Marvin 'Hannibal' Peterson - Hannibal In Antibes (1978)
Marvin "Hannibal" Peterson - Trumpet
George Adams - Flute/Tenor Saxophone
Diedre Murray - Cello
Steve Neil - Bass
Makaya Ntshoko - Drums
Tracklisting:
01 - Ro (19:16)
02 - Swing Low Sweet Chariot (20:25)
record date: July 20th, 1977
Hannibal In Antibes starts off really very badly, so much so that you’re almost tempted to give up on the thing. The problem is it starts with about a three minute drum solo. I mean drum solos are bad enough anywhere on a record, but to start an album with one is just madness. I suppose at least they have started the album with the lowest point on there, so in theory it should only get better from that point on, unless of course you love drum solos. When the other instruments initially kick-in you’re like thank god for that, but then it all starts going a bit pear-shaped and all Tom & Jerry ish. But after about four and a half minutes the bass kicks in, then a cello reveals itself, Hannibal starts blowing the most intense horn work you could ask for, and from that point on you are blessed with a full-on aural pleasure fest for the rest of the album.
This album is two very long tunes that seem to be dominated by solos throughout. Luckily the drum solo is the only bad one here, and as I already pointed out, they got rid of it at the start. All the rest of the solos respectfully work with the rhythm section and never over reach or go too far out. The rhythm section, which also consists of a cello on here, really seems to control the main instruments of trumpet, tenor sax and flute, and make sure they behave themselves. At one point the sax goes a little over the top, but the rhythm section is like calm down will you you’re spoiling the flow, and brings it back into line. The musicians on here are Marvin “Hannibal” Peterson on trumpet, George Adams on flute and tenor sax, Diedre Murray on cello, Steve Neil on Bass and Makaya Ntshoko on drums, and man can this guy can play those drums.
The overall feel of the music is very much in that Impulse spiritual and haunting approach, but with a bit more rock element in there. Imagine the latter Pharoah Sanders recordings for Impulse, like Village Of The Pahroahs and Live At The East, but with a trumpet thrown in, and you’ll kind of get the picture. I also like the use of a string instrument, this is where the rock feel comes from; it kind of adds a slight early Velvet Underground (when John Cale was a member) feel to the thing. In addition to that there’s a kind of eastern feel, but not like Middle Eastern, more sort of eastern European feel. Basically it's a real fusion of styles that all work perfectly, so if you imagine a Russian Velvet Underground without guitars covering a Pharoah Sanders' album, you're almost there.
Both tracks are winners, but side two is a total killer, it’s a twenty plus minute version of “Swing Low Sweet Chariot” that literally abducts you for its entire duration. The drum/bass/cello combination on here is like an all consuming driving riff that just never lets up. I was so taken by this record that I spent the whole twenty minutes just not wanting it to end. I love those times when you've just got an album, but you know absolutely nothing about it and it ends up being one of the best things you've ever heard. If you love all that hypnotic stuff, and strong rhythm sections, then I cannot recommend this album to you enough. Just be warned, it is seriously addictive. The only thing that stops this getting top whack is the drum solo, and that’s just a personal thing, I hate drum solos.
>>by MH1000 from rateyourmusic.com
Find link in comments!
George Adams - Flute/Tenor Saxophone
Diedre Murray - Cello
Steve Neil - Bass
Makaya Ntshoko - Drums
Tracklisting:
01 - Ro (19:16)
02 - Swing Low Sweet Chariot (20:25)
record date: July 20th, 1977
Hannibal In Antibes starts off really very badly, so much so that you’re almost tempted to give up on the thing. The problem is it starts with about a three minute drum solo. I mean drum solos are bad enough anywhere on a record, but to start an album with one is just madness. I suppose at least they have started the album with the lowest point on there, so in theory it should only get better from that point on, unless of course you love drum solos. When the other instruments initially kick-in you’re like thank god for that, but then it all starts going a bit pear-shaped and all Tom & Jerry ish. But after about four and a half minutes the bass kicks in, then a cello reveals itself, Hannibal starts blowing the most intense horn work you could ask for, and from that point on you are blessed with a full-on aural pleasure fest for the rest of the album.
This album is two very long tunes that seem to be dominated by solos throughout. Luckily the drum solo is the only bad one here, and as I already pointed out, they got rid of it at the start. All the rest of the solos respectfully work with the rhythm section and never over reach or go too far out. The rhythm section, which also consists of a cello on here, really seems to control the main instruments of trumpet, tenor sax and flute, and make sure they behave themselves. At one point the sax goes a little over the top, but the rhythm section is like calm down will you you’re spoiling the flow, and brings it back into line. The musicians on here are Marvin “Hannibal” Peterson on trumpet, George Adams on flute and tenor sax, Diedre Murray on cello, Steve Neil on Bass and Makaya Ntshoko on drums, and man can this guy can play those drums.
The overall feel of the music is very much in that Impulse spiritual and haunting approach, but with a bit more rock element in there. Imagine the latter Pharoah Sanders recordings for Impulse, like Village Of The Pahroahs and Live At The East, but with a trumpet thrown in, and you’ll kind of get the picture. I also like the use of a string instrument, this is where the rock feel comes from; it kind of adds a slight early Velvet Underground (when John Cale was a member) feel to the thing. In addition to that there’s a kind of eastern feel, but not like Middle Eastern, more sort of eastern European feel. Basically it's a real fusion of styles that all work perfectly, so if you imagine a Russian Velvet Underground without guitars covering a Pharoah Sanders' album, you're almost there.
Both tracks are winners, but side two is a total killer, it’s a twenty plus minute version of “Swing Low Sweet Chariot” that literally abducts you for its entire duration. The drum/bass/cello combination on here is like an all consuming driving riff that just never lets up. I was so taken by this record that I spent the whole twenty minutes just not wanting it to end. I love those times when you've just got an album, but you know absolutely nothing about it and it ends up being one of the best things you've ever heard. If you love all that hypnotic stuff, and strong rhythm sections, then I cannot recommend this album to you enough. Just be warned, it is seriously addictive. The only thing that stops this getting top whack is the drum solo, and that’s just a personal thing, I hate drum solos.
>>by MH1000 from rateyourmusic.com
Find link in comments!
