Word: sax
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Dates: during 1970-1979
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...least for the foreseeable future, it might as well be accepted with some degree of good cheer. The title cut kicks things off with air-raid sirens sounding, bombs exploding, and machine guns firing mixed over a breakfast conversation between husband and wife. Anderson on alto sax joins pianist John Evan to lend a madrigal-like impression to the opening few measures. The tune progresses as it deals with war's romantic side, a romanticism evoked musically by the coupling of a flowing melody (played by the strings) and a series of ascending and descending runs (banged out an Evan...
...deal with the then up-and-coming black musicians, particularly John Coltrane and Eric Dolphy, who when the movie was made were far from their deathbeds. And more importantly, he precludes any sort of white imitations arising, a viewpoint which the plangent sounds of John Klemmer's tenor sax go far to dispute...
...piano (both electric and conventional) figuring prominently. In addition, Winwood's experimentation with mellotron and synthesizer is highly successful. The tasteful string arrangement simulated by the mellotron, complements the strong rhythm section quite well, joined by a subtle wah-wah guitar way down in the mix. Wood's sax solo is far moodier than in the past although one cannot help but be immediately reminded of "Glad," when the wah-wah begins. The entire piece, although quite lengthy (11:03) does not drag for a moment because of the constant shifting of melodies and countermelodies among the sax, piano...
...tune is marked instrumentally by the melodic exchange between organ and synthesizer which further on develops into an exchange of several phrases between Wood's flute and Winwood's piano. The piece reaches its climax with several rapid-fire sax glissandos and the re-entering of the synthesizer. There is not only a shift in melody and countermelody among instruments, but a shift in rhythm, too. Finally, in the title cut, Winwood delivers one of his most vocally concentrated efforts with lyrics along the same theme as "Sometimes I Feel So Uninspired...
Pharoah Sanders at the Jazz Workshop this week, is a former John Coltrane protege who has succeeded in stretching music even farther than his mentor did. His sax is accomplished in the traditional sense, of course, but a lot of what he plays is likely to leave you bewildered. Expect loads of energy but not much melody...