Crystals (Special Packaging) [Original recording remastered]

Sam Rivers | Format: Audio CD

Product Details

• Audio CD (August 20, 2002)
• Number of Discs: 1
• Format: Original recording remastered
• Label: Verve
• ASIN: B00006FR6C
• Also Available in: Vinyl  |  MP3 Download
• Average Customer Review: 4.5 out of 5 stars  See all reviews (6 customer reviews)
• Amazon Best Sellers Rank: #50,228 in Music (See Top 100 in Music)

Customer Reviews

Most Helpful Customer Reviews

16 of 16 people found the following review helpful:

5.0 out of 5 stars Seminal big band recording from an unsung master., May 15, 2004

By 

Troy Collins (Lancaster, PA United States) - See all my reviews
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This review is from: Crystals (Special Packaging) (Audio CD)

Long before Sam Rivers' late 1990s big band albums, Inspiration and Culmination were nominated for Grammys, there was Crystals, from 1974. Although Crystals is Rivers' earliest foray into large-scale ensemble writing, it is by no means an embryonic effort.

Recorded in the halcyon days of the loft-jazz scene, Crystals is a somewhat more accessible affair than one would expect. In the experimental big band tradition of Muhal Richard Abrams, Anthony Braxton and Sun Ra, Sam Rivers' first big band album makes a fine contribution to this often under-sung genre.

The opening cut, "Exultation" lives up to its title. Horn lines weave around each other as River's soprano snakes through them, never flagging in intensity. "Tranquility" follows, with a funky acoustic bass and tuba ostinato leading the ensemble into a mid-tempo groove. "Postlude" is a short interlude that leads into the albums second side, starting with "Bursts," a scorching free-bop feature for River's furious tenor. The march-like collective improvisation "Orb" takes the energy level down just a notch to prepare for the climactic closer, "Earth Song".

Embracing the discordant linear quality of Muhal Abrams writing, albeit less rigid, more swinging and occasionally even funky, Rivers big band compositions are more accessible than Braxton's but further out than anything Mingus had attempted at the time. While Crystals may be the blueprint for his more recent big band albums, it is more than just a historical curiosity. Not for the faint of heart, Crystals is creative orchestral music at it's most challenging and rewarding.

13 of 15 people found the following review helpful:

5.0 out of 5 stars Creative Orchestral Music, January 15, 2008

By 

Caesar M. Warrington (Lansdowne, PA United States) - See all my reviews
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This review is from: Crystals (Special Packaging) (Audio CD)

One of the most original talents to emerge from the 1960's avant jazz scene, Sam Rivers is best known as a saxophonist of striking lyricism and power.

Originally released in 1974, CRYSTALS was Rivers' debut as a leader of large-scale ensembles, showcasing his skills as both an arranger and a composer.

CRYSTALS contains six tracks, all written and arranged by Rivers:

1/"Exultation"
2/"Tranquility"
3/"Postlude"
4/"Bursts"
5/"Orb"
6/"Earth Song"

14 of 18 people found the following review helpful:

4.0 out of 5 stars Avant intensity and groove, July 18, 2004

By 

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

After hearing this album, I'm surprised I never heard more about it beforehand. As far as I am concerned, it's a forgotten peak in avant garde jazz. To put it in a larger context, I'd bet that William Parker loves this album, as I feel like it must have been a factor in the inspiration for Parker's Little Huey Creative Music Orchestra. I mean that as a compliment to both Rivers and Parker. It's not a Little Huey album, though. As much as I like it, I could never choose it over Mayor of Punkville or Raincoat in the River, Vol. 1: Ica Concert.

This may sound odd but I don't know the names of any of these tunes. I put the disc in and that's it. Track 1 has some absolutely ruthless bass playing and more of those moments that make me believe Rivers was a major inspiration for Evan Parker's soprano saxophone experiments. The context around Rivers here is much more "free jazz"-styled than the utterly weird and gorgeous free-improvisation contexts that Evan so often is in, but still.... Sam's own playing on track one is a fireball of soprano intensity that seems to point the way towards some of the places Evan's playing would later evolve. Fantastic stuff.

I won't comment on every track, as that must be annoying to readers, but I have to talk about track two. Every time I listen to this one I picture Pam Grier circa 1974 putting her shirt back on, then surprising the guy she is with by kicking his teeth in. The bassline here is just pure acoustic Blaxploitation funk at its best. Rivers is not content with staying there, though. As the song progresses, the rhythmically shifting horns tug my attention away from the bassline and a whole other mood seems to overtake the song, and then somehow you morph back into the Blaxploitation funk. I love the way my mood changes throughout the various points in this track.

If you're looking to enter the world of Sam Rivers, this and the masterpiece, Fuchsia Swing Song, are great places to start. Both completely unlike each other, but both very rewarding.