FunkFreak75
Recorded by Creed Taylor and Rudy Van Gelder in September of 1971 and released on October 12.
A1. "First Light" (11:00) nice two-chord vamp that take a minute or two to get into full gear. Once it does it becomes a very nice dance tune with some great trumpet play from Freddie. The second soloist to get a turn isn't up until the seventh minute: George Benson. If these two solos are any indication, the musicians on this album seem much more focused and driven to produce amazing music than on Freddie's last album, Straight Life. Both Freddie and George are much more dynamic, aggressive, and "show-offy" than they were on anything on Straight Life while the musicians playing in support seem to have their working orders very clearly charted out for them as they are all working very hard in support with very little flash or flourish shining through the soloists work. (Maybe a little from Jack DeJohnette, Airto, Phil Kraus, and one of the flutists.) Beautiful song! (18.75/20)
A2. "Uncle Albert / Admiral Halsey" (8:12) Paul McCartney's song is taken down to the bare bones and bluesified melodically, Freddie only gives the first verse its due before taking it on his own flight. There is a significant contribution from some uncredited orchestral strings here. The two minute mark results in a significant shift into a blues/R&B-jazzed-up "Admiral Halsey" section. Jack and Ron are even caught trying to funk things up (Jack's more military than you'd probably want) but Ron, George, and electric piano player Richard Wyandis are excellent at funking things up--George even stepping up to play a very aggressive jazz-structured blues solo. At 5:40 everybody cuts out for Ron to show off his groove thang before flutes, Fender, and drums join in to take us to the final minute's return to the stripped down, bare bones opening motif (again, with strings/orchestra). Interesting! And, admittedly, adventurous. (13.5/15)
B1. "Moment To Moment" (5:40) late night bareness on this Henry Mancini-Johnny Mercer composition with vibes, bass, and Fender Rhodes supporting Freddie's plaintive trumpet play. Orchestral support from flutes/winds, harp, horns, and, later, strings. The two-motif sides to the song do not work so well for me. (8.75/10)
B2. "Yesterday's Dreams" (3:55) like a cover of a classic 1960s movie theme, Freddie dons his muter for his trumpet play. Composer Don Sebesky's strings and orchestral enrichment are very heavy on this one, it sounds a lot like the lush music Bob James will soon be making, only still founded in the rich textures and seriousness of the 1960s. Beautiful. (9/10)
B3. "Lonely Town" (6:55) another late night majestic tune that sounds like something from Frank Sinatra's best Ava Gardner Period music (except for the dulcet sounds of the Fender Rhodes). Great support from some masterfully arranged and recorded orchestra instruments. At 2:52 there is a sudden and pronounced shift into a more James Bond soundtrack theme and style, with bass, drums, Fender, and trumpet all stepping up to their microphones and the orchestra being pushed back into the background. Cool! though I do love the lush opening better. (13.375/15) Total time
A-/five stars; a minor masterpiece of creative and adventurous jazz-rock fusion that is often on the smooth cinematic side (due, perhaps, to the lush orchestral arrangements).