YUSEF LATEEF — Hush 'n' Thunder

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YUSEF LATEEF - Hush 'n' Thunder cover
3.50 | 3 ratings | 1 review
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Album · 1973

Filed under RnB
By YUSEF LATEEF

Tracklist

A1 Come Sunday 2:33
A2 The Hump 4:39
A3 Opus Pt. I / Opus Pt. II 8:08
A4 This Old Building 2:42
B1 Prayer 3:19
B2 Sunset 7:53
B3 His Eye Is On The Sparrow 5:32
B4 Destination Paradise 3:54

Total Time: 38:34

Line-up/Musicians

Bass – Bob Cunningham, Gordine Edwards
Cello – Kermit Moore
Drums – Kuumba "Tootie" Heath
Electric Bass – Bill Salter
Flugelhorn – Jimmy Owens
Guitar – Cornell Dupree, David Spinozza, Keith Loving
Organ – Al White
Piano – Kenny Barron, Ray Bryant
Tenor Saxophone, Flute, Shanai, Flute [Pneumatic Flute] – Yusef Lateef
Vocals – J.C. White Singers, The, Monroe "Bones" Constantino

About this release

Atlantic – SD 1635 (US)

Recorded At – Atlantic Studios
Recorded At – Regent Sound

Thanks to snobb, js for the updates

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Members reviews

Sean Trane
This HnT release might seem somewhat of an oddball to YL fans, maybe because most of the tracks are attributed to pianist Kenny Barron, who happens to be all over it. Recorded at Atlantic’s studio in 72, the album is fairly representative of those days’ 60’s jazz artistes trying to find their way through a changed music landscapes where they had lost their spot.

Opening with Duke’s Come Sunday with only Yusef’s flute and a cello, the album veers fusiony with the following funky The Hump that prefigures the later-70’s jazz-funk - and YL’s own APP release four years later. The two-parts 8-mins Opus is much more of a pure fusion piece, despite opening very softly, but Barron’s Rhodes and Yusef’s flute, both underlined by a lovely cello, are pure bliss; the second movement slowly gains momentum and we can hear YL’s heavy air intake to blow in the flute, much like what Jethro Tull’s Ian Anderson did and included it in his music. Closing the A-side is a weird semi-gospel and NO jazz This Old Building piece that opens on construction machine noises. Definitely out of context, if you ask me.

The flipside opens on the funky Prayer that features the shannai (that’s an Indian wind instrument that looks like a kazoo – its spelling varies) and a pneumatic flute (wtf is that?? ;-), but we’re again dealing in the region of The Hump. The almost 8-mins Sunset is dissonant and could be compared to Mwandishi’s calmer moments. The Sparrow cover piece is a return to the gospel thing, and personally, I find it insufferably long and overstaying its welcome by the third of its duration (gospel is really not the thing of this atheist). The closing Destination Paradise is an atmospheric piece that relates well with the Opus and Sunset fusion pieces.

I’m not sure I would define this album as post-bop, because it’s an extremely varied affair, ranging from gospel-soul to pure fusion. I personally fully endorse its adventurous fusion part and to an extent its funk extension, but personally can’t stand the gospel part, which I not only find intrusive, but ruining the album’s cohesiveness.

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