Customer Reviews

Ask the Ages

5 star:		(26)
4 star:		(1)
3 star:		(1)
2 star:		(1)
1 star:		(0)

 

 

One of the most under-recognized voices in modern jazz, Sonny Sharrock was among the first certifiably "free" guitarists. His forceful, often discomfiting playing favored harsh melodic contours and oblique modal harmonies--heavily influenced by the "energy" school of free jazz tenor saxophonists. He perfected a skittish, "shards of glass" technique equivalent to Albert Ayler's buzzsaw trills, as well as a formidable, unique approach to slide guitar. Sharrock, however, was a wildly eclectic musician, devoting as much time--on record--to soul-jazz and noise rock as more traditional "free" forms. Recorded after his return to the free scene as electrified "enfant terrible," "Ask the Ages" offers listeners an opportunity to hear Sharrock in a more familiar context. It just happens to be his masterpiece.

"Ask the Ages" stands apart from Sharrock's revolutionary 60's work for a variety of reasons. The compositions are among the best of the guitarist's career, informed by the tradition of Coltrane and Pharoah Sanders, but more wholly involved than much free writing of the 60's. Here, the leader is aided by producer Bill Laswell, whose penchant for multitracking endows Sharrock's tunes with a greater sense of depth. The backing band, too, is nothing to scoff at; Sharrock is joined by Sanders, bass dynamo Charnett Moffett, and Coltrane's former drummer, (the clinically BAD) Elvin Jones. This is perhaps the most combustible group of the guitarist's recording career, but the combo's more explosive tendencies are tempered by a fine sense of dynamics and subtlety. Sonny, though, is the star; his "mature" style, which coalesced upon his reemergence in the 80's, is a wonder to behold. There is a definite sense of gravitas to his lines, a dense, compelling logic neatly counterbalanced by weighty tone and a wildly idiosyncratic sense of melodic development. This is no skronk-fest; "Ask the Ages" is as finely constructed as any free jazz album in the canon, a gorgeous portrait of a master improviser in the prime of his life. Remarkable, considering the fact that it would be his final ("real") album.

Very highly recommended for fans of free jazz, free improvisation, and creative modern music in general. It honestly doesn't get any better than this.

Seize the Rainbow (1989), Highlife (1990), and Ask the Ages (1991), the last three studio recordings that guitarist Sonny Sharrock made before his untimely death in 1994 could be regarded as thesis, antithesis, and synthesis. "Seize the Rainbow" is the most rock oriented, and indeed heavy metal listeners would feel right at home on the opening track, "Dick Dogs." This is a guitar record with a muscular rhythm section of Melvin Gibbs on electric bass and Abe Speller and/or Pheeroan Aklaff on drums.

"Highlife" was recorded with Sharrock's touring band, and while never entirely checking his free jazz credentials at the door, the inclusion of keyboardist Dave Snider and an emphasis on song forms and the inclusion of recognizable tunes (the traditional "All My Trials" and British prog-rocker Kate Bush's "Cloudbusting"?!, identified in the track listings simply as "Kate") makes this a more broadly accessible disk - i.e. the one your wife doesn't tell you to turn down.

"Ask the Ages" reunites Sharrock with fellow Coltrane acolytes Pharoah Sanders and Elvin Jones, and with Charnett Moffett on acoustic bass, they make the unusual line-up electric guitar/sax/drums/acoustic bass work. The compositions are more developed than the guitar rave-ups of "Seize the Rainbow" but more harmonically open-ended than the more pop-oriented material of "Highlife." The most firmly rooted in the jazz tradition of the three, "Ask the Ages" has an elegiac feel (especially the ballad "Who Does She Hope to Be?") and it is a sad though worthy close to Sharrock's career.

This album, being my only encounter (so far) with Sonny's work, is largely considered amongst his finest work, and although having long since been unavailable/Deleted, this is most definitely an album that is either (A) Worth tracking down, Second hand (which was what I did), or (B) Paying the high Prices charged by people selling their copies. Either way, it an album that's probably going to take a little effort to source. but this is more than worth the considerable effort.

"Promises Kept" is a truly jaw-dropping effort, it falls into wildly exuberant Free-jazz, that's particular upbeat and freeform, but with a truly engaging sense of musically expression and performance. it takes the best elements of jazz (particularly peak-ear "John Coltrane), and with the help of "Pharaoh Sanders" exceptional performances, melds slight elements with Avant-Garde composition, with the free flow of Jazz. An reviewer below, made a comment about the "saxophone solo being amongst the greatest modern saxophone solo ever recorded", and although I'm in no position to state that this is the case, I sure wouldn't say, that it wasn't a fairly accurate assessment. In fact I think that even more acknowledgement should be given to given to Coltrane Quartet drummer "Elvin Jones", who not only manages to play with a level of proficiency rarely seen throughout the album, but his drummer solo that closes out the latter half of this track, will go down as one of the great drum performances of recent memory.

"Who Does She Hope to Be?" is more in line with traditional Jazz-values and although it doesn't explore the more experimental ends of the Jazz genres, like a couple of the tracks here, its inclusion is more than justified by sublime down tempo warm performances that evoke the sense of a late night 'Film Noir' soundtrack piece. It's mood is one of atmospheric sax, reflective brushed drums and subtle bass. This although being the most traditional track in terms of composition, reminds of Miles Davis' more subtle moments, and admirably stands as a tremendous track in its own right after the utter brilliance of "Promises Kept".

"Many Mansions" takes more of a (slight) fusion approach, it starts as elegant jazz, and gradually over the course of the track, builds slowly and the arrangements become more fuller sounding, fleshing out into something approaching Post-Bop, with sweeping compositions and memorable themes, it certainly the work of a group of incredibly talented musicians playing to their strengths, but what truly impresses is the way that Sonny's electric guitar is very subtly introduced over the course of the track. So much so, that on the first listen or two, you may even miss it's introduction. There is no doubt that Sonny was a truly exceptional talent, as this is him playing with sincere subtly, and less of a showcase for his (stunning) guitar arrangements.

"Once upon a Time" is probably the track with a stronger elements of fusion/Avant-Jazz music than Free-Jazz. Sure this is a group largely of Jazz musicians performing here, but the approach feels more in tune with Avant-Jazz, than any form of contemporary Jazz. And here Sonny's exceptional guitar work, gets a little more room to stretch its legs, and shows him as a band leader of some considerable note. with tribal beats complementing the arrangements, of sonny's guitar chords. Which are given ample, adrenaline charged, endlessly cascading/ascending guitar lines, the energy of classic free jazz's soulful wail, this is one such piece that harkens to their past. And ends the album on a truly breath-taking & satisfyingly high note.

This is without doubt, a truly remarkable album, that becomes all the more precious after the passing over of such a talented figure, and if (like me) Free-Jazz, Avant-garde, Experimental-Jazz, Fusion, or just jazz in it's various forms appeal, then this is a unquestionably recommended title. But for those that aren't familiar with these genres of jazz, and their experience of jazz starts and stops at the more commercial end of Jazz, or aren't familiar with Bill Laswell's "Axiom" label (on which this album is on). Then for the high asking prices people are charging for this 'Out of Print' title, I'd have to suggest that you possibly consider passing on this and try something a little easier to get hold of (and ultimately far less expensive). As This is more of an enthusiasts album, and probably not such an idea for an (expensive) starting point to get into this music. But for the rest of you.....(and to be fair if your reading this review, about this Artist, then your probably fairly clued up). Beg, Steal, Borrow the money, to secure yourself a copy of this phenomenal album.

A CD that is not for the faint of heart, "Ask the Ages" shows what fusion can be in the hands of a creative leader with a great band. Sharrock's amped-up attack delivers juice to the furious assault of Pharaoh Sanders on reeds, Elvin Jones on drums, and Charnett Moffat on bass. The band isn't afraid to shriek, but it doesn't sy away from delivering its own brand of muscular lyricism either.

For a good demonstration of the two approaches, cue up the bookends, Cut 1, "Promises Kept," and Cut 6, "Once Upon a Time." The former is a paint peeler stoked by Pharaoh at his volcanic best. His solo is a throwback to his time with Coltrane in '66 and '67. The latter cut features Sharrock laying powerfully melodic chords and voicings over Jones' boiling drums.

In between there's a terrific pair of tunes linked by Sharrock's guitar: "As We Used to Sing" and "Many Mansions." Check out Sharrock's menacing bridge between the two that ushers in Sanders' soprano solo (which reminds me again what a great player he is on that instrument). Once again, we get the potent blend of melodicism beefed up by electricity.

I rank this as one of the better releases of the '90s. Those who think it's all been said in jazz would do well to check it out.

Sonny Sharrock, it seemed, was just hitting his stride when he recorded what would be his last album, "Ask the Ages". Having experimented in a number of different veins over the past several years during his comeback, Sharrock abandoned what had been his evolving working band to put together an ensemble capable of pushing him in an exploratory direction, largely abandoning the fusion direction he was pursuing. That band, Pharoah Sanders on tenor and soprano sax, Elvin Jones on drums, and Charnett Moffett on bass, had wide credentials in free jazz and pushed Sharrock to new heights.

The music is at its best largely when it pushes as far out as it can get-- "Many Mansions" for example, where Jones is positively explosive nad pushes Sanders deeper and deeper until he cuts totally loose. When the solo space changes and Sharrock takes the lead, he plays with an uncommon ferocity that simply must be heard to be appreciated. Likewise, strong performance in similar vein is turned out on opener "Promises Kept", although the band is a bit more restrained, all four musicians push each other to get one of those tracks that just leaves your jaw hanging open.

This is no one-trick pony however. Sharrock applies much of the lyricism he explored on "Highlife" to cuts like "Who Does She Hope to Be?" and "Once Upon a Time". With Sanders receeding somewhat, the leader is express and brilliant. Remarkably though, its Moffett who really steals the show on the ballads, particularly "Who Does She Hope to Be?", where he constructs a solo of just unnerving sensitivity.

All in all, this is a superb album, and Sharrock's masterpiece. Neither he nor Sanders have sounded much better, highly recommended.

This album some how manages to top the extraordinary 'Seize The Rainbow'...Sonny was in his absolute prime on this record..Elvin, Pharoah, and Sonny are cutting diamonds with their instruments on every track...Music does not get heavier than this in my opinion.

The late Sonny Sharrock's final album is an amazing work. Sharrock's first employer Pharoah Sanders and Coltrane drummer Elvin Jones place this album firmly in the tradition of the later Coltrane sound. Sharrock's compositions are accessible, yet sufficiently open for deep improvisation. Bill Laswell's production effectively captures Sharrock's (and Jones') HUGE sound, which could make most jazz producers faint. And unlike other Laswell-produced Sharrock albums, this one is pure jazz, without the heavy metal bombast or avante-garde remoteness of his other work.

Few modern jazz albums succeed so well in that combination of depth and accessibility that make for the finest jazz. A worthy addition to any collection.

this is my favorite sharrock record, though i have never heard some of his rarites like "black woman", as they are often out of print and hard to find. but of the available material, this album seems to be the deepest material he offered, spiritually speaking. it is a step back, stylistically, to the mid- and late '60s, the era of trane's great realizations (no doubt aided by elvin), pharoah's first, heaviest records (pharoah, of course, also being on this album), and, to continue with the trend here, some of ornette's mid-period work like "love call" (charnette moffett is the son of drummer charlie moffett, who played with ornette), and i am reminded of sun ra in listening to it, also. sonny played this kind of music with pharoah in the late '60s, and i am glad he put out a record that showed his shining ability to write in this style and perform with such cosmic depth. this record is HEAVY in the biggest sense of the word, and i must say that my feelings for some of his live recordings of the last ten or fifteen years have diminished somewhat now that i realize how ineffectual some of his backing bands were. one could not ask for a more marvelous grouping than this, however, and the band lifted sonny to new levels of feeling. it's an old style, but the arrangements are somehow modern, song-y; less free than pharoah and trane's works, short and sweet like ornette's stuff. sonny recorded far more "modern" records than this, but i love this examination of his roots more than any of them. this album is also, by the way, very influential among younger musicians throughout the country. i have myself been told by many that this collection of songs inspired them to new heights, guided them in marvelous ways. the same is true for me, and i hope others like yourselves glean from it the happiness i have.

Here's a classic conundrum: how would John Coltrane have reacted to the music of Jimi Hendrix? Trane died in 1966, and since then some of his best extrapolators have been guitarists, not saxophonists. But here in one dramatic session we have Sonny Sharrock, who plays guitar like Coltrane played the sax in his late years; Pharoah Sanders, who really played in Coltrane's last bands, and always plays like he's falling off a mountain; and Elvin Jones, whose drum work anchored the classic Coltrane quartets of '60-'65. Sharrock wrote the tunes, which are surprisingly catchy like rock anthems (I kept thinking of Santana) but then the improv goes berserk in the best possible way. Jones and young bassist Charnette Moffett supply the driving rhythm behind this hyper-energy, magical event.

This recording is beyond words, beyond praise... Truly in a realm by itself. Pure passion, pure energy, pure magic... I am speechless... Enjoy! (10 out of 5 stars)