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Life Time [Original recording reissued, Original recording remastered]

Tony Williams Audio CD
4.7 out of 5 stars  See all reviews (3 customer reviews)
Price: £5.99 & FREE Delivery in the UK on orders over £10. Details
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Frequently Bought Together

Life Time + Happenings (Rudy Van Gelder Edition) + Dialogue (The Rudy Van Gelder Edition)
Price For All Three: £18.73

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Product details

  • Audio CD (7 Jun 1999)
  • Number of Discs: 1
  • Format: Original recording reissued, Original recording remastered
  • Label: EMI
  • ASIN: B00000IWVR
  • Other Editions: Audio CD  |  MP3 Download
  • Average Customer Review: 4.7 out of 5 stars  See all reviews (3 customer reviews)
  • Amazon Bestsellers Rank: 41,722 in Music (See Top 100 in Music)

Listen to Samples and Buy MP3s

Songs from this album are available to purchase as MP3s. Click on "Buy MP3" or view the MP3 Album.
                                                                                                                                                                                                                                                                                                                                         

Samples
Song TitleArtist Time Price
Listen  1. Two Pieces Of One: Red (Rudy Van Gelder Edition) (1999 Digital Remaster)Tony Williams 8:04£0.99  Buy MP3 
Listen  2. Two Pieces Of One: Green (Rudy Van Gelder Edition) (1999 Digital Remaster)Tony Williams10:40£2.49  Buy MP3 
Listen  3. Tomorrow Afternoon (Rudy Van Gelder Edition) (1999 Digital Remaster)Tony Williams 5:35£0.99  Buy MP3 
Listen  4. Memory (Rudy Van Gelder Edition) (1999 Digital Remaster)Tony Williams 8:06£0.99  Buy MP3 
Listen  5. Barb's Song To The Wizard (Rudy Van Gelder Edition) (1999 Digital Remaster)Tony Williams 5:58£0.99  Buy MP3 


Product Description

I will ship by EMS or SAL items in stock in Japan. It is approximately 7-14days on delivery date. You wholeheartedly support customers as satisfactory. Thank you for you seeing it.

Customer Reviews

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4.7 out of 5 stars
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Most Helpful Customer Reviews
7 of 7 people found the following review helpful
4.0 out of 5 stars Impressions 28 July 2011
By GlynLuke TOP 500 REVIEWER
Format:Audio CD|Verified Purchase
Review 1:
I`ve been immersing myself in the 50s and 60s Blue Note reissues lately, so much so that my neighbours must either have been converted to jazz or...is that a For Sale sign I see outside?
This one`s from 1964 and features a shifting combination of musicians, Sam Rivers on
sax on the intriguing opening three tracks, beginning with a connected (by title) duet of numbers that appear to seek to express the colours red & green. Idiosyncratic bassist Richard Davis plays on these colour-coded tracks, with Gary Peacock on straight bass.
The great Bobby Hutcherson, always up for a challenge, offers his vibes on Memory, though to not enough effect for my liking. Herbie Hancock is heard on the last two tracks, makes his presence felt, but not enough to sway me into thinking this isn`t one hell of a vanity project, with some lovely playing, but to too little effect. To put it another way, I`m not moved, and I`m not likely to play this very often.
I`ve seen & heard my share of `free jazz`, both live and in clubs & pubs, and very fine much of it was. This is free-ish jazz, and, for me, there`s the rub. This is music that in a small way looks back to the jazz tradition, and tentatively looks forward to the freer explosions that would come. Too often it ends up being neither one thing nor another. It`s all too - bitty.
I really wish I liked this pleasant enough disc more than I do, but I`m left underwhelmed and undernourished. Some of my favourite jazz musicians are to be heard on Life Time - Hancock, Hutcherson (do not miss his wonderful album Oblique) and the superb Williams himself, so telling on so many others` discs of that classic era.
Hear this one for yourself. You may like it. I quite like it too, just not that much. 6 or 7 out of ten.
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50 of 55 people found the following review helpful
5.0 out of 5 stars minimalist masterpiece. 6 Dec 2002
Format:Audio CD
not to be confused with the tony williams led jazzrock band of the same name, this is an acoustic jazz recording that is probably more inspired by eric dolphys' out to lunch that tony was making at pretty much the same time as this record.
this album has more space than an ambient album, the discipline of the players is almost shocking. if you don't know why the late great mr williams is regarded as one of THE very greatest jazz drummers ever, here's a great intro to his incredible talent. this guy was still a teenager when he composed and recorded this album, unlike most of the jazz of it's day, this music is definitely composed, rarely do more than two players appear at any one given time, some might mistakenly call this avante garde but they're very wrong.
this is a very cool album, a deconstruction of the jazz ethic.
fans of herbie hancock will be intrigued by listening to the most minimal performance of (probably) his whole career, three incredible bassists, sometimes two at a time are employed; namely, ron carter, richard davis and gary peacock. bobby hutcherson is as usual, about as good a jazz vibraphonist as you'll ever here, and the criminally underrated sam rivers proves that he was "up there" with coltrane and pharoah sanders. produced by none other than mr blue note himself, alfred lions, and engineered (and re-mastered) by the great rudy van gelder, the sound quality is impeccable.
the packaging for this re-master is superb, the music i have to describe as "high art". if you're a drummer you simply have to own this, if you're a fan of modern jazz how come you don't already own it? timeless music, greatness, innovative, intelligent, abstract unyet easy on the ear...
i could go on, how come i'm the first person to review this album? i had to provide an insight into this fantastic album, i hope it helps.
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By Jazzrook TOP 500 REVIEWER
Format:Audio CD
This excellent album was the debut as leader by the great drummer Tony Williams(1945-1997) when he was only 18.
It was recorded for BLUE NOTE in New Jersey on August 21 & 24, 1964 with a collective personnel of Williams(drums, tympani, wood block, maracas, triangle); Sam Rivers(tenor saxophone); Bobby Hutcherson(vibes, marimba); Herbie Hancock(piano) & Richard Davis, Gary Peacock, Ron Carter(bass).
All 5 memorable tracks are originals by Williams and feature various permutations of players.
Highlights include 'Tomorrow Afternoon', a stunning trio piece with Rivers, Peacock & Williams. 'Barb's Song To The Wizard' is a beautiful duet with Hancock & Carter.
This RVG Edition(1999) of 'Life Time' still sounds fresh 50 years later and should appeal to anyone who enjoys adventurous, colourful and challenging modern jazz.
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Amazon.com: 4.1 out of 5 stars  9 reviews
33 of 34 people found the following review helpful
5.0 out of 5 stars Life Time 2 Nov 2003
By Ville Kyllönen - Published on Amazon.com
Format:Audio CD
The recording
Life Time is Tony`s first recording as leader and composer. All of the tunes are Williams's originals, arranged with the help of Herbie Hancock.
Life Time has innate brilliance in its planning and execution; its inception is luminous.
Williams has come up with very interesting lineups for interesting compositions; on some pieces there are two basses and on some there are none, and on one piece there are only bass and piano...
This isn't a good place to start exploring jazz. If you're a casual listener or a smooth jazz fanatic, don't even bother trying this. May not make your toes tapping; its a rather jaw-dropping experience.
Music of Life Time is original, unpredictable, floating, wandering, uncompromising, demanding, searching, haunting, powerful, gloomy and atonal - but it remains rewarding. It is complex thorough out - but still very passionate, soulful, emotional, enjoyable...
Listening to this recording needs trained ear, open mind, concentration and willingness to explore, because these tracks don't really have a clear or steady rhythmic pulsation or melody line (that are obvious on some other recording such as Lee Morgan's The Sidewinder or Art Blakey's Moanin').
A bit uncompromising but very rewarding music when you begin to understand it. Experiencing this recording will probaly not be easy, but after some time you will begin to appreciate it.
This is the kind of music that is enduring, because it has so much to give and with every listen it reveals something new. Everything cannot be found with only one listening - needs extensive and intensive listening.
Still very fresh, exciting and rewarding music after 40 years - enduring music.
Life Time is a great par with Andrew Hill's Point Of Departure, Bobby Hutcherson's Dialogue and Eric Dolphy's Out To Lunch.
This music could be considered as something between post-bop and avant-garde jazz. Life Time is a very artistic recording - it reminds me of Jackson Pollock's and Salvador Dali's paintings...
Some of the tracks seem to be almost too short. Time passes quickly when you`re listening to the beautiful work of art made by great musicians. None of the track is overly long - they could have easily been longer. Longest track is 10:36 and shortest is 5:31 minutes. There is a total 37.28 minutes of fine music to listen to.
None of these tracks is monotonous - they're very shifting and chancing. All the tunes are great - it is difficult to say which one is the standout.
Two Pieces Of One: Red
Musicians: Sam Rivers (tenor sax); Richard Davis, Gary Peacock (bass); Tony Williams (drums).
"Red" is haunting, mysterious, gloomy and loose without being too avant-garde, completely free or far out there. It is played mainly on the lower register (but also above it). There's showers of bass... bass, bass, bass and some more bass, some saxophone too and not so much of drums (Williams stays a bit on the background here). There's some nice unison playing going on between sax and basses. There is also some duet bass playing is going on between Davis and Peacock.
Two Pieces Of One: Green
Musicians: Sam Rivers (tenor sax); Richard Davis, Gary Peacock (bass); Tony Williams (drums).
"Green" is haunting, mysterious, loose but a bit brighter than "Red". It also seems to be a bit more "happier" or less gloomy. "Green" is played mainly on the mid register (but also around it). There is not so much bass this time, mainly sax and drums. Sam Rivers's playing is intense, strong and very skillful but capable to reach the listener's soul... He makes lots of shouts, shrieks and honking without being irritating or jarring at all. He is sometimes almost lyrical but then again powerful and witty and has some really interesting phrasing. Basses stay at the background (although Davis and Peacock have their moment at one place) creating gloomy atmosphere. Williams has plenty of playing now (although he is playing alone for some time, he is capable to keep listeners interested in what he is doing).
Tomorrow Afternoon
Musicians: Sam Rivers (tenor sax); Gary Peacock (bass); Tony Williams (drums)
Rivers plays some really exhilarating solos here. Rivers's sax is again harsh with plenty of honking and some bumblebee blowing.
Speed varies maily from mid-tempo to fast. Interesting changes and variation of rhythm and soloing. Perhaps not as dark as previous tracks.Williams is very noticeable thorough the track. Some brief soloing by bass. Very changing - far from being monotonous. Bounces from one place to another. Very nice.
Memory
Musicians: Bobby Hutcherson (vibes, marimba); Herbie Hancock (piano); Tony
Williams (drum set, tympani, wood block, maracas, triangle).
Memory is all about sound, soundscape.If previous tracks were gloomy and dark, then this one is the brighter one lacking harshness and brutality. It is also bit quiet track, definitely not volatile. There is really interesting shifting between sounds and quietness. It is mainly a Williams-Hutcherson show, though Hancock appears here and there. Memory is probably the most interesting track of the whole recording - as it is the only track that is improvised spontaneously in its entirety. It is very spacious(space music). Atonal but beautiful. This is the far-out-and-beyond track of the recording, but it manages to stay away from being cacophonic or jarring noice.
There are some stops and starts that make continuity seem unnecessary and that is one reason why this music is so advanced.
Barb's Song To The Wizard
Musicians: Herbie Hancock (piano); Ron Carter (bass).
The duet playing of bass and piano is amazing; it is strong, powerful and keeps listeners interest - it is just stunning! Hancock`s playing is more pronounced here, than what it was on Memory. There's a nice shifting movement going one with soloing and backing. It is calm, passionate, soulful, intense, serene... beautiful!
The first time I heard the openining track, I was blown away. It was something different, something I had never heard before. I hope you'll have the chance to experience it too. Life Time is a serious recording and it belongs to every serious jazz-collection. I recommend the CD to listeners who want be challenged and gain from the experience. Get this beautiful, mysterious music while it is available.
You can find more information about these deluxe Rudy van Gelder -edition CDs from my review on Herbie Hancock's Maiden Voyage. (Check it out).
20 of 20 people found the following review helpful
5.0 out of 5 stars Advanced music that is continually enjoyable 21 April 2000
By Michael P. Ray - Published on Amazon.com
Format:Audio CD
Williams' Blue Note leader debut (recorded when he was only 18) showcases his versatility and already places him among the elite jazz drummers. He truly played the instrument as none other had before him. The first three tracks contains Sam Rivers' stretching avant-garde horn blowing furiously over two basses and of course Williams own brilliant drumming. "Memory" is a completely free improvisation between vibist Bobby Hutcherson, Herbie Hancock and Williams, while the final song omits Williams drums altogether in lieu of an intriguing piano and bass exploration led by Hancock. Every track is completely accessible and introspective, and it still sounds advanced by today's standards. Brilliant music by a jazz giant.
9 of 9 people found the following review helpful
5.0 out of 5 stars A stunning debut. 15 Nov 2005
By Michael Stack - Published on Amazon.com
Format:Audio CD
In 1964, 18 year old Tony Williams was on his way up. Acknowledged as one of the most capable drummers on the jazz scene and part of Miles Davis' band, Williams received his first sessions as a leader. Titling the album "Lifetime", the music is drawn from two sessions in August.

For the first session, Williams brought in tenor saxophonist Sam Rivers, who he had worked with in Boston for what would be the tenor's first studio date and bassists Richard Davis and Gary Peacock on a session that would lodge Williams firmly in the avant-garde. The band performs three Williams compositions-- "Two Pieces of One: Red", "Two Pieces of One: Green" and "Tomorrow Afternoon". The two "Two Pieces of One" could scarcely be more different from each other-- 'Red' relies on moody theme statements with tenor doubled by arco basses and some brilliant bass soloing (including an arco/pizzicato dialog at the close of the piece). 'Green' is a feature primarily for Rivers-- the young leader and the tenor duet for several minutes before the performance turns over to a drum solo and then a quartet performance, all filled with far more frantic energy than 'Red'. "Tomorrow Afternoon" finds Williams working in a trio, with Richard Davis sitting out. The theme is a bit more straightforward but the performance finds Rivers exploring as far out as possible with the rhythmically loose Peacock and Williams behind him. One thing is consistent on these three pieces-- the performances are full of fire, energy and inventiveness.

The second session yielded two performances by two different groups. "Memory", performed by Bobby Hutcherson (on vibes and marimba), Herbie Hancock (at the piano) and Williams is sparse and minimalist in its arrangement, opening with a delicate marimba line and Williams on maracas and wood block before Hutcherson switches to vibes and Williams to the drum kit. The piece then begins to pick up in tempo and energy, yet remains remarkably loose. Even when Hancock joins, the piece never gets locked down and maintains a distinct freeness.

The closer, 'Barb's Song ot the Wizard", was composed by Williams but is performed as a duet between Hancock and bassist Ron Carter. Again, the performance is minimalist, with Hancock laying down a simple rhythmic line and Carter soloing frantically on top of it.

A quick note-- this is not to be confused with The Tony Williams Lifetime, generally regarded as the first fusion band (and also a worthwhile listen).

This reissue features fantastically improved sound, remastered as part of the "Rudy Van Gelder Edition" reissues, it sounds great, like it was recorded last year instead of in the '60s. The original liner notes are reproduced as well as a new essay by Bob Blumenthal examining the pieces.

Williams would go on to explore many venues of jazz, but this album really stands out as his excursion deep into the free jazz sounds he loved. The performances are top-notch throughout and the album stands well over time. Highly recommended.
6 of 6 people found the following review helpful
5.0 out of 5 stars Child prodigy/genius, generally under-appreciated 19 Nov 2003
By John C. Lynch - Published on Amazon.com
Format:Audio CD
As a drummer, I've been a fan of Tony Williams ever since
I first heard Miles Davis' two live albums "My Funny
Valentine" and "Four and More" (recorded soon after
Tony joined Miles' band, but before Wayne Shorter did).
There aren't many jazz musicians that you can recognize
from the first note they blow/hit/strum/touch/whatever.
Tony is definitely one of them (along with drummers
Elvin Jones and Roy Haynes). Beyond his indefatigueable
and undefineable prowess and power, his ability to imply
the pulse and to keep time while suggesting rhythms that
seem to run counter to everything else going on, and yet
undeniably work, is simply as astonishing as it is
beautiful.
But this album! I only just "discovered" this album recently.
This album was years ahead of it's time and, maybe, even
ahead of us now. Everyone on this album sounds as good
as they've ever sounded. Sam River's tenor is pugnacious
and cunning. Gary Peacock has a gorgeous tone and is
much more adventurous and expansive than usual. Bobby
Hutcherson and Herbie Hancock both sound brilliant, but
both also often sound more restrained and contemplative.
In fact, the album feels like an exercise in restraint --
especially from the leader himself. Not the sort of album
you'd expect from an 18 year old (!!!) drummer on his first
date as a leader. He gives all of the musicians on this
recording an extrodinary amount of space within his albeit
somewhat minimalist compositions. He prods and pokes
them all the while with impossibly syncopated
cymbal--hi-hat--snare drum combinations, but never runs
roughshod over the top or thunders his arrival. It sounds
trite, but it's like he knew the music would speak for itself --
it wasn't necessary to prove to the world he could play
circles around them. Again, this from an 18 year old.
Hence the title of my review.
5 of 7 people found the following review helpful
3.0 out of 5 stars The album Art Blakey would never make 11 April 2008
By Anthony Cooper - Published on Amazon.com
Format:Audio CD
Tony Williams pulls together an interesting cast of players to make an interesting album. Sam Rivers, Gary Peacock, Richard Davis, Ron Carter, Bobby Hutcherson, and Herbie Hancock all play on different songs in trio or quartet forms. This CD is really not a showcase of Tony Williams' drumming, but it's about his songwriting and bandleading. Per the title of the review, rather than make the sort of album that'd be conventionally entertaining, Tony Williams went the artistic route. So, the songs are unconventional and the playing is quite free. There really isn't anything you'd hum along too, it's meant for more concentrated listening. By the same token, it's dynamic and rather quiet in places, so it better to listen to it loud to catch more of the nuances. Some critics really love this album, my three-star rating shows that I don't quite get it.
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