Life Time Import, Limited Edition, Original recording reissued, Original recording remastered
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Top Customer Reviews
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.Read more ›
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.Read more ›
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
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.Read more ›
Most Recent Customer Reviews
Tony Williams is always interesting. His rythmic concepts and his timing ideas are always crisp, sometimes different, but never out of sync.Published on February 16, 2013 by James Metz
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... Read morePublished on December 19, 2008 by Transfigured Knight
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... Read morePublished on October 26, 2008 by Eric Sedensky
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! Read morePublished on August 20, 2008 by Jazz B.