Lester Bowie Music

I agree that this record is not for everyone, but is it a reason to give it less than 5 stars? Sure, the title has very little to do with the complex free-jazz oriented harmonies of Lester Bowie, and the vocals represent a drop of water in his ocean.

But this is without a doubt a brilliant record, great for those in need of some relaxing, challenging and subtely burlesque music.

Made in 1981 in Germany on the usually-no-risk-taking ECM label, "The Great Pretender" is an powerful, haunting and fully enjoyable record.

Lester was pomo before there was pomo. The Amazon.com reviewer says that its suspended between "kitsch and concerto." Exactly -- Lester Bowie obliterated such distinctions. The standout cut is the absolutely monumental reworking of the Platters' "The Great Pretender" featuring doo-wop vocals, a variety of slurred half-valve trumpet techniques a la Bubber Miley/Cootie Williams, and a scorching double time bari sax solo by Hamiet Bluiett. (Be forewarned -- when this came on the radio one afternoon in the car, the overblowing part of the solo had a friend of mine threatening to drive the car off a bridge if I didn't turn it off.) The piece ends with Bowie sounding like Jack Nicholson in "The Shining" intoning "Hey, baby I'm here...I...have...arrived...he,he,he."

"Rios Negros" is based on a repeated vamp; Bowie solos, pianist Donald Smith solos, and then Bowie comes back with a muted solo to finish. "Rose Drop" and "Oh, How the Ghost Sings" are exercises in atmospherics. "Howdy Doody Time" and "When the Doom (Moon) Comes Over the Mountain" are along the "Great Pretender" model of deconstructing pop culture themes.

This is a great record, but forewarned is forearmed -- it is not for everyone.

Lester Bowie died not too long ago -- something to feel sad about. This CD is a fine live recording of the Brass Fantasy doing their playful, exuberant thing. The cover and title refer to the LA Riots, happening around the time of the recording, but the somber theme doesn't stop the band from doing what they do. Really, there's nothing EXCEPTIONAL about this CD, though. I ONLY HAVE EYES FOR YOU remains their most fully realized and satisfying disc, and there's nothing really to recommend about this recording above all others, unless, like, someone is obsessed with the LA riots. Steve Turre fans note that he doesn't appear on this CD.

A beautiful example of the music of a man whose passing went largely unnoticed. Music that is easily accessible to jazz listeners who are put off by the label "avant garde." Music that is spiritual and funky at the same time. A wonderful mixture of standards ("What's New") and the kind of whimsical contributions that Lester Bowie contributed to the Art Ensemble of Chicago. Although this group was called the New York Organ Ensemble, the music is still decidedly brass. Steve Turre's solos on trombone are brilliant. A very young James Carter's involvement is quite understated by his later standards. And Famoudou Don Moye provides a firm background on percussion. Uplifting music that works best when you are feeling blue.

A beautiful example of the music of a man whose passing went largely unnoticed. Music that is easily accessible to jazz listeners who are put off by the label "avant garde." Music that is spiritual and funky at the same time. A wonderful mixture of standards ("What's New") and the kind of whimsical contributions that Lester Bowie contributed to the Art Ensemble of Chicago. Although this group was called the New York Organ Ensemble, the music is still decidedly brass. Steve Turre's solos on trombone are brilliant. A very young James Carter's involvement is quite understated by his later standards. And Famoudou Don Moye provides a firm background on percussion. Uplifting music that works best when you are feeling blue.

I agree that this record is not for everyone, but is it a reason to give it less than 5 stars? Sure, the title has very little to do with the complex free-jazz oriented harmonies of Lester Bowie, and the vocals represent a drop of water in his ocean.

But this is without a doubt a brilliant record, great for those in need of some relaxing, challenging and subtely burlesque music.

Made in 1981 in Germany on the usually-no-risk-taking ECM label, "The Great Pretender" is an powerful, haunting and fully enjoyable record.

Lester was pomo before there was pomo. The Amazon.com reviewer says that its suspended between "kitsch and concerto." Exactly -- Lester Bowie obliterated such distinctions. The standout cut is the absolutely monumental reworking of the Platters' "The Great Pretender" featuring doo-wop vocals, a variety of slurred half-valve trumpet techniques a la Bubber Miley/Cootie Williams, and a scorching double time bari sax solo by Hamiet Bluiett. (Be forewarned -- when this came on the radio one afternoon in the car, the overblowing part of the solo had a friend of mine threatening to drive the car off a bridge if I didn't turn it off.) The piece ends with Bowie sounding like Jack Nicholson in "The Shining" intoning "Hey, baby I'm here...I...have...arrived...he,he,he."

"Rios Negros" is based on a repeated vamp; Bowie solos, pianist Donald Smith solos, and then Bowie comes back with a muted solo to finish. "Rose Drop" and "Oh, How the Ghost Sings" are exercises in atmospherics. "Howdy Doody Time" and "When the Doom (Moon) Comes Over the Mountain" are along the "Great Pretender" model of deconstructing pop culture themes.

This is a great record, but forewarned is forearmed -- it is not for everyone.

I agree that this record is not for everyone, but is it a reason to give it less than 5 stars? Sure, the title has very little to do with the complex free-jazz oriented harmonies of Lester Bowie, and the vocals represent a drop of water in his ocean.

But this is without a doubt a brilliant record, great for those in need of some relaxing, challenging and subtely burlesque music.

Made in 1981 in Germany on the usually-no-risk-taking ECM label, "The Great Pretender" is an powerful, haunting and fully enjoyable record.

Lester was pomo before there was pomo. The Amazon.com reviewer says that its suspended between "kitsch and concerto." Exactly -- Lester Bowie obliterated such distinctions. The standout cut is the absolutely monumental reworking of the Platters' "The Great Pretender" featuring doo-wop vocals, a variety of slurred half-valve trumpet techniques a la Bubber Miley/Cootie Williams, and a scorching double time bari sax solo by Hamiet Bluiett. (Be forewarned -- when this came on the radio one afternoon in the car, the overblowing part of the solo had a friend of mine threatening to drive the car off a bridge if I didn't turn it off.) The piece ends with Bowie sounding like Jack Nicholson in "The Shining" intoning "Hey, baby I'm here...I...have...arrived...he,he,he."

"Rios Negros" is based on a repeated vamp; Bowie solos, pianist Donald Smith solos, and then Bowie comes back with a muted solo to finish. "Rose Drop" and "Oh, How the Ghost Sings" are exercises in atmospherics. "Howdy Doody Time" and "When the Doom (Moon) Comes Over the Mountain" are along the "Great Pretender" model of deconstructing pop culture themes.

This is a great record, but forewarned is forearmed -- it is not for everyone.