{"product_id":"anthony-williams-spring-1971-us-blue-note-bst-84216-vinyl-lp","title":"Anthony Williams - Spring (1971 US Blue Note BST-84216 Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eAnthony Williams - \u003cem\u003eSpring\u003c\/em\u003e | Vinyl LP - 1971 US Blue Note Reissue (BST-84216, United Artists era)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eWilliams had been playing professionally since he was thirteen and had joined Miles Davis's quintet at seventeen. By August 1965 he had already appeared on Eric Dolphy's \u003cem\u003eOut to Lunch!\u003c\/em\u003e, Andrew Hill's \u003cem\u003ePoint of Departure\u003c\/em\u003e, Jackie McLean's \u003cem\u003eOne Step Beyond\u003c\/em\u003e and Herbie Hancock's \u003cem\u003eEmpyrean Isles\u003c\/em\u003e, made his own debut with \u003cem\u003eLife Time\u003c\/em\u003e in 1964, and cut \u003cem\u003eE.S.P.\u003c\/em\u003e with Davis in January. Fourteen Blue Note sessions in two and a half years, and this was the last of them. What makes the record hold up is that it is not a drummer's showcase. Williams wrote all five pieces and then built them so that everyone has somewhere to go. The traditional roles come apart: Peacock's bass roams rather than walks, Hancock comps percussively and pushes into the upper register, the two tenors weave around each other rather than trading in the usual sense, and Williams keeps the propulsion going without holding a time signature down. It sounds like 1965 in the best way, with the structures loosening and nobody quite sure yet what the music was becoming.\u003c\/p\u003e\n\u003cp\u003eSam Rivers is the reason to hear it as much as Williams. He was 42, considerably older than everyone else in the room, and had spent the previous year playing with Davis before Shorter took the chair. His playing here is free and hard and completely unlike Shorter's more oblique approach, and the contrast between the two tenors is what gives the album its charge. \"Extras\" opens with both horns and runs past eight minutes. \"Echo\" follows as a solo drum performance, five minutes of Williams alone working a tiny theme into what amounts to an improvised composition. \"From Before\" brings Hancock in. \"Love Song\" is the piece most often singled out, an eight-minute performance in shifting meters that sounds fluid rather than mathematical. \"Tee\" closes the album at over ten minutes with everyone playing.\u003c\/p\u003e\n\u003cp\u003eThis is the 1971 US pressing on Blue Note BST-84216, from the United Artists era, with the blue and white divisional label.\u003c\/p\u003e","brand":"Blue Note","offers":[{"title":"Default Title","offer_id":43860964933691,"sku":null,"price":60.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_7887.jpg?v=1784884814","url":"https:\/\/lushliferecords.com.au\/products\/anthony-williams-spring-1971-us-blue-note-bst-84216-vinyl-lp","provider":"Lush Life Records","version":"1.0","type":"link"}