Lenox Avenue Breakdown
Arthur Blythe (Columbia)
Arthur Blythe was a trailblazing alto saxophonist who bridged the gap between the past and the future of jazz. He had a deep blues feeling, but also a restless spirit that pushed him to explore modal, harmolodic, and free jazz. His sound was stunning and moving, with a quivering vibrato, unstoppable swing, and a fearless attitude that fused the old and the new with invention rather than imitation. In 1979, he hooked up with Columbia and cut one of the modern jazz gems that got buried for two decades before seeing the light of day. “Lenox Avenue Breakdown” is a marvel of creative orchestration, building on his earlier work for “India Navigation”, but adding the airy and intricate flute of James Newton to complement his searing blues shout. The album is a sign of its times, blending down-home blues, preaching alto sax statements and stormy collaborations with Jack DeJohnette on drums and James Blood Ulmer on guitar. The album displays Blythe’s mature musical identity that navigates in the zone between tradition and experiment, mainstream and avant-garde.
The album has four tracks, all penned by Blythe, that cover a wide range of moods and modes, from groovy Latin beats to exotic scales, from bluesy hooks to harmolodic adventures. The album boasts a superb cast of musicians who add to the album’s distinctive sound and vibe.
The album kicks off with the funky Latin grooves of "Down San Diego Way". It's not a tease and it's not a false start, the first of four tracks shows off the rhythm section's versatility and Blythe's talent as a composer and a soloist. He lays down the melody, hands off the harmonics to Ulmer, Stewart, and McBee, and then soars over the changes, letting the beat shift under him several times before giving Newton a chance to shine and returning to the theme. The title track, “Lenox Avenue Breakdown”, is a 13-minute saga that grows from the blues and modal writing and evolves into a complex and lively piece that showcases the solos by Blythe, Newton, and Stewart. Stewart’s long solo here is one of the rare and significant tuba statements in jazz. "Slidin' Through" is Blythe's experiment in harmolodic writing, a concept coined by Ornette Coleman to describe a musical system that allows for freedom and equality of melody, harmony, and rhythm. The album wraps up with "Odessa", a haunting and gorgeous track where Blythe proves his wisdom as a leader, fostering solo and rhythmic dialogue between Newton, Ulmer and himself as the rhythm section spins it out, expanding the narrow envelope into something more textured and coherent.
Blythe's sidemen include some of the big names in the jazz world, who brought their own unique voices and styles to the album. James Newton, one of the most inventive and skilled flutists in jazz history, adds a lyrical and light contrast to Blythe's fiery and earthy saxophone. Bob Stewart, a pioneer of the jazz tuba, provides a full but bright bottom that blends with the top-notch rhythm section of bassist Cecil McBee and drummer Jack DeJohnette. McBee, a veteran of the jazz scene, anchors the music with his solid and melodic bass lines, while DeJohnette, one of the most versatile and influential drummers of all time, drives the music with his fire and authority, and with his refined sense of how rhythm and melody can merge. James "Blood" Ulmer, a guitarist who crossed the worlds of jazz, funk, and rock, adds a raw and edgy element to the music, with his distorted and angular playing. Guillermo Franco, a percussionist who had worked with Blythe before, adds some subtle and tasteful touches of Latin flavor to the music. This group plays like a band that had been together for years, not the week it took them to rehearse and create one of Blythe's masterpieces.
The album was produced by Bob Thiele, a jazz legend who had worked with John Coltrane, Albert Ayler, Pharoah Sanders, and many more. Thiele gave Blythe the artistic freedom and support he needed to make his vision a reality, and also helped him to get a clear and balanced sound that captured the subtleties and dynamics of the music. The album was engineered by Doug Epstein, who had also worked with Miles Davis, Herbie Hancock, and Santana, and mixed by Epstein, Thiele, and Blythe. The album was mastered by Vladimir Meller, the design was by Gene Greif, the album's illustration was by Mark Hess and the photography by Jim Houghton. The album's liner notes were by Stanley Crouch, a famous jazz critic and cultural commentator, who had also written for The New York Times, The New Yorker, and The Village Voice.
Lenox Avenue Breakdown is a modern jazz masterpiece, a tribute to Blythe's lasting legacy in the jazz world, showcasing his unmatched skill and musical vision. The album is a groundbreaking work that breaks genre barriers and pushes the limits of jazz, mixing tradition and experiment, mainstream and avant-garde, blues and harmolodics, funk and modalism, with a captivating musical experience that captures the spirit of Harlem's lively culture. The album is a marvel of creative orchestration, with a unique and powerful sound that combines the alto saxophone, the flute, the tuba, the guitar, the bass, the drums, and the percussion, creating a rich and varied sonic palette that goes from gentle and lyrical to intense and explosive. The album is a blend of down-home blues, preaching alto sax statements and stormy collaborations with Jack DeJohnette on drums and James Blood Ulmer on guitar. The album displays Blythe's mature musical identity that navigates in the zone between tradition and experiment, mainstream and avant-garde. The album is a masterpiece of musical expression where Blythe's playing is full of feeling and personality. His music has aged very well, as this album proves. Blythe's music offers artistic alternatives that won't ever go platinum but will be remembered for its artistic integrity and innovation.
Lenox Avenue Breakdown is a jazz masterpiece, a work that should be heard and enjoyed by everyone. The album is a sign of its times, a mirror of the musical and cultural scene of the late '70s, but also a timeless work that goes beyond its era and speaks to the now and the future. The album is a highlight of Blythe’s career, a peak of his musical growth and a display of his musical brilliance, but also a springboard for his further adventure and innovation. The album is a highlight of jazz, a work that questions and stretches the meaning and the potential of jazz, but also a work that respects and celebrates the tradition and the heritage of jazz. The album is a musical gem that should not be ignored or underrated, but rather praised and admired. I strongly suggest listening to this album and making up your own mind, as I’m sure you will find something that will touch you, inspire you, and enrich you.
Keep listening, keep dreaming, keep swinging!