Despite the rather late date of 1977, the fusion influences are minimal, and as a whole sounds like organ funk you'd find on a Prestige album but far more raw and less polished. The highlight is the 20+ minute title number that weaves, bobs, and scorches with a sound that has been described as "Headhunters on mushrooms", full-on with the overblown flute and organ.
An incredible session from the legendary Tribe Records scene – an equal effort from leader Doug Hammond and keyboardist David Durrah, who contributes some groundbreaking Fender Rhodes and moog work to the set! Hammond handles drums plus a bit of vocals and synthesizer on the session – working alongside Durrah in a groove that mixes electric and acoustic instrumentation into a totally righteous sound with lots of heavy Afro Jazz leanings. A number of tracks feature great vocals from Hammond – righteous, and with a beautifully souful message-oriented approach – and a few other tracks, such as the classic "Space I" and "Space II", feature a sparer all-electric sound.
A really cool bit of bossa jazz from reedman Buddy Collette – an artist who's not as well associated with the genre as Stan Getz or Paul Desmond – but who really cooks nicely here! The setting is relatively lean and groovy – with guitar from Howard Roberts, bass from Mel Pollan, and percussion from Leo Acosta and Darias – both of whom bring a nice sort of west coast vibe to the set, one that's different from some of the Verve bossa modes of the time. Jim Helms handled the arrangements, with a nice airy sort of mode – and Buddy plays both tenor and flute, on titles that include "Nao Pode Ser", "Porque De Moras", "A Pele Do Marfin", "A Meie Noite", "Samba Da Tartaruga", and "Amor Levado".
NON co-founder Chino Amobi heads up one of the label collective’s definitive releases, Airport Music For Black Folk; presenting his radical perspective on contemporary electronic music and his impressions of “the airport as an international space and yet a totally Eurocentric & Western manicured experience.” The title is an obvious, punning reference to Brain Eno’s classic ambient cornerstone, Music For Airports, but takes on greater meaning when filtered thru Amobi’s personal cultural coordinates, cannily incorporating his stance as a first-generation Nigerian who grew up in Virginia, US of A, as well as that of a convention-challenging and highly critical artist boldly holding a mirror up to western, white privilege.
The English cellist Steven Isserlis has been a leading light on the international musical scene for more than three decades. His complete recordings for RCA Victor including concertos and chamber works by Haydn, Schumann, Mendelssohn, Liszt, Brahms, Grieg, Saint-Saens, Anton Rubinstein, Faure, Richard Strauss, Janacek, Bloch, Prokofiev, Shostakovich and John Tavener will now be available in a 12-CD box.
A stomping Texas tenor player in the tradition of Illinois Jacquet, Arnett Cobb's accessible playing was between swing and early rhythm blues. Cobb emerged in the big leagues by succeeding Illinois Jacquet with Lionel Hampton's Orchestra (1942-1947). After leaving the band, Cobb formed his own group, but his initial success was interrupted in 1948, when he had to undergo an operation on his spine. After recovering, he resumed touring. But a major car accident in 1956 crushed Cobb's legs and he had to use crutches for the rest of his life. However, by 1959, he returned to active playing and recording. Cobb spent most of the 1960s leading bands back in Texas, but starting in 1973, he toured and recorded more extensively.