On 1975’s Expansions, American jazz musician and composer Lonnie Liston Smith took the large leap. It’s an album that’s rightly feted as key to a really open, dynamic type of jazz-funk fusion, one which’s much less about tricksy musicianship, extra about texture, area and groove. In fact, the varied gamers that joined Smith – the members of his band, the Cosmic Echoes – have been glorious musicians in their very own proper, however the pleasure of Expansions is its subordination of ego, the way in which the gamers are all in service to the rhizomatic circulation of the seven songs right here, whether or not vamping on a groove, or pivoting round a riff or easy, see-sawing chord change.
Expansions was each standard in its personal time whereas having ongoing affect on British dance music. The previous makes some extent of sense – within the mid-’70s, an album like this might nicely have provided succour to varied subcultures, licking their wounds after the social and cultural battles that performed out throughout the late ’60s and early ’70s. Dialling down the depth of free jazz, reintroducing delicate groove and sensuality into the music’s sway, Expansions chimed in with a post-countercultural embrace of fusion, world music and funk. It’s no shock, listening to the lambent trickle of a tune like “Desert Nights”, to find Smith had achieved time with Miles Davis.
That Expansions would develop into so vital to British dance music by way of the a long time is maybe extra shocking. This narrative is detailed with admirable readability by Frank Tope within the liner notes to this Fiftieth-anniversary reissue, the place Tope traces Expansions’ path of affect, from cratedigging Northern Soul fiends to vanguard jungle producers – it was, in any case, sampled by drum’n’bass legend Roni Measurement. Whereas it wasn’t ignored at dwelling – David Mancuso performed the album at his legendary nightclub The Loft – Expansions actually discovered its viewers, and sustained affect, throughout varied generations of British membership tradition.
Smith’s personal journey to Expansions was outstanding in itself. Born in Richmond, Virginia, right into a musical household – his father was a profitable gospel singer in The Harmonizing 4 – Smith made his title after relocating to New York, firstly taking part in piano with Betty Carter, then, in fast succession, Roland Kirk, Artwork Blakey’s Jazz Messengers, and with Max Roach. However he actually got here into his personal within the late ’60s, as a member of Pharoah Sanders’ group – he appeared on the latter’s unbelievable run of albums, Karma, Jewels Of Thought and Thembi – throughout which period he found the Fender Rhodes, contributing ecstatic taking part in to a few of the most oceanic, hypnotic free jazz of the period.
Within the early ’70s, Smith performed each with the idiosyncratic Argentinian saxophonist Gato Barbieri, and with Miles Davis’ ensemble, the place he was pushed to be taught the electrical organ in file time: you may hear him throughout On The Nook, and briefly on Large Enjoyable. Smith’s first few albums with the Cosmic Echoes, 1973’s Astral Touring and the next yr’s Cosmic Funk match this context neatly: he borrows each the summary freedoms of Sanders and the amorphous, unsettled moods of Davis’ ’70s output, setting them down in a becalmed area. This befits a want for unity and oneness borne of religious search: he’d been launched to Sufism by Solar Ra saxophonist John Gilmore and would stumble upon Ra or John Coltrane at New York occult bookstore, Weiser’s Antiquarian.
Expansions is the place every thing Smith had been on the lookout for in his music got here to full fruition. It’s remarkably assured with out seeming cocky about it – you may hear that the gamers are tuned into one another. A part of what makes it work so nicely is the threshing of percussion that rumbles and barrels by way of the album – on the opening title tune, a chiming triangle, burbling bongo and conga, and a fiercely disciplined groove push the tune, whereas unusual, gaseous synth drones spill throughout the tune like an oil slick. Smith’s brother Donald sings of peace for mankind – if there’s one limitation on Expansions, it’s that the lyrics can really feel a bit like overly imprecise proclamations – as a rangy flute skips by way of the stereo spectrum.
A lot of the music strikes at an analogous tempo, although issues dial down for the melancholy “Peace”. You’ll be able to hear the affect of James Brown in the way in which the rhythms really feel tight and free, someway, concurrently; Cecil McBee’s bass walks and prowls by way of the songs, typically taking over the position of melodic motif. The overarching sense right here, although, is without doubt one of the music lapping in opposition to the shores, of the listener – and the musicians, for that matter – both misplaced in an aquatic reverie, generally coming to relaxation in a shady arbour, different occasions capturing out into the cosmic void. It’s heavenly – and sure, an expansive drift certainly.
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