Buddy Terry - 1971 - Awareness

Buddy Terry

1971

Awareness

01. Awareness (Suite) (10:49)

        a. Omnipotence

        b. Babylon

        c. Unity

        d. Humility (Trio For Two Bassists And Tenor)

02. Kamili 8:00

03. Stealin' Gold 7:04

04. Sodom And Gomorrah 12:06

05. Abscretions 4:49

Congas – Mtume

Double Bass, Electric Bass – Buster Williams

Double Bass, Electric Bass, Percussion – Victor Gaskin

Drums – Mickey Roker

Electric Guitar – Roland Prince

Engineer – Carmine Rubino

Photography By – Raymond Ross

Piano, Electric Piano – Stanley Cowell

Tenor Saxophone, Soprano Saxophone, Flute, Percussion – Buddy Terry

Trumpet, Percussion – Cecil Bridgewater

Buddy Terry: The Soulful Newark Sax Sage Who Blew Spiritual Fire (With a Groove)

Edlin "Buddy" Terry (January 30, 1941 – November 29, 2019) was one of those jazz cats who never quite got the superstar spotlight but left a smoky trail of killer recordings and hometown legend status. A lifelong Newark, New Jersey native, Buddy was the epitome of the versatile, hard-blowing tenor (and soprano) saxophonist who could swing soul-jazz grooves one minute and dive into cosmic spiritual quests the next. Think of him as the underrated bridge between gritty organ combos and the elevated vibes of early '70s post-Coltrane jazz – all while keeping one foot firmly in the churchy funk.

Early Days: From Clarinet Kid to Newark Nightlife Prodigy

Born and raised in Newark (aka Brick City), Buddy started young – picking up the clarinet at age 12 in Charlton Street School. By 1955, he switched to tenor sax and was already a teen phenom, sitting in at local clubs like the Howard Bar, Sugar Hill, and Sparky J's. Newark in the '50s and '60s was a jazz hotbed, and Buddy's high school crew at South Side High (later Malcolm X Shabazz) read like a who's-who: organ wizard Larry Young, trumpet firebrand Woody Shaw, and drummer Eddie Gladden. Humor note: Imagine teenage jam sessions with that lineup – homework probably took a backseat to blowing changes!

As a pro, Buddy gigged with big bands around town and became a go-to sideman, playing with heavyweights like Art Blakey and others in the hard bop/soul jazz scene. He was known for his adaptable, gutsy tone – robust on tenor, ethereal on soprano and flute.

The Recording Peak: Prestige to Mainstream Magic (1967–1973)

Buddy's leader discography is compact but potent – two soul-jazz gems on Prestige, then a trilogy of increasingly adventurous albums on Bob Shad's Mainstream label:

Electric Soul! (1967, Prestige): Debut with organ grooves and boogaloo flair.

Natural Soul (1968, Prestige): Featuring his old high school pals Young, Shaw, and Gladden – pure funky joy.

Awareness (1971, Mainstream): Spiritual jazz breakthrough with doubled lineups (e.g., two basses, two drummers) and epic suites.

Pure Dynamite (1972, Mainstream): All-star fusion-leaning blowout with Mwandishi/RTF crew like Woody Shaw, Eddie Henderson, Stanley Clarke, and Airto.

Lean On Him (1973, Mainstream): Gospel-jazz fusion with choir and Bernard Purdie's unbeatable shuffle.

These Mainstream LPs, especially the '71–'73 run, are cult favorites today – reissued and sampled for their deep grooves and cosmic vibes. Buddy assembled monster bands, often doubling instruments for that thick, hypnotic sound. He wasn't afraid to experiment: quoting Wayne Shorter, nodding to African rhythms via Mtume, or turning hymns into funky revivals.

As a sideman, he popped up on sessions with Billy Hawks, Grant Green, and more – always adding that Newark grit.

Later Years: Newark Elder and Swing Revival

After the '70s spotlight faded (jazz economics, amirite?), Buddy stayed active locally. From 2000–2010, he played with Swingadelic, a fun retro-swing band keeping the flames alive. He was honored as one of the "Newark Jazz Elders" – a group of veteran Brick City players preserving the city's rich history (think clubs like the Key Club and Cadillac Lounge).

Buddy passed away at 78 in Maplewood, NJ, leaving behind a legacy as a generous leader, versatile blower, and true hometown hero. WBGO called him "soulful and versatile," and crate-diggers agree: his albums are buried treasures that reward repeated spins.

In a jazz world full of flash, Buddy Terry was the steady flame – blowing with heart, groove, and a touch of the divine. If you're digging spiritual jazz or soul-funk horns, start with Awareness or Pure Dynamite. You'll be "aware" of why Newark still claims him proudly. Rest in power, Buddy – your sax echoes on.

Buddy Terry's Mainstream Trilogy: Unsung Pillars of Early '70s Spiritual Jazz

(With Groove to Spare)

Buddy Terry's three albums for Bob Shad's Mainstream Records—Awareness (1971), Pure Dynamite (1972), and Lean On Him (1973)—represent a compact but explosive peak in his career. Coming off soul-jazz Prestige dates, these LPs mark Terry's bold leap into the spiritual jazz revolution: blending Coltrane's modal quests, Miles' electric edge, African rhythms, and funky soul without ever losing that Newark grit. In an era when labels like Strata-East and Black Jazz were redefining "conscious" jazz, Terry's Mainstream run stands out for its accessibility—deep without being dour, groovy without going commercial. They're cult classics today, beloved by crate-diggers for their hypnotic builds, all-star lineups, and that rare balance of heady spirituality and dancefloor pulse.

The Importance: Capturing a Pivotal Moment in Jazz Evolution

These albums arrived at the perfect storm of post-bop innovation:

Awareness: Often hailed as the strongest, it's pure spiritual jazz—modal suites, Eastern scales, double basses for polyrhythmic depth, and tracks like the epic "Awareness (Suite)" or funky "Abscretions." With Stanley Cowell (Strata-East founder) contributing tunes and Mtume on congas, it echoes Pharoah Sanders' elevation but with more funk. Reviews call it "undiluted spiritual jazz both deep and funky," a bridge from soul-jazz to the Woodstock-generation cool.

Pure Dynamite: The fusion-leaning outlier, featuring a supergroup (Woody Shaw, Eddie Henderson, Stanley Clarke—whose "Quiet Afternoon" debuted here—Joanne Brackeen, Airto, Billy Hart). Extended jams like "Baba Hengates" nod to Herbie Hancock's Mwandishi era, blending post-bop with psychedelic edges. It's subtler than the title suggests but ranks with the best early '70s fusion-post-bop hybrids.

Lean On Him: The gospel pivot—hymns and spirituals jazzed up with choir (including young Dee Dee Bridgewater) and Bernard Purdie's unbeatable drums. Tracks like "Inner Peace" groove hard, fusing church revival with jazz-funk. It's the most "pop" accessible but authentically soulful, anticipating later gospel-jazz crossovers.

Together, they showcase Terry's versatility: from introspective quests to cosmic jams to sanctified joy. Mainstream under Shad gave young players freedom (think Harold Land or Charles Williams parallels), and Terry's trilogy exemplifies this—organic, ensemble-driven, and forward-thinking without pretension. Historic footnote: Clarke credits Terry for first recording his composition, a milestone in the bassist's path to Return to Forever fame.

The Legacy: From Obscurity to Cult Revival

Initially overlooked (Terry never broke big commercially), these albums became "buried treasures" for soul-jazz/spiritual enthusiasts—sought for rare grooves, Purdie breaks, and that elusive '70s vibe. They influenced the spiritual jazz revival: featured in compilations like A Loud Minority: Deep Spiritual Jazz From Mainstream (2010) and Mainstream Funk (2021), highlighting Shad's underrated catalog.

Today, they're essential for fans of Strata-East/Black Jazz eras—rated highly on sites like Rate Your Music (Awareness often tops Terry's discog), praised on Dusty Groove and All About Jazz as "righteous" and "slept-on." Terry's Newark elder status (honored pre-2019 passing) ties them to Brick City's jazz heritage. In short, these three aren't just albums—they're time capsules of jazz waking up to funk, spirit, and freedom. Underrated then, indispensable now. If you're chasing that cosmic groove, start here—you'll emerge more "aware" (and nodding harder).

Buddy Terry's Awareness (1971): Waking Up to Spiritual Jazz with a Funky Groove

1971: The world was dealing with Vietnam winding down, Nixon in the White House, and jazz flipping the script from hard bop to something more... enlightened. Enter Buddy Terry, the soulful Newark tenor/soprano/flute maestro, making his bold leader debut on Mainstream Records with Awareness. After a couple of solid but straight-ahead soul-jazz outings on Prestige (Electric Soul '67, Natural Soul '68), Terry levels up here – diving headfirst into the spiritual jazz wave with Coltrane's Eastern vibes, Miles' electric experiments, and a dash of Sly Stone funk. It's like he attended a yoga retreat with Pharoah Sanders and came back ready to preach through his horn.

This was the first of Terry's three killer Mainstream albums (followed by Pure Dynamite and Lean On Him), produced by the ever-adventurous Bob Shad. Awareness is pure early '70s gold: deep, groovy, hypnotic, and funky without selling out. Think Strata-East meets Black Jazz, but with Mainstream's polish.

The band? A dream team that's basically a spiritual jazz all-stars roster:

Buddy Terry: Tenor/soprano sax, flute, percussion – switching horns like he's channeling multiple spirits.

Cecil Bridgewater: Trumpet, percussion – fiery and lyrical.

Stanley Cowell: Piano/Fender Rhodes – the Strata-East co-founder bringing modal magic and two compositions.

Roland Prince: Electric guitar – subtle wah-wah spice.

Buster Williams & Victor Gaskin: Acoustic/electric basses (yes, double bass action!) – thick, polyrhythmic bottom end.

Mickey Roker: Drums – swinging yet free.

Mtume: Congas – that essential African pulse (pre his own funky adventures).

Double basses? That's like having two anchors for your soul boat – keeps it grounded while floating to the cosmos.

Track-by-Track Breakdown 

Awareness (Suite): Omnipotence / Babylon / Unity / Humility (~12:48)

The epic opener – a four-part meditation that sets the tone. Starts expansive with Cowell's piano soaring, builds to intense horn dialogues, dips into moody "Babylon," unites in rhythmic ecstasy, and ends humbly. Terry flips between tenor force and soprano serenity. It's Black Jazz vibes all over – deep without dragging. Humor alert: If this doesn't raise your awareness, check your pulse.

Kamili (~8:00)

Hypnotic mid-tempo groover with exotic scales (some say Arabian/Ethiopian nods, à la Mulatu Astatke). Flute floats over congas and electric piano shimmer. Pure trance – reviewers call it "hypnotic" for a reason. Perfect for zoning out... or in. Like a musical massage for your third eye.

Stealin' Gold (Stanley Cowell, ~7:04)

Funkier side emerges! Driving rhythm, Cowell's Rhodes popping, horns trading fiery lines. That double bass interplay steals the show (pun intended). Uptempo joy – you'll be head-nodding like it's 1971 disco, but classier.

Sodom and Gomorrah (~12:20)

The wild one – extended jam with biblical fire (and brimstone solos). Intense builds, free-ish blowing over relentless percussion. Terry wails on tenor, Bridgewater blasts trumpet judgment. It's the album's righteous fury peak – apocalyptic yet danceable. If cities of sin had a soundtrack, this would be it.

Abscretions (Stanley Cowell, ~4:49)

Closer and crowd-pleaser: Short, punchy, ultra-funky Cowell original. Electric piano leads the charge, groove locks in tight. Ends on a high – like a signature tune saying "wake up and boogie." Bonus single edits of "Babylon" and this on reissues for the radio dreamers.

Overall Verdict: A Spiritual Awakening That's Funky Fresh

Awareness nails the balance: soul-jazz roots with forward-thinking spiritual depth. It's restless (Terry hopping instruments), righteous (those themes), and rewarding – organic group interplay over forced fusion. Strengths: Killer rhythm section (double bass + Mtume = unstoppable), Cowell's contributions, and Terry's versatile, emotive leads. Weaknesses: Maybe a tad long in spots if you're not in the mood for enlightenment.

AllMusic gave it 4 stars; modern reviews hail it as an "undisputed buried treasure." If you dig Strata-East, early Black Jazz, or Harold Land's contemporaneous gems, this is essential. Buddy Terry proves he could lead a vision quest without getting lost.

Rating: 8.7/10 – Highly aware-approved. Spin it, and you might just achieve awareness... or at least a killer groove. Namaste and nod along.