"Drummer Jerry Granelli takes his inspiration here from novelist Michael Ondaatje's Coming Through Slaughter, an imaginative reconstruction of the life of legendary New Orleans trumpeter Buddy Bolden at the birth of jazz and the 20th century. The emphasis is on the blues and the sensual feel of the jazz tradition, and Granelli has assembled an interesting band of players you might not normally associate with each another, including altoist Kenny Garrett, trombonist Julian Priester, guitarists Bill Frisell and Robben Ford, and bassist Anthony Cox. The "Slaughter" suite is broken into four parts, and there's a mixture of original tunes by Granelli, Priester, and arranger Wayne Horvitz, along with some classic jazz pieces. Garrett comes up with a creamy, sinuous sound that works well on Johnny Hodges's "Wanderlust" and also on the surprisingly slow second version of Ornette Coleman's "Blues Connotation." (Stuart Broomer)
"Max Roach's post-Clifford Brown ensembles became more experimental down the road, but this 1960 band, with the brothers Tommy and Stanley Turrentine, and Julian Priester, was short-lived, very satisfying, and one of the most memorable combos the drummer led. Continuing to concentrate on hard bop themes, the band is hardly quiet as the title would suggest. It perhaps could be said that this band was a sleeper in not being as recognized as the superior collective talent would indicate. Perhaps the obscure bassist Bob Boswell has something to do with it, or that the front line would find their niches in jazz well past their membership in this fine combo. Of course Roach's drumming is far beyond reproach, but it is his choice of material and their composers that have to strike even the most literate jazz head as quite daring." (Michael G. Nastos, Allmusic; 3,5 uit 5 sterren)
"This was a pivotal work in the early-'60s African-American protest movement, and continues to be relevant. It represents a lesson in living as to how the hundreds of years prior were an unnecessary example of how oppression kept slaves and immigrants in general in their place. Vocalist Abbey Lincoln expresses this oppression as effectively with her thespian-based wordless vocals, and Oscar Brown's lyrics tell the grim story of the struggle of African-American for far too long. Musically, Roach assembled one of the greatest bands, from his own emerging ensemble with trombonist Julian Priester and trumpeter Booker Little, to the legendary Coleman Hawkins and lesser-known, underappreciated tenor saxophonist Walter Benton. Percussionists Ray Mantilla and Michael Olatunji gave the poetic pieces sung by Lincoln enough substance and spice to also refer to Afro-Cuban and South American prejudice and urgency for change." (Michael G. Nastos, Allmusic) NB: voor deze CD-versie is duidelijk een LP als master gebruikt.
Live-album, opgenomen in 1960 in Kaiserslautern. 'Although the playing of The Turrentines is not at the same innovative level as Roach's prior group with Booker Little and George Coleman, they come up with consistently fresh statements during the well-rounded set and the tenorman was already instantly recognizable. Highlights include a couple of Roach drum features, two Kenny Dorham compositions ("Lotus Blossom," "The Villa") and "Night in Tunisia.". (Scott Yanow, Allmusic).
Laatste plaat met de "Mwandishi"-groep, uit 1972, waarop Hancock en collegatoetsenist Dr. Patrick Gleeson uitbundig experimenteren met diverse synthesizers, leidend tot psychedelische sonische exploraties, stilistisch niet eens zo ver van oude Pink Floyd.
"Drummer, percussionist, composer, and bandleader Jerry Granelli possesses a deftly lyrical, fluid approach to music. He is treasured by other musicians as a timeless and chameleon-like musician, capable of transcending era, genre, and even his own style to serve the music at hand. He has played on some of the most celebrated jazz recordings in American music. While teaching at the Cornish Institute in Seattle during the '80s, Granelli met Jay Clayton, Gary Peacock, Ralph Towner, and Julian Priester, who worked on the drummer's One Day at a Time album in 1989. During the 1990s, his Koputai offering won accolades globally, even as he worked as a sideman. It commenced an intense period of activity for the drummer/ instructor. (Allmusic)
"Weinig musici van zijn formaat zijn zo stelselmatig genegeerd of onderschat als de op 2de Kerstdag 2011 overleden saxofonist, fluitist, pianist en componist die zijn eigen brug bouwde tussen de traditie en de avant-garde, en daarmee meerdere generaties beïnvloedde. Na leerjaren en een conservatoriumstudie begon hij in 1959 vrij te improviseren, vaak geïnspireerd door beeldende kunst. Hij maakte één plaat met Miles Davis, "In Tokyo", maar veel belangrijker zijn de platen die hij in de jaren '60 maakte voor Blue Note, toen dat label de grenzen van de jazzconventies verlegde met gematigd experimentele jazz: geen volledige abstarctie maar wel meer vrijheid, gebaseerd op nieuwe, flexibelere structuren. Niemand kende de regels zo goed als Sam Rivers, die de moeilijkste akkoordenschema's in iedere toonsoort kon spelen, en niemand kon ze daarom met meer autoriteit overboord gooien." (Frank van Herk, Volkskrant) Dit is zijn vierde sixties-Blue Note-album, waarover Allmusic schrijft: "Ambitious, atonal, challenging".
"For this inspired 1994 date, veteran bassist Reggie Workman assembled four fellow avant-garde luminaries: pianist Andrew Hill, saxophonist Sam Rivers, trombonist Julian Priester, and drummer Pheeroan akLaff. By the usual standards of these highly adventurous players, the record is relatively accessible, but it does makes for challenging listening. The quintet opens with "Encounter," a busy and bold selection by the late John Carter. Overall, only Workman's "Summit Conference" and Priester's "Breath" feature sustained periods of cacophony, yet even these freer pieces are built around a defined melody and structure. Sonelius Smith's "Conversation" and Rivers' "Solace" bump along with Latin rhythms; Priester shines on both tracks. The trombonist is also the dominant voice on Rivers' fast-swinging "Meteor." Rivers plays soprano sax on Workman's "Estelle's Theme" and flute on Hill's "Gone," the latter a duet with Hill that closes the session on an austere yet calming note." (David R. Adler, Allmusic)
"One of the all-time great tenor saxophonists, Johnny Griffin will go down in the annals of jazz as a performer easily able to negotiate the tricky harmonic changes and swift tempos of modern music. He'll also be remembered as a player who could masterfully interpret tender ballads, rivaling Ben Webster in that regard. He energized his solo recording career for the Riverside label in the late fifties, and obtained his nickname, The Little Giant, with that eponymously titled LP in 1959." (Allmusic) Op dit album speelt de tenorsaxofonist met o.a. trompettist Blue Mitchell en pianist Wynton Kelly.
'Spiritsville', het 2de album van trombonist Priester (met prominente rol voor tenorsaxofonist Benton), met Benton's 'Out Of This World' (beiden uit 1961) op 1 CD. Met oa Paul Chambers, Jimmy Cobb, Freddie Hubbard, Wynton Kelly, McCoy Tyner.
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