Robert Hurst Presents: Robert Hurst
By Robert Hurst
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Track listing
Show track credits
- 1 Down 4 the Cause 6:20
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composer
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- 2 Detroit Red 6:28
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composer
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- 3 Aycrigg 6:37
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composer
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- 4 Joyce Faye 4:41
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composer
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- 5 Incessant Lullaby 1:23
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composer
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bass clarinet, bassoon
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- 6 The Snake Charmer 7:54
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composer
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bass clarinet, bassoon
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- 7 Evidence 2:55
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composer
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- 8 Walk of the Negress 5:54
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composer
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- 9 Blue Freeze 8:00
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composer
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- 10 Bert's Flirt 6:46
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composer
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- 11 Devil's Night in Motown 7:23
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composer
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- 12 Incessant Lullaby... Bye 2:46
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composer
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bass clarinet, bassoon
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- Total length: 67:07
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Review
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1 Review
"Children of the (Jazz) Revolution", that's what you might call these guys - the Marsalis brothers, Kenny Kirkland, Geri Allen, Marcus Roberts, Jeff Tain Watts, Steve Coleman, etc., and of course, Robert Hurst. When those guys took off in the eighties, it was a bit like a renaissance for Jazz as a form of art. At least as far as the public interest, Radio airplay and record companies were concerned. There were a few idioms that stood out; Neo-Hardbop and M-Base were perhaps the most popular among those Jazz messengers.
Bass player Robert Hurst was one of the most active from that generation, still is, as far as I know. His debut album was a strong production and a concentrated effort. There are no fillers. Instead, there are several fast and abstract Neo-Bop songs, several mid-tempo tunes and there are also ballads, so that as a whole, this album is a memorable example of Jazz in the nineties. One might, however, take note of the fact that none of the music was in itself innovative. As well crafted as it is, a conspicuous lack of individuality can hardly be overlooked. The band: Marcus Belgrave, trumpet; Branford Marsalis, saxes; Kenny Kirkland, grand piano, Jeff Tain Watts, drums; Ralph Miles Jones III, and Robert Hurst, bass; each masters on their instruments.
I'm confident that in time, this album will be regarded as an important Jazz release from the nineties.
Bass player Robert Hurst was one of the most active from that generation, still is, as far as I know. His debut album was a strong production and a concentrated effort. There are no fillers. Instead, there are several fast and abstract Neo-Bop songs, several mid-tempo tunes and there are also ballads, so that as a whole, this album is a memorable example of Jazz in the nineties. One might, however, take note of the fact that none of the music was in itself innovative. As well crafted as it is, a conspicuous lack of individuality can hardly be overlooked. The band: Marcus Belgrave, trumpet; Branford Marsalis, saxes; Kenny Kirkland, grand piano, Jeff Tain Watts, drums; Ralph Miles Jones III, and Robert Hurst, bass; each masters on their instruments.
I'm confident that in time, this album will be regarded as an important Jazz release from the nineties.
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