Search - Reggie Workman, Andrew Hill, Sam Rivers :: Summit Conference

Philip S. from NORWICH, VT
Reviewed on 9/23/2006...

Reggie Workman, Andrew Hill, Sam Rivers, Julian Priester, and Pheeroan Aklaff. Recorded 1994.

Summit Conference Rediscovered

James Armstrong | San Jose, CA USA | 08/19/2000

(5 out of 5 stars)

"Those who missed the live performances of this outstanding group at Yoshi's in Oakland, California a few years back are in for a treat. In keeping with the name of the session, the listener can expect first-rate musical dialogue between pianist Andrew Hill, flute and reed master Sam Rivers, trombonist Julian Priester, and bassist Reggie Workman, which is on a par with their respective landmark performances on Blue Note Records. Hill and Rivers are musical soulmates who share a rhythmic and harmonic temperment which is unique in Jazz, and their work together is nothing less than passionate and stunning, particularly in the pianist's original composition entitled "Gone".Contrary to assertions to the effect that Dr. Hill has only recently resurfaced after years of obscurity, Summit Conference offers convincing proof that the grand master has always been with us."

REGGIE WORKMAN-SUMMIT CONFERENCE

Stuart Jefferson | San Diego,Ca | 12/30/2008

(5 out of 5 stars)

"One disc,56 minutes approximately. Digitally remastered-but the sound is still fairly warm,with good spatial qualities between the instruments. Workman has played with a number of well known jazz musicians over many years. Here he has brought together a like number of jazz musicians with the same outlook and playing temperament as his own. Besides Workman on bass,the group consists of Andrew Hill-piano,Sam Rivers-saxes and flute,Julian Priester-trombone,and Pheeroan akLaff-drums.



The first track gets off to a rousing start,with all the players weaving a fairly dense sound,while both Workman and akLaff hold onto and build a solid bottom on this composition. This tune sets the pace for whats to come-a combination of freer jazz and straight ahead playing. The second track slows down a bit,but has the same tonal qualities as the first track. This tune gives Priester a chance to shine on the trombone while the others comp behind him and sometimes with him. The third track starts out on a "freer"sound and then locks into a somewhat atonal groove with both Workman and Rivers playing notes over the rest of the group. Hill gets a chance to play some interlocking notes that blend in with the composition. This track is played a bit softer and slower than the preceding tunes,and gives the listener a chance to really hear the different players. This tune is just barely into the "free" zone,but is still easy to follow.



The fourth track has a grounding in post modern bop,as the bass and drums lay down a bottom sound that lets Rivers start to really assert himself on the sax. Priester comes in with some very lovely straight ahead blowing that compliments Rivers and the rhythm section. akLaff gets a chance to show his prowess on the drums for a fairly short solo. Track five is a delicate sounding tune,with Priester playing some well thought out notes with Hill and Rivers very subtle in the background. It then picks up speed with Rivers playing intensely but not to far outside. Workman comes in with a very intelligent bass solo,with the rest of the group coming in at just the right time for a beautiful finish. This track is probably as close to straight ahead jazz as these players get on this recording. Track six sounds more in the vein of the first two tracks-a combination of dissonance and some almost straight ahead playing. For those of you who are familiar with Rivers,his playing will come as no surprise. Likewise Priester,whose trombone sound and approach is much like Rivers. Both these players trade and blend their respective sounds over the well placed notes of Hill,and the rhythm section. Track seven starts very quietly with Workman and akLaff trading sounds. Then both horns come in together and weave a subtle blanket of sound which really calls for the listener to pay attention. The intensity builds up between the group and gives this tune a real identity. The final track begins with some lovely bowing by Workman,with Hill coming in to play some spare notes. On top of this Rivers plays some gorgeous flute,which accents this piece very well. This is perhaps the quietest piece of the album. No intense note clusters,just some spare notes from the players,who leave a lot of space between in order to emphasize the feeling of calmness. Hill takes center stage here with Rivers,again,playing some delicate flute,with Workman very subtly in the background. akLaff plays his most delicate percussion of the entire album here,and it fits perfectly.



The notes are short and to the point: Workman gives a short synopsis of the tunes and a bit of information about each. This(along with CEREBRAL CAVERNS also by Workman) belong in every jazz lover's library. It is fine intelligent music that is not heard to often today,and that's to bad, for music of this quality should be much wider known and appreciated."