Label:
Mustevic Sound – MS 1001
Format:
Vinyl, LP, Album / Country: US / Released: 1976
Style:
Avant-garde, Post Bop, Soul Jazz, Free Jazz
Recorded Nov
& Dec 1975 at Mustevic Sound Studios, New York.
Artwork
By – Quan
Layout
– Brenda Reid
Engineer
– Harrison Williams, Phillip Howell
Executive
Producer – Mustevic Sound Inc.
Producer
– Steve Reid
A1
- Kai . . . . . 11:31
(Written-By – Les Walker)
A2
- Rocks (For Cannonball) . . . . . 9:30
(Written-By – Les Walker)
B1
- Center Of The Earth . . . . . 4:05
guitar – Melvin Smith,
baritone saxophone – Charles Tyler,
trumpet – Chris Capers
(Written-By – Joe Falcon)
B2
- C You Around . . . . . 11:27
(Written-By – Les Walker)
B3
- One Minute Please . . . . . 1:00
(Written-By – Steve Reid)
STEVE
REID – drums, percussion
LES
WALKER – piano
DAVID
WERTMAN – bass
ARTHUR
BLYTHE – alto saxophone
MICHAEL
KEITH – trombone
During
the late 1960s and early 70s, jazz innovation mirrored social upheaval by
consciously turning away from tradition and embracing the avant-garde.
Elaborate collectives such as the Sun Ra Arkestra, the Art Ensemble of Chicago,
and Miles Davis' hard-fusion trailblazers arrived at a wholly modern big band
sound through exotic song structures and the use of electric instruments. With
their aggressively lyrical and non-linear soloing, John Coltrane, Albert Ayler,
and Pharaoh Sanders eradicated the time-honored tenets of melody, harmony, and
time signature, searching instead for spiritual truth within the music itself.
Free jazz, "the new thing," experimental-- whatever it was called,
the work of these artists was impassioned, unprecedented, and divisive, pushing
music into unexpected realms.
Around
that time-- and at the other end of the spectrum-- funk-jazz was more concerned
with keeping a groove than breaking new ground. But it was far from static:
Eddie Harris and Herbie Hancock used the on-the-one downbeat of James Brown and
Sly Stone as the foundation for their sophisticated compositions, while Jimmy
McGriff and Grant Green's warm, buttery solos dipped blues and R&B; into
jazz's jelly jar. Not as challenging to the ear as free jazz, funk-jazz still
hit harder than some of the fusionary misfires that followed and, 20 years
later, spawned acid-jazz.
Steve
Reid's Rhythmatism steps expertly between funky and free. "Soul jazz"
is the perfect moniker for the album, which both reflects the exploratory
soloing and marathon track lengths of the free jazz school and digs intently
into hard-swinging grooves. Recorded in 1975, Rhythmatism is exactly what its
title implies: an examination into the power and pliability of the beat.
Reid
takes the helm on drums, and the rest of his acoustic quintet-- bass, piano,
sax, and trombone-- exudes a warm, earthy sound, diving into the rhythmic core
of their instruments rather than taking them on unfettered flights. Reid's
drums propel these tunes against their tempo, building tension through
repetition and slight nuance. There are no flashy fills-- instead, he's content
to add subtle color with variations in volume and pace.
Album
opener "Kai" is a masterpiece, a luscious, essential listen for
anyone looking to discern the sanguine, pulsing heart of jazz music. Composer
Les Walker's piano spars with Reid's hypnotic stick-and-brush work, but the
drummer never flinches as the pianist hopscotches across the keys. Arthur
Blythe alternates between flow and fire on alto sax while David Wertman's
slippery upright bass provides a round, hearty bottom end. This 12-minute epic
isn't a casual listen, but it's so fulfilling that you'll want to grant it your
complete attention.
"Rocks
(For Cannonball)" is the album's most explosively abstract tune thanks to
Walker's meandering keyboard hysterics. Throughout it all, however, Reid stays
locked on course. His technique comes to the fore as he pounds his kit against
polyrhythmic percussion-- tambourine, shakers, bells-- plied by other band
members. Once again, the rhythm section of Reid and Wertman is formidable and
unshakable, and throughout this track-- as well as "C You Around"--
Blythe's minor-key sorties on alto are reminiscent of late-era Coltrane. The
effect is transporting.
Beginning
in medias res, the criminally short "Center of the Earth" is the
album's emotional centerpiece. It sounds as if a studio tech pressed
"record" at the teary-eyed peak of a climactic jam. With a sudden
explosion of baritone sax, trumpet, and guitar-- plus a boxful of percussion
toys-- the whole song is one ecstatic, extended crescendo. Music doesn't get
any more joyful than this without putting its tongue in its cheek, and that's
something a soul master like Reid simply had no reason to do.
_By
Jonathan Zwickel (September 28, 2004)
If
you find it, buy this album!
STEVE REID – Rhythmatism (LP-1976)
ReplyDeleteLP Rip-FLAC/MP3+Artwork
FLAC:
https://1fichier.com/?0e0g87fvfr
MP3-320:
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Thank you!
ReplyDeleteExcellent album. Thanks, Vitko!
ReplyDeletegracias
ReplyDelete