vorgarten
redbeansandriceja, war mir schon auch aufgefallen, dass das Album „Power to the People“ heisst…
ich fand ja von henderson immer die fast 12 minuten namens „if you’re not part of the solution you’re part of the problem“ aus dem lighthouse ein wirkliches statement, was ja eigentlich ein leicht abgewandeltes eldridge-cleaver-quote ist. sowas hätte miles nie gemacht (ohne dass ich sagen würde, dass er unpolitisch war, im gegenteil). bei hancock kommt natürlich die kwanza/karenga/swahili-nummer dazu, und mtume spielt wiederum bei miles und rollins mit…
ich weiß nicht, ob man von henderson direkt was über seine politischen einstellungen findet?
hab gerade ein bisschen gesucht und nichts gefunden, meine in den Liner Notes zur Milestone Box stuende ein bisschen… was ich gefunden hab war Bill Cole’s maessig begeisterter Review in Downbeat (29.4.71), der das Zitat am Ende aufgreift
Joe Henderson is undoubtedly a musician of exceptional ability and his cohorts here are, if not all in the same category, certainly players of good repute. All the more reason for the comparatively low rating. Our expectations are of greater things.
Lenny White is the surprise bonus and does as much, if not more, than the leader to create what excitement there is. He is sharp and crisp, tasteful and controlled; all prerequisites for excellence in the art of jazz drumming. He is also that rare drummer with the ability to stimulate and support at one and the same time; and a challenging and sometimes daring soloist. For the others, very little can be said. Woody Shaw can be heard to greater advantage elsewhere. His single most glaring shortcoming is his seeming determination to stand on the crutches of Freddie Hubbardisms. George Cables, a really fine pianist, is reduced to the role of “hip, cocktail lounge, electric keyboard man.” The much-touted bassist, Ron McClure, scuffles with the time (maybe because he insists on walking) during the one piece that approaches a straight-ahead feeling—Mode for Joe.
The same thing happens during the brighter passages of ‚Round Midnight, which is a beautiful performance despite that, because the feeling is just as full when the mood is placid. We do have the pleasant sensation of being transported through a myriad of shifting moods, colors and feelings from piece to piece. But the pieces themselves hold so little interest because their style, content and form are so worn and predictable that one wishes this band could have been challenged with something more meaningful to play. That is part of the problem, and the solution has not been met. Where they make sincere attempts, the band burns but the reference to “hip cocktail lounges” was no accident; this date was recorded in one and the band was required to entertain at least as much as it was expected to play.
No value judgments are intended, but it is true that we expect our exceptional people to inspire and raise us, and we feel cheated when such persons are obliged to merely entertain us. Moreover, these kinds of attitudes retard the natural and progressive evolution of our art forms since they encourage complacency and all that is prostituted and cliche.
This record, then, is entertaining and good; it makes the perfect background for drinking and talking, which is exactly the environment which produced it. If you find also that your attention wanders while listening, that too is part of the problem. Well, as Eldridge Cleaver said, “You are either part of the problem or part of its solution.” To that, we say Right On! Dig it?!
***1/2 gibt es
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