One of the West Coast's less-heralded but ceaselessly innovative units, the double-reed team of Prince Lasha and Sonny Simmons put their own spin on post-Ornette Coleman jazz during the '60s. The unique team paired Simmons... more », an Oakland native, with Texan Prince Lasha, the latter a childhood chum and early bandmate of Coleman. By using a unique battery of reed instruments that focused on the upper and middle registers (alto saxes, English horn, flutes, and alto clarinet) while spurning the tenor, the band defined its own tonal turf--a choice made all the more obvious on this recording by the decision to employ vibraphonist Bobby Hutcherson instead of a pianist. The result is an unusually delicate sound applied to robust and challenging compositions, suggesting a fusion of Eric Dolphy and Ornette Coleman, and paving the way for the kind of ensembles often heard during the loft movement of the '70s and '80s. Standouts include the Charlie Parker tribute "Prelude to Bird," the lilting "Island Song," and the incandescent title track. --Fred Goodman« less
One of the West Coast's less-heralded but ceaselessly innovative units, the double-reed team of Prince Lasha and Sonny Simmons put their own spin on post-Ornette Coleman jazz during the '60s. The unique team paired Simmons, an Oakland native, with Texan Prince Lasha, the latter a childhood chum and early bandmate of Coleman. By using a unique battery of reed instruments that focused on the upper and middle registers (alto saxes, English horn, flutes, and alto clarinet) while spurning the tenor, the band defined its own tonal turf--a choice made all the more obvious on this recording by the decision to employ vibraphonist Bobby Hutcherson instead of a pianist. The result is an unusually delicate sound applied to robust and challenging compositions, suggesting a fusion of Eric Dolphy and Ornette Coleman, and paving the way for the kind of ensembles often heard during the loft movement of the '70s and '80s. Standouts include the Charlie Parker tribute "Prelude to Bird," the lilting "Island Song," and the incandescent title track. --Fred Goodman
"A stunning album. Yes, it's "free" and "out," but it's also very lyrical and emotional music. One of Hutcherson's best performances, by the way. Tip: If Dave Holland's "Conference of the Birds" is one of your favorite albums, you have to hear this."
A Great surprise
nadav haber | jerusalem Israel | 07/27/2000
(5 out of 5 stars)
"Listening to the music here made me feel like I discovered an unknown traesure. I mean, the music is so fresh and exciting, and yet I came across it by pure chance ! The fact that this CD is not more celebrated is injustice to its creators. Please note that vibist Bobby Hutcherson is also here, as on Out TO Lunch, and his own amazing albums. So, maybe he is the added ingredient that makes this an indispensible CD. The CD is heaven for wind instrumentalists, as you can hear the Saxophones, flute and bass clarinet played superbly. No flaws."
Essential Modern Jazz
Michael B. Richman | Portland, Maine USA | 07/18/2000
(5 out of 5 stars)
""Firebirds" is essential modern jazz. This album should be mentioned in the same breath as modern jazz classics like Andrew Hill's "Point of Departure," Bobby Hutcherson's "Dialogue," and Eric Dolphy's "Out to Lunch." Prince Lasha and Sonny Simmons have appeared together on record before -- Jimmy Garrison/Elvin Jones' "Illumination," and Eric Dolphy's "Conversations" and "Iron Man" -- and they are one of the dynamic duos of the 60s avant-garde. Any fan of the outward thinking jazz of the 60s will be remiss at not buying this album sooner. And since it's a limited edition, you'll be kicking yourself if you don't get it."
Overlooked classic
G B | Connecticut | 08/15/2002
(5 out of 5 stars)
"Altoists Sonny Simmons and Prince Lasha are not household names, even in the world of 60s avant-garde jazz. But Firebirds is without a doubt one of the classics of the genre, forgotten and ignored because it wasn't recorded for Blue Note or Impulse. The one bona-fide superstar on Firebirds is vibraphonist Bobby Hutcherson, whose playing here is terrific and especially loopy. Drummer Charles Moffett (best known for his work with Ornette Coleman's trio) is like a percussive trampoline and Buster Williams rounds out the group with his strong basslines. But Simmons and Lasha are the ones who steal the show; their playing is melodic and joyous, alternating solos with animated dialogues. The music reminds me a little of Ornette's Golden Circle trio, but the playing is generally more "inside" and the vibes give it an Out-to-Lunchish flavor. "Psalms of Solomon" is especially amazing -- Moffett sets up a percolating groove with Lasha on flute and Simmons on English horn, but over 11 minutes it gets increasingly frantic and intense. "The Island Song" is very catchy, and on "Prelude to Bird" the two leaders pay tribute to Mr. Parker. The wild title track lives up to its name and may scare some hard bop fans, though it's quite tame compared to what Coltrane and Cecil Taylor were doing at the time. Firebirds is highly recommended for any fan of freebop and the more melodic side of avant-garde jazz. It's also a lot of fun to listen to."
'Birds in Flight
Baby Huey | Oakland. CA, USA | 11/19/2000
(5 out of 5 stars)
"This is a stellar reissue, but lacks the earlier LP on Contemporary by this duo that more than one person I've met thinks is the greatest Jazz record ever made (oooh, that's a bold statement, I know)... called "The Cry!". Get this one and lobby Fantasy to reissue the other one as well!"