Larry Nozero - 1975 - Time

Larry Nozero

1975

Time

01. Reflections Of My Past 3:50

02. Tony 4:35

03. Chronicle Of The Murdered House Part I 3:53

04. Chronicle Of The Murdered House Part II 4:55

05. Tune For L.N. 5:34

06. Impressions Of My Lady 2:53

07. All The Things You Are 2:14

08. Two Worlds 5:52

09. Baubles, Bangles & Beads 4:24

Bass – Ron Brooks

Cello – Pat Appleman

Congas – George Pardo

Keyboards – Dennis Tini

Percussion – Muruga Sharma

Reeds – Larry Nozero

Violin – Halina Lia, Kathie Spratt, Lorraine Periman, Zaida George

In 1975, Detroit native Larry Nozero released Time, an album that would serve as the final chapter in the brief but impactful history of Strata Records, a pioneering independent jazz label rooted in the Motor City’s vibrant musical culture. A multi-instrumentalist renowned for his work on saxophone and flute, Nozero crafted an album that stands as a testament to his creative vision and the freewheeling spirit of 1970s jazz. Far from a conventional jazz record, Time weaves together elements of jazz-funk, soul, and experimental expressionism, creating a dreamlike tapestry of mood and emotion that remains a hidden gem among aficionados. This essay examines the album’s historical context, its musical innovations, and its enduring legacy as a classic of its era.

Strata Records emerged in Detroit during the late 1960s as a musician-led initiative to capture the city’s rich jazz heritage and provide an alternative to mainstream commercial labels. Founded by trumpeter Charles Moore and supported by figures like John Sinclair, the label sought to document the innovative sounds of Detroit’s jazz scene, which often blended traditional jazz with the influences of funk, soul, and the burgeoning Black Arts Movement. By 1975, however, Strata was nearing its end, grappling with financial instability and limited distribution. Time, as the label’s final release, became its swan song—a poignant farewell to a bold experiment in artistic autonomy.

Larry Nozero’s path to Time reflects both his deep ties to Detroit and his eclectic musical experiences. A seasoned performer, Nozero had played with Charles Moore’s Detroit Contemporary 5 before being drafted into the military, where he honed his skills in the Army Band. Upon returning to Detroit, he quickly established himself as a sought-after talent, collaborating with luminaries like Henry Mancini, Sergio Mendes, and even contributing soprano saxophone to Marvin Gaye’s seminal 1971 album What’s Going On. These experiences enriched Nozero’s musical palette, infusing Time with a versatility that sets it apart from many of its contemporaries. Working closely with his cousin Dennis Tini, a keyboardist and vocalist, Nozero approached the album as a passion project, channeling his influences into a work that defies easy categorization.

Time is a nine-track journey that showcases Nozero’s ability to blend diverse styles into a cohesive yet unpredictable whole. The album’s title, as Nozero noted in the original liner notes, emerged from a deep conceptual resonance: “It got so deep that we decided to call the group and our album after that concept of TIME, because it seemed to mean something to just about everyone.” This abstract notion of time permeates the record, with each track offering a distinct emotional landscape open to interpretation.

The album opens with “Reflections of My Past,” a contemplative piece driven by Nozero’s soulful saxophone, setting a reflective tone that contrasts with the brooding melancholy of “Tony,” a track that simmers with understated intensity. The two-part “Chronicle of the Murdered House” introduces a cinematic quality, with wordless scat vocals weaving through Nozero’s reed work, evoking a haunting, narrative-like atmosphere. Meanwhile, “Tune for L.N.,” composed by Dennis Tini, injects a funk-fueled energy, its rhythm-centric groove highlighting the album’s jazz-funk leanings. The record closes with “Baubles, Bangles & Beads,” a buoyant, high-pitched bebop rendition of the jazz standard that leaves listeners with a sense of carefree resolution.

What distinguishes Time is its seamless fusion of styles—funky, soulful, strange, and soothing all at once. Nozero’s mastery of tenor and soprano saxophones and flute, paired with Tini’s inventive use of electric piano, clavinet, and synthesizer, creates a rich sonic texture. The inclusion of strings and percussion further enhances the album’s depth, while the use of wordless vocals adds an avant-garde edge. This experimental spirit aligns Time with the broader trends of 1970s jazz, a period marked by boundary-pushing works from artists like Herbie Hancock and Weather Report, yet its intimate, Detroit-rooted sensibility gives it a unique character.

Upon its release, Time flew under the radar, hampered by Strata’s limited reach and the shifting musical landscape of the mid-1970s, as disco and rock began to dominate popular taste. Original pressings became rare collector’s items, coveted by crate-diggers and jazz enthusiasts for their scarcity and quality. It wasn’t until decades later that the album found a wider audience, thanks to reissues by labels like 180 Proof Records and BBE Music. Remastered from the original reel-to-reel tapes, these releases—often pressed on 180-gram vinyl with restored artwork and extensive liner notes—breathed new life into Nozero’s vision, introducing it to a global audience.

Critics and fans alike have since hailed Time as a classic of 1970s jazz, praising its emotional range and innovative spirit. Its rediscovery aligns with a broader revival of interest in Strata Records, which has come to be seen as a vital chapter in the story of Black American music. For Nozero, who passed away in 2005, the album stands as a crowning achievement—a work that encapsulates his artistry and the creative ferment of Detroit’s jazz scene. 

Larry Nozero’s Time is more than just the final release of Strata Records; it is a bold statement of individuality and a snapshot of a transformative moment in jazz history. With its eclectic blend of styles, evocative compositions, and collaborative energy, the album captures the essence of 1975 Detroit—a city pulsing with musical innovation amid economic and cultural upheaval. Today, Time resonates as a rediscovered treasure, its dreamlike quality inviting new generations to experience the depth and beauty of Nozero’s artistry. As its title suggests, the album exists beyond the constraints of its moment, proving that great music, like time itself, endures.