Learn Tony Williams - 2016 (1975) Believe It - (1976) Meg Dollar Legs - (1979) The Joy Of Flying

Digitally remastered ii CD laid containing Jazz drummer Tony Williams' 3 albums for Sony, dating from 1975, 1976 together with 1979. The outset ii characteristic guitarist Allan Holdsworth whilst Joy Of Flying has, alongside others, George Benson, Stanley Clarke, Brian Auger, Herbie Hancock, David Sanborn together with Ronnie Montrose. Williams, who played with everyone from Miles Davis to John Lydon's PIL, sadly died at the immature historic current of 51 inwards 1997.

After the original Lifetime split, Tony Williams tried desperately to build the side past times side "great album".
He found his chance when he found Allan Holdsworth, a prog-rock veteran of Tempest, Gong, & Soft Machine.
Holdsworth approached the electrical guitar with a jazz feel, his Gibson SG Custom sounding oftentimes similar John Coltrane's saxophone.
Tony Williams together with Holdsworth found mutual ground, together with each brought inwards a instrumentalist capable of expressing the ability together with unloosen energy that Williams felt his music had been lacking. Bassist Tony Newton, a veteran of Motown sessions, was picked past times Williams to concord it all down. Holdsworth was taken with the abilities of keyboardist Alan Pasqua, who non exclusively could lay out the caput of a piece,but was a fine soloist equally well.This was to locomote the in conclusion edition of Lifetime, but this album, released inwards 1975, re-established the band equally a forcefulness to locomote reckoned with.

They but don't build 'em similar this anymore! 28 years afterward its original release, this album STILL sounds equally invigorating equally the twenty-four hours it was released. Tony Williams, much similar his mentor Miles Davis had a knack for picking cracking talent for his bands, especialy immature upstart British guitar virtuosos.

As if John McLaughlin wasn't enough, he went together with found the soft-spoken together with ridiculoulsy innovative Allan Holdsworth, who spun melodic together with fluid solos with the ease of a saxophonist. Already having stints with Tempest together with Soft Machine nether his belt, Holdsworth's fashion was jumping to the side past times side degree already, together with Tony Williams did zero to stand upward inwards the way, inwards fact, Allan was heavily encouraged together with cheered on inwards his explorations past times his bandmates here. Allan did things that but sounded absolutely impossible on a guitar at the time, together with I recollect together with hence vivdly hearing this album at historic current xvi together with having my jaw scraping the set down inwards amazement!

Armed with zero to a greater extent than than a Gibson SG together with a Marshall amp, Allan H but roared inwards an destroyed the house with his emotionally charged soloing together with exploratory compositions, together with a finely tuned musical sense to build te compostions of his bandmates come upward alive! Marrying this to William's inventive powerhouse drumming, Tony Newton's funky slithering bass together with Alan Pasqua's glassy keyboards, this version of the Tony Williams Lifetime was a forcefulness to locomote reckoned with.

The other affair that withal grabs me close this album is the open. raw locomote audio with minimal overdubbing, equally honest together with accurate inwards capturing this band's ability inwards the studio equally y'all could promise for. There's non i weak cutting on here, ranging from the stomping funk of "Snake Oil" to the ghostly chord tune of "Fred" together with the rip snorting brilliance of "Mr. Spock" (especially with the department where Williams together with Holdsworth switch roles, Tony putting forth the solo of his life together with Holdsworth bashing out angry Black Sabbath-like ability chords underneath earlier roaring to a cracking close). The bonus tracks are a VERY worthwhile add-on equally well, "Letsby" is a slightly unlike accept on "Mr. Spock" together with "Celebration" get's to a greater extent than funky piece withal snarling similar a panther (thanks i time again to Allan Holdsworth's raging guitar).

Influenza A virus subtype H5N1 serious fusion classic if ever in that place was together with definitely worth adding to your library. Turn it upward to eleven together with allow your jaw drib again!

I'm a drummer together with get got been playing 56 years. Among my most influential drummers Tony Williams, Billy Cobham, Lenny White, Mitch Mitchell, Chuck Burgi, Buddy Rich to cite a few, I ever get got to achieve dorsum to Tony Williams who was together with hence acrobatic, fluid, musically driven together with downwards correct AWESOME. "Believe It" was totally satisfying together with inspirational, the guitar function past times Soft Machines Allan Holdsworth is.....ah....PERFECT together with timeless, I had this album when it originally was released together with over the years wore it thru together with had to supervene upon it. 100% satisfied

1975 was withal a twelvemonth of cracking fusion records together with this i is without a incertitude i of them. Tony Williams returned with a build new, fresh approach to his sound. The music feels tight but it's truly quite loose, thank y'all to the masterful musicians he picked. The opener Snake Oil is a killer rail with a pounding, funky bass trouble together with a riff that must locomote heard to locomote believed.
Allan Holdsworth's guitar function fiery yet mellow piece Alan Pasqua together with Tony Newton are both impressive on keys together with bass respectively. Producer Bruce Botnick mahe sure Tony's drums sounded rigid without making them invasive to cracking result. Needless to say, his drumming is amazing throughout together with on the closer Mr. Spock, he takes to the spotlight for the please of the listener. 35 years on, this has earned the condition of a fusion classic.

The album's in conclusion piece, Holdsworth's "Mr. Spock" is an all-out jam of epic proportions.
Pasqua together with Newton' master copy chore is to concord the slice together, for this showcase is all close electrical guitar together with drums.
After the mensuration is laid together with Pasqua takes his solo, Holdsworth plays a solo which has been described equally no less than "apocalyptic",pulling out all the stops, together with throwing caution to the wind.

It would locomote an understatement to say that in that place was a fair amount of diversity on this set. Drummer Tony Williams is heard inwards ii duets with keyboardist January Hammer, with a quartet equally good including keyboardist Herbie Hancock, Tom Scott (who unfortunately sticks to lyricon) together with bassist Stanley Clarke, together with he welcomes stone guitarist Ronnie Montrose, keyboardist Brian Auger, guitarist George Benson, Hammer together with tenorman Michael Brecker on other tracks. Much of this music is closer to R&B than to jazz, although in that place are many rigid moments. But the most interesting alternative is sure enough "Morgan's Motion" which matches Williams with pianist Cecil Taylor inwards a powerful (and completely atonal) collaboration.

/search?q=Tony+Williams

Track Listing:

Disc: 1
  1. Snake Oil
  2. Fred
  3. Proto-Cosmos
  4. Red Alert
  5. Wildlife
  6. Mr. Spock
  7. Sweet Revenge
  8. You Did It to Me
  9. Million Dollar Legs
  10. Joy Filled Summer
  11. Lady Jade
  12. What You Do to Me
  13. Inspirations of Love

Disc: 2
  1. Going Far
  2. Hip Skip
  3. Hittin' on 6
  4. Open Fire
  5. Tony
  6. Eris
  7. Coming Back Home
  8. Morgan's Motion

Personnel:

 "Believe It" & "Million Dollar Legs"

    Allan Holdsworth – guitar
    Alan Pasqua – keyboards
    Tony Newton – bass
    Tony Williams – drums

 "Joy Of Flying"

    George Benson - Guitar
    Herbie Hancock, January Hammer, Brian Auger, Tom Scott - Keyboards
    Stanley Clarke, Paul Jackson, Mario Cipollina - Bass
    Michael Brecker - Saxophone
    Ronnie Montrose - Guitar
    David Sanborn - Alto saxophone
    Ronnie Cuber - Baritone saxophone
    Barry Rogers - Trombone
    Randy Brecker - Trumpet
    Ralph MacDonald - Percussion
    Jon Faddis - Trumpet
    Cecil Taylor - Piano

For Y'all Tony Williams - 2016 (1975) Believe It - (1976) I Grand K Dollar Legs - (1979) The Joy Of Flying

Digitally remastered 2 CD laid containing Jazz drummer Tony Williams' 3 albums for Sony, dating from 1975, 1976 in addition to 1979. The kickoff 2 characteristic guitarist Allan Holdsworth whilst Joy Of Flying has, alongside others, George Benson, Stanley Clarke, Brian Auger, Herbie Hancock, David Sanborn in addition to Ronnie Montrose. Williams, who played with everyone from Miles Davis to John Lydon's PIL, sadly died at the immature historic menstruation of 51 inwards 1997.

After the original Lifetime split, Tony Williams tried desperately to build the adjacent "great album".
He found his chance when he found Allan Holdsworth, a prog-rock veteran of Tempest, Gong, & Soft Machine.
Holdsworth approached the electrical guitar with a jazz feel, his Gibson SG Custom sounding oftentimes similar John Coltrane's saxophone.
Tony Williams in addition to Holdsworth found mutual ground, in addition to each brought inwards a instrumentalist capable of expressing the ability in addition to publish energy that Williams felt his music had been lacking. Bassist Tony Newton, a veteran of Motown sessions, was picked past times Williams to agree it all down. Holdsworth was taken with the abilities of keyboardist Alan Pasqua, who non exclusively could lay out the caput of a piece,but was a fine soloist equally well.This was to endure the in conclusion edition of Lifetime, but this album, released inwards 1975, re-established the band equally a strength to endure reckoned with.

They merely don't build 'em similar this anymore! 28 years afterwards its original release, this album STILL sounds equally invigorating equally the hateful solar daytime it was released. Tony Williams, much similar his mentor Miles Davis had a knack for picking groovy talent for his bands, especialy immature upstart British guitar virtuosos.

As if John McLaughlin wasn't enough, he went in addition to found the soft-spoken in addition to ridiculoulsy innovative Allan Holdsworth, who spun melodic in addition to fluid solos with the ease of a saxophonist. Already having stints with Tempest in addition to Soft Machine nether his belt, Holdsworth's manner was jumping to the adjacent degree already, in addition to Tony Williams did cypher to stand upwards inwards the way, inwards fact, Allan was heavily encouraged in addition to cheered on inwards his explorations past times his bandmates here. Allan did things that merely sounded absolutely impossible on a guitar at the time, in addition to I recall in addition to thence vivdly hearing this album at historic menstruation sixteen in addition to having my jaw scraping the dry reason inwards amazement!

Armed with cypher to a greater extent than than a Gibson SG in addition to a Marshall amp, Allan H merely roared inwards an destroyed the house with his emotionally charged soloing in addition to exploratory compositions, in addition to a finely tuned musical sense to build te compostions of his bandmates come upwards alive! Marrying this to William's inventive powerhouse drumming, Tony Newton's funky slithering bass in addition to Alan Pasqua's glassy keyboards, this version of the Tony Williams Lifetime was a strength to endure reckoned with.

The other affair that yet grabs me nearly this album is the open. raw endure audio with minimal overdubbing, equally honest in addition to accurate inwards capturing this band's ability inwards the studio equally you lot could promise for. There's non ane weak cutting on here, ranging from the stomping funk of "Snake Oil" to the ghostly chord tune of "Fred" in addition to the rip snorting brilliance of "Mr. Spock" (especially with the department where Williams in addition to Holdsworth switch roles, Tony putting forth the solo of his life in addition to Holdsworth bashing out angry Black Sabbath-like ability chords underneath earlier roaring to a groovy close). The bonus tracks are a VERY worthwhile add-on equally well, "Letsby" is a slightly unlike lead maintain on "Mr. Spock" in addition to "Celebration" get's to a greater extent than funky spell yet snarling similar a panther (thanks ane time again to Allan Holdsworth's raging guitar).

Influenza A virus subtype H5N1 serious fusion classic if ever in that place was in addition to definitely worth adding to your library. Turn it upwards to eleven in addition to permit your jaw drib again!

I'm a drummer in addition to lead maintain been playing 56 years. Among my most influential drummers Tony Williams, Billy Cobham, Lenny White, Mitch Mitchell, Chuck Burgi, Buddy Rich to cite a few, I ever lead maintain to arrive at dorsum to Tony Williams who was in addition to thence acrobatic, fluid, musically driven in addition to downward correct AWESOME. "Believe It" was totally satisfying in addition to inspirational, the guitar travel past times Soft Machines Allan Holdsworth is.....ah....PERFECT in addition to timeless, I had this album when it originally was released in addition to over the years wore it thru in addition to had to supervene upon it. 100% satisfied

1975 was yet a twelvemonth of groovy fusion records in addition to this ane is without a uncertainty ane of them. Tony Williams returned with a build new, fresh approach to his sound. The music feels tight but it's truly quite loose, cheers to the masterful musicians he picked. The opener Snake Oil is a killer rail with a pounding, funky bass describe in addition to a riff that must endure heard to endure believed.
Allan Holdsworth's guitar travel fiery yet mellow spell Alan Pasqua in addition to Tony Newton are both impressive on keys in addition to bass respectively. Producer Bruce Botnick mahe sure Tony's drums sounded rigid without making them invasive to groovy result. Needless to say, his drumming is amazing throughout in addition to on the closer Mr. Spock, he takes to the spotlight for the please of the listener. 35 years on, this has earned the condition of a fusion classic.

The album's in conclusion piece, Holdsworth's "Mr. Spock" is an all-out jam of epic proportions.
Pasqua in addition to Newton' principal describe of piece of occupation is to agree the slice together, for this showcase is all nearly electrical guitar in addition to drums.
After the footstep is laid in addition to Pasqua takes his solo, Holdsworth plays a solo which has been described equally no less than "apocalyptic",pulling out all the stops, in addition to throwing caution to the wind.

It would endure an understatement to say that in that place was a fair amount of diversity on this set. Drummer Tony Williams is heard inwards 2 duets with keyboardist January Hammer, with a quartet too including keyboardist Herbie Hancock, Tom Scott (who unfortunately sticks to lyricon) in addition to bassist Stanley Clarke, in addition to he welcomes stone guitarist Ronnie Montrose, keyboardist Brian Auger, guitarist George Benson, Hammer in addition to tenorman Michael Brecker on other tracks. Much of this music is closer to R&B than to jazz, although in that place are many rigid moments. But the most interesting alternative is for sure "Morgan's Motion" which matches Williams with pianist Cecil Taylor inwards a powerful (and completely atonal) collaboration.

/search?q=Tony+Williams

Track Listing:

Disc: 1
  1. Snake Oil
  2. Fred
  3. Proto-Cosmos
  4. Red Alert
  5. Wildlife
  6. Mr. Spock
  7. Sweet Revenge
  8. You Did It to Me
  9. Million Dollar Legs
  10. Joy Filled Summer
  11. Lady Jade
  12. What You Do to Me
  13. Inspirations of Love

Disc: 2
  1. Going Far
  2. Hip Skip
  3. Hittin' on 6
  4. Open Fire
  5. Tony
  6. Eris
  7. Coming Back Home
  8. Morgan's Motion

Personnel:

 "Believe It" & "Million Dollar Legs"

    Allan Holdsworth – guitar
    Alan Pasqua – keyboards
    Tony Newton – bass
    Tony Williams – drums

 "Joy Of Flying"

    George Benson - Guitar
    Herbie Hancock, January Hammer, Brian Auger, Tom Scott - Keyboards
    Stanley Clarke, Paul Jackson, Mario Cipollina - Bass
    Michael Brecker - Saxophone
    Ronnie Montrose - Guitar
    David Sanborn - Alto saxophone
    Ronnie Cuber - Baritone saxophone
    Barry Rogers - Trombone
    Randy Brecker - Trumpet
    Ralph MacDonald - Percussion
    Jon Faddis - Trumpet
    Cecil Taylor - Piano

Learn Tony Williams - 1964 [1999] Life Time

Life Time is the debut album yesteryear American drummer Tony Williams recorded inwards 1964 too released on the Blue Note label.

Tony Williams was simply xviii years former when he recorded this, his 1964 debut equally a leader, but he was already a prodigious drummer who could keep a rapid-fire current of subtle accents that prodded a soloist into fresh directions. His termination on a band was electric, too he had quickly moved to the front end ranks of jazz musicians, working alongside Jackie McLean, Eric Dolphy, too Miles Davis. More than a fine drummer, Williams was a musical visionary, too alongside Life Time he recorded 1 of the most forward-looking of the Blue Note albums of the '60s. It shows inwards the selection of radical sidemen similar Sam Rivers, the explosive tenor saxophonist who had been Williams's early on mentor inwards Boston, too bassist Gary Peacock, thence a regular associate of Albert Ayler, equally good equally the to a greater extent than innovative members of the Blue Note stable, similar Herbie Hancock too Bobby Hutcherson. It too shows inwards Williams's liberating approach to instrumentation, using 2 basses on approximately tracks too none on another, too fifty-fifty omitting his ain drums from the flamenco-tinged "Barb's Song to the Wizard." The trio of Williams, Rivers, too Peacock create a masterpiece on "Tomorrow Afternoon," alongside its heady mix of calm too passion, but every rail is well-crafted, challenging music.

Drummer Tony Williams' get-go recording equally a leader (made when he was xviii too all the same billed equally Anthony Williams) gave him an chance to use an advanced grouping of musicians: tenor saxophonist Sam Rivers, vibraphonist Bobby Hutcherson, pianist Herbie Hancock, too both Richard Davis too Gary Peacock on bass. Williams wrote all 4 of the pieces too has a dissimilar combination of players on each song. The freely improvised "Memory" features Hutcherson, Hancock, too Williams inwards approximately colorful too at times spacy interplay; "Barb's Song to the Wizard" is a Hancock-Ron Carter duet; "Tomorrow Afternoon" has Rivers, Peacock too Williams inwards a trio; too all of the musicians (except Hutcherson) are on the sidelong "2 Pieces of One." The unpredictable music holds one's interest; a really rigid debut for the masterful drummer.

By now, it's an irrefutable fact that drummer Tony Williams was the youngest preeminent figure inside the avant-garde stimulate of the mid-'60s. Every jazz fan seems to know the events that led to his international fame: later intriguing trumpeter Miles Davis alongside his cutting-edge approach to drumming, he was hired too added to the groundbreaking "Second Great Quintet" at the ripe historic menstruation of 17. During this pregnant stint, Williams altered the trajectory of Davis' music, solidified himself equally a drum wunderkind, too broadened his science laid to successfully branch out from jazz into rock-oriented genres such equally fusion.

The details inwards a higher house bring already been fossilized inwards jazz history, but what nigh his lesser-known early on years, before breaking tradition alongside Miles Davis?

After a partnership alongside Sam Rivers at historic menstruation 13, Williams was hired yesteryear Jackie McLean at historic menstruation xvi too eventually recorded on his 1963 album One Step Beyond (Blue Note, 1963)—an adventurous essay that firmly established Williams equally a sought-after session drummer for Blue Note Records. As give-and-take of his virtuosity spread, Williams eventually landed sessions alongside approximately of the leading musicians inwards post-bop too the avant-garde whose albums bring since reached legendary status. Williams left an indelible score on Eric Dolphy's Out to Lunch! (Blue Note, 1964), Andrew Hill's Point of Departure (Blue Note, 1964), too Sam Rivers' Fuchsia Swing Song (Blue Note, 1964) to refer a few.

As Williams continued to reinvent what the drummer's purpose was inwards jazz, Blue Note founder Alfred Lion—a champion for documenting novel too innovative music, fifty-fifty if it didn't sell—offered him his ain recording dates, which were thence collected for the issue of his 1964 debut studio album, Life Time. To fully encompass the grasp that Williams had over jazz at the time, he was exclusively xviii too managed to conjure a lineup that included Sam Rivers (tenor saxophone), Herbie Hancock (piano), Bobby Hutcherson (vibes, marimba), too iii bassists: Ron Carter, Richard Davis, too Gary Peacock. Along alongside leading a post-bop dream team, all of the compositions on the album were penned yesteryear Williams himself.

To state the truth, Williams' mo essay for Blue Note, Spring (Blue Note, 1965), ofttimes overshadows Life Time inwards part due to its accessibility too theatre roots inwards structured post-bop. That's non to tell that Life Time lacks musical vision, inwards fact, the album itself is an overlooked classic that boasts a feel of adventure too infinite that's absent on Spring. The music on Life Time is e'er moving, surveying every facet of each composition, extracting colors, emotions, too vibrations; it's unfettered from the claws of tradition and, when played from start to end, galvanizes the listener's imagination.

The album begins alongside the side-long, two-part composition "Two Pieces of One." The get-go part, "Red," begins alongside a tenor saxophone too bowed bass intertwining to create a somber tune on top of Williams' spastically brushed snare. Launching off of an extended bass solo, Rivers too Williams wallow inwards compelling interplay alongside no particular management before letting Davis too Peacock twain for the residuum of the song. "Green" picks dorsum upwards alongside brisk, vibrant runs yesteryear Rivers over Williams' dynamic ride cymbal patterns. Increasing inwards energy, Rivers flirts alongside overblown notes before easing upwards to permit Williams illustrate his expressive, unpredictable approach to the skins.

Williams, Rivers, too Peacock combine for "Tomorrow Afternoon" which echoes the imaginative improvisation found on the previous, but becomes looser too to a greater extent than uninhibited equally it progresses. Perhaps the most notable item of this vocal is the interaction betwixt Peacock too Rivers. Peacock, who harbors a lyrical approach to the bass, bounces angular sets of notes off of Rivers who thence repeats them, contributing to a constantly evolving bike of fresh ideas.

"Memory" marks the album's get-go appearance of Hutcherson too Hancock. The most percussive rail on the record, Williams plays his commons kit along alongside timpani, woods blocks, maracas, too triangle. Hancock plays inwards the shadow, setting an overarching moody tone alongside dark, sporadic chord sequences. Hutcherson, playing vibraphone too marimba, embellishes Williams' primitive instrumentation, performing alongside the utmost zeal too inventiveness.

Williams, beingness the mature instrumentalist he was, stepped out of the spotlight too allowed Hancock too Carter to perform a piano/bass twain for the concluding composition. H5N1 vocal equally enchanting equally its title, "Barb's Song to the Wizard" is saturated alongside whimsical interplay too musical subtleties. Apart from the stunning performance, this vocal is a fine will to Williams' underrated compositional prowess.

In retrospect, it's slow to run into why Williams' accomplishments inwards the plain of fusion ofttimes conceal his before organic efforts; the boisterous music of the '70s is undeniably to a greater extent than pop than the experimental ideals of avant-garde jazz. Nonetheless, this music deserves to hold out recognized too enjoyed. Constantly brimming alongside spirit, Life Time is an enthralling debut from a immature trailblazer.

Track listing:
All compositions yesteryear Tony Williams

1. "Two Pieces of One: Red" – 8:06
2. "Two Pieces of One: Green" – 10:40
3. "Tomorrow Afternoon" – 5:35
4. "Memory" – 8:06
5. "Barb's Song to the Wizard" – 5:58

Recorded on August 21 (#1–3) too August 24 (#4–5), 1964.

Personnel:

Tony Williams – drums, timpani, woodblocks, maracas, triangle
Sam Rivers – tenor saxophone (1–3)
Bobby Hutcherson – vibes, marimba (4–5)
Herbie Hancock – pianoforte (4–5)
Ron Carter (5), Richard Davis (1–2), Gary Peacock (1–3)  – bass

For You Lot Tony Williams - 1964 [1999] Life Time

Life Time is the debut album past times American drummer Tony Williams recorded inwards 1964 as well as released on the Blue Note label.

Tony Williams was simply xviii years erstwhile when he recorded this, his 1964 debut equally a leader, but he was already a prodigious drummer who could keep a rapid-fire current of subtle accents that prodded a soloist into fresh directions. His resultant on a band was electric, as well as he had chop-chop moved to the front end ranks of jazz musicians, working amongst Jackie McLean, Eric Dolphy, as well as Miles Davis. More than a fine drummer, Williams was a musical visionary, as well as amongst Life Time he recorded 1 of the most forward-looking of the Blue Note albums of the '60s. It shows inwards the alternative of radical sidemen similar Sam Rivers, the explosive tenor saxophonist who had been Williams's early on mentor inwards Boston, as well as bassist Gary Peacock, as well as hence a regular associate of Albert Ayler, equally good equally the to a greater extent than innovative members of the Blue Note stable, similar Herbie Hancock as well as Bobby Hutcherson. It too shows inwards Williams's liberating approach to instrumentation, using ii basses on simply about tracks as well as none on another, as well as fifty-fifty omitting his ain drums from the flamenco-tinged "Barb's Song to the Wizard." The trio of Williams, Rivers, as well as Peacock practise a masterpiece on "Tomorrow Afternoon," amongst its heady mix of calm as well as passion, but every rail is well-crafted, challenging music.

Drummer Tony Williams' starting fourth dimension recording equally a leader (made when he was xviii as well as nevertheless billed equally Anthony Williams) gave him an chance to use an advanced grouping of musicians: tenor saxophonist Sam Rivers, vibraphonist Bobby Hutcherson, pianist Herbie Hancock, as well as both Richard Davis as well as Gary Peacock on bass. Williams wrote all 4 of the pieces as well as has a dissimilar combination of players on each song. The freely improvised "Memory" features Hutcherson, Hancock, as well as Williams inwards simply about colorful as well as at times spacy interplay; "Barb's Song to the Wizard" is a Hancock-Ron Carter duet; "Tomorrow Afternoon" has Rivers, Peacock as well as Williams inwards a trio; as well as all of the musicians (except Hutcherson) are on the sidelong "2 Pieces of One." The unpredictable music holds one's interest; a really potent debut for the masterful drummer.

By now, it's an irrefutable fact that drummer Tony Williams was the youngest preeminent figure inside the avant-garde travail of the mid-'60s. Every jazz fan seems to know the events that led to his international fame: afterwards intriguing trumpeter Miles Davis amongst his cutting-edge approach to drumming, he was hired as well as added to the groundbreaking "Second Great Quintet" at the ripe historic menstruation of 17. During this pregnant stint, Williams altered the trajectory of Davis' music, solidified himself equally a drum wunderkind, as well as broadened his science laid to successfully branch out from jazz into rock-oriented genres such equally fusion.

The details inwards a higher house convey already been fossilized inwards jazz history, but what close his lesser-known early on years, before breaking tradition amongst Miles Davis?

After a partnership amongst Sam Rivers at historic menstruation 13, Williams was hired past times Jackie McLean at historic menstruation sixteen as well as eventually recorded on his 1963 album One Step Beyond (Blue Note, 1963)—an adventurous endeavour that firmly established Williams equally a sought-after session drummer for Blue Note Records. As discussion of his virtuosity spread, Williams eventually landed sessions amongst simply about of the leading musicians inwards post-bop as well as the avant-garde whose albums convey since reached legendary status. Williams left an indelible grade on Eric Dolphy's Out to Lunch! (Blue Note, 1964), Andrew Hill's Point of Departure (Blue Note, 1964), as well as Sam Rivers' Fuchsia Swing Song (Blue Note, 1964) to mention a few.

As Williams continued to reinvent what the drummer's role was inwards jazz, Blue Note founder Alfred Lion—a champion for documenting novel as well as innovative music, fifty-fifty if it didn't sell—offered him his ain recording dates, which were as well as hence collected for the let on of his 1964 debut studio album, Life Time. To fully encompass the grasp that Williams had over jazz at the time, he was solely xviii as well as managed to conjure a lineup that included Sam Rivers (tenor saxophone), Herbie Hancock (piano), Bobby Hutcherson (vibes, marimba), as well as 3 bassists: Ron Carter, Richard Davis, as well as Gary Peacock. Along amongst leading a post-bop dream team, all of the compositions on the album were penned past times Williams himself.

To dry reason the truth, Williams' minute endeavour for Blue Note, Spring (Blue Note, 1965), ofttimes overshadows Life Time inwards purpose due to its accessibility as well as trouble solid roots inwards structured post-bop. That's non to tell that Life Time lacks musical vision, inwards fact, the album itself is an overlooked classic that boasts a feel of adventure as well as infinite that's absent on Spring. The music on Life Time is e'er moving, surveying every facet of each composition, extracting colors, emotions, as well as vibrations; it's unfettered from the claws of tradition and, when played from start to end, galvanizes the listener's imagination.

The album begins amongst the side-long, two-part composition "Two Pieces of One." The starting fourth dimension part, "Red," begins amongst a tenor saxophone as well as bowed bass intertwining to make a somber tune on top of Williams' spastically brushed snare. Launching off of an extended bass solo, Rivers as well as Williams wallow inwards compelling interplay amongst no special management before letting Davis as well as Peacock twain for the balance of the song. "Green" picks dorsum upwards amongst brisk, vibrant runs past times Rivers over Williams' dynamic ride cymbal patterns. Increasing inwards energy, Rivers flirts amongst overblown notes before easing upwards to allow Williams illustrate his expressive, unpredictable approach to the skins.

Williams, Rivers, as well as Peacock combine for "Tomorrow Afternoon" which echoes the imaginative improvisation found on the previous, but becomes looser as well as to a greater extent than uninhibited equally it progresses. Perhaps the most notable item of this vocal is the interaction betwixt Peacock as well as Rivers. Peacock, who harbors a lyrical approach to the bass, bounces angular sets of notes off of Rivers who as well as hence repeats them, contributing to a constantly evolving cycle of fresh ideas.

"Memory" marks the album's starting fourth dimension appearance of Hutcherson as well as Hancock. The most percussive rail on the record, Williams plays his commons kit along amongst timpani, woods blocks, maracas, as well as triangle. Hancock plays inwards the shadow, setting an overarching moody tone amongst dark, sporadic chord sequences. Hutcherson, playing vibraphone as well as marimba, embellishes Williams' primitive instrumentation, performing amongst the utmost zeal as well as inventiveness.

Williams, beingness the mature participant he was, stepped out of the spotlight as well as allowed Hancock as well as Carter to perform a piano/bass twain for the terminal composition. Influenza A virus subtype H5N1 vocal equally enchanting equally its title, "Barb's Song to the Wizard" is saturated amongst whimsical interplay as well as musical subtleties. Apart from the stunning performance, this vocal is a fine will to Williams' underrated compositional prowess.

In retrospect, it's slow to run into why Williams' accomplishments inwards the plain of fusion ofttimes conceal his before organic efforts; the boisterous music of the '70s is undeniably to a greater extent than pop than the experimental ideals of avant-garde jazz. Nonetheless, this music deserves to live on recognized as well as enjoyed. Constantly brimming amongst spirit, Life Time is an enthralling debut from a immature trailblazer.

Track listing:
All compositions past times Tony Williams

1. "Two Pieces of One: Red" – 8:06
2. "Two Pieces of One: Green" – 10:40
3. "Tomorrow Afternoon" – 5:35
4. "Memory" – 8:06
5. "Barb's Song to the Wizard" – 5:58

Recorded on August 21 (#1–3) as well as August 24 (#4–5), 1964.

Personnel:

Tony Williams – drums, timpani, woodblocks, maracas, triangle
Sam Rivers – tenor saxophone (1–3)
Bobby Hutcherson – vibes, marimba (4–5)
Herbie Hancock – pianoforte (4–5)
Ron Carter (5), Richard Davis (1–2), Gary Peacock (1–3)  – bass

For Yous Tony Williams - 1975 [2004] Believe It

Believe It is the kickoff album past times The New Tony Williams Lifetime, released inwards 1975 on Columbia Records. The New Lifetime was a jazz fusion band formed past times the drummer Tony Williams amongst Allan Holdsworth on guitar, Alan Pasqua on keyboards as well as Tony Newton on bass.

The compositions Fred, Proto Cosmos as well as Red Alert are equally good featured on the Allan Holdsworth DVD Live at Yoshi's, released inwards 2007. Holdsworth has ofttimes stated that his fourth dimension amongst the drummer was the most influential formative phase of his career.

By the fourth dimension drummer Tony Williams left Miles Davis inwards '69, he had moved fifty-fifty further away from the acoustic tradition than his erstwhile employer. His kickoff recordings amongst his novel band, Lifetime, were characterized past times the sleeve instructions: "Play it Loud!" While the unloosen energy score was high as well as the music was infused amongst a stone as well as gyre philosophy, it was even as well as hence uncompromising as well as continued to force the boundaries; intense, daring as well as sometimes a picayune terrifying, the early on incarnation of Lifetime was a literal barrage on the senses.

By '75, Williams had signed amongst a novel label, pieced together a New Tony Williams Lifetime, as well as moved inwards a picayune to a greater extent than conventional jazz-rock direction. But dissimilar as well as hence many fusion records of the time, Believe It managed to live on powerful without the bombastic pyrotechnics of bands similar Return to Forever. Originally available on a CD that combined it amongst the far less successful follow-up, Million Dollar Legs , this long out-of-print championship has in conclusion been reissued past times Columbia, remastered as well as amongst 2 bonus tracks.
Believe It features erstwhile Motown bassist Tony Newton, keyboard operate participant Alan Pasqua and, most notably, British guitarist Allan Holdsworth, who, acre already somewhat of an secret legend inwards his ain country, had yet to brand an impression inwards North America. Believe It changed all that, demonstrating that non solely was Holdsworth a fresh novel vocalisation on his instrument, but a fine author equally well. "Fred," after re-titled "Kinder" past times Holdsworth, as well as a staple inwards his repertoire for unopen to years to come, introduces Holdsworth's unique harmonic language, amongst a lyrical bent that manages to live on completely distinctive. And his playing means is quite only similar no other; influenced heavily past times Coltrane, Holdsworth, fifty-fifty at this early on phase inwards his career, is capable of sheets of audio that, punctuated past times held notes as well as legato runs, are visceral inwards their impact.
No less visceral, of course, is Williams himself. While peers including Billy Cobham as well as Lenny White gravitated towards to a greater extent than overblown displays of virtuosity, Williams overpowers both amongst his stronger feel of groove as well as sheer muscularity. And acre he is every chip equally capable of extravagant displays of technique, he e'er sounds to a greater extent than musical. Even on intense burners similar the Holdsworth-penned bonus rails "Letsby," he is less concerned amongst how many beats he tin flame throw into a fill; as well as his solo over Holdsworth's ability chord ostinato is the paradigm of construction.
For soul who moved the concept of rhythmic liberty as well as hence far forrard equally business office of Miles' minute quintet, Williams may lead maintain been the most overtly stone as well as roll-informed drummer of the mid-'70s fusion era. With an inherent feel of groove as well as honest unloosen energy that comes from compositions that are less contrived as well as to a greater extent than straight vehicles for improvisational flight, Believe It is ane of the most compelling arguments for the validity of jazz-rock fusion, earlier the term became such a muddy word.

They precisely don't brand 'em similar this anymore! 28 years after its original release, this album STILL sounds equally invigorating equally the twenty-four hours it was released. Tony Williams, much similar his mentor Miles Davis had a knack for picking peachy talent for his bands, especialy immature upstart British guitar virtuosos.

As if John McLaughlin wasn't enough, he went as well as institute the soft-spoken as well as ridiculoulsy innovative Allan Holdsworth, who spun melodic as well as fluid solos amongst the remain of a saxophonist. Already having stints amongst Tempest as well as Soft Machine nether his belt, Holdsworth's means was jumping to the adjacent score already, as well as Tony Williams did naught to stand upward inwards the way, inwards fact, Allan was heavily encouraged as well as cheered on inwards his explorations past times his bandmates here. Allan did things that precisely sounded absolutely impossible on a guitar at the time, as well as I think as well as hence vivdly hearing this album at historic current sixteen as well as having my jaw scraping the soil inwards amazement!

Armed amongst naught to a greater extent than than a Gibson SG as well as a Marshall amp, Allan H precisely roared inwards an destroyed the house amongst his emotionally charged soloing as well as exploratory compositions, as well as a finely tuned musical feel to brand te compostions of his bandmates come upward alive! Marrying this to William's inventive powerhouse drumming, Tony Newton's funky slithering bass as well as Alan Pasqua's glassy keyboards, this version of the Tony Williams Lifetime was a forcefulness to live on reckoned with.

The other affair that soundless grabs me close this album is the open. raw live on audio amongst minimal overdubbing, equally honest as well as accurate inwards capturing this band's ability inwards the studio equally you lot could promise for. There's non ane weak cutting on here, ranging from the stomping funk of "Snake Oil" to the ghostly chord tune of "Fred" as well as the rip snorting brilliance of "Mr. Spock" (especially amongst the department where Williams as well as Holdsworth switch roles, Tony putting forth the solo of his life as well as Holdsworth bashing out angry Black Sabbath-like ability chords underneath earlier roaring to a peachy close). The bonus tracks are a VERY worthwhile add-on equally well, "Letsby" is a slightly different lead maintain on "Mr. Spock" as well as "Celebration" get's to a greater extent than funky acre soundless snarling similar a panther (thanks in ane lawsuit again to Allan Holdsworth's raging guitar).

Influenza A virus subtype H5N1 serious fusion classic if ever at that spot was as well as definitely worth adding to your library. Turn it upward to xi as well as permit your jaw drib again!

Track listing

01 "Snake Oil" (Tony Newton) — 6:30
02 "Fred" (Allan Holdsworth) — 6:48
03 "Proto-Cosmos" (Alan Pasqua) — 4:02
04 "Red Alert" (Newton) — 4:39
05 "Wildlife" (Tony Williams) — 5:22
06 "Mr Spock" (Holdsworth) — 6:15
Bonus Tracks
07 "Celebration" (Williams) — 4:01
08 "Letsby" (Holdsworth) — 6:34

Personnel

    Allan Holdsworth – guitar
    Alan Pasqua – keyboards
    Tony Newton – bass
    Tony Williams – drums

Learn Tony Williams - 1975 [2004] Believe It

Believe It is the get-go album past times The New Tony Williams Lifetime, released inwards 1975 on Columbia Records. The New Lifetime was a jazz fusion band formed past times the drummer Tony Williams alongside Allan Holdsworth on guitar, Alan Pasqua on keyboards in addition to Tony Newton on bass.

The compositions Fred, Proto Cosmos in addition to Red Alert are too featured on the Allan Holdsworth DVD Live at Yoshi's, released inwards 2007. Holdsworth has ofttimes stated that his fourth dimension alongside the drummer was the most influential formative phase of his career.

By the fourth dimension drummer Tony Williams left Miles Davis inwards '69, he had moved fifty-fifty farther away from the acoustic tradition than his quondam employer. His get-go recordings alongside his novel band, Lifetime, were characterized past times the sleeve instructions: "Play it Loud!" While the unloosen energy score was high in addition to the music was infused alongside a stone in addition to curlicue philosophy, it was withal uncompromising in addition to continued to force the boundaries; intense, daring in addition to sometimes a piddling terrifying, the early on incarnation of Lifetime was a literal barrage on the senses.

By '75, Williams had signed alongside a novel label, pieced together a New Tony Williams Lifetime, in addition to moved inwards a piddling to a greater extent than conventional jazz-rock direction. But dissimilar in addition to thus many fusion records of the time, Believe It managed to hold upwards powerful without the bombastic pyrotechnics of bands similar Return to Forever. Originally available on a CD that combined it alongside the far less successful follow-up, Million Dollar Legs , this long out-of-print championship has in conclusion been reissued past times Columbia, remastered in addition to alongside 2 bonus tracks.
Believe It features quondam Motown bassist Tony Newton, keyboard operate participant Alan Pasqua and, most notably, British guitarist Allan Holdsworth, who, spell already somewhat of an undercover legend inwards his ain country, had yet to brand an impression inwards North America. Believe It changed all that, demonstrating that non alone was Holdsworth a fresh novel vocalization on his instrument, but a fine author every bit well. "Fred," afterwards re-titled "Kinder" past times Holdsworth, in addition to a staple inwards his repertoire for around years to come, introduces Holdsworth's unique harmonic language, alongside a lyrical bent that manages to hold upwards completely distinctive. And his playing agency is quite merely similar no other; influenced heavily past times Coltrane, Holdsworth, fifty-fifty at this early on phase inwards his career, is capable of sheets of audio that, punctuated past times held notes in addition to legato runs, are visceral inwards their impact.
No less visceral, of course, is Williams himself. While peers including Billy Cobham in addition to Lenny White gravitated towards to a greater extent than overblown displays of virtuosity, Williams overpowers both alongside his stronger feel of groove in addition to sheer muscularity. And spell he is every flake every bit capable of extravagant displays of technique, he ever sounds to a greater extent than musical. Even on intense burners similar the Holdsworth-penned bonus runway "Letsby," he is less concerned alongside how many beats he tin throw into a fill; in addition to his solo over Holdsworth's ability chord ostinato is the paradigm of construction.
For somebody who moved the concept of rhythmic liberty in addition to thus far frontward every bit part of Miles' instant quintet, Williams may create got been the most overtly stone in addition to roll-informed drummer of the mid-'70s fusion era. With an inherent feel of groove in addition to honest unloosen energy that comes from compositions that are less contrived in addition to to a greater extent than straight vehicles for improvisational flight, Believe It is 1 of the most compelling arguments for the validity of jazz-rock fusion, earlier the term became such a muddied word.

They exactly don't brand 'em similar this anymore! 28 years after its original release, this album STILL sounds every bit invigorating every bit the solar daytime it was released. Tony Williams, much similar his mentor Miles Davis had a knack for picking smashing talent for his bands, especialy immature upstart British guitar virtuosos.

As if John McLaughlin wasn't enough, he went in addition to works life the soft-spoken in addition to ridiculoulsy innovative Allan Holdsworth, who spun melodic in addition to fluid solos alongside the relaxation of a saxophonist. Already having stints alongside Tempest in addition to Soft Machine nether his belt, Holdsworth's agency was jumping to the side past times side score already, in addition to Tony Williams did zilch to stand upwards inwards the way, inwards fact, Allan was heavily encouraged in addition to cheered on inwards his explorations past times his bandmates here. Allan did things that exactly sounded absolutely impossible on a guitar at the time, in addition to I retrieve in addition to thus vivdly hearing this album at historic menstruum xvi in addition to having my jaw scraping the terra firma inwards amazement!

Armed alongside zilch to a greater extent than than a Gibson SG in addition to a Marshall amp, Allan H exactly roared inwards an destroyed the house alongside his emotionally charged soloing in addition to exploratory compositions, in addition to a finely tuned musical feel to brand te compostions of his bandmates come upwards alive! Marrying this to William's inventive powerhouse drumming, Tony Newton's funky slithering bass in addition to Alan Pasqua's glassy keyboards, this version of the Tony Williams Lifetime was a forcefulness to hold upwards reckoned with.

The other affair that silent grabs me nigh this album is the open. raw hold upwards audio alongside minimal overdubbing, every bit honest in addition to accurate inwards capturing this band's ability inwards the studio every bit you lot could promise for. There's non 1 weak cutting on here, ranging from the stomping funk of "Snake Oil" to the ghostly chord tune of "Fred" in addition to the rip snorting brilliance of "Mr. Spock" (especially alongside the department where Williams in addition to Holdsworth switch roles, Tony putting forth the solo of his life in addition to Holdsworth bashing out angry Black Sabbath-like ability chords underneath earlier roaring to a smashing close). The bonus tracks are a VERY worthwhile improver every bit well, "Letsby" is a slightly different create got on "Mr. Spock" in addition to "Celebration" get's to a greater extent than funky spell silent snarling similar a panther (thanks in 1 lawsuit again to Allan Holdsworth's raging guitar).

H5N1 serious fusion classic if ever in that place was in addition to definitely worth adding to your library. Turn it upwards to eleven in addition to allow your jaw drib again!

Track listing

01 "Snake Oil" (Tony Newton) — 6:30
02 "Fred" (Allan Holdsworth) — 6:48
03 "Proto-Cosmos" (Alan Pasqua) — 4:02
04 "Red Alert" (Newton) — 4:39
05 "Wildlife" (Tony Williams) — 5:22
06 "Mr Spock" (Holdsworth) — 6:15
Bonus Tracks
07 "Celebration" (Williams) — 4:01
08 "Letsby" (Holdsworth) — 6:34

Personnel

    Allan Holdsworth – guitar
    Alan Pasqua – keyboards
    Tony Newton – bass
    Tony Williams – drums

Learn Tony Williams - 1969 [2011] Emergency!

Emergency! is the debut double album past times American jazz fusion grouping The Tony Williams Lifetime. It was released inwards 1969 too was i of the get-go meaning jazz fusion recordings. The album has usually been regarded every bit a pioneering, influential, too original album inwards the jazz, rock, too fusion genres.

On the album, the band experiments amongst a broad make of genres including funk, psychedelic rock, difficult bop, blues too gratis jazz. Williams tin every bit good travel heard singing on the tape on the songs "Beyond Games", "Where", too "Via the Spectrum Road". It was during John McLaughlin's tenure amongst the band that Williams introduced the immature guitarist to Miles Davis, who was conducting his ain fusion explorations at the time. This introduction led to McLaughlin playing on some of Davis's most acclaimed too influential albums, including In a Silent Way, Bitches Brew too H5N1 Tribute to Jack Johnson. Davis had a particular influence on the band, every bit Williams had played inwards his Second Great Quintet amongst Wayne Shorter, Ron Carter, too Herbie Hancock, too Larry Young would teach on to tape on Bitches Brew.

Emergency! was originally released inwards 1969 past times Polydor Records too Polygram Records. In a contemporary review for The Village Voice, Robert Christgau called the album a "stunner" too hailed Williams every bit "probably the best drummer inwards the world". The tape was afterward reissued on CD past times Verve Records too Polygram inwards 1997.

According to J. D. Considine inwards The Rolling Stone Album Guide (1992), jazz fusion started on Emergency! where McLaughlin was get-go given the hazard to combine jazz too rock. In a retrospective review for AllMusic, Leo Stanley said that it "shattered the boundaries betwixt jazz too rock" amongst its "dense, adventurous, unpredictable soundscapes". Dennis Polkow of the Chicago Tribune wrote that inwards spite of the album's questionable audio quality, the music has an "energy too spirit" that has never been surpassed inwards fusion.

Tony Williams' Emergency was i of the get-go too most influential albums inwards late-'60s fusion, a double-LP laid that shattered the boundaries betwixt jazz too rock. Working amongst guitarist John McLaughlin too organist Larry Young, Williams pushed into novel territory, creating dense, adventurous, unpredictable soundscapes. With Emergency, Tony Williams helped create the foundation of the fashion too audio of fusion. It's a seminal release.

Emergency! was non entirely i of the get-go fusion records, but every bit good in all likelihood the defining tape that introduced American audiences—and most notably Miles Davis—to John McLaughlin. Williams himself, at the historic menstruation of twenty-four, was already a veteran of groups amongst Sam Rivers, Eric Dolphy, Jackie McLean, too of class Davis' 2nd peachy quintet. His innovative fashion has seat him inwards the same realm every bit Max Roach, Jack DeJohnette, Art Blakey, too Elvin Jones. But the gum of the tape wasn't exactly Williams, it was the explosive combination of the Lifetime band amongst McLaughlin too organist Larry Young. Their expansive audio inside the confines of a trio is pure genius. The audio is huge too the jams are rooted deeply inwards stone styles.

The difficult behavior on Williams employed on the Davis quintet records rules throughout Emergency!. The Blakey vibe is definitely here, but Williams switches styles too tempo inwards mid-track. He tin travel tossing some difficult bop, hence flash inwards some Ginger Baker chops (Baker was the blazingly original too influential drummer of Cream). This exercise helped to give the tape a to a greater extent than rock-oriented audio than much of the fusion that followed. But McLaughlin's playing is some of his finest. McLaughlin's chops showcase the eclectic tastes that would travel a edifice block inwards fusion too rock-jazz. His uncanny technique for knowing exactly how to atomic number 82 non entirely his solos, but every bit good the composition itself is genius.

In many ways this tape industrial plant every bit a companion slice to Davis' In a Silent Way too Filles de Kilimanjaro. As well, Larry Young's organ playing differs greatly from the jazz organists of the era who played primarily soul- too funk-jazz. Young's fashion grooves closer to the sounds that were beingness used primarily inwards stone bands of the era. In this sense, the organ adds an nigh spacey too trippy result to the sound. But Young used jazz keyboard influences too textures for his solos. This mixture makes for a huge- sounding too eclectic record.

Emergency! is a sprawling epic that came out every bit a double album upon its liberate inwards 1969. Unlike some doubles of the era that were bloated affairs that sank nether their ain weight, its size worked every bit an advantage, non a deterrent. The compositions rarely achieve over 10 minutes, making the tape to a greater extent than conventional inwards a stone sense. But most importantly the tracks themselves opened upward up completely to stone music inwards its most primal forms. Sure, Bitches Brew is cited for this innovation, but Emergency! predates it too is every fleck every bit solid, without using horns.

In fact, the combination of exactly guitar too organ gives this recording a to a greater extent than authentic stone esthetic. It seems quite obvious that Williams was a truthful fan of the genre too used it to its greatest effect. Take the jam "Where," which pulsates throughout, edifice too dropping, utilizing stone foundations too jazz chord structures. The album definitely sounds much similar San Fran jam bands of the era who were using jazz templates for their spacey improvs.

Is it Jazz or is it Rock? This was undoubtedly the inquiry on the heed of every listener when get-go venturing into the content of Emergency!. The music is centered roughly the soloistic spontaneity of Jazz music, but features absolutely no air current instruments which were i time considered essential instruments of the genre. In fact, during the fourth dimension of its release, the album was virtually a pariah. The Jazz community completely repudiated The Tony Williams Lifetime altogether, every bit no i considered the grouping was doing anything revolutionary. But the album's heretical nature served to travel a catalyst that would inspire the musical styles of several hereafter Jazz Fusion acts.

As nosotros descend into "Emergency", Tony Williams erupts out of quiet too deploys a bombastic too eccentrically complex drumming style. Larry Young too John McLaughlin hence decoration his atypical percussive rhythms amongst their respective organ too guitar arrangements. John McLaughlin presently asserts the spotlight every bit he indulges into his ain exploratory solos, piece the other instruments render a rambunctious backing department for his performances. This beingness highly unorthodox at the fourth dimension every bit electrical guitars were never featured every bit dominant instruments inwards Jazz, but at that topographic point lies the charismatic allure of the album. It is the electrifying synergy of John McLaughlin too Tony Williams that makes Emergency! such an impetuous liberate of adrenaline. Exhibiting the energetic musicianship that would afterward travel defined every bit the inveterate nature of Jazz Fusion. "Something Special" too "Via The Spectrum Road" demo the grouping embracing the conventions of stone music hence intimately, that it is arguable every bit to whether the Jazz influences are fifty-fifty present. For example, "Via The Spectrum Road", displays a diversity of musical characteristics that are synonymous amongst stone music. There is a coalescence of electrical too acoustic guitar playing that limited a real subtle blues tone. The song, every bit good every bit several others inwards the album, fifty-fifty characteristic prominent singing. The orchestral arrangements of "Via The Spectrum Road" are every bit good furnished to compliment Tony Williams' singing, piece nigh completely ignoring the instrumental vitality too improvised spontaneity that is the kernel essence of Jazz.

The nature of Emergency! is only a reflection of its time. Rock music was dominating the audio of the slowly 1960's, too artists were expanding the conventions of traditional musical orchestration too exploring novel dimensions every bit Psychedelia grew inwards prominence. Segregation had long been abolished inwards the United States, piece promoting equality betwixt racial classes. New ideologies were flowing throughout the western world, every bit hedonistic lifestyles too eastern philosophies were replacing the Christian fundamentals that i time embodied the social norms too morals of society. In other words, it was a fourth dimension to experiment too teach out one-time traditions behind. An mental attitude that would influence artists to straight their music into to a greater extent than abstract routes. "Where" alludes the encompass of novel philosophies, too serves every bit a prime number representative of the group's innovative style. It posses many dissimilar compositional movements, from exuding psychedelic ambiences to explosive musicianship. John McLaughlin too Larry Young every bit good deploy some elaborate effects on their respective instruments that add together a feel of cosmic vibrations to the music. This is i of the get-go Jazz albums to contain electrical atmospheric textures, along amongst Miles Davis' In H5N1 Silent Way which was released before that year.

But Emergency! tends to polish its brightest when the grouping devises a frantic fashion of playing, too that is what makes "Vashkar" too "Spectrum" such impeccable performances. From Tony Williams' dynamic too sensuously bombarding percussive rhythms to John McLaughlin's exhilarating solos. both songs are moments of suspense filled amongst convoluted too utterly maniacal instrumentation. This is the album that turned the Jazz globe upside down, too established a whole novel approach to the genre. Emergency! is the template that all hereafter Jazz Fusion acts would presently follow, mirroring its hyperactive too assiduous display of musicianship. This album is perchance the most gratis nosotros volition encounter John McLaughlin perform until his operate amongst The Mahavishnu Orchestra. Because of the album's prominent stone leanings, his guitar playing is much to a greater extent than spirited too aggressive, providing a genuinely captivating functioning on his part. I cannot limited how genuinely ingenious this album is. It is a functioning that no mere words tin fifty-fifty laid about to do it justice, it has to travel experienced to honestly fathom its imaginative too deranged brilliance.

Recorded at Olmsted Sound Studios, New York City May 26 & 28, 1969

CD Esoteric Recordings ECLEC 2256 (2011, Europe) Remastered.

/search?q=tony+williams

Tracks Listing:

1. Emergency (9:35)
2. Beyond Games (8:17)
3. Where (12:10)
4. Vashkar (4:59)
5. Via The Spectrum Road (7:50)
6. Spectrum (9:52)
7. Sangria For Three (13:08)
8. Something Spiritual (5:38)

Total fourth dimension 71:29


Line-up / Musicians:

- Tony Williams/ drums, vocals (2,3,5)
- John McLaughlin / electrical & acoustic guitars
- Larry Young / organ

For You Lot Tony Williams - 1969 [2011] Emergency!

Emergency! is the debut double album past times American jazz fusion grouping The Tony Williams Lifetime. It was released inwards 1969 together with was i of the get-go meaning jazz fusion recordings. The album has unremarkably been regarded equally a pioneering, influential, together with original album inwards the jazz, rock, together with fusion genres.

On the album, the band experiments alongside a broad make of genres including funk, psychedelic rock, difficult bop, blues together with costless jazz. Williams tin too last heard singing on the tape on the songs "Beyond Games", "Where", together with "Via the Spectrum Road". It was during John McLaughlin's tenure alongside the band that Williams introduced the immature guitarist to Miles Davis, who was conducting his ain fusion explorations at the time. This introduction led to McLaughlin playing on some of Davis's most acclaimed together with influential albums, including In a Silent Way, Bitches Brew together with H5N1 Tribute to Jack Johnson. Davis had a item influence on the band, equally Williams had played inwards his Second Great Quintet alongside Wayne Shorter, Ron Carter, together with Herbie Hancock, together with Larry Young would instruct on to tape on Bitches Brew.

Emergency! was originally released inwards 1969 past times Polydor Records together with Polygram Records. In a contemporary review for The Village Voice, Robert Christgau called the album a "stunner" together with hailed Williams equally "probably the best drummer inwards the world". The tape was afterward reissued on CD past times Verve Records together with Polygram inwards 1997.

According to J. D. Considine inwards The Rolling Stone Album Guide (1992), jazz fusion started on Emergency! where McLaughlin was get-go given the conduct chances to combine jazz together with rock. In a retrospective review for AllMusic, Leo Stanley said that it "shattered the boundaries betwixt jazz together with rock" alongside its "dense, adventurous, unpredictable soundscapes". Dennis Polkow of the Chicago Tribune wrote that inwards spite of the album's questionable audio quality, the music has an "energy together with spirit" that has never been surpassed inwards fusion.

Tony Williams' Emergency was i of the get-go together with most influential albums inwards late-'60s fusion, a double-LP laid that shattered the boundaries betwixt jazz together with rock. Working alongside guitarist John McLaughlin together with organist Larry Young, Williams pushed into novel territory, creating dense, adventurous, unpredictable soundscapes. With Emergency, Tony Williams helped create the foundation of the manner together with audio of fusion. It's a seminal release.

Emergency! was non solely i of the get-go fusion records, but too likely the defining tape that introduced American audiences—and most notably Miles Davis—to John McLaughlin. Williams himself, at the historic menstruation of twenty-four, was already a veteran of groups alongside Sam Rivers, Eric Dolphy, Jackie McLean, together with of course of pedagogy Davis' 2nd nifty quintet. His innovative manner has set him inwards the same realm equally Max Roach, Jack DeJohnette, Art Blakey, together with Elvin Jones. But the gum of the tape wasn't exactly Williams, it was the explosive combination of the Lifetime band alongside McLaughlin together with organist Larry Young. Their expansive audio inside the confines of a trio is pure genius. The audio is huge together with the jams are rooted deeply inwards stone styles.

The difficult ship on Williams employed on the Davis quintet records rules throughout Emergency!. The Blakey vibe is definitely here, but Williams switches styles together with tempo inwards mid-track. He tin last tossing some difficult bop, together with then flash inwards some Ginger Baker chops (Baker was the blazingly original together with influential drummer of Cream). This practise helped to give the tape a to a greater extent than rock-oriented audio than much of the fusion that followed. But McLaughlin's playing is some of his finest. McLaughlin's chops showcase the eclectic tastes that would last a edifice block inwards fusion together with rock-jazz. His uncanny technique for knowing exactly how to Pb non solely his solos, but too the composition itself is genius.

In many ways this tape industrial plant equally a companion slice to Davis' In a Silent Way together with Filles de Kilimanjaro. As well, Larry Young's organ playing differs greatly from the jazz organists of the era who played primarily soul- together with funk-jazz. Young's manner grooves closer to the sounds that were existence used primarily inwards stone bands of the era. In this sense, the organ adds an virtually spacey together with trippy number to the sound. But Young used jazz keyboard influences together with textures for his solos. This mixture makes for a huge- sounding together with eclectic record.

Emergency! is a sprawling epic that came out equally a double album upon its free inwards 1969. Unlike some doubles of the era that were bloated affairs that sank nether their ain weight, its size worked equally an advantage, non a deterrent. The compositions rarely attain over 10 minutes, making the tape to a greater extent than conventional inwards a stone sense. But most importantly the tracks themselves opened upwardly up completely to stone music inwards its most primal forms. Sure, Bitches Brew is cited for this innovation, but Emergency! predates it together with is every fight equally solid, without using horns.

In fact, the combination of exactly guitar together with organ gives this recording a to a greater extent than authentic stone esthetic. It seems quite obvious that Williams was a truthful fan of the genre together with used it to its greatest effect. Take the jam "Where," which pulsates throughout, edifice together with dropping, utilizing stone foundations together with jazz chord structures. The album definitely sounds much similar San Fran jam bands of the era who were using jazz templates for their spacey improvs.

Is it Jazz or is it Rock? This was undoubtedly the interrogation on the require heed of every listener when get-go venturing into the content of Emergency!. The music is centered or thus the soloistic spontaneity of Jazz music, but features absolutely no current of air instruments which were i time considered essential instruments of the genre. In fact, during the fourth dimension of its release, the album was virtually a pariah. The Jazz community completely repudiated The Tony Williams Lifetime altogether, equally no i considered the grouping was doing anything revolutionary. But the album's heretical nature served to last a catalyst that would inspire the musical styles of several hereafter Jazz Fusion acts.

As nosotros descend into "Emergency", Tony Williams erupts out of quiet together with deploys a bombastic together with eccentrically complex drumming style. Larry Young together with John McLaughlin together with then ornamentation his atypical percussive rhythms alongside their respective organ together with guitar arrangements. John McLaughlin shortly asserts the spotlight equally he indulges into his ain exploratory solos, piece the other instruments supply a rambunctious backing department for his performances. This existence highly unorthodox at the fourth dimension equally electrical guitars were never featured equally dominant instruments inwards Jazz, but at that topographic point lies the charismatic allure of the album. It is the electrifying synergy of John McLaughlin together with Tony Williams that makes Emergency! such an impetuous free of adrenaline. Exhibiting the energetic musicianship that would afterward last defined equally the inveterate nature of Jazz Fusion. "Something Special" together with "Via The Spectrum Road" demo the grouping embracing the conventions of stone music thus intimately, that it is arguable equally to whether the Jazz influences are fifty-fifty present. For example, "Via The Spectrum Road", displays a diversity of musical characteristics that are synonymous alongside stone music. There is a coalescence of electrical together with acoustic guitar playing that limited a really subtle blues tone. The song, equally good equally several others inwards the album, fifty-fifty characteristic prominent singing. The orchestral arrangements of "Via The Spectrum Road" are too furnished to compliment Tony Williams' singing, piece virtually completely ignoring the instrumental vitality together with improvised spontaneity that is the substance essence of Jazz.

The nature of Emergency! is only a reflection of its time. Rock music was dominating the audio of the slow 1960's, together with artists were expanding the conventions of traditional musical orchestration together with exploring novel dimensions equally Psychedelia grew inwards prominence. Segregation had long been abolished inwards the United States, piece promoting equality betwixt racial classes. New ideologies were flowing throughout the western world, equally hedonistic lifestyles together with eastern philosophies were replacing the Christian fundamentals that i time embodied the social norms together with morals of society. In other words, it was a fourth dimension to experiment together with instruct out onetime traditions behind. An mental attitude that would influence artists to straightaway their music into to a greater extent than abstract routes. "Where" alludes the encompass of novel philosophies, together with serves equally a prime number instance of the group's innovative style. It posses many dissimilar compositional movements, from exuding psychedelic ambiences to explosive musicianship. John McLaughlin together with Larry Young too deploy some elaborate effects on their respective instruments that add together a feel of cosmic noise to the music. This is i of the get-go Jazz albums to comprise electrical atmospheric textures, along alongside Miles Davis' In H5N1 Silent Way which was released before that year.

But Emergency! tends to smooth its brightest when the grouping devises a frantic manner of playing, together with that is what makes "Vashkar" together with "Spectrum" such impeccable performances. From Tony Williams' dynamic together with sensuously bombarding percussive rhythms to John McLaughlin's exhilarating solos. both songs are moments of suspense filled alongside convoluted together with utterly maniacal instrumentation. This is the album that turned the Jazz the world upside down, together with established a whole novel approach to the genre. Emergency! is the template that all hereafter Jazz Fusion acts would shortly follow, mirroring its hyperactive together with assiduous display of musicianship. This album is mayhap the most costless nosotros volition come across John McLaughlin perform until his move alongside The Mahavishnu Orchestra. Because of the album's prominent stone leanings, his guitar playing is much to a greater extent than spirited together with aggressive, providing a genuinely captivating functioning on his part. I cannot limited how genuinely ingenious this album is. It is a functioning that no mere words tin fifty-fifty start to do it justice, it has to last experienced to honestly fathom its imaginative together with deranged brilliance.

Recorded at Olmsted Sound Studios, New York City May 26 & 28, 1969

CD Esoteric Recordings ECLEC 2256 (2011, Europe) Remastered.

/search?q=tony+williams

Tracks Listing:

1. Emergency (9:35)
2. Beyond Games (8:17)
3. Where (12:10)
4. Vashkar (4:59)
5. Via The Spectrum Road (7:50)
6. Spectrum (9:52)
7. Sangria For Three (13:08)
8. Something Spiritual (5:38)

Total fourth dimension 71:29


Line-up / Musicians:

- Tony Williams/ drums, vocals (2,3,5)
- John McLaughlin / electrical & acoustic guitars
- Larry Young / organ

For Yous Tony Williams - 1976 [2000] Meg Dollar Legs

Million Dollar Legs is the 2nd album past times The New Tony Williams Lifetime, released inwards 1976 on Columbia Records. The album features the jazz fusion drummer Tony Williams amongst Allan Holdsworth, Alan Pasqua as well as Tony Newton.

This Sony Nippon import release is definitely remastered, as well as is the best good version available. It is much improve than The Collection U.S. CD.

This album takes a lot of heat, equally it was a major disappointment for virtually afterwards "Believe It". In reality, however, the bulk of the album is sure enough a worthy follow-up. I virtually heartedly concur amongst the the observations that "You Did It To Me" is completely annoying, as well as ditto amongst the dubbed horns inwards "Million Dollar Legs". The remaining 5 tracks, however, stand upwards up good to time. 
The cost of the Nippon disc is higher, but is good worth the price, specially if you're a Holdsworth fan. No AH collection is consummate without these tracks.

Released inwards 1976 as well as clearly non equally focused equally its precursor 'Believe It'(1975), this is soundless xc pct instrumental fusion - only 1 vocal is sung as well as it's the shortest at nether 4 minutes. The players also Tony are: Allan Holdsworth on guitar; Tony Newton on bass/vocals and; Alan Pasqua on keyboards.
While the music hither is patently affected past times roughly trends of its time, this lone isn't necessarily a bad thing. The entire fusion displace had moved on that direction anyway - Weather Report, Mahavishnu Orchestra, Herbie Hancock, you lot advert it - so, equally a result, nosotros acquire roughly funky fusion jams amongst roughly melodic parts.
I'd similar to signal out that there's quite a lot to savour on this album as well as that it's nowhere equally commercial equally 1 may think. The music is good arranged as well as the interaction amid the players is potent as well as thus if you lot assist for this transitional menstruum which eventually took us to the mess that was the eighties, you lot shouldn't allow this slip. 

I got into Tony because I'm a drummer. His playing is fabulous on this record. Are the lyrics unimpressive? Yes. It's non oftentimes that you lot acquire to ask heed Tony playing inwards a funk/16th banknote framework. Here it is. Is it a less of import operate than "Believe It?" Believe it. But if you're a drummer as well as you lot desire to acquire from Tony, this tape features a playing agency you lot volition non ask heed anywhere else as well as that makes it a valuable add-on to your library. They aren't making Tony Williams recordings anymore. There is no argue to snub this one! Alan Holdworth's playing on this tape is exceptional equally well. 

Track listing

    "Sweet Revenge" (Tony Williams) — 6:03
    "You Did It to Me Baby" (Williams, A. Cleveland) — 3:45
    "Million Dollar Legs" (Williams) — 6:38
    "Joy Filled Summer" (Tony Newton) — 5:50
    "Lady Jane" (Alan Pasqua) — 3:56
    "What You Do to Me" (Williams) — 6:38
    "Inspirations of Love" (Newton) — 9:48

Personnel

    Allan Holdsworth – guitar
    Alan Pasqua – keyboards
    Tony Newton – bass, vocals
    Tony Williams – drums

        String as well as horn arrangements past times Jack Nitzsche
        Recorded June, 1976, Caribou Ranch Studios, Nederland, Colorado 

Learn Tony Williams - 1976 [2000] 1000000 Dollar Legs

Million Dollar Legs is the 2d album past times The New Tony Williams Lifetime, released inward 1976 on Columbia Records. The album features the jazz fusion drummer Tony Williams with Allan Holdsworth, Alan Pasqua too Tony Newton.

This Sony Nippon import release is definitely remastered, too is the best good version available. It is much amend than The Collection U.S. CD.

This album takes a lot of heat, equally it was a major disappointment for around later "Believe It". In reality, however, the bulk of the album is for certain a worthy follow-up. I around heartedly concord with the the observations that "You Did It To Me" is completely annoying, too ditto with the dubbed horns inward "Million Dollar Legs". The remaining 5 tracks, however, stand upward up good to time. 
The cost of the Nippon disc is higher, but is good worth the price, peculiarly if you're a Holdsworth fan. No AH collection is consummate without these tracks.

Released inward 1976 too clearly non equally focused equally its precursor 'Believe It'(1975), this is soundless xc percentage instrumental fusion - only i vocal is sung too it's the shortest at nether iv minutes. The players likewise Tony are: Allan Holdsworth on guitar; Tony Newton on bass/vocals and; Alan Pasqua on keyboards.
While the music hither is evidently affected past times approximately trends of its time, this lone isn't necessarily a bad thing. The entire fusion displace had moved on that administration anyway - Weather Report, Mahavishnu Orchestra, Herbie Hancock, you lot elevate it - so, equally a result, nosotros acquire approximately funky fusion jams with approximately melodic parts.
I'd similar to indicate out that there's quite a lot to savor on this album too that it's nowhere equally commercial equally i may think. The music is good arranged too the interaction with the players is potent too therefore if you lot attention for this transitional menses which eventually took us to the mess that was the eighties, you lot shouldn't permit this slip. 

I got into Tony because I'm a drummer. His playing is fabulous on this record. Are the lyrics unimpressive? Yes. It's non frequently that you lot acquire to listen Tony playing inward a funk/16th banking firm annotation framework. Here it is. Is it a less of import hold upward than "Believe It?" Believe it. But if you're a drummer too you lot desire to larn from Tony, this tape features a playing manner you lot volition non listen anywhere else too that makes it a valuable improver to your library. They aren't making Tony Williams recordings anymore. There is no argue to snub this one! Alan Holdworth's playing on this tape is exceptional equally well. 

Track listing

    "Sweet Revenge" (Tony Williams) — 6:03
    "You Did It to Me Baby" (Williams, A. Cleveland) — 3:45
    "Million Dollar Legs" (Williams) — 6:38
    "Joy Filled Summer" (Tony Newton) — 5:50
    "Lady Jane" (Alan Pasqua) — 3:56
    "What You Do to Me" (Williams) — 6:38
    "Inspirations of Love" (Newton) — 9:48

Personnel

    Allan Holdsworth – guitar
    Alan Pasqua – keyboards
    Tony Newton – bass, vocals
    Tony Williams – drums

        String too horn arrangements past times Jack Nitzsche
        Recorded June, 1976, Caribou Ranch Studios, Nederland, Colorado 

Learn Tony Williams - 1979 [2014] The Joy Of Flying

The Joy Of Flying is a Jazz fusion album yesteryear Tony Williams. Although it was recorded at the destination of the The Tony Williams Lifetime years, it is considered a solo album. It includes iii duets, 2 alongside January Hammer as well as i alongside Cecil Taylor, as well as iii dissimilar quartets. The get-go quartet features January Hammer i time again along alongside George Benson as well as Paul Jackson on 2 songs. The 2nd quartet has veterans Herbie Hancock, Stanley Clarke as well as Tom Scott too for 2 songs.
The 3rd quartet presents the "Tony Williams All Stars" for i song, "Open Fire". In July 1978, Tony welcomed stone guitarist Ronnie Montrose, who had lately finished touring to promote his jazz fusion influenced Open Fire album. The grouping was rounded out alongside Brian Auger as well as Mario Cipollina equally they toured Japan. The concert at Japan's Denen Coliseum was recorded as well as other songs on the ready listing included "Rocky Road" as well as "Heads Up" from Open Fire, "Red Alert" as well as "Wildlife" from Believe It, "There Comes a Time" from Ego, "Dragon Song" from Brian Auger's Oblivion Express as well as "Capricorn" alongside exceptional invitee Billy Cobham.

It would move an understatement to say that at that topographic point was a fair sum of diversity on this set. Drummer Tony Williams is heard inwards 2 duets alongside keyboardist January Hammer, alongside a quartet too including keyboardist Herbie Hancock, Tom Scott (who unfortunately sticks to lyricon) as well as bassist Stanley Clarke, as well as he welcomes stone guitarist Ronnie Montrose, keyboardist Brian Auger, guitarist George Benson, Hammer as well as tenorman Michael Brecker on other tracks. Much of this music is closer to R&B than to jazz, although at that topographic point are many potent moments. But the nigh interesting alternative is sure enough "Morgan's Motion" which matches Williams alongside pianist Cecil Taylor inwards a powerful (and completely atonal) collaboration.

The terminal of Tony Williams’ fusion albums, The Joy of Flying was the drummer’s get-go since the mid-’60s without to a greater extent than or less shape of the Lifetime get upwards attached to his band. It’s a far-flung endeavor alongside a large cast of collaborators, including George Benson, the Brecker Brothers as well as Stanley Clarke. Much of it falls betwixt bombastic electro-rock as well as sickly sweetness funk grooves, simply at that topographic point are moments of delight. “Morgan’s Motion,” a volatile duo betwixt Williams as well as Cecil Taylor, soars inwards from left plain to unopen the album. At the destination of Williams’ fourth dimension equally a jazz-rock fusioneer, the rail is an invigorating, full-circle provide to his roots inwards adventurous acoustic jazz, as well as a sign that no affair where he would become inwards the years ahead, he would non halt morphing as well as inspiring.

Remarkable Recording... Astonishing veteran talents of top-notched jazz fusion legends such equally Herbie Hancock, Brian Auger, George Benson, Tom Scott, Stanley Clarke, as well as Michael Becker, as well as stone icon guitarist Ronnie Montrose, all of who contributed to the precision functioning as well as bright compositions of this recording. Simply amazing jazz fusion at its best!

Track listing as well as Personnel

1. "Going Far" (Jan Hammer) - 4:13 Keyboards, Synthesizers - January Hammer
2. "Hip Skip" (George Benson) - 8:03 Guitar - George Benson, Keyboards, Synthesizers - Hammer, Electric bass - Paul Jackson, Saxophone - Michael       Brecker, Percussion - Ralph MacDonald
3. "Hittin' on 6" (Tom Scott) - 6:16 Lyricon - Tom Scott, Keyboards, Synthesizers - Herbie Hancock, Electric bass - Stanley Clarke
4. "Open Fire" (Ronnie Montrose, Edgar Winter) - 6:18 Electric guitar - Ronnie Montrose, Keyboards, Synthesizers - Brian Auger, Electric bass -      Mario Cipollina
5. "Tony" (Stanley Clarke) - 6:50 Lyricon - Scott, Keyboards, Synthesizers - Hancock, Electric bass - Clarke
6. "Eris" (Hammer) - 3:33 Keyboards, Synthesizers - Hammer
7. "Coming Back Home" (Hammer) - 6:06 Guitar - Benson, Keyboards, Synthesizers - Hammer, Electric bass - Jackson
8. "Morgan's Motion" (Cecil Taylor) - 8:18 Concert grand pianoforte - Cecil Taylor

Drums on all tracks - Tony Williams

Additional horns on "Hip Skip"

David Sanborn - Alto saxophone
Ronnie Cuber - Baritone saxophone
Barry Rogers - Trombone
Randy Brecker - Trumpet
Jon Faddis - Trumpet