Leon Thomas - Spirits Known And Unknown - AudioSoundMusic
Leon Thomas - Spirits Known And Unknown - AudioSoundMusic
Leon Thomas - Spirits Known And Unknown - AudioSoundMusic
Leon Thomas - Spirits Known And Unknown - AudioSoundMusic
Leon Thomas - Spirits Known And Unknown - AudioSoundMusic
Leon Thomas - Spirits Known And Unknown - AudioSoundMusic
Leon Thomas - Spirits Known And Unknown - AudioSoundMusic
Leon Thomas - Spirits Known And Unknown - AudioSoundMusic

Leon Thomas - Spirits Known And Unknown

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Vocals, Percussion : Leon Thomas

Alto Saxophone & flute : James Spaulding

Bass : Cecil McBee [click here to see more vinyl featuring Cecil McBee]

Bass : Richard Davis

Drums : Roy Haynes [click here to see more vinyl featuring Roy Haynes]

Piano : Lonnie Liston Smith

Saxophone : Pharoah Sanders [click here to see more vinyl featuring Pharoah Sanders]

Bongos : Richard Landrum


1 LP, gatefold sleeve

Original analog Master tape : YES

Heavy Press : 180g

Record color : black

Speed : 33 RPM

Size : 12'’

Stereo

Studio

Record Press : Pallas

Label : Pure Pleasure

Original Label : Flying Dutchman

Recorded in 1969

Produced by Bob Thiele

Remastered by Ray Staff at Air Mastering, Lyndhurst Hall, London

Originally released in 1969

Reissued in 2019


Tracks:

Side A :

  1. The Creator Has A Master Plan (Peace)
  2. One
  3. Echoes
  4. Song For My Father

Side B :

1. Damn Nam (Ain't Goin' To Vietnam)
2. Malcolm's Gone
3. Let The Rain Fall On Me



Reviews
:

« Leon Thomas' debut solo recording after his tenure with Pharoah Sanders is a fine one. Teaming with a cast of musicians that includes bassist Cecil McBee, flutist James Spaulding, Roy Haynes, Lonnie Liston Smith, Richard Davis, and Sanders (listed here as "Little Rock"), etc. Thomas' patented yodel is in fine shape here, displayed alongside his singular lyric style and scat singing trademark. The set begins with a shorter, more lyrical version of Thomas' signature tune "The Creator Has a Master Plan," with the lyric riding easy and smooth alongside the yodel, which bubbles up only in the refrains. It's a different story on his own "One," with Davis' piano leading the charge and Spaulding blowing through the center of the track, Thomas alternates scatting and his moaning, yodeling, howling, across the lyrics, through them under them and in spite of them. It's an intense ride and one that sets up the glorious "Echoes." This tune is Thomas at his most spiritual and uplifting, carrying the mysterious drift of his tune entwined with Spaulding's flute and a set of Pan pipes, fluttering in and out of the mix before his wail comes to the fore as a solo. The end of side one reaches into Thomas' past (he sang with everyone from Count Basie to Grant Green and Mary Lou Williams) for a highly original read of Horace Silver's classic "Song for My Father." Thomas imbues the tune with so much emotion, it's a wonder he can keep it under wraps. Side two is more free from in nature with "Damn Nam," a near rant, but one possessed with melodic vision and harmonic invention with this band. There's also the deeply moving "Malcolm's Gone," a co-write between Thomas and Sanders that features the latter's gorgeous blowing, hard and true in the middle of the mix, and a wildly spiritual Eastern vibe coming through in the improvisation. It's the longest track on the record, and one of the most criminally ignored in Thomas' long career. The album closes with Bell and Houston's "Let the Rain Fall on Me." It's a shimmering straight jazz number with a beautiful piano solo by Smith. It sends out a visionary album out on a sweet, soulful note. Ultimately, this is among Thomas' finest moments on vinyl, proving his versatility and accessibility to an audience who, for too long already, had associated him too closely with the avant-garde and free jazz. » AllMusic Review by Thom Jurek



Ratings :

AllMusic : 4 / 5 , Discogs : 4.47 / 5

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