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Background -

At his best, Jack DeJohnette is one of the most consistently inventive jazz percussionists extant. His style is wide-ranging, and while capable of playing convincingly in any modern idiom, he always maintains a well-defined voice. DeJohnette has a remarkably fluid relationship to pulse. His timing is excellent; even as he pushes, pulls, and generally obscures the beat beyond recognition, a powerful sense of swing is ever-present. His tonal palette is huge as well: No drummer pays closer attention to the sounds that come out of his kit than DeJohnette. He possesses a comprehensive musicality rare among jazz drummers.

That's perhaps explained by the fact that, before he played the drums, DeJohnette was a pianist. From the age of four, he studied classical piano. As a teenager he became interested in blues, popular music, and jazz; Ahmad Jamal was an early influence. In his late teens, DeJohnette began playing drums, which soon became his primary instrument. In the early '60s, the most significant event of his young professional life occurred -- an opportunity to play with John Coltrane. In the mid-'60s, DeJohnette became involved with the Chicago-based Association for the Advancement of Creative Musicians. He moved to New York in 1966, where he played again with Coltrane, and with Jackie McLean. His big break came as a member of the very popular Charles Lloyd Quartet from 1966-1968.

The drummer's first record as a leader was 1968's The DeJohnette Complex. In 1969, DeJohnette replaced Tony Williams in Miles Davis' band; later that year, he played on the trumpeter's seminal jazz-rock recording Bitches Brew. DeJohnette left Davis in 1972 and began working more frequently as a leader. In the '70s and '80s, DeJohnette became something like a house drummer for ECM, recording both as leader and sideman with such label mainstays as Jan Garbarek, Kenny Wheeler, and Pat Metheny.

DeJohnette's first band was Compost; his later, more successful bands were Directions and Special Edition. The eclectic, avant fusion Directions was originally comprised of the bassist Mike Richmond, guitarist John Abercrombie, and saxophonist Alex Foster. In a subsequent incarnation -- called, appropriately, New Directions -- bassist Eddie Gomez replaced Richmond and trumpeter Lester Bowie replaced Foster. From the mid-'70s, Directions recorded several albums in its twin guises for ECM. Beginning in 1979, DeJohnette also led Special Edition, a more straightforwardly swinging unit that featured saxophonists David Murray and Arthur Blythe.

For a time, both groups existed simultaneously; Special Edition would eventually become the drummer's performance medium of choice. The band began life as an acoustic free jazz ensemble, featuring the drummer's esoteric takes on the mainstream. It evolved into something quite different, as DeJohnette's conception changed into something considerably more commercial; with the addition of electric guitars and keyboards, DeJohnette began playing what was essentially a very loud, backbeat-oriented -- though sophisticated -- instrumental pop music. To be fair, DeJohnette's fusion efforts were miles ahead of most others'. His abilities as a groove-centered drummer are considerable, but the subtle colorations of his acoustic work were missed. That side of DeJohnette is shown to good effect in his work with Keith Jarrett's Standards trio, and in his occasional meetings with Abercrombie and Dave Holland in the Gateway trio.

DeJohnette remained a vital artist and continued to release albums such as Peace Time on Kindred Rhythm in 2007. He returned in 2009 with the trio album Music We Are featuring pianist Danilo Pérez and bassist John Patitucci. In 2012, DeJohnette delivered the musically eclectic Sound Travels, showcasing a bevy of collaborations with such artists as Bruce Hornsby, Esperanza Spalding, and Ambrose Akinmusire, among others.

In 2013, DeJohnette was asked by the Chicago Jazz Festival to present a program of his choosing. He gathered together Roscoe Mitchell and Henry Threadgill -- his classmates at Wilson Junior College on the city's South Side -- and Muhal Richard Abrams, whose Experimental Band the three had all played in, and all were members of the AACM. Along with bassist / cellist Larry Gray, the quintet played a festival concert (as well as subsequent dates in several variations). The historic reunion show was released by ECM as Made in Chicago in early 2015.

The drummer's next project was forming a trio with saxophonist Ravi Coltrane and electric bassist/electronicist Matthew Garrison -- the latter the offspring of classic John Coltrane Quartet bassist Jimmy Garrison. DeJohnette had played informally with the younger men for years before forming this band. In 2016, ECM issued the trio's debut, In Movement. It was the first appearance on the label for both bassist and saxophonist.

DeJohnette long made the Hudson Valley his home, and his sense of place has been an important part of his work for decades. To that end, he teamed with guitarist John Scofield, keyboardist John Medeski, and bassist Larry Grenadier -- all of whom live in or near the Hudson Valley -- to record an album that reflected the region's musical geography and creativity. In addition to well-considered originals, the quartet cut a series of covers associated with the region by artists who had lived or had worked there, including Bob Dylan, the Band, Joni Mitchell, and Jimi Hendrix. Issued on the occasion of DeJohnette's 75th birthday, Hudson appeared in June of 2017 and was followed by a tour. Early the following year, Keith Jarrett's longstanding standards trio with the drummer and bassist Gary Peacock, issued the double-disc After the Fall, a live document from November of 1998 that marked the pianist's return to the stage after a two-year hiatus. - Chris Kelsey

From the 1970s until his death in 1999, Lester Bowie was the preeminent trumpeter of the jazz avant-garde -- one of the few trumpet players of his generation to adopt the techniques of free jazz successfully and completely. Indeed, Bowie was the most successful in translating the expressive demands of the music -- so well suited to the tonally pliant saxophone -- to the more difficult-to-manipulate brass instrument. Like a saxophonist such as David Murray or Eric Dolphy, Bowie invested his sound with a variety of timbral effects; his work had a more vocal quality when compared with that of most contemporary trumpeters. In a sense, he was a throwback to the pre-modern jazz of Cootie Williams or Bubber Miley, though Bowie was by no means a revivalist. Though he was certainly not afraid to appropriate the growls, whinnies, slurs, and slides of the early jazzers, it was always in the service of a thoroughly modern sensibility. And Bowie had chops; his style was quirky, to be sure, but grounded in fundamental jazz concepts of melody, harmony, and rhythm.

Bowie grew up in St. Louis, playing in local jazz and rhythm & blues bands, including those led by Little Milton and Albert King. Bowie moved to Chicago in 1965, where he became musical director for singer Fontella Bass. There Bowie met most of the musicians with whom he would go on to make his name -- saxophonists Joseph Jarman and Roscoe Mitchell and drummer Jack DeJohnette among them. He was a founding member of the Association for the Advancement of Creative Musicians and (in 1969) the Art Ensemble of Chicago. Bowie's various bands included From the Root to the Source -- a sort of gospel / jazz / rock fusion group -- and Brass Fantasy, an all-brass, postmodern big band that became his most popular vehicle. Bowie's catholic tastes were evidenced by the band's repertoire; on albums, they covered a nutty assortment of tunes, ranging from Jimmy Lunceford's "Siesta for the Fiesta" to Michael Jackson's "Black and White." Besides his work as a leader and with the Art Ensemble, Bowie recorded as a sideman with DeJohnette, percussionist Kahil El'Zabar, composer Kip Hanrahan, and saxophonist David Murray. He was also a member of the mid-'80s all-star cooperative the Leaders. Bowie's music occasionally leaned too heavily on parody and aural slap stick to be truly affecting, but at its best, a Bowie-led ensemble could open the mind and move the feet in equal measure. - Chris Kelsey 

The music on this obscure LP was used as the soundtrack for a video program. Jack DeJohnette is heard on synthesizers and is usually joined by trumpeter Lester Bowie. The performances are moody and has its colorful moments although most of it does not stand alone without the film all that well. Superior background music, recommended mostly to Jack DeJohnette completists. - Scott Yanow LP made by MCA Records, in the USA
LP released in 1989
LP is recorded in STEREO Record Catalog Number: MCA 42160 Record Labels are primarily BLUE with Rainbow and BLACK lettering
This listing is for a rare, out of print LP - an OPENED and in near mint minus overall condition LP PRESSED and ISSUED by MCA Records of a highly collectible title from their catalog - a superb title featuring -

Jack DeJohnette / Lester Bowie

LP Title -
Zebra
Track Listing -
A1. Ntoro I - 8:40         
A2. Jongo - 4:53         
A3. Aho - 9:42         
B1. Kpledzo - 7:58         
B2. Ntoro II - 9:17
Performers / Other Information -
• Barcode: 076742216016
• Recorded At – Grog Kill Studio
• Mixed At – Grog Kill Studio
• Mastered At – RCA Studios, New York
• Phonographic Copyright (p) – Makita TransPublications
• Copyright (c) – Makita TransPublications
• Art Direction – Tan Ohe
• Design – Strange Fruits
• Engineer [Recording] – David Baker
• Executive Producer – Kousaku Makita
• Photography By [Cover], Art Direction, Co-producer [Produced In Association with] – Tadayuki Naito
• Producer – Kenny Inaoka
• Synthesizer [Siel DK600], Written-By, Producer – Jack DeJohnette
• Trumpet [Solo] – Lester Bowie (tracks: A1, A3, B2)
DeJohnette Music (BMI) 
Jack DeJohnette and Lester Bowie courtesy of ECM Records, München 
Recorded & Mixed at Grog Kill Studio, Woodstock. May 8-10, 1985 
Mastered at RCA Studios, New York, May 13, 1985 
Special thanks to Mike Mantler, Carla Bley and Kyoko Baker 
This music has been employed for the soundtrack of the video program titled "Tadayuki Naito/Zebra".

CONDITION Details: The LP JACKET is in near mint minus overall condition! The jacket has NO seam splits, NO cutout marks and NO writing on it. The corners and seams are solid with just some light shelf wear, virtually as new! The colors on the jacket are sharp and clean. There is a PROMO stamp on the back of the jacket - see our pictures with this listing as they are of the actual item offered.
The LP is in near mint minus overall condition. We found that the vinyl looked superb - there is one light spider mark on side one, which did not affect play. Spider marks may sound on some audio systems, depending on the sensitivity of your audio gear. When play tested, it performed very well for a vintage record, with no skips, with some light noise periodically, mostly during quieter passages of the music. The LP retains much of the original gloss and sheen. It does have a bit of dust and perhaps a finger print or two on the vinyl so it should be cleaned before playing for best results. There are NO serious spindle marks on the record labels - this is a fine collector's grade copy of this LP.
A Short Note About LP GRADING - Mint {M} = Only used for sealed items. Near Mint {NM} = Virtually flawless in every way. Near Mint Minus {NM-} = Item has some minor imperfections, some audible. Excellent {EXC} = Item obviously played and enjoyed with some noise. Very Good Plus {VG+} = Many more imperfections which are noticeable and obtrusive.

For best results, always properly clean your LPs before playing them.

The LP is an audiophile quality pressing (any collector of fine MFSL, half speeds, direct to discs, Japanese/UK pressings etc., can attest to the difference a quality pressing can make to an audio system).

Do not let this rarity slip by!