egroj world: Freddie Roach • All Thats Good

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Como muchos habrán notado aparte del problema de Ulozto la cuenta principal Mega ha sido suspendida, por consiguiente el blog se verá disminuido temporalmente hasta poder reestructurar y normalizar el blog. Agradezco todas las muestras de apoyo que me han brindado. Gracias por comprender.



Saturday, June 5, 2021

Freddie Roach • All Thats Good



Review by Thomas Erlewine
On his final album for Blue Note, Freddie Roach decided to step outside -- way outside -- the tasteful soul-jazz that had become his trademark. Roach decided to make a concept album, one that captured the sound and vibe of what he calls "Soultown," or what critics like to call "black culture." Those terms would suggest that All That's Good is a gritty, funky collection of blues vamps and soul, but that's not the case at all. Supported by a trio of lesser lights -- guitarist Calvin Newborn, drummer Clarence Johnston, and tenor saxophonist Conrad Lester -- Roach never hits upon a groove, choosing to create a series of bizarre, hazy textures. That atmosphere is catapulted into the realms of the surreal by vocalists Phyllis Smith, Willie Tate, and Marvin Robinson, whose wordless, floating singing sounds spectral; the intent may have been to mimic a gospel choir, but the effect is that of a pack of banshees wailing in the background. The structures of the songs may follow traditional paths, but the eerie voices make the music surprisingly unsettling, which certainly wasn't Roach's intent. He may have been trying to make an epic portrait of contemporary black culture, but he's undone by his off-kilter arrangements (Harlan Howard's familiar "Busted" is nearly unrecognizable) and pedestrian, unmemorable songwriting. It's likely that, if the songs were delivered as straight-ahead soul-jazz, they wouldn't have made much impact so, in a weird way, it's almost fortunate that Roach attempted something grand, because All That's Good sounds like no other Blue Note record of the early '60s.
 
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Reseña de Thomas Erlewine
En su último álbum para Blue Note, Freddie Roach decidió salirse -muy lejos- del soul-jazz de buen gusto que se había convertido en su marca. Roach decidió hacer un álbum conceptual, uno que capturara el sonido y el ambiente de lo que él llama "Soultown", o lo que a los críticos les gusta llamar "cultura negra". Esos términos sugerirían que All That's Good es una colección descarnada y funky de blues vamps y soul, pero no es el caso en absoluto. Apoyado por un trío de músicos menores -el guitarrista Calvin Newborn, el baterista Clarence Johnston y el saxofonista tenor Conrad Lester- Roach nunca da con un ritmo, sino que opta por crear una serie de texturas extrañas y nebulosas. Esa atmósfera se ve catapultada a los reinos de lo surrealista por los vocalistas Phyllis Smith, Willie Tate y Marvin Robinson, cuyo canto flotante y sin palabras suena espectral; la intención puede haber sido imitar a un coro de gospel, pero el efecto es el de una manada de banshees ululando en el fondo. Puede que las estructuras de las canciones sigan caminos tradicionales, pero las inquietantes voces hacen que la música sea sorprendentemente inquietante, lo que sin duda no era la intención de Roach. Es posible que intentara hacer un retrato épico de la cultura negra contemporánea, pero se ha visto perjudicado por sus arreglos desviados (la conocida "Busted" de Harlan Howard es casi irreconocible) y por una composición pedestre e inmemorable. Es probable que, si las canciones se hubieran interpretado como soul-jazz directo, no habrían tenido mucho impacto, así que, de una manera extraña, es casi una suerte que Roach intentara algo grande, porque All That's Good no suena como ningún otro disco de Blue Note de principios de los 60.
 


Tracklisting:
01. Journeyman - 7:38
02. All That's Good - 6:23
03. Blues for 007 - 5:51
04. Busted (Harlan Howard) - 6:04
05. Cloud 788 - 6:25
06. Loie (Kenny Burrell) - 6:34

Total Time: 38:55

All compositions by Freddie Roach except as indicated.

Personnel:
- Freddie Roach - organ
- Conrad Lester - tenor saxophone
- Calvin Newborn - guitar
- Clarence Johnston - drums
- Marvin Robinson, Phyllis Smith, Willie Tate - vocals


Recorded: October 16, 1964, Van Gelder Studio, Englewood Cliffs.
Released: October 1965
Producer: Alfred Lion

Label: Blue Note BST 84190









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