier comments on both Bayete albums (SEEKING OTHER BEAUTY and WORLDS AROUND THE SUN) archived at freeform.org/music/b/Bayete.html. These used to be fairly common on the FS listings on eBay-- lemme know if you need to hear either sooner than later.
Posted by: Doug Watson at January 18, 2006 6:47 AMThanks for the link Doug - I'll put my surfing gear on
Posted by: Dan Warburton at January 18, 2006 8:02 AMI played this regularly (on vinyl) during my 21 -year program at KERA-FM in Dallas. Every time I played it somebody else would call and ask about it. And since I gave up the radio gig, I still get e-mails from people asking about it, so imagine my surprise to see the re-issue at the record store.
My sons heard it the other day in the car and stole it from me for a few days...they love it, even better that the Headhunters CD with Chameleon on it which I also had in the car at the same time.
I've been lucky enough to do some gigging and recording with Henry Franklin since the time of the recording of Love, Love, and he told me it was a pretty incredible session. And by the way, it's McClure who plays the 12-note bass line on electric bass (which is written in something like 21/8). Henry plays electric and acoustic on side 2 of the LP, the dreamier, less-funky side.
Love, Love...
Posted by: Dennis Gonzalez at January 23, 2006 6:01 PM15/8 Dennis; it just sounds like 21!
Posted by: Dan Warburton at January 23, 2006 9:46 PMOh Danny boy...I went out for a drive the very night that I posted the 21/8 snaffoo and counted it out. I thought to meself, well, nobody's going to take the time to *actually* count it out, so I have time to go back and say something funny and correct my mistake. Yes indeedy Mr. Monsieur! 15/8 it is.
A Other Korrections...Henry plays acoustic bass at the beginning of the first track before it switches to Ron McClure's 15/8 12-note vamp.
How's about them apples? :)
Posted by: Dennis Gonzalez at January 30, 2006 6:01 PM.................................................. © 2003 - 2006 bagatellen ..................................................