Fat Man and the Hard Blues

Julius Hemphill's role in shaping the collective sound of the World Saxophone Quartet brought him international acclaim. For over a decade his distinctive voicings, tart melodies and earthy rhythmic abandon distinguished the ensemble's collective interplay, even as it influenced his cohorts' approach to writing. But for this great composer, their work together represents only the tip of the iceberg. Hemphill's influential 1972 recording session which produced DOGON A.D. and THE HARD BLUES, midwifed a mini-movement in American music, fusing the modern jazz breakthroughs with the earthiest, most rootsy blues forms. Hemphill had a catalytic effect on New York's loft jazz movement in the mid-'70s, and his vision of orchestral presentation is painterly, autobiographical and totally swinging, from his solo and duo works to his ambitious JULIUS HEMPHILL BIG BAND.

But the Julius Hemphill Sextet is the alto saxophonist's most satisfying band yet, and FAT MAN AND THE HARD BLUES represents a peak for Hemphill as both a composer and soloist. From the elegant funky butt of "Otis Groove" to the twangy country blues groove and big band ornaments of "Fat Man," on through the jumping jive and fervent Parkerisms of "Floppy," and the elemental testimonies of "The Hard Blues," this music swings hard. And it's Hemphill's polymorphic alto that sets the tone for the sextet's collective counterpoint and operatic declamations.

But Papa Hemphill has a lot of bags. He elicits an antiphonal 20th century timbre from a tolling array of impressionistic chords and multiple melodic lines on "Tendrils" and "Opening," even as the winsome "Three-Step" and soulful "Anchorman" captivate with romantic allure. And thanks to expressive virtuosos such as Andrew White, James Carter and Andrew Ehrlich, Hemphill is able to depict the broad vocal traditions of jazz and blues in all their glory.