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*020  $c179 kr
*0243 $a5026328104485
*02853$aSJRCD448$bSoul Jazz Records
*035  $a(NO-LaBS)13133002(bibid)
*090  $dREI
*1001 $aReid, Steve$_22318400
*24510$aRhyrhmatism$hlydopptak$cSteve Reid
*260  $a[S.l]$bSoul Jazz Records$c2019$g1976
*300  $a1 CD$bdigital, stereo$c12 cm
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*5058 $aInnhold: Kai ; Rocks (For Cannonball); Center Of The Earth ; You Around ; One Minute Please
*5110 $aAlto Saxophone ﾓ Arthur BlytheArtwork By ﾓ Quan Bass ﾓ David Wertman Drums ﾓ Steve Reid (2) Engineer ﾓ Harrison Williams, Phillip Howell Executive-Producer ﾓ Mustevic Sound Inc. Layout ﾓ Brenda Reid (2) Piano ﾓ Les Walker Producer ﾓ Steve Reid (2) Producer [Produced By] ﾓ Stephen Reid★ Trombone ﾓ Michael Keith (4) Written-By ﾓ Les Walker (tracks: A1, A2, B2)
*5208 $aDuring the late 1960s and early 70s, jazz innovation mirrored social upheaval by consciously turning away from tradition and embracing the avant-garde. Elaborate collectives such as the Sun Ra Arkestra, the Art Ensemble of Chicago, and Miles Davis' hard-fusion trailblazers arrived at a wholly modern big band sound through exotic song structures and the use of electric instruments. With their aggressively lyrical and non-linear soloing, John Coltrane, Albert Ayler, and Pharaoh Sanders eradicated the time-honored tenets of melody, harmony, and time signature, searching instead for spiritual truth within the music itself. Free jazz, "the new thing," experimental-- whatever it was called, the work of these artists was impassioned, unprecedented, and divisive, pushing music into unexpected realms. Around that time-- and at the other end of the spectrum-- funk-jazz was more concerned with keeping a groove than breaking new ground. But it was far from static: Eddie Harris and Herbie Hancock used the on-the-one downbeat of James Brown and Sly Stone as the foundation for their sophisticated compositions, while Jimmy McGriff and Grant Green's warm, buttery solos dipped blues and R&B; into jazz's jelly jar. Not as challenging to the ear as free jazz, funk-jazz still hit harder than some of the fusionary misfires that followed and, 20 years later, spawned acid-jazz. Recently reissued on Soul Jazz, Steve Reid's Rhythmatism steps expertly between funky and free. "Soul jazz" is the perfect moniker for the album, which both reflects the exploratory soloing and marathon track lengths of the free jazz school and digs intently into hard-swinging grooves. Recorded in 1975, Rhythmatism is exactly what its title implies: an examination into the power and pliability of the beat.
*599  $a179 kr
*655 4$aJazz$_32000300
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