Customer Reviews

Milwaukee Tapes Vol. 1 (1980)

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I copped that line from Neil Tesser's liner notes for THE MISSING LINK, Fred's 1979 recording -- it sums up his sound quite well. I used to hear Fred play frequently in Chicago, and he was always great. He used to play the Underground Fest nearly every year, the AACM's event held following the Chicago Jazz Festival. But to the point...

This is a splendid live session, recorded in January of 1980. Fred had the tapes the whole time, so long he forgot the name of the club. This is the line-up that was supposed to have played on THE MISSING LINK, with Billy Brimfield on trumpet making it a quartet. Fred tends to play in the low register, so much so that he makes a lot of tenor players sound like they're playing alto! The Gene Ammons influence on Fred is invariably pointed out, but I hear a distinct Sonny Rollins influence as well, in the compelling logic of the long solos.

This date has a very Old and New Dreams feel to it, with Hamid Drake sounding quite Ed Blackwell-ish (except he also plays hand drums), and an African/world music element. The opening track is the basic trio, and Brimfield enters spectacularly on "The Bull." Comparing this to Fred's slew of recent recordings, it has more power. But even at an advanced age, Fred Anderson still sounds incredible today -- he has gained in subtlety, timbre, and complexity over the years.

Bravo, Atavistic! Let's not have any more music this good remain "unheard."

(verified purchase from Cadence Magazine)

This session, recorded live in 1980, could not sound more current or modern. Tenor saxophonist Anderson is a formidable soloist and trumpeter Brimfield is a sympathetic partner in this rhythmically and harmonically adventuresome quartet. Throughout the session, Hayrod lays down solid bass lines behind the horns; his occasional, relatively short solos are interesting if not memorable. The two giants in this group are Anderson and drummer-percussionist Hamid Drake. Anderson has the ability to sound eminently modern while also being approachable --I'd love to hear him record with David Murray or Hamiett Bluiett, two other modernist giants with an equally strong feeling for rhythm and sound. Anderson's six minute solo on "A Ballad for Rita" has to be heard to be believed; Drake's drumming behind him (the trumpet lays out) is exceptional. Drake could move a band of zombies, he is so strong! Drake's sound is crisp and strong; his use of and varying of simple rhythm patterns is masterful. It's difficult to pick a favorite cut on this exceptionally strong CD, but I lean toward the trio on "A Ballad for Rita" and the twenty-some minute long quartet session, "The Bull." There is, regretably, one weak cut on the CD. On "Bombay Woman," the riff melody is repeated behind the horn soloists by bassist Hayrod: it is melodically and rhythmically limiting, and the piece quickly grows boring. Drake plays tablas on this cut and it doesn't make it. In short, "woman" is an interesting attempt but no cigar. But this is a minor flaw in a record that every lover of contemporary jazz should own.

Anyone who cares about the true, improvisational
spirit of jazz, owes to themself to find out
about Fred Anderson. This is a great place to
start. His robust playing and ingenuity are truly
awe inspiring. Buy this disc!

If you like the AACM and associated muscians such as Muhal Richard Abrams, Joseph Jarman, Roscoe Mitchell etc. then get this cd. More excessible than you'd might expect but still packing an avant garde punch. Anderson, visible in the earliest version of the AACM however recording sporadically is a highly gifted tenor who deserves more recognition and perhaps a higher profile recording date. Buy it now before it goes out of print.