| | Jemeel Moondoc New World Pygmies CD Jemeel Moondoc Discography of CDs
Bring together one of the under-recorded, unsung masters of alto saxophone, Jemeel Moondoc, with the astonishing bass playing of William Parker, and what do you have? It should not come as a surprise to anyone that this live set from the 1998 Fire in the Valley Festival is not only some of the best Moondoc material on disc, but also a fine example of some of the best free saxophone playing in recent years. Parker is a strong addition to any group, but he is mostly in a supporting role here, while Moondoc spurts forth line after line of creative inspiration. There is an acerbic quality to the saxophonist's sound, reminiscent of Ornette Colemen's tone from the early 1960s. Moondoc is a sort of odd, underrated elder statesman of free music, occupying a role not dissimilar to that of Chicago tenor saxophonist Fred Anderson. There is much to savor on this one, and a lot from which younger musicians can learn. ~ Steven Loewy
Liner Note Author: Ed Hazell.
Recording information: At The Fire Valley Festival, Bezanson Recital Hall, Unm (07/27/1998); Bezanson Recital Hall, University of Massachusetts, Amh (07/27/1998).
Photographer: Michael Wilderman.
Unknown Contributor Role: Bryan Coley.
Personnel: Jemeel Moondoc (alto saxophone); Jemeel Moondoc; William Parker (double bass).
Audio Mixer: Ah-S.
Jemeel Moondoc New World Pygmies Songs New World Pygmies Review
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Purchase New World Pygmies CD To buy, Click on price to add to cart | Arthur Blythe Lenox Avenue Breakdown CD (1978)
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In addition to having excellent cover art (an illustrated cityscape in which a giant saxophone--complete with windows, a doorway, and stoop--takes its place among the neighboring buildings), LENOX AVENUE BREAKDOWN is also a dynamic, unjustly overlooked jazz album. Prodigiously talented as an instrumentalist and composer, alto saxophonist Arthur Blythe was one of the most innovative jazz musicians of the 1970s and '80s, and LENOX AVENUE BREAKDOWN, his Columbia Records debut, proves it.
Blythe's ability to marry the best of the genre's traditions (he is equally versed in swing, post-bop, and romantic styles) with his avant-garde leanings is evident here. "Odessa," for example, a modal exploration, begins melodically, yet pushes further into free-jazz territory as the tune progresses. The angular bop of the title track is offset by adventurous soloing and unique instrumentation (flute and tuba add to the sonic palette here, along with guitarist James "Blood" Ulmer and drummer Jack DeJohnette). Blythe also knows how to keep things groovy, as the Latin-infused "Down San Diego Way" shows, with its interlocking webs of percussion. This is challenging, engaging jazz of the first order that still sounds fresh decades after its release.
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