Album Information:
This set of six musical sketches, written by the late, great
British saxophonist Pat Crumly, were recorded way back in 1984 with the aid of
funds from the Arts Council of Great Britain and the Greater London Arts
Association. Prior to engaging with the project Crumly immersed himself in the
harrowing environment of the Third World via in-depth reading and travelling
throughout Africa and the Middle East. With his natural interest in ethnic
music and culture, and his individual style and passion for jazz, Crumly
created an album that draws the listener in to his own sound world, captivating
and informing.
Urban Urchins opens with a smattering of percussive timbres
and vocal utterances from Simon Morton, followed by the piano and bass-line,
creating a definitive South-American groove. Crumly and trumpeter Dick Pearce
soar through the melody, with Crumlys delicate solo a melodic and thoughtful
extension. Pianist Pete Saberton delivers a fitting rhythmic solo also.
Minds And Memories is a tune dedicated to the victims of
kidnappings and mysterious disappearances in and around South America. It is a
moving ballad with a delicate melody and some fantastic bass work from Dave
Green. Crumly takes the only solo and he delivers it masterfully.
Bhoodan-ce was named after the Indian governments land-gift
scheme (Bhoodan). It combines a traditional raga scale – a Bhairava – and a 12
bar blues structure. The melody is tantalisingly exotic, pushed along thanks to a rock/funk groove from Simon Morton on drums and a driving bass-line from Dave Green. Add to this an inventive solo
from Saberton, utilising bluesy riffs and Keith Jarrett like jazz licks, this
is certainly an album highlight.
Senufo Chant is named after the Senufo people of the Upper
Volta, one of the more forbidding parts of Africa. These tribesman are known
for their woodcarving skills and intimidating masks. The tune starts with a
proud fanfare before erupting into a Coltrane inspired blues, with Crumly and
Pearce being equally as inventive during their solos. Saberton really has that
McCoy Tyner feel in his solo also, whilst putting his own stamp on things.
Crumly wrote Ethiopia to try and illustrate the changes that
had transformed the country over the 50 years leading up to 1984, changes that
had done little to solve the problems caused by drought and famine. The
distressing nature of Crumly’s influence is represented via his
haunting flute playing in the introduction, accompanied by Morton’s
percussion. Saberton, again, delivers a dexterous solo whilst the horns play a
repeated motif above.
The album finishes with A Better Tomorrow, an optimistic
finale with a distinct South-American rhythm and joyful melody. It was composed
with the optimistic hope that in the near future maybe some of the problems
facing the people of the Third World would be solved. Twenty-seven years later
we are still trying and hoping, but this album does much to highlight the
plight of the people inflicted with such conditions. One of the highlights of
this song is Dave Greens superb bass solo, performed with a tone similar to Ron
Carters.
Originally released on vinyl, this reissue is just one
example of the fantastic jazz Britain has been producing over the past decades. It
is a rediscovered classic in the making!
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