Sam Rivers - “Fuchsia Swing Song”
I can’t stop shipping them
Sam Rivers “Fuchsia Swing Song”
Visions - Performances From The EMIT Series
Born in Reno, Oklahoma on September 25, 1923, Sam Rivers was an institution on the Boston creative music scene since the ‘40s. It wasn’t until 18-year-old Tony Williams brought his to New York for the drummer’s album Life Time that the rest of the jazz world began to take notice. Sam was a total original, whose sound and style was not beholden to Dexter Gordon, Sonny Rollins or John Coltrane. He was restless and creative throughout the rest of his life – a true one of a kind. Visit www.mosaicrecordsimages.com for more Francis Wolff Blue Note photography.
Even the most slapdash of complaints can carry cursory kernels of truth. In the context of free jazz, there’s the reductive, dismissive assumption of binary musical conditions - fast and slow, loud and soft, with players careening seat-of-the-pants between them with logic and structure little more than an afterthought. Superficial exposure to the music that the Sam Rivers Trio improvises on Ricochet could compel such conjecture in a passive, distracted or inattentive listener. Rivers starts the set at a full sprint on soprano saxophone, reeling out rapid fire phrases over Dave Holland’s similarly expeditious pizzicato and the swirling cymbals whirlpool stirred up from Barry Altschul’s drum kit. The music eventually veers into a fingers-abrading solo by the bassist that serves as page-turning segue for the leader’s switch to lyrical piano.
Sam Rivers, 1982
Sam Rivers was a living dynamo across his eighty-eight years on the planet. One of the predictable accompanying injustices of all that activity that his commercially released discography only partially reflected that vibrant prolificacy. If left to the vagaries and biases of record labels that might have been the whole story. Fortunately, in typical self-deterministic fashion Rivers took it upon himself to document much of his work. The result was a tape trove from which the source recording for Zenith originates. Second in a projected eight-volume series produced by archivist Ed Hazell and label owner Danas Mikailionis, it brings into circulation an appealing and action-packed vintage German concert hit by an amalgam of several of Rivers’ most satisfying ensembles.
Vintage Limp Bizkit the Family Values tour shirt, 1999. Featuring Filter, Staind, Korn, Method Man, Redman, System of a Down, Primus.
We have discussed the sonic principles of nu metal in our posts, but we didn’t examine the genre’s most infamous band. Yes, Limp Bizkit hover over the brand as a spectre, though I feel many seem to base their response to them on their later unintentionally self-parodic phase. While one can say I am giving them too much credit for their early works, one only needs to notice how their propensity for going over the top feels calculated. I mean, Fred Durst probably knows his choice of words might end up controversial, but he goes with them anyway. However, many miss their sense of humour, which might be brash, yet that quality remains present. Moreover, their musical backing alone does some intriguing things despite the latter being drowned by Durst’s foolish lyrics.
Limp Bizkit Anger Management Tour 2000 Feat. Godsmack, Papa Roach and DMX.