Archive for the World Saxophone Quartet Category

World Saxophone Quartet – Takin’ It 2 The Next Level 1996

Posted in David MURRAY, Hamiet BLUIETT, JAZZ, World Saxophone Quartet on December 25, 2010 by whoisthemonk

World Saxophone Quartet – Takin’ It 2 The Next Level 1996


Members include Hamiet Bluiett (born on September 16, 1940, in Lovejoy, IL), baritone saxophone, alto clarinet; Arthur Blythe (born on July 5, 1940, in Los Angeles, CA; joined group, 1990; left group, 1992; rejoined group, 1994; left group, 1995), alto saxophone; Julius Hemphill (born in 1940 in Fort Worth, TX; died on April 2, 1995; left group, 1990), soprano saxophone, alto saxophone, flute; Oliver Lake (born on September 14, 1942, in Marianna, AR), soprano saxophone, alto saxophone, keyboards, flute; DavidMurray (born on February 19, 1955), tenor saxophone, bass clarinet; Eric Person (born in St. Louis, MO; group member, 1993-96), soprano saxophone, alto saxophone; John Purcell (joined group, 1996), saxophones, saxello, flute, oboe, English horn, clarinets; James Spaulding (born on July 30, 1937, in Indianapolis, IN; group member, 1993), alto saxophone, flute. Addresses: Record company–Justin Time Records, Inc., 5455 Pare, Suite 101, Montreal, QC H4P 1P7, Canada.

Since its inception in 1976, the World Saxophone Quartet has been critically lauded for its improvisatory skills and is considered among the legitimate heirs to such post-bop, free jazz, and postmodern jazz pioneers as Albert Ayler, Anthony Braxton, Steve Lacy, Cecil Taylor, Ornette Coleman, and Eric Dolphy. The tonal innovations and radical new approaches that these musicians introduced to the jazz idiom in the 1960s include a rejection of mainstream jazz in favor of music more closely resembling that of such modern composers as Charles Ives and John Cage; these innovations eventually influenced some of the most highly regarded jazz recordings of Miles Davis, John Coltrane, and Pharoah Sanders. These recordings feature longer performances of individual musical pieces, which were played in a more spontaneous, unstructured fashion that often resulted in deeply disturbing, cacophonous performances.

The World Saxophone Quartet has continued these groundbreaking traditions, while adding the musicians’ individual abilities to compose distinctive jazz music that serves as a launching pad for their improvisatory skills. While the largely unaccompanied four-saxophone lineup of the World Saxophone Quartet has drawn critical comparisons to the string quartets most commonly associated with classical chamber music, the Quartet has experimented equally with atonal music, distortion, volume, jazz standards by such composers as Duke Ellington, and European classical compositions. Each member of the original lineup of the World Saxophone Quartet was associated with the 1970s “loft jazz” scene in New York City.
Three original members of the World Saxophone Quartet–Hamiet Bluiett, Julius Hemphill, and Oliver Lake–were acquaintances from the vibrant jazz scene of St. Louis, Missouri, during the 1960s and early 1970s. Hemphill grew up in Fort Worth, Texas, and immersed himself in the city’s jazz and R&B scene, including a period of study with jazz clarinetist John Carter. After a brief stint as a saxophonist for Ike Turner, Hemphill joined the Black Artists Group in St. Louis, a loosely knit consortium of artists who experimented with poetry, theater, painting, sculpture, and music. He moved to New York City in the mid-1970s and worked with such free jazz proponents as Anthony Braxton and Lester Bowie.By Bruce Walker.

It is obvious from the first notes that this is a very different outing by the World Saxophone Quartet — the band is backed by a rhythm section. The playing of keyboardist Donald Blackman, bassist Calvin Jones and drummer Ronnie Burrage actually adds to the music rather than taking away from the core band, for their funky rhythms are fairly unpredictable and adventurous in their own way. The WSQ (which at the time consisted of David Murray on tenor and bass clarinet, baritonist Hamiet Bluiett, altoist Oliver Lake and John Purcell on saxello and tenor) sounds inspired by the “new” setting, and their playing is as adventurous as ever. Mostly sticking to group originals, the expanded band explores many moods on such numbers as “Wiring,” “Rio,” “The Desegregation of Our Children” and
“When Thee Monarchs Come to Town”.All Music Guide.
David Murray– Tenor Saxophone, Bass Clarinet on track 7
Hamiet Bluiett– Baritone Saxophone
Oliver Lake– Alto Saxophone
John R. Purcell– Saxello, Tenor Saxophone on track 6
Donald Blackman– Piano and Keyboards
Calvin Jones– Acoustic & Electric Bass
Ronnie Barrage– Drums, Shékéré, Tamboura, Vocals, Keyboards and other miscellaneous percussion
01. Wiring (Lake) 6:28
02. Soft Landing (Lake) 1:11
03. Rio (Lake) 7:30
04. The Peace Before (Blackman) 1:23
05. Blues for a Warrior Spirit (Bluiett) 13:08
06. The Desegregation of Our Children (Murray) 12:35
07. When the Monarchs Come to Town (Murray) 2:51
08. Endless Flight (Burrage) 7:35
09. Ballad After Us (Purcell) 4:36
10. Australopithecus (Underwood) 9:29
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World Saxophone Quartet – Breath Of Life 1995

Posted in David MURRAY, Fontella BASS, Hamiet BLUIETT, JAZZ, World Saxophone Quartet on December 2, 2010 by whoisthemonk

World Saxophone Quartet – Breath Of Life 1995


This is the second World Saxophone Quartet disc to feature alto saxophonist Arthur Blythe (who replaced Julius Hemphill) and the first to feature a full rhythm section including bass, piano, and organ. Going a step further from the previous year’s experiment with African drums on Metamorphosis, Breath of Life continues to find the sax quartet stretching the boundaries associated with its a cappella approach of the past. Included on its final release for the Elektra Nonesuch label are rhythm & blues-influenced originals by David Murray, Oliver Lake, and Hamiet Bluiett. The Quartet also pays tribute to Ray Charles, Little Willie John, and James Brown on “You Don’t Know Me” and “Suffering With the Blues,” featuring gospel-inspired performances by Fontella Bass (vocals), Donald Smith (organ), and Amina Claudine Myers (piano and organ).
By Al Campbell. AMG.
Described by the New York Times as “one of the finest ensembles in American music, with a velvety sonic blend and a wild-eyed imagination,” the World Saxophone Quartet incorporates wildly divergent styles and approaches to the saxophone quartet. Here, the group teams up with vocalist Fontella Bass for a set of originals and covers, material ranging from avant-garde to R&B to jazz-rock.
Hamiet Bluiett- Baritone Sax, Contra-Alto Clarinet (2)
Arthur Blythe- Alto Sax
Oliver Lake- Alto Sax
David Murray- Tenor Sax, Bass Clarinet (2)
Fontella Bass- Vocals (3, 4, 7)
Amina Claudine Meyers- Organ (1, 6)
Donald Smith- Piano (1, 6, 8), Organ (3, 4)
Fred Hopkins- Bass
Tarik Shah- Bass (6, 8)
Ronnie Burrage- Drums (1, 6, 8)
Gene Lake- Drums (3, 7)
01. Jest a Little 9:13
02. Cairo Blues 1:10
03. Suffering with the Blues 5:34
04. You Don’t Know Me 6:35
05. Picasso 5:51
06. Song for Camille 7:41
07. Breath of Life 4:43
08. Deb 4:43

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World Saxophone Quartet – Political Blues 2006

Posted in JAZZ, World Saxophone Quartet on November 22, 2010 by whoisthemonk

World Saxophone Quartet – Political Blues  2006


World Saxophone Quartet has built a large, impressive and diverse catalog that ranges from the extreme to the relatively accessible. Political Blues falls into the relatively accessible category, but for WSQ’s 2006 lineup (Oliver Lake on alto and soprano sax, Bruce Williams on alto and soprano sax, Hamiet Bluiett on baritone sax and David Murray on tenor sax and bass clarinet), relatively accessible doesn’t mean unchallenging. In fact, the songs that have lyrics pack a strong sociopolitical punch. The title track (which features Murray on lead vocals) expresses the group’s disdain for the administration of President George W. Bush, and “Spy on Me Blues” (with Lake on vocals) is a biting yet humorous commentary on Bush’s embarrassing performance during the Hurricane Katrina disaster in New Orleans in 2005. But Political Blues isn’t strictly an album of protest lyrics; many of the tracks are instrumentals, including Lake’s funky “Let’s Have Some Fun,” Murray’s somewhat Ellingtonian “Hal’s Blues” and Craig Harris’ dusky “Harlem.” While some WSQ recordings have favored a saxophone-only policy no bass, no drums, no guitar, no brass instruments — this January 2006 session features several non-sax playing guests. Among them: trombonist Harris, electric bassist Jamaaladeen Tacuma, drummer Lee Pearson, trumpeter Jeremy Pelt and guitarist James Blood Ulmer (who is featured as a singer on a spirited performance of Muddy Waters’ “Mannish Boy”). Political Blues’ mixture of jazz, blues and funk is mildly avant-garde, but it isn’t radically avant-garde and those who have admired WSQ’s spirit of adventure will be happy to know that the saxophonists are still taking chances even at their most accessible.
By Alex Henderson.
Paradigm: illustration, model, pattern. Paradigms can illuminate and they can blind: they can give us patterns so strong that we do not see anything else. We become resigned to seeing dualities, conflicts: the individual versus the group, the group versus the government, reason versus emotion, self-confidence versus humility, humanism versus racial pride, masculinity versus sensitivity, civility versus self-expression, art versus reality, blatancy versus subtlety, morality versus self-gratification. I think of this now as we all have an idea of what jazz is, and musicians have been trying to perform jazz in a way that gives it contemporary relevance: Wynton Marsalis does that by emphasizing the appeal of swing and established repertoire, the World Saxophone Quartet does that by taking on social themes, and Roy Hargrove does that by incorporating soul and rap elements. The World Saxophone Quartet starts its collection Political Blues with a melody that manages to suggest tumult, a lyric that complains of hurricane Katrina, presidential election chicanery, bad foreign policy, adverse relationships with developing brown countries, the Palestinian-Israeli conflict, homelessness, and media saturation, with little relief. The piece is, of course, called “Political Blues,” though the music is more expressive free jazz than blues in cadence, and the lyrics contain recognitions, not illuminations, nor strategies for survival or change.

“Hal’s Blues,” written by David Murray for Hal Singer, does have the long, melodious, sad lines I identify with the blues, while “Mannish Boy,” is a Muddy Waters blues, performed here with the help of James Blood Ulmer—it’s a bragging, indestructible song, with a blues beat that is a standard and guitar playing that recalls Jimi Hendrix. Oliver Lake’s “Let’s Have Some Fun,” a communal sound experiment, one of charm and force, even with squawking, wailing saxophone and percussion like muscular baby footsteps, is very appealing—one hears the participation of different individuals and also shifts in melody and rhythm and the song has a beautiful tone and gives pleasure.

Bluiett’s “Amazin’ Disgrace,” sung by a woman, Carolyn Amba Hawthorne, with even the instruments testifying (intensely, irritatingly), is a recounting of slavery and its aftermath, and it seeks, impossibly, to complain and to reassure at the same time—to wound and to heal—and one might call the song an anti-spiritual as it is about conflict and violation rather than divine revelation or serene contemplation of heaven or an affirming of the resources of community.

“Bluocracy,” in three parts, and also by Bluiett, is an important part of this collection and it presents a musical question and a philosophical problem. A speaker says, “A bluocracy is where we be, who we be,” and this composition is intended to draw attention to the importance of identity, innovation, and history, while offering a sniggering critique—it uses the term “minstrel”—of neo-traditional jazz, which many identify with Wynton Marsalis, and it suggests that neo-traditional jazz is intended to cater to the palest of people. That is paradigmatic thinking—assuming that what you do not like in a black man was put there by or for white people. I do not like that African-Americans who assert themselves as individuals and independent thinkers, those who offer artistic, philosophical, and social alternatives, are seen as puppets. Wynton Marsalis, an educator and a musician, is a figure of personal and cultural pride, and months ago announced his own forthcoming album of social commentary, not his first. Marsalis is not alone in not fitting paradigmatic simplifications. Unfortunately, the music that is offered in part one of “Bluocracy” is often a music of exclamations—of shrieks and yelps—and that does not speak to me: it does not offer me beauty, expression, or significance. Part two is softer, and part three is jauntier, with a kind of rumble, and that last piece sounds like two horns playing against each other, with a sense of emotion and extremity. Conflict is a fundamental part of the quartet’s vision. Is conflict what we want reproduced perpetually in the world?

One imagines that musicians would make greater allowance for harmony, though dissonance has shown itself prevalent in many forms of twentieth-century and twenty-first century modern music, from the classical to the popular. (I have admired the World Saxophone Quartet in the past—its Metamorphosis, featuring African drumming, has been on my night stand for easy access for years.) One can argue that the duty of artists is to raise questions—and to trouble the waters—instead of disseminating answers and inspiring calm but our days give us all the questions and trouble we could wish. The answers might be found in regard—open and critical—for tradition and innovation. Answers might be found in cosmopolitan education, political participation, and shared ideals, issues, and interests—the environment, economics, housing, and medical care. Answers might be found in art and philosophy, in democratic socialism and humanism.

“Blue Diamond,” composed by Jamaaladeen Tacuma and Lee Pearson and featured on Political Blues, has a contemporary sound, which is to say that it bears some relation to what is going on in other forms of music today (a long “today,” one that encompasses the last forty years): forms such as funk, soul, and instrumental popular music—and “Blue Diamond” would not be out of place on the RH Factor’s album Distractions produced by Roy Hargrove. One of the more entertaining pieces on Political Blues is Craig Harris’s “Harlem,” which inspires thought, and sketches with musical notes an atmosphere of Harlem that goes against stereotype: it sustains both logic and intensity without seeming sensational or superficial. The collection Political Blues ends with Oliver Lake’s “Spy on Me Blues,” with spoken lines that comment on the United States government’s treatment of hurricane Katrina victims, and the song has a melody that is more attractive than any dissonance, something that the inclusion of both charming melody and harsh dissonance in this and some of the quartet’s other songs proves beyond a doubt (to hear abrasive tones in song after song is like being involved in a family quarrel—only it is someone else’s quarrel and someone else’s family).

Roy Hargrove’s project the RH Factor and new recording Distractions raises interesting questions: how important is a community to an artist; and is using popular forms in what is now an art music an extension of the music or a compromise? These are not new questions, but they remain to inspire and torment us. From the first of several pieces labeled “Distractions” the intention of trumpeter Roy Hargrove, organist Bobby Sparks, guitarist Todd Parsnow and their colleagues, about eleven or twelve musicians in all—the intention to blend jazz and soul—is obvious; and that it is followed by a call to action, a call to purpose, “Crazy Race,” which features the jazz vocal of Renee Neufville, makes it as clear that Roy Hargrove intends to reach an audience and intends to communicate with that audience. “Kansas City Funk” is an uptempo piece, and at only two minutes and twenty-three seconds it is only a teaser. Renee Neufville’s song “On the One,” which she sings in a style that Mary Blige or Jill Scott might favor, with Hargrove on flugelhorn, David Newman on flute, and Keith Anderson on saxophone, is about nostalgia and reconciliation, and has feminine choruses and spirited claps and the song is very likable, without offering the complexity many go to jazz expecting to find.

Hargrove’s trumpet playing seems feather-light, intricate, and lively on “Family,” which Roy Hargrove co-wrote with Renee Neufville, and on which she sings—the piece seems designed for “smooth jazz” stations, those stations that seem to broadcast everything but jazz—old soul, soft rock, the Motown catalog, and British pop—and Hargrove’s playing saves “Family” from dismissal. Roy Hargrove’s talent is genuine and interesting. Does he require this context to reach a larger audience? The answer must be yes. “I’ll take you to a place I love. If I change my style, would you like it?” asks the Neufville-Hargrove song “A Place,” and as the song echoes Parliament-Funkadelic, I imagine the beloved place is 1970s Afro-America: the song sounds good, but it makes me sad for Roy Hargrove.

Does the past offer Roy Hargrove a way out of contemporary conundrums, any less than it offers transcendence to Wynton Marsalis? The artistic resources each has chosen is different, specific, and success must be weighed by evaluation of the art produced in relation to the expectations of the artist and his audience. Which works give the fullest expression to human being? Which works provide the most pleasure?

Lyrics ask why selfishness has been chosen over community in “Hold On,” asking, “What happened to my people?,” but the truth is that the people may have been ever thus: it is always a small group of people who consistently do anything in public, such as organize, protest, or perform good songs. The myth of a better day is a wonderful dream—and that is all it is, though it is a dream so powerful we can forget its rarity, its irreality. “I’m going to hold on tight to what I know,” the lyric says, but this rhetoric is not insight, and this affirmation is not truth—and good intentions are not the same as good character or good acts. Such commonplace affirmations as “Hold On” gives make a thinking person suspicious: why the lack of imagination, the lack of fresh perspective? There is worse: D’Angelo, who has done nothing interesting on his own recently as far as I know, gives Hargrove a song called “Bullshit”—yes, bull excrement—and D’Angelo’s spoken vulgarity and the song’s simple repetitive (and uninteresting) rhythm seems a desperate invocation of the earthy and the real, with only Hargrove’s horn arrangement worth attention.

“Can’t Stop” features Roy Hargrove’s own vocals—he’ll sing for his supper, even if not asked, I guess—and his voice sounds electronically treated to me, but the song has an appealingly clean sound—and one hesitates to call this bad music as skill has gone into it, but it seems to offer no great musical purpose and no great effect.

Which way jazz? Wynton Marsalis, a man who argues ideas, rather than pandering or slandering, has advocated music education for youth and greater media attention for public awareness in support of jazz, very intelligent promptings. Does anyone have to be told that the world in which we live, with the works of Marsalis, the World Saxophone Quartet, and Roy Hargrove, will be the foundation upon which the musicians, music lovers, and citizens of tomorrow will build their own world?
By Daniel Garrett.
Political conscience occupies a special place in the quintessence of modern jazz, fueling, in its most heated moments, the stuff of blunt insurrection. It remains to be seen whether Political Blues, the most recent offering by the World Saxophone Quartet, occupies the same territory as those few moments of musical activism that have not only informed but also crucially affected the practice of revolution—Max Roach’s Freedom Now Suite (Candid, 1960) is one, Charlie Haden’s first Liberation Music Orchestra (Impulse!, 1969) is another. Regardless, the WSQ is no quiet voice, and Political Blues is no failing salvo. This is the fierce, hard spirit of jazz, a volley at the heart of dire times that tugs at the bare, black and blue roots of the music.
Bare is the operational word here. There are seldom records like this one—for better or worse, perhaps, but few so plain and downright angry. The WSQ discography is renowned for its idiosyncrasies, and the group here assembled is hardly the crowd to stay pegged in place. Here, amidst the melee, are the three surviving members of the original WSQ, perhaps the only group to fully apprehend the dimensions of the all-saxophone format and never, together or alone, withering violets. But there’s also something different. It took the combined forces of racism, political conservatism, war, economic downturn, and unprecedented economic disaster to turn the joie de vivre of the WSQ sound into something altogether more menacing and, at times, shockingly unchecked.

This is not the kind of finely hewn, delicately crafted album that the WSQ is known for, although the arrangements are certainly together and the playing as potent as ever. This is a full-group recording, the classic, multi-tiered saxophone voicings occupying a subsidiary role among the measured fury of the ensembles. Rough backbeats and spindly, vertiginous bass lines are interspersed with declamations of frustration, raging at life, America, and, at the root, the somber fecklessness of revolt.

This revolt, though, is somewhat vaguer than one might imagine. Far more than the decisively incendiary lyrics, it is the sheer plangency of the horns, groping at registers, notes, and expressions out of reach—indeed, a freedom beyond the scope of the compositions—that creates the more effective moments. There is exhaustion here, tempered only by a total reluctance to surrender. Even without the abstraction, this is “fire music in full effect: Black, American and pissed.

Many musicians have tried, but few have achieved so devastating and honest a picture of the American struggle in the 21st Century. If it is not the most artful statement of political conscience that modern jazz can deliver, than Political Blues is at least a study in how the jazz musician can feel—and, if not escape “the blues,” then at least fight from within.
Karl A.D. Evangelista
Bluiett: baritone saxophone; Oliver Lake: alto and soprano saxophone (vocals on 11); David Murray: tenor saxophone, bass clarinet (vocals on 1); Jamaaladeen Tacuma: electric bass; Bruce Williams: alto and soprano saxophone (4, 11); Craig Harris: trombone, didjeridoo (vocals on6); Lee Pearson: drums; James “Blood” Ulmer: guitar, vocals (3); Jeremy Pelt: trumpet (1); Carolyn Amba Hawthorne: vocals (5); Jaleel Shaw: alto and soprano saxophone; Herve Samb: guitar (1)
Hamiet Bluiett— Baritone Saxophone, Contra-Alto Clarinet
John Purcell— Saxello, Alto Flute
Oliver Lake— Alto Saxophone, Flute
David Murray— Tenor Saxophone, Bass Clarinet
Craig Harris— Trombone
Jamaaladeen Tacuma— Electric Bass
Lee Pearson— Drums
01.Political Blues (Murray)  9:04
02.Hal’s Blues (Murray)  2:54
03.Mannish Boy (Morganfield)  7:26
04.Let’s Have Some Fun (Lake)  7:23
05.Amazin’ Disgrace (Bluiett)  5:55
06.Bluocracy, Part 1 (Harris)  5:03
07.Bluocracy, Part 2 (Harris)  2:21
08.Bluocracy, Part 3 (Harris)  3:44
09.Blue Diamond (Pearson, Tacuma)  4:41
10.Harlem (Harris)  7:27
11.Spy on Me Blues (Lake)  5:54

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World Saxophone Quartet – Freedom Now 2009 (AVI)

Posted in JAZZ, MOVIES, World Saxophone Quartet on November 15, 2010 by whoisthemonk

World Saxophone Quartet – Freedom Now 2009 (AVI)
Jazz en Seine Saint-Denis 26éme Festival
March 30th 2009.


The World Saxophone Quartet is an avant-garde jazz group founded in 1977, implementing elements of free funk and African jazz into their musical routines.

The original members were Julius Hemphill (alto and soprano saxophone, flute), Oliver Lake (alto and soprano saxophone), Hamiet Bluiett (baritone saxophone, alto clarinet), and David Murray (tenor saxophone, bass clarinet). The first three had worked together as members of the Black Artists’ Group in St. Louis, Missouri.

In 1989, Hemphill left the group due to illness, and several saxophonists have filled his chair in the years since. The first of these was Arthur Blythe, followed by Eric Person, James Spaulding, John Purcell, Bruce Williams, Jaleel Shaw, Jorge Sylvester, Steve Potts and Tony Kofi.

In the late 1980s the quartet used Bluiett’s composition “Hattie Wall” (recorded on W.S.Q., Live in Zurich, Dances and Ballads and Steppenwolf) as a signature theme for the group.

The group principally recorded and performed as a saxophone quartet, usually with a lineup of two altos, tenor, and baritone (reflecting the composition of a classical string quartet), but were also joined occasionally by drummers, bassists, and other musicians.
Not the first time enjoy live saxophone playing, but the quartet is the first time should see. No sheet music, eyes closed reverie, emotion, and rhythm with the undulating melody playing companions, four saxophone resonance. Clear picture, superb performance, understanding perfect harmony, like-minded friends together creating not only the arts, and the joy of life and exciting.
David Murray- Tenor Sax, Bass Clarinet
James Carter- Sax
Hamiet Bluiett- Sax
Julius Hemphill- Sax
Ed “Kid” Jordan- Sax
Feat. Oliver Lake- Sax

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