From the time of his first Blue Note recording in 1964 to his final session for the label in 1967, Sam Rivers made stunning progress as an avant-garde innovator. Starting with an inside/outside hard bop foundation, Rivers quickly took his music as far out as he could while maintaining a recognizable structure; his work fearlessly explored wildly dissonant harmonies and atonality, dense group interaction, cerebral rumination, and passionately intense, free-leaning solos.
Reissue with the latest remastering and the original cover artwork. Comes with a description written in Japanese. An overlooked gem from reedman Sam Rivers – and a set that's surprisingly soulful, given that most of his other work from this stretch is much more outside! The album's got a laidback groove on most numbers – with rhythm from Daryll Thompson on guitar, Rael Wesley Grant on bass, and Steve McCraven on drums – often in this midtempo mode that has the electric currents providing a subtle bounce, which opens up as Rivers solos on tenor, soprano sax, and flute! The style's a few steps down from funky fusion, but not that far away, either – and Sam proves to be an expressive soloist in the setting, in ways we really wouldn't have expected. Titles include "Swirl", "Chant", "Coral", "Lazuli", "Ripples", "Dandelions", "Devotion", "Beatrice", and "Sprung".
This edition presents, for the first time ever on CD, the complete long unavailable 1976 Villalago performance by the Sam Rivers Trio, featuring Don Pullen as a guest soloist. One of the best exponents of free jazz, this set features Rivers playing tenor and soprano saxophones, flute and piano on an extended exploration of his "Black Africa".
Features the high-fidelity SHM-CD format (compatible with standard CD player) and the latest 24bit 192kHz remastering. The title of A New Conception refers to Sam Rivers' ingenious interpretations of standards on this record. Rivers treats the songs – such familiar items as "When I Fall in Love," "I'll Never Smile Again," "That's All," "What a Difference a Day Makes," and "Secret Love" – with respect, but he doesn't treat them as museum pieces. He knows that if the songs are to remain fresh, they need to be heard in different ways, and he skillfully opens up each composition to contemporary avant-garde techniques.
An explosive late '70s set with underrated composer, multi-instrumentalist, and arranger Sam Rivers leading a strong quartet. While bassist and cellist Dave Holland and percussionist Thurman Barker merged to form a strong, challenging rhythm section, Rivers and Joe Daley, playing tuba and baritone horn, worked together to create instrumental dialogues in sequence. Their array of contrasting voicings, with Rivers on tenor and soprano sax and flute, makes for compelling listening.
The trio glides effortlessly between bebop passages, tonal and atonal breaks and some passionate soloing. Rivers switches between tenor and soprano saxophones, flute and piano, each with its own personality. His tenor paints wide splotches of sound, while his soprano cuts more precise channels. On flute he pops and floats, and his piano sound is informed by a more charming Cecil Taylor. Where Holland’s current ensembles featured his organization, here he is freed up to explore without a map. He takes several solos, passages unexpected yet built like a hurricane-proofed structure.
Sam Rivers RIP. INSPIRATION was nominated for the 2000 Grammy Award for Best Jazz Instrumental Performance, Individual Or Group. Prior to Inspiration, Sam Rivers hadn't recorded for a major label in nearly 20 years, and he hadn't cut a studio session in two decades. That doesn't mean he was inactive; he was teaching, playing, and giving concerts but never recording. Aware that many of Rivers' big-band compositions – not only his recent material, but some earlier works as well – had never been given the proper treatment, saxophonist Steve Coleman helped arrange a recording contract with BMG, with the end result being the astonishing Inspiration album.