Chico Freeman - The Unspoken Word

Styles: Saxophone Jazz
Year: 2007
File: MP3@320K/s
Time: 78:06
Size: 179,4 MB
Art: Front

( 2:35)  1. The Unspoken Word
(14:29)  2. Gano Club
(11:13)  3. Playpen
( 9:19)  4. Infant Eyes
(10:01)  5. Peace Maker
(14:25)  6. Misty
(16:01)  7. Rythmn A Ning

An excellent tenor saxophonist and the son of Von Freeman, Chico Freeman has had a busy and diverse career, with many recordings ranging from advanced hard bop to nearly free avant-garde jazz. He originally played trumpet, not taking up the tenor until he was a junior in college. Freeman graduated from Northwestern University in 1972, played with R&B groups, and joined the AACM. In 1977, he moved to New York, where he worked with Elvin Jones, Sun Ra, Sam Rivers' big band, Jack DeJohnette's Special Edition, and Don Pullen, in addition to leading his own groups. He recorded a dozen albums as a leader during 1975-1982. Starting in 1984, Freeman has played on a part-time basis with the Leaders, he has recorded on a few occasions with his father and in 1989, he put together an electric band called Brainstorm. Chico Freeman has recorded through the years as a leader for Dharma, India Navigation, Contemporary, Black Saint, Elektra/Musician, Black Hawk, Palo Alto, Jazz House, and In & Out. ~ Scott Yanow https://www.allmusic.com/artist/chico-freeman-mn0000110829/biography

Personnel: Tenor Saxophone – Chico Freeman;  Alto Saxophone – Arthur Blythe; Bass – Curtis Lundy; Drums – Idris Muhammad; Piano – Julian Joseph; Sleeve – Richard Orr Design

The Unspoken Word

---

Arthur Blythe - In the Tradition

Styles: Saxophone Jazz
Year: 1979
File: MP3@320K/s
Time: 32:38
Size: 75,6 MB
Art: Front

(4:40)  1. Jitterbug Waltz
(7:51)  2. In a Sentimental Mood
(3:07)  3. Break Tune
(5:30)  4. Caravan
(4:39)  5. Hip Dripper
(6:47)  6. Naima

Sometimes the easiest way to get "in" to someone's music is to see how they handle standards. Altoist Arthur Blythe, who although he has been associated somewhat with the avant-garde does not fit easily into any category, is heard on this 1978 studio session exploring four veteran songs plus two of his originals. 

The instrumentation of his quartet is conventional but the musicianship is exceptionally high (pianist Stanley Cowell, bassist Fred Hopkins, and drummer Steve McCall), and it is quite interesting to hear how they stretch such songs as "In a Sentimental Mood," "Jitterbug Waltz," and "Caravan," making them sound fresh and original. ~ Scott Yanow https://www.allmusic.com/album/in-the-tradition-mw0000891072

Personnel: Alto Saxophone – Arthur Blythe; Bass – Fred Hopkins;  Drums – Steve McCall; Piano – Stanley Cowell

In the Tradition

---

Arthur Blythe - Synergy

Styles: Saxophone Jazz
Year: 1996
File: MP3@320K/s
Time: 52:58
Size: 122,5 MB
Art: Front

( 6:28)  1. Morning Call
( 5:29)  2. Earth Tones
( 5:42)  3. Synergy
( 4:57)  4. Time Circles
( 3:21)  5. Infinity
( 4:56)  6. Afternoon Musings
( 5:05)  7. Sociability
( 4:58)  8. Walking Line
(11:56)  9. Night Scape

Throughout his career, Arthur Blythe has appeared with a wide variety of instrumentation, always willing to try new ensemble sounds. On this date, Blythe is teamed in a trio with the talented cellist David Eyges and the flexible drummer Bruce Ditmas. Blythe's bluesy and soulful tone, along with his ability to caress a melody, makes his adventurous flights more accessible than one might expect. David Eyges holds the group together by playing both supportive basslines (although obviously in a higher register) and soloing along with Blythe, while Bruce Ditmas keeps the momentum of the music flowing. All nine selections on the date were co-composed by the three musicians, so it is quite possible that they are largely free improvisations. However, the interplay between the players, the gradual development of the often fiery performances, and the strong (and sometimes joyful) melodies that pop up are so coherent that the music sounds as if it were more planned in advance than it probably was. Well worth checking out. ~ Scott Yanow https://www.allmusic.com/album/synergy-mw0000040090

Personnel:  Alto Saxophone – Arthur Blythe;  Cello – David Eyges;  Drums – Bruce Ditmas

Synergy

---

Arthur Blythe - Blythe Spirit

Styles:  Saxophone Jazz
Year: 1981
File: MP3@320K/s
Time: 39:16
Size: 91,0 MB
Art: Front

(6:55)  1. Contemplation
(6:40)  2. Faceless Woman
(6:26)  3. Reverence
(2:45)  4. Strike Up the Band
(7:26)  5. Misty
(3:32)  6. Spirits in the Field
(5:28)  7. Just a Closer Walk with Thee

This is one of the most well-rounded Arthur Blythe records from his Columbia period. The distinctive altoist performs three passionate originals and an unlikely version of "Strike Up The Band" with a quintet also including cellist Abdul Wadud, guitarist Kelvyn Bell, Bob Stewart on tuba and drummer Bobby Battle. In addition he is featured on "Misty" with a more conventional trio (pianist John Hicks, bassist Fred Hopkins and drummer Steve McCall), plays his "Spirits In The Field" with Wadud and Stewart, and is quite effective on a reverent but swinging rendition of "Just A Closer Walk With Thee" with Stewart and organist Amina Claudine Myers. One of many Columbia LP's long overdue to be reissued on CD, this is a fairly definitive Arthur Blythe recording, showing off his links to hard bop, r&b and the avant-garde. ~ Scott Yanow https://www.allmusic.com/album/blythe-spirit-mw0000868583

Personnel:  Arthur Blythe - alto saxophone; Abdul Wadud - cello; Kelvyn Bell - electric guitar; Bob Stewart - tuba; Bobby Battle - drums; John Hicks - piano; Fred Hopkins - acoustic bass; Steve McCall - drums; Amina Claudine Myers - organ

Blythe Spirit

---

Arthur Blythe Trio - Spirits in the Field

Styles: Saxophone Jazz
Year: 1999
File: MP3@320K/s
Time: 57:51
Size: 134,0 MB
Art: Front

( 6:33)  1. One Mint Julep
( 7:26)  2. Miss Nancy
(10:59)  3. Odessa
( 9:29)  4. Rambler
( 3:24)  5. Spirits in the Field
( 6:37)  6. Lenox Avenue Breakdown
( 7:23)  7. Ah George, We Hardly Knew You
( 5:55)  8. Break Tune #2

On this live club date, recorded at the Bim Huis in Amsterdam, Blythe and his combo (tubaist Bob Stewart and drummer Cecil Brooks III) perform a nice cross section of his most familiar material. Blythe's husky, virile alto sax has never sounded better, and though the recording quality is a little thin, the music comes roaring through the speakers nonetheless. The good-time swinger "One Mint Julep" kicks things off, and is followed by the rambling bopper "Miss Nancy," which is the leader at perhaps his most quintessential. The showstopper is a reworked, energized "Odessa," on which Brooks uses his mallets to fine effect, Stewart blows a minimal but insistent tuba, and Blythe unfurls more of his startling improvisational legerdemain. A quirky, elusive 9/8 rhythm informs the tuba modality of "Rambler," and the title track sports a sneaky melody and a short but free discourse without drums. The trio digs right in on "Lenox Avenue Breakdown," even dispensing with an intro. The slow waltz "Ah George, We Hardly Knew You" (written by Don Pullen for George Adams) and the funky and fat "Break Tune #2" close this satisfying set. In his insightful liner notes, Francis Davis questions Blythe's diminished cachet among critics. That he's moved back home to San Diego from New York City might be an issue, but it doesn't detract from the fact that Blythe's sound and vision remain as fresh and vital as ever. ~ Michael G.Nastos https://www.allmusic.com/album/spirits-in-the-field-mw0000605222

Personnel:  Arthur Blythe – alto saxophone;  Bob Stewart – tuba;  Cecil Brooks III – drums.

Spirits in the Field

---

Arthur Blythe & David Eyges - Today's Blues

Styles: Saxophone Jazz
Year: 1997
File: MP3@320K/s
Time: 58:55
Size: 135,4 MB
Art: Front

(2:05)  1. The John & The Sam
(4:59)  2. Gee's Minor Mood
(3:28)  3. Calling Mr. Blythe
(2:38)  4. American Forms 2
(2:37)  5. Warne Waltz
(4:42)  6. Eleven + Six
(4:43)  7. Prayer
(2:54)  8. Worker Bee
(3:23)  9. Something Like You
(4:56) 10. N Double Flat
(4:08) 11. My Sun Ra
(4:43) 12. Today's Blues
(2:42) 13. Randy Andy
(4:31) 14. No Solitude
(3:11) 15. Jig Tag
(3:08) 16. Encore

Poor Arthur Blythe's recording history has been analyzed ad nauseum. From great black hope to commercial fizzle, Blythe's early promise has not always been fulfilled, even though he has produced some outstanding albums. This scintillating set of fifteen original duets (with a solo piece thrown in) with cellist David Eyges should help restore the saxophonist's somewhat tarnished reputation. Totally exposed in this format, with plenty of time to stretch, Blythe proves himself a formidable pro, with an acerbic, blues-drenched tone that purrs, caresses, and slices across genres. The underrated Eyges is a stunning stylist, and one of the few masters of the electrified cello. 

Whether as a soloist or in tandem, Eyges brings an exciting and original vision. With a varied mix, and short tracks (nothing more than five minutes), Blythe and Eyges have scored an attractive collection.~ Steve Loewy https://www.allmusic.com/album/todays-blues-mw0000316668

Personnel:  Alto Saxophone - Arthur Blythe;  Cello [Electric Cello] - David Eyges

Today's Blues

---

Joey Baron - We'll Soon Find Out

Styles: Jazz, Post Bop
Year: 2000
File: MP3@320K/s
Time: 54:10
Size: 124,9 MB
Art: Front

(6:09)  1. Slow Charleston
(7:49)  2. Closer Than You Think
(5:52)  3. Junior
(6:25)  4. Time To Cry
(5:43)  5. Wisely
(3:35)  6. Bit O' Water
(7:04)  7. M
(4:22)  8. Equaled
(7:05)  9. Contact

Perhaps the core, and highly noticeable component here, is that traditional groove oriented, R&B induced music, while in the hands of musicians who respectively possess a distinctive voice enables the tried and true to be elevated to a higher plane. With drummer Joey Baron’s second “Songline/Tone Field” release titled We’ll Soon Find Out, these characteristics provide the winning edge, in an often huge way!  The opener, a composition titled “ Slow Charleston”, is indicative of what looms ahead. Here, alto saxophonist Arthur Blythe’s searing vibrato and soul drenched lines surge onward while bassist Ron Carter and Baron implement slow fours with coy understatement amid a loose vibe. On “Junior”, Baron is a one-man percussion band as he employs complex Afro-Cuban rhythms in support of Blythe’s quite ferocity, linear themes and melodic interludes as guitarist Bill Frisell converges with funkified chords and unison lines. Whereas, “Widely” is a moving ballad of perhaps transcendental proportions as Frisell delves into some airy chord structures along with his now infamous injections of C&W style twang and poignant single note leads. Basically, We’ll Soon Find Out offers breezy passages, finger snapping rhythms, strong yet unobtrusive and quite thoughtful soloing in accordance with Baron’s conspicuous compositional pen. Yet within the hands of ordinary souls, the music and overall format might signify more of the norm; however, Baron, Frisell, Blythe and Carter shine forth with a candid demeanor while also providing a clinic of sorts - on the art of making good music that certainly strikes a memorable chord. ~ Glenn Astarita https://www.allaboutjazz.com/well-soon-find-out-joey-baron-songlines-recordings-review-by-glenn-astarita__4893.php
 

Personnel: Arthur Blythe: alto saxophone; Bill Frisell: guitars; Ron Carter: bass; Joey Baron: drums.

We'll Soon Find Out

---

Jeff Palmer - Ease On

Styles: Jazz, Hard Bop 
Year: 1992
File: MP3@320K/s
Time: 61:07
Size: 140,2 MB
Art: Front

( 9:14)  1. Good News
(10:00)  2. Ease On
( 8:51)  3. Side View
( 7:53)  4. Blues on the Corner
( 8:13)  5. Modal Scallopini
( 7:44)  6. Mid Move
( 9:09)  7. Gas Mask

On organist Jeff Palmer's fourth recording as a leader, he gathered the talents of old friend, guitarist John Abercrombie, alto saxophonist Arthur Blythe, and drummer Victor Lewis to perform six Palmer originals and one jazz classic, McCoy Tyner's "Blues on the Corner." Palmer is a fine, if unheralded, organist whose strong basslines suggest Jimmy Smith and whose freer approach to improvisation suggests Larry Young, while Blythe's bluesy alto sound and freer improvisational approach make him a perfect Palmer partner. Abercrombie plays with a sometimes warm jazzy tone, sometimes with a distorted rockish sound, while Lewis is solid and "in the pocket" throughout. Every selection on Ease On is blues, but the music does not get monotonous. Favorites include the opener, "Good News," a medium up burner; the similar sounding title track, "Modal Scallopini" that begins with an Afro-Latin groove that changes into an up-tempo blues with a wild Blythe alto solo; "Mid Move, a medium blues shuffle that features a bluesier Blythe; and the funky, danceable "Gas Mask." This is an excellent recording from an under-recognized talent. ~ Greg Turner http://www.allmusic.com/album/ease-on-mw0000107029

Personnel: Jeff Palmer (Hammond B-3); Arthur Blythe (alto saxophone); John Abercrombie (guitar); Victor Lewis (drums).

Ease On

---

Arthur Blythe - Focus

Styles: Saxophone Jazz
Year: 2002
File: MP3@320K/s
Time: 62:13
Size: 142,8 MB
Art: Front

(6:52)  1. Opus 1
(3:18)  2. Children's Song aka That Old Man
(4:58)  3. C.C. Rider
(2:53)  4. Once Again
(8:09)  5. My Son Ra
(6:20)  6. Hip Toe
(6:50)  7. Night Song
(3:16)  8. Bubbles
(5:00)  9. Stuffy Turkey
(5:19) 10. Night Creeper
(7:58) 11. In A Sentimental Mood
(1:16) 12. Focus

After what many considered a dry period in the early 1990s, Arthur Blythe gently began his return to alto prominence through exotic collaborations with cellist David Eyges and mallets player Gust William Tsilis. Focus presents one of his most unusual ensembles since the early '80s tuba/cello/guitar quintet. The sparse, foreign sound of this new quartet takes a moment to adjust to, but after a short distance into “Opus 1” (a Blythe original, not the old Sy Oliver chestnut) we are completely sucked in. Tsilis’s tinkly marimba carries the air of the Brazilian rainforest or African veldt but, within the full context of the album, manages to sound comfortably at home. Two obscure Monk tunes, actually expansions of prior art, are assayed here. “Children’s Song,” a recasting of “This Old Man,” is taken slowly and decorated by Blythe’s signature wide vibrato. “Stuffy Turkey,” drawing heavily from Coleman Hawkins’ “Stuffy”, gets the Bourbon Street treatment; Stewart’s vigorous puffing sounds perfectly fitting, and Brooks is sufficiently flexible to negotiate all the different turns this multi-hued album takes. Two duo tracks offer Blythe and friends a chance for more introspective action. “Once Again” is a mysterious duet for Blythe and Tsilis, their lines woven together like a rich textile. As the altoist matches wits with Stewart on “Hip Toe,” they fill in the numerous spaces nicely with spontaneous phrases and thoughtful responses. Only Ellington’s “In A Sentimental Mood” flounders, and significantly so. Blythe’s intonation is quite unsteady at times, and Tsilis mostly noodles with a seeming lack of direction as if he were unfamiliar with the tune. However, Blythe quickly redeems things on the title piece, a too-short solo of impressive lyricism which brings a satisfying end to a most surprising experience. More evidence that Blythe still has plenty of good, creative notions within his expansive mind. ~ Todd S.Jenkins  https://www.allaboutjazz.com/focus-arthur-blythe-savant-records-review-by-todd-s-jenkins.php

Personnel: Arthur Blythe, alto sax; Gust William Tsilis, concert grand marimba; Bob Stewart, tuba; Cecil Brooks III, drums.

Focus

---

Arthur Blythe - Calling Card

Styles: Saxophone Jazz
Year: 1995
File: MP3@320K/s
Time: 72:06
Size: 166,1 MB
Art: Front

( 8:31)  1. As of Yet
( 8:48)  2. Blue Blues
( 9:02)  3. Naima's Love Song
( 7:20)  4. Hip Dripper
( 9:51)  5. Odessa
(14:51)  6. Elaborations
( 7:16)  7. Jitterbug Waltz
( 6:24)  8. Break Tune

Recorded live at the Village Vanguard in 1993 (as was the very fine Retroflection, Calling Card presents Arthur Blythe with traditional jazz accompaniment. Each of the musicians is sensitive and focused throughout, most notably John Hicks with his light, deft keyboard phrasing. Blythe is in excellent form on every track, displaying his penchant for bridging genres and styles with surprising acuity. "Blue Blues" evokes a smoky, Coleman Hawkins-like lyricism, while the shimmering "Naima's Love Song" captures a bit of Coltrane's ghost. Blythe's tone, which is strong and sinuous, is entirely his own and his improvisatory skill, among the best in contemporary jazz, is given full reign in these stretched-out arrangements. Fans of Blythe's early, avant-garde material may be surprised at the straightforward, largely traditional nature of this set--there's even a breezy Fats Waller cover in "Jitterbug Waltz." Even the edgier, more abstract pieces, such as "Odessa" and "As of Yet," are rendered with a delicacy and warmth that lends them an immediate accessibility. No matter what Blythe does--be it traditional jazz or avant garde exploration--his work always bears the mark of brilliance, and Calling Card is no exception. http://www.allmusic.com/album/calling-card-mw0000184010

Personnel: Arthur Blythe (alto saxophone); John Hicks (piano); Cecil McBee (bass); Bobby Battle (drums).

Calling Card

---

Rodney Jones - Soul Manifesto

Styles: Guitar, Funk
Year: 2001
File: MP3@320K/s
Time: 68:09
Size: 156,9 MB
Art: Front

( 5:25)  1. Groovebone, Part 1
( 6:48)  2. Soul Makossa/Wake Up Call  (Interlude)

(10:17) 3. Soul Manifesto/Roll Call (Interlude) 

( 5:41)  4. One Turnip Green
( 4:23)  5. Ain't No Sunshine
( 7:40)  6. Mobius 3
( 8:17)  7. Soup Bone
( 8:13)  8. Soul Eyes
(11:22)  9. Groovebone, Part 2/Last Call (Interlude) 

You've got to funkafize... Guitarist Rodney Jones departs from the mainstream fare of his most recent recordings ( The Undiscovered Few, Blue Note 96902, 1999 and My Funny Valentine, Timeless 162, 2000) and testifies his funk philosophy on Soul Manifesto. Joined by Funk/R&B specialists Maceo Parker, Arthur Blythe, and Dr. Lonnie Smith, Jones weaves a hypnotic tapestry with a limbic collection of originals and standards so funky the listener might have to leave the room or succumb to the groove. The foundation of Jones's Soul philosophy is grounded in Gospel, Funk, and the Blues. He began playing guitar at age 6, beginning formal lessons age 8. He saturated himself with the Funk-forefront of the day: Jimi Hendrix, Sly Stone, and the formidable James Brown. "You have soul that was created by God, and you have soul created by James Brown. I've always been fascinated by that connection," says Jones. Jones joined the James Brown Mythology when he linked up with Brown alto saxophonist Maceo Parker for Parker's breakthrough Roots Revisited (Verve 843 751, 1992). Jones went on to work with the funkmeister for five years (and that definitely shows on this recording). Jones bookends this recording with the original "Groove Bone, Parts 1 and 2." He establishes the mood of the recording with these pieces while jamming through the other funky tone orgies "Soul Makossa," "Mobius 3," and "One Turnip Green." Standards include a soulful "Ain't No Sunshine" and "Soul Eyes." The band was well chosen, particularly Maceo Parker and Arthur Blythe. They truly reveal the soulfulness of the alto saxophone. Makes one wish King Curtis was on hand for the tenor chair. Is this Jazz? Quoting Mark Corroto in his primer on funk, "As the tee-shirt sez, 'F*** Art, Let's Dance." ~ C.Michael Bailey https://www.allaboutjazz.com/soul-manifesto-rodney-jones-blue-note-records-review-by-c-michael-bailey.php

Personnel: Rodney Jones: Guitars;  Maceo Parker: Alto Saxophone;  Arthur Blythe: Alto Saxophone;  Dr. Lonnie Smith: Hammond B-3 Organ;  Lonnie Plaxico: Bass;  Idris Muhammad: Drums.

Soul Manifesto

---

Joey Baron - Down Home

Styles: Jazz, Avant-Garde Jazz
Year: 1997
File: MP3@320K/s
Time: 45:27
Size: 104,4 MB
Art: Front

(5:18)  1. Mighty Fine
(8:53)  2. Little Boy
(8:35)  3. Wide Load
(5:07)  4. The Crock Pot
(8:00)  5. What
(1:47)  6. Listen to the Woman
(6:41)  7. Aren't We All
(1:04)  8. Supposing

Befitting its title, Down Home is a surprisingly soulful set by four pros who live up to their promising intrigue as an all-star quartet. Arthur Blythe, Bill Frisell, Ron Carter and leader Baron combine forces and the result is not what you'd expect. Such a quartet may suggest a hip trip through the downtown avant-garde, with Carter, whose playing has tended more toward classical these days, something of an afterthought. But all four have exceptional musical versatility, so any preconceptions are unwise. Smart and sassy soul is what's on the menu here. There's the gut-bucket R&B of old Prestige records ("Mighty Fine"), the Meters beat of "Wide Load" (featuring a gem of a Carter solo), the James Brown funk of "What" (with the funkiest Frisell solo ever) and the lively bar band blues of "The Crock Pot" (showcasing Baron himself). 

The tunes, all Baron originals, seem to pay homage to the other players as well; especially Baron's former boss, Frisell. There's the Frisell-like ballad of "Little Boy," the all-too brief guitar-bass duo of "Listen To The Woman" (which, surprisingly, suggests Gabor Szabo) and "Supposing," a short recollection of Jerry Granelli's A Song I Thought I Heard Buddy Sing (another Frisell project). "Aren't We All" is prototypical Arthur Blythe. And "Wide Load" is reminiscent of Carter's CTI days. The spotlight, however, shines on Blythe and Frisell. Blythe whose style is never less than distinctively his own strikes a balance somewhere between David Sanborn and Hank Crawford in these environs.

And Frisell, who sticks to his electric guitar throughout (no synth), is outstanding; giving at least two solos ("Mighty Fine" and "Wide Load") that are worth the price of admission. Unfortunately, I'm not familiar with Baron's previous solo work with unusual trios like Baron Down. But anyone who's seen Baron in performance (with Frisell or John Zorn) knows the drummer likes to have fun when he plays. Here, the listener joins the joyride too. Down Home, despite its brief 45-minute running time is, indeed, mighty fine; a hearty menu with plenty of meaty playing. ~ Douglas Payne  http://www.allaboutjazz.com/down-home-joey-baron-intuition-review-by-douglas-payne.php

Personnel:  Arthur Blythe: alto sax;  Bill Frisell: guitar;  Ron Carter: bass;  Joey Baron: drums.

Down Home

---

Arthur Blythe - Lenox Avenue Breakdown

Styles: Saxophone Jazz
Year: 1979
File: MP3@320K/s
Time: 40:23
Size: 92,7 MB
Art: Front

( 7:46)  1. Down San Diego Way
(13:27)  2. Lenox Avenue Breakdown
( 9:38)  3. Slidin' Through
( 9:31)  4. Odessa

Given the urban title of alto saxophonist Arthur Blythe's debut Columbia album, it's quite a shock when he and his red-hot band of collaborators that include James Blood Ulmer on guitar, Bob Stewart on tuba, flutist James Newton, bassist Cecil McBee, and Jack DeJohnette open with the decidedly funky Latin breaks on "Down San Diego Way." It's not a vamp and it's not a misleading intro, the first of four tracks showcases not only the deep versatility of the rhythm section, but Blythe's own gift as both a composer and as a soloist. He states the melody, handing off the harmonics to Ulmer and Newton and then flies high into the face of its chosen changes, allowing the beat to change under him several times before bringing back a theme and letting Ulmer solo. Blythe's grounding in the blues and in modal composition guide him on the title track; he and Newton move through intervallic shifts of chromatic intensity and spatial columnar structures, while Ulmer builds a middle bridge to both ground and fly from. 

But Blythe is not content here to showcase the extremes. On both "Slidin' Through," his exercise in harmolodic composition, and "Odessa," Blythe provides ample proof of his wisdom as a bandleader, encouraging solo and rhythmic interplay between different groups of musicians such as McBee and Blythe on the former and between himself, Newton and Ulmer on the latter as the rhythm section winds it out in both cases, stretching the narrow envelope into something far more textured and thematically unified note the Ornette-meets-noir ambience of "Odessa." This group lays like a band that had been together for years, not the weeklong period it took them to rehearse and create one of Blythe's masterpieces. Over 20 years later, Lenox Avenue Breakdown still sounds new and different and ranks among the three finest albums in his catalog. ~ Thom Jurek  http://www.allmusic.com/album/lenox-avenue-breakdown-mw0000045828

Personnel: Arthur Blythe (alto saxophone); Bob Stewart (tuba); James Newton (flute); James "Blood" Ulmer (guitar); Cecil McBee (bass); Jack DeJohnette (drums); Guillermo Franco (percussion).

Lenox Avenue Breakdown

---