Marvin 'Hannibal' Peterson, George Adams - The Angels of Atlanta

Styles: Trumpet And Saxophone
Year: 1981
File: MP3@320K/s
Time: 43:36
Size: 100,4 MB
Art: Front

(12:46) 1. The Angels of Atlanta
( 8:29) 2. The Story Teller
( 6:43) 3. The Inner Voice
( 5:13) 4. Mother's Land
(10:23) 5. Sometimes I Feel Like a Motherless Child

Although the Harlem Boys Choir is occasionally utilized, and Pat Peterson takes a soulful vocal on "The Inner Voice," this CD is very much trumpeter Marvin "Hannibal" Peterson's date. The explorative trumpeter is heard at his absolute peak, taking lengthy and fiery improvisations that show off not only his virtuosity but his emotional range. The superlative band (tenor saxophonist George Adams, pianist Kenny Barron, cellist Diedre Murray, bassist Cecil McBee, and drummer Dannie Richmond) really inspires Peterson, who stretches the boundaries of his music toward gospel and soul without watering down the jazz content. This well-balanced set is one of Hannibal's finest recordings.~ Scott Yanow https://www.allmusic.com/album/the-angels-of-atlanta-mw0000358685

Personnel: Trumpet – Marvin "Hannibal" Peterson; Bass – Cecil McBee; Cello – Diedre Murray; Choir – The Harlem Boys Choir; Drums – Dannie Richmond; Piano – Kenny Barron; Tenor Saxophone – George Adams; Vocals – Pat Peterson

The Angels of Atlanta

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Hannibal And The Sunrise Orchestra (Marvin `Hannibal` Peterson) - Hannibal

Styles: Jazz, Post Bop
Year: 1975
File: MP3@320K/s
Time: 38:25
Size: 88,3 MB
Art: Front

( 2:36) 1. The Rabbit
( 7:35) 2. Revelation
( 7:53) 3. Misty
( 6:34) 4. The Voyage
(13:46) 5. Soul Brother

An exciting, serpentine solo maker in the mold of Don Cherry Peterson has chops but leaves precision to the wind in favor of spontaneous eruptions of melody. Peterson has a more well-rounded technique than Cherry, however, and plays with greater force. Unlike many contemporary free jazz players, Peterson is adept at older styles; he's played under such adventurous yet tradition-bound bandleaders as Rahsaan Roland Kirk, Gil Evans, and Elvin Jones, and with such dyed-in-the-wool avant-gardists as Roswell Rudd, Ken McIntyre, and Deidre Murray.

As a youth, Peterson learned drums and cornet. He attended North Texas State University from 1967-1969 before moving to New York in 1970. That year, he toured the East Coast with Kirk; the next, he joined Evans' orchestra, with which he would continue to play into the '80s. In the early '70s he performed and recorded with a variety of big-name leaders, including Pharoah Sanders, Roy Haynes, and the aforementioned Jones. He also led and played trumpet and koto with the Sunrise Orchestra, a group that included the cellist Murray. Tenor saxophonist George Adams was a frequent collaborator. Peterson has led recording sessions infrequently; his first album was called Children of the Fire, for the defunct Sunrise label (1974). He recorded subsequently for Enja, MPS, and Inner City.

Though as a performer he's kept something of a low profile over the years, Peterson now known simply as Hannibal emerged in the mid-'90s having composed the monumental African Portraits, an orchestral piece that incorporated a jazz quartet, the Chicago Symphony Orchestra (conducted by the eminent composer/conductor Daniel Barenboim), the Morgan State University Choir, the Kennedy-King College Community Chorus, the Doris Ward Workshop Chorale, four operatic singers, various traditional African musicians, and a handful of African-American vocalists. The meticulously composed (and critically hailed) piece differed greatly form the small jazz ensemble contexts with which he had made his professional name. A recorded version was issued by the Teldec label.~ Chris Kelsey https://www.allmusic.com/artist/marvin-hannibal-peterson-mn0000374683/biography

Personnel: Hannibal Marvin Peterson - trumpet, koto, vocals; Michael Cochrane - piano; Diedre Murray - cello; Stafford James - bass; Thabo Michael Carvin - drums, percussion, vocals, whistle, timpani; Chris Hart - bells, percussion

Hannibal

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