Expansions

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Why was the 1970s such a pivotal time? “Everyone was experimenting. There was a bookstore in New York called Wisner’s that you would walk into and see John Coltrane or Sun Ra studying texts on religions and philosophies,” Smith says. “I wrote Expansions because I was studying spirituality and I realised that everyone wants the same thing: peace, love and harmony. I wanted to put that into the feel of the music itself.” In May 1967, Smith returned to working with Roland Kirk for the album sessions for Now Please Don't You Cry, Beautiful Edith (Verve, 1967) before continuing his career as pianist for a year with drummer Max Roach (although once again no recordings were made of this lineup). Smith's 1973 -1975 Flying Dutchman albums remain his finest work, recorded with ex-Sanders and Davis colleagues including Cecil McBee, whose bass ostinatos are key to the success of Expansions, and percussionists Badal Roy, James Mtume and Lawrence Killian. Recent Cecil Taylor alumnus Andrew Cyrille also figures. Astral Traveling is instrumental; on Cosmic Funk and Expansions, Smith's brother Donald joins the band on flute and vocals.

Lonnie Liston Smith, during an interview for Electronic Standards, starts to write the lyrics of the LP theme and prepare his explanations: The story of how Smith came to join Bob Thiele at Thiele's new label is told on the LP cover notes to Dreams of Tomorrow (1983) by Leonard Feather. Clearly Smith was at a crossroads. The reuniting with Thiele brought Smith full circle for Thiele was partly responsible for supporting Smith's early work. Thiele's new record label 'Doctor Jazz' (distributed through PRT in the UK) provided the perfect platform for Smith to showcase his new and critically acclaimed work of the early to mid 1980s. For Dreams of Tomorrow, Smith enlisted the vocal talents of his younger brother Donald Smith for the album's opener A Lonely Way to Be and side two's stunning opening Never Too Late. A major musician on the album was Marcus Miller on bass guitar. David Hubbard plays a series of saxophones and flutes on the album, with Yogi Horton, Buddy Williams and Steve Thornton leading on drums and percussion. The album relaunched Smith and the 'Doctor Jazz' albums are now considered amongst Smith's finest work. The Dreams of Tomorrow sessions were produced by Marcus Miller.A. Does this really need a review I ask myself. Countless heads and others alike know it but what about the newbs wondering what that funky flute tune is called? This is it. These days, books have been supplanted by a phone screen when it comes to Smith’s new sources of discovery. “I’m on TikTok and I’m uncovering so much music,” he says. “I don’t put up any videos but I watch what other people are doing. It’s like what Miles and Pharoah taught me – you have to keep growing and searching for what is new, you can’t just stay in what was. As long as the music comes from your heart, that is what is important.” Fast-forwarding to 2012 and Lonnie Liston Smith’s music still sounds fresh, vibrant and above all, relevant. The fact that many of the songs on this collection have been plundered for samples in the hip-hop era – by Jay-Z, Stetsasonic, Mary J Blige and others – affirms the enduring appeal of his cosmic sounds. a b c d e f g h i j k l Colin Larkin, ed. (1997). The Virgin Encyclopedia of Popular Music (Conciseed.). Virgin Books. p.1103. ISBN 1-85227-745-9. After graduating from Armstrong High School, Lonnie entered Morgan State University in Baltimore, Maryland, where he majored in music education and earned his B.S. degree. While attending Morgan State University, Lonnie became a member of Omega Psi Phi Fraternity and also a member of the music fraternity, Phi Mu Alpha Sinfonia.

Before going solo in the mid-70s, Smith’s CV as a sideman was impressive – he had played with Art Blakey’s Jazz Messengers and had productive stints with Miles Davis (he contributed to Miles’ controversial 1972 album “On The Corner”), Gato Barbieri and most significantly of all, Pharoah Sanders. It was playing with Sanders that Smith discovered the electric piano, an instrument that became a crucial component in establishing his trademark sound. Smith recorded ‘Astral Traveling’ with his own band, the Cosmic Echoes, for Flying Dutchman. With its dreamy keyboard passages it’s a key song in Smith’s repertoire and reflects his interest in gaining knowledge and wisdom by exploring religion, philosophy and spirituality. He was heavily influenced by Coltrane and Pharoah Sanders in that respect and although he desired to articulate a similar spiritual message in his music his sound was much more accessible than that made by those two musicians. “I was trying to keep it all enlightening,” reflected Smith. “I was trying to make people think but at the same time because people love rhythm I wanted to make music they could dance to. I put the two combinations together and it made sense.” Pharaoh who had worked with John Coltrane until his death in 1967, was (and still is), an intense creator who was extending the boundaries of improvised music. Lonnie and Pharaoh created spontaneously at every moment. Lonnie, also began to experiment with electric keyboards and created a rich Cosmic sound to support Pharaoh’s impassioned tenor saxophone flights. Ali Shaheed Muhammad, Lonnie Liston Smith and Adrian Younge in the studio. Photograph: The Artform StudioLonnie was born in Richmond, Virginia into a musical family. His father was a member of the Gospel Group, “The Harmonizing Four”. In 1945, Eleanor Roosevelt invited “The Harmonizing Four” to sing at the White House following the death of President Franklin D. Roosevelt. Lonnie remembers such gospel groups as “The Dixie Humming Birds” and “The Soul Stirrers” with Sam Cooke, being frequent visitors at his family’s home. Lonnie composed a COSMIC 21st Century 12 bar Blues entitled, “Astral Travelling”, which appeared on Pharaoh’s “Thembi” CD. Lonnie’s compositions for Pharaoh’s other CDs “Upper Egypt”, “Karma”, In the 90’s, Lonnie got involved with “Guru Jazzmataz Volume One” (Rap meets Jazz) and was discovered by an all new young audience. Lonnie also has had two hit singles with Mary J. Blige and Jay-Z . Mary J. Blige sampled Lonnie’s composition “A Garden of Peace” in her Grammy winning single, “Take Me As I Am” and Jay -Z also sampled, “A Garden of Peace” in his hit sample, “Dead Presidents”.

In 1974, Producer, Bob Thiele, signed Lonnie to a solo recording contract. “Astral Traveling” and “Cosmic Funk” were Lonnie’s first 2 CDs. However, it was his album (CD) , “Expansions” that broke Lonnie into the major leagues as a worldwide leader. The CD was a breath of fresh air in 1975 as it combined solid Jazz playing with creative crossover elements that did not dilute the music. While many of Lonnie’s contemporaries were making records that were artistically bankrupt, (fusion music at this time had become big business), his CDs retained warmth and fire. He recorded several more albums in this vein, including “Visions of a New World” and “Renaissance” before he was approached by CBS. Lonnie continued to make good records for them as well, “Loveland”, “Exotic Mysteries”, “Song for the Children” and “Love Is The Answer”.A similar theme manifested itself on 1976’s ‘Get Down Everybody (It’s Time For World Peace)’, a positive plea for global harmony married to dance floor funk. Other highlights on the new collection showcase the meditative side of Smith’s music, exemplified by the ethereal and otherworldly ‘Meditations’ and ‘In Search Of Truth’ with its exotic mysticism. Expand your mind! To understand! We all must leave… In Peace today! Extend your hand! To help the plan! Of Love to all… Mankind on Earth!” Lonnie’s next 3 jobs were perhaps the most important stepping stones in his career. He got the call from Pharaoh Sanders in 1968 and made his mark in one of the most visible ensembles of the day.