Customer Reviews

Life Time

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

 

 

The recording
Life Time is Tony`s first recording as leader and composer. All of the tunes are Williams's originals, arranged with the help of Herbie Hancock.
Life Time has innate brilliance in its planning and execution; its inception is luminous.
Williams has come up with very interesting lineups for interesting compositions; on some pieces there are two basses and on some there are none, and on one piece there are only bass and piano...
This isn't a good place to start exploring jazz. If you're a casual listener or a smooth jazz fanatic, don't even bother trying this. May not make your toes tapping; its a rather jaw-dropping experience.
Music of Life Time is original, unpredictable, floating, wandering, uncompromising, demanding, searching, haunting, powerful, gloomy and atonal - but it remains rewarding. It is complex thorough out - but still very passionate, soulful, emotional, enjoyable...
Listening to this recording needs trained ear, open mind, concentration and willingness to explore, because these tracks don't really have a clear or steady rhythmic pulsation or melody line (that are obvious on some other recording such as Lee Morgan's The Sidewinder or Art Blakey's Moanin').
A bit uncompromising but very rewarding music when you begin to understand it. Experiencing this recording will probaly not be easy, but after some time you will begin to appreciate it.
This is the kind of music that is enduring, because it has so much to give and with every listen it reveals something new. Everything cannot be found with only one listening - needs extensive and intensive listening.
Still very fresh, exciting and rewarding music after 40 years - enduring music.
Life Time is a great par with Andrew Hill's Point Of Departure, Bobby Hutcherson's Dialogue and Eric Dolphy's Out To Lunch.
This music could be considered as something between post-bop and avant-garde jazz. Life Time is a very artistic recording - it reminds me of Jackson Pollock's and Salvador Dali's paintings...
Some of the tracks seem to be almost too short. Time passes quickly when you`re listening to the beautiful work of art made by great musicians. None of the track is overly long - they could have easily been longer. Longest track is 10:36 and shortest is 5:31 minutes. There is a total 37.28 minutes of fine music to listen to.
None of these tracks is monotonous - they're very shifting and chancing. All the tunes are great - it is difficult to say which one is the standout.

Two Pieces Of One: Red
Musicians: Sam Rivers (tenor sax); Richard Davis, Gary Peacock (bass); Tony Williams (drums).
"Red" is haunting, mysterious, gloomy and loose without being too avant-garde, completely free or far out there. It is played mainly on the lower register (but also above it). There's showers of bass... bass, bass, bass and some more bass, some saxophone too and not so much of drums (Williams stays a bit on the background here). There's some nice unison playing going on between sax and basses. There is also some duet bass playing is going on between Davis and Peacock.

Two Pieces Of One: Green
Musicians: Sam Rivers (tenor sax); Richard Davis, Gary Peacock (bass); Tony Williams (drums).
"Green" is haunting, mysterious, loose but a bit brighter than "Red". It also seems to be a bit more "happier" or less gloomy. "Green" is played mainly on the mid register (but also around it). There is not so much bass this time, mainly sax and drums. Sam Rivers's playing is intense, strong and very skillful but capable to reach the listener's soul... He makes lots of shouts, shrieks and honking without being irritating or jarring at all. He is sometimes almost lyrical but then again powerful and witty and has some really interesting phrasing. Basses stay at the background (although Davis and Peacock have their moment at one place) creating gloomy atmosphere. Williams has plenty of playing now (although he is playing alone for some time, he is capable to keep listeners interested in what he is doing).

Tomorrow Afternoon
Musicians: Sam Rivers (tenor sax); Gary Peacock (bass); Tony Williams (drums)
Rivers plays some really exhilarating solos here. Rivers's sax is again harsh with plenty of honking and some bumblebee blowing.
Speed varies maily from mid-tempo to fast. Interesting changes and variation of rhythm and soloing. Perhaps not as dark as previous tracks.Williams is very noticeable thorough the track. Some brief soloing by bass. Very changing - far from being monotonous. Bounces from one place to another. Very nice.

Memory
Musicians: Bobby Hutcherson (vibes, marimba); Herbie Hancock (piano); Tony
Williams (drum set, tympani, wood block, maracas, triangle).
Memory is all about sound, soundscape.If previous tracks were gloomy and dark, then this one is the brighter one lacking harshness and brutality. It is also bit quiet track, definitely not volatile. There is really interesting shifting between sounds and quietness. It is mainly a Williams-Hutcherson show, though Hancock appears here and there. Memory is probably the most interesting track of the whole recording - as it is the only track that is improvised spontaneously in its entirety. It is very spacious(space music). Atonal but beautiful. This is the far-out-and-beyond track of the recording, but it manages to stay away from being cacophonic or jarring noice.
There are some stops and starts that make continuity seem unnecessary and that is one reason why this music is so advanced.

Barb's Song To The Wizard
Musicians: Herbie Hancock (piano); Ron Carter (bass).
The duet playing of bass and piano is amazing; it is strong, powerful and keeps listeners interest - it is just stunning! Hancock`s playing is more pronounced here, than what it was on Memory. There's a nice shifting movement going one with soloing and backing. It is calm, passionate, soulful, intense, serene... beautiful!

The first time I heard the openining track, I was blown away. It was something different, something I had never heard before. I hope you'll have the chance to experience it too. Life Time is a serious recording and it belongs to every serious jazz-collection. I recommend the CD to listeners who want be challenged and gain from the experience. Get this beautiful, mysterious music while it is available.
You can find more information about these deluxe Rudy van Gelder -edition CDs from my review on Herbie Hancock's Maiden Voyage. (Check it out).

Williams' Blue Note leader debut (recorded when he was only 18) showcases his versatility and already places him among the elite jazz drummers. He truly played the instrument as none other had before him. The first three tracks contains Sam Rivers' stretching avant-garde horn blowing furiously over two basses and of course Williams own brilliant drumming. "Memory" is a completely free improvisation between vibist Bobby Hutcherson, Herbie Hancock and Williams, while the final song omits Williams drums altogether in lieu of an intriguing piano and bass exploration led by Hancock. Every track is completely accessible and introspective, and it still sounds advanced by today's standards. Brilliant music by a jazz giant.

In 1964, 18 year old Tony Williams was on his way up. Acknowledged as one of the most capable drummers on the jazz scene and part of Miles Davis' band, Williams received his first sessions as a leader. Titling the album "Lifetime", the music is drawn from two sessions in August.

For the first session, Williams brought in tenor saxophonist Sam Rivers, who he had worked with in Boston for what would be the tenor's first studio date and bassists Richard Davis and Gary Peacock on a session that would lodge Williams firmly in the avant-garde. The band performs three Williams compositions-- "Two Pieces of One: Red", "Two Pieces of One: Green" and "Tomorrow Afternoon". The two "Two Pieces of One" could scarcely be more different from each other-- 'Red' relies on moody theme statements with tenor doubled by arco basses and some brilliant bass soloing (including an arco/pizzicato dialog at the close of the piece). 'Green' is a feature primarily for Rivers-- the young leader and the tenor duet for several minutes before the performance turns over to a drum solo and then a quartet performance, all filled with far more frantic energy than 'Red'. "Tomorrow Afternoon" finds Williams working in a trio, with Richard Davis sitting out. The theme is a bit more straightforward but the performance finds Rivers exploring as far out as possible with the rhythmically loose Peacock and Williams behind him. One thing is consistent on these three pieces-- the performances are full of fire, energy and inventiveness.

The second session yielded two performances by two different groups. "Memory", performed by Bobby Hutcherson (on vibes and marimba), Herbie Hancock (at the piano) and Williams is sparse and minimalist in its arrangement, opening with a delicate marimba line and Williams on maracas and wood block before Hutcherson switches to vibes and Williams to the drum kit. The piece then begins to pick up in tempo and energy, yet remains remarkably loose. Even when Hancock joins, the piece never gets locked down and maintains a distinct freeness.

The closer, 'Barb's Song ot the Wizard", was composed by Williams but is performed as a duet between Hancock and bassist Ron Carter. Again, the performance is minimalist, with Hancock laying down a simple rhythmic line and Carter soloing frantically on top of it.

A quick note-- this is not to be confused with The Tony Williams Lifetime, generally regarded as the first fusion band (and also a worthwhile listen).

This reissue features fantastically improved sound, remastered as part of the "Rudy Van Gelder Edition" reissues, it sounds great, like it was recorded last year instead of in the '60s. The original liner notes are reproduced as well as a new essay by Bob Blumenthal examining the pieces.

Williams would go on to explore many venues of jazz, but this album really stands out as his excursion deep into the free jazz sounds he loved. The performances are top-notch throughout and the album stands well over time. Highly recommended.

As a drummer, I've been a fan of Tony Williams ever since
I first heard Miles Davis' two live albums "My Funny
Valentine" and "Four and More" (recorded soon after
Tony joined Miles' band, but before Wayne Shorter did).
There aren't many jazz musicians that you can recognize
from the first note they blow/hit/strum/touch/whatever.
Tony is definitely one of them (along with drummers
Elvin Jones and Roy Haynes). Beyond his indefatigueable
and undefineable prowess and power, his ability to imply
the pulse and to keep time while suggesting rhythms that
seem to run counter to everything else going on, and yet
undeniably work, is simply as astonishing as it is
beautiful.

But this album! I only just "discovered" this album recently.
This album was years ahead of it's time and, maybe, even
ahead of us now. Everyone on this album sounds as good
as they've ever sounded. Sam River's tenor is pugnacious
and cunning. Gary Peacock has a gorgeous tone and is

much more adventurous and expansive than usual. Bobby
Hutcherson and Herbie Hancock both sound brilliant, but
both also often sound more restrained and contemplative.
In fact, the album feels like an exercise in restraint --
especially from the leader himself. Not the sort of album
you'd expect from an 18 year old (!!!) drummer on his first
date as a leader. He gives all of the musicians on this
recording an extrodinary amount of space within his albeit
somewhat minimalist compositions. He prods and pokes
them all the while with impossibly syncopated
cymbal--hi-hat--snare drum combinations, but never runs
roughshod over the top or thunders his arrival. It sounds
trite, but it's like he knew the music would speak for itself --
it wasn't necessary to prove to the world he could play
circles around them. Again, this from an 18 year old.
Hence the title of my review.

This CD is like one big jam session. Tony Williams expands the "law" of music by having weird concoctions in his CD. He evan drops out on the last track! If you like music that goes everywhere & weird concoctions, get this CD! Musicians-tracks 1-3, Tony Williams (drums); Gary Peacock (bass 1, 2); Rich Davis (bass); Sam Rivers (sax). Track 4, Tony Williams (drums, timpani, shaker, triangle, wood block); Bobby Hutcherson (vibes, marimba); Herbie Hancock (piano) track 5, Herbie Hancock (piano); Ron Carter (bass). Have fun listening!

Tony Williams pulls together an interesting cast of players to make an interesting album. Sam Rivers, Gary Peacock, Richard Davis, Ron Carter, Bobby Hutcherson, and Herbie Hancock all play on different songs in trio or quartet forms. This CD is really not a showcase of Tony Williams' drumming, but it's about his songwriting and bandleading. Per the title of the review, rather than make the sort of album that'd be conventionally entertaining, Tony Williams went the artistic route. So, the songs are unconventional and the playing is quite free. There really isn't anything you'd hum along too, it's meant for more concentrated listening. By the same token, it's dynamic and rather quiet in places, so it better to listen to it loud to catch more of the nuances. Some critics really love this album, my three-star rating shows that I don't quite get it.

Vaguely aware of Tony Williams' work as a supporting band member on a number of legendary jazz recordings, Out to Lunch notable among them, I one day heard the simply awesome "Warrior" (available on Mosaic Select: Tony Williams) on my satellite radio, and I decided I had to get some more of Williams' work. This recording is part of the core collection of The Penguin Guide to Jazz Recordings: Eighth Edition (Penguin Guide to Jazz Recordings), so I decided to start here. Unfortunately, Tony's work doesn't nearly begin to shine, and I have to say, my expectations simply were not met on this CD. For one thing, a number of the tracks do not have the steady, sizzling rhythm that Williams is famous for, substituting instead a sort of tricky, flicky percussive banging and whipping of whatever drum apparatus was around. Some of the tracks go for several minutes without drums, or any other kind of percussion. (I would love to be such a great musician that I could produce a CD and not even play on one-third of it.) Most of these tracks just wander around anyway, and I didn't find them very stimulating. The Rudy Van Gelder remaster of the original Blue Note recording is as professional and clean as ever, so at least the sound is good. And the supporting musicians are a who's who of jazz greats: Sam Rivers, Herbie Hancock, Gary Peacock, Bobby Hutcherson, Richard Davis, Ron Carter. Seriously, this is great stuff, but I just didn't think enough of the songs to rate this any higher than three stars. I have to leave it at that.

Tony Williams was a pretty decent jazz drummer, though he wasn't as locked into hearing what the other musicians were doing as those before him like Art Blakey, Art Taylor, Philly Joe Jones, Louis Hayes, Elvin Jones, Al Harewood, Kenny Clarke, Max Roach, Charlie Persip, Roy Haynes, etc. "Lifetime" could have been a great record if he stuck to what he was playing with Miles. He had Sam Rivers on tenor saxophone, Herbie Hancock on piano, Bobby Hutcherson on vibraphone, Ron Carter/Gary Peacock/Richard Davis on bass. With a lineup like this, it would be hard to go wrong, but it did, this album sunk after the first couple of notes of the first tune. A huge disappoint considering the kind of company Williams kept in his early days.