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He's Coming

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iTunes Review

Though he'd already spent 10 years as a respected sideman and had even released a handful of albums under his own name, Roy Ayers’ career was reborn with 1971’s He’s Coming. It's the album that commences the most fruitful decade in the vibraphonist’s career, but more crucially, it's where Ayers’ musical personality coalesces. His earlier albums found him struggling to find his voice as a leader, but with the assimilation of funk and soul music into the general jazz consciousness, Ayers finally felt free to follow his musical desires. Where Miles Davis found in funk a weapon for rebellion, Ayers found a porthole to sublime moods. “Ain’t Got Time,” “I Don’t Know how to Love Him," and “Sweet Tears” are sonically rich and emotionally vulnerable. “He’s a Superstar” and “Fire Weaver” show Ayers borrowing the blaxploitation style, although there's nothing chintzy about his music. He's one of the few who can be nimble and velvety in the same measure. At the same time, Ayers’ own social consciousness blossomed with “We Live in Brooklyn, Baby,” a two-chord ghetto anthem that's an eternal rumble from beneath cracks in the sidewalk.

Customer Reviews

Roy Ayers is a great listen

I love this album so much. It's like drinking a cup of iced tea while walking down a busy city street. Marvelous


Born: September 10, 1940 in Los Angeles, CA

Genre: Jazz

Years Active: '60s, '70s, '80s, '90s, '00s, '10s

Once one of the most visible and winning jazz vibraphonists of the 1960s, then an R&B bandleader in the 1970s and '80s, Roy Ayers' reputation s now that of one of the prophets of acid jazz, a man decades ahead of his time. A tune like 1972's "Move to Groove" by the Roy Ayers Ubiquity has a crackling backbeat that serves as the prototype for the shuffling hip-hop groove that became, shall we say, ubiquitous on acid jazz records; and his relaxed 1976 song "Everybody Loves the Sunshine" has been frequently...
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He's Coming, Roy Ayers
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