One of Don Cherry's most spiritual, far-reaching projects – a wonderful record that builds both on his key avant work of the 60s, and some of the globally-inspired sounds he was cutting overseas! This date was done in close collaboration with the New York underground of the time – and the large group features work from a rich array of great musicians – including Charles Brackeen on soprano and alto sax, Carlos Ward on alto, Frank Lowe and Dewey Redman on tenors, Charlie Haden on bass, Carla Bley on piano, and Ed Blackwell on drums – working with additional string and percussion players in a sound that's completely sublime! There's a great ear here for unusual sonic twists and turns, yet these are mixed with some deeper organic tones, and some freer jazz passages – all to really ignite a great fire as the set rolls on.
When Robert Fripp is away from King Crimson, truly magical things come from his guitar. In a solo context, Fripp presents Soundscapes, built on the tradition of Frippertronics, a mode of musical expression he pioneered with Brian Eno over the course of two albums in the 1970s, No Pussyfooting and Evening Star. Those early albums relied on actual physical loops of tape, adding new elements with each repetition. Such limitations no longer exist. Working here in the realm of one guitar, and many, many effects processors, Fripp produces tones and textures that one would not assume are coming from a guitar at all.
During the war against advanced colo-rectal cancer (from 2006), which included two primary tumors and two recurrences, Fred Ho, hammered by massive chemo and radiation, found inspiration in the fight for his life from watching movies of The Greatest, Muhammad Ali. Ali s bold, militant, defiant and spirited resistance to the forces of American racism, combined with his élan, grace and humor (both poetical and personal), his indisputable athletic abilities and genius, and the inspiration to the world s peoples (especially the oppressed) and their embrace of him, served as constant inspiration to Fred Ho. During one of his recovery periods, Ho decided to compose a work for his Green Monster Big Band to honor The Greatest.