Phil Ranelin – The Time Is Now – Tribe Records TRCD 4006 (1974)/Pure Pleasure Records (2019) 180-gram stereo vinyl, 40:39 ****:
Tribe Records, located in Detroit Michigan, was started by trombonist Phil Ranelin and reed player Wendel Harrison. Many of the artists associated with this label began their careers in mainstream jazz and Motown sessions. This avant-garde or free jazz music, especially on independent labels like Tribe and Strata-East reflected the anarchistic, socio-political landscape of the late 60’s and 70’s. Musically, they were devotees of avant-garde jazz, inspired by the likes of Ornate Coleman, Cecil Taylor and Ornate Coleman. This direction impacted “mainstream” jazz including John Coltrane and Miles Davis. A crucial element of this evolving movement was representing the topical issues that faced African Americans. There was no better symbol of this than Detroit Michigan. The town that led the world in car manufacturing was suffering economically and social injustice was rampant. Business cut back or in the case of Motown Records left town. Tribe Records under the tutelage of Ranelin expressed that indignation from within the city limits.
Pure Pleasure Records has released a 180-gram vinyl re-mastering of the epochal 1974 album, The Time Is Now. While the label was active for only 5 tears (1972-1976), the artists made a distinct impression in the annals of free-form jazz. Side A opens with the epochal 14-minute track, “The Time Is Now For Change”. The musical essence and direction is not easy to describe. It opens with a dissonant “open” context lead by Ranelin (trombone), Keith Vreeland (piano) and assorted percussion. A “near-squawking” alto saxophone (El Nil) builds on the menacing resonance. Trilling horn work adds an element of sharpness, and the double bass (John Dana) organizes a semblance of an r & b hook. An electric piano enhances the 70’s vibe. The ominous swirling flow continues on “Time Is Running Out”. The pulsating bass line and Fender Rhodes shading play off the unrestrained “non-melody”. It is atmospheric and defined by a forbidding urgency.
Side B stands in contrast to the experimental looseness of Side A. Ranelin and his bandmates seem to embrace some traditional jazz idioms. “Of Times Gone By” adopts a tighter swing groove with a quirky 3/4 time signature. Ranelin’s trombone lead is fluid, aided by Harrison’s crisp tenor play. The layered “big ensemble” arrangement is working at peak form. Marcus Belgrave’s lyrical flugelhorn is nimble. The overall sound has a collective “Blue Note” feeling. Ranelin returns with an extended solo, followed by Harrison’s silky lines. At times there is a fusion influence with bass and electric piano. On “Black Destiny” the band plays off a Cuban-infused vamp to frenetic bebop rhythms. In a change of place, “13th And Senate” is pure blues with an exquisite trombone lead. The chord modulations emulate blues classics like “Stormy Monday”, and there seems to be a clavinet in the background. The finale, “He The One We All Knew, Pt. 1” is a galloping waltz-time arrangement with a running bass and a no-holds-barred Ranelin solo. At 2:40, it is the shortest cut on the album, and the listeners will want to hear Part 2.
Pure Pleasure Records has done a stellar job of re-mastering this recording to 180-gram vinyl. The stereo separation is precise and the smooth tonality of trombone, flugelhorn and electric piano is captured gracefully. The percussion and double bass bottom mix is very good.
Musicians:
Phil Ranelin – trombone, percussion, arrangements; Wendel Harrison – tenor saxophone, percussion; Marcus Belgrave – flugelhorn, percussion; Bill Turner – drums, percussion; George Davidson – drums, percussion; Keith Vreeland – piano, percussion; John Dana – double bass; Reggie Fields – double bass; Charles Moore – trumpet, percussion; Haroun El Nil – alto saxophone, percussion
TrackList:
Side A:
The Time Is Now For Change
Time Is Running Out
Side B:
Of Times Gone By
Black Destiny
13th And Senate
He The One We All Knew, Pt. 1
—Robbie Gerson
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