The opening track 'Future song' is great with it's repetative riff and hard, driving sound. The following 'Crabs' is irresistable. It holds so many moods and swings to and fro in a seamless manner. Great vocals too. Great groove! Graham Bond may have a limited vocal range but delivers a hoarse and enjoyable performance.
Jon Hiseman’s Tribute to Dick Heckstall-Smith
Dick Heckstall-Smith on Spotify
The British music scene of the early s was loose, creative and open; it accommodated jazz, blues and rock'n'roll, and produced originals such as Georgie Fame and John McLaughlin. Less celebrated, although just as musical, virtuosic, and, in his own way, influential, was the post-bebop saxophonist Dick Heckstall-Smith, a key member of the jazz-blues scene, who has died aged Heckstall-Smith understood the postwar ethos of modern jazz as cool, oblique, even obscure - and avoided it. A big, black-bespectacled man, often in a workman's cap, he blasted out tenor-sax epithets with legs planted wide apart like a weightlifter. Following Rahsaan Roland Kirk's example, he unleashed boneshaking chords, playing more than one sax simultaneously; while his proximity to amplified rock and blues rhythm sections meant that he subjected the melodically devious methods of his heroes, including Lester Young and Sonny Rollins, to a direct, fiercely punctuated approach. He was a modern jazzman who disliked what he saw as the insularity of much modern jazz, loved the blues, and believed in mingling roots music and the baroque flourishes of bebop.
Barbara Thompson’s Tribute to Dick Heckstall-Smith
The story of his life is well documented both in his own book and here, in the reproductions of the fulsome obituaries that he received in the UK national press. As an avid news-a-holic, who found endless delights buried in newspapers and magazines, he would have loved to have read them. The last time we played with him was in May
Over the past year Jon and myself watched his noble efforts to win the battle against his illness, and to the end he was convinced that even if he were in a wheelchair, he would come back to playing and touring. His indomitable spirit made him special both as a person and as a player. He was the original blues saxophone player, and there was no-one to equal him.