Label: Circle Records – RK 14778/10
Format: Vinyl, LP / Country: Germany / Released: 1978
Style: Free Jazz, Free Improvisation
Recorded live at the Northsea-Festival in Den Haag, July 14, 1978, Holland
Design, Photography By [Back Cover] – Rudolf Kreis
Photography By [Front Cover] – Günter Voss
Recorded, Producer By – Rudolf Kreis
Published By – Phillisaundi / Leo Smith Publ. Co.
Matrix / Runout (Side A): F 666 343 A 1
Matrix / Runout (Side B): F 666 343 B 1
A1 - Electricity ..................................................................................... 11:20
A2 - Leo's Tune ................................................................................... 10:21
B1 - F & L............................................................................................ 14:04
B2 - Death Aint Supposed To Be Negative .......................................... 9:45
Phillip Wilson – drums
Leo Smith – trumpet, pocket trumpet
Johnny Dyani – bass
“Electricity” starts the set off at a clip, the drummer setting the pace. Dyani’s fast pizzicato plucks go up and down the fret board as Wilson’s light hi-hats keep the momentum. Smith’s strong vibrato-less tone fills the melodic role as the piece pushes on. The bass is high in the mix and Dyani takes advantage as he really wrestles tones out. The dialog between Smith and Dyani is intriguing. The call and response sections are of interest as the two develop an interesting dialog.
This is pure energy music with a free pulse allowing the musicians to really invest in their own sound. Smith keeps the energy up and texture dense with thick swathes of sound. The communication is good. Wilson plays the accompanist role until the middle where he commands a solo that starts at mid intensity and builds, rollicking along. Dyani returns with a solo letting the harmonics ring from his instrument with runs through the registers. It isn’t about intonation and melodicism as much as it is about sound creation, rhythm and texture.
Smith joins back with a blustery tone. The last couple minutes are interesting for the gear shifts, each soloist gets a chance to drive. The bass begins to walk, steering toward the conclusion, then slows with loud twangs as Smith ends with a long tone and Wilson’s cymbal splash.
“Leo’s Tune” is a melody written by Smith. It has a more restrained and thoughtful nature. Smith’s long tones and haunting altissimo are contrasted with a minimal drum part and off beat low strums from the bass. The meditative quality and restraint create a nice balance to the firey “Electricity”.
The group begins to diverge as Smith takes the solo lead. Wilson is in his own world with very subtle hits, mild hints of swing on the hi-hats. Dyani throws in some of his fleet fingered tricks from time to time before he takes his solo. He remains focused on the various sounds that he can emit with his strumming before slowing into a blues-ish strolling line. Wilson begins his solo with rolling snare into an off kilter bounce. The high-pitched bass introduces the ostinato plucking and Smith’s return to the melody. This is a really lovely piece.
The group begins to diverge as Smith takes the solo lead. Wilson is in his own world with very subtle hits, mild hints of swing on the hi-hats. Dyani throws in some of his fleet fingered tricks from time to time before he takes his solo. He remains focused on the various sounds that he can emit with his strumming before slowing into a blues-ish strolling line. Wilson begins his solo with rolling snare into an off kilter bounce. The high-pitched bass introduces the ostinato plucking and Smith’s return to the melody. This is a really lovely piece.
The B-side starts off with what is perhaps Dyani’s most intense performance on wax, Wilson’s “F & L”. He starts off with some incredibly nimble finger work and bent notes. Dyani is really the engine here as Smith plays a long tone melody and Wilson stays in the background until the main dancing melody comes in. Dyani’s muscles are flexing as he hints at a bass line but continues to deviate favoring his own fireworks.
Smith begins his solo over Dyani’s funky, distorted (?) bass line. The form keeps switching from quick jam to free space. Definitely a head nodder. Smith sounds strong with his unbroken but arresting tone. Wilson’s drumming keeps with a funky snare hit with off beat ride cymbal work. Dyani finds all sorts of wild, yet minimalist, percussive ideas to mess with. Some pretty left field.
Dyani’s unique sense of groove and physicality on the instrument are on full display. Wilson shows his command of time by bringing his solo down to bare essentials, quick resonant hits on this drum or that, slow builds, a cymbal hit… Dyani brings us back (who else?). Very, very cool piece.
Wilson’s “Death Ain’t Supposed To Be Negative” closes out the disc. Wilson’s unaccompanied drums start off a mid pace groove. Dyani and Smith are quick to start up with minimal plucks and thoughtful bluesy blasts. Smith’s raw tone is especially nice here as he begins to pick up intensity into a gallop. The waltzy tempo set by Wilson dances along nicely as Dyani frames the piece with a descending line, his most harmonic playing on the disc. He also tries different rhythmic phrases on the line.
Smith and Dyani remain in the front of the mix. Smith’s poignant solo breaks off as Dyani comes in with his thrummed tones following the basic form, descending and descending. His bass hums. A very simple yet resonant (in more ways than one) statement. Wilson’s solo finds him a little busier as his snare and cymbals start to sing. He remains within the jazz lexicon throughout with flourishes of out stuff. Smith comes in plaintively. Very controlled end to this one.
"Fruits" is a magical live recording...
If you find it, buy this album!
