JAMES BLOOD ULMER

Trying to describe this music is tough, along with the aforementioned Don Van Vliet, John French and Ornette Coleman precedents, there is also an influence of avant-garde European concert hall chamber music in the clarity and independence of the individual instrumental lines. Some might also hear a Chris Cutler/Fred Frith influence in some of the rambling improvisations. Although little of this music may resemble Hendrix on the surface, Jimi's presence is felt in Ulmer's raw upfront guitar sound and frequent use of a wah pedal. Keep in mind that in 78-79, when this album came out, working class guitar virtuosos were hard to come by as guitar less Kraftwerk clones and chops-challenged punk rockers ruled the day and wah-wah pedals were neither seen nor heard.

Uncompromising, unconventional and as raw as the NYC streets from which it came, Tales of Captain Black still sounds as fresh today as it did when it first came out when very little else sounded like it. Tough and unpolished, yet sophisticated and intellectual at the same time, this album is a rare work of genius.

It happened to me I first heard James album from 2003 with interesting, unusual vintage blues songs. I really liked his simple but personal guitar sounds and vocals there, but hardly imagine he could be avant garde jazz guitar player.

Then, when I found this, his very early album from late 70-s, I decided just to check it. Without too big expectation. And I must to say now I change my mind!

From very first sounds I understood - there is very different music from Ulmer's blues! OK, album's line-up included Ornette Coleman on sax and his son Denardo on drums, Prime Time's bassist Jamaaladeen Tacuma as well. So - the music on this album was what could be expected from such musicians - free jazz. With Ulmer's electric guitar and funky feeling, but at the same time with some simplistic rhythm and structures. With late 70-s pre-punk NY downtown atmosphere. Amazing!

Most important, Ulmer brings to album's music some melodic elements and Hendrix' guitar atmosphere, what makes the great free form music slightly framed, more landed and simply complex at the same time. No filler - all compositions sound in their place. And such a great moment's atmosphere from studio album!

Yes, this album changed my minds about Ulmer's music. Very recommended to everyone interested in free funk roots, or any free jazz from late 70-s, you will find one great album there.

This album is a tour de force representative of the so called punk jazz sound of the early 80s. Ulmer's ensemble on here includes some of the finest jazz musicians of this style and era, and their playing is inspired and on fire. All is not just pure energy either, the fast unison lines from the horn players display a finely honed technique that hadn't been heard in jazz since the classic days of high speed be-bop. In between the intense jazz numbers we are treated to a couple very earthy funk numbers, backed by female vocalists, that were a harsh wake up call against the slick disco-funk of the early 80s. These 'punk-funk' numbers help break up the constant searing attack of the jazzier numbers.

A lot of the drum rhythms on here are bizarre and are the complete opposite of the sort of abstract intellectualized dinner-funk that was prevalent in the world of fusion at this time. Drummer Calvin Weston pulls a lot of influence from Ronald Shannon Jackson with his constant 'drum line' attack on the toms and the almost country-punk feel of the charging 4 on the floor hi-energy assault on the verge of chaos feel of many numbers.

This is a great album and these musicians are in top form as they play with a rare and classic virtuosity. Free Lancing is highly recommended for fans of avant-garde jazz as well as other punky jazz groups such as Prime Time, Vernon Reid or Material. My only complaint is that the constant energy and relentless drumming on some numbers can be a little numbing.

This album (recorded in legendary Electric Lady Studios in New York) is real blues album. This time Ulmer took as material mostly blues standards from blues golden era. But don't worry - he is playing the blues in his own manner. Not deep and dirty, but more light and flat, mixing Hendrix sharpness of rock with some free-jazz guitar techniques.

Music in are very minimalistic, with vintage electric/acoustic guitar sound, coming from many decades ago. Vernon Reid plays second solo guitar and great pianist /keyboardist Leon Gruenbaum is a third soloist there. Rhythm section, violin, harmonica and superb female vocalist Queen Esther all add their best. Very authentic, a bit psychedelic atmosphere of this recording will catch many blues lovers.

It's difficult to valuate this work in a light of progressive rock: being good unorthodox blues album, it could attract many blues lovers, but hardly will be interesting for jazz-rock fusion lovers. But if you are open ear music fan - just try, may be you will find some new interest in music.

Just 3 there (will be 4 on the blues site)