The smoky ambience of the sixty-year-old Septeto Nacional and friends recorded here is a milestone of Afro-Caribbean culture. Not being privvy to the inner workings of the producers' minds, let it be understood that this is nonetheless a really fine set. The discomfort comes from finding Laswell in the wake rather than in the vanguard of an idea one wonders whether commercial considerations weighed more heavily than artistic or archivist ones in the planning of this project. One can't quite overcome suspicions of "hopping on the bandwagon" when first encountering Havana Mood Hot on the heels of Ry Cooder's universally acclaimed Buena Vista Social Club project, Bill Laswell and Jean Touitou grab a flight down to Cuba and record their own group of grizzled, ancient legends. Expanded to a double album, Turn It Over would probably surpass Emergency! as a pioneering jazz-rock fusion release as it is, it's an exciting but mildly maddening session. This is particularly frustrating since pieces like the two-part "To Whom It May Concern" feature some outstanding solos (especially from McLaughlin and organist Larry Young, the group's secret weapon) that are frustratingly, tantalizingly short. The album's primary flaw is that unlike the expansive double album Emergency!, these ten songs are tightly constricted into pop-song forms - only a swinging cover of Antonio Carlos Jobim's "Once I Loved" breaks the five-minute mark, and then only barely - which reins in these marvelous soloists too much. It's more rock-oriented and darker-hued than their debut, 1969's Emergency!, and the temporary addition of ex-Cream member Jack Bruce on bass and vocals alongside stalwart guitarist John McLaughlin makes this something of a milestone of British progressive jazz.
In parts, it's like Jimi Hendrix's Band of Gypsys with much better chops. Review of the shorter LP version: "The better of the two albums the Tony Williams Lifetime recorded in 1970, Turn It Over, is a far more focused and powerful album than the loose, experimental Ego, and one of the more intense pieces of early jazz-rock fusion around. not to be missed by anyonw who even likes 1 of the mussicians and a must have for any laswell fan. all in all 1 of the best live albums ever lotz of different elementz of jazz dub and african mellodyz. before i had bought this i thought scence it was 92 it was older and kinda outdated and more like massacre but thatz not the case, you wouldnt tell when this was recorded the sound is so goo you wouldnt even be able to tell itz live. and anyonw who knowz of gingers work will not be dessapointed he still tarez it up and his song with aiyb is a drumerz dream hearing two of the best percussionist on earth together. my only complaint is that nicky's playing is verry light with just bitz of accentz but he is quite know for doing so on several occasionz, but he is still amazing as usual. this is the best foday album ive heard yet even better than possesion and his solo stuff. pharoah's is a bit longer at 23:00 min and has lion thomas on awesome vocalz and is one of the most psychodelic songz ive ever heard, this one is a bit scaled down dut the effort is flawless. The album toyz with elementz of jazz, rock and world fusion and features creator has a master plan originally by pharoah sanders from the album karma.
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