Anthology

構成数 : 1枚
合計収録時間 : 00:00:00
In 2005, the Soul Brother label basically duplicated the 1998 Leon Thomas Anthology which had started out its life as a British release in a period when Thomas' solo recordings from the '70s were basically only accessible in the used record pile. Of course it has always been possible to check him out alongside Pharoah Sanders on the classic Impulse recordings that brought him fame. "While the supply lasted, we tended to have a copy or two of those Flying Dutchman sides in stock," quoted the proprietor of one such aforementioned retail outlet. "People would bring them in out of basic dissatisfaction but they would eventually find a home and stay there and then that was the end of the supply." For the late vocalist to have progressed from a label called Flying Dutchman, in honor of its proprietor Bob Thiele, to another known as Soul Brother is in itself indicative of the expanding ranks of Thomas' audience. It is also one of the few instances where any kind of rational conclusion results from studying the names of record labels. Hipsters in the '70s would have certainly considered Thomas a soul brother, yet for the mainstream R&B audience, just a single one of his patented yodels -- more influenced by pygmy music than Switzerland or Hank Williams -- was enough to confine him to the weirdo ranks. It took several generations until a somewhat more open-minded crowd began to understand how all this related to funky favorites such as George Clinton and Horace Silver. Thomas himself tried to get the message across once given a chance to put his own recording projects together. Other than a late-'80s live set with alto saxophonist Gary Bartz, the singer's association with producer Thiele provided consistency as well as superb production values. The earlier Thomas solo sides such as his debut Spirits Known and Unknown in 1969, feature predominantly modern jazz, including alternate versions of tracks he had recorded with Sanders. Blues and the Soulful Truth and Full Circle attracted attention because of surprisingly effective R&B material. A cover of John Lee Hooker's "Boom Boom" rocks to the soul and has unfortunately not been chosen as part of the Anthology list; in fairness, an equally compelling "C.C. Rider" has. The eclectic Thiele mixed and matched his backup for these projects, combining veteran studio groovers with ringers such as guitarist Larry Coryell, in terrific form. "Shape Your Mind to Die," one of a handful of original songwriting collaborations with keyboardist Neal Creque, could be the best Thomas track ever. If anything, it is an antidote for nihilists who find the famous performances of "Creator Has a Master Plan" and "Hum-Allah" too sentimental. Like much of the material Thiele put out on his label, however, Thomas' recordings were too sophisticated for the general public. To assign blame more specifically, the typically short LPs would also usually include a few flabbo tracks, explaining why critics suggest that an Anthology represents a sufficient collection of Thomas material. Several years after the latest Soul Brother release, availability of the original Thomas catalog has improved significantly, making the latter course of acquisition not the only possible approach. The Bonus Tracks outfit revived several early sessions, expanding them enjoyably. Blues and the Soulful Truth, from which some of the best material on Anthology originates, was reissued in its entirety in 2001. Three other Flying Dutchman titles remain out of print, however. ~ Eugene Chadbourne
録音 : ステレオ (Studio/Live)