JULIAN PRIESTER

Hard Bop / Fusion / Avant-Garde Jazz • United States
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Julian Priester (born 29 June 1935 in Chicago) is an American jazz trombonist and composer. He has played with many artists including Sun Ra, Max Roach, Duke Ellington, John Coltrane and Herbie Hancock.

Priester attended Chicago's DuSable High School, where he studied under Walter Dyett. In his teens he played with blues and R&B artists such as Muddy Waters, Dinah Washington, and Bo Diddley, and had the opportunity to jam with jazz players like Max Roach, trumpeter Clifford Brown, and saxophonist Sonny Stitt.

In the early 1950s Priester was a member of Sun Ra's big band, recording several albums with the group before leaving Chicago in 1956 to tour with Lionel Hampton. In 1958 he settled in New York and joined the band of drummer Max Roach. While playing in Roach's group Priester also recorded two albums as a leader, Keep Swingin' and Spiritsville for Riverside, both of which came
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Keep Swingin'/SpiritsvilleKeep Swingin'/Spiritsville
Fresh Sounds Spain 2011
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JULIAN PRIESTER Discography

JULIAN PRIESTER albums / top albums

JULIAN PRIESTER Keep Swingin' album cover 0.00 | 0 ratings
Keep Swingin'
Hard Bop 1960
JULIAN PRIESTER Spiritsville album cover 0.00 | 0 ratings
Spiritsville
Hard Bop 1960
JULIAN PRIESTER Polarization (with Marine Intrusion) album cover 3.00 | 1 ratings
Polarization (with Marine Intrusion)
Fusion 1977
JULIAN PRIESTER Quartett : No Secrets album cover 0.00 | 0 ratings
Quartett : No Secrets
Avant-Garde Jazz 1988
JULIAN PRIESTER Julian Priester / Sam Rivers ‎: Hints On Light And Shadow album cover 0.00 | 0 ratings
Julian Priester / Sam Rivers ‎: Hints On Light And Shadow
Avant-Garde Jazz 1997
JULIAN PRIESTER In Deep End Dance album cover 0.00 | 0 ratings
In Deep End Dance
Hard Bop 2002

JULIAN PRIESTER EPs & splits

JULIAN PRIESTER live albums

JULIAN PRIESTER Love, Love album cover 3.98 | 4 ratings
Love, Love
Fusion 1973

JULIAN PRIESTER demos, promos, fans club and other releases (no bootlegs)

JULIAN PRIESTER re-issues & compilations

JULIAN PRIESTER Out Of This World (split with Walter Benton) album cover 0.00 | 0 ratings
Out Of This World (split with Walter Benton)
Hard Bop 2001

JULIAN PRIESTER singles (0)

JULIAN PRIESTER movies (DVD, Blu-Ray or VHS)

JULIAN PRIESTER Reviews

JULIAN PRIESTER Love, Love

Live album · 1973 · Fusion
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js
Fans of Herbie Hancock Sextet's cult favorite, 'Crossings', will probably find a lot to like in Sextet trombonist Julian Priester's 'Love Love'. All the familiar ingredients are here, futuristic analog synths, sinewy washes of string Melotron, heavily reverbed avant-garde jazz solos, ecloplexed everything and African influenced poly-rhythms. To Priester's favor he has one thing that Herbie didn't have, the searing guitar work of Bill Connor. Unfortunately, what Julian is lacking in comparism to Hancock's classic though is the amazing psychedelic production of David Rubison, as well as Herbie's slightly better developed compositions. This is not to say Priester can't compose and arrange with the best of them, but we are comparing him to one of the top jazz composers of the second half of the 20th century. Side one starts with beautiful subtle orchestrations with horns blending with Pat Gleeson's electronics, then the band breaks into a steady odd-metered groove while the horns, synths, guitars and Melotrons all have their chance to snake by and have their say. All this is nice and groovy in an early 70s psychedelic way, and it does have a very nice retro sound to it, but after awhile it does go on a bit long. Also, typical on this album is less than top- notch mixing from Gleeson and Priester, who are not pro mixers and it shows. The problem manifests itself on this side with a loud persistent hi-hat that could have been placed a bit lower in volume.

Side two is a little more adventurous and energetic as the band opens by alternating avant-garde rushes of drum driven heavily echoed solos, with quiet mysterious orchestrated electronic/acoustic horns passages. The music and playing is top notch, but once again Gleeson and Priester undermine themselves by putting the synthesizers to high in the mix, and giving the drums a very muddy sound that makes most of the set disappear except the cymbals. Halfway through the second side (song titles seem to mean nothing on this album) the band brings it all together with this charging rhythm that's part Afro-Cuban and part galloping psychedelic space rock. Everone piles on with intertwining solos and for once the production is dead-on as Gleeson's synth colors blend perfectly with the horn players relentless solos.

If this album had been mixed and produced by professionals it would have been a 'masterpiece', all the same, it is still very good and is highly recommended for fans of the Herbie Hancock Sextet.

JULIAN PRIESTER Polarization (with Marine Intrusion)

Album · 1977 · Fusion
Cover art Buy this album from MMA partners
js
When I stumbled on 'Polarization' in a record shop I was hoping I had found a continuation of Priester's psychedelic electronic fusion sound-scapes on 'Love Love', unfortunately 'Polarization' isn't all that, gone are most of the electronics and echo machines, in their place we get a sound that is closer to classic late 70s ECM jazz, in other words; dry, intellectual and sometimes kind of boring. In smaller doses I think this album has very good moments, but taken as a whole it can drag sometimes. The album opens nicely with the song 'Polarization', that features a double tracked spacey Preister trombone duet. This is very nice concert hall ambience and leads into 'Rhythm Magnet' that has the band riding an abstract syncopated groove similar to Herbie Hancock, but where is the drummer? The mix is terrible, the kick and snare are in the other room and only the cymbals cut through, too bad. Side one closes with 'Wind Dolphin' which opens with neo-classical horn/sax arrangements that recall Herbie again. This opening is followed by one of those avant-garde free-for-alls that we have all heard before, eventually the quieter opening theme returns.

Side two opens with 'Coincidence' by guitarist Ray Obiedo. It's a nice Spanish flavored instrumental featuring acoustic guitar and trombone that sits somewhere between mid- 20th century neo-classical and sophisticated lounge music. 'Scorpio Blue' features a lengthy trombone intro whose abstract rambling nature and ECM reverb end up sounding like 'modern music week' at the local college recital, empty room reverb ambience and everything. When the rest of the band kicks in, the song eases into more Debussy/lounge jazz. The album closes with 'Anatomy of a Longing' that once again tries to bring on the Herbie avant-garde space funk, but once again the drums are lost except for this one annoying crash cymbal. Despite the bad mix this one has some nice moments when spaced out quiet orchestrations fill in when the rhythm section drops out. Ray Obiedo also turns in a blazing hard fusion guitar solo, his only one like it on the album.

I think fans of Julian Preister could find a lot to like here, but this album could have been a lot better if someone had remembered where the fader for the snare was.

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