LAWRENCE OF NEWARK

Larry's first album as a band leader in five years--since he went off to work with Tony Williams and John McLaughlin-- and it's good one: he obviously had a lot of ideas to get out of his system.

1. "Saudia" (4:30) a song that opens up with shadows of the music Larry heard and participated in while working with Tony Williams and John McLaughlin for the 1969 album, Emergency! There's some real regal beauty in this rather simple, laid-back arrangement (even though Larry's initial Hammond work sounds a bit like the Sunday church organist). Still, there are at least two drummers operating (rather quietly) as well as any number of percussionists. It's the saxophones that are missing. (James Blood Ulmer's guitar work is very odd: mixed high but fairly inactive). The bass line is rather simple. (9/10)

2. "Alive" (2:00) two (or three) drummers and multiple percussionists lay down some vicious rhythm over which Larry issues forth some fairly-sedate, nearly-church organ. (4.5/5)

3. "Hello Your Quietness (Islands)" (10:17) is this where Freddie Hubbard got "Little Sunflower"? There's definitely a lot of the SANTANA effect going on on this album. The craziness of the multiple woodwinds, cello, and, of course, Hammond organ, are matched and balanced out by the calm serenity offered from the expansive rhythm section. Amazing balance! And there's even tons of melody! (18.75/20)

4. "Sunshine Fly Away" (8:50) a very solid and well-balanced opening groove immediately established from the drums, percussionists, and bass. The woodwinds and cello here are surprisingly supportive, laying back in the background, so Larry can have the spotlight all to himself. Starting around 2:00 a tenor sax starts to wiggle his way to the front. The melodies are fairly consistent--even when Larry is expressing a new one beneath Dennis Mourouse's lead. The two leads get a little crazy with their play while everybody beneath just remains calm and in control. This seems as if it would be quite a feat! The crazy sounds Larry is getting out of his Hammond are at times quite abrasive and spacey. All the while the sax settles down, occasionally going off on some tangent, until the rhythmists back off and leave the bass and cello player quite on their own. The song fades out while Diedre is finishing her solo. (18/20)

5. "Khalid of Space, Part Two (Welcome)" (12:41) a complicated multi-themed rhythm track tries to establish itself straight out of the blocks, but the cacophony of 30 infantile monkeys all screaming for attention at once rather distracts (detracts?) from the rhythm fusing into something whole and "finished." The ensuing solos are all great--even over the rather annoying downbeat honks in eighth minute; it just feels as if all of these guys--especially those working out of or above the rhythm section--are having a great time. Too bad that rhythm track never got tweaked into perfection: it's as if they were trying to be funky but were side-tracked by their bass player(s) obsession with two note bursts. Man, Dierdre Johnson can play a mean cello! (22.5/25)

Total Time 38:18

Obviously, Larry hung around with a different crowd of musicians than his NewYork City compatriots with whom he worked in the late 60s. Other than James Blood Ulmer and Pharoah Sanders, I'd never heard of any of these collaborators, but I appreciate how easily and willingly they seem to work together. A great album that would be very fun to have watched live. Also, has anyone played a more dynamic Hammond than Larry? If so, I'd love to have the reference.

A-/five stars; a minor masterpiece of Jazz-Rock Fusion--one that mixes the rhythmic flow of Santana with the crazed experimentation of Sun Ra and Ornette Coleman.