1. Temple University

Originally posted by Bacoso at 'Orgy in Rhythm', November 2006 Norman Connors' first album as a leader is a beautiful collision where the post- Bitches Brew crew meet up with post-Pharoah Sanders spiritual jazz across the rhythms and harmonies of latin america. Check the personnel on the cover, all you could want really! While almost all of these people would end up in jazz-influenced RnB/disco within a few years of this album - in particular Connors himself - their work in the 1972-75 period is fascinating in its search for, and creation of, new hybrid forms.

Oct 22, 2013 8 CLASSIC NORMAN CONNORS ALBUMS REISSUED NORMAN CONNORS. Norman Connors Presents Aquarian Dream is a wonderful debut from Aquarian Dream.

There are several albums that contain a large crossover of the musicians that are on this one, and taken together they make a wonderful journey. Here's what you need to check out: Norman Connor's next two wonderful albums, and which both develop ideas fermented here; Stanley Clarke's, and Carlos Garnett's, and. Plus of course, we've got Hancock, Henderson and Hart from the band, who we've discussed recently. For them, this comes the same year as.

Vocalist Dee Dee Bridgewater appears on most of the above albums, but not this one - unless she's one of the mysterious U.B.F Singers on the first track? On the immediate front, many of the people here seem to have come straight off the back of Pharoah Sanders' and sessions - Connors, Clarke, Garnett, Cecil McBee and Billy Hart - while some of the sessions that make up Sanders' (Clarke, Connors, McBee) occur soon before and after this album. Original 1972 Cobblestone cover I prefer the 1976 Buddha release (at top) due to Norman's jacket. I listed all of those albums from saxophonist Carlos Garnett because he's a strong force across the first three Connors albums, and his own subsequent albums can be seen as a continuation of this particular fusion of spiritual jazz and latin elements. There's a strong melodic/harmonic influence from him in the main themes of the 'Dance Of Magic' tracks, and he arranged the title track, which takes up all of Side One. Garnett had worked with co-saxophonist Gary Bartz on Mtume's as well as various Miles Davis sessions.

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For Bartz, this session occurs in the same year as. At this stage Herbie Hancock is stretching his rhodes textures as far as they can go, now fully integrating the keyboard's delay, distortion, wah-wah and ring modulation effects into his playing and composition, just a year before he would shift his sonic experimentation to synthesisers. For Hancock, this session falls between Joe Farrell's (where he'd been with Stanley Clarke) and Miles Davis' (which he'd go on to with Garnett and Billy Hart) I hadn't listened to this album for a few years until today, and it's the percussion that really 'strikes' me this time - Connors has assembled Brasilian wunderkind Airto Moreiraand up to six others, and it's just a total funky joy to listen to. Conga player Nat Bettis had been with Gary Bartz on his NTU Troop series of three albums, and he and Anthony Wiles had played on Pharoah Sanders' the year before alongside Cecil McBee.

1972 is a huge year for Airto - he recorded his album ( with Stanley Clarke in tow); Buddy Terry's included Airto, Clarke, Hart and Henderson; both Airto and Clarke continue on to Deodato's best-known effort, and he's all over Cannonball Adderley's. Session pix, right-click for larger L-R Herbie Hancock, Stanley Clarke, Cecil McBee, Eddie Henderson, Art Webb, Gary Bartz, Carlos Garnett, Airto Moreira. Connors' twenty-one minute 'Dance Of Magic', which takes up Side One of the original album, starts with the vocal chants of the U.B.F Singers, then rises and falls with barrages of latin percussion over the twin bass attack of McBee and Clarke. Hancock holds the rhythmic centre on acoustic piano, while saxaophonists Garnett and Gary Bartz wail freely over the top, followed by a solo from trumpeter Eddie Henderson and then Hancock, who's initially so caught up in the general percussiveness of it all that he starts plucking and scraping the piano strings.

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Cecil McBee's 'Morning Change' (preview at top of post) at times melodically presages his album, and is anchored by Hancock's rhodes and a beautiful central sax and trumpet melody that develops into a solo from trumpeter Henderson, here still flying without the reverbs and delays he would soon swamp his sound in, and then a soprano sax solo from Garnett. Stanley Clarke's ten minute 'Blue' is built around a melody line than combines Henderson's muted trumpet with Art Webb's flute. Webb was strongly featured on Clarke's album, and he excels here in a three minute solo. Henderson continues on muted trumpet, then finally Hancock goes crazy on the wah-wah rhodes before the melody is recalled.

The album finishes with Connors' appropriately titled 'Give the Drummer Some'. He bursts in with a short solo that breaks down to vocal/percussion call and responses, then the conga leads the entire percussion section, joined by Connors, into an exuberant finish. As mentioned before, Norman Connors went on to develop these ideas across his next two albums, then made a transition into a jazz-influenced RnB that was also highly influential. You'll find all of his 70s and 80s discography, as well as his production work, in blog links at the base of this post.

Links for this album are in the comments. Bacoso's upload had expired, so I've upped this from the deleted CD re-issue which is itself quite rare and valuable these days. So, since I'm also supplying WAV files, you can all print the cover out, rip it and sell it on Ebay, then we'll all take a nice holiday - which I for one need after the extravaganza. By the way, the epic Cochran post didn't appear on feeds for some reason, so have a read if you missed it. TRACKLIST 01. Dance Of Magic (21:00) - Norman Connors 02.

Morning Change (6:29) - Cecil McBee 03. Blue (10:20) - Stanley Clarke 04. Hi, I am delighted with the recent trend I have seen among some bloggers to post albums in lossless formats and grateful to you for this. I really appreciate your obvious enjoyment of the music and the inter-relationships between the musicians. I enjoy when members of various groups (post-Miles, post-Coltrane, post-Pharoah etc) come together in unusual collaborations and in this case it includes my favourite musician (Herbie) in the middle of my favourite of his 'periods' with some of his regulars and some less so. It feels like when I discovered an album of him playing with Eric Dolphy, the unexpected juxtaposition of Miles and Coltrane sidesmen.

A fantastic Norman Connors soul-funk-fusion project. Amazing boogie funk with strong jazz influences all created for the dancefloor. Entire albums is good but East 6th Street, Guitar Talk and the dancer Phoenix stand out. An acclaimed jazz-funk/disco LP, this was the first of three LPs for Aquarian Dream. It contains the much-sampled “ Phoenix“, which has also been issued on many recent disco CD compilations, but all the songs are great on this LP. Aquarian Dream was an obscure but noteworthy 1970s soul/funk band that, despite its association with Norman Connors, was unable to score a hit.

The band was formed in 1976, when Connors brought it to Buddah and produced its debut album, Norman Connors Presents Aquarian Dream. That year, Dream’s lineup included lead singer Gloria Jones(not to be confused with the singer of the same name who sang the original version of “Tainted Love” in the 1960s), saxophonist Claude Bartee Jr.

(who had a jazz background and had been a sideman for Grant Green, Pucho, and others), guitarist Pete Bartee, keyboardist Jacques Burvick, percussionist Mike Fowler, and drummer Jimmy Morrison (who shouldn’t be confused with the Doors’ lead singer). In 1976, Norman Connors was hot in the R&B market. Having enjoyed major hits with “Valentine Love” and “You Are My Starship,” the Philadelphia jazz improviser-turned-soul-star was being denounced as a sellout by jazz’s hardcore while commanding a lot of respect in R&B circles. So when Connors produced Aquarian Dream’s debut album, Norman Connors Presents Aquarian Dream, in 1976, it should have done well. However, this little-known LP was a commercial disappointment (by R&B standards) despite Connors’ presence and despite the fact that the material is generally respectable. The album detours into instrumental jazz-funk on “ East 6th Street” but for the most part, it favors a sleek, sophisticated soul/funk approach that could be described as Connors-meets-New Birth-meets-Earth, Wind & Fire. Dream has an impressive lead singer in Gloria Jones, whose gospel-influenced belting serves the band well on cuts that range from the exuberant yet sentimental “ I’ll Always Love You, T” and the mystical “ Phoenix” to the gritty “ Guitar Talk“.

Like Dream’s two subsequent albums,Norman Connors Presents Aquarian Dream has long been out of print and it’s unlikely that it will ever be reissued on CD, but it’s worth obtaining if you’re able to track down a copy.