Eastern Sounds [Original recording remastered, Import]

One could argue that several of multi-reedsman Yusef Lateef's other albums are as strong as EASTERN SOUNDS; but it's no accident that this 1961 collection has consistently been hailed by both fans and critics as the supreme distillation of his unique and enduring vision - that of jazz as the true "world music."
Lateef's golden era, dating approximately from his first recordings as a leader circa 1956 through the end of his tenure at Impulse! Records a decade later, saw the gifted tenor saxophonist/flautist/oboist release a steady stream of top-quality albums, which over time tended less to break new ground than to reiterate the revolutionary message with which the artist had begun his career: that jazz was wide enough to incorporate anything, from anywhere, and still be jazz. Whether honking away on bizarre Mideastern horns, trying out overtly foreign time signatures and rhythms or employing a deflating balloon as an instrument, Lateef and his various combos produced some of the most exotic and yet most classical sounds of the era, and never more successfully than on EASTERN SOUNDS.
With a characteristic mixture of original compositions, jazz standards and movie themes (which, in lesser hands, might seem like a nod to commercial considerations), EASTERN SOUNDS is as kaleidoscopic in its source material as in its instrumentation, with both running the gamut from stately purist refinement to rousing eclecticism. That the album never for a moment ceases to be coherent, intelligent and beautiful is a testament to Lateef's musical and philosophical acumen. As he proved here and on so many other releases, jazz is indeed a universe, with room enough for all the spheres of sound. The fortunate listener could ask for no more capable pilot through its vastnesses than this eminently gifted, bridge-building visionary.

Cross-cultural explorations of music usually turn up going one of two routes: the path of musical expansion/discovery that sometimes detours down the lane of genius or the bushy, thorny and (hopefully) killer troll-infested path of gross oversimplification of a culture and tepid romanticization of said culture. Thankfully, Lateef has clearly carefully studied, experimented with and ultimately trained himself in what he wishes to incorporate into the music he would eventually produce. And while I may be wrong with this, Lateef seems to not say "this music is the culture." Instead, he seems to be saying "maybe our imaginations are a bit too limited, cat. Maybe just maybe we can soak in some influences and make it ours." This is what I really appreciate about this beautiful album. It's all about taking jazz and exploring its musical capabilities by any means possible--even if that means incorporating some instruments and influences that the average jazzman wouldn't even dream about touching.

These words are almost immediately proven when one pops this glorious CD in and listen to the first track, "The Plum Blossom." The name alone fills my head with all kinds of beautiful imagery. The listener is introduced to this album with a quiet, peaceful riff of an Indian instrument called the "rahab." (Wikipedia it.) And if that wasn't enough, the listener is then treated to a subdued yet beautiful melody played by a Chinese instrument called the "xun." (Once again, Wikipedia it.) To remind us that this is jazz, it seems, a careful and meticulous piano comes into the mix and interplays with the xun in a way that seems that these two instruments hail from one musical tradition. +1 for Sir Lateef.

Afterwards, we're treated to some traditional jazz/blues with "Blues For the Orient." I do not believe that this song utilizes any eastern instruments but the influence does some out in the use of the chord changes (I'm nowhere near technically proficient so I like to shy away from saying such things.) and the careful use of the Lateef's oboe in this song. Perhaps Lateef plays on/with our romantizations of the East and tortures us by dipping us into the cauldron of the exotic but yanks us out of this ecstasy and tosses us, cold and naked, back into the world of Americana.

Four standard jazz pieces make their way into the mix but don't seem to be out of place at all. The two livelier of the pieces--Chinq Miau and Snafu--are both introduced by extremely hip bass lines. The drums soon come in to complete the rhythm section and then we're treated to an even greater surprise: Lateef plays the saxophone! His playing on these songs goes to show that while he doesn't embrace the relentless torrent of soul that constitutes Coltrane's (another fellow that began to experiment with Eastern music around this time) aesthetic, he was still able to roll with the saxophone giants in jazz at the time. Though, in keeping with the aesthetic of this album, he doesn't let all out which he shows he obviously can do. The two quieter jazz standards of the album--"Don't Blame Me" and "Purple Flower"--make great additions that simultaneously contradict and accentuate their more exotic counterparts.

The two greatest surprises on the album, however, are the inclusion of two renditions of songs scored by the great film composer Alex North. Sure, film music may be slightly detached from the theme of the album but why the hell not, right? The slightly less impressive of these two inclusions, "Love Theme from The Robe," is still very tender (as a love theme should be, right?) and exhibits form amazing flute playing from Lateef. They dance all over the main theme of the original song yet still remain close enough to it for the melody to be recognizable. The other love theme, from Kubrick's Spartacus, is an amazingly beautiful inclusion on this record and probably even trumps a lot of the Eastern-influenced pieces on the album for many people. For the most part, the players stay fairly close to the main melody and there's nothing wrong with that at all: the melody is absolutely genius and I'd see no reason wander away from it. Of particular interest is the piano solo in the middle of the song, which has to be one of the best improvisational performances I've heard in quite a while. (Though, admittedly, I've been sort of out of the loop in terms of jazz for a while.)

Finally, the rahab returns for the album's final cut, "The Three Faces of Balal." For a mere two minutes, the rahab, piano and mystical flute dance with one another and ends the album in such a sparse, delicate way as it began. Sometimes, you can't help but forget that tons of cultural and artistic influences have been packed into this album to create something completely new. And on top of that, it didn't have to be thrown under the label of "postmodernism" or had to have been beaten in your head in a Tantantinoesque manner. You're just supposed to take it for what it is and relax.

Definitely a winner.

An alltime jazz clasic and near perfect jazz album.Eastern Sounds is an essential component of any jazz afecionado's collection!Yusef Lateef is at the height of his God given powers on this tour de force, yet subtle and tender rendering.The remastering by Rudy Van Gelder(who is among the very best jazz recording engineers ever) is exceptional and brings this collection to spectacular fidelity.