1 	Black Rhythm Happening 	2:55
2 	The Gleeker	2:10
3 	Song Of Will 	3:07
4 	Ghetto Love Night 	5:25
5 	Mexico Thing 	5:00
6 	Ghetto Summertime 	3:08
7 	It Must Be You 	5:39
8 	Look At Teyonda	9:28

Alto Saxophone – James Lyons
Bass – Henry Pearson, Judah Samuel
Drums – Elvin Jones
Drums [African] – John Robinson 
Guitar, Lead Vocals – Joann Gale Stevens
Lead Vocals, Chorus Master – Fulumi Prince
Lead Vocals, Other [Astrologer] – William Norwood
Soprano Saxophone, Flute – Roland Alexander
Tenor Saxophone, Flute – Russell Lyle
Vocals – Carol Ann Robinson, Charle Davis, Joann Gale Stevens,
 Paula Nadine Larkin, Sondra Walston, Sylvia Bibbs, William Norwood

Love it or hate it, trumpeter Eddie Gale's second Blue Note outing as a leader is one of the most adventurous recordings to come out of the 1960s. Black Rhythm Happening picks up where Ghetto Music left off, in that it takes the soul and free jazz elements of his debut and adds to them the sound of the church in all its guises -- from joyous call and response celebration on the title track (and album opener), to the mournful funeral sounds of "Song of Will," to the determined Afro-Latin-style chanting on "Mexico Thing" that brings the pre-Thomas Dorsey gospel to the revolutionary song style prevalent in Zapata's Mexico -- all thanks to the Eddie Gale Singers. Elsewhere, wild smatterings of hard and post-bop ("Ghetto Love Night") and angular modal music ("Ghetto Summertime," featuring Elvin Jones on drums and Joann Stevens-Gale on guitar), turn the jazz paradigm of the era inside out, simultaneously admitting everything in a coherent, wonderfully ambitious whole. There is no doubt that Archie Shepp listened to both Ghetto Music and Black Rhythm Happening before setting out to assemble his Attica Blues project. The album closes with "Look at Teyonda," a sprawling exercise in the deep melding of African and Latin folk musics with the folk-blues, flamenco, and jazz rhythms. Funky horns (courtesy of Gale, Russell Lyle, and Roland Alexander) moan toward Fulumi Prince's startlingly beautiful vocal. Stevens-Gale's guitar whispers the tune into the field before the saxophones and brass come to get it, and when they do, long open lines are offered slowly and deliberately, as Jones' shimmering ride cymbals triple-time the beat into something wholly Other. Black Rhythm Happening is a timeless, breathtaking recording, one that sounds as forward-thinking and militant in the 21st century as it did in 1969. ---Thom Jurek, AllMusic Review

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1."The Rain" - 6:30
2."Fulton Street" - 6:51
3. "A Understanding" - 7:41
4."A Walk With Thee" - 6:09
5."The Coming of Gwilu" - 13:37

Eddie Gale - trumpet, thumb piano, steel drum, bird whistle
Russell Lyle - tenor saxophone, flute
Jo Ann Gale Stevens - guitar, vocals
James "Tokio" Reid, Judah Samuel - bass
Richard Hackett, Thomas Holman - drums
Elaine Beener - lead vocals
Sylvia Bibbs, Barbara Dove, Evelyn Goodwin, Art Jenkins, Fulumi Prince, Edward Walrond,
 Sondra Walston, Mildred Weston, Norman Wright – vocals

The aesthetic and cultural merits of Eddie Gale's Ghetto Music cannot be overstated. That it is one of the most obscure recordings in Blue Note's catalog -- paid for out of label co-founder Francis Wolff's own pocket -- should tell us something. This is an apocryphal album, one that seamlessly blends the new jazz of the '60s -- Gale was a member of the Sun Ra Arkestra before and after these sides, and played on Cecil Taylor's Blue Note debut, Unit Structures -- with gospel, soul, and the blues. Gale's sextet included two bass players and two drummers -- in 1968 -- as well as a chorus of 11 voices, male and female. Sound like a mess? Far from it. This is some of the most spiritually engaged, forward-thinking, and finely wrought music of 1968. What's more is that, unlike lots of post-Coltrane free jazz, it's ultimately very listenable. Soloists come and go, but modes, melodies, and harmonies remain firmly intact. The beautiful strains of African folk music and Latin jazz sounds in "Fulton Street," for example, create a veritable chromatic rainbow. "A Walk with Thee" is a spiritual written to a march tempo with drummers playing counterpoint to one another and the front line creating elongated melodic lines via an Eastern harmonic sensibility. The final cut, "The Coming of Gwilu," moves from the tribal to the urban and everywhere in between using Jamaican thumb piano's, soaring vocals à la the Arkestra, polyrhythmic invention, and good, old-fashioned groove jazz, making something entirely new in the process. While Albert Ayler's New Grass was a failure for all its adventurousness, Eddie Gale's Ghetto Music, while a bit narrower in scope, succeeds because it concentrates on creating a space for the myriad voices of an emerging African-American cultural force to be heard in a single architecture. This is militant music posessed by soul and spirit. ---Thom Jurek, Rovi

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