Life Time CD, Original recording remastered, Import
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48時間以内に通常我々発送。典型的には、ご注文は、4～8営業日以内に配信されます。 ご注文は、弊社にとって非常に重要です。 Format: Music CD, Blue Note Records. Jazz music CD release from Anthony Williams with the album Life Time (The Rudy Van Gelder Edition). Released on the label Blue Note Records. Jazz music CD. This hard to find pre-owned music CD is fully guaranteed. New copy.
Tony Williams was just 18 years old when he recorded this, his 1964 debut as a leader, but he was already a prodigious drummer who could maintain a rapid-fire flow of subtle accents that prodded a soloist into fresh directions. His effect on a band was electric, and he had rapidly moved to the front ranks of jazz musicians, working with Jackie McLean, Eric Dolphy, and Miles Davis. More than a fine drummer, Williams was a musical visionary, and with Life Time he recorded one of the most forward-looking of the Blue Note albums of the '60s. It shows in the choice of radical sidemen like Sam Rivers, the explosive tenor saxophonist who had been Williams's early mentor in Boston, and bassist Gary Peacock, then a regular associate of Albert Ayler, as well as the more innovative members of the Blue Note stable, like Herbie Hancock and Bobby Hutcherson. It also shows in Williams's liberating approach to instrumentation, using two basses on some tracks and none on another, and even omitting his own drums from the flamenco-tinged "Barb's Song to the Wizard." The trio of Williams, Rivers, and Peacock create a masterpiece on "Tomorrow Afternoon," with its heady mix of calm and passion, but every track is well-crafted, challenging music. --Stuart Broomer
For the first session, Williams brought in tenor saxophonist Sam Rivers, who he had worked with in Boston for what would be the tenor's first studio date and bassists Richard Davis and Gary Peacock on a session that would lodge Williams firmly in the avant-garde. The band performs three Williams compositions-- "Two Pieces of One: Red", "Two Pieces of One: Green" and "Tomorrow Afternoon". The two "Two Pieces of One" could scarcely be more different from each other-- 'Red' relies on moody theme statements with tenor doubled by arco basses and some brilliant bass soloing (including an arco/pizzicato dialog at the close of the piece). 'Green' is a feature primarily for Rivers-- the young leader and the tenor duet for several minutes before the performance turns over to a drum solo and then a quartet performance, all filled with far more frantic energy than 'Red'. "Tomorrow Afternoon" finds Williams working in a trio, with Richard Davis sitting out. The theme is a bit more straightforward but the performance finds Rivers exploring as far out as possible with the rhythmically loose Peacock and Williams behind him. One thing is consistent on these three pieces-- the performances are full of fire, energy and inventiveness.
The second session yielded two performances by two different groups. "Memory", performed by Bobby Hutcherson (on vibes and marimba), Herbie Hancock (at the piano) and Williams is sparse and minimalist in its arrangement, opening with a delicate marimba line and Williams on maracas and wood block before Hutcherson switches to vibes and Williams to the drum kit. The piece then begins to pick up in tempo and energy, yet remains remarkably loose. Even when Hancock joins, the piece never gets locked down and maintains a distinct freeness.
The closer, 'Barb's Song ot the Wizard", was composed by Williams but is performed as a duet between Hancock and bassist Ron Carter. Again, the performance is minimalist, with Hancock laying down a simple rhythmic line and Carter soloing frantically on top of it.
A quick note-- this is not to be confused with The Tony Williams Lifetime, generally regarded as the first fusion band (and also a worthwhile listen).
This reissue features fantastically improved sound, remastered as part of the "Rudy Van Gelder Edition" reissues, it sounds great, like it was recorded last year instead of in the '60s. The original liner notes are reproduced as well as a new essay by Bob Blumenthal examining the pieces.
Williams would go on to explore many venues of jazz, but this album really stands out as his excursion deep into the free jazz sounds he loved. The performances are top-notch throughout and the album stands well over time. Highly recommended.
I first heard Miles Davis' two live albums "My Funny
Valentine" and "Four and More" (recorded soon after
Tony joined Miles' band, but before Wayne Shorter did).
There aren't many jazz musicians that you can recognize
from the first note they blow/hit/strum/touch/whatever.
Tony is definitely one of them (along with drummers
Elvin Jones and Roy Haynes). Beyond his indefatigueable
and undefineable prowess and power, his ability to imply
the pulse and to keep time while suggesting rhythms that
seem to run counter to everything else going on, and yet
undeniably work, is simply as astonishing as it is
But this album! I only just "discovered" this album recently.
This album was years ahead of it's time and, maybe, even
ahead of us now. Everyone on this album sounds as good
as they've ever sounded. Sam River's tenor is pugnacious
and cunning. Gary Peacock has a gorgeous tone and is
much more adventurous and expansive than usual. Bobby
Hutcherson and Herbie Hancock both sound brilliant, but
both also often sound more restrained and contemplative.
In fact, the album feels like an exercise in restraint --
especially from the leader himself. Not the sort of album
you'd expect from an 18 year old (!!!) drummer on his first
date as a leader. He gives all of the musicians on this
recording an extrodinary amount of space within his albeit
somewhat minimalist compositions. He prods and pokes
them all the while with impossibly syncopated
cymbal--hi-hat--snare drum combinations, but never runs
roughshod over the top or thunders his arrival. It sounds
trite, but it's like he knew the music would speak for itself --
it wasn't necessary to prove to the world he could play
circles around them. Again, this from an 18 year old.
Hence the title of my review.