Mutima

A landmark recording in early creative improvised modern music, bassist 's recording for the label is an important document introducing him as a leader from the international jazz-based scene in New York City via his native Tulsa, OK and following a brief mid-'60s stint in Detroit. as a pure musician has staggering technique, rich harmonic ideas, and an indefatigable swing, but it is as a composer that he is set apart from other musicians of this mid-'70s era. is a stunning piece of composed and improvised music, with a brief clarion horn section setting off 's chordal strumming and harp bop drive. Trumpeter 's brash lines, the incendiary tenor saxophonist , and more thoughtful alto saxophonist dig into hefty but contrasting solos, while drummer stokes the coals. The other premier piece, has a soaring longer melody switching on and off onto a samba palate that is pretty, beautiful, and much more introspective than other wild and woolly cuts. The legendary but underrecognized flutist shines on the floaty free and the atypical but wholly contemporized a portent to the music that would be made later in this time period by , and featuring the wah-wah electric bass guitar work of The two-minute sports the disparity of a complex arrangement alongside the beautiful singing of a young , while the marathon has performing solo, but overdubbed on two basses in opposite stereo channels, using serene long-toned arco and static pizzicato in arresting sounds that meld into a bridge squawk reminiscent of the saxophone playing of bandmate . In retrospect, 's great career was ostensibly launched well before this recording, having worked with prominently with , , and countless others. (translated as "unseen forces") undoubtedly solidified his stature and brilliance as a major player. ~ Michael G. Nastos