HERBIE MANN — Stone Flute (review)

Album · 1970 · Fusion

4.5/5 · 2024-10-11
FunkFreak75

Recorded in New York on March 18 & 20 and August 8, 1969 and then released in 1970 on January 15 on Herbie's on Herbie's new label, Embryo. The album represents quite a departure from previous Herbie albums in that it contains five (out of six) original compositions. It also employs several fairly young, experimental instrumentalists in Roy Ayers, Sonny Sharrock, Ron Carter, and Miroslav Vitous.

1. "In Tangier/Paradise Beach" (10:35) quite a long, atmospheric, and very cinematic (think Lawrence of Arabia) opening with mellifluous low flute notes played alongside Bruno Carter's twinkle-touch cymbal play. Guitar, bass, and other percussives begin to eek their way into the mix in the third minute. Then strings, At the five-minute mark the music shifts into its second theme, "Paradise Beach." Ron Carter double bass, uncredited piano (that I'll assume is Herbie but could be Roy Ayers), a little vibraphone, with simple time-keeping brushed drums and, later, orchestral strings establish the rich, almost lush soundscape; it's beautiful! Herbie Mann's approach to flute is so soothing and melodic. I love this! Now I know who might have inspired BOB JAMES to make the kind of music he did. A very enjoyable tune! (19/20)

2. "Flying" (5:21) from the Baptist church organ opening to the Southern fried blues meat of the soft center, I can appreciate the music and its performances but have to admit that I do not really enjoy this music. (8.75/10)

3. "Don't You Know the Way (How I Feel About You)" (5:17) a song mired in the blues. Slow and melodic but it just doesn't satisfy me. (8.5/10)

4. "Miss Free Spirit" (12:40) Very nice work (and interplay) between Miroslav Vitous, Herbie, and drummer Mickey Roker. The music is still very much jazz despite the enlistment of electronic elements (like Sonny Sharrock and the uncredited organ). The flute play is way more vivacious than anything before this, Herbie really showing his skills in the third and fourth minutes. Song swims along rather placidly until some weird descending strings chords are added near the end. (22.25/25)

5. "Waltz for My Song" (4:23) another slow, drawn out rather contemplative exploration of unusual chord progressions from bass, vibes, and organ over which Herbie's flute tries to find and create melody. Very interesting. (But what's the deal with all of the uncredited keyboard parts? That's four songs now!) I like it most for the fact that everyone on board feels equally invested and engaged. Great, fitting performances. And a beautiful closing with William Fischer's strings arrangement in support. (8.875/10)

6. "Pendulum" (2:35) a little bit of stage-friendly Burt Bacharach-like pop and circumstance. (5/5)

Total Time: 40:51

As other reviewers have noted, this is not the Sonny Sharrock that everyone will be expecting: here he's quite reserved and circumspect; the album offers more opioid effect than exciting experimentalism. Also, this not a very inspired or dynamic Ron Carter. Even the young and adventurous Miroslav Vitous has a little trouble unleashing his true self on the songs he performs on.

A-/4.5 stars; an excellent album of subtle performances from a great cast but not quite a masterpiece of Jazz-Rock Fusion.