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Tony Williams Lifetime biography
Anthony Tillmon Williams - Dec 12, 1945 (Chicago, USA) - February 23, 1997
The group was active on-and-off between 1969 and 1980, with irresolute formations (and monikers, somewhen)

Tony Williams acheived great acclaim every bit a jazz drummer working with Miles DAVIS in mid sixty'south. He joined Davis in 1962 and earlier he left in 1969 to class Lifetime he left an indeliable mark on jazz drumming. He was said to be a household name in jazz circles. Williams recorded a solo album, titled Lifetime which was more gratis jazz than whatever other type of jazz. Williams was known to be a fan of stone music also so in 1969 he set out on his own and formed Lifetime, with and so little known guitarist John MCLAUGHLIN and organist Larry Young. They recorded the seminal album Emergency. Writer Howard Mandel'southward claims in his book Future Jazz that Emgency and Lifetime were a huge influence on Davis and and his coming projection.. Bitch's Brew. As important equally that might be in realms of prog and the burgeoning Jazz-Stone fusion movement... there was the not then umimportant matter of Emergency exposing one of the premier forces in music during the 70'due south. John McLaughlin. Presently he would be a household proper name.

Other albums would follow with a curve more towards rock with their 2nd album, Turn It Over which brought bassist GOD Jack Bruce on board. McLaughlin left subsequently Turn It Over and was replaced past Ted Dunbar and they released Ego which continuing moving stone into the realms of jazz. He took a couple of years off after commercial success began to slip he formed afterwards a new line up and a new album which didn't achieve the heights previously reached. During that time he was an in-demand session player actualization on with such artists as: Stanley Clarke and Jonas Hellborg.

In 1975 Tony Williams formed a new version of Lifetime The result of this was a never released album that Wiliams recorded with another as all the same unknown English guitarist Alan HOLDSWORTH. The album, Wildlife, was never legitimately realeased. Before long afterwards the grouping, now called The New Tony Williams Lifetime did tape and release a new album, Believe Information technology, which became another classic Jazz-Rock recording. The new grouping included keyboardist Alan Pasqua, and bassist Tony Newton. Holdsworth, like McLaughlin before him, shown like a bright star and his proper name westward...

Anthony Tillmon Williams - Dec 12, 1945 (Chicago, U.s.a.) - February 23, 1997
The group was active on-and-off between 1969 and 1980, with changing formations (and monikers, somewhen)

Tony Williams acheived great acclaim as a jazz drummer working with Miles DAVIS in mid 60's. He joined Davis in 1962 and before he left in 1969 to form Lifetime he left an indeliable mark on jazz drumming. He was said to exist a household name in jazz circles. Williams recorded a solo album, titled Lifetime which was more than free jazz than any other blazon of jazz. Williams was known to exist a fan of rock music as well so in 1969 he set out on his own and formed Lifetime, with and then little known guitarist John MCLAUGHLIN and organist Larry Young. They recorded the seminal anthology Emergency. Author Howard Mandel's claims in his book Future Jazz that Emgency and Lifetime were a huge influence on Davis and and his coming project.. Bitch's Mash. Equally important as that might be in realms of prog and the burgeoning Jazz-Rock fusion movement... there was the non so umimportant affair of Emergency exposing ane of the premier forces in music during the lxx's. John McLaughlin. Before long he would be a household name.

Other albums would follow with a bend more towards rock with their 2nd album, Turn It Over which brought bassist GOD Jack Bruce on board. McLaughlin left subsequently Turn Information technology Over and was replaced by Ted Dunbar and they released Ego which continuing moving stone into the realms of jazz. He took a couple of years off afterwards commercial success began to slip he formed later on a new line up and a new album which didn't achieve the heights previously reached. During that time he was an in-demand session player appearing on with such artists as: Stanley Clarke and Jonas Hellborg.

In 1975 Tony Williams formed a new version of Lifetime The result of this was a never released album that Wiliams recorded with another as yet unknown English language guitarist Alan HOLDSWORTH. The album, Wild animals, was never legitimately realeased. Soon after the group, now chosen The New Tony Williams Lifetime did record and release a new album, Believe It, which became some other classic Jazz-Rock recording. The new grouping included keyboardist Alan Pasqua, and bassist Tony Newton. Holdsworth, similar McLaughlin before him, shown like a bright star and his proper noun was fabricated with the musical public. Unfortunately poor business management doomed Lifetime and Williams joined VSOP. Lifetime though had left a powerful mark on the world of Jazz and Rock.

After Lifetime dissolved, Williams continued to tape fusion and direct jazz albums. Some further suggestions include: 'Joy of Flying' with January Hammer, and George Benson, and 'Alive In Toyko' with Brian Auger, Ronnie Montrose, and Billy Cobham.

A pioneer in Jazz Stone/Fusion who brought to public acclamation 2 of the great guitarist of Prog and Jazz-Stone.

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TONY WILLIAMS LIFETIME discography

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TONY WILLIAMS LIFETIME elevation albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.75 | 36 ratings Emergency ! 1969	four.02 | 26 ratings Turn Information technology Over 1970	three.91 | 13 ratings Ego 1970	3.21 | 10 ratings The Former Bum's Rush 1972	iv.19 | 77 ratings Believe Information technology 1975
3.08 | 13 ratings One thousand thousand Dollar Legs 1976

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TONY WILLIAMS LIFETIME Reviews

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Showing last 10 reviews only

Studio Album, 1972
iii.21 | 10 ratings
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The Erstwhile Bum's Blitz
Tony Williams Lifetime Jazz Stone/Fusion

Review past LupeLoop

This is a raucous and righteous fusion record. Sometimes corybantic sometimes sludgy. Over all of information technology, the non-finish, steamy, screamy singing by Linda "Tequila" Logan is a highlight. Her vocal value isn't what is pretty, but what is important. There is something fun and mischievous (possibly insane) in her meandering soulfulness. She reaches heights that are heavy with feeling. And information technology's a shame I tin can't detect whatever background or current information near her at all on the Internet. Tony Williams' playing is expressive and explosive throughout. Here there'southward a pattering and peppering, and hither in that location's a crashing on your head every bit you become thrown down the stairs. It'due south a dirty and streetwise vibe, simply elegant in its precision. In that location is gospel, whirring jazz, and rock here of a deeper, darker kind. Even and then, it sounds like they had fun playing, and fifty-fifty the liner notes have a kid-similar quality to them. Punk bands like The Cramps and Boss Hog accept ripped this heavy "out there" sound right off.

Studio Album, 1969
three.75 | 36 ratings
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Emergency !
Tony Williams Lifetime Jazz Rock/Fusion

Review by Neu!mann
Prog Reviewer

A expert statement could be fabricated that Jazz Rock Fusion began right here, when ace drummer Tony Williams, the backbone of the so-called 2nd Swell Miles Davis Quintet, enlisted Larry Young and John McLaughlin for a plugged-in jazz ability trio, charged with genuine power. The embryonic crossover was still discernibly jazz, configured effectually an unusual instrumental line-up of drums, guitar, and organ (no bass, no horns). Simply it was jazz played loud and electrified, with an annoying border unusual even in stone albums of the same era.

How rough is the recording? The entire twin-LP, with over 70-minutes of music, was finished in only two days, and sounds like it. The product isn't far removed from a crudely bootlegged live concert, merely the raw vitality of the music itself can't be ignored...nor, unfortunately, can the atrocious '60s poetry, heard in "Beyond Games" and elsewhere ("You know everything is said...in the bed / And it shouldn't alter...just 'cause you're wed!")

Concentrate instead on the white-hot performances surrounding those occasional spoken word digressions. The controlled fury of Williams' drumming would exert an undeniable influence on a generation of immature rock percussionists (Michael Giles, Bill Bruford, etc.) The texture of Larry Young's electric organ is the aural equivalent of extra-fibroid sandpaper. And no fan of John McLaughlin can afford to miss this ready, which includes some of his nearly incendiary playing on tape, approaching an almost Mail service-Punk level of abstraction in tracks similar "Sangria For Three".

Maybe the emergency of the anthology'south title was the inevitable crisis in the centre-1960's that saw a cross-fertilization of musical styles, with rockers looking to jazz for permission to break the rules, and fearless jazzers like Williams and Miles Davis drawn to the power and popularity of Rock 'north' Gyre. Davis would of form take the hybrid style to a whole new level, only the epiphany of "Bitches Brew" would take been stillborn without the midwife of this album in attendance (after hearing it, Davis tried unsuccessfully to hire the Lifetime trio as his bankroll band). The vocal "Via the Spectrum Road" in particular functions as an unofficial prologue to the bang-up Mash title "Miles Runs the Voodoo Down".

The album is primitive, no doubt. Only it was fusions like this that eventually blossomed into the glorious Hydra called Progressive Rock, where no musical boundary was safe.

Studio Album, 1970
iv.02 | 26 ratings
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Plow It Over
Tony Williams Lifetime Jazz Rock/Fusion

Review past LearsFool
Prog Reviewer

Miles wasn't the simply cat pioneering fusion. Nearly notably was the late great jazz drummer Tony Williams, whose Lifetime ring formed around him, organist Larry Young, and the upward and coming John McLaughlin on guitar, cut two fantastic albums that helped pave the fashion. This is their masterwork, with Jack Bruce and his bass joining upwardly, fresh out of Cream, to aid them unleash an convulsion upon jazz and prog akin. This album just barnstorms, interconnecting tracks into a sonic force that never lets up. Everyone plays their respective instrument hard, fast, and excellently. It's hard to give special kudos to McLaughlin equally usual, since Young and Williams play their hearts out, as well. The whole first side stands equally the improve piece, but there's nary anything wrong with this LP. Highly recommended.

Studio Album, 1969
3.75 | 36 ratings
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Emergency !
Tony Williams Lifetime Jazz Rock/Fusion

Review past Bonnek
Special Collaborator Honorary Collaborator

After Tony Williams met with John McLaughnin during the recording of Miles Davis' In A Silent Way, they teamed-upwards with Larry Young to tape this ground-breaking jazz album. It's ane of the kickoff albums by jazz musicians where the aggression and psychedelic influences from gimmicky rock were incorporated so extensively. At to the lowest degree much more then then Davis did on his 1969-1970 albums. John McLaughnin's mode is instantly recognizable here and much more prominent and frantic then on his Davis contributions.

Previous reviewers have pointed to the muddied recording quality of this anthology, but this harsh and trebly "in your confront sound" fits the music rather well. It doesn't sound all that different from Jimi Hendrix' recordings or an early Can album similar Monster Picture show and it's not difficult to see that it must take served every bit a huge inspiration for Germany's kraut rock motility of the early 70s.

The music is loose and improvised, sometimes revealing postal service-bop and free jazz roots, sometimes spacey, sometimes aggressive and cluttered, sometimes riff-based and jammy, sometimes doped and over-indulgent. It won't please you if you lot look for construction, composition and melody, but it is sure enjoyable for its uncompromising energy and unaffected directness. Some of the tracks have vocals that are very hazy and psychedelic, not unlike the early Soft Machine actually. I'd estimate that some hallucinatory aids won't harm to enjoy information technology.

Emergency is a remarkable album that you should certain pick up if it crosses your path in a library, merely information technology lacks the improvisational mastership and the emotional touch on of Davis' contemporary recordings. It also can't offer the compositional quality of MO's later albums, and I believe the kraut rock motion and bands like Soft Machine have more engaging executions of this blazon of loose, psych-rock experimentation. In short, a basis-breaking album that got surpassed in execution by the bands that took inspiration from it. 3.5 stars.

Studio Album, 1975
4.xix | 77 ratings
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Believe It
Tony Williams Lifetime Jazz Rock/Fusion

Review by Flucktrot
Prog Reviewer

Never one to give a musician credit just because he "played with Miles", I take to admit, however, that it's clear from this album that Tony Williams has got some chops. Most of these are great songs to either nod your head to absent-mindedly or mind intensely to what Williams, and sometimes Holdsworth, are doing.

This feels very minimalist to me, equally it is clearly the Tony Williams testify, featuring Holdsworth on cue for solos and rhythm, with the keys and bass oftentimes relegated to simple chugging along, if even playing at all. Fortunately, that'south OK, because information technology helps Believe Information technology to stand somewhat uniquely amid the riff-assaults of much fusion at the time. It's tough to practice minimalism while still rocking and keeping things interesting (thus ruling out punk, if that's what you lot were thinking!)

My favorites are Ophidian Oil, Fred and Mr. Spock, although the whole album fits the chill-notwithstanding-with-a-bite classification. Snake Oil is a cracking strutter, with a uncomplicated still catchy bass intro, and toe-tapping melody (though it certainly gets repetitive afterward a while). Mr. Spock is probably my favorite, equally information technology actually pushes the tempo and has a smashing mental attitude to it--not to mention the highlight toward the end where Williams takes the solo with Holdsworth on rhythm. Great stuff!

I'thousand not as high on this as some due to the lack of virtuosic playing (sans Williams) and absenteeism of creative songwriting in most places. Goose egg nigh this album screams fantastic, only it'southward quite adept, and a bonus is that not just proggers will likely dig it. Just a solid lineup of fusion rock songs, played very well, with a few truly memorable tunes thrown in there.

Studio Anthology, 1970
4.02 | 26 ratings
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Plow It Over
Tony Williams Lifetime Jazz Rock/Fusion

Review by snobb
Special Collaborator Honorary Collaborator

After great Tony Williams solo double debut, this album continues his progressive night and heavy attack. Just expect on the line -up, and yous will agree - this is all-stars band with McLaughlin on guitar, Jack Bruce on bass, Larry Young on keys, besides of Williams himself.

From very showtime sound yous will hear (and will feel) heaviness of Hammond passages and ecstatic drumming - first two compositions are Corea's, but sound much heavier than originals. Tertiary song is psychedelic ballade with unusual vocals and heavy bass line.

At their best moments albums represents splendid energetic and heavy guitar/keyboards driven psychedelic progressive fusion. However vocals and some unfocused pieces are album'due south weak points.

I ain 10-songs LP version, and sound quality is beneath average (never listened to CD version, possibly this problem was solved at that place). In whole - neat album with some not and then expert moments. Just if yous like early on Hammond/guitar led progressive fusion, night and heavy, with doze of psychedelic, you demand to listen this album for sure.

My rating - 3,five, rounded to iv.

Studio Anthology, 1972
3.21 | ten ratings
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The Old Bum'south Rush
Tony Williams Lifetime Jazz Stone/Fusion

Review by snobb
Special Collaborator Honorary Collaborator

Subsequently iii swell albums, Tony Williams released this one - non bad, only really foreign one! Kickoff of all - he employed female vocalist there, with strong soul-jazzy voice. Album's mix is made with vocals in front of all the sound, and then what you are listening is by and large song jazz-soul fusion in that location.

Vocalist's voice is no bad, but far from Julie Driscoll, who this anthology perhaps targeted. But even bigger problem is stylistically her singing is inappreciably connected with music played past Tony' south team. I can't say the issue is bad, just it'south kind of too foreign (or too experimental, depends on your gustation).

If y'all will remove vocals, at that place are more interesting things - corking drumming, unusual, simply ofttimes interesting keyboards and very energetic and in fact dauntless electric experimental jazz-rock with potent r'northward'b influences. Possibly, all album was strongly influenced past Brian Auger recent works.

Separate musical pieces are splendid, but in whole all the music with vocals over the top sounds weird. I nevertheless really can enjoy it, but this album is possibly Tony Williams weakest point. Not foreign, the band was disbanded after release of this release, and Tony returned subsequently some time with great New Lifetime.

Studio Anthology, 1975
4.19 | 77 ratings
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Believe It
Tony Williams Lifetime Jazz Rock/Fusion

Review past snobb
Special Collaborator Honorary Collaborator

Tony Williams is one of most respectable jazz fusion drummers, still from time when he played with Miles Davis. It's a bit compassion, that likewise other Miles jazz fusion cohort, as Chick Corea or John McLaughlin, Tony's later solo works stayed a fleck in the shadow side.

This anthology ( and I think it is his best ever release) is nifty bear witness, that Tony's solo works are of the aforementioned highest standard ( or sometimes even college!).

Musicians team ( New Lifetime) is all great - Allan Holdsworth is showing his best guitar techniques, Alan Pasqua if non also much original plays funky and very competent. Tony Newton is mostly known as Motown session bassist, and so rhythm section gave strong funky-jazz feeling to all music. Merely whenever Allan'southward guitar is so energetic and fills all space with great electric stone jams, all musical mix sounds as hot jazz-funk-rock fusion.

Looking from now, all this album sounds as excellent vintage fusion recordings of highest standard. Peradventure, I would like to hear some more experimental moments there, only we're speaking nearly year 1975, so I believe this music was quite innovative at that time.

Must have album for any jazz fusion collection.Strong 4,5.

Studio Anthology, 1975
four.19 | 77 ratings
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Believe It
Tony Williams Lifetime Jazz Stone/Fusion

Review by karneviljay

This was truly the first time I had ever heard Tony Williams and in fact the commencement time I had really heard fusion that didn't bore me to death. I had been introduced to Allan Holdsoworth as a pretty immature kid from my way older brother who had been studying music in college at the time. The starting time impression I got of this album was funky hard rockin jazz, but like any truthful fusion album there's more hidden treasures in the music the more you heed to it.

Though Believe Information technology may not be in the realm of fusion/prog, anyone who enjoys adept music and understands the idea of the importance fusion had on progressive rock ie., John Mclaughlin'southward heavy influence on Robert Fripp, will enjoy and respect the true musical value of this music. Track #1 starts of with Tony Newton'southward heavy envelope filtered bass in "Serpent Oil" leading to the funky rocking of Alan Pasqua's clavinet and Mr. Holdsworth's highly compressed guitar leads.

"Fred" starts of the second track of this album with a few splashes of Tony William's cymbals starting of the atmospheric serenity of the melody, followed past a overnice solo by Mr. Pasqua, then erupting into an monster legato fury by Holdsworth.

"Proto Cosmos" is pure fusion here. Genius fluid guitar playing by Holdsworth, and accompanied by Tony Williams polyrhythmic drumming. Mr Williams actually shines here.

"Carmine Warning" has been stated over the years by other musicians that it was one of the about influential songs they had ever heard. This number is rhythymicaly difficult and heavy, the whole band kicks butt. Bank check out you tube online and you can check out these guys jamming in 9/22/76 in Hamlet Gate,NYC.

"Wildlife" starts off every bit a relaxing cute tune, and and so the guitar comes in enhance the mood, halfway into the things kick upwards a chip with a electrical piano solo and some squeamish bass work by Tony Newton.

And concluding simply not least nosotros have "Mr. Spock". The more I heed to this one, the better information technology gets. Anybody in the ring has a chance to shine on this one. It's very unperdictable. Nearly importantly this album introduced me into the genius guitar playing of Allan Holdsworth. I became one of his number one fans considering of this music. IMO information technology's not only some of his best playing but the tone he had back in the seventies with Lifetime, Bruford, Soft Machine just seemed to exist quite edgier. A Masterpiece

Studio Album, 1969
3.75 | 36 ratings
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Emergency !
Tony Williams Lifetime Jazz Rock/Fusion

Review by Mellotron Storm
Prog Reviewer

At that place'southward no denying how innovative and groundbreaking this anthology was. I tin can but imagine the disdain shown by Jazz traditionalists back and then. And as if to make an exclamation point Tony made it a double album. What a trio though with Williams on drums, McLaughlin on guitar and Young on organ. The sound quality is brutal though. This is more than like bootleg quality sound, very muddy. And then much then that it reflects in my rating because I can't actually relish it at all. Even Tony'south follow upwardly "Plough It Over" sounds bad. Check out "Believe It" with Holdsworth on guitar if y'all want great audio quality and astonishing playing. Gnosis even rates it higher than the kickoff ii.

"Emergency" opens with drums and organ earlier McLaughlin comes in lighting information technology up. It turns jazzy then settles before 5 minutes. It'southward intense over again late. "Across Games" has these silly spoken lyrics. Not a fan of this 1 although the guitar is bang-up at times. "Where" has no real tune at first and Tony once more half sings the lyrics. It kicks in before 2 minutes and the tempo picks up 3 1/2 minutes in. An impressive instrumental display here. A calm follows with more spoken words.Themes are repeated.

"Vashkar" rocks out pretty good with the guitar and drums showing off early on before the organ takes a plow. "Via The Spectrum Road" almost sounds like Wyatt singing (haha). No it'due south non that good. Information technology picks up before 1 1/ii minutes. Contrasts go along. "Spectrum" is uptempo with the guitar leading the way. Young's plow subsequently iii minutes and the guitar returns subsequently. "Sangria For Three" is kind of funky at first then information technology changes a minute in.The guitar and drums are keen every bit the tempo picks up.The tempo continues to shift. "Something Special" has some excellent drum work on it.

Probably 4.v stars if it sounded good, but sadly I can't even savour it.

Thank you to micky for the artist addition. and to Quinino for the last updates

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Source: http://www.progarchives.com/artist.asp?id=3035

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