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| Pitchfork |
 People play music for many reasons: to express something personal, act cool, meet people, have fun-- maybe even to make money. Sometimes, people play music because they want to belong to a community. And once in a while, community-driven sounds intersect with a historic and political moment, and music takes on special significance.Such was the case with the Tribe, a creative collective founded in Detroit in 1972 by trombonist Phil Ranelin and reed player Wendell Harrison and whose media arm included a label and quarterly magazine. The Tribe was born out of the African-American consciousness of the Civil Rights era, and its mission was to further the cause of black empowerment. Its magazine featured news and editorials on the issues of the day-- busing, government corruption, the dimming economic climate-- alongside discussion of music. The label issued the work of area musicians, some of whom made a living as session players for Motown (the company left Detroit for L.A. the year Tribe was founded) while simultaneously pursuing jazz. Everything about the Tribe was local, intent on reflecting and documenting the surrounding community. There was a lot of uncertainty in Detroit in the early 1970s-- the auto industry was declining, parts of the city had been destroyed during riots in the late 60s, and population was in the early stages of a long, dramatic decline. The Tribe was a group of people banding together, trying so sort through it all as it happened. Message From the Tribe, originally issued in 1996 and now re-issued by Soul Jazz's Universal Sound imprint with new packaging, gives an overview of Tribe's output during its five-year run. The music is most striking for its eclectic, without-borders approach: though "jazz" is an appropriate catchall term and the music feels of a piece, the individual tracks defy easy categorization. In the notes, comparisons are drawn between the Tribe's mission and that of Chicago's Association for the Advancement of Creative Musicians, but the music here is comparatively accessible, with a steady, danceable pulse, and it never veers into avant-garde abstraction. Ranelin, represented as a leader on three of the comp's 12 tracks, plays jazz, but he was ultimately re-discovered by the rare groove set, which gives an idea of his dedication to hypnotic rhythm. While his "Vibes From the Tribe" combines the ethereal harmonic drift of Miles Davis circa Nefertiti with the bass-driven grooves concurrently being explored by Herbie Hancock, "For the Children", though certainly still jazz, finds him singing as well as soloing on trombone. The music billed to the Tribe-- basically an all-star band drawn from members of the collective, including Ranelin and Harrison-- ranges from the nimble funk blowing session "Beneficent" to the politicized message of hope "What We Need", with vocals by Jeamel Lee. Another vocal cut, Doug Hammond's "Moves", is a strange and haunting ballad featuring Hammond's earthy voice trading melodic lines with violin, Fender Rhodes, and Moog....full text |
| Independent |
| Tribe was a musician-run recording collective in Detroit during the mid-1970s. Big hair, big attitude, big things to say. Big debt to the great Sun Ra. You won't know many, if any, of the names on this fascinating compilation but it's likely you will find things to enjoy in its wiggy, out-there, partially electronic grooves. Just check out Phil Ranelin's "Vibes from the Tribe". The package includes hefty booklet and postcard art and so you may safely treat it as a historical "document". Documents seldom come so badass...full text |
| Normanrecords |
| Soul Jazz Records' sub-label Universal Sound have a cracking compilation out documenting The sounds of Detroit's Tribe Records imprint. I'm fascinated with the rich musical heritage of Detroit from Motown through to Detroit techno (along with Chicago house probably my all-time favourite music ever). Tribe was born when the city's car industry was in decline which left the city with a void which years later would eventually leave much of the city in urban decay. Tribe's message, and words of wisdom: "Music Is The Healing Force" is universal and through Jazz they conveyed this sentiment perfectly. I must admit that all of the music on these records is entirely new to me. Artists/ players like David Durrah, Phil Ranelin, Doug Hammond, The Mixed Bag, Marcus Belgrave and Wendell Harrison really were a super cool unit of creative and forward thinking musicians. 'Beneficent' is a very sweet track with moving vocal that really sends shivers up the old spine. I imagine these tracks may well have possibly inspired the likes of Carl Craig (Who is now working with these musicians) and Juan Atkins in their younger days. Atkins once said: "Jazz Is The Teacher". Also included is a fabulous 60 page booklet that really gives you a sense of the social, cultural and political climate of early 70's black America. Some lovely postcards are also included in the package. It's an inspiring and wonderfully presented collection of quality Jazz funk… Some great players on here and some superb uplifting music....full text |
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