This two-disc package from 32 Jazz includes two fine albums from Muse Records: Fast Last! and Rope-A-Dope, which were recorded in 1974 and ’75 respectively. Both albums reflect the style of an emerging leader, a founding member of the AACM & Art Ensemble of Chicago, and a champion of the jazz avant-garde. Specific elements such as fingers running across the piano’s inside strings, scratchy bowed bass melodies, horn squeals and random squawks reflect the changes brought about in the name of creativity. It’s often stated that yesterday’s avant-garde is today’s mainstream; yet, Bowie’s thirty-year-old creations continue to stand at the fringes of jazz.
Acknowledging a deep respect for "the beat" or "the groove" in his work, Bowie has always provided something pleasant and familiar along with the unexpected. The albums contain some noise, such as on Julius Hemphill’s "Banana Whistle." Ornette Coleman’s dirge-like "Lonely Woman" bogs down and weighs heavily as a ballad sometimes can. Bowie’s up-tempo "Fast Last" with Hemphill’s "C" affords each member of the small ensemble an opportunity to engage in individual creative improvisation. Both "Fast Last" and "Mirage" contain reflections of a late 1950s Miles Davis along with lighthearted melodic lines that resemble Gershwin’s "An American In Paris." The title "F Troop Rides Again" has all the earmarks of a comedy number, but that’s not the case here. The trumpeter works alone with three drummers to create a serene offering akin to the cavalry’s bugle calls with crisp snare drum military cadence. "The St. Louis Blues" is performed with its easy-to-recognize-anywhere melody, but Bowie has his ensemble add percussion hijinks. "Hello Dolly" is performed with nothing more than John Hicks’ straight-laced piano accompaniment alongside Bowie’s unique half-valve voice. "Rope-A-Dope" paints the dramatic portrait of a Muhammad Ali championship bout. The rhythm section members, headed up by Don Moye’s conga drums, move mechanically back and forth, back and forth, waiting for the right moment. Periodically, trumpet and trombone push the opponent up against the ropes in anguish. Near the end, you can hear the loser saying, "I quit!" Fortunately, Lester Bowie hasn’t quit. His Odyssey Of Funk & Popular Music, Volume 2 is expected to be available later this year.
Track Listing: Lonely Woman; Banana Whistle; Hello Dolly; Fast Last; C; F Troop Rides Again; Tender Openings; St. Louis Blues (Chicago Style); Mirage; Rope-A-Dope.Collective
Personnel: Lester Bowie- trumpet; Julius Hemphill- alto saxophone; John Stubblefield- tenor saxophone; Joseph Bowie- trombone, percussion; Bob Stewart- tuba; John Hicks- piano; Cecil McBee, Malachi Favors Meghostus- bass; Phillip Wilson, Charles Bobo Shaw, Jerome Cooper, drums; Don Moye- drums, congas; Raymund Cheng- violin on "Tender Openings."
I was first exposed to jazz as a baby. When I was a child, my parents regularly played classic jazz, i.e., Fitzgerald, Hawkins, Holiday, Davis, Coltrane, Monk, Montgomery, Silver, etc. I vividly remember sitting in front of the stereo as a kid, rocking back and forth to jazz, so the music is embedded in me
I was first exposed to jazz as a baby. When I was a child, my parents regularly played classic jazz, i.e., Fitzgerald, Hawkins, Holiday, Davis, Coltrane, Monk, Montgomery, Silver, etc. I vividly remember sitting in front of the stereo as a kid, rocking back and forth to jazz, so the music is embedded in me. As a life-long jazz lover, I eventually became a jazz educator and producer/host of a very popular jazz radio program in Los Angeles, California.
I love jazz because it is so free. I can think, feel, and dream to jazz, and it allows my mind to flow and expand, musically and otherwise. I also love jazz because it, much like other forms of music, allows opportunities to bring people from all walks of life together. What makes jazz more significant to me, though, is its historical significance; that is, how jazz served, in part, as a method of bringing communities together, a cultural/social/spiritual conduit.