Freedom Art Quartet/Media

ALL ABOUT JAZZ REVIEW- by Jeff Stockton

On Spirits Awake, the Freedom Art Quartet immediately announces its overall dedication to groove and funky second-line beats with "In the Thick of It", as Jaribu Shahid's ripely swinging bass gives way to Abraham Burton's lush, confident tenor and Omar Kabir's incisive and radiant trumpet. On "Kimbunga", Kabir switches to flugelhorn and makes it growl like a trombone without the aid of a slide or plunger mute, and guest altoist Douglas Yates solos busily before the band returns to state the theme.

Following this enticing exposition and summary of Freedom Art's artistic ambition, the lazy swing of "Monking Around" features Shahid dead on the beat, Burton's coherent and authoritative tenor statements, and Lloyd Haber's drums filling and rolling in a swirl all around. These are Haber's compositions, and though they follow the convention of in-turn solos bracketed by main themes, the music is lively and brimming with melody, and the musicians make the most of their own time, and the listener's.

Spirits Awake reaches its climax with "Love of Illusion". As the tune begins, Kabir makes room for Burton to get aggressive, and the saxophonist ascends higher and higher with each bar, spurred on by the churning rhythm section. When the trumpet returns, it's Latin-tinged, inspiring a brief but eclectic cutting session between the two horns. Sadly, the musicians are still trading lines as the piece fades out. I could have stood another ten minutes, easy. This musical crescendo makes the next track, "Spirits of New York", sound like a benediction, resolution presented as a melodic Aylerian elegy. Burton overblows and vibrates at a sorrowful pace before the melancholy walk transforms into a more joyful stride, like a minifuneral march, New Orleans-style.

Structured like a drama in five acts (with an added scene or two), Spirits Awake captures the listener's interest, holds that interest with creativity and intensity, then rewards it with excitement generated by musical variety and masterly expressiveness. 		 

WARREN SMITH - Race Cards (Freedom Art 52963)

Featuring Andrew Lamb on tenor sax, Mark Taylor on French horn, Tom Abbs on acoustic bass & tuba and the great Warren Smith on drums, percussion and compositions. Mr. Smith is a legendary percussionist who has worked in many musical worlds since arriving here in the sixties. From extremely diverse settings like his work with Sun Ra and Pearls Before Swine in the sixties, to Max Roach's M'Boom and the Composers Workshop Ensemble to his work for Bill Dixon and Joe McPhee/Roy Campbell, I've seen on a few modern classical dates through the years. His dates as a leader are very rare, so this is indeed a treat. The title track is a forthright political piece about how politicians and other opportunists play the race cards, Last Poets-like with the anger less in-your-face. "Tel Lie Vis Sion" is another thoughtful spoken word feast with much food for thought about the current corrupt administration. "Siren Song for Max Roach" is a strong work for solo drums, percussion and siren/whistle. I dig the gnarly horn harmonies, twisted bowed bass and odd percussion on "Indianas' Wedding Song", as well as "Ten Thousand Things" which was written by Mark Taylor. French horn and tenor sax make for an interesting frontline and here sound great together as both have warm, expressive tones and solo with passion and fire. Warren plays some haunting marimba as he states the theme on "Love in the Open", soon swinging intensely as the Mark plays the theme on Frenh horn while Andrew burns with his tenor on top. This is an altogether rich and varied program from the phenomenal Warren Smith quartet.