Peace And Rhythm (Remastered) Idris Muhammad

• 1 Peace And Rhythm Suite: Peace 11:54
• 2 Peace And Rhythm Suite: Rhythm 05:55
• 3 Brother You Know You’re Doing Wrong 05:40
• 4 Don’t Knock My Love 04:45
• 5 I’m A Believer 05:20
• Total Runtime 33:34

Info for Peace And Rhythm (Remastered)

"Peace and Rhythm" is the second album led by jazz drummer Idris Muhammad which was recorded for the Prestige label in 1971.

"The Peace and Rhythm Suite" is a side-long suite consisting of two long, spacy compositions that predate the ambient house scene by nearly two decades yet sound entirely of a piece with that style. Long, droning, sustained chords on a variety of wind and reed instruments float above Muhammad's percussion, which ebbs and flows in a free, almost arrhythmic way through most of the piece. Fans of The Orb or Brian Eno will find it an old hat, but for early-'70s jazz, !this was downright revolutionary!

"Parts of the second solo album by Prestige Records' house drummer, Idris Muhammad, are an even poppier affair than Black Rhythm Revolution, with a mellow soul-jazz feel replacing the slight Latin tinge of the earlier album. Side one is downright crossover, with its two pieces of positive-thinking pop (the lyrics, by Muhammad, are sung by his wife, Sakinah Muhammad) separated by a loose but faithful take on Wilson Pickett's "Don't Knock My Love." That's just side one, though. Side two is something much weirder and far more interesting. "The Peace and Rhythm Suite" is a side-long suite consisting of two long, spacy compositions that predate the ambient house scene by nearly two decades yet sound entirely of a piece with that style. Long, droning, sustained chords on a variety of wind and reed instruments float above Muhammad's percussion, which ebbs and flows in a free, almost arrhythmic way through most of the piece. Fans of the Orb or Brian Eno will find it an old hat, but for early-'70s jazz, this was downright revolutionary." (Stewart Mason, AMG)

Idris Muhammad, drums, gong, cowbell, cabasa, autohorn
Virgil Jones, trumpet
Clarence Thomas, tenor saxophone, soprano saxophone, flute, bells, arranger
William Bivens, vibraphone (tracks 1 & 2)
Alan Fontaine, guitar (tracks 3–5)
Melvin Sparks, guitar (tracks 3–5)
Kenny Barron, electric piano (tracks 1 & 2)
Ron Carter, bass (tracks 1 & 2)
Jimmy Lewis, electric bass (tracks 3–5)
Buddy Caldwell, congas
Angel Allende, percussion, timbales (tracks 1 & 2)
Sakinah Muhammad, vocals (tracks 3 & 5)

Digitally remastered

Idris Muhammad
was born in New Orleans (as Leo Morris) on November 13, 1939 into a musical family. His father, Nathaniel Morris, played banjo on a traditional New Orleans band, and several of his brothers are also musicians. He started playing drums at the age of six in the school band, and got his professional job at age twelve playing with a marching band in the back of a truck during Mardi Gras. He was only fifteen when he recorded, with Fats Domino, the original version of Blueberry Hill .

During the fifties he worked with some of the legends of soul music, such as Sam Cooke, Arthur Neville, Curtis Mayfield, etc. He also worked with blues and rhythm & blues stars such as Joe Turner, Muddy Waters, Shirley and Lee or Little Richard.

The sixties found Idris in New York, where he was part of the Funk Jazz movement, with hits such as Lou Donaldson’s Alligator Bugaloo, Charlie Earland’s More today than Yesterday or Stanley Turrentine’s Sugar .

Between 1969 and 1970 Idris was responsible for all the percussion parts for the award-winning musical Hair , and between 1973 and 1979 was the regular drummer for Roberta Flack.

Idris led his career towards pure Jazz during the eighties, working with Johnny Griffin, Pharoah Sanders, George Coleman and the Paris Reunion Band.

During the nineties Idris has worked and recorded with David Murray, John Hicks, Randy Weston, Ahmad Jamal, Tete Montoliu, Hank Jones, John Scoffield, Joe Lovano and Roots.

Universally acclaimed as one of the greatest percussionists of our time, Idris is a fine and versatile stylist, perfectly at ease in any musical context, and he is revered by a whole generation of Jazz drummers as one of the masters of the instrument.

This album contains no booklet.