Arguably the most important, visionary, and forward thinking of America's indigenous art-forms, free jazz is also among the most overlooked and neglected bodies of avant-garde effort. Born within African American communities during the late 1950s and early 60s, and evolving at an astounding rate which continues to this day, its sounds ultimately grew into a democratic creative language, spoken in nearly every corner of the globe. Victims of bad timing and the undeniable effects of racial inequity, some of this music's most remarkable high points - emerging in lofts and on artist run private presses during the 1970s and 80s, continue to remain unknown. In recent years, a slow trickle of reissues has finally begun to turn the tide, bringing seminal and historic albums to the wider audience they've always deserved. Before us is one such case - the drummer, composer, and poet, William Hooker's, astounding debut - one of the most important documents of "loft era" jazz - ...Is Eternal Life, originally issued in 1977 and brought back by the loving hands of Superior Viaduct. Revelatory from top to bottom, it might be as good as freely improvised music can get.

William Hooker has been a tireless force in free improvised music for over 40 years, first emerging within New York's loft jazz scene in the mid-'70s - a furious and technically charged improviser within a generation of artists fueled by the social, political and cultural frustration, forced underground as the counterculture drifted toward rock, soul, and funk. Forever resilient, creative, and adaptable, often taking control of circumstances through self-determinist initiatives, many turned their homes into venues and started their own labels, issuing some of the most uninhibited, liberated, and creatively ambitious music the world has ever seen.

Recorded between 1975-1976 and released privately on Hooker's own Reality Unit Concepts imprint, ... Is Eternal Life is an astounding piece of work - creatively ambitious and ahead of its time, comprised of 5 long works stretching across 4 full length sides, filled with tension and intricacy, balancing daunting intelligence, with raw fury, ranging from solo percussion works and ensemble compositions featuring the playing of David Murray, Mark Miller, David S. Ware, Hasaan Dawkins and Les Goodson.

Laid out and heavy, this is some of the best of what the heights of free jazz gave the world. Seminal and rarely heard since its original release, Superior Viaduct's reissue - faithfully duplicating the album's original artwork, is as important as reissues come - casting the light on some of America's most important music, and fighting the sins of neglect.