Idris Muhammad - House of the Rising Sun (1976)

Idris Muhammad's House of the Rising Sun is a legendary soul-jazz album, and for good reason. First there's the fact that, Grady Tate notwithstanding, Idris Muhammad is easily the greatest of all soul-jazz drummers. Next, it is revealed that label boss and producer Creed Taylor was at his most inspired here, and wasn't afraid to err on the rhythm and blues side of the jazz equation. The material is top-notch, and David Matthews, who orchestrated and arranged this date with the exception of one track -- "Sudan" was written by Muhammad and Tom Harrell, and Harrell arranged it -- was on fire. As a bandleader, Muhammad is shockingly effective. Not because one could ever doubt his ability, but because of his reputation as one of the great studio drummers in jazz. Finally, this is the single greatest lineup in Kudu's history, and features the talents of Don Grolnick, Eric Gale, Will Lee, Roland Hanna, Joe Beck, David Sanborn, Michael Brecker, Hugh McCracken, Bob Berg, Fred Wesley, Patti Austin, and a dozen others playing their asses off. From the title track which opens the album, with Austin reaching the breaking point in her delivery, to the stunningly funky groove in Ashford and Simpson's "Hard to Face the Music," to the minor key funk of the Chopin-adapted theme in "Theme for New York City," to "Sudan"'s triple-timed drums and killer Eastern-tinged hooks, and a read of the Meters' "Hey Pocky A-Way," with Eric Gale's dirty finger poppin' bass atop McCracken's bluesed-out slide work, this is a steaming, no let-up album. Add to this a gorgeous version of the Ary Barroso Brazilian jazz classic "Bahia," and you have the set for a classic jazz album. But the complete disregard for the political correctness of "Jazz" itself, in order to get the deeply funky and soulful grooves across, is what makes this set so damn special and even spiritual in its inspiration. Jazz purists lost all credibility when they slagged this one off, caught as they were in tainted, even racist views of the past that made no allowances for jazz musicians to actually follow their time-honored tradition of mining the pop music of the day to extend the breadth and reach of jazz itself. Anybody who wants to believe that George Gershwin is somehow more important than George Porter Jr. is already lost in his own cultural fascism. Muhammad, who understands this better than anyone, pulled out all the stops here and blasted out one amazingly tough, funky slab. Brilliant.

by Thom Jurek in All Music Guide

Styles:
Crossover Jazz
Post-Bop
Soul Jazz
Fusion

Tracks:
01 - The House Of The Rising Sun (04:42)
02 - Baia (Boogie Bump) (04:38)
03 - Hard To Face The Music (04:49)
04 - Theme For New York City (03:26)
05 - Sudan (10:53)
06 - Hey Pock A-Way (06:07)
07 - Pipe Stem (5:29)
08 - I Know You Don't Want Me No More (04:42)

Line-up:
Idris Muhammad - drums, percussion
Eric Gale, Joe Beck, Will Lee, Wilbur Bascomb - guitar, bass
Leon Pendarvis, Don Grolnick, Roland Hanna - piano
George Young - tenor saxophone
Ronnie Cuber - baritone saxophone
David Sanborn - alto saxophone
George Devens - percussion

Lonnie Liston Smith - Astral Traveling (1973)

Lonnie Liston Smith was 32 when, in 1973, he finally got around to recording his first album as a leader, Astral Traveling. By that time, the pianist/keyboardist had a great deal of sideman experience under his belt, and this superb debut made it clear that former employers like Pharoah Sanders, Rahsaan Roland Kirk, Gato Barbieri, and Betty Carter had taught him well. One hears a lot of Sanders, John Coltrane, and McCoy Tyner influence on Astral Traveling; Smith obviously shares their passion for all things spiritual. Nonetheless, this LP leaves no doubt that the improviser is very much his own man and has a wealth of brilliant ideas of his own; thankfully, he has a cohesive band to help him carry them out. On Astral Traveling, Smith's 1973 edition of the Cosmic Echoes includes George Barron on soprano and tenor sax, Joe Beck on guitar, Cecil McBee on bass, David Lee Jr. on drums, James Mtume and Sonny Morgan on percussion, Badal Roy on Indian tabla drums, and Geeta Vashi on the Indian tamboura. An impressive lineup, and one that shows a great understanding of Smith's spiritual nature. Ninety-five percent of the time, Astral Traveling is serene and tranquil; but on "I Mani (Faith)," the unexpected interesting happens when Barron goes outside during his sax solo and gets into the type of dissonant, forceful screaming one would expect from Albert Ayler or late-period Coltrane. "I Mani (Faith)" has a hauntingly peaceful melody, but Barron's out-of-left-field solo makes it the most avant-garde track that Smith ever recorded as a leader. Produced by the late Bob Thiele -- an eclectic heavyweight who worked with everyone from Coltrane, Ayler, and Charles Mingus to Coleman Hawkins, Count Basie, and Louis Armstrong -- Astral Traveling is among Smith's most essential and rewarding albums.

by Alex Henderson in All Music Guide

Styles:
Fusion
Post-Bop
Jazz-Funk

Tracks:
01 - Astral Traveling (05:33)
02 - Let Us Go Into the House of the Lord (06:21)
03 - Rejuvenation (05:33)
04 - I Mani (Faith) (06:11)
05 - In Search of Truth (07:18)
06 - Aspirations (04:35)

Line-up:
Lonnie Liston Smith - Acoustic & Electric Piano, Organ,Guitar,Vocals
Joe Beck - Guitar
Cecil McBee - Bass
Lonnie Badal Roy - Tabla
George Barron - Sax Soprano &Tenor
James Mtume - Percussion,Conga
Sonny Morgan - Percussion,Conga
Geeta Vashi - Tabla,Tambourine
David Lee - Drums