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Expansions

   Artist: Lonnie Liston Smith and The Cosmic Echoes
Label: Flying Dutchman
Orig. Released: 1975
Catalog No.: LPFDUT934
Condition: Sealed-Reissue
Format: LP

Retail Price: $ 10.98 (0 available)
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Description

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Wikipedia

This description is from Wikipedia, the user-contributed encyclopedia. It may not have been reviewed by professional editors and is licensed under the GNU Free Documentation License. Any changes made to the Wikipedia article will not be immediately reflected here.


Track Titles

A1. EXPANSIONS (6:04) (Lonnie Liston Smith) Cosmic Echoes Publishing Co. BMI
A2. DESERT NIGHTS (6:45) (Lonnie Liston Smith)
Cosmic Echoes Publishing Co. BMI
A3. SUMMER DAYS (5:53) (Lonnie Liston Smith)
Cosmic Echoes Publishing Co. BMI

B1. VOODOO WOMAN (4:20) (Lonnie Liston Smith-Michael Carvin) Cosmic Echoes Publishing Co. BMI
B2. PEACE (4:13) (Horace Silver-Doug Carn) Ecaroh Music ASCAP
B3. SHADOWS (6:20) (Lonnie Liston Smith) Cosmic Echoes Publishing Co. BMI
B4. MY LOVE (5:40) (Lonnie Listen Smith) Cosmic Echoes Publishing Co. BMI


 

Liner Notes
AS I TOLD LONNIE LISTON SMITH, AFTER HEARING THIS ALBUM, ITS IMPACT IS QUITE REMARKABLE IN THAT ALTHOUGH THERE'S A LOT GOING ON A MULTIPLICITY OF TEXTURES AND OF RHYTHM ACCENTS THE EFFECT OF THE MUSIC IS UNUSUALLY CALMING, EVEN COMFORTING. THERE IS POWER HERE, BUT IT'S THE POWER OF SERENITY. A SENSUOUS SERENITY. "THAT'S WHAT WE TRIED FOR," LONNIE SAID. 'AND OVERALL, I THINK IT'S THE BEST ALBUM WE'VE DONE SO FAR. IT'S A FURTHER DEVELOPMENT OF WHAT I'M ALWAYS TRYING TO DO THROUGH MUSIC. I MEAN REACHING THE MIND, THE SPIRIT MAKING PEOPLE MORE AWARE OF THEIR INNER BEING, THEIR INNER STRENGTH." TO FLY, HOWEVER INSIDE AS WELL AS OUTSIDE ONE'S BEING REQUIRES STRONG ROOTS OF SELF-AWARENESS AND, IF YOU'RE A MUSICIAN, DEEP ROOTS IN THE KNOWLEDGE OF YOUR MUSIC. LONNIE QUALIFIES ON BOTH COUNTS. AFTER DIVERSIFIED EXPERIENCE IN BALTIMORE, HE WENT ON TO WORK WITH DAKOTA STATON, AL HIBBLER AND BETTY CARTER. THEN CAME UNUSUALLY INSTRUCTIVE STAYS WITH MAX ROACH AND ART BLAKEY. LONNIE PROCEEDED TO FURTHER ENLARGE AND DEEPEN HIS SKILLS BY WORKING WITH PHAROAH SANDERS, GATO BARBIERI AND MILES DAVIS. IT WAS THEN HE FELT READY TO CONCENTRATE ON HIS OWN GROUP WHICH, AS THIS ALBUM MAKES CLEAR, IS, IN EVERY SENSE OF THE WORD, TOGETHER. I WAS IMPRESSED, AS I TOLD LONNIE, WITH THE SINGING HERE OF HIS BROTHER, DONALD HIS RANGE, FLUIDITY, AND CAPACITY TO CREATE SUBTLY SHIFTING TEXTURES OF VOCAL COLOR. "I SING TOO," LONNIE SAID, "BUT I CAN'T SING AS HIGH AS I WANT. THAT'S WHY I'M GLAD DONALD'S WITH US. HE'S BEEN A REGULAR MEMBER OF THE GROUP FOR ABOUT A YEAR, AND HE IS SOME MUSICIAN." DRUMMER ART GORE, WHO COMES OUT OF THE BERKLEE SCHOOL OF MUSIC IN BOSTON AND HAS WORKED WITH GEORGE BENSON, IS CHARACTERIZED BY LONNIE AS HAVING "THE KIND OF TIME THAT JUST ALWAYS SEEMS RIGHT THERE." PERCUSSIONIST MICHAEL CARVIN IS "REALLY A DRUMMER, LONNIE SAYS, "BUT SINCE HE HAS A PARTICULARLY FIERY THING GOING FOR HIM, I SUGGESTED HE PLAY PERCUSSION TIMBALES, TEMPLE BLOCKS, SHAKERS. AND HE ADDS A LOT THAT WAY." SOME MONTHS BEFORE I HEARD THIS RECORDING, I WAS IN A NEW YORK NIGHTCLUB AND WHAT INTRIGUED ME WAS A MUSICIAN I HAD NEVER HEARD BEFORE. HE WAS PLAYING VARIOUS PERCUSSION INSTRUMENTS AND EXTRACTING EXTRAORDINARILY FRESH, UNEXPECTED HUES FROM HIS INSTRUMENTS WITH A GRACE AND F LAWLESS TIMING THAT REALLY MADE HIM THE STAR OF THE SHOW. HE WAS LEOPOLDO FLEMING, AND HE'S HEARD HERE ON BONGOS, AS WELL AS ON THE TRIANGLE THAT STARTS OFF EXPANSIONS. "LEOPOLDO," LONNIE SAID, "HAS BEEN TO AFRICA AND TO OTHER COUNTRIES AS A STUDENT OF THE ROOTS OF THE MUSIC. THE FIRST TIME I HEARD HIM, I KNEW I WANTED HIM TO PLAY WITH US." WITH REGARD TO BASSIST CECIL MCBEE, LONNIE SAID OF HIM IN RELATION TO AN EARLIER ALBUM ON WHICH THEY PLAYED TOGETHER, "HE'S VERY STRONG. HE PLAYS THE WHOLE BASS." LONNIE'S ENTHUSIASM FOR CECIL'S PLAYING HAS NOT DIMINISHED. "CECIL HAS BEEN SPENDING A LOT OF TIME PRODUCING RECORDINGS AT STRATA EAST," LONNIE SAYS, "BUT I USE HIM EVERY SINGLE TIME I CAN." MCBEE AND LONNIE WERE WITH PHAROAH SANDERS AT THE SAME TIME AS LAWRENCE KILLIAN, WHO PLAYS THE CONGA DRUMS IN THIS SET. "LAWRENCE HAD NO THEORETICAL TRAINING AT ALL," LONNIE SAYS, "BUT HE GREW TO UNDERSTAND MUSIC SO THOROUGHLY THAT HE KNOWS WHAT YOU WANT WITHOUT YOUR HAVING TO TELL HIM. I DON'T LIKE TO HAVE TO TELL MUSICIANS WHAT TO PLAY. THEY OUGHT TO BE ABLE TO USE THEIR OWN IMAGINATION. AFTER ALL, WE'RE SUPPOSED TO BE PLAYING CREATIVE MUSIC, SO THE IDEAS SHOULD COME FROM ALL OF US. LAWRENCE CAN DO THAT." REEDMAN DAVID HUBBARD WENT TO COLLEGE WITH LONNIE AT MORGAN STATE. "HE WAS JUST STARTING OUT IN MUSIC BACK THEN," LONNIE SAYS, "AND I DIDN'T KNOW HE WAS GOING TO BE THAT SERIOUS ABOUT IT. DAVID WENT ON THROUGH TO WORK WITH RAY CHARLES' BIG BAND AND GEORGE BENSON, AMONG OTHERS. AFTER SOME TIME, I GOT A CHANCE TO HEAR HIM, AND I SAID, 'WHAT!' I HEARD SO MUCH POTENTIAL THERE. ANOTHER THING ABOUT HIM IS HIS SENSITIVITY TO WHAT'S GOING ON AROUND HIM. SOME MUSICIANS COME INTO A GROUP AND TAKE AWAY FROM THE MOOD THAT'S GOING ON. BUT DAVID COMES IN AND LISTENS AND THEN INTERPRETS THE MOOD THAT'S THERE, AND ADDS TO IT." ALL THE COMPOSITIONS IN THE ALBUM ARE BY LONNIE LISTON SMITH, EXCEPT FOR HORACE SILVER'S PEACE. THE OPENING TRACK, EXPANSIONS, SPEAKS FOR ITSELF, LONNIE SAYS, THROUGH THE LYRICS. IT'S PART OF HIS PERENNIAL QUEST TO EXPAND PEOPLE'S CONSCIOUS-NESS TO RECOGNIZE THAT THERE IS NO SANE ALTERNATIVE TO PEACE. OF DESERT NIGHTS, LONNIE RECALLS THAT WHILE PLAYING IT, THE FEEL OF THE TUNE REMINDED HIM OF MIDDLE EASTERN IMAGES AND FLAVORS. IN THE BACKGROUND, HE NOTES, "I KEPT EVERYBODY IN PERCUSSION PLAYING DIFFERENT SOUNDING INSTRUMENTS." SUMMER DAYS IS A KIND OF HYMN TO NEW YORK CITY. "WHEN I'M TRAVELING," LONNIE EXPLAINS, "I ALWAYS LOOK FORWARD TO COMING BACK TO NEW YORK BECAUSE THERE'S ALWAYS SO MUCH GOING ON HERE. AND THERE'S SUCH VARIETY IN NEW YORK. YOU CAN REALLY SEE IT IN THE SUMMERTIME SO MANY DIFFERENT KINDS OF PEOPLE ON THE STREET; AND IN CENTRAL PARK, YOU CAN HEAR SO MANY DIFFERENT KINDS OF MUSIC WHILE PEOPLE ARE RIDING BIKES AND LOOKING IN AT ALL THE LITTLE FESTIVALS GOING ON. I SURE WISH NEW YORK CITY WOULD BECOME THE FIFTY-FIRST STATE AND GET OUT FROM UNDER THE CONTROL OF THE STATE CAPITOL IN ALBANY. EVERYBODY ELSE IN THE STATE IS PIMPING OFF NEW YORK CITY; THEY DON'T CARE WHAT HAPPENS TO NEW YORK." VOODOO WOMAN CAME INTO BEING BECAUSE, LONNIE SAYS, "I WAS TRYING TO FIGURE OUT A TUNE I COULD USE WITH THE CLAVINET. I WAS TRYING SOME-THING OUT, AND THIS TUNE JUST CAME TO ME IN THE STUDIO. THE TITLE CAME FROM ITS OVERALL FEELING." LONNIE CHOSE HORACE SILVER'S PEACE BECAUSE OF WHAT HE CONSIDERS TO BE THE MEANINGFULNESS OF THE WORDS. THE LYRICS AND THE EMOTIONAL SET OF THE MUSIC FIT WELL, OF COURSE, INTO LONNIE'S PHILOSOPHY OF LIFE AND MUSIC. SHADOWS HAS TO DO, LONNIE NOTES, WITH THE MASKS WE WEAR. "YOU SEE A PERSON," HE SAYS, "BUT YOU'RE ONLY SEEING THE EXTERIOR THING. YOU'RE NOT SEEING THE REAL PERSON." MY LOVE IS A FURTHER ILLUSTRATION OF LONNIE'S CURRENT FOCUS ON WRITING HIS OWN LYRICS. "I ALWAYS WANTED TO," HE SAYS, "AND THEN SUDDENLY THEY JUST STARTED COMING. IT'S JUST AMAZING." WITH REGARD TO WHAT'S AHEAD FOR LONNIE LISTON SMITH, HE WANTS TO CONTINUE WORKING WITH HIS GROUP. "IN FACT, I'D LIKE TO GO ALL OVER THE WORLD WITH THIS UNIT," HE EMPHASIZES. AND THERE'S A LOT OF WRITING TO DO. "I KEEP HEARING ALL KINDS OF DIFFERENT COLORS," LONNIE SAYS, "AND ULTIMATELY IT WOULD BE GREAT TO HAVE OUR OWN SOUND MAN WORKING WITH US AND BECOMING AN INTEGRAL PART OF THE MUSIC." THERE BEING A CONSIDERABLE AMOUNT OF ELECTRIFICATION IN THIS SET, I ASKED LONNIE HIS CONCEPT OF ELECTRONIC AIDS TO MUSIC. "WHEN I WAS WITH GATO AND PHAROAH," HE SAID, "I WAS GETTING SOUNDS OUT OF ACOUSTIC INSTRUMENTS THAT OTHERS WERE GETTING OUT OF ELECTRIC INSTRUMENTS. YOU REALLY HAVE TO USE YOUR WILLPOWER TO DO IT THAT WAY RATHER THAN BY JUST PUSHING A BUTTON. WELL, THE CRITICS DIDN'T UNDERSTAND THAT I WAS DOING THAT. ANYWAY, I STAYED AWAY FROM ELECTRICAL INSTRUMENTS UNTIL I WORKED WITH MILES AND REALIZED THAT AN ARTIST HAS TO DETERMINE FOR HIMSELF WHAT HE'LL DO. AND SO I DECIDED TO FIND MY OWN WAY ON ELECTRICAL INSTRUMENTS, AS I HAD ON ACOUSTIC INSTRUMENTS. "YOU KNOW," LONNIE CONCLUDED, "IT'S EASY AS YOU CAN HEAR IN SOME OF THE YOUNG ROCK PLAYERS FOR MUSICIANS TO LET ELECTRICITY PLAY THEM. ALL THEY HAVE TO DO IS TURN A KNOB. BUT AN ARTIST USES HIS OWN IMAGINATION AND GETS THE SOUND HE WANTS ELECTRONICALLY." AND THAT'S WHY THE SOUNDS HERE ARE SO DISTINCTIVELY IDENTIFIABLE AS THOSE OF LONNIE LISTON SMITH. NAT HENTOFF
Musicians
A1. LONNIE LISTON SMITH, ELECTRIC PIANO, ELECTRONIC KEYBOARD TEXTURES; DONALD SMITH, VOCALS, FLUTE SOLO; CECIL MCBEE, BASS; LAWRENCE KILLIAN, CONGAS & PERCUSSION; LEOPOLDO, BONGOS & PERCUSSION; MICHAEL CARVIN, PERCUSSION; ART GORE, DRUMS. A2. LONNIE LISTON SMITH, ACOUSTIC PIANO; DAVID HUBBARD, SOPRANO SAXOPHONE; DONALD SMITH, FLUTE; CECIL MCBEE, BASS; LAWRENCE KILLIAN, CONGAS & PERCUSSION; LEOPOLDO, BONGOS & PERCUSSION; MICHAEL CARVIN, PERCUSSION; ART GORE, DRUMS. A3. LONNIE LISTON SMITH, ACOUSTIC PIANO; DAVID HUBBARD, SOPRANO SAXOPHONE; DONALD SMITH, FLUTE; CECIL MCBEE, BASS; LAWRENCE KILLIAN, CONGAS & PERCUSSION; LEOPOLDO, BONGOS & PERCUSSION; ART GORE, DRUMS. B1. LONNIE LISTON SMITH, ELECTRIC PIANO, ELECTRONIC KEYBOARD TEXTURES; DAVID HUBBARD, TENOR SAXOPHONE, ALTO FLUTE; DONALD SMITH, FLUTE; CECIL MCBEE, BASS; LAWRENCE KILLIAN, CONGAS & PERCUSSION; LEOPOLDO, BONGOS & PERCUSSION; MICHAEL CARVIN, CLAVINET & PERCUSSION; ART GORE, DRUMS. B2. LONNIE LISTON SMITH, ACOUSTIC PIANO, ELECTRONIC KEYBOARDTEXTURES; DONALD SMITH, VOCALS; CECIL MCBEE, BASS; MICHAEL CARVIN, DRUMS. B3. LONNIE LISTON SMITH, ELECTRIC PIANO, ELECTRONIC KEYBOARD TEXTURES; DAVID HUBBARD, ALTO FLUTE, SOPRANO SAXOPHONE; DONALD SMITH, FLUTE, VOCAL TEXTURES; CECIL MCBEE, BASS; LAWRENCE KILLIAN, CONGAS& PERCUSSION; LEOPOLDO, BONGOS & PERCUSSION; MICHAEL CARVIN, PERCUSSION; ART GORE, DRUMS. B4. LONNIE LISTEN SMITH, ACOUSTIC & ELECTRIC PIANOS; DAVID HUBBARD, SOPRANO SAXOPHONE; DONALD SMITH, VOCALS; CECIL MCBEE, BASS; LAWRENCE KILLIAN, CONGAS & PERCUSSION; LEOPOLDO, BONGOS & PERCUSSION; MICHAEL CARVIN, PERCUSSION; ART GORE, DRUMS.
 
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