James Blood Ulmer Free Lancing 19812013

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Artist: James Blood Ulmer
Title Of Album: Free Lancing
Year Of Release: 1981/2013
Label: Columbia
Genre: Blues, Jazz, Funk
Format: Mp3
Quality: 320 kbps
Total Time: 47:39 Min
Total Size: 115 Mb


01. Timeless 04:24
02. Pleasure Control 05:02
03. Night Lover 05:24
04. Where Did All The Girls Come From? 04:42
05. High Time 04:03
06. Hijack 04:45
07. Free Lancing 04:40
08. Stand Up To Yourself 03:46
09. Rush Hour 05:33
10. Happy Time 05:16

James Blood Ulmer - Guitars, Vocals
Ronnie Drayton - Guitars
Amin Ali - Bass
David Murray - Saxophones
Oliver Lake - Saxophones
Olu Dara - Trumpet
Irene Datcher - Backing Vocals
Diane Wilson - Backing Vocals
Zenobia Kankerite - Backing Vocals
Grant Calvin Weston - Drums

After cultivating a huge underground reputation both as a sideman in Ornette Coleman's Prime Time band and as an increasingly influential musician among the more experimental edges of the New York City punk and noise scenes, James Blood Ulmer was finally, in 1981, given a major-label contract by Columbia. Free Lancing was the first of three albums for the label before he, like many before and after, was unceremoniously dropped. It opens explosively with "Timeless," a ripping instrumental showcasing Ulmer at his best, all jagged angles, raw blues feeling, and chainsaw guitar shards. One of several cuts with only the trio of Ulmer, bassist Amin Ali, and drummer G. Calvin Weston, it's the guitarist at his most elemental, brutal, and real. Other tracks lean toward the funky side of things, with the leader's vocals (always at least a bit reminiscent of Hendrix) and a few female background vocals that impart a certain simmering sexiness even as they always serve to "slickify" the final product. But even here, on tracks like "Where Did All the Girls Come From?," Ulmer manages to raise the stakes far beyond the standard jazz-punk-funk of the period. Three other songs import the impressive horn trio of David Murray, Oliver Lake, and Olu Dara, used to provide a supremely strutting back line on "High Time" and giving the trumpeter a fine, fat solo on "Hijack" (a tune that recalls Ronald Shannon Jackson's Decoding Society). But it's Ulmer's stinging guitar lines -- rough-hewn, corrosive, and scrabbling -- throughout this recording that make it one of his finest.
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