FunkFreak75
Recorded at Rudy Van Gelder's studio in Englewood Cliffs, New Jersey, on May 9th and June 6th of 1969, the music here was definitely experimental, definitely exploring the new sounds of electrified instrumentation and fusions of non-traditionally jazz music traditions (like blues, rock, soundtrack, and even African) with jazz. It was released by Blue Note Records in December of 1969.
A1. "Fancy Free" (11:50) a song that offers a lot of memories for Detroiters due to its daily use on WJZZ beneath its community calendar notifications, Ronald Wilson's double bass and Leo Morris' drums seem to anchor the music in the jazz traditions while John Richardson and Nat Battis' Latin percussion with Duke Pearson's use of the smooth tones of an electric piano propel it forward, into the new realms of Jazz-Rock Fusion. Donald's trumpet and Jerry Dodgian's flute add more to the overall smooth sedating effect. (22/25) A2. "I Love The Girl" (8:35) solo electric piano opens this, sounding like someone playing background music for a television show like Mr. Rodgers' Neighborhood. After 90 seconds Donald steps up to the microphone while bass, brushed drums, and subtle rhythm guitar add their nuanced support. This, too, sounds like background music for some film or a cover of a film theme song. The arrival of Frank Foster's tenor sax in the sixth minute somehow gives the music a little more credibility--as if the great Dexter Gordon had just stepped in, legitimizing this as Jazz. Duke's vibe-sounding effect on his electric piano is given the front in the eighth minute while soothing horns support from behind. (17.5/20)
B1. "The Uptowner" (9:05) jazz combo with electric piano integrated within provides the foundation for a bank of horns to enter and posit their melodies on this Mitch Farber composition. The bandleader himself takes over soon after, presenting a kind of HUGH MASALELA-type trumpet style and sound. As a matter of fact, the main motif coupled with the leads (Frank Foster in the fifth minute) give the song a very upbeat, party-like feel not unlike some of the happy-go-lucky songs and melodies made famous by Hugh and others in the Sixties. Jimmy Ponder gives a very flashy guitar solo in the seventh minute--one that sounds part CHUCK BERRY, part GEORGE BENSON. (17.5/20)
B2. "Weasil" (9:50) a Chuck Hendricks composition that is very solidly rooted in the RAY CHARLES-like blues-rock music of the previous decade. Joe Chambers' drumming is noticeably more rock-oriented but Duke Peterson's electric piano chord progressions and playing style are very close to Ray's blues. Nicely arranged and performed but not the kind of music that I like or enjoy. (17.5/20)
Total Time: 39:12
I can certainly see/hear the seeds of commitment to the new sounds and stylings of Jazz-Rock Fusion--which was, of course, still in its infancy
B-/3.5 stars; a finely-crafted and very well-performed (and recorded) sample of one of Mr. Byrd's evolutionary shifts. It's not quite ground-breaking J-R Fusion yet but it's trying.
