THIS POWERFUL 1972 PERFORMANCE BY ARNI CHEATHAM’S GROUP PROVIDES A UNIQUE GLIMPSE OF THE JAZZ SCENE IN BOSTON. THE GROUP BORROWED THE MOST INNOVATIVE CHARACTERISTICS OF JAZZ AND ROCK, BUT NEVER SOUNDED DERIVATIVE. THIS IS EARLY SEVENTIES “JAZZ FUSION” OF THE HIGHEST ORDER, BEFORE THE TERM EVOLVED TO MEAN A LIGHT, COMMERCIALLY ACCEPTABLE GENRE. AS WITH MANY INNOVATIVE JAZZ FORMS, THE RECORDING WAS MADE AT ONE OF THE MANY LOCAL UNIVERSITIES, HARVARD. THE RESULTING ALBUM WAS PRESSED IN SCANT NUMBERS AND REMAINS OBSCURE EVEN TO BEANTOWN JAZZ BUFFS.

PERCUSSIONIST DORIAN MCGHEE REMEMBERS THE GROUP GREW FROM INFORMAL LIVE PERFORMANCES. IN AN INTERVIEW FROM AFTER HE RETURNED TO DENMARK, VAGN LEICK RECALLS THE SOURCE OF THE GROUP’S NAME. "WE DID A COUPLE OF THOSE JAM SESSIONS FOR A FEW SATURDAYS IN A ROW, AND SLOWLY THE GROUP WAS FORMED… IT GOT THE NAME THING, BECAUSE WHOEVER WAS RECORDING THE TAPES WROTE "ARNIE'S THING" ON THEM.”

THIS RARE ALBUM CONSISTS OF SPRAWLING, SPACEY JAZZ TEMPERED WITH BRISTLY FUNK. FEW POINTS OF COMPARISON FOR THE GROUP EXIST IN THE BOSTON JAZZ WORLD, THEN OR NOW, BUT SEVERAL INFLUENCES PREDOMINATE. THE ALBUM PRIMARILY STANDS IN THE SHADOW OF ELECTRIC JAZZ PIONEERS MILES DAVIS AND WEATHER REPORT. VAGN LEICK’S DARK CHORDS ARE STRAIGHT OUT OF “LIVE EVIL” OR “AGHARTA.” DRUMMER KIAH NOWLIN KEEPS THE BEAT STEADY, CULMINATING IN A DRUM BREAK ON “ROAD THROUGH THE WALL PT. 3” THAT IS REMINISCENT OF “125TH STREET CONGRESS” BY WEATHER REPORT. THE MOST AGGRESSIVE MOMENTS ON THE ALBUM ARE ON THE LAST HALF OF “ROAD THROUGH THE WALL,” WHERE LEICK’S KEYS AND SALTMAN’S BASS ARE OVERDRIVEN THROUGH AMPLIFIERS, RESULTING IN A GLORIOUS WALL OF NOISE.

THE GROUP MADE BUSINESS CARDS TO DRUM UP BUSINESS, WHICH READ "A NEW DIRECTION.” ALTHOUGH CHEATHAM WAS LISTED AS BANDLEADER, HE SAYS NOW THAT HE FOLLOWED AS MUCH AS LED. "THE MUSIC IS ABSOLUTELY NOT ABOUT ME," HE SAYS TO EXPLAIN HOW HE GUIDED THE GROUP. "I ALLOW FOR MAXIMUM FLEXIBILITY FOR THE INDIVIDUALS. I'LL EXPLAIN THE CONCEPT AND, IF THERE IS ONE, THE STORY BEHIND A PIECE OF MY MUSIC BEFORE WE PLAY A SINGLE NOTE. I FEEL THAT IF THE PLAYERS KNOW THE EMOTION BEHIND OR THE STATEMENT THAT A PIECE OF MUSIC IS BUILT UPON, THEY WILL ABSOLUTELY BE BETTER ABLE TO GET 'INSIDE' THE PIECE AND MOVE AROUND AMONG THE MOLECULES OF THE MUSIC."

VAGN LEICK AGREES THAT CHEATHAM'S IMPROVISATIONAL METHODS OPENED UP NEW SPACES FOR THE GROUP. "ARNIE JUST TOLD US TO PLAY," HE SAYS SIMPLY. "WE CAME TOGETHER WITH THE ATTITUDE THAT NO NOTE WAS WRONG IF IT FELT RIGHT WITHIN THE CONTEXT. IT GIVES YOU AN ENORMOUS FREEDOM IN YOUR MUSICAL EXPRESSION WHEN YOU HAVE THAT LEVEL OF ACCEPTANCE AND THE LIMITS OF WHAT YOU ARE ALLOWED TO PLAY ARE VERY WIDE."