For whatever reason, Avant Jazz hasn't produced a whole shitload of great guitarists (Sonny Sharrock, of course, picks up a lotta the slack). Sure, there's plenty of wankers that do that beyond boring fretboard-tapping swill, or serve up some half-baked hyperspeed Wes Montgomery-isms, but there's very little of it that sounds like more than ME-VERY-TECHNICALLY-PROFICIENT dexterity exercises. Yes, that's very impressive that you can scratch yer asshole with yer pinky whilst tearing off sweep arpeggios, but... ya got any MUSIC? James Blood Ulmer does.
A native of St. Matthews, South Carolina, Ulmer began his journey in various funk bands before hooking up with Art Blakey for a brief stint in his Jazz Messengers. In 1973, he recorded an album with legendary Coltrane drummer Rashied Ali; shortly thereafter he would meet Ornette Coleman, adopting his new guru's ambiguous harmolodic approach in the process. "Tales of Capt. Black" was his second release as band leader, recorded in 1978 with Ornette (who also serves as co-producer), Jamaaladeen Tacuma (bass) and Coleman's son Denardo manning the drum stool.
Beginning with a funk riff reminiscent of "Voodoo Chile," opening cut "Theme From Capt. Black" is a reminder of what could have been had more rock players been exposed to this subversive music-- imagine the boundaries destroyed! Alas, most were far too content to wallow in that annoying set of triplets that take up the last 15 minutes of "Freebird." Regardless, this album is fulla free playing at its zenith-- "Woman Coming" in particular, is magnificent-- with Blood and Ornette playing quixotic themes in unison before engaging in an embroiled instrumental "conversation" that, despite each player inhabiting a separate universe, overlaps brilliantly. "Revelation March" brings to mind Miles Davis' much-denigrated (of course, everybody loves it now) early 70's work in the sense that it features simple (but not simplistic) James Brown-derived funk vamping for Ulmer to shred over top of. His attack, at once shrieking and sighing, encapsulates a century of black music-- as atavistic as it is futuristic, containing the plight of the early Delta Bluesman every bit as much as the revolutionary concepts of his mentor.
Did you understand a word of that? Me neither, but look in the comments.
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ReplyDeletepw = sln2008
I love this record. For the longest time, I'd been trying to turn my girlfriend onto jazz...every subgenre...to no avail. It wasn't until she ate some psilocybin mushrooms and accidently put on this record instead of whatever else she was reaching for that she was a total Avant jazz convert. Now all she listens to is "Tales of Captain Black", Coltrane's "Meditations", Rashaan Roland Kirk's noiser stuff, Massacre, Last Exit. More people need to dig this record, for sure. Keep up the good work, man. Ever since the Sector 2814 dude stopped posting as much, this has been THE place for quality tuneage.
ReplyDeleteShrooms should be taken by everyone at least once.
ReplyDeleteI understand where you're coming from-- I've dated perhaps 4-5 women in my entire life that had any appreciation for "experimental" music in any capacity. Could it be that (musically anyway) the female mind accepts only linear arrangements (though I guess there's no shortage of guys who don't get it either)?
Regardless, thanks for your compliment and input.
Mmmmmmm, that's a dangerous line of questioning, my friend and I AIN'T TOUCHIN' IT. I don't have this - thank you VERY much, Ulmer is THE MAN.
ReplyDelete[...] an unglued, random-gobs-of-paint-thrown-at-the-wall feel, not unlike a steroid-juiced version of James Blood Ulmer. HR is in fine form as well chewin’ up syllables and spittin’ ‘em atcha like [...]
ReplyDeleteThanks for this!!!!!
ReplyDeleteJust bought a used copy at the Jazz Record Mart in Chicago for the princely sum of $29 (I saw it for $99 on Amazon, so figured this was as good as I was ever going to get).
ReplyDeleteI was listening to it for the first time and came upon this blog on a Google search.
Currently listening to Morning Bride, which reminds me of a familiar Coleman theme, only with more drums and, obviously, a guitar taking over the lead. Moons Shine reminds me a bit of Lonely Woman.
Only three songs in and I'm already glad I gave up the cash.
[...] More more Blood here. [...]
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