Buddy Terry - 1972 - Pure Dynamite

Buddy Terry

1972

Pure Dynamite

01. Quiet Afternoon 10:09

02. Paranoia 10:45

03. Baba Hengates 17:07

Bass – Mchezaji

Bass – Stan Clarke

Drums – Billy Hart

Drums – Lenny White

Electric Piano, Piano – Joanne Brackeen

Flugelhorn, Trumpet – Eddie Henderson

Flute, Soprano Saxophone, Tenor Saxophone – Buddy Terry

Percussion – Airto Moreira

Percussion [African] – Mtume

Piano – Kenny Barron

Trumpet – Woody Shaw

Buddy Terry's Pure Dynamite (1972): An Explosive All-Star Jam That's Subtly Nuclear (With a Cosmic Groove)

Ah, 1972 – Nixon's in office, bell-bottoms are mandatory, and jazz is exploding into fusion territory like a supernova on steroids. Enter Newark's own Buddy Terry, the underrated tenor/soprano sax and flute wizard, dropping Pure Dynamite on Mainstream Records. This isn't your grandpa's hard bop; it's post-bop flirting heavily with early fusion, a dash of avant-garde psychedelia, and enough spiritual jazz vibes to make you feel like you're levitating. Think Herbie Hancock's Mwandishi crew meets Freddie Hubbard's groove, but with Buddy as the chill host who lets everyone stretch out without stealing the spotlight.

The title? Bold as brass – "Pure Dynamite" promises fireworks, and it mostly delivers, though it's more like a slow-burning fuse that builds to ecstatic blasts rather than instant BOOM. Terry, coming off his soul-jazzier Awareness (1971), dives deeper into electric keys and extended jams here. It's an overlooked gem, reissued digitally (check Bandcamp or streaming), and perfect for crate-diggers hunting that early '70s cosmic jazz fix.

But the real dynamite? The lineup. Buddy assembled a supergroup that reads like a jazz fantasy draft:

Buddy Terry: Tenor/soprano sax, flute – the leader, blowing with brawny agility.

Woody Shaw & Eddie Henderson: Trumpets/flugelhorn – fire and cosmic flair.

Kenny Barron: Piano – elegant as always.

Joanne Brackeen: Electric piano/piano – exquisite, adding that fusion shimmer.

Stanley Clarke & Mchezaji (Buster Williams?): Bass – young Clarke bringing the thunder (this features one of his early compositions!).

Billy Hart & Lenny White: Drums – double trouble groove machines.

Airto Moreira & Mtume: Percussion – Brazilian spice and African rhythms for that extra polyrhythmic kick.

It's basically the extended Mwandishi family plus Return to Forever/Weather Report all-stars. With this crew, failure wasn't an option – it's like inviting Superman, Batman, and Wonder Woman to a pickup game and expecting anything less than epic.

Track-by-Track Breakdown

Quiet Afternoon (Stanley Clarke, 10:09)

Opens serene and reflective, like a lazy Sunday vibe... until the groove kicks in. Clarke's bass anchors it, Airto's percussion dances, and solos from Terry, Henderson, Brackeen, and White build beautifully. It's the "quiet" before the storm – deceptive title, because by the end, it's dynamically charging. Fun fact: Clarke claims this was his first recorded composition. Baby Stanley already slappin'!

Paranoia (Buddy Terry, 10:46)

Moody and swirling, with psychedelic edges – think Wayne Shorter nods (Terry quotes him slyly). Solos fly: Hart's drums rumble, Brackeen's electric piano gets trippy, Shaw blazes on trumpet, Terry wails. It's tense and freeing, like channeling '70s anxieties into cathartic blows. If this track had lyrics, it'd be muttering about wiretaps and black helicopters.

Baba Hengates (Mtume, 17:29)

The epic centerpiece! A 17-minute monster jam with African percussion pulses, Woody Shaw and Clarke stretching wildly, Barron's piano anchoring the chaos. It builds organically – spiritual, rhythmic, almost trance-like. This is where the "pure dynamite" explodes: ensemble freedom meets tight groove. You'll lose track of time... or find enlightenment. Mtume's tune feels like a ritual – pass the talking drum!

"Baba Hengates": The 17-Minute Epic Heart of Pure Dynamite

Ah, "Baba Hengates" – the sprawling, side-long beast that takes up the entire B-side of Buddy Terry's 1972 masterpiece Pure Dynamite. Clocking in at a generous 17:29 (or 17:07 on some pressings – vinyl quirks, amirite?), this track is where the album truly ignites. If the first three tunes are the fuse, this is the full fireworks show: a hypnotic, polyrhythmic ritual that blends spiritual jazz, early fusion, and African percussion into something trance-inducing. Composed by James Mtume (credited for "African percussion" here), it's the longest jam on the record and arguably the most immersive – like a jazz safari that keeps revealing new paths.

First, the name: "Baba Hengates." "Baba" means "father" or "wise elder" in Swahili (and many other languages), often a term of respect. "Hengates"? That's trickier – no clear origin pops up in liner notes or interviews, but given Mtume's deep dive into African rhythms and spirituality (he'd later lead his own Umoja Ensemble with tracks echoing this vibe), it feels like a phonetic nod to an African phrase, a made-up incantation, or perhaps a playful twist on "hang gates" (as in, open the gates to higher consciousness?). Mtume revisited similar territory with his ensemble, recording extended pieces like this one – think of it as a proto-version of his more explicit Afro-centric explorations. Whatever it means, it evokes ancestral wisdom, and the music delivers on that promise.

The Structure: A Slow-Burn Ritual in Three (Loose) Acts

"Baba Hengates" doesn't rush – it's organic, building like a communal ceremony:

The Invocation (Opening Groove, ~0:00–5:00)

It kicks off with Mtume and Airto Moreira layering African percussion and congas over a pulsing bass line from Stanley Clarke (and/or Buster Williams/Mchezaji). Drums from Billy Hart and Lenny White lock in subtly. No horns yet – just rhythm section hypnosis. It's understated but addictive, like the album's saying, "Sit down, we're going on a journey." The polyrhythms overlap in that classic early '70s way: not overly busy, but enough to make your head nod involuntarily.

The Ascension (Solo Build-Up, ~5:00–12:00)

Here comes the fire. Woody Shaw's trumpet erupts first – angular, fiery lines that scream post-bop innovation. Then Buddy Terry on tenor or soprano sax, stretching out with brawny, exploratory wails. Eddie Henderson adds flugelhorn warmth/cosmic flair. Joanne Brackeen's electric piano shimmers psychedelically, while Kenny Barron anchors on acoustic. Solos trade and overlap, building intensity without ever losing the groove. Stanley Clarke gets room to thunder (young RTF-era Clarke slapping early!). It's ensemble freedom meets tight rhythm – pure Mwandishi-sphere magic, but with more earthiness.

The Ecstatic Peak and Release (~12:00–End)

Everything converges: percussion intensifies, horns harmonize in swirling motifs, and it hits trance-like heights. No abrupt end – it fades organically, leaving you blissed out. Humor note: At 17 minutes, this track demands commitment. Put it on during dinner, and you'll either achieve enlightenment or forget the food's burning.

Why It Slaps So Hard

The Personnel Synergy: This supergroup (Herbie's Mwandishi extended family + RTF/Weather Report vibes) clicks perfectly. Mtume's African percussion adds authentic ritual flavor without gimmickry.

The Vibe: Spiritual without preaching, psychedelic without cheesiness. It's in that sweet spot between Herbie Hancock's Crossings, Citizens' Dance of Magic, and Pharoah Sanders' elevation – reflective yet groovy.

Standout Moments: Shaw's trumpet fury, Clarke's bass propulsion, and those endless percussion layers. Terry leads without dominating – generous, like a wise "baba" himself.

Critics (sparse as they are for this gem) call it a highlight alongside "Paranoia," praising the organic builds and freedom. It's not the flashiest track on the album (that might be "Quiet Afternoon"), but it's the deepest – the one you return to for that immersive hit.

In short: "Baba Hengates" is where Pure Dynamite transcends from great session to spiritual journey. Light some incense, crank the volume, and let the gates hang open. You'll emerge 17 minutes later wondering where the time went... or if you've just attended a secret Newark jazz ritual. Highly recommended for headphone meditations or late-night spins.

Overall Verdict: Subtle Explosion in a Velvet Glove

Pure Dynamite lives up to its name with rhythmic complexity that's intricate but never overwhelming – reflective yet down-to-earth, post-bop with fusion edges and avant-garde whispers. It's not as outright funky as some peers, but the organic builds, killer solos, and all-star synergy make it a standout in the early '70s spiritual/fusion wave. Strengths: That insane personnel (seriously, how did Buddy pull this off?), extended jams that breathe, and a vibe that's cosmic without being pretentious. Weaknesses: Only four tracks – we could've used more blasts!

If you love Mwandishi-era Herbie, early Eddie Henderson, or underrated gems like this, hunt it down. It's slept-on for a reason (obscurity), but criminally so. Buddy Terry deserved more spotlight – this album proves he could lead a supernova session.

Rating: 8.5/10 – Pure dynamite indeed, just handle with groove. Light the fuse and let it blow your mind (gently).