Yusef Lateef: Psychicemotus, LP (Vinyl)
Yusef Lateef: Psychicemotus, LP (Vinyl)
€14.90
Net price (incl. 19% VAT) excl. shipping costs
Yusef Lateef
Psychicemotus
  • LP (Vinyl)
  • European Union
Neuauflage, Klappcover
  • Impulse
  • (AS-92)
  • Impulse
  • (06007 53627655)
  • 8 Tracks
  • UPC 600753627655
  • heavy item (300g)
  • M / M
  • virgin

tracks

A1

Psychicemotus

Written by
5:05
A2

Bamboo Flute Blues

Written by
4:10
A3

Semiocto

Written by
4:28
A4

Why Do I Love You?

Written by
6:27
B1

First Gymnopedie

Arranged by
  • Yusef Lateef
Written by
3:28
B2

Medula Sonata

Written by
6:35
B3

I'll Always Be In Love With You

Written by
4:39
B4

Ain't Misbehavin'

Written by
4:45

Credits

Bass
  • Reggie Workman
Design
  • Robert Flynn
  • Joe Lebow
Drums
  • James Black
Engineer
  • Rudy Van Gelder
Lacquer cut by
  • Sean Magee
Liner notes
  • Ahmad Basheer
Mastered by
  • Rudy Van Gelder
Photography by
  • Chuck Stewart
Piano
  • Georges Arvanitas
Producer
  • Bob Thiele
Tenor saxophone
  • Yusef Lateef
Flute
  • Yusef Lateef
Oboe
  • Yusef Lateef

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2×LP (Vinyl)
1968. France, Incorporated. The entire building was being consumed by flames and was slowly collapsing. Nothing would survive. Out of the rubble of the old world jumped the children of Marx and Coca-Cola, ripping the white and blue stripes off the French flag. Yet, the socialist revolution was more mythic than real and music did nothing to mitigate people's behavior. It was time for innovation. While singles from the Stones, Who, Kinks and MC5 provided an incendiary soundtrack for the revolution, it was Black Americans who truly blew the world from its foundations in the 60s. Ornette Coleman, Cecil Taylor, Eric Dolphy, Albert Ayler and Archie Shepp left behind the jazz of their fathers' generation, liberating the notes, trashing the structures, diving headfirst into furious improvisations, inventing a new land without boundaries – neither spiritual nor political. Free jazz endowed the saxophone with the power to destroy the established order. In 1969, the Art Ensemble of Chicago arrived at the Théâtre du Vieux Colombier in Paris and a new fuse was lit. Their multi-instrumentalism made use of a varied multiplicity of "little instruments" (including bicycle bells, wind chimes, steel drums, vibraphone and djembe: they left no stone unturned), which they employed according to their inspirations.