Eastern Sounds (Remastered) Yusef Lateef

• 1 The Plum Blossom (Remastered) 04:59
• 2 Blues For The Orient (Remastered) 05:38
• 3 Ching Miau (Remastered) 03:17
• 4 Don't Blame Me (Remastered) 04:56
• 5 Love Theme From Spartacus (Remastered) 04:13
• 6 Snafu (Remastered) 05:40
• 7 Purple Flower (Remastered) 04:29
• 8 Love Theme From The Robe (Remastered) 03:59
• 9 The Three Faces Of Balal (Remastered) 02:18
• Total Runtime 39:29

Info for Eastern Sounds (Remastered)

Yusef Lateefs Einbindung von Traditionen, Modi und Instrumenten Asiens in seine Musik hat beim Jazz-Publikum große Sympathien geweckt. Vielleicht lag die Faszination in dem scheinbar unauslöschlichen menschlichen Bedürfnis nach Mystik, vielleicht in der unendlichen Anziehungskraft der Traurigkeit und Schönheit der Moll-Tonarten. Auf jeden Fall gab es eine beträchtliche Nachfrage nach Lateefs zahlreichen Aufnahmen aus den späten 1950er und frühen 1960er Jahren, die seine Faszination für das Orientalische widerspiegelten. "Eastern Sounds" war in der Tat einer seiner größten Verkaufsschlager. Als einer der wärmsten und zugänglichsten Solisten des Jazz beherrscht Lateef nicht nur konventionelle Rohrblattinstrumente, sondern auch viele unkonventionelle Instrumente. Hier verwendet er nur Tenorsaxophon, Flöte und Oboe und erzeugt damit Geheimnis und Exotik.

"Ich spiele keinen Jazz. Ich habe nie Jazz gespielt", erklärt Yusef Lateef jedem verdutzten Gesprächspartner und legt Wert darauf, dass man seine Klangwelt - er nennt sie "autophysiopsychische Musik" - nicht so bezeichnet. Sein wohl populärstes Album nannte der bis heute verkannte Musiker "Eastern Sounds". Und diese Bezeichnung trifft es. Lateef, nicht etwa ein Araber, sondern ein amerikanischer Moslem, hat in den fünfziger Jahren, als sich noch keine Coltranes und Cherrys dafür interessierten, als erster an einer Verbindung zwischen afroamerikanischer Improvisationsmusik und orientalischer Musik gearbeitet und ist somit zum Vater der heutigen "Weltmusik" geworden. Dabei blieb er stets ein Hardbop-Tenorist mit einem bewegendem Sound und ein großer Meister des Blues, den er besonders gern auf der Oboe spielte, deren nasalen, östlichen Klang er hier etwa in "Blues For The Orient" eingefangen hat.

Auch seine Mitmusiker regte er zur Verwendung seltener Instrumente an. Der Bassist Ernie Farrow spielt hier angeblich Rabat, es handelt sich aber um eine Rebab. Mit dem Drummer Lex Humphries und vor allem dem begnadeten Pianisten Barry Harris, seinem alten Freund aus der fruchtbaren Detroiter Jazz-Szene, gelang Lateef hier ein verträumtes Album, das eher mit märchenhaft exotischen als folkloristischen Klängen vom ersten bis zum letzten Ton in seinen Bann zieht.

Faszinierend ist Lateefs meditatives "The Plum Blossom". Lateef spielt hier auf einer kugelförmigen chinesischen Tonflöte, die er in Chinatown kaufte, als er von ihr hörte, und die 1200 Jahre alt sein soll. Nur fünf Töne kann man auf diesem Ding blasen, das klingt wie eine Flasche, in die man bläst. Doch welch zartes Kleinod hat Lateef aus diesen Möglichkeiten gezaubert. Yusef Lateef hat uns schon vor Jahrzehnten eindrucksvoll vorgeführt, dass Musik keine Grenzen kennt, außer jenen, die sich der Künstler selbst setzt." (Marcus A. Woelfle, RONDO)

Yusef Lateef, Flöte, Oboe, Tenorsaxophon
Barry Harris, Klavier
Ernie Farrow, Kontrabass
Lex Humphries, Schlagzeug

Digitally remastered

Yusef Lateef (1920-2013)
is a Grammy Award-winning composer, performer, recording artist, author, visual artist, educator and philosopher who has been a major force on the international musical scene for more than six decades. In recognition of his many contributions to the world of music, he has been named an American Jazz Master for the year 2010 by the National Endowment for the Arts.

Still very much active as a touring and recording artist, Yusef Lateef is universally acknowledged as one of the great living masters and innovators in the African American tradition of autophysiopsychic music — that which comes from one’s spiritual, physical and emotional self.

As a virtuoso on a broad spectrum of reed instruments -- tenor saxophone, flute, oboe, bamboo flute, shanai, shofar, argol, sarewa, and taiwan koto — Yusef Lateef has introduced delightful new sounds and blends of tone colors to audiences all over the world, and he has incorporated the sounds of many countries into his own music. As a result, he is considered a pioneer in what is known today as “world music.”

As a composer, Yusef Lateef has compiled a catalogue of works not only for the quartets and quintets he has led, but for symphony and chamber orchestras, stage bands, small ensembles, vocalists, choruses and solo pianists. His extended works have been performed by the WDR (Cologne), NDR (Hamburg), Atlanta, Augusta and Detroit Symphony Orchestras, the Symphony of the New World, Eternal Wind, the GO Organic Orchestra, and the New Century Players from California Insitute of the Arts. In 1987 he won a Grammy Award for his recording of “Yusef Lateef’s Little Symphony,” on which he performed all the parts. His latest extended works include a woodwind quintet, his Symphony No.2, and a concerto for piano and orchestra.

As an educator, Yusef has devoted much of his life to exploring the methodology of autophysiopsychic music in various cultures and passing what he has learned on to new generations of students. He is an emeritus Five Colleges professor at the University of Massachusetts in Amherst, MA, from which he was awarded a Ph.D. in Education in 1975. His doctoral dissertation was entitled “An Overview of Western and Islamic Education.” In 2007 he was named University of Massachusetts’ “Artist of the Year.”

As an author, Yusef Lateef has published two novellas, “A Night in the Garden of Love” and “Another Avenue;” two collections of short stories, “Spheres” and “Rain Shapes;” and his autobiography, “The Gentle Giant,” written in collaboration with Herb Boyd. In recent years he has also exhibited his paintings at various art galleries.

Yusef A. Lateef was born William Emanuel Huddleston on October 9, 1920 in Chattanooga, Tennessee, and moved with his family to Detroit in 1925. In Detroit’s fertile musical environment, Yusef soon established long-standing friendships with such masters of American music as Milt Jackson, Tommy Flanagan, Barry Harris, Paul Chambers, Donald Byrd, the Jones brothers (Hank, Thad and Elvin), Curtis Fuller, Kenny Burrell, Lucky Thompson and Matthew Rucker. He was already proficient on tenor saxophone while in high school, and at the age of 18 began touring professionally with swing bands led by Hartley Toots, Hot Lips Page, Roy Eldridge, Herbie Fields and eventually Lucky Millender. In 1949 he was invited to join the Dizzy Gillespie Orchestra.

In 1950 he returned to Detroit, where he began to study composition and flute at Wayne State University, receiving his early training in flute from Larry Teal. He also converted to Islam in the Ahmadiyya movement and took the name Yusef Lateef. From 1955–1959 he led a quintet including Curtis Fuller, Hugh Lawson, Louis Hayes and Ernie Farrell. In 1958 he began studying oboe with Ronald Odemark of the Detroit Symphony Orchestra.

Returning to New York in 1960, Yusef undertook further studies in flute with Harold Jones and John Wummer at the Manhattan School of Music, from which he received his Bachelor’s Degree in Music in 1969 and his Master’s Degree in Music Education in 1970. Later, as a member of the school’s theory department in 1971, he taught courses in autophysiopsychic music. From 1972–1976, he was an associate professor of music at the Borough of Manhattan Community College.

Yusef first began recording under his own name in 1956 for Savoy Records, and has since made more than 100 recordings as a leader for the Savoy, Prestige, Contemporary, Impulse, Atlantic and YAL labels. His early recordings of such songs as “Love Theme from Spartacus” and “Morning” continue to receive extensive airplay even today. He also toured and recorded with the ensembles of Charles Mingus, Cannonball Adderley, Miles Davis, Dizzy Gillespie and Babatunde Olatunji in the 1960s.

As an instrumentalist with his own ensemble, Yusef Lateef has performed extensively in concert halls and at colleges and music festivals throughout the United States, Europe, the Middle East, Russia, Japan and Africa, often conducting master classes and symposia in conjunction with his performances. Dating from the release of the double CD “Influence” with the Belmondo Brothers in 2005, his engagements at international music festivals have increased significantly. Over the years his touring ensembles have included such master musicians as Barry Harris, Kenny Barron, Hugh Lawson, Albert Heath, Roy Brooks, Ernie Farrell, Cecil McBee, Bob Cunningham, Adam Rudolph, Charles Moore, Ralph Jones and Frederico Ramos as well as the Lionel and Stéphane Belmondo.

Dr. Lateef’s first major work for large orchestra was his Blues Suite, also known as “Suite 16,” premiered in 1969 by the Augusta, GA Symphony Orchestra, performed in 1970 with his hometown Detroit Symphony Orchestra at the Meadowbrook Music Festival, and recorded by the WDR Orchestra in Cologne. In 1974 the NDR Radio Orchestra of Hamburg commissioned him to compose and perform the tone poem “Lalit,” and he later premiered and recorded his Symphony No.1 (Tahira) with the same orchestra.

From August 1981 until August 1985, Dr. Lateef was a senior research Fellow at the Center for Nigerian Cultural Studies at Ahmadu Bello University in Zaria, Nigeria, where he did research into the Fulani flute. Sarewa is the generic name for the Fulani flute.

In 1992 Yusef Lateef formed his own label, YAL Records, to record and distribute his works and those of other artists including the Eternal Wind Quintet. One of his first recordings on the label, co-composed with percussionist Adam Rudolph, was “The World at Peace,” an extended suite requiring 12 musicians including Eternal Wind, which has received repeated performances throughout the United States.

In 1993 the WDR Orchestra producer Ulrich Kurtz commissioned Yusef Lateef’s most ambitious work to date, The African American Epic Suite, a four-movement work for quintet and orchestra representing 400 years of slavery and disfranchisement of African Americans in America. David de Villiers conducted the premiere performance and recording with the WDR Orchestra. The suite has also been performed by the Atlanta Symphony Orchestra under Yoel Levi as a centerpiece of the National Black Arts Festival in 1998 and by the Detroit Symphony Orchestra under Thomas Wilkins in 2001.

Through his publishing company, Fana Music, Yusef Lateef has contributed extensively to the lexicon of performance and improvisational methodology with such works as “Yusef Lateef’s Flute Book of the Blues,” “A Repository of Melodic Scales and Patterns,” and “123 Duets for Treble Clef Instruments.” Fana has also published numerous works for chamber ensembles, stage bands, duos and wind ensemble or symphony orchestra.

This album contains no booklet.