Freddie Hubbard (trumpet, flugelhorn), Hubert Laws (flute), George Benson (guitar), Herbie Hancock (Fender Rhodes), Richard Wyands (piano), Ron Carter (bass), Jack DeJohnette (drums), Airto Moreira (percussion) and Don Sebesky (string arrangements). From the album First Light (1971).
In classical music, fantasy is a musical composition that originates in improvisation rather than in the rigid structure of the themes. Thus, it allows the composer a greater musical creativity by reducing the inherent limitations in other stricter traditional forms, like sonata or fugue. Examples of this are Beethoven’s Sonata Op. 27 Quasi una Fantasia or Johann Sebastian Bach’s Chromatic Fantasia and Fugue. But in general, fantasy is the human capacity to reproduce through mental images events or situations that do not belong to reality.
These can be possible or impossible and can be expressed in the form of sculptures, films, paintings, novels, songs or any other art. In literature and cinema we have the fantastic genre, which adds imaginary and supernatural elements to its plot. There is also science fiction, which is a combination of fantasy and scientific discoveries. If we use fantasy in an exaggerated manner it can act as a defense mechanism to avoid emotions or thoughts that produce disappointment, frustration, fear or stress. Taken to the extreme, it can become narcissism.
To do the introduction, first enters Carter and then DeJohnette. The rest of the group and Hubbard then join in to expose the theme at medium tempo. The melody is appealing and pleasent. At a certain point the orchestral ensemble appears offering a charming atmosphere, although there is a concise passage of more tension. At once Hubbard delivers an inventive and well articulated discourse, and then the ensemble plays an arrangement to give way to Laws, who makes an airy and delicate solo, but sometimes including faster phrases and tricks with the flute. To finish, Hubbard re-exposes the theme, but warms up the rendition at the end.
© CTI Records
