Formerly released on Inner City records in 1979, Richard Sussman's Post Bop masterpiece Free Fall languished for several years before being revived by Jamey Aebersold and Double Time Jazz Records. It is odd that as fine a recording as this is, Sussman recorded only once more for Inner City Records ( Tributaries, 1980).It is a pity, because this maiden voyage smacks of subtle brilliance. Sussman was savvy enough to bring on board a young and healthy Tom Harrell, virile Jerry Bergonzi, and a cerebral Larry Schneider. Sussman, who supplies an intelligent and empathetic piano, penned all of the pieces.
Recordings like this would never have been realized had Miles Davis formed his second great quintet and made his mid- '60s Columbia recordings. This music was a loosening of the belt (as opposed to losing the belt the belt that Coleman and Coltrane advocated). I would define it as liberated form. There remain milestones in the music, but the notes are given that extra degree of freedom to go where they wish. Richard Sussman produced a truly great document, long overdue for re-release.
Track Listing: The Lady Of The Lake; Free Fall; The River; Street Pair; Dance Of The Spheroids; Colors; Tiahuanaco. (Total Time: 47:50).
Personnel: Tom Harrell: Trumpet, Flugelhorn; Jerry Bergonzi: Tenor Saxophone; Larry Schneider: Tenor Saxophones And Flutes; Mike Richmond: Bass; Jeff Williams: Drums.
I was first exposed to jazz when I discovered that one of Jimi Hendrix's influences was Wes Montgomery. I played guitar growing up and idolized Hendrix, so I knew that anyone he looked up to must be good
I was first exposed to jazz when I discovered that one of Jimi Hendrix's influences was Wes Montgomery. I played guitar growing up and idolized Hendrix, so I knew that anyone he looked up to must be good. I was 16 at the time. I went to Tower Records and purchased a CD by Wes, and I was hooked from the very first ten seconds. The sound of the song Lolita illuminated my bedroom, as I just sat back amazed at how colorful and soulful this music was--I understood it, even though at the time I didn't understand how to go about playing it. I get chills listening to Wes' solo on Lolita, and I can still listen to that song ten times in a row and never get tired of it. There is a truly timeless quality to genuinely spontaneous jazz music, and it is that quality that has inspired me to devote my life to studying and playing this music.