OF LOVE AND PEACE

From the year 1964 till 1975 it was hard to predict what style Larry Young would play next. During that eleven year period he played almost every conceivable style of modern jazz and fusion, as well as psychedelic and progressive rock. After starting as a bluesy hard bop organist, Larry moved on to the dry cerebral post bop of 1965's Unity, and in 1966 decided to go avant-garde with this album, Of Love and Peace.

Although this album has many of the noisy moments you would expect from a mid 60s avant jazz record, overall I found the music on here to be a bit more relaxed and controlled than a lot of similar music from this time period. Young has a large ensemble (three horns, two drums, plus himself) assembled for this recording, but the musicians are often sensitive to each other and don't engage in competitive displays of sonic force. I especially enjoyed the two drummers (Wilson Moorman III and Jerry Thomas) who are careful to blend with each other while they create fascinating rhythmic combinations.

This album opens with Pavanne, which treads somewhat familiar ground as a Coltrane styled modal swing driven free-for-all. This is followed by Of Love and Peace, an improvisation that is abstract and somewhat quiet and relaxed compared to the opener. This tune almost sounds like a cross between 20th century concert hall music and some of Sun Ra's more unique approaches to group improvisation.

Miles' Seven Steps to Heaven opens side two and the band give it a fast chaotic and joyful reading that is somewhat reminiscent of Ornette Coleman. The album closes with Falaq, another freely improvised number that starts with a jazz pulse, but becomes more abstract as it goes. Larry turns in some trademark bizarre B3 solos on this one.

This is a great avant-garde jazz album, thoughtful and well executed, Larry and his crew avoid some of the more excessive clichés that were common in the mid 60s and create one more totally unique Larry Young album.

I am not very familiar with Larry Young's works, but from his earlier albums I heard, this one caught me (possibly because there is not post-bop, but more avant-jazz recorded).

Brass section is often in the front of all sound, and I like their chaotic and free interplays. Larry's electric piano is often on the second plan, but always you can recognize it, and its sound gave some modernity for that music ( don't forget, it's 1966!).

Drummers are very classically jazzy, but competent. In whole, Album's sound is surprisingly fresh for mid 60-s, not just your usual post-bop. Piano passages are possibly very first signs of Hancock fusion era coming. Transitional album from last days of pre-fusion time, and there is some feeling under the music's skin that fusion is coming.