- Released: October 17, 1995
- Label: Smithsonian Folkways
Down Beat - 4/95, p.494 Stars
- Very Good - "...By 1974's ZONING, she was one of the most adventurous keyboardists around. Her phrasing was intrepid, and her trio music included forays into dissonance..."
JazzTimes - 3/95, p.93
"...documents Williams' increasing immersion in both experimental forms and spiritual matters....Moods range from down-home barrelhouse to unconventionally metered avant-gardisms."
Musician - 5/96, p.102
"...finds the pianist right in tune with her times, though in terms of harmony and taste, well ahead of the pack..."
- 1.Syl-o-gism - (previously unreleased)
- 3.Medi II
- 4.Gloria - (previously unreleased, alternate take)
- 6.Zoning Fungus II
- 7.Holy Ghost
- 8.Medi I
- 9.Rosa Mae
- 10.Ghost Of Love
- 11.Praise The Lord
- 13.Play It Momma
Personnel: Mary Lou Williams, Zita Carno (piano); Bob Cranshaw (bass); Mickey Roker (drums).
Reissue producer: Matt Walters.
Recorded at A&R Studios, New York, New York from January to March 1974. Originally released on Mary Records (M-103). Includes liner notes by Bob Blumenthal.
All songs written or co-written by Mary Lou Williams except "Olinga" (Dizzy Gillespie) and "Holy Ghost" (L. Gales).
Contains 13 tracks, including two previously unreleased tracks.
Personnel: Mary Lou Williams (piano); Leon Thomas, Sonny Henry (vocals).
Audio Remixer: Malcolm Addey.
Liner Note Author: Bob Blumenthal.
Recording information: A & R Studios, NY, NY (01/1974-03/1974); A&R Studios, New York, NY (01/1974-03/1974).
Introduction by: Bob Blumenthal.
Photographer: Tom Copi.
Unknown Contributor Role: More.
Mary Lou Williams emerged in the early '70s after a long period in which she worked in the Catholic church to resume her always stimulating career as a jazz pianist. On this CD reissue, one of her finest recordings of her later years has been brought back and augmented by two previously unissued performances. Williams performs in duos and trios with bassist Bob Cranshaw and drummer Mickey Roker, uses Zita Carno on second piano during a couple of the more avant-garde pieces, and also performs some trios with bassist Milton Suggs and Tony Waters on congas. Rather than sounding like a veteran of the 1920s, Mary Lou Williams sounds 40 years younger, shows the influence of McCoy Tyner, and hints at free jazz in spots. An often surprising set of modern jazz. ~ Scott Yanow