Not background music, dance music, or lounge, no cocktail-dress singer, or noodling electronica, but works for me. The tag “ spiritual jazz” can be bewildering to some, but for me it is raw emotional connection between the artists and the listener, open exploratory spontaneous and heart-felt communion of spirits. Around eleven minutes immersed in this torrent of music left me emotionally drained, which should leave you too. It really takes off, an organic ensemble work which ebbs and flow, and eventually subsides in emotional exhaustion. Priestess is a riveting performance, opening with chords in a bold harmonic progression, da da da da daa, which gives way to one of those rare studio sessions in which everyone is inspired by the mood. ![]() Mickey Tucker was the only name I recognised, on the strength of his Muse titles.Īnother step into the jazz twilight zone beyond 1970, Love On The Sudan picks up from where Strata East/ Capra Black and Black Saint left off: more fire and brimstone from Harper’s incendiary tenor. ![]() Bily Harper, tenor saxophone Everett Hollins, trumpet Mickey Tucker, piano Gregg Maker, Bass Malcolm Pinson, drums recorded in New York June 27-30, 1977, engineer Jim McCurdy A&R Recording Studio, New York City p roducer, Yoshio Ozawa, m anufactured by Nippon Columbia Co., Ltd.
0 Comments
Leave a Reply. |