November-9th-2003, 01:04 AM
My early work was better
Steve Coleman - On the Rising of the 64 Paths
This was recorded (partially live?) on Label Bleu in late March of 2002 and released more recently. The lineup is some of his usual suspects from recent years:
Steve Coleman- alto sax
Jonathan Finlayson - trumpet
Malik Mezzadri - flute and vocals
Anthony Tidd - electric bass
Reggie Washington - acoustic bass
Sean Rickman - drums
They play mostly originals here... if you liked the album he put out on RCA a few years back (can't remember the name, had him in blue on the cover with a black background), then you'll know the general style here. There are some really complex, though supremely head-pounding rhythmic things going on throughout the set, all overlayed with Coleman's fine soloing and the decent work of his trumpet partner, Finlayson (who I've never heard in any other context). Particular standouts are the opener, "Eight Base Probing" - which has this fantastic driving bass line, and the two versions of "Dizzy Atmosphere." They absolutely rip shit up on both of those, playing some real 21st Century bebop. I'm not as crazy about the longer, slower pieces, which have Coleman noodling over slow-moving long tones, but I guess I can see how they build slowly to the furious songs that hit in between. Good contrast, even if I wish it would get to the good stuff sooner.
It, as usual, is a crying shame that a thoughtful, creative mind like this can't even hardly get distribution on this side of the pond, never mind a consistent enough record deal to let him stop worrying long enough about financial issues to concentrate on making music. Anyway, it comes highly recommended if you can find it.
November-9th-2003, 08:41 AM
skirting the issue
Re: Steve Coleman - "On the Rising of the 64 Paths"
That might be because Coleman plucked Finlayson out of high-school, iirc.
Originally posted by chuckyd4
his trumpet partner, Finlayson (who I've never heard in any other context
real 21st Century bebop
I like that description! Although he was playing this in the 20th century too.
I don't get the comparaison with "The Sonic Language of Myth," as that was a "big band" disc, but I like "64 Paths" in much the same way you do.
I saw 5 Elements in may, and he was playing with Dafnis Prieto on drums, Grégoire Maret on harmonica and another Cuban percussionist. The music was quite different but it was a great concert.
November-9th-2003, 10:31 AM
My early work was better
Well, of course I didn't mean that the two discs sound identical or anything, or I wouldn't find this one too interesting, and with the number of real individual stylists on the former (like Vijay Iyer, Moran, etc.) it would be hard for this lineup to sound too similar. I guess I just meant that at least rhythmically - i.e. the way the bass and drums work around and against the horns - has a similar feel to me, it's something absolutely unique to Coleman's work, and would at least give people who haven't heard this one, but did hear the other one with better distribution over here, at least some starting point for thinking of the sound here. BWTHDIK, anyway?
November-18th-2003, 11:55 AM
Isn't life WONDERFUL !
The same but not the same...
I think it's because it's all "m-base" style which Coleman started.
I like Coleman work. I've seen him (or should say them) last summer.
Your review makes me want to buy that cd.
November-27th-2003, 04:48 AM
Steve has kindly put up a shedload of his tracks free to download here:
August-24th-2004, 03:27 AM
Coleman nuts, old and new, do not miss out on this one. I agree with chuckyd4's impressions (easy innit). Coleman's in great from throughout.
Last edited by gnhrtg; August-24th-2004 at 03:50 AM.
August-24th-2004, 03:57 AM
skirting the issue
But you could say that of pretty much any of his recordings since the mid-90's.
Originally Posted by chuckyd4
I was listening to "Genesis" the other day (another "big band" album), it's awesome. In what's essentially one large opus, I was most impressed by how solos emerged from improvised polyphony and segued back into written parts, making the whole sound very integrated and organic. It's almost impossibly dense rhythmically, though: there's a constant barrage of 5 (!) percussionists, plus the drummer.