The Khan Jamal Creative Arts Ensemble
Drum Dance to the Motherland
★★★½
Jazz fusion can be icky. Any fusion has the capability to enormously disappoint and bring shame to both of the concepts that it's fusing. But fusion can bring about change and acceptance of ideas from different backgrounds. The world of jazz fusion has been dominated by the likes of Weather Report, Mahavishnu Orchestra, Herbie Hancock, Miles Davis and Chick Corea. For the most part they have succeeded in moving the genre forward and incorporating different forms of rock, Latin, electronic and musical styles from around the world. On the deeper edge lie people like Don Cherry and Bill Frisell, and apparently, Khan Jamal and his group. It always seems like no matter what genre of music, the most innovative and boundary pushing sounds originate from live sessions. This is an example of just that, a raw jam session recorded in an underground club in Philadelphia around 1972. The crude recordings of great jazz musicians on labels like ESP Disk and BYG Actuel have solidified the improvisation movement of the sixties and seventies. Of course I'm sure they would have rather had the equipment or materials necessary to make the best recording possible, but these people were no rock star celebrities in their day.
A five piece group comes together here armed with traditional and nontraditional tools. The classic jazz instrumentation clashes with the electronic feedback and dub roots, creating an unorthodox but interesting music that some would hardly call jazz. On a track like "Cosmic Echos", the horns and drums surround you with a very expansive and relaxed atmosphere that is very unexpected. The name rings true, and the whole time you expect some explosion but you only receive sparks of synths and vibraphone. It conjures up the image of some reggae version of Sun Ra, just completely stoned while playing. And right when you let your guard down, "Drum Dance" charges right at you. It's more high pressure but the musicians seem at ease, there's no conflict and they all understand each other. The reoccurring moans cut through the heavily recorded drums, which just pummel you throughout. It's more in line with what I was expecting, but still it's just so at ease that it's sometimes hard for me to get into it. As tight as it may appear, I recognize a looseness about it that doesn't really rub me the right way.
On the other hand, "Inner Peace" seems to be the showstopper here. It goes onto a Miles Davis In a Silent Way tangent with the keys and guitar, but much more bluesy on the drum and bass section. The reed plays along, never blowing forward but just keeping with the pace. This cool, slick piece would've probably created a pin-drop silence where it was performed. The coalescence of all the players is remarkable and comparable to some of the best. "Breath of Life" is return to earlier form with an inescapable echo of drums and vibraphone playing that make you just want to sit down and get into the groove of your mind. In general I think the second side of this record is a comedown from the first side, a cleanser of sorts that helps you transition from this listening experience into whatever else you're doing after. It's quite effective but I really wish it wasn't made this way. I was yearning for something bolder, something more intense than what this record was able to dish out. There are moments for sure that are memorable, but not enough to make me classify this as a free jazz heater. It's just too in between different concepts for me to make up my mind about it.
There is no question in my mind that Jamal was a forward thinking person. He chose a tight knit group to work with and never assumed a lead role throughout. Not only are the electronic echoing and effects ahead of its time, but the concept of a truly communal jazz setting was just on the cusp of being reborn again when this was recorded. I just can't get my mind off of the idea of how amazing this would've sounded live, but some of that magic truly doesn't translate here. I've seen some people call this a magnificent masterpiece that was forgotten and remains unmatched. I just don't believe it to be all that; just an ahead of the curve fusion album that has a unique atmosphere. I don't really know how this compares to the rest of Jamal's music but it seems like this specific private press release has hit a chord with many. Who knows how I'll feel about this in the future, perhaps it'll be even more exciting.
Favorite Song: Inner Peace
A five piece group comes together here armed with traditional and nontraditional tools. The classic jazz instrumentation clashes with the electronic feedback and dub roots, creating an unorthodox but interesting music that some would hardly call jazz. On a track like "Cosmic Echos", the horns and drums surround you with a very expansive and relaxed atmosphere that is very unexpected. The name rings true, and the whole time you expect some explosion but you only receive sparks of synths and vibraphone. It conjures up the image of some reggae version of Sun Ra, just completely stoned while playing. And right when you let your guard down, "Drum Dance" charges right at you. It's more high pressure but the musicians seem at ease, there's no conflict and they all understand each other. The reoccurring moans cut through the heavily recorded drums, which just pummel you throughout. It's more in line with what I was expecting, but still it's just so at ease that it's sometimes hard for me to get into it. As tight as it may appear, I recognize a looseness about it that doesn't really rub me the right way.
On the other hand, "Inner Peace" seems to be the showstopper here. It goes onto a Miles Davis In a Silent Way tangent with the keys and guitar, but much more bluesy on the drum and bass section. The reed plays along, never blowing forward but just keeping with the pace. This cool, slick piece would've probably created a pin-drop silence where it was performed. The coalescence of all the players is remarkable and comparable to some of the best. "Breath of Life" is return to earlier form with an inescapable echo of drums and vibraphone playing that make you just want to sit down and get into the groove of your mind. In general I think the second side of this record is a comedown from the first side, a cleanser of sorts that helps you transition from this listening experience into whatever else you're doing after. It's quite effective but I really wish it wasn't made this way. I was yearning for something bolder, something more intense than what this record was able to dish out. There are moments for sure that are memorable, but not enough to make me classify this as a free jazz heater. It's just too in between different concepts for me to make up my mind about it.
There is no question in my mind that Jamal was a forward thinking person. He chose a tight knit group to work with and never assumed a lead role throughout. Not only are the electronic echoing and effects ahead of its time, but the concept of a truly communal jazz setting was just on the cusp of being reborn again when this was recorded. I just can't get my mind off of the idea of how amazing this would've sounded live, but some of that magic truly doesn't translate here. I've seen some people call this a magnificent masterpiece that was forgotten and remains unmatched. I just don't believe it to be all that; just an ahead of the curve fusion album that has a unique atmosphere. I don't really know how this compares to the rest of Jamal's music but it seems like this specific private press release has hit a chord with many. Who knows how I'll feel about this in the future, perhaps it'll be even more exciting.
Favorite Song: Inner Peace
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