Contours [Original recording remastered]

Sam Rivers | Format: Audio CD

Product Details

• Audio CD (October 5, 2004)
• Number of Discs: 1
• Format: Original recording remastered
• Label: Blue Note Records
• Run Time: 49 minutes
• ASIN: B0002Y4TTW
• In-Print Editions: Vinyl  |  MP3 Download
• Average Customer Review: 4.8 out of 5 stars  See all reviews (8 customer reviews)
• Amazon Best Sellers Rank: #14,525 in Music (See Top 100 in Music)
  • #55 in Music > Jazz > Avant Garde & Free Jazz

Customer Reviews

Most Helpful Customer Reviews

26 of 26 people found the following review helpful:

5.0 out of 5 stars Sam Rivers' Best BN Album, October 7, 2004

By 

Michael B. Richman (Portland, Maine USA) - See all my reviews
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This review is from: Contours (Audio CD)

Hats off to the folks at Blue Note for recently reissuing two of Sam Rivers' best albums, "Fuschia Swing Song" (see my review) and this title "Contours," in its limited edition Connoisseur Series. It is particularly refreshing that these releases are resurfacing during the saxophonist's lifetime, and hopefully he will benefit from a renewed discovery of his unique brand of avant-garde jazz. On a personal note, I had the privilege of seeing Mr. Rivers in concert in Washington, DC in the late 1990s, and I was thrilled to see the musical fires burning so brightly after more than forty years on the scene. But back to the CD in question, this May 21, 1965 session features the incredible lineup of Freddie Hubbard on trumpet, Herbie Hancock on piano, Ron Carter on bass and Joe Chambers on drums. The four Rivers originals (plus an alternate take of "Mellifluous Cacophony") can hold their own against any of the material produced by Blue Note, or anywhere for that matter, in the mid 1960s. This album easily ranks in the same league as Andrew Hill's "Point of Departure" or Wayne Shorter's "Speak No Evil." Its fiery, passionate outbursts of modern exploration are always offset by deeply personal, revelatory moments of inner beauty. It is a breathtaking combination that will wholly satisfy fans of the "new jazz," yet it is not too far out for the average listener. For years I have enjoyed "Contours" (via the Mosaic Set), and thankfully now you can too.

13 of 13 people found the following review helpful:

5.0 out of 5 stars Another Welcome Blue Note Reissue, December 14, 2004

By 

Richard B. Luhrs (Jackson Heights, NY United States) - See all my reviews
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This review is from: Contours (Audio CD)

Sam Rivers' second Blue Note album, CONTOURS, is an excellent quintet date which, like FUCHSIA SWING SONG before it, straddles post-bop and the avant garde with loose ideas given gorgeous shape through top-notch playing. With trumpeter Freddie Hubbard, pianist Herbie Hancock, bassist Ron Carter and drummer Joe Chambers providing support, it's little wonder that Rivers' four lengthy compositions all come out winners. I'm assuming that anyone reading this is at least slightly familiar with some of these musicians' work, so details are probably superfluous; all five men get plenty of time in the spotlight, however, and their ensemble playing is tight and inspired. Hancock seems to have had a particularly fine day, providing some brilliant solos (especially on "Dance of the Tripedal") and anchoring the rhythm section solidly behind Rivers' own adventurous performances on tenor and soprano saxophones and flute. Anyone fond of the classic mid-sixties BN feel will enjoy this set, and so I'm sure would a lot of other people besides. This is, quite simply, fascinating music.

11 of 15 people found the following review helpful:

4.0 out of 5 stars Took Me a Minute, January 10, 2005

By 

Pharoah S. Wail (Inner Space) - See all my reviews
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This review is from: Contours (Audio CD)

This recent RVG by Sam Rivers - tenor & soprano saxophones, and flute, Freddie Hubbard - trumpet, Herbie Hancock - piano, Ron Carter - bass, and Joe Chambers - drums was recorded on 5/21/65. Stars edited on 1/4/07 to 3 stars.

It took me a while to warm up to this one. Not really through any fault of its own, though. After getting Fuchsia Swing Song and going crazy for it, I had incredibly high hopes for this one. The first couple listens were a bit of a let-down but I didn't give up on it. I have been rewarded nicely for my efforts. =)

Now I only have one complaint with this album... or two depending on how you look at it. Mellifluous Cacophony is my least favorite song on here, and it happens to be the only one of which an alternate take is provided. That right there is 20 minutes of music that doesn't interest me very much. I like the head of it and both of Sam's tenor solos, but from Herbie's solo onward that song just doesn't do it for me. It's too linear or something.

As for the goodies, tracks 1 through 3, I'm not altogether sure why I felt let down by this album those first couple times I listened to it. I love these 3 tracks now! This is certainly a much different band than that of Fuchsia Swing Song, though. That needs to be clearly stated. Hancock, Carter, and Chambers don't have that degree of flexible, time-smearing elasticity that the Fuchsia core trio of Jaki Byard, Ron Carter, and Tony Williams had. On that album, Jaki and Tony may as well have been sharing the same consciousness. They are locked so tight on to what each other is doing. Tony reacts marvelously to all those master-class jaunts through jazz history that Jaki takes.

This band, the Contours band, is more straight-ahead than that. Kinda. They are oftentimes more about texturizing and decorating the vamp rather than changing things up altogether... though there is some of that here, also. Hubbard swings like crazy on Point of Many Returns, and elsewhere this just may be some of my favorite weird playing I've ever heard from Herbie. Yes, I have to make special mention of that... there is some fantastic and inventive playing from Herbie! Throughout the first 3 tracks there are some times where everything slows down and the music just has this awesome floating quality as if you've just been sucked into a dream in slow-motion.

If this disc had alternates of any or all of the first 3 tracks, and if those alternates were as interesting in their own way as are the takes presented here, I'd probably be giving this more stars but it pretty much tails off for me after the end of track 3. I like the best stuff here, I just wish there were more of it.