|| William Hooker Quartet
Cat. No.: SHCD119
William Hooker drums, recitation
Alan Michael alto saxophone
Claude Lawrence alto saxophone
William Parker bass
Mark Hennen piano
Charles Compo tenor saxophone
Masahiko Kono trombone
1. R.A.W. Jazz Festival Performance (William Hooker) 49:52
- Schools of Thought 7:20
- Revisited (Science) 12:30
- Maitreya 12:10
- Tune 11:00
- Beauty's Apocalypse 5:00
2. Dual Meaning (William Hooker) 9:52
3. Dignity (William Hooker) 8:20
Total time: 68:14
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"The music is post-Ornette-isque and strongly influenced by the new jazz
of the sixties. It's kept the heat, glow and effervescence of black magma, but
at the same time Hooker has succeeded in carrying it further with personal changes
of his own. He whisks up an almost ritual atmosphere in which all the different
voices are woven together by the drums into a multi-hued glistening weave of bright
colors. This is a most remarkable alb and well worth hearing."
Thomas Millroth, Gränslöst, February 1995
They were sitting in tribulation / a created dream of mortar fire
new with birth of a sun-drenched mode / created for the plants' life [of style.]
A dream reduced in the reality for a new couch focus / Forever entrenched
in the light of dawn... can this dream be new must the terror cease when
BLUR of loves' dream feels a scent and growth / in passion I am immobile:
the growth is protruding the tunnel channels euphoria of light and
Training the sidelight / revered in our feelings the everlasting side of
life reveals the Beseeched euphoria of a new insomnia.
The grand bliss
The tormented truth that reveals lovely music
The time goes on toward a pleasure / ecstatically
Dowelled... Reacting toward the nomenclature of time.
A new time / Sorrowful reaction to the grace removed splendor // enacting trenchant
dreams to soliloquize... REVELATION
What is this love
Where is this poem
Neutral parties grow solemn as real / Time grows vile, yet lovely
Waking today and doing what comes naturally, I thought about this piece of music,
its inception, the day of its performance and the recognition and acceptance that
Real Art Ways had prepared our rooms, food, travel and equipment with such care.
It was perfect. The musicians arrived feeling fresh and looking healthy. There
was a feeling of being in the country for some sun and music. This was a return
to my friends.
We played that day. The music traveled into the air and the people felt
its power and deep resolve. This group performed brilliantly in my opinion and
this five piece suite, written for my roots, was played exceptionally well.
As the musicians got on the bus to return to New York City, a "newer"
energy could be perceived. Their smiles made me feel good, and to know that they
had been treated with dignity and respect meant a lot to me.
Neutrality seals the beams for a light of total reality... Neutrality and strength.
Poems / and motion; gone to an everlasting
Smoke the turmoil / Love its rights...
Beyond a new growth of pleasure / and inequity The blossoms
and grow and flow
I think that playing in the bars, the rock and roll, the organ groups, the standards
and the shows; all this was the experience of preparation for the music I write
and play today. This recording is a part of this life's line. It's an extension
of the branch of the tree which was (and is) viewed with contempt as chaos. But
to me this music is an historic growth in a series of signals toward a future
which includes vision as its stepping stone. I come across a lot of people
who don't know this, who do not have the talent or strength to do this, and yet
criticize with an arrogance which leads me to believe that they, themselves,
are the Coltranes, the Ornette Colemans, Albert Aylers, Cecil Taylors (of the
avant-garde 60's) who made a New Black Music which is still becoming. People
should take the time to rehear some of these works that I spend time to research
and study, to find out how far we, in this group, have come. We are playing so
much more than the mediocrity that has gained acceptance by critics of press,
jazz journals, magazines, and even some audiences who would react to our music
of the 90's with repulsion. We are different today. My work is not an affirmation
of the "know nothings" who believe it a step backward to be concerned
with political repression, economic injustice, racial issues and environmental
destruction. It is built, and stands, like the Archives of my friends at WKCR-FM
in New York City, the ESP disks of historic precedent, R.A.W which is an
oasis in reactionary territory, and for the musicians of my generation who keep
the music alive.
Towering rejects / Borders to truth:
Credo in view of the
Growing in reaction /
Relate. Relatives. Relation.
(the outside air)
This has been a beautiful day for me. Take time to listen with openness.
WILLIAM PARKER. Bassist. Composer. He is a strong force, and will continue to
be. He has played with Cecil Taylor, Committment, David Ware, Jemeel Mondoc/Muntu,
as well as his own groups.
CLAUDE LAWRENCE. Alto sax. Upon meeting this excellent musician at his own Manhattan
Healing Arts Center, we played in a variety of settings and have tried to build
from that ground. He has played with Sirone (recording with Sirone in 1980 on
Serious Music 1000) and The Trio, with Dennis Charles and Wilber Morris, among
others. He can be distinguished from Michael on this recording by his rounder
and smoother tone.
ALAN MICHAEL. Alto sax. I have documented Alan's sound on my album, "Brighter
Lights" (RUC 445), under his previous name of Alan Braufman. He has performed
with Carla Bley, John Clark and as leader of his own group. He has a somewhat
reedier sound than Lawrence.
MARK HENNEN. Pianist. I first heard Mark with Muntu on WKCR-FM from Columbia University.
Since that time I have worked with him quite frequently and his work is also documented
on "Brighter Lights" (RUC 445). He has played with Ellen Christi, Rashid
Bakr's Pieces of Eight, and his own groups.
CHARLES COMPO. Tenor sax. This reedman exhibits a great love of the music and
its history. He recently appeared at Indigo Blues, a newly opened venue which
may possibly change the status of music of this kind in New York City.
MASAHIKI KONO. Trombone. A performer of extraordinary focus and flexibility, he
has performed with Moondoc's "Jes Gru" Orchestra, Billy Bang, and others.
His recent performances with me have been praised highly.