January
Recorded on at Rudy Van Gelder's studios in New Jersey on September 18, 1965 then released by Blue Note on January 27, 1967. It is difficult for me to try to imagine an improvement on this lineup for 1960s Hard Bop Jazz.
Line-up / Musicians:
- Lee Morgan / trumpet
- Jackie McLean / alto sax
- Hank Mobley / tenor sax
- Herbie Hancock / piano
- Larry Ridley / bass
- Billy Higgins / drums
A1. "Cornbread" (9:00) a song that is so similar to Herbie Hancock's two earlier signature songs, "Watermelon Man" and "Canteloupe Island," that I felt compelled to check and see if Lee's pianist had a hand in composing this one. He didn't. But Herbie's spirited piano play is definitely the most moving part of this song, start to finish. The spirited horn ensemble play gives the song a feeling and melody that is quite reminiscent of that of the main theme of Billy Page's "The In Crowd." (19/20)
A2. "Our Man Higgins" (8:50) Billy, that is. The horn section's unity is definitely a set up for drummer Billy Higgins to show of his snare and cymbal skills. Billy was a drummer who favored his sizzle cymbal and snare while matching his tuned bass drum to the G-note of the bass without ever being ostentatious with it. Plus he preferred to play for one mic suspended above his kit--so as to best capture the feel of the room being played in. While appreciate having the spotlight on a solid drummer, it's almost a detraction from my attention paying to the three all-star wind players. (17.5/20)
B1. "Ceora" (6:20) a really gorgeous early-evening Latin dance groove that Herbie really takes to (though his piano is, sadly, recorded with a little mute effect to it) while Billy and Larry keep us grounded and swinging Lee, Hank, and Jackie take turns wooing us gently so we can focus on the romantic connections at hand (i.e. the obligatory dance partner). This is one of those songs that could help a couple connect, fall deeply in love, and carry them well into the bedroom. My favorite song on a truly great album. (10/10)
B2. "Ill Wind" (7:55) a cover of the jazz standard by Arlen and Koehler, it is very easy while listening to this song to understand why it has established itself as a jazz standard as everything about it feels classy and totally elevating of the musical contributions that Jazz has made to music overall. Again, having such an amazing lineup of true "all-stars" cannot help but render this a classic version of this song. Flawless?! How would on improve it? (14.75/15)
B3. "Most Like Lee" (6:45) the whole band jumps straight into it from the very first note, hard-bop that Miles or any of the torchbearers would be envious of. (Wait a minute! These were all torchbearers!) A few little mistakes and slightly "squeezed" or "vertical" soundscape orientation are enough for me to downgrade this great song below the standards set by the album's other four songs. (13.5/15)
Total Time: 39:09
Total Time: 39:09
I'd heard of the majestic talent of all of these musicians except bassist Larry Ridley, and I have to say that impressive as all of the masters are on this album, Larry's bass playing stands out just as well as any one else's performances. The man is rock solid and so melodically gifted. Add to that Herbie at his most engaged and spirited and Lee, Hank, and Jackie at their smoothest, most melodic, and you have in your hands an album of the absolute highest quality and enjoyability.
93.4375 on the Fishscales = A/five stars; a certifiable masterpiece of Hard Bop Jazz--one of the best Jazz albums I've heard from the 1960s!
Impulse! Records releases SONNY ROLLINS East Broadway Run Down. Recorded on May 9 of the previous year, the highly-acclaimed album of features Sonny performing in a trio format with John Coltrane's rhythm section of Jimmy Garrison and Elvin Jones along with trumpeter Freddie Hubbard on one track (the title song). The prodigiously-talented saxophonist had such high standards for himself that, from 1959 on, he took frequent breaks from touring and recording to both avoid industry-induced burnout and to work on improving his skills so as to better achieve his exceedingly high standards for himself. This album represents a very adventurous foray into the experimental realms of "free jazz," made possible only thanks to the extraordinary boundary-pushing talents of his veteran rhythm section--both of whom really pushed Sonny to extremes that he aspired to but never felt sure he could achieve.
February
February 16 - Columbia Records releases the MILES DAVIS QUINTET's Miles Smiles. Recorded in October of 1966, Miles Smiles presents the world with his "second great quintet"--one of the greatest quintet lineups in jazz music history--with 33-year old tenor saxophonist Wayne Shorter, 26-year old pianist Herbie Hancock, 29-year old bassist Ron Carter, and 21-year old drumming phenom Tony Williams.
Line-up / Musicians:
- Miles Davis / trumpet- Wayne Shorter / saxophone
- Herbie Hancock / piano
- Ronald Carter / double bass
- Anthony "Tony" Williams / drums
THE FREE SPIRITS Live at the Scene February 22, 1967
Released in 2011, these tapes came from what was in truth an unpublished, unauthorized, bootleg recording of a live stage performance from the title date. The band (and fans) had always expressed extreme disappointment with their one and only studio album release from the year before because it did such a poor job of capturing the energy of their live performance--where songs might jam on for far more than the three-minutes demanded by their producer (45-year old ABC exec Bob Thiele)'s archaic expectations. The band members who were alive to hear this album when it was released were appreciative that some of their youthful energy and genius had been captured and preserved for posterity.
Line-up / Musicians:
- Larry Coryell / guitar, vocals- Columbus 'Chip' Baker / guitar, vocals
- Chris Hills / electric bass, vocals
- Bob Moses / drums
- Jim Pepper / tenor saxophone, flute, vocals
- Joe Beck / guitar
- Dave Liebman / tenor saxophone
- Randy Brecker / trumpet
February 15 & March 7 - the two recording dates for what would be JOHN COLTRANE's album, Expression, the last studio album on which he would still be in control. The album would see its release in September, two months after the musical giant's death.
Line-up / Musicians:
- John Coltrane / tenor saxophone; flute- Jimmy Garrison / bass
- Rashied Ali / drums
- Rashied Ali / drums
- Alice Coltrane / piano
With:
- Pharoah Sanders / piccolo flute
March
THE DON ELLIS ORCHESTRA Live in 3 2/3 / 4 Time
Live in 3 2/3 / 4 Time was released to the public later in 1967. (With the release of an expanded CD version in 2000, the list of songs extracted from this latter performance would grow to number eight.) As usual, the highly-charged, amazingly-synchronized and -harmonized arrangements are a marvel to listen to and, I think you'll find, quite often stir one's core enough to force you to get out of your seat and dance! Of the album's songs, only two are original Don Ellis compositions--though one song, "Thetis," comes from Don's long-time collaborator and friend, Hank Levy.
Line-up / Musicians:
- Don Ellis / trumpet, quarter-tone trumpet
Saxes & Woodwinds:
- Ruben Leon / alto sax, soprano sax, flute
- Joe Roccisano / alto sax, soprano sax, flute, clarinet
- Tom Scott / alto sax, saxello, flute, clarinet
- Ira Schulman / tenor sax, flute, clarinet
- Ron Starr / tenor sax, flute, clarinet
- John Magruder / baritone sax, flute, clarinet, bass clarinet
Trumpets:
- Glenn Stuart
- Alan Weight
- Ed Warren
- Bob Harmon
Trombones:
- Ron Myers
- Dave Wells
- Dave Sanchez
- Terry Woodson (bass trombone)
Rhythm Section:
- Dave Mackay / piano
- Ray Neapolitan / bass
- Frank De La Rosa / bass
- Dave Parlato / bass
- Chuck Domanico / bass
- Steve Bohannon / drums
- Alan Estes / drums, timbales
- Chino Valdes / congas, bongos
- Mark Stevens / percussion
Original Liberty/Pacific Records vinyl release in 1967:
A1. "Orientation" (11:20) more fun in 7/8 + 9/8 starting out, of course, with the rhythmatists: congas and percussion, bass, drums, and piano. When the horns start joining in it is with what seems to be an unusually reckless/wild abandon, but they all come together at about 1:45 for an Ira Schulman sax solo with accents coming from multiple banks of horns, high and low. Awesome! And SO danceable! A little lull at 3:50 as the sax finishes up before solo time is given to conga player Chino Valdes for about a minute. Horn swell leads into a cool polymetric multi-sax solo section before another horn swell at 6:05 opens the door for the band leader to take his solo. Oddly enough Don's trumpet may be the worst recorded instrument in the orchestra. Despite this fact, his solo keeps climbing the mountain, being assisted by some seriously swelling horns and rhythm section play (which is greeted with some appropriately appreciative audience response at 8:15). The next big swell occurs in the middle of the tenth minute and it is drum-led, which is pretty cool. The big finish features multiple banks of horns going their own way, though not quite as or independently as that wild opening. Awesome! (19/20)
- Dave Mackay / piano
- Ray Neapolitan / bass
- Frank De La Rosa / bass
- Dave Parlato / bass
- Chuck Domanico / bass
- Steve Bohannon / drums
- Alan Estes / drums, timbales
- Chino Valdes / congas, bongos
- Mark Stevens / percussion
Original Liberty/Pacific Records vinyl release in 1967:
A1. "Orientation" (11:20) more fun in 7/8 + 9/8 starting out, of course, with the rhythmatists: congas and percussion, bass, drums, and piano. When the horns start joining in it is with what seems to be an unusually reckless/wild abandon, but they all come together at about 1:45 for an Ira Schulman sax solo with accents coming from multiple banks of horns, high and low. Awesome! And SO danceable! A little lull at 3:50 as the sax finishes up before solo time is given to conga player Chino Valdes for about a minute. Horn swell leads into a cool polymetric multi-sax solo section before another horn swell at 6:05 opens the door for the band leader to take his solo. Oddly enough Don's trumpet may be the worst recorded instrument in the orchestra. Despite this fact, his solo keeps climbing the mountain, being assisted by some seriously swelling horns and rhythm section play (which is greeted with some appropriately appreciative audience response at 8:15). The next big swell occurs in the middle of the tenth minute and it is drum-led, which is pretty cool. The big finish features multiple banks of horns going their own way, though not quite as or independently as that wild opening. Awesome! (19/20)
A2. "Angel Eyes" (5:41) a slow, pensive, and plodding "Porgy and Bess"-like old-style R&B crooner with Don's piano- and horn-supported trumpet carrying the melody in place of the human voice as it would have been sung in 1946 when Earl Brent and Matt Dennis first penned it. Nice melodies. (8.875/10)
A3. "Freedom Jazz Dance" (5:54) Eddie Harris' song performed in "seven," featuring pianist Dave Mackay and saxello player Tom Scott. Pretty cool--especially when Mackay goes low onto his keyboard. The "saxello" is a weird sounding sax that sounds like it comes straight from the streets of New Orleans (I think it's a flange-wah effect applied to the channel mic-ing Tom's tenor sax). The percussion and rhythm section are, of course, amazing, adding layer upon layer and volume and power the further the song progresses. Awesome! (9/10)
B1. "Barnum's Revenge" (4:36) one of Don's sax players, Ruben Leon, arranged this 3 2 2 time song from "Won't You Come Home, Bill Bailey?" Very interesting but it does play out more like a whole-band teaching exercise than an audience-targeted crowd pleaser--at least until Don and the drummers and trombonists get their chances to embellish. (8.75/10)
B2. "Upstart" (9:02) this is the song from the album: the one in 3 2/3 / 4 time--the second original composition on the album. The moderately paced foundation has a kind of near-Latin (say, Southern California) feel to it over which Don takes the first solo followed by a bridge of stellar, purposely-staggered horn banking before a clarinet solo by Ira Schulman takes the next spotlight. Following the percussionists and rhythm section members is easy to do and quite fun for the challenge of trying to parse out the odd time signature. Bird-like discordant clarinets pepper the upper end during the next extended bridge while the band and horn banks plod beneath--even getting the end. (17.5/20)
B3. "Thetis" (8:27) composed and arranged by Don's long-time friend and associate, Hank Levy, this one starts out like a slow-moving train before finally taking off and featuring rondo-like layers of multi-instrumental sections circling over and around one another. In the third minute everybody congeals into a single direction of very spicy Caribbean-rhythmed music over which Ruben Leon's soprano sax solos. The next is Don's trumpet and then Dave Mackay's piano. The solos are great--these are very professional performers, but it's as if one cannot help but be drawn to the rhythmatists--which, accordingly, get their own solo time in the seventh minute. (17.5/20)
Total time: 44:00
Track listing for the 2000 CD release:
1. Orientation
2. Angel Eyes (Denni s, Brent / arr. Don Ellis)
3. Freedom Jazz Dance (Eddie Harris / arr. Don Ellis)
4. Barnum's Revenge (Ruben Leon / arr. Ruben Leon)
5. Upstart
6. Thetis (Hank Levy / arr. Hank Levy)
7. Bossa Nueva Nova (Hank Levy / arr. Hank Levy)
8. Opus Five (Howlett Smith / arr. Howlett Smith)
9. Seven Up (Howlett Smith / arr. Joe Roccisano)
10. Johnny One-Note (Jaki Byard / arr. Jaki Byard)
11. Freedom Jazz Dance (alternate) (Eddie Harris / arr. Don Ellis)
2. Angel Eyes (Denni s, Brent / arr. Don Ellis)
3. Freedom Jazz Dance (Eddie Harris / arr. Don Ellis)
4. Barnum's Revenge (Ruben Leon / arr. Ruben Leon)
5. Upstart
6. Thetis (Hank Levy / arr. Hank Levy)
7. Bossa Nueva Nova (Hank Levy / arr. Hank Levy)
8. Opus Five (Howlett Smith / arr. Howlett Smith)
9. Seven Up (Howlett Smith / arr. Joe Roccisano)
10. Johnny One-Note (Jaki Byard / arr. Jaki Byard)
11. Freedom Jazz Dance (alternate) (Eddie Harris / arr. Don Ellis)
I am usually loathe to listen to much less review live album recordings but Don Ellis has become quite another matter: his song introductions, quick quirky sense of humor, and educational approach are so darn charming and disarming!
89.58 on the Fishscales = B+/4.5 stars; If you are at all interested in sharing in the experience of those first waves of the truly-groundbreaking Don Ellis Orchestra experience, then I highly recommend finding this album to listen to! Plus, these songs are not available on other albums and are here for your entertainment and amazement.
P.S. If you get the chance to listen to the CD release of this album, do so: the additional five songs from the March 27, 1967 performance at Shelly's Manne-Hole in L.A. are every bit as worthy of hearing as the original six songs on the 1967 vinyl release.
Reprise Records releases one of the finest bossa nova albums of all-time, the Frank Sinatra-Antônio Carlos Jobim collaboration, Francis Albert Sinatra & Antonio Carlos Jobim. Another stroke of genius for Mr. Sinatra as bossa nova had reached an all-time high in American popularity. The album's lush orchestral arrangements were conducted by Claus Ogerman and Jobim provided guitar and some vocals (mostly background). An album of some of the most wistfully beautiful music humans have ever created. Very nostalgic.
April
This live concert at UCLA was performed and recorded on April 8, 1967 with two unusual circumstances: a "shrunken lineup" (down from the band's usual 21) and the band performing covers of three jazz standards and two Tom Scott compositions. Only released and sold at Don Ellis concerts as a cassette or 8-track with only part of this concert's material, Wounded Bird Records acquired the original master tapes and issued a CD with a full complement of the music performed at this one-time-only concert.
Recorded live on April 8, 1967 at a concert at the University of California, Los Angeles (UCLA), quite uncharacteristically, Don sported only an octet for this performance where he was lately in the habit of squeezing dozens of musicians on stage to perform his rhythmic acrobatics. I don't know the occasion or purpose of this concert but it sounds to me as if he had to "straight lace" it and pander to the masses as the fare is much tamer and smoother than his usual spice--plus the usual educational wit Don was so gifted at between songs is not included on the recording so we don't really know how much of Don was on display.
This album (originally titled Don Ellis - LIVE) was previously available on cassette and 8-track, but it was only sold at Don's concerts. Even then, only half of the music was released (the tracks marked with an asterisk are bonus tracks on the CD release). This reissue marks the first widespread commercial release of this music, and, oddly, documents the only known performance of the Don Ellis Octet.
Line-up / Musicians:
- Don Ellis / trumpet
- Tom Scott / alto sax, tenor sax, clarinet
- Dave Wells / trombone
- Dave Mackay / piano
- Ray Neapolitan / bass
- Steve Bohannon / drums
- Chino Valdez / conga, bongos
- Alan Estes / timbales, percussion
CD1 1. "Slippin' 'N' Slidin'" (6:57) the concert's opening song of course has to be either impressive or engaging, and Don opts for the latter with a Latin-flavored tune with lots of flare coming from the percussion section. As a matter of fact, the sound levels in the mix make it so that the percussion section often threatens to completely drown out the rest of the band. Not one of my favorite Don Ellis tunes but I can easily picture the audience members fighting back the urge to dance in their seats. (13.25/15)
2. "Sadness Shouldn't Go so Deep" (3:54) following a lively, crowd-engaging opener with a deeply emotional tune shouldn't go so well, but one can tell that the band members all had their hearts and heads fully engaged with this one. Don really hit home with this one: Even almost 60 years later I can feel the serene respect emanating from the room. (9.5/10)
3. "Bali Dancer" (5:31) a series of melodies woven into a kind of rondo of Ennio Moricone-like Spaghetti Western themes. The piano, horns, and percussionists all get turns to stand in the spotlight on this one (much to the audience's pleasure) while the melodies that bring everyone together are mystifying in the way they impress without overwhelming. (9/10)
4. "With Respect to Coltrane" (5:05) did Don (or composer Tom Scott) know that 'Trane was dying? Evenso, the band does an amazing job here of coaxing some very Coltrane-like music out of their octet. Tom Scott is especially up for the task though Dave MacKay's piano and Ray Neapolitan's bass play are equally apropos. (9.125/10)
- Don Ellis / trumpet
- Tom Scott / alto sax, tenor sax, clarinet
- Dave Wells / trombone
- Dave Mackay / piano
- Ray Neapolitan / bass
- Steve Bohannon / drums
- Chino Valdez / conga, bongos
- Alan Estes / timbales, percussion
2. "Sadness Shouldn't Go so Deep" (3:54) following a lively, crowd-engaging opener with a deeply emotional tune shouldn't go so well, but one can tell that the band members all had their hearts and heads fully engaged with this one. Don really hit home with this one: Even almost 60 years later I can feel the serene respect emanating from the room. (9.5/10)
3. "Bali Dancer" (5:31) a series of melodies woven into a kind of rondo of Ennio Moricone-like Spaghetti Western themes. The piano, horns, and percussionists all get turns to stand in the spotlight on this one (much to the audience's pleasure) while the melodies that bring everyone together are mystifying in the way they impress without overwhelming. (9/10)
4. "With Respect to Coltrane" (5:05) did Don (or composer Tom Scott) know that 'Trane was dying? Evenso, the band does an amazing job here of coaxing some very Coltrane-like music out of their octet. Tom Scott is especially up for the task though Dave MacKay's piano and Ray Neapolitan's bass play are equally apropos. (9.125/10)
5. "Pete's 7" (6:29) a stride piano opening from Dave MacKay that is eventually joined by Ray Neapolitan's bass, the percussion team, and, finally, the horn section. A popular dance number that hides itself in the big band feel of the band and its Latinized blues rhythms. Though Don blows a strong horn, it's really Dave's song to shine through. (8.875/10)
6. "Let's Go to Sleep" (7:16) an Ellis composition that sounds very cinematic and experimental, opening with repeated bass chord supporting a "distant" muted trumpet playing plaintively from "behind the scenes." Dave MacKay takes over for the second minute, playing some beautiful ivories before yielding back to the "distant" trumpet. Really, there is very little other than the piano, bass, brushed snare and crash cymbals and dolorous trumpet. I love music like this. It reminds me of one of my favorite 21st Century albums, Particelle by LAGARTIJA. (14/15)
7. "Blues for Hari" (9:08) another Tom Scott composition, its opening themes both sound a lot like variations on the main melody hooks of "The In-Crowd" and "I Wanna Know," but then after the whole band has laid out the foundation, the soloists take over, each performing over a hip-beatnik kind of motif, first Tom with little flares from Dave MacKay, then Dave stepping up only to recede for Ray Neapolitan to have some shine in the fourth and fifth minute, then stepping back in with the rhythm section for bandleader Don to have a turn on his trumpet. Steve Bohannon and Alan Estes make some noise beneath throughout the final two or three minutes as the horns come together to finish things off. (18/20)
Total Time 44:33
CD2 1. "Milestones" (9:56) taking on a jazz classic--one by no less than Miles Davis himself--is never an easy task but the band do quite an admirable job with this one, bass player Ray Neapolitan really distinguishing himself while tenor sax player Tom Scott also asserts himself quite well. It's too bad that the two stars of the show (for me) bandleader Ellis and drummer Steve Bohannon are recorded so poorly and thus cannot quite stand up next to the beautifully rendered sounds of Ray's double bass, Tom's reeds, and Dave's piano. It also helps, I'm sure, that it's a classic (and the band show exactly why it is). (18/20)
2. "It's a Snap" (2:18) a Don Ellis composition that puts on full view in just two minutes time a little of Don's propensity for crazy, almost humorous structures and time signatures. Very tight performances of some pretty complex charts. (4.75/5)
3. "I Love Us" (5:47) a light and airy bossa nova track composed by Don himself, once again the maestro displays his amazing talent for capturing the essence and beauty of every sub-genre of music he touches. Brilliantly moving performances from Dave MacKay, Tom Scott on clarinet, Dave Wells on (a poorly recorded) trombone, as well as the chillin' cool rhythm section. Absolutely gorgeous; enough to quell any tension from the body of any listener. Those lucky audience members! (9.75/10)
4. "The Squeeze" (5:22) this one starts out like some of the tunes on Don's previous two live albums: with some cacophonous dissonance, but then the Latin rhythms lock us in so that the horns can continue to challenge our Western melodic sensibilities with more disparaging dissonance. Dave MacKay continues the dissonance on display with his piano solo in the second minute, while trombonist Dave Wells seems to get into the picture by using his pitch-sliding notes to continue the cerebral workout. Ray Neapolitan is next, using the upper registers of his double bass to tease us into complacency before starting a two-note-at-a-time display to take us of center again. Definitely a piece that puts the audience to the test! (9/10)
5. "Lush Life" (7:29) the band covers another classic--this one by Billy Strayhorn, here performed by as a duet by Don and Ray. I don't really recognize it but that never stopped a jazz artist before. (13/15)
6. "Turk's Works" (18:25) a multi-movement piece composed and arranged by Arif Mardin that switches styles with and beneath switches in soloists: first Don, second Tom Scott on tenor sax, third back to Don's trumpet, all the while the accompanists and rhythm tracks change, morph, leave and return, speed up and slow down, often without seeming to coordinate with the soloist up top. Interesting! At 5:40 the complete shift in motif yields some jazzy piano play over fast-walking bass and percussion before suddenly leaving Dave stranded all alone, then coming back to perform the same support/fake for Ray Neapolitan's bass. Next up comes percussionists Chino Valdes and Alan Estes on congas and timbales, respectively before everybody finally gives way for a Steve Bohannon exhibition--and a wonderful exhibit it is! This god-given supernova was definitely taken from us way too soon! (He gets a big ovation from the crowd for his efforts.) Then, at the end of the 17th minute the full band comes back together for some final histrionics. (36/40)
Total Time 49:28
I'm not usually known for my inclusion much less reviewing of live albums but there is just something I gain from Don Ellis' work no matter the recording setting: the smooth delivery of such complex music always renders me awestruck: that a band can be taught to perform such unusual music with such fluidity and grace is always astonishing to me.
A-/five stars; a minor masterpiece of eclectic, middle-of-the-road jazz, mostly-audience-friendly jazz.
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May 16-24 - MILES DAVIS and his Second Great Quintet begin the recording of the music for Sorcerer, an album which will be released by Columbia Records on October 23.
- Wayne Shorter / tenor saxophone
- Herbie Hancock / piano
- Ron Carter / double bass
- Tony Williams / drums
With:
- Gil Evans / arrangements
- Bob Dorough / vocals & piano
- Frank Rehak / trombone
- Paul Chambers / bass
- Buster Williams / bass
- Jimmy Cobb / drums
- Willie Bobo (William Correa) / bongos
June 7, 22 &23 - The first of the recording dates for the music that would end up on Miles Davis' second great quintet's fourth studio album, Nefertiti. In one of those interesting recording industry sanfus: the close recording dates and release objectives of what would become the Sorcerer and Nefertiti (obviously a very fertile period for the Quintet), Columbia mixed up the cover photos of the two albums: the sidelong profile photo of Miles' wife, Cicely Tyson, was supposed to grace the Nefertiti album, while Miles' brooding head shot was supposed to be on Sorcerer.
- Wayne Shorter / tenor saxophone
- Herbie Hancock / piano
- Ron Carter / double bass
- Tony Williams / drums
6. "Let's Go to Sleep" (7:16) an Ellis composition that sounds very cinematic and experimental, opening with repeated bass chord supporting a "distant" muted trumpet playing plaintively from "behind the scenes." Dave MacKay takes over for the second minute, playing some beautiful ivories before yielding back to the "distant" trumpet. Really, there is very little other than the piano, bass, brushed snare and crash cymbals and dolorous trumpet. I love music like this. It reminds me of one of my favorite 21st Century albums, Particelle by LAGARTIJA. (14/15)
7. "Blues for Hari" (9:08) another Tom Scott composition, its opening themes both sound a lot like variations on the main melody hooks of "The In-Crowd" and "I Wanna Know," but then after the whole band has laid out the foundation, the soloists take over, each performing over a hip-beatnik kind of motif, first Tom with little flares from Dave MacKay, then Dave stepping up only to recede for Ray Neapolitan to have some shine in the fourth and fifth minute, then stepping back in with the rhythm section for bandleader Don to have a turn on his trumpet. Steve Bohannon and Alan Estes make some noise beneath throughout the final two or three minutes as the horns come together to finish things off. (18/20)
Total Time 44:33
CD2 1. "Milestones" (9:56) taking on a jazz classic--one by no less than Miles Davis himself--is never an easy task but the band do quite an admirable job with this one, bass player Ray Neapolitan really distinguishing himself while tenor sax player Tom Scott also asserts himself quite well. It's too bad that the two stars of the show (for me) bandleader Ellis and drummer Steve Bohannon are recorded so poorly and thus cannot quite stand up next to the beautifully rendered sounds of Ray's double bass, Tom's reeds, and Dave's piano. It also helps, I'm sure, that it's a classic (and the band show exactly why it is). (18/20)
2. "It's a Snap" (2:18) a Don Ellis composition that puts on full view in just two minutes time a little of Don's propensity for crazy, almost humorous structures and time signatures. Very tight performances of some pretty complex charts. (4.75/5)
3. "I Love Us" (5:47) a light and airy bossa nova track composed by Don himself, once again the maestro displays his amazing talent for capturing the essence and beauty of every sub-genre of music he touches. Brilliantly moving performances from Dave MacKay, Tom Scott on clarinet, Dave Wells on (a poorly recorded) trombone, as well as the chillin' cool rhythm section. Absolutely gorgeous; enough to quell any tension from the body of any listener. Those lucky audience members! (9.75/10)
4. "The Squeeze" (5:22) this one starts out like some of the tunes on Don's previous two live albums: with some cacophonous dissonance, but then the Latin rhythms lock us in so that the horns can continue to challenge our Western melodic sensibilities with more disparaging dissonance. Dave MacKay continues the dissonance on display with his piano solo in the second minute, while trombonist Dave Wells seems to get into the picture by using his pitch-sliding notes to continue the cerebral workout. Ray Neapolitan is next, using the upper registers of his double bass to tease us into complacency before starting a two-note-at-a-time display to take us of center again. Definitely a piece that puts the audience to the test! (9/10)
5. "Lush Life" (7:29) the band covers another classic--this one by Billy Strayhorn, here performed by as a duet by Don and Ray. I don't really recognize it but that never stopped a jazz artist before. (13/15)
6. "Turk's Works" (18:25) a multi-movement piece composed and arranged by Arif Mardin that switches styles with and beneath switches in soloists: first Don, second Tom Scott on tenor sax, third back to Don's trumpet, all the while the accompanists and rhythm tracks change, morph, leave and return, speed up and slow down, often without seeming to coordinate with the soloist up top. Interesting! At 5:40 the complete shift in motif yields some jazzy piano play over fast-walking bass and percussion before suddenly leaving Dave stranded all alone, then coming back to perform the same support/fake for Ray Neapolitan's bass. Next up comes percussionists Chino Valdes and Alan Estes on congas and timbales, respectively before everybody finally gives way for a Steve Bohannon exhibition--and a wonderful exhibit it is! This god-given supernova was definitely taken from us way too soon! (He gets a big ovation from the crowd for his efforts.) Then, at the end of the 17th minute the full band comes back together for some final histrionics. (36/40)
Total Time 49:28
I'm not usually known for my inclusion much less reviewing of live albums but there is just something I gain from Don Ellis' work no matter the recording setting: the smooth delivery of such complex music always renders me awestruck: that a band can be taught to perform such unusual music with such fluidity and grace is always astonishing to me.
A-/five stars; a minor masterpiece of eclectic, middle-of-the-road jazz, mostly-audience-friendly jazz.
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GARY BURTON Duster
Recorded on April 27-28, 1967; one of Jazz-Rock Fusions' first albums was released later in the year by RCA Records. A quartet, Duster featured the collaborative musicianship of guitarist Larry Coryell, bassist Steve Swallow, and drummer Roy Haynes.
Line-up / Musicians:
- Gary Burton / vibraphone
- Larry Coryell / guitars
- Steve Swallow / bass
- Roy Haynes / drums
- Larry Coryell / guitars
- Steve Swallow / bass
- Roy Haynes / drums
May
Line-up / Musicians:
- Miles Davis / trumpet- Wayne Shorter / tenor saxophone
- Herbie Hancock / piano
- Ron Carter / double bass
- Tony Williams / drums
With:
- Gil Evans / arrangements
- Bob Dorough / vocals & piano
- Frank Rehak / trombone
- Paul Chambers / bass
- Buster Williams / bass
- Jimmy Cobb / drums
- Willie Bobo (William Correa) / bongos
June
Line-up / Musicians:
- Miles Davis / trumpet- Wayne Shorter / tenor saxophone
- Herbie Hancock / piano
- Ron Carter / double bass
- Tony Williams / drums
July
August
September
Late in 1967, Columbia Records releases their first collaboration with The DON ELLIS ORCHESTRA in the form of a studio album entitled, Electric Bath. Fresh out of the euphoric haze of two very successful live albums and a year of almost continuous touring to festival and rock 'n' roll audiences, Don welcomed the new partnership with Columbia producer John Hammond and with it the chance to work out some of his ideas in studio settings. Over the course of two days in September (the 16th & 17th--or 19th & 20th, depending on your source) the band put down on tape several songs, five of which would end up on the Grammy Award nominated and Down Beat magazine "1968 Album of the Year" which was released
1. "Indian Lady" (8:07) When I first heard the opening bars to this piece, I was immediately drawn to a comparison to the music of ROBERT WYATT's "Little Red Riding Hood Hit the Road" from his 1974 comeback album, Rock Bottom. The song, played in 5/4 time throughout (and released as a single in a shortened three-minute version), is actually rather famous for its almost-comical multiple "attempts" to end throughout the song. Despite the large ensemble of musicians, the music somehow comes across smoothly, far more easy for the brain to accommodate than one might expect. Heck! There are even some melodic HERB ALPERT-like riffs and motifs. (13.5/15)
2. "Alone" (5:32) soothing and filled with gorgeous melodies, this one reminds me of some of the mellower pieces on my beloved 1970s albums by Eumir Deodato and Bob James as well as many of the jazzy television music providing background and mood for popular television shows that I would watch as a small child in the late 1966s--like I Dream of Jeannie, Bewitched, and The Newlywed Show. Lots of big banks of horns. (9.5/10)
3. "Turkish Bath" (10:29) dynamic music with an Indian base coming from the sitar, tabla and other Indian percussion, as well as flutes and slurring horns. Once set in motion the Latin rhythms and melody structure give it a feel quite similar to Billy Page's song "The 'In' Crowd" as made popular by Dobie Gray and Ramsey Lewis. Who knew that Indian instruments, big band horns, and electric clavinet could be melded together so easily into a bassa nova song?!! (18/20)
4. "Open Beauty" (8:27) beautiful and yet haunting in a psychedelic way thanks to the electric effects applied to the keyboard and vibraphone. Unusual for the minimal presence of drums or other percussives. The extended quarter-tone trumpet solo with echo effect from 5:30 to 8:05 is also remarkable for its particular singularity. (17.5/20)
5. "New Horizons" (12:21) this is a song that sounds to my untrained ear like a pretty standard big band jazz piece. If there are extraordinary things happening I'm not able to pick them up; it's just another long piece with minimal melodic hooks played within a base of a Latin-rock rhythms. (21.75/25)
Total Time 44:56
The musicianship is incredible all-around; how 20 musicians can play such complex music so seamlessly and cohesively is nothing short of amazing. Don's mission to open the West up to the odd meter times "naturally" used in the rest of the world's folk traditions had begun in earnest and would not quit through the rest of the Sixties, only take a slight Bulgarian left turn in the Seventies thanks to his meeting and pairing up with Bulgarian jazz and piano sensation Milcho Leviev.
89.1666667 on the Fishscaels = B+/4.5 stars; a near-masterpiece of boundary-pushing jazz-rock fusion.
October
THE GARY BURTON QUARTET Lofty Fake Anagram (1967)
Recorded in NYC, August 15-17, 1967; released by RCA Victor later in the year (probably before Duster).
Line-up / Musicians:
- Gary Burton / vibraphone
- Steve Swallow / bass
- Bob Moses / drums
- Larry Coryell / guitars
- Bob Moses / drums
- Larry Coryell / guitars
A2. "Feelings and Things" (4:05) soft, gentle, spacious, yet luxuriously-textured by Gary's four-note chords. There is a late night Kind of Blue feel to this palette as Larry's presence is almost invisiblefor the first 90 seconds. When he does start to make his presence known it is with a very respectful, very traditional jazz guitar approach. At 2:30 he's offered the lead and, even though he cannot resist his rock-energy, he does a nice job of "coloring within the lines" Pretty but really just standard Jazz, no fusion here. (9/10)
A3. "Fleurette Africaine" (3:36) interesting palette that presents as Jazz or even world music pastiche but totally opens the door for Larry's Rock 'n' Roll side to join in. For a bit it almost seems as if there are two totally different things going on but it works: it blends very easily, almost comfortably. What a giving nature Mr. Burton has! How can he see the amazing gift he's giving to music by allowing this synthesis to occur! (9/10)
A4. "I'm Your Pal" (3:03) really more of a duet between Steve and Gary--one that shows what an amazing "unity" the two have between them. (9/10)
A5. "Lines" (3:10) Now Gary and Larry duet: both letting loose of some wild oats but both remaining fixedly respectful of the "rules" of Jazz--acting as if they're both channelling the spirits of Django Rhinehardt and Stéphane Grappelli. Man! Are these two guys skilled! (9.25/10)
B1. "The Beach" (3:41) more Jazz, with great play from the rhythmatists, while Gary and Larry work out their differences over the top--each presenting poetic quotes from their own traditions in hopes that something might click between them--some kind of understand or unifying principle--and it feels as if they are finally successful toward the end. Steve and Bob are so impressive! (9.25/10)
B2. "Mother of the Dead Man" (4:37) (9/10)
B3. "Good Citizen Swallow" (5:34) set up to sound like something familiar (like a theme song from a television game show) though the quartet shift away from this opening theme for a while (but come back to it from time to time if only to recenter). Gary seems to exert control throughout the first half, but then everybody backs off to allow Steve room for an a cappella solo--one that lasts for almost two minutes--then everybody comes back together for the finish. (8.75/10)
B4. "General Mojo Cuts Up" (4:36) (/10)
Total time: 38:12
I would call this album less an album of Jazz-Rock Fusion than the meeting of two worlds, two cultures, each trying with infinite patience and respect to figure out how their two vast worlds of customs and perspectives might work together, if not blended at least side-by-side.
on the Fishscales = / stars;
WAYNE SHORTER Adam's Apple
Line-up / Musicians:
- Wayne Shorter / tenor saxophone, composer (excl.track 2)
With:
- Herbie Hancock / piano
- Reginald Workman / double bass
- Joe Chambers / drums
1. "Adam's Apple" (6:40) the album's opener has a pleasant old-time blues (and early rock) feel to it, thanks to the rather unadorned and straightforward play of the rhythm section. Meanwhile, Wayne roams around on top for the first three minutes as if he's just taking a stroll down a store-lined street in Manhattan or L.A. Herbie's piano solo in the fourth minute is still rather circumscribed--respectful, I suppose, of the style of the era in which the song was written to emulate. I feel as if Reggie Workman and Joe Chambers are having a little more fun with it--like Wayne--so it's really Herbie is being the conservative stuck-in-the-mudder. (8.875/10)
2. "Blues (Drinkin' And Drivin')" (6:30) the only cover song on the album this one composed by the great big band trumpeter Jimmy Rowles, there is a progressive feel to this song in the way the flow keeps switching, very subtly, from style to style--even during the solo play of Wayne or Herbie. Is this planned or just the synchronized playfulness of the Workman-Chambers team? Whatever it is, I really love it! Then perhaps getting into the swing of things, Herbie's solo in the middle third of the song is a little more loose and adventurous--something that he is apparently picking up from his band mates. Despite Wayne's seemingly laid-back blowing, there is a playfulness in his play that I also really enjoy--as if all his laid-back "cool" is but an act--and he knows it and is making fun of it. Nice! A song that I've really enjoyed listening to over and over. But, heck! We're just warming up! The best is coming up! (9.25/10)
3. "El Gaucho" (6:25) built over a slightly Latin-ized rhythm track, the stop and go form is quite entertaining and, again, playful. You can really tell just how seasoned these guys have become while, at the same time, bold and confident (even cocky) enough to work their own playful whimsicalities into their performances. (Is it my imagination or does Herbie seem to take a while to warm up to the conditions presented by new collaborators as well as new compositions that aren't his?) Cool, gorgeous song from a collaboration of true masters. (9.75/10)
4. "Footprints" (7:25) a great song that has become a Jazz Standard and rightfully so. Great melodies over a fairly simple bed to start with, but then we see each of the band members try to subtly stretch out their roles--both rhythmically and harmonically. So cool! I feel so privileged to be listening in to this master class in jazz combo collaboration. (14.25/15)
5. "Teru" (6:10) gorgeous saxophone and piano interplay, one playing so pensively, the other more flirtatiously, while I have such respect for Wayne's saxophone stylings on this album: he's really totally linked in (which makes me lament even further his change in allegiance to the soprano sax in the future). Reggie and Joe are there but far less so: the bass being almost as playful and audacious as Herbie's piano while Joe's brushed drums are so low that they're almost out of the picture. Weird that Herbie becomes quite serious and sedate in his solo instead of exuding the playfulness he was while Wayne soloed. Then Reggie takes a turn in the spotlight for 30-seconds or so before Wayne grabs it back for his finish. He's so good, who can blame him? (9.25/10)
6. "Chief Crazy Horse" (7:30) built over a kind of oddly laid out two-chord "So What"-like structure, the drums and piano take different routes while Wayne kind of spreads the weave out with some of his own harmonically-motivated melodies. Each of the band's individuals really stretch out their performances to the greater expression of their individual strengths and preferences, resulting in some fascinating music in which each thread of the overall weave is as interesting and amazing to follow, all on its own, as the chordal, tempo, and melodic wholes. Drummer Joe Chambers provides what is, for me, the most compelling track to listen to though I'm also astonished at both Herbie and Reggie's choices. The end result may not be my most favorite but the means it took to get there is totally worth it! (13.625/15)
Total time 40:40
Total time 40:40
With music and performances as good as this it's no wonder Blue Note fast-tracked it for quick release.(Note the bitter sarcasm dripping from my tongue: I consider it almost cruel and unjust politics the way Blue Note parsed out their album releases. Here we have one of the most creative, innovative, high-quality composers of his era and they can't even recognize it. From a money-making point of view I can see the point of their strategy, but from the point of view of history missing out--sometimes for decades--on some of Jazz' greatest music, it seems an awful shame.)
92.86 on the Fishscales = A/five stars; a full-blown masterpiece of Jazz that fully displays both the playful genius of each of the four musical superstars but also the amazing growth as composer and player that Wayne Shorter has become.
92.86 on the Fishscales = A/five stars; a full-blown masterpiece of Jazz that fully displays both the playful genius of each of the four musical superstars but also the amazing growth as composer and player that Wayne Shorter has become.
The third studio album release from Miles's "Second Great Quintet." It was recorded on May 16, 1967; May 17, 1967; May 24, 1967; and, for "Nothing Like You," August 21, 1962. It was released by Columbia Records as on October 23.
Line-up / Musicians:
Line-up / Musicians:
- Miles Davis / trumpet
- Ron Carter / bass
- Tony Williams / drums
- Herbie Hancock / piano
- Wayne Shorter / tenor saxophone
With:
- Bob Dorough / vocals (track B3)
- William Correa / bongos (B3)
- Paul Chambers / bass (B3)
- Jimmy Cobb / drums (B3)
- Frank Rehak / trombone (B3)
A1. "Prince Of Darkness" (6:27) the great, dynamic yet-melodic music of the Second Great Quintet here on display at its absolute finest. Everybody is in sync, feeling the spirit and excitement of this extraordinary collaboration. (9.5/10)
A2. "Pee Wee" (4:49) though slower, less animated and more docile than the album's opener, the melodic sensibilities exhibited from each of the musicians here are still very strong, very accessible. Wayne and Herbie in particular shine. (9.25/10)
A3. "Masqualero" (8:53) opening with some interesting interplay between Ron and Tony, the blending of harmonically-woven melody lines from Miles, Wayne, and Herbie is pretty amazing. Moving quickly into the lead solos--the first one from Miles--the reactive, almost predatory behavior of Tony on his drums is quite remarkable. Herbie tries to get into the act, less successfully so, while Ron holds down the foundation quite admirably. Wayne's turn up front in the fourth and fifth minute is interesting: still carrying forward that odd predatory hunt-like tension that Miles and Tony seemed to present in the second and third minutes--though Tony only begins to react in the guise of the prey again in the second half of the sixth minute. In the seventh minute Herbie gets his turn. The man performs some spectacular displays of artsy-expressive male mating dancing in his opening barrage before settling back into what feels like the expression of more cocky strut-like behaviors. Fascinating! Some truly original play in this one. (19.5/20)
A4. "The Sorcerer" (5:10) straight off to the races, the steady-eddy making the most of his circuitous track, Tony and Ron are the feet and breath while Miles and Wayne's back-and-forth dialogue is the self-reflective conscious mind and Herbie is the heartbeat. The quick exchanges between Miles and Herbie are very cool--and then they come together for perfectly synchronized chorus shouts while Herbie gets a nice piano solo in the middle. (9.3333/10)
B1. "Limbo" (7:13) two horns and Herbie's piano jump out together on this Wayne Shorter composition to introduce the main melody as an ensemble while Ron and Tony lay out the amazing rhythm track beneath. Ron is so calm and cool while sneaking in plenty of garlands and drapery into his expression while Tony the adolescent Tiger is putting on a clinic from start to five-minute mark when things slow down and thin a bit to give Herbie plenty of air for his piano solo. When Wayne and Miles return to the leads for the final minute, Tony finishes his with a cheeky statement of finality. Wow! I wouldn't want to have to learn that drum performance for a test! (14.5/15)
B2. "Vonetta" (5:36) one of Waynes' slower, more somber yet-beautiful late night pieces, it carries a bit of the classic "My Funny Valentine" feel and melody within it. Wayne gets the lead for the first four minutes while Herbie and Miles get some shine in the last 90 seconds, but the real star of the show, for me, is Ron Carter: his spicey, even cheerful bass play elevates the music out of the dregs of a late night maudlin love song into something containing a little more optimism and hope. (9.25/10)
B3. "Nothing Like You" (1:55)* why and how this little Bob Dorough song from a 1962 recording session found a place on a 1967 album release is a mystery to me. There's a completely different lineup of musicians performing on it! Did they really need the filler? How strongly Miles must have felt in order to convince Teo and everyone to include it! It's cute; it feels like a blast from the past--the 40s or before! (4.75/5)
Total Time: 40:20
I love the energy and creativity--both collectively and individually--on all five fronts--of this album! Almost every song has it! And Tony Williams is very much dialed in: at the top of his focus and flow. And this might be the best I've heard Wayne and Ron--and the most collaborative/synergistic that I've ever felt Miles: with great dual performances between he and Wayne. Awesome album!
94.48 on the Fishscales = A/five stars; a masterpiece of highly-inventive, highly-creative modal hard bop jazz! In my opinion, this is the pinnacle of the Second Great Quintet!(?)
A1. "Prince Of Darkness" (6:27) the great, dynamic yet-melodic music of the Second Great Quintet here on display at its absolute finest. Everybody is in sync, feeling the spirit and excitement of this extraordinary collaboration. (9.5/10)
A2. "Pee Wee" (4:49) though slower, less animated and more docile than the album's opener, the melodic sensibilities exhibited from each of the musicians here are still very strong, very accessible. Wayne and Herbie in particular shine. (9.25/10)
A3. "Masqualero" (8:53) opening with some interesting interplay between Ron and Tony, the blending of harmonically-woven melody lines from Miles, Wayne, and Herbie is pretty amazing. Moving quickly into the lead solos--the first one from Miles--the reactive, almost predatory behavior of Tony on his drums is quite remarkable. Herbie tries to get into the act, less successfully so, while Ron holds down the foundation quite admirably. Wayne's turn up front in the fourth and fifth minute is interesting: still carrying forward that odd predatory hunt-like tension that Miles and Tony seemed to present in the second and third minutes--though Tony only begins to react in the guise of the prey again in the second half of the sixth minute. In the seventh minute Herbie gets his turn. The man performs some spectacular displays of artsy-expressive male mating dancing in his opening barrage before settling back into what feels like the expression of more cocky strut-like behaviors. Fascinating! Some truly original play in this one. (19.5/20)
A4. "The Sorcerer" (5:10) straight off to the races, the steady-eddy making the most of his circuitous track, Tony and Ron are the feet and breath while Miles and Wayne's back-and-forth dialogue is the self-reflective conscious mind and Herbie is the heartbeat. The quick exchanges between Miles and Herbie are very cool--and then they come together for perfectly synchronized chorus shouts while Herbie gets a nice piano solo in the middle. (9.3333/10)
B1. "Limbo" (7:13) two horns and Herbie's piano jump out together on this Wayne Shorter composition to introduce the main melody as an ensemble while Ron and Tony lay out the amazing rhythm track beneath. Ron is so calm and cool while sneaking in plenty of garlands and drapery into his expression while Tony the adolescent Tiger is putting on a clinic from start to five-minute mark when things slow down and thin a bit to give Herbie plenty of air for his piano solo. When Wayne and Miles return to the leads for the final minute, Tony finishes his with a cheeky statement of finality. Wow! I wouldn't want to have to learn that drum performance for a test! (14.5/15)
B2. "Vonetta" (5:36) one of Waynes' slower, more somber yet-beautiful late night pieces, it carries a bit of the classic "My Funny Valentine" feel and melody within it. Wayne gets the lead for the first four minutes while Herbie and Miles get some shine in the last 90 seconds, but the real star of the show, for me, is Ron Carter: his spicey, even cheerful bass play elevates the music out of the dregs of a late night maudlin love song into something containing a little more optimism and hope. (9.25/10)
B3. "Nothing Like You" (1:55)* why and how this little Bob Dorough song from a 1962 recording session found a place on a 1967 album release is a mystery to me. There's a completely different lineup of musicians performing on it! Did they really need the filler? How strongly Miles must have felt in order to convince Teo and everyone to include it! It's cute; it feels like a blast from the past--the 40s or before! (4.75/5)
Total Time: 40:20
I love the energy and creativity--both collectively and individually--on all five fronts--of this album! Almost every song has it! And Tony Williams is very much dialed in: at the top of his focus and flow. And this might be the best I've heard Wayne and Ron--and the most collaborative/synergistic that I've ever felt Miles: with great dual performances between he and Wayne. Awesome album!
94.48 on the Fishscales = A/five stars; a masterpiece of highly-inventive, highly-creative modal hard bop jazz! In my opinion, this is the pinnacle of the Second Great Quintet!(?)
November
November 3 & 4 - the recording dates for American ex-pat GEORGE RUSSELL's Othello Ballet Suite at Radio Sweden's studios in Stockholm, Sweden. The sessions marked George's first collaboration and recording with future Swedish jazz greats Jan Garbarek, Jon Christensen, and Terje Rypdal--central elements to George's "Esoteric Circle."
Acclaimed as one of Jazz-Rock Fusions' first albums, Duster was recorded on April 27-28, 1967 and then released in November by RCA Records. A quartet, Duster featured the collaborative musicianship of guitarist Larry Coryell, bassist Steve Swallow, and drummer Roy Haynes.
Line-up / Musicians:
- Gary Burton / vibraphone
- Larry Coryell / guitars
- Steve Swallow / bass
- Roy Haynes / drums
A1. "Ballet" (4:55) the band's rendering of this Michael Gibbs composition sounds like an attempt to build something on a riff from one of Miles Davis' latest Second Great Quintet albums. The song sounds like a standard Hard Bop song --which hen moves into something more akin to the Cool Jazz world for Steve Swallow's solo in the fourth minute before returning to the exploration of the opening section's chordal riffs. Yes, the guitar tone and riffing styles used by Larry Coryell during his solo in the third minute sound as if a Rock guitarist were sitting in on the session, but, otherwise, what I hear in this song is what I'd consider a pretty eclectic though also pretty typical, Jazz tune from the Sixties. I do like this type of Jazz, though. (9/10)- Larry Coryell / guitars
- Steve Swallow / bass
- Roy Haynes / drums
A2. "Sweet Rain" (4:23) dreamy soundscapes set up through Gary's mellifluous slow-decaying Vibraphone runs and chords, Larry's gentle and peaceful guitar tone for his jazzy chord and note play, and Roy Haynes' nuanced cymbal play. (I can barely hear any bass.) This is the second of Michael Gibbs' three compositions--and what a varied bunch the three are! (8.875/10)
A3. "Portsmouth Figurations" (2:56) built on a little more speed, the drums and bass are played rather quietly while Gary and Larry fly through their jazzy chord progressions (via Gary's arpeggios and Larry's quick-change chords and Vibraphone-matching legato runs). Then Roy's drums "suddenly" appear with quite some aplomb for a solo in the second minute. (Who knew?) Then Gary and Larry finish things off with the same furious legato runs as before. Weird but impressive. (8.875/10)
A4. "General Mojo's Well Laid Plan" (4:57) an interesting song for how laid back and colloquial it feels--as if it's a cover of a Surfer Rock (or, more truly, Yacht Rock) love song (though it's a Steve Swallow original). The song is quite floatacious and mellowing--perfect for laying out on the veranda in the soft breezy sunshine. Pretty. Steve Swallow's solo almost lulls me to sleep. (8.875/10)
B1. "One, Two, 1-2-3-4" (5:55) a vehicle created by Gary and Larry to display the expression of Larry's free-form rock ideas. The song's first 2:30 is a Roger McGuinn "Eight Miles High"-like exposition of Larry's fiery, almost reckless abandon guitar play with Gary sitting silently from the sidelines, but then Gary takes a turn--trying every bit as hard as Larry to zoom along at reckless speeds (only his instrument doesn't convey that kind of abandon as well as Larry's guitar). At the end of the fifth minute the two come together, matching legato lines with admirable precision and unity. All the while Roy and Steve are below venting a little of their own chaotic energies. Now this might meet all the requirements of Jazz-Rock Fusion. Though not my favorite kind of music, this is an impressive display of musicianship. (9/10)
B2. "Sing Me Softly of the Blues" (4:02) covering a Carla Bley composition the band starts out with Gary, Steve, and Roy establishing the spacious, plodding foundation over which Larry joins in playing in a tone and style that is most often found in Country-Western music. At 1:30 there is a subtle yet quite remarkable shift into Blues as Larry relinquishes the lead to Gary: it's as if the band has pretty much abandoned the Country-Western sound and feel that Larry had been championing! In the end of the third minute Larry returns to the front, now sporting what feels more like a Hawai'ian sound styling. The chordal interplay of Gary's Vibraphone is so smooth and genius--perhaps frustrating Larry with its super Coolness so that he lashes out in the song's final 25 seconds with a flare of pure Blues-Rock to help bring the song to end. Very interesting! (8.875/10)
B3. "Liturgy" (3:24) back to the Michael Gibbs compositions (the final of three), we find ourselves once again back in the world of more familiar Jazz, here some of the Cool Jazz that was probably Michael's bread and butter during his formative years in the late 1950s. (I'm jsut learning that a friendship and collaborative partnership between Michael and Gary began in the early 1960s when they were both students at Berklee College of Music--both being particular students of Herb Pomeroy--as was Steve Marcus. A long and fruitful relationship, the music world is quite fortunate to have benefitted from.) (8.875/10)
B4. "Response" (2:10) ending the album with a dreamy Hawai'ian soundtrack piece courtesy of one Gary Burton, the gentle camaraderie between Gary and Larry is perfectly on display here--which makes for an excellent song to exit with. (4.5/5)
Total time: 32:46
I have absolutely no complaints about this album. The music is wonderful, the performances outstanding--especially from the two guys up top--offering the world some entertaining and enjoyable Jazz music to feast from. The credit for contributing in a major way to the launch of Jazz-Rock Fusion is a little generous, though Larry Coryell's cross-pollinated background (and preferences) definitely come shining through (such a versatile guitarist!) but the foundational music and finished products here belong almost exclusively to the Jazz world.
89.167 on the Fishscales = B+/four stars; an excellent collection of contemporaneous Jazz tunes remarkable for the occasional injection of "outside" sounds from eclectic guitarist Larry Coryell.
December
