One of the rarest and greatest Roy Ayers albums of all time – the sly, funky and spiritual masterpiece He’s Coming – really the beginning of the funk years from Roy Ayers Ubiquity! This one’s a totally solid mix of soulful jazz, jazzy soul and righteous funk – and it’s straight up wonderful all the way through – with a groove that’s hugely influential to say the least! Includes the amazing track “We Live In Brooklyn Baby“, which has a slow sample bassline in the intro that’s just incredible – plus groovy cuts like the spiritual funk classic “He’s a Superstar“, “He’s Coming“, and “Sweet Tears“. The lineup includes Sonny Fortune on soprano sax and flute and Billy Cobham drums and percussion, and the record’s co-arranged by Harry Whitaker, who’s also on keys and vocals – with other tracks include “He Ain’t Heavy, He’s My Brother”, “Ain’t Got Time”, “I Don’t Know How To Love Him”, “Sweet Butterfly Of Love” and “Fire Weaver”. Amazing stuff, really a beautiful encapsulation of Roy Ayers in peak form! (Dusty Groove).~.

It takes about 20 seconds for you to realise that this is one heavy record. The opening keys and vocals on the reverential opener “He’s a Superstar” just kill it and the music doesn’t let up too much on the rest of the LP. So many great moments from Roy and Harry Whitaker here. I mean “We Live In Brooklyn Baby” is as good as it gets and “Sweet Tears” is one of those Roy Ayers jams designed to get you moving. Hum Paanch Serial All Episodes Free Download. In the 70’s this pairing had a formula down and worked it to the maximum without ever sounding tired or, amazingly for that matter, repetetive. One of the great songwriting partnerships in music.

There are so many great Ubiquity LP’s from this period and you cannot go wrong with any of the classics as they all contain a killer track or two. I would say that this and the less heralded Virgo Red are the pick though. He’s Coming captures Roy Ayers at the absolute top of his game, masterminding jazz-funk grooves as taut as a tightrope. Profoundly inspired by the Broadway musical Jesus Christ Superstar (and including a reading of the soundtrack’s “I Don’t Know How to Love Him”), the album is a deeply felt exploration of Ayers’ spiritual and social beliefs, celebrating the life and rebirth of Jesus with “He’s a Superstar” and its follow-up title cut before delivering the equally impassioned political manifesto “Ain’t Got Time to Be Tired,” a wake-up call for slumbering revolutionaries.