Album Info
| Artist: | Sam Rivers |
| Album: | Contours |
| Gatefold: | Yes |
| Released: | US, 15 Mar 2019 |
Tracklist:
| A1 | Point Of Many Returns | |
| Written-By - Rivers | ||
| A2 | Dance Of The tripedal | |
| Written-By - Rivers | ||
| B1 | Euterpe | |
| Written-By - Rivers | ||
| B2 | Mellifluous Cacaphony | |
| Written-By - Rivers |
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Description
"Contours" is a jazz album by the American saxophonist Sam Rivers, released in 1967 on the Blue Note label. This album is a significant entry in the post-bop and avant-garde jazz genres, showcasing Rivers' innovative approach to composition and improvisation.
Sam Rivers, a multi-instrumentalist known primarily for his work on the tenor saxophone, was an influential figure in the jazz world. Born in 1923, Rivers had a career that spanned several decades, during which he collaborated with numerous jazz legends, including Miles Davis, Cecil Taylor, and Andrew Hill. "Contours" is one of his most celebrated works, highlighting his unique style and contributions to the evolution of jazz.
The album features a stellar lineup of musicians, including Freddie Hubbard on trumpet, Herbie Hancock on piano, Ron Carter on bass, and Joe Chambers on drums. This ensemble of top-tier jazz artists brings a dynamic and cohesive sound to the recording, each member contributing their distinct voice to the overall texture of the music.
"Contours" consists of four tracks, each composed by Rivers. The opening track, "Point of Many Returns," sets the tone for the album with its complex structure and intricate interplay between the musicians. Rivers' saxophone work is both powerful and nuanced, weaving through the harmonic and rhythmic layers laid down by his bandmates.
The second track, "Dance of the Tripedal," is a more abstract piece, characterized by its unconventional time signatures and dissonant harmonies. Hubbard's trumpet and Hancock's piano provide a counterpoint to Rivers' saxophone, creating a rich tapestry of sound that challenges the listener's expectations.
"Euterpe," the third track, is named after the Greek muse of music and lyric poetry. This composition features a more lyrical and melodic approach, with Rivers exploring the full range of his instrument. Carter's bass lines and Chambers' drumming provide a solid foundation, allowing Rivers and Hubbard to engage in a spirited musical conversation.
The final track, "Mellifluous Cacophony," is a fitting conclusion to the album. As the title suggests, the piece is a blend of sweet melodies and chaotic elements, reflecting Rivers' ability to balance order and spontaneity in his music. Hancock's piano work is particularly noteworthy here, adding depth and complexity to the composition.
"Contours" is a testament to Sam Rivers' artistry and vision. The album captures a moment in jazz history when boundaries were being pushed, and new possibilities were being explored. Rivers' compositions are both challenging and accessible, offering something for both seasoned jazz aficionados and newcomers to the genre.
The production quality of the album is also worth mentioning. Recorded at the Van Gelder Studio in Englewood Cliffs, New Jersey, the sound is crisp and clear, allowing each instrument to be heard distinctly. The engineering work of Rudy Van Gelder, a legendary figure in the recording industry, ensures that the nuances of the performance are faithfully captured.
In conclusion, "Contours" is a must-listen for anyone interested in the evolution of jazz. Sam Rivers' innovative compositions and the exceptional performances by the ensemble make this album a standout in the Blue Note catalog. It is a work that continues to inspire and challenge musicians and listeners alike, cementing Rivers' legacy as a pioneering force in jazz.