Emergency was a jazz band that existed in Paris during the 1970s. It was led by Glen Spearman, a vanguard sax player. One recording by the band, a live set, was released on the Parisian America Records label. It is one of those rare gems which not only marks its place in music history but also transcends it. This quintet of two Americans and two Japanese musicians was certainly an international group. Bob Reid and Spearman were joined by Takashi Kako, Boulou Ferre, and Sabu Toyozumi as drummers. This recording features four pieces that are influenced by the post-Coltrane aesthetic. Spearman and Kako were great foils in the same way Trane, McCoy Tyner and Sabu Toyozumi. However, with the addition an electric guitarist, the music moved into new directions both texturally as well as harmonically. This is not jazz-rock and does not reflect Miles Davis’ innovations. Instead, it is free jazz that points to the place where instrumentation is only a tool for travel. The band’s “Emergency Theme”, which combines all of the dynamic and textural elements in a harmonic caterwaul that’s amazingly accessible and taut, is their manifesto. Kako’s Tyner-influenced play offers Ferre large, spacious chords from which to feed. Spearman uses their root to help him explore the outer limits of his tonal range. The rhythm section does not try to keep the music grounded or centered, but rather pushes the soloists further. “People in Sorrow” a shorter version of Roscoe Mitchell’s composition for the Art Ensemble of Chicago. It uses Reid’s bowed bass as its mouthpiece and the electric guitar as its true instrument. Kako’s deep knowledge of the music and its history is evident in “Kako Tune,” which shows his ability to dissect the piano’s harmonic tropes, courtesy of Bill Evans and Art Tatum. He also demonstrates his willingness to learn from contemporaries such as Bobby Few and Dave Burrell. Reid’s evocative “Infidels” closes the gig. Spearman is a fiery, fiery blastout of honk u0026 skronk. He observes Frank Wright’s dictums and attempts to turn his instrument inside out. Anyone who is interested in free jazz development in the 1970s should read this book. from http://www.cduniverse.com

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