?Jazz Views has rapidly become one of the most important jazz websites in the UK.?
Provocateur Records
| Site Map | |
| Home Page | |
| March 2005
| |
| Geoff Eales/Tom Hill/Musicians Play List
| |
| Stephan Micus/Book Reviews
| |
| DVD Reviews/Extended Analysis >
| |
| Live Reviews
| |
|
Built using 123web | |
| |
| On This Page: DVD REVIEWS / EXTENDED ANALYSIS
INDEX Peter Erskine Trio - Live at Jazz Baltica Horace Silver Quintet- Recorded Live at the Umbria Jazz Festival Various Artists - Double Time Jazz Collection: Tribute to John Coltrane/Tribute to Bill Evans The Peter Erskine Trio - Live at Jazz Baltica Hudson Music Recorded 1993; DVD released 2004  American drummer Peter Erskine?s mid-to-late ?90s trio, featuring British pianist John Taylor and Swedish double-bassist Palle Danielsson, was arguably one of the best piano trios of the time, albeit never reaching the kind of broad recognition in North America that it deserved. Over the course of four records, beginning with the intensely lyrical You Never Know (ECM, ?93) and finishing with the more oblique but no-less-compelling Juni (ECM, ?99), the trio went a long way towards cementing the already solid reputations of each member, in an introspective context that more closely reflected the European concerns of all involved. In fact, along with Swedish pianist Bobo Stenson?s equally reflective trio, there were few, if any, trios out there who were so elegantly mining the rich tradition of post-Evans impressionism coupled with a deeper sense of space.Previously available only on VHS tape, Hudson Music has finally reissued the Erskine Trio?s compelling performance at Jazz Baltica in Salzau, Germany. Live at Jazz Baltica captures the trio in its earliest days, shortly after the release of You Never Know in ?93, and is intriguing as a counterpoint to the recording. While none of the delicacy that made the trio so notable is missing, there?s also a stronger sense of swing, a firmer extroversion that comes as something of a surprise to those only familiar with the more ethereal approach of their recorded work. While Taylor had been on the scene for over twenty years by this point, a case could be made that it was with this trio that he began a stylistic upswing into the distinctive musical personality that he is today. Less a linear player, Taylor?s style is characterized by a rich harmonic density that still manages to be imbued with an awareness of the value of space, of letting notes and phrases breathe. And while his work in his own on-again-off-again Azimuth trio has demonstrated a remarkable composer capable of melding beautiful melodies with a more abstract sensibility, this trio seems to be the watershed point where he began to emerge as a composer of note. The three compositions that he contributes to this 75-minute set ? ?Pure and Simple,? ?Evan?s Song? and ?Clapperclowe? -- are all distinguished by his ability to take more outr? harmonic concerns and make them wholly engaging and accessible. Able to move from subtle thematic ideas to rapid flurries of notes, with this trio Taylor left behind his more direct references, becoming a pianist with a personal vernacular that is becoming increasingly influential with each passing year. Danielsson has a rich history that goes back to early work with Stenson and Norwegian saxophonist Jan Garbarek, not to mention pianist Keith Jarrett?s popular European Quartet of the ?70s. With a deep tone that resonates in the gut and an ability to anchor the proceedings while responding empathically to his musical surroundings, Danielsson has an uncanny ability to drive and support at the same time. On Vince Mendoza?s deceptively simple yet evocative ?She Never Has a Window,? Danielsson comfortably straddles the fence between tension-and-release, push-and-pull, occasionally filling the spaces with curious rhythmical conceits that seem telepathically picked up by Taylor and Erskine. Erskine has always been something of a perpetual student. Having first come to the attention of the public through his work with Stan Kenton and then with Weather Report, Erskine?s non-invasive approach to this trio is simply remarkable and, like Taylor, represents something of a turning point in his career. And, also like Taylor, while he had composed some fine pieces up to this point, the symbiosis of the trio seems to have encouraged him to write some of the best compositions of his career, including the beautifully melancholy ballad ?On the Lake,? a tune that Erskine has gone on to record in numerous other contexts but is arguably interpreted best by this trio. While Erskine continues to grow as a drummer and writer, there is something magical about this trio that he has since yet to surpass; a combination of song-like clarity and economy with a sense of adventure that rarely comes along in any artist?s career. While Erskine, like Taylor and Danielsson, is in possession of unquestionable technique, it is the absolute commitment to service of the song that makes his playing so refreshing in this context. Every note, every phrase, counts with this trio, and while the abilities of each member are always in clear evidence, there?s nothing superfluous or wasteful to be found. Yet, unlike the recordings, which are more inward-looking, it becomes evident that in performance -- subtly, grace and elegance aside -- this is a trio that could also be exciting. Danielsson?s ?Palle?s Headache,? while somewhat subdued on Time Being (ECM, ?94), positively bristles with energy and gregarious interplay. Beautifully-recorded, the multiple camera angles lend a ?you are there? ambience to the experience. Expanded from the original VHS version, the DVD also includes a bonus track -- the encore of Erskine?s ?The Music of My People? -- and a discography complete with sound samples. It was with great disappointment that this trio came to an end in ?99, although everyone, most notably Taylor, has gone on to further accomplishment. But for those who were unable to catch this fine trio in concert, Live at Jazz Baltica is a welcome release; and for those who were fortunate enough to have seen them, a reminder of just how vivid and vibrant this trio could be. Visit Peter Erskine on the web. Personnel: John Taylor (piano), Palle Danielsson (double-bass), Peter Erskine (drums, percussion) Track Listing: Everybody?s Song But My Own; Pure and Simple; Touch Her Soft Lips and Part; Palle?s Headache; Evan?s Song; She Never Has a Window; On the Lake; Clapperclowe; Bonus Selection: Encore: The Music of My People Reviewed by John Kelman Back To DVD Review Index Horace Silver Quintet- Recorded Live at the Umbria Jazz Festival TDK DVD DV-JHSQ Recorded live at the Umbria Jazz Festival, Italy, 20th July 1976  Even without knowing the date the performance captured on this DVD is clearly periodised by the fashions and hairstyles sported by the performers; the music, however, is timeless: pure unadorned acoustic hard-bop (but for the electric bass) that retains its potency in spite of everything that has happened in jazz music during the intervening years.What makes this DVD particularly appealing is that it records the existence of one of Silver`s least celebrated groups, moreover one that is at present un-represented on C/D. To the best of my knowledge this horn line-up made five recordings with Silver which (although I have to admit to never having heard them) appear to have been vitiated by extraneous devices like voices and strings, indicative of that period in history when modern jazz lost confidence in being itself. That doesn?t happen here and the four-tune set (all Silver originals) is gloriously straight ahead with the old master and his young lions turning in a blistering performance. Berg, who was yet to join Miles Davis with whom he was to receive scant exposure on record, plays tenor throughout and with an energetic authority that was never fully realised on record until quite late in his life; not until 1996 in fact when he released the excellent ? Another Standard?, his last C/D release before his tragic death in a road accident in 2002. Personally I prefer him to Michael Brecker, with whom he is often compared, finding in his playing an emotional warmth that in Brecker`s case often gets overwhelmed by brilliant technique. His front line running mate, Tom Harrell, plays with the crisp attack of a latter day `Brownie`, one of his principal sources of inspiration. His performance presages his successful and more visible sojourn as a member of the Phil Woods quintet that was to be but a few years away. His ability to spin seamless lines of clich? free music is as impressive here as it was to become as his career advanced and technique matured. Then of course there is Silver with his hallmark funkiness, consistent as ever, rooting the music in its blues tradition, never loosing sight of the need to swing and excite. So, no problem with the music; what about the production? Well, happily the camera keeps pretty much focused on the musicians and largely refrains from panning the audience every few seconds or the architectural detail of the surrounding environment. Some of the atmosphere of a live concert is captured but this includes extraneous nuisances like photographers crowding the stage and people with ants in their pants who resolutely refuse to sit down and listen to the music, moving in and out of vision competing for attention with the players. Eddie Gladden`s drum solo in the piece entitled ?In Pursuit of the 27th Man? is entertaining to watch but for me music is an audio art and but for the opportunity to see these personalities in action, personally I?d just as soon listen to a record. Horace Silver (piano); Bob Berg (tenor sax); Tom Harrell (trumpet); Steve Beskrone (electric bass); Eddie Gladden (drums). Track Listing: Adjustment; Barbara; In Pursuit of the 27th Man; Song For My Father Reviewed by Euan Dixon Back To DVD Review Index Various Artists - Double Time Jazz Collection: Tribute to John Coltrane/Tribute to Bill Evans Eagle Eye Media 1987.1991; reissued 2004  In its ongoing series of reissues under the Double Time Jazz Collection moniker, Eagle Eye Media has put together two tribute shows on one DVD that demonstrate how a conception that is reverent yet forward-thinking can work wonderfully in one instance, and somewhat less-so in another. Tribute to John Coltrane: Live Under the Sky is an almost relentless, take-no-prisoners homage to Coltrane that works because it tries to take his music to a new place that is nevertheless respectful of its roots. Tribute to Bill Evans: Live at the Brewhouse is less successful because, while the musicianship is uniformly excellent, the lineage to Evans is less direct. That wouldn?t necessarily be a problem, except that things never quite seem to click with the quintet.Tribute to Coltrane brings together Dave Liebman and Wayne Shorter on soprano saxophones, pianist Richie Beirach, bassist Eddie Gomez and drummer Jack DeJohnette for a 57-minute program that bristles with intensity from the get-go. Shorter is the perfect yin to Liebman?s yang; impressionistic and abstract to Liebman?s more overt expressionism and extremism. That?s not to say Liebman overplays, he doesn?t. But whereas Shorter came up at the same time as Coltrane, practiced together with him and, at least at one point as he explains in a brief interview at the start of the performance, was ?exploring the same part of the universe,? Liebman was more directly influenced as a youth by Coltrane, and so the lineage is more evident in his playing. But in the true spirit of Coltrane Liebman takes things a step further, with a personal stamp that has made him truly one of the most under-appreciated soprano saxophonists on the scene today. What is particularly remarkable about this ?87 concert, featuring only four extended pieces, is how well Shorter and Liebman work together; their interplay on ?India? and ?Impressions? is particular empathic, two players who both have strong musical personalities and yet are also compleat listeners. The only respite from the pulsing energy of this remarkable group performance is when Liebman and Beirach, associates for nearly 20 years at this point, perform a duet version of ?After the Rain? and ?Naima.? Beirach?s nickname is ?The Code? because he has developed a unique harmonic language, one that may have the influence of McCoy Tyner as its starting point, but, like Liebman, has been enhanced and altered into something more personal. Watching him in duet with Liebman is, again, an opportunity to see, hear and feel an incredible chemistry. Gomez is the rock and DeJohnette the maelstrom, creating his own tribute to Coltrane?s sheets of sound while, at the same time, maintaining a firm pulse for the rest of the group to work from. For a group that didn?t exist for any significant length of time, their ability to get to the essence of Coltrane?s spirituality while asserting their own sensibilities is extraordinary. On the other hand, the 53-minute Tribute to Bill Evans: Live at the Brewhouse is a collaboration that looks great on paper but never seems to quite come together. What can be said about trumpeter Kenny Wheeler? He?s clearly a giant of the jazz trumpet, someone who singer Norma Winstone once called ?the Ellington of our time,? and he plays with his typical melancholic lyricism and impeccable technique. Woodwind multi-instrumentalist Stan Sulzmann is equally capable, and when he is improvising in tandem with Wheeler there are some moments of magic. Pianist Gordon Beck clearly understands the link to Evans with a style that is, however, somewhat more direct. Bassist Dieter Ilg may be the surprise of the show; always a solid foundation, his solo piece is an exercise in incredible technique mixed with rich musicality. The problem may ultimately lie with drummer Tony Oxley. Oxley is a completely unique drummer with a hybrid kit of traditional drums and assorted other smaller drums, odd-shaped cymbals and a cowbell-shaped piece of metal that looks like it would fit on Paul Bunyan?s ox Babe. His free-wheeling approach has worked exceptionally well in more liberated contexts including Polish trumpeter Tomasz Stanko?s mid-?90s quartet and work with British woodwind player John Surman, pianist Paul Bley and bassist Gary Peacock. And despite his more outward-reaching tendencies he obviously has a firm grasp of swing. But in this context his turbulent playing doesn?t quite work. Ilg works hard at maintaining groove throughout, but it seems as if he?s always at odds with Oxley, who creates a tempestuous layer that seems to dominate the entire proceeding. That doesn?t mean that Tribute to Bill Evans is a waste of time. With players of this caliber there are definitely bound to be moments where sparks fly. But, sadly, the project fails as homage, because the interplay that was so essential to the core of Evans? work seems to be missing here for the most part. Still, the Tribute to John Coltrane segment is more than compelling enough to justify the DVD. And while Tribute to Bill Evans may be a somewhat failed attempt, there is enough fine playing to make it a worthwhile watch. Tribute to John Coltrane: Live Under the Sky Personnel: Wayne Shorter (soprano saxophone), David Liebman (soprano saxophone), Richie Beirach (piano), Eddie Gomez (bass), Jack DeJohnette (drums) Track Listing: Mr. P.C.; After the Rain/Naima; India; Impressions Tribute to Bill Evans: Live at the Brewhouse Personnel: Kenny Wheeler (trumpet, flugelhorn), Stan Sulzmann (saxophone, flute), Gordon Beck (piano), Dieter Ilg (bass), Tony Oxley (drums) Track Listing: Perri? Scope; Not the Last; Bass Solo (untitled); Blue in Green; Combination (drum solo); Orbit; Waltz for Debby Bonus Features: On-Screen notes about the concert; Full biographical details; Extensive background information on the artists and songs Reviewed by John Kelman Back To DVD Review Index Top of Page
Index: Dexter Gordon: The Complete Prestige Recordings Pat Metheny Group - The Way Up Jimmy Smith - Retrospective Winterfold Reissues: Two By Patrick Moraz/Bill Bruford Dexter Gordon: The Complete Prestige RecordingsPrestige 11PRCD-4442-2 2004 Collective Personnel: Dexter Gordon (tenor saxophone), Wardell Gray (tenor saxophone), Clark Terry (trumpet), Sonny Criss (alto saxophone), Jimmy Bunn (piano), Billy Hadnott (bass), Chuck Thompson (drums), Martin Banks (trumpet), Richard Boone (trombone), Dolo Coker (piano), Charles Green (bass), Larance Marable (drums), Booker Ervin (tenor saxophone), Jaki Byard (piano), Reggie Workman (bass), Alan Dawson (drums), James Moody (tenor saxophone), Barry Harris (piano), Buster Williams (bass), Albert "Tootie" Heath (drums), Bobby Timmons (piano), Victor Gaskin (bass), Percy Brice (drums), Junior Mance (piano), Martin Rivera (bass), Oliver Jackson (drums), Tommy Flanagan (piano),, Larry Ridley (bass), Gene Ammons (tenor saxophone), John Young (piano), Cleveland Eaton (bass), Steve McCall (drums), Jodie Christian (piano), Rufus Reid (bass), Wilbur Campbell (drums), Vi Redd (vocal), Wynton Kelly (piano), Sam Jones (bass), Roy Brooks (drums), Freddie Hubbard (trumpet, flugelhorn), Cedar Walton (piano), Billy Higgins (drums), Thad Jones (trumpet, flugelhorn), Hank Jones (piano), Stanley Clarke (bass), Louis Hayes (drums), Hampton Hawes (piano, electric piano), Bob Cranshaw (bass), Kenny Clarke (drums), Cannonball Adderley (alto saxophone), Nat Adderley (cornet), Kenneth Nash (congas) Recorded between 08/27/50 and 07/07/73 ?Even his walk is bebop? ? Bernard Tavernier, director of Round Midnight ?The 6 foot 5 gentle giant of a man was also the personification of urbane wit and sophistication. ? ? Bruce Lundvall When one thinks of the progenitors of bebop, one typically thinks of artists including alto saxophonist Charlie Parker, trumpeter Dizzy Gillespie, pianists Thelonious Monk and Bud Powell, and drummer Max Roach. Notably absent is a tenor player in that list, and there is no doubt that the man who defined bebop on the bigger horn was one Dexter Keith Gordon, who, emerging in the ?40s from under the shadow of Lester Young, Jimmy Dorsey, Coleman Hawkins and the lesser-known Dick Wilson, went on to not only become the premier representative of the tenor in bebop, but demonstrated a remarkable penchant to continue evolving within the genre. He may have initially influenced younger players including Sonny Rollins and John Coltrane, but when they became innovators in their own right Dexter took back as much as he gave, his style growing constantly until his death in ?90 at the all-too-young age of 67. But Gordon left a huge recorded legacy, including some classic sides for Blue Note, Columbia, Steeplechase and Prestige. With the release of The Complete Prestige Recordings, a whopping 11-disc set which include sessions pre-and-post-dating his time with Blue Note in the ?60s, one can hear the growth in Gordon?s style even as his consistency and distinctive voice remain intact. With 88 tracks, including 16 previously unissued takes, this is a treasure trove of Gordon and, for that matter, bebop at the highest level. Beginning with a tenor duel with Wardell Gray from Wardell Gray Memorial, Vol. 2, a ?50 session that finds Gordon in the fine company of trumpeter Clark Terry and alto saxophonist Sonny Criss, ?Move? demonstrates that by the age of 27 Gordon had already established what would be the defining characteristics of his style: a relaxed, behind-the-beat approach that made the body move unconsciously; a dry wit that was manifested by liberal quoting, in his solos, of material from popular songs and jazz standards of the day; a warm and robust tone that was bold and deep at the bottom and rich and full at the top; and an uncanny ability to navigate the complex chord changes of bebop and run a melody through them like a needle through a thread. Like many of his peers, Gordon struggled with drug abuse and, indeed, spent much of the ?50s incarcerated. So when he re-emerged (one of many times he would do so) on parole in ?60, he was quickly brought back to the studio for the album The Resurgence of Dexter Gordon, an album that featured a number of West Coast player (where Gordon was residing) including drummer Larance Marable, who continues to work to this day as a member of bassist Charlie Haden?s Noir-ish Quartet West. But the order of the day for this session was bebop, and in the context of a sextet, an unusually large ensemble for Gordon, he proved that not only was he back, but that the time spent in prison had not gone to waste. Clean and confident, the six tracks from this album have Gordon in fine form, sharing the solo space equally with the rest of the ensemble that also includes trumpeter Martin Banks, trombonist Richard Boone, pianist Dolo Coker and bassist Charlie Green. On the mid-tempo swinger ?Lovely Lisa? his phrasing is so laid back that one almost has to catch one?s balance. But by being so egalitarian, Gordon?s solos are shorter than usual, although they still demonstrate the distinctive characteristics that make The Resurgence of Dexter Gordon a true event. Such an event, in fact, that shortly after the album was released Gordon was signed to Blue Note, where he recorded a number of records between ?61 and ?65 including Dexter Calling and Go, albums that placed him squarely and rightly in the public eye again. In late ?62 Gordon turned a gig at London?s Ronnie Scott?s into a two year European stay that resulted in additional Blue Note recordings, including the classic Our Man in Paris. Ultimately relocating to Copenhagen, where he would live until ?76, Gordon worked regularly around Scandinavia and continental Europe. In ?65 he joined tenor player Booker Ervin for two extended jam sessions that would become Setting the Pace under Ervin?s name, featuring pianist Jaki Byard, bassist Reggie Workman and drummer Alan Dawson. On the two 20-minute Gordon compositions that make up the album Gordon demonstrates another facility -- the ability to create extended solos that are never repetitive, never become tired; as long as Gordon?s solos are he never overstays his welcome. Brimming with ideas and filled with the dry wit that is as much a part of his personality as it is his playing, the fast-swinging title track and equally uptempo ?Dexter?s Deck? also show what a terrific rhythm section Byard, Workman and Dawson are --- again, never sounding tired, generating excitement from the background that drives both Gordon and Ervin to dizzying heights, a true classic of the two tenor tradition. While Gordon recorded with Blue Note through most of the ?60s, he always remained in touch with Prestige producer Don Schlitten and, in February ?69 Gordon signed a contract for two records, releasing The Tower of Power! and More Power!, yet another of Gordon?s re-emergences that generated considerable excitement with his American fans, many of whom had lost track of Gordon while he was in Europe, where in the years following his Blue Note recordings he recorded for European labels including Steeplechase and Black Lion. Both sessions feature the inestimable rhythm section of pianist Barry Harris, bassist Buster Williams and drummer Albert ?Tootie? Heath, along with guest James Moody, keeping the two tenor tradition alive on six of the 17 tracks the group recorded in a marathon session over two days in April ?69. For the studio sessions Schlitten allowed the group remarkable freedom to stretch out on pieces including Tadd Dameron?s ?Lady Bird,? Jobim?s ?Meditation? and a host of Gordon originals including the medium tempo swinger ?Fried Bananas,? which would become a staple in Gordon?s repertoire for years to come. Sessions done, before returning to Europe Gordon arranged for a number of gigs including a May 4th, ?69 date for the Left Bank Jazz Society at the Famous Ballroom in Baltimore, with a pick-up group that included ex-Art Blakey pianist Bobby Timmons, bassist Victor Gaskin and drummer Percy Bryce. The seven tracks recorded from the date were ultimately released on two albums - L.T.D./Live at the Left Bank, ?L.T.D.? standing, of course, for ?Long Tall Dexter,? and XXL/Live at the Left Bank. The tracks, which include a poignant version of Ellington?s ?In a Sentimental Mood,? where Gordon literally wrings the emotion out of his horn, and an extended medium-tempo take on Cole Porter?s ?Love for Sale,? demonstrate that regardless of the context, Gordon?s conception remains clear and distinct. And on the 24-minute take on Monk?s ?Rhythm-a-ning,? Gordon maintains an energy throughout his seven-minute solo that is simply remarkable. It is interesting to note that until his return to the United States in the mid-?70s, Gordon never actually had a consistent band for any length of time. Yet he generally managed to choose his players wisely, performers who clearly understood the tradition from whence he came while, at the same time, injecting the modernity of the time in their playing. Following his return to Copenhagen, Gordon?s contract with Prestige was renewed and sessions were set up for two more records. But in the interim Gordon joined pianist Junior Mance and his band at Montreux; the result being Dexter Gordon with Junior Mance at Montreux. Their take on Gordon?s ?Fried Bananas? is somehow cleaner, more refined than the version Gordon recorded on More Power!, and this date gives Gordon the chance to try out a new blues composition that would become the title track for the first of his next two albums with Schlitten, The Panther!. Featuring the refined and elegant playing of pianist Tommy Flanagan, bassist Larry Ridley and drummer Alan Dawson, everything about The Panther! seems right. Dawson and Ridley bring just the right blend of tenderness and groove to the implied waltz feel of ?Body and Soul,? while Gordon?s wide vibrato, controlled and used to subtle effect, enhances his lyrical reading of his own ?Valse Robin.? Gordon can be playful, as he is on the medium tempo original, Mrs. Miniver,? or fiery and clever on Clifford Brown?s uptempo ?Blues Walk.? While Gordon was touring the States in ?70, Chicago impresario Joe Segal brought him together with tenor player Gene Ammons for the first time in over 25 years for a date at The North Park Hotel. The resulting recording, The Chase! features one tune each featuring Gordon and Ammons alone, and then brings them together for the traditional two tenor workout. Interestingly, the afternoon performance featured a different rhythm section than the evening show, with Rufus Reid on bass in the evening, a player who would ultimately be a member of Gordon?s working band in the late ?70s. The evening show also featured, uncharacteristically for Gordon, a vocalist. Vi Redd brings some diversity to the set, with a raspy delivery and clear gospel roots. Gordon wound up this visit to the States with another studio session for Schlitten, this time in the company of pianist Wynton Kelly, bassist Sam Jones and drummer Roy Brooks for The Jumpin? Blues. By this time Gordon had begun to incorporate some of the harmonic inventions of the avante garde movement into his playing, although his playing could never be considered on the edge. But by this time he was able to take things just the slightest bit out, as he does on the quartet?s rousing take on ?Rhythm-a-ning,? by this time another staple in Gordon?s repertoire. Kelly is as on the money as usual, but the star of the rhythm section has to be Jones, whose rock solid support and unerring sense of placement gives the whole session a vivid feel. Gordon came back to the US in June of ?72, ostensibly for two more albums which, on the strength of the sessions, ultimately turned into three releases: Tangerine, Generation and Ca?Purange. On all of Generation and one track of Tangerine the line-up was a supergroup consisting of trumpeter Freddie Hubbard, pianist Cedar Walton, bassist Buster Williams and Billy Higgins, whose joyous drumming elevates these sessions to amongst the best of the box. There?s a stronger sense of interplay as Higgins tunes into Gordon, Hubbard and Walton, providing accents and shots that always make sense, are never superfluous. Hubbard, a player with a broad reach but a hard bopper at heart, feels right at home here, delivering a warm but boisterous flugelhorn solo on Monk?s ?We See.? For the second session, that resulted in the bulk of Tangerine and all of Ca?Purange, Gordon and the group, consisting of trumpeter Thad Jones, pianist Hank Jones, bassist Stanley Clarke and drummer Louis Hayes, for the first time show some influence of Afro-funk on the title track of Ca?Purange, and contemporary popular music on their reading of the Roberta Flack hit, ?The First Time Ever I Saw Your Face.? While these more overtly contemporary settings feel a little out of place for Gordon, his own style remains intact, with a solo that drips emotion on the Flack tune, also featuring a moving flugelhorn solo from Jones. Up to this time Gordon had avoided the trappings of the electric movement that was occurring all around him. By ?73, when the last two sessions on the box were recorded, Miles had gone completely electric, as had artists including John McLaughlin, Herbie Hancock, Chick Corea, Joe Zawinul and Wayne Shorter. So it is no surprise that electric bass and electric piano should begin to invade Gordon?s approach to bebop that may have kept evolving over the years, but remained pure in terms of texture. Recorded July 7, ?73 with a band that included pianist Hampton Hawes, bassist Bob Cranshaw, and drummer Kenny Clarke, the band swings well enough, especially on an extended take of Jimmy Heath?s ?Gingerbread Boy,? and the interplay is certainly strong between the players, but somehow the electric piano feels a little out of place. Not that there?s anything wrong with electric instruments, but in context of Gordon?s work it just feels somehow wrong. Hawes is a fine pianist with a solid grounding in bop, but the more airy texture of the piano removes some of the overall weight of the group sound. The last track on the disk is taken from another concert the same day by Gene Ammons that featured an all-star line-up of the same group that recorded Dexter?s set, which was ultimately released as Blues ? la Suisse, but with the addition of Cannonball Adderley on alto, brother Nat on cornet and conga player Kenneth Nash. The 17-minute ??Treux Bleu? gives everyone a chance to strut, but suffers from the same problem as the Blues ? la Suisse set. But despite moments of weakness on the final disc, The Complete Prestige Recordings is a prime selection of material from the tenor player who did, indeed, define the tenor saxophone for the bebop movement. His Blue Note recordings may be the ones that people think of when they think of Gordon, but the truth is that he recorded more equally strong dates for Prestige and Don Schlitten. Following these fine dates Gordon would return to Copenhagen one more time, only to come back to the United States in ?76 and relocate there for the balance of his life, recording a number of solid albums for Columbia and finally having something that he never had for the majority of his career ? a regular working band. But The Complete Prestige Recordings highlight a time in his life when he was moving back and forth from Europe to the United States, taking in the influences of a variety of locales, and bringing them out in his music in a way that was consistent yet always evolving. Gordon?s wife once said that ?He wanted to be remembered as the bebop tenor saxophonist,? and on the strength of this box his position is confirmed. Reviewed by John Kelman Top of Page / Extended Analysis: Back To Index Pat Metheny Group - The Way Up Nonesuch Records Pat Metheny (acoustic, electric, synth and slide guitars), Lyle Mays (acoustic piano, keyboards), Steve Rodby (acoustic and electric basses, cellos), Cuong Vu (trumpet, voice), Gregoire Maret (harmonica), Antonio Sanchez (drums) Guests: Richard Bona (percussion), Dave Samuels (percussion) Recording dates unknown  Like him or not, the one thing you cannot accuse guitar icon Pat Metheny of is complacency. Over the course of his thirty-year career he has tackled everything from the Midwestern folk sensibility of New Chautauqua to the free-spirited interplay of his collaboration with Ornette Coleman, Song X. But as significant and diverse as his solo efforts have been, the project that has been most near and dear to his heart has been Pat Metheny Group, now in its 27th year. While there have been numerous personnel changes over the years, the core group of pianist/keyboardist/co-composer/co-producer Lyle Mays and bassist/co-producer Steve Rodby has been in place since ?81. Over the course of a dozen recordings the group has evolved into a tightly-knit unit that manages to combine the excitement and unpredictability of jazz improvisation with an almost microscopically-detailed approach to composition that is remarkable for its ability to deceive the listener into thinking that the compositions of Metheny and Mays are less complex, more straightforward, than they really are. But take the time to really explore their writing and the performances, and it becomes obvious that what the group does is truly multifaceted and multi-layered, sometimes seemingly infinitely so.Nowhere is this more evident than on their latest release, The Way Up, which surely ranks among albums including Imaginary Day and The First Circle in terms of overall ambition. But whereas previous Metheny Group records have been a collection of discrete compositions, The Way Up goes a step further, being a single 68-minute composition that is as compelling to listen to as it is complex and challenging to assess. What makes The Way Up so remarkable is its sense of drama, and a keen visual sense that makes the entire piece, divided into four tracks for the purpose of navigation only, truly feel like a single composition rather than a series of interconnected segments. Themes are introduced and reiterated throughout the course of the piece; sometimes blatantly, other times so subtly that they only reveal themselves after repeated listens. Musically, while arguably the broadest in reach of any Metheny Group record, it still exhibits all their signature characteristics: cinematic scope, evocative melodies, telepathic improvisational interplay and the broadest of sonics. Metheny, always one to use a wide array of guitars, outdoes himself this time with possibly more layered instruments than on any previous recording. From acoustic guitars to guitar synthesizer to warm electric tones, overdriven rock-inflections and even slide guitar, Metheny creates a virtual guitar orchestra; and yet, as thick as the layers become, every instrument has its place and nothing feels superfluous. As always, Mays also layers a variety of keyboard textures, and this time around, in addition to acoustic and electric basses, Rodby adds celli to the sonic mix. The real question, after hearing the disk, is how they?ll be able to recreate the rich audioscape of the piece in concert, even with the addition of multi-instrumentalist Nando Lauria to the touring band that hits the road in February of this year. Back from Speaking of Now, the group?s last disk, are trumpeter/vocalist Cuong Vu and drummer Antonio Sanchez. Sanchez, who Metheny has called the greatest drummer of his generation, is an even stronger force this time around, and yet for all his power and vitality, he is capable of extreme subtlety during the more subdued passages. Vu?s role is greater this time; his extended techniques on trumpet adding yet another textural layer to the mix. And when he is given solo space it becomes clear that he is a strong emergent voice on the instrument, with one foot in past traditions and the other firmly stepping forward to the future. One never knows how long a given incarnation of the group will last, but Vu clearly ought to go on to greater heights as a result of the experience. Newcomer/harmonicist Gregoire Maret, who has played with artists including Charlie Hunter, Cassandra Wilson and Steve Coleman, brings a new timbre to the band. Each project he has been involved in leading to this point has stretched the boundaries of his instrument, and his playing on The Way Up continues to push the envelope. Deeply melodic yet surprisingly unconventional in the way he develops his ideas; Maret is another star on the rise. A notable change with The Way Up is the reduced role of vocals. While albums since The First Circle have featured vocals prominently, with earlier albums including Offramp using them to a lesser extent, there is only one segment of the new record that features Vu?s wordless vocalizing. Some may miss this signature characteristic of Metheny Group?s sound, but it really only points to the fact that Metheny aspires to building an ever-widening palette of musical colours, often using them to greater excess in the early stages and then, ultimately, integrating them into the larger whole. His signature Roland GR-300 guitar synthesizer tone, for example, while figuring prominently on albums including the live recording Travels, is used on the current disk, but is now far from a primary texture. With the ambitious idea of one continuous piece, This Way Up could easily fall into traps of bombast and melodrama, but it?s to the credit of Metheny and Mays as composers, and to the group as interpreters, that nothing ever seems overblown or excessive. The piece even ends with an extended coda of gentle beauty rather than thundering finale, one that serves as a delicate end to a voyage that is almost circuitous in bringing one back to the start of the piece, making the question of The Way Up truly ambiguous and, consequently, something of an enigma that will leave listeners with more questions than answers. Visit Pat Metheny Group and Nonesuch Records on the web. Reviewed by John Kelman Top of Page / Extended Analysis: Back To Index Jimmy Smith - Retrospective Blue Note 7243 4 73165 2 4A Jimmy Smith (organ), with collective personnel: Thornel Schwartz (guitar), Bay Perry (drums), Donald Bailey (drums), Donald Byrd (trumpet), Lou Donaldson (alto saxophone), Hank Mobley (tenor saxophone), Eddie McFadden (guitar), Art Blakey (drums), Kenny Burrell (guitar), Lee Morgan (trumpet), Curtis Fuller (trombone), George Coleman (alto saxophone), Tina Brooks (tenor saxophone), Philly Joe Jones (drums), Percy France (tenor saxophone), Blue Mitchell (trumpet), Grant Green (guitar), Jackie MacLean (alto saxophone), Ike Quebec (tenor saxophone), Quentin Warren (guitar), Stanley Turrentine (tenor saxophone), John Patton (tambourine), Grady Tate (drums), Errol ?Crusher? Bennett (percussion) Recorded 02/18/56 ? 01/03/86 With the proliferation of Hammond B-3 organ players that have emerged in the past ten years including Joey DeFrancesco, Larry Goldings, John Medeski and Dan Wall, it?s hard to imagine a time when the instrument wasn?t a common texture And, as the liner notes to the long-overdue four-disc look at B-3 progenitor Jimmy Smith?s early career on Blue Note, Retrospective, say: ?Jimmy Smith did not invent jazz organ, or the Hammond B-3 for that matter ? it just seems that way.? To be certain, there were earlier precedents with the use of the Hammond in soul/rhythm and blues combos by converted pianists including Milt Buckner, ?Wild? Bill Davis and Bill Doggett, but it was Smith who literally redefined the potential of the instrument. While grease and grit were (and still are) more often than not a part of Smith?s vernacular, he also demonstrated a solid understanding of a more advanced harmonic language that incorporated a clear understanding of bebop, and single-handedly brought the instrument to prominence as a self-accompanying instrument, mastering the bass pedals to the point where a bassist became, quite literally, superfluous. In fact, over the course of this 38-song collection, culled from Smith?s earliest recordings with the label that helped build his reputation, there?s nary a bass player to be found. And Smith?s most common format-of-choice ? guitar, organ and drums ? would become a model for others to follow, including guitarists Wes Montgomery and, more recently, John Abercrombie, whose mid-?90s trio with Dan Wall and Adam Nussbaum brought the format into a more modern context. Disc one of the collection focuses on Smith?s early trio recordings with guitarist Thornel Schwartz and drummers Bay Perry and Donald Bailey ? Bailey becoming a fixture with Smith throughout the majority of his Blue Note recordings, with the exception of Art Blakey who worked with Smith on a handful of sessions in February, ?57 and, again, the following year in February, ?58. Bailey demonstrates a defter touch and more innate sense of groove than Perry, making tracks like Dizzy Gillespie?s uptempo ?The Champ? and Smith?s equally-propulsive Afro-Latin ?Judo Mambo? swing along like mad. Schwartz, while occasionally not quite making the energetic bop lines that he attempts, still manages to be a suitable solo foil for Smith, contributing rich accompaniment on the trio?s soulful rendition of the classic standard, ?Willow Weep for Me.? With Smith?s prodigious technique, mind-boggling independence of hands and feet on the keyboards and bass pedals, and progressive use of the stops on the B-3 creating a tapestry of timbres, it wasn?t long before he had caught the ear of more than just the listening public ? other musicians were beginning to stand up and take notice. Disc Two features Smith with other Blue Note stable-mates including Blakey, saxophonist Lou Donaldson and guitarist Kenny Burrell. Their version of Charlie Parker?s ?Yardbird Suite,? from Jimmy Smith at the Organ demonstrates how it is possible to combine more complex improvisational flare with an indubitable, almost primal sense of soul. Nowhere is Smith?s impeccable sense of time more evident than on his reading of the classic Gershwin ballad ?Summertime? where, in duet with Donaldson, Smith manages to carry everything from a sensitive and gently-swinging accompaniment for Donaldson to a remarkably self-sufficient solo section where, a Capella, Smith is like a miniature orchestra all on his own. Disc Three opens with the 20-minute ?The Sermon,? which continues to assert Smith?s relaxed sense of groove in a sextet with Donaldson, Blakey, Burrell, trumpeter Lee Morgan and tenor saxophonist Tina Brooks. Lengthy blues such as this can often overstay their welcome, but with a loose and instinctive swing that is so natural, so physically-engaging, the time simply flies by. And as much as Smith is attracted to contemporary bebop like Monk?s ?Hackensack,? he?s equally drawn to gospel-inflected numbers like Ray Charles? ?I Got a Woman,? where Smith and Burrell seem engaged in an ongoing playful conversation. Even traditional tunes like ?When Johnny Comes Marching Home? get the Smith treatment ? shifting between Bailey?s militaristic rolls and a relaxed medium-tempo swing that highlights the playing of guitarist Quentin Warren, another Smith collaborator who, like Burrell, combines an economical blues approach with broader harmonic conceits. Disc four features more Smith staples, including ?Back at the Chicken Shack,? a tune that has become a standard for blues bands everywhere, but with a lighter and more subtle touch than most versions to follow. Bailey lightly drives Smith?s more insistent bass pedal work and saxophonist Stanley Turrentine delivers a blues-drenched solo that is a harbinger of things to come. From the slow grind of ?Pork Chop? to the gospel touch of ?Can Heat,? and from the tender balladry of ?Come Rain or Come Shine? to the light shuffle of ?Prayer Meetin?,? Smith?s reputation by this time was secure as an innovator who blurred the lines between rhythm and blues, gospel and jazz. While ?63?s Rockin? the Boat would be Smith?s last recording for Blue Note until the mid-?80s when he would return temporarily, and some of Smith?s Verve sides later in the decade and into the ?70s would both find him furthering his reputation in collaboration with artists including Wes Montgomery and finally see him working with the occasional bassist, it is unquestionably his early recordings for Blue Note that established his name and position as the man to bring the Hammond B-3 to jazz. While others would go on to further innovation, their debt to Smith is clear. While the instrument would, no doubt, have eventually found its way into a jazz context without him, there is little doubt that without Smith?s forward-thinking ideas about its role as a self-accompanying and orchestral instrument the Hammond?s role would be significantly changed. Retrospective is both a terrific entry point for new listeners and a confirmation for existing ones of Smith?s monumental role in the history of jazz, one that has been compared to the landmark innovations of guitarist Charlie Christian, and with good reason. Visit Blue Note Records on the web. Reviewed by John Kelman Top of Page / Extended Analysis: Back To Index Winterfold Reissues: Two By Patrick Moraz/Bill Bruford With drummer Bill Bruford, known for his work with progressive rockers King Crimson and Yes, but perhaps someone who should be more duly considered for his recent forays into jazz with his Earthworks band, currently featuring British woodwind multi-instrumentalist Tim Garland, the creation of his own record label seems, as it has for many artists including Dave Holland and Dave Douglas, the next and right logical step. But with a diverse catalogue of projects that stretches back nearly 30 years, Bruford has gone a step further and created not one, but two labels, breaking up his work at the watershed point of ?87, where his projects took on a more distinctly jazz-informed flavour. The first label, Summerfold, which issued Random Acts of Happiness, its first disk of new material late last year with his current Earthworks band to much critical acclaim, is also dedicated to reissuing Bruford?s more overtly jazz projects, beginning with the late ?80s Earthworks Mark I, his one-off project with Ralph Towner and Eddie Gomez, If Summer Had Its Ghosts, his recent incarnation of Earthworks Mark II, plus, of course, any new releases in which he is involved. The second, Winterfold, concentrates on his earlier, more progressive-leaning projects, including his first band, Bruford, which recorded albums including One of a Kind and Gradually Going Tornado. The intention is to reissue these disks in remastered form, and in some cases with bonus material. Rumour has it, in fact, that the live The Bruford Tapes will be reissued as a two CD set, with a full evening?s worth of music. As a bonus feature, for the time being at least, all Summerfold disks come with a bonus disk that is a sampler of some of the material that can/will be found in the Winterfold catalogue; similarly, purchasing a Winterfold disk will give you a bonus CD with a selection of material from Summerfold. The purpose is the try and migrate audiences who are more familiar with the recent jazz-inflected Bruford projects towards his earlier material, and to get fans of his more progressive rock work to check out his current direction. A savvy marketing move and one that has already been garnering positive response from fans abroad.  The first two disks to be issued by Winterfold are oddities in the Bruford catalogue; two duet recordings that he made with Swiss keyboardist Patrick Moraz, Music for Piano and Drums, originally released in ?84, and Flags, issued in ?85. At least they seemed like oddities at the time, but Bruford?s recent CD and DVD issues with Dutch pianist Michiel Borstlap, Every Step a Word, Every Word a Song and In Concert in Holland, show that Bruford has, along with so many other things, a definite affinity for the stark setting of piano and drums.Moraz/Bruford - Music for Piano and Drums Bill Bruford Website BBWF001CD 1984; Reissued 2004 Moraz, best known for his short stint with Yes (albeit not at the same time as Bruford) and their classic recording Relayer and as keyboardist for The Moody Blues, always had broader aspirations. As, at the time, did Bruford. Bruford?s main gig at the time of this recording may have been with the ?80s incarnation of King Crimson that released albums including Discipline</I> and Three of a Perfect Pair, but his personal interest was beginning to lean more and more towards jazz, something that was always in his background. So when Moraz and Bruford got together, the idea was to perform in a duet context that leaned heavily towards improvisation. While only two of the tracks on Music for Piano and Drums are clear free improvisations by Moraz and Bruford, exploration is the order of the day on the entire disk, which includes three bonus tracks taken from a live performance in Tokyo from ?85. One of the things that the recording demonstrates, when taken in comparison with Bruford?s more recent work, is just how far he?s come in terms of loosening up his approach. Bruford was, with Yes and King Crimson, an incredibly mathematical and precise drummer, creating odd and captivating rhythmic patterns that displaced the beat in new and intriguing ways. But that same logical exactness would be a detriment to him approaching a more unstructured context. Still, the music on Music for Piano and Drums is remarkably loose. Ranging from the clearly constructed and classically-informed ?Children?s Concerto? to more the more free-ranging ?Living Space? and ?Any Suggestions,? there is an interesting simpatico between Moraz and Bruford that demonstrates a broader capability than their ?day gigs? of the time would imply. Moraz may have come from a classical background, but concurrent with those pursuits he was displaying a strong interest in jazz, as evidenced by his winning Best Soloist award at the ?63 Jazz Festival in Munich. Easily capable of abstraction, Moraz is clearly a more expressionist player; although he is au fait with impressionism as well. ?Eastern Sundays? begins darkly, with Moraz creating an ethereal ambience supported by Bruford?s deft cymbal work, but the piece ultimately evolves into a somewhat restrained free-for-all. The three live bonus tracks are, in some ways, less successful than the studio pieces, if only because Moraz, rather than restricting himself solely to acoustic piano, adds synthesizer to the mix. The result, however, is an interesting contrast to the studio material; the studio version of ?Blue Brains,? for example, has Moraz plucking the strings of the piano in a delicate way before introducing the main theme. The live version has him using a percussive synthesizer tone that, while working, is somehow less compelling, less sonically appealing. Similarly Bruford has his acoustic kit augmented with electronic drums and the result is something less pure and undiluted. Still, it?s interesting to hear how the duo approaches the material with a larger arsenal of textures at their disposal. And these live tracks also serve as an indication of where the duo would go with their follow-up album, Flags. But back to the original studio recording. Albums like this always tend to challenge the preconception that there has to be a fuller ensemble. Stark and spacious at times, equally rich and full at others, Moraz and Bruford create a broad tapestry with only two instruments that, considering their primary occupations at the time, must have come as quite a surprise to many of their fans. But reassessing Music for Piano and Drums now, twenty years later, it makes perfect sense. Certainly this project was an eye-opening precursor to what would follow in Bruford?s career as a leader. Moraz/Bruford - Flags Bill Bruford Website BBWF002CD 1985; Reissued 2004 The follow-up to Music for Piano and Drums is more along the lines of what fans might have expected the first time around. Flags features Moraz?s augmenting his piano work with his Kurzweil synthesizer; a fuller production with overdubbing, and more structure. Still, to contrast purely anthemic tracks like the opening ?Temples of Joy,? Bruford and Moraz offer moments of pure improvisations, including the driving ?Split Seconds? and ?Infra Dig,? which is based around a challenging theme but ultimately evolves into a more free-flowing exploration, with Bruford?s light cymbal work and strategically placed shots providing interesting counterpoint to Moraz?s more flowing lines. Again the chemistry between the two is clearly evident. But to give the album more diversity, the duo juxtapose these more liberal extemporizations with pieces that are clearly more songs than experiments, like the pretty ?Karu,? which is a solo feature for Moraz, who layers all manners of synthesizer tracks over his basic piano performance. ?Impromptu, Too!? is samba with a progressive edge that reflects Moraz?s interest in Brazilian music and, yet again, demonstrates an unheard side of Bruford?s playing. The title track is a lyrical ballad, with Bruford providing light forward motion over Moraz?s spacious piano, until the synthesizers enter and the piece develops, again, into a song-based feature for Moraz?s tasteful keyboard work. ?The Drum Also Waltzes? is a Bruford feature, a Max Roach composition where Bruford layers his melodic drum solo over a simple ? sequence. Taken from the same Tokyo live performance as on Music for Piano and Drums, three bonus tracks featuring more electronic interpretations of pieces from Music for Piano and Drums feel more in context with the concept of Flags; still loosely improvisational, the use of assorted synthesizer tones create a more compatible timbre. And the concluding track, ?Galat?a,? returns the duo to the sheer clarity of simply piano and drums. Still, more ambitious than Music for Piano and Drums from a production perspective, Flags is clearly a completely different record, based more on overt structure and through-composition that manages to demonstrate the potential power of the duo. But in some respects Music for Piano and Drums is a more successful record in its stark simplicity and freedom. Regardless, both disks are welcome reissues that demonstrate the breadth of Bruford and Moraz?s musical concerns. And the two recordings place a spotlight on Bruford as a more versatile drummer capable of freer explorations and a more elastic time sense, qualities that he would ultimately develop further with projects beginning with Earthworks Mark I in ?87. Music for Piano and Drums and Flags are, in fact, the perfect juncture between Bruford?s progressive leanings and his future jazz interests. Visit Bill Bruford and Patrick Moraz on the web. Music for Piano and Drums Personnel: Patrick Moraz (piano), Bill Bruford (drums) Track Listing: Children?s Concerto; Living Space; Any Suggestions; Eastern Sundays; Blue Brains; Symmetry; Galat?a; Hazy Bonus Live Tracks: Blue Brains; Flags; Hazy Flags Personnel: Patrick Moraz (Steinway D Concert Grand, Kurzweil 250), Billl Bruford (acoustic and electronic drums, percussion) Track Listing: Temples of Joy; Split Seconds; Karu; Impromptu, Too!; Flags; Machine Programmed by Genes; The Drum Also Waltzes; Infra Dig; A Way With Words; Everything You?ve Heard Is True Bonus Live Tracks: Eastern Sundays; Children?s Concerto; Galat?a Reviewed by John Kelman Top of Page / Extended Analysis: Back To Index |
Copyright ? 2002-2006 Jazzviews