"For this lively merengue, ska, mento and calypso project, Courtney Pine has returned to the soprano saxophone and picked a band steeped in Afro-Caribbean music – including the French/Martinique pianist Mario Canonge, the Trinidadian steel-pan player Annise Hadeed and Jazz Jamaica drummer Rod Youngs. Though a party mood prevails on Kingstonian Swing and the Sonny Rollins-like calypsos Liamuiga (Cook Up) and House of Hutch, Pine opens the album with a trilling soprano-sax ballad in memory of Stephen Lawrence, and there are also tributes to executed rebel slave Samuel Sharpe, and to Nelson Mandela. Pine is on scalding improvisational form, wailing in blazing double-time lines, whistling high-register effects and fizzing exchanges with Hadeed and the veteran trumpeter Eddie "Tan Tan" Thornton. It has its predictable moments, but fans and newcomers will welcome this engagingly delivered repertoire." (John Fordham, The Guardian)|
"Nooit eerder ontmoetten de jazz en de dance-scene elkaar op zo'n boeiende, intrigerende en onweerstaanbare wijze. Roni Size, 4 Hero e.a. doen fenomenale dingen met Pine's muziek. Het noopt tot luisteren-verbazen-luisteren-verbazen." (JazzNu)
Vijf live-tracks met één gemeenschappelijke noemer: Ginger Baker op drums. Met Cream in 1968, Art Blakey in 1972, met de Ginger Baker Band in 1982, een jamsessie met Jack Bruce, Biréli Lagrène en Courtney Pine in 1986 en met African Force in 1987. Een mooie handvol voor de vele liefhebbers van de opvliegende grootheid op de drums. (GR Muziekbank)
"Courtney Pine's second album stays very much within the Marsalis-imposed boundaries of post-Miles post-bop; indeed, a Marsalis brother, Delfeayo, is the producer, and the album's subtitle uses the patented kind of wordplay that the New Orleans dynasty indulges in. As before, Pine's guiding star is John Coltrane, of whom he had become a fervent and skillful acolyte, tossing off endless streams of heated playing on tenor and soprano inside and outside. Pine also uses alternating expert teams of English acoustic jazz specialists -- Julian Joseph or Joe Bashorun on piano, Paul Hunt or Gary Crosby on bass, and Mark Mondesir on drums -- as backup. There are some really good Pine compositions here; "Sacrifice" sounds as if it could have made it as a standard in mainstream and/or electric jazz. Although the novelty of a young black Englishman playing Afro-American acoustic jazz has long since worn off, much of this CD repays repeated latter-day listening." (Allmusic)
"This is Pine's first release since 1998's "Another Story". It is a loud, jazzy, funky, reggae, rocking affair bursting at the seams with cross influences and counter rhythms. After an electric introduction Pine blasts off with "Soul Sister," a transmogrified "Work Song" as a Phil Spector "Wall of Sound" taken to infinity. The title cut has a reggae vibe with Pine weaving in and out like the ghost of Eddie Harris calling out Les McCann. Pine extends his jazz-funk jones into his compositions "Osibisa," a big band Latin groove, and "Translusance," which contains some nifty off-beat drumming, a killer hook and a sitar (I hear early Rolling Stones and late Beatles here). "UK" might be the best piece on the record, a cross between the Stax House and 1980s Saturday Night Live Bands. The instrumental pieces are better than the vocal pieces and there is plenty of Pine for everyone. Had Mr. Pine been wandering in the desert before, he has emerged into the oasis of his own making." (C. Michael Bailey, Allmusic)
Sopraan- en tenorsaxofonist. Fraaie smeltkroes aan stijlen: hippe 90-ies jazz met soul-, funk- en (vooral) hiphop-injecties. Voor mensen die Buckshot LeFonque ook al zo lekker vonden. Net als SFeQ zit er een DJ bij de standaard-bandbezetting.
Album uit 1992.
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