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Slewfoot

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Review

1975's {^Slewfoot} continues {$Norman Connors}' diversification into {\jazz-funk} and brassy {\R&B} with mostly positive results. Surrounded as usual by an all-star personnel -- including but not limited to vocalist {$Jean Carn}, bassist {$Ron Carter}, pianist {$Lonnie Liston Smith}, tenor saxophonist {$Gary Bartz}, horn player {$Eddie Henderson}, and flutist {$Hubert Eaves III} -- {$Connors} tears through a mostly hard-driving set of songs. {$Carlos Garnett}'s {&"Mother of the Future"} leads off the album as a frenetic {\jazz-funk} workout and offers each instrumentalist a chance to flex muscles; {$Carn} is particularly hot, while {$Elmer Gibson}'s electric piano runs highlight the latter half of the song. {$Henderson}'s {&"Dreams"} and a gorgeous reworking of {$Coltrane}'s {&"Welcome"} ({$Carn} takes another spotlight) are the only reprieves from the upbeat slant. The remainder is dotted with decent but slightly innocuous {\funk} and {\fusion} {\instrumentals} that are occasionally punctuated by bold horn charts ({$Richard Clay}'s {&"Back on the Street,"} {$Elmer Gibson}'s {&"Chuka,"} {$Connors}' {&"Jump Street"}). Not one of {$Connors}' best, but it does have its moments. ~ Andy Kellman, Rovi
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  1. # Track Artist Length
  2. 1 Mother of the Future Norman Connors 6:47
  3. 2 Back on the Street Norman Connors 4:0
  4. 3 Welcome Norman Connors 7:10
  5. 4 Slew Foot Norman Connors 3:14
  6. 5 Dreams Norman Connors 6:12
  7. 6 Chuka Norman Connors 3:24
  8. 7 Jump Street Norman Connors 2:37

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