The Angels Of Atlanta
02. The Story Teller 8:50
03. The Inner Voice 6:35
04. Mother's Land 5:04
05. Sometimes I Feel Like A Motherless Child 10:17
Bass – Cecil McBee
Cello – Diedre Murray
Piano – Kenny Barron
Tenor Saxophone – George Adams
Trumpet – Marvin "Hannibal" Peterson
Vocals – Pat Peterson
Choir – The Harlem Boys Choir
Directed By [Choir] – Walter Turnbull
Location: Sound Ideas, New York City and Church of Intercession
Date: February 15th, 1981 and February 19th, 1981
One of the most ambitious works ever by Marvin Hannibal Peterson – a larger work dedicated to the 20 African-American children murdered by a serial killer in Atlanta, performed here with a mix of choral voices and jazz instrumentation! The piece follows strongly in a legacy of that format started by Max Roach and continued by Billy Harper – and Peterson works here with players that include George Adams on tenor, Kenny Barron on piano, Cecil McBee on bass, and Dierde Murray on cello – plus the voices of The Harlem Boys Choir, and lead vocals by Pat Peterson. The whole thing's wonderful – soaring and spiritual without sounding hokey at all .
The obvious point of comparison here is A Love Supreme : both are post-bop albums with an avant-garde tinge That attempt is convey through intense spiritual catharsis instrumental suites. Technically, I'd say the musicians on each album are equally skilled Kenny Barron's muscular backing piano on the title track is every bit the match of McCoy Tyner, for example Hannibal himself and stands up surprisingly well next to Coltrane. If anything, makes playing Their Coltrane's quartet look a bit stiff! (I suppose that's what happened in the fifteen years between the two albums: Jazz absorbed the intensity of Coltrane and the looseness of Coleman into its own vocabulary.)
The biggest difference, I guess, Is That this album's more communal and Grandly-scoped: f a Love Supreme was the musical equivalent of a prayer in your own home, this is like being at a crowded sermon on Sunday evening. The more Explicitly thematic touches (the children's choir on the opening title track, the two vocal jazz cuts on the B-side) make this one perhaps more emotionally explicit, but they can also make it feel suffocating, more hamhanded in its spirituality. Regardless, this is a very good jazz album That just so happened to be released too late to become canonized as a true classic.
An album made to acknowledge the tragic murder of 20 African-American school children to a serial killer in Atlanta. Taking into consideration the subject you would expect this to be either a very angry or very melancholic recording, but not at all, this album seems to be hopeful of a better life for Those children now they're out of the cruel one they had. The whole thing is totally beautiful and listen from start to finish, and due to the subject matter, really quite an emotional ride. Parts of this album come under the soaring vocal genre, matching the Sons & Daughters of Lite and Ensemble Al-Salaam for that powerful, yet beautiful vocal styles. Highlights Well, this album is magical from start to finish. Oh, and without a doubt the finest outing from Mr. Hannibal. Absolutely essential in my book.