snobb Strangest Sam Rivers album ever - instead of the free-bop of his early works or the avant-garde jazz he is well-known for, Rivers plays four long fast-tempo funky pieces in a style one could expect from Sonny Sharrock or Ronald Shannon Jackson.

The band contains two drummers (incl. Barry Altschul), Dave Holland on bass/cello and guitarist Ted Dunbar. Rivers himself plays sax, piano and a lot of flute. Released on his regular Impulse! label, this album didn't reach the target listeners for that sort of music and critics didn't receive it well.

Energetic and straight-forward, this album's music has its moments, but comparing with much more complex and knotty River's regular albums of the time, it is simply not the work of his league.

snobb Reedist Sam Rivers was one of key figures in New York loft jazz, but before that he did his name playing as a member of Cecil Taylor's group. Rivers left only a limited amount of recordings coming from the 70s, so any archival release from that time attracts interest of artist's fans.

"Emanation" comes from 1971 Rivers' Jazz Workshop residency in Boston and contains just one 76-minutes long track, divided in two parts because of physical vinyl album space limitations. "Emanation" represents a rare recording of early Rivers' trio with bassist Cecil McBee and drummer Norman Connors, which has been documented only once till now - on excellent (and as well live) "Stream", recorded at the Montreux Jazz Festival in 1973 and released same year on Impulse!.

Trio format for Rivers usually was a platform for his most freer experiments and "Emanation" is no exemption. The album opens with inspired sax soloing tuneful and playful, and high energizing all at once. Sound quality is quite acceptable for such sort of recordings, but the mix is a real problem here. Drums fill the sound mix with lot of cymbals, but what is even worse - at 11:25 Rivers leaves the scene for McBee's almost five minutes long bass solo improv, during which the listener hears almost nothing, especially during the very first minutes. Bass is placed far behind the scene on the sound mix, and it's a real pity since McBee does a really great job here.

At 16:00 Rivers returns with flute, and then switches to piano (sounding a bit out of tune and too far behind the scene in the mix as well). Still in whole the recording demonstrates pretty well the spirit and energy of the time, and evidences Rivers great ability at playing post-bop rooted free jazz in his own inspired and quite accessible way.

"Emanation" is a great addition for Rivers (who was under-documented, especially during his early solo period) fans. Not really a place to start for newbies, it is a valuable evidence of this great artist's legacy and in general - the spirit of the time.