egroj world: Idris Muhammad • House Of The Rising Sun

Friday, May 10, 2024

Idris Muhammad • House Of The Rising Sun

 



Review by Thom Jurek
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.
https://www.allmusic.com/album/house-of-the-rising-sun-mw0000264650

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Reseña de Thom Jurek
House of the Rising Sun de Idris Muhammad es un álbum legendario de soul-jazz, y por una buena razón. Primero está el hecho de que, a pesar de Grady Tate, Idris Muhammad es fácilmente el mejor de todos los bateristas de soul-jazz. A continuación, se revela que el jefe del sello y productor Creed Taylor estaba más inspirado aquí, y no tenía miedo de equivocarse en el lado del rhythm and blues de la ecuación del jazz. El material es de primera categoría, y David Matthews, quien orquestó y arregló esta fecha con la excepción de una pista: "Sudan" fue escrita por Muhammad y Tom Harrell, y Harrell la arregló, estaba en llamas. Como líder de banda, Muhammad es sorprendentemente efectivo. No porque uno pueda dudar de su habilidad, sino por su reputación como uno de los grandes bateristas de estudio del jazz. Finalmente, esta es la mejor alineación individual en la historia de Kudu, y presenta los talentos de Don Grolnick, Eric Gale, Will Lee, Roland Hanna, Joe Beck, David Sanborn, Michael Brecker, Hugh McCracken, Bob Berg, Fred Wesley, Patti Austin y una docena más jugando con sus traseros. Desde la canción principal que abre el álbum, con Austin llegando al punto de ruptura en su entrega, hasta el ritmo increíblemente funky en "Hard to Face the Music" de Ashford y Simpson, hasta el funk en clave menor del tema adaptado por Chopin en "Theme for New York City", hasta la batería de triple tiempo de "Sudan"y los ganchos asesinos con tintes orientales, y una lectura de "Hey Pocky A-Way" de The Meters, con el bajo dirty finger poppin'de Eric Gale sobre el trabajo de diapositivas bluesed de McCracken, este es un álbum humeante y sin tregua. Agregue a esto una hermosa versión del clásico brasileño de jazz de Ary Barroso "Bahía", y tendrá el set para un álbum de jazz clásico. Pero el completo desprecio por la corrección política del "Jazz" en sí mismo, para transmitir los ritmos profundamente funky y conmovedores, es lo que hace que este set sea tan especial e incluso espiritual en su inspiración. Los puristas del jazz perdieron toda credibilidad cuando descartaron este, atrapados como estaban en visiones contaminadas, incluso racistas del pasado que no permitían que los músicos de jazz siguieran realmente su tradición consagrada de extraer la música pop del día para extender la amplitud y el alcance del jazz en sí. Cualquiera que quiera creer que George Gershwin es de alguna manera más importante que George Porter Jr. ya está perdido en su propio fascismo cultural. Muhammad, que entiende esto mejor que nadie, hizo todo lo posible aquí y lanzó una losa increíblemente dura y funky. Brillante.
https://www.allmusic.com/album/house-of-the-rising-sun-mw0000264650


 





Tracks:
1 - House Of The Rising Sun 4:42
2 - Baia (Boogie Bump) 4:39
3 - Hard To Face The Music 4:49
4 - Theme For New York City (Based On Frederic Chopin's Prelude No. 4) 3:26
5 - Sudan 10:52
6 - Hey Pocky A-Way 6:06
 - Bonus Tracks:   
7 - Pipe Stem 5:27
8 - I Know You Don't Want Me No More 4:41

    
Credits:
    A&R [Reissue Legacy A&R] – Steve Berkowitz
    A&R, Coordinator, Liner Notes [Reissue] – Didier C. Deutsch
    Alto Saxophone – David Sanborn (tracks: 1 to 6, 8)
    Arranged By, Conductor [Conducted By] – Dave Matthews (3)
    Baritone Saxophone – Ronnie Cuber
    Bass – Wilbur Bascomb (tracks: 2, 4, 5, 7), Will Lee (tracks: 1, 8)
    Cello – Alan Shulman (tracks: 1 to 6), Charles McCracken (tracks: 1 to 6), Seymour Barab (tracks: 1 to 6)
    Design [Album] – René Schumacher*
    Drums, Percussion – Idris Muhammad
    Engineer – Rudy Van Gelder
    Engineer [Additional Engineering] – Richard King (tracks: 7, 8)
    Engineer [Assistant] – Pablo Arraya (tracks: 7, 8)
    Engineer [Re-mix] – Danny Kadar (tracks: 7, 8)
    Guitar – Joe Beck (tracks: 3)
    Guitar, Bass – Eric Gale
    Mastered By – Joseph M. Palmaccio
    Percussion – George Devens
    Photography By – Alen Mac Weeney*
    Piano – Don Grolnick (tracks: 2, 3, 6, 7), Leon Pendarvis (tracks: 1, 8), Roland Hanna (tracks: 4, 5)
    Producer – Creed Taylor
    Reissue Producer – Leo Sacks
    Research [Reissue Tape Research] – Matt Kelly (2), Stacey Boyle
    Tenor Saxophone – George Young (2) (tracks: 1, 3, 4, 6)
    Trombone – Barry Rogers, Fred Wesley
    Trumpet – Tom Harrell
    Violin – Charles Libove (tracks: 1 to 6), David Nadien (tracks: 1 to 6), Emanuel Green (tracks: 1 to 6), Harold Kohon (tracks: 1 to 6), Harry Cykman (tracks: 1 to 6), Joe Malin (tracks: 1 to 6), Max Ellen (tracks: 1 to 6), Paul Gershman (tracks: 1 to 6)
    Vocals – Debbie McDuffie* (tracks: 2, 6), Frank Floyd (tracks: 1 to 6), Hilda Harris (tracks: 2, 6), Patti Austin (tracks: 2, 6)

Notes:
Originally released in 1976 [Kudu KUDU 27]
Original album : KU 27 released 1/14/76
Tracks 7 & 8 bonus material previously unreleased
Recorded at Van Gelder Studio, Englewood Cliffs, NJ :
1 & 8 September 23, 1975
2 & 4 October 8, 1975
3 & 6 June 27, 1975
5 June 18, 1975
7 June 19, 1975

Label:    Music On CD – MOCCD13916
Format:   
CD, Album, Reissue, Remastered, Bonus Tracks
Country:    Europe
Released:    2020
Genre:    Jazz
Style:    Jazz-Funk, Disco
https://www.discogs.com/es/release/15442663-Idris-Muhammad-House-Of-The-Rising-Sun




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