Wendell Harrison - Dreams Of A Love Supreme
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€35,00
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Wendell Harrison - flute, soprano saxophone
Phil Ranelin - trombone
Andrew Gibson - drums, keyboards, percussion
Miche Braden - backing vocals
Oliver Cheatham - vocals
Pamela Wise - backing vocals, keyboards
Vincent Bowen - flute, tenor saxophone
Audrey Childress - backing vocals
Daline Hubbard - backing vocals
Craig Tyner - bass
Jervonny Collier - bass
Kenny Lee - bass
Wendell Lucas - bass
William Austin - bass
Anthony Robertson - drums
George Davidson - drums
Joe Tandy - drums
Charles Hawkins - guitar
Jerone H. Clark - guitar
Joe Byrd - guitar
Harold McKinney - keyboards
Kamau Kenyatta - keyboards
Lopez Leon - keyboards
Billy Turner - percussion
Charles Howard - percussion
Fred Scott - percussion
Lawrence Williams - percussion
Roy Brooks - percussion
Herbie William - trumpet
Racey Briggs - trumpet
1LP, standard 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 : Wenha
Remastered by Cicely Baston at Alchemy/Air Mastering, London
Originally released in 1980
To be reissued in 2022
Tracks:
Side A:
- Take Time Out
- Sea Minor Blues
- Pink Snowballs And Violet Skies
- Belle Isle
Side B:
- Where Am I
- Dreams Of A Love Supreme
Reviews:
“Pure Pleasure Records has released a 180-gram re-mastered vinyl of Wendell Harrison’s Dreams Of a Love Supreme. There is an overall jubilant feel to this soulful jazz album. Side A opens with the smooth, atmospheric r & b vibe on “Take Time Out”. There are heartfelt vocals, steady percussion and Harrison’s lithe soprano saxophone. It is concise and the arrangement reflects a layered approach with little improvisation. “Sea Minor Blues” is also evocative. With a mellow swaying resonance, Harrison takes the lead on flute. The lyrical finesse is palpable. There is a nimble, crisp guitar with just the slightest distortion, and the fade ending is graceful. With jazzier flair, “Pink Snowballs And Violet Sky” begins with a free-form airy intro, before the ensemble comes in. Electric piano, synthesizers and a thumping bass seem to invoke a Latin-infused jam. There are “spacey’ accents, a bright lead soprano and some compelling chord changes. With a confident funk-based groove, “Belle Isle” is pure, fluid soul-jazz with muscular tenor saxophone, aspirational vocals and repeat vamp.
In what feels like a more traditional jazz piece, “Where Am I?” Is very textured. Tenor saxophone and trumpet are framed by electric piano and a percolating rhythm section, with syncopation. Phil Ranelin shines on his trombone solo. With nimble execution, he and Harrison play in counterpoint. In a change of pace, the title track is more free-form with soprano sax, ethereal vocals, including a throwback chant. It resonates with spirituality and is more improvisational. There is an interesting tempo uptick at the end. Getting back on the funk train, “Tryin’ To Make A Living” is quintessential house party with slap bass and saucy tenor. “Rocket Love” develops a slow repeat pulse with a contemporary sound. Synthesizers and late 70’s/ early 80’s lyrical content give this a modern aesthetic. In a head-boppin’ finale, “Patrina’s Dance’ is infectious, with tight rhythm. This near-fusion translation is centered around a synthesizer lead (with a great solo) and punctuated guitar riffs.
Pure Pleasure Records has done an excellent job in updating Dreams Of A Love Supreme to 180-gram vinyl. The re-mastered sound by Cicely Baston (Alchemy/Air Mastering) is vibrant, with good separation. There is balanced tonality in the instruments.” Robbie Gerson, Audiophile Audition, April 2022
“A fine clarinetist and tenor saxophonist, Wendell Harrison has been an important force in Detroit during the past several decades. He began on clarinet when he was seven, started playing tenor in high school, and studied with Barry Harris. In 1960, he moved to New York, playing with Jack McDuff, Elvin Jones, Sonny Stitt, Grant Green, and Sun Ra, in addition to being in Hank Crawford's band for over four years. In 1970, Harrison moved back to Detroit, started doing session work, and became a jazz educator. He has formed several labels (Tribe, Rebirth, and WenHa), recording frequently and utilizing such sidemen as Leon Thomas, Marcus Belgrave, Kirk Lightsey, Charles Tolliver, and (with his Clarinet Ensemble) James Carter.” AllMusic Artist Biography by Scott Yanow
Ratings :
Discogs : 4.66 / 5 ; Audiophile Audition : 4.5 / 5