A pair of funky jazz sets from Bennie Maupin – '77's Slow Traffic To The Right and '78's Moonscapes – together in a single set! Slow Traffic To The Right is Maupin's first LP for Mercury, and a great bit of spiritual funky jazz that recalls a lot of the sound of his work with The Headhunters. The first track, "It Remains to Be Seen", is an excellent groover, with some very dark keyboard work by Patrice Rushen, and the rest of the tracks are pretty great too. Pat Gleeson produced and plays synth on the LP, and the cuts include "Quasar", "You Know the Deal", "Water Torture", and "Lament".
' Bennie Maupin's Cryptogramophone label follow-up CD to "Penumbra" both parallels and provides a departure from that excellent effort. What is similar is the softer tone Maupin is displaying in his far post-Headhunters days, refined by experience and cured though wisdom. The music Maupin plays on this beautiful effort is even more subdued, as he collaborates with an ensemble of relatively unknown musicians from Poland.' Michael.G.Nastos@allmusic.com
' Bennie has played and recorded with a wide variety of musical icons, including trumpeters Davis, Lee Morgan, Freddie Hubbard; pianists McCoy Tyner, Herbie Hancock, Andrew Hill; saxophonists Lateef and Marion Brown; and drummers Roy Haynes, Jack DeJohnette, and Lenny White – to name only a few. He has played in all manner of musical settings and configurations, from solo performances to large orchestra concerts; from chamber recitals to Broadway shows. There is simply nothing the man can’t do and do brilliantly.' Liner Notes Penumbra
' Some of the best and most forward thinking of today’s young musicians clearly find ways to avoid being locked into a stylistic corner by self-proclaimed mavens of jazz and improvised music. Such eclecticism has to come from somewhere. Two of the major breeding grounds for this kind of imaginative diversity were and are, of course, the many musical odysseys of Miles Davis and John Coltrane. Both were restless seekers, never satisfied with the status quo, always reaching beyond themselves for new and uncharted improvisational geographies. Both men, each in his own way, sounded a clarion call for musicians and listeners alike to wake up, shake off their complacency and free themselves from the known. It’s safe to say that among those who were first to hear the call was woodwind virtuoso and master improviser, Bennie Maupin.' Liner Notes
From the opening four notes of Michael Henderson's hypnotically minimal bass that open the unedited master of "On the Corner," answered a few seconds later by the swirl of color, texture, and above all rhythm, it becomes a immediately apparent that Miles Davis had left the jazz world he helped to invent – forever. The 19-minute-and-25-second track has never been issued in full until now. It is one of the 31 tracks in The Complete On the Corner Sessions, a six-disc box recorded between 1972 and 1975 that centers on the albums On the Corner, Get Up with It, and the hodgepodge leftovers collection Big Fun. It is also the final of eight boxes in the series of Columbia's studio sessions with Davis from the 1950s through 1975, when he retired from music before his return in the 1980s. Previously issued have been Davis' historic sessions with John Coltrane in the first quintet, the Gil Evans collaborations, the Seven Steps to Heaven recordings, the complete second quintet recordings, and the complete In a Silent Way, Bitches Brew, and Jack Johnson sessions. There have been a number of live sets as well; the most closely related one to this is the live Cellar Door Sessions 1970, issued in 2005.