![Live in St. Lucia [Live]](http://images.amazon.com/images/P/B0000A0WKX.01.MZZZZZZZ.jpg)
Live in St. Lucia [Live]
ASIN: B0000A0WKX
Track Listings
| 1. African Cookbook |
| 2. Shrine |
| 3. African Sunrise |
| 4. Little Niles/Three Pyramids & The Sphinx |
| 5. Blue Moses |
Live in St. Lucia,Randy Weston,Image Entertainment,Hard Bop,Jazz,Pop,Post-Bop
Average customer rating: 
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Live in St. Lucia
Randy Weston Manufacturer: Image Entertainment ProductGroup: Music Binding: Audio CD  General
| Blues
| Styles
| Music
Bebop General
| Bebop
| Jazz
| Styles
| Music
Hard Bop
| Bebop
| Jazz
| Styles
| Music
General
| Jazz
| Styles
| Music
Modern Postbebop
| Jazz
| Styles
| Music
General
| Live Albums
| Jazz
| Styles
| Music
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ASIN: B0000A0WKX Release Date: 2003-07-22 |
Tracks:
Customer Reviews:
Afro-Latin jazz of the highest order.......2003-12-14
In the heart of what V. S. Naipaul called "The Middle Passage," that is, the center of the Caribbean Islands that received the African slave trade and which became a "Client Culture" for the West, Randy Weston brings his Afro-Latin band.
I don't know what it is about this setting--some kind of primal sensibility--but Weston and company deliver a burning set that exudes the depth and pathos that lies at the center of Afro-Latin experience. Everything here has been recorded by Weston before--but never this spectacularly. The band, a hot one, featuring long-time Weston colleague and music director T. K. Blue (Talib Kibwe) on sax and flute, Alex Blake on acoustic bass, Benny Powell on Trombone, and Neil Clarke on African percussion, simply lays down some stone grooves from which spring startlingly progressive and rich musical excursions. Clarke, especially, seems totally tuned in, and his solo on the opening number simply mesmerizes, totally validating the decision to eschew a traditonal drum kit--and Alex Blake swings with a fury and abandon seldom encountered.
From the open solo piano notes of "African Cookbook" to the last dying figures of "Blue Moses," a supremely elevated aesthetic gloriously unfolds. Maybe it's the opportunity to open up these Weston pieces to extended group conversation and improv that gives them a heretofore unrecognized gravitas; I don't know. But they achieve a weight of glory here that they previously had simply not attained.
A spectacular set that has the power to move even the most hardened and cynical jazz warrior.
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