"Things To Come From Those Now Gone" - Muhal Richard Abrams

I was fortunate enough to find a copy of this at my city library, it truly is a treasure.  I've listened to it three times completely through since obtaining it four days ago.  I've always been into stuff by Abrams or other artists involved with the AACM, but I haven't been able to get me hands dirty in a lot of recordings.  This particular album contains eclectic cuts with styles ranging from abstracted blues, free-form improvisation and even hard bop.

We start off with a subtly beautiful ballad called Ballad For New Souls, which has a tone that is comparative to a score that may have been composed for an Eames film.  The following song, the title track, starts off with a heavy tom section for a minute and a half before ripping into a thunderous assault of free improvising collectivism.  The horns flow freely while Abrams leads them with brilliant comping.  The track appears to be quicker than it is and then we step away  while Ella Jackson sings a short, slow tempo piece complementing Abrams called How Are You?.  

I particularly fell in love with the closing cut, March of The Transients, which is a strongly written composition with the intensity that could be paired with an action movie sequence.  It's stylized more like hard/post bop, comparable to Joe Henderson or Andrew Hill.  Abrams' solo floats freely and is followed by the horn ensemble reminding us of the theme using basic chord changes.  The band then trades eighths with the drummer a few times before returning to the composition closing out the album.

1972 - Delmark.

Muhal Richard Abrams - piano; Wallace McMillan - flute, sax; Edwin Daugherty, Richard Brown - sax, Emanuel Cranshaw - vibes; Rufus Reid - bass; Steve McCall, Wilbur Campbell - drums; Ella Jackson - vocals.

"Let Freedom Ring" - Jackie McLean

Jackie McLean's 1960s Blue Note albums are never fail high energy performances and well entertaining. I remember reading in Blue Note Records: The Biography that he struggled and was self-critical during his mid hard bop period with finding a comfortable sound. It wasn't until Ornette Coleman was on the scene allowing McLean to develop his style. In this LP, and others like Destination Out! (1963) and New and Old Gospel (1968, which features Coleman solely on trumpet), you can really here the influence in his horn. The band is swinging, especially Billy Higgins on drums. There's the classic hard bop sound, but McLean's playing dips further into uncharted territory with squeaks, grunts, and more free playing than his other hard bop contemporaries.

1962 - Blue Note.

Jackie McLean - Alto Saxophone; Walter Davis, Jr. -Piano; Herbie Lewis - Bass; Billy Higgins - Drums.

"Tijuana Moods" - Charles Mingus

This is a near flawless performance in my opinion.  I love the whimsicality of Mingus' compositions, and how the band alters the tempos constantly during tracks displaying how tight these guys were.  Mingus is praised for joining highly arranged parts mixed with sections where it sounds like the band is falling down stairs.  In this 1957 (released in 1962) session we can hear early demonstrations of this concept, and even though you don't immediately think of Mingus when you hear the term "free jazz," he certainly was an influence and opened a lot of doors for the avant-garde.

Dizzy Moods starts off calm with well harmonizing ensemble parts and straight forward solos.  Following this is the more roller coaster of a cut, Ysabel's Table Dance, which demonstrates the influence the city of Tijuana had on Mingus; this album was recorded shortly after a trip he had there.

One milestone is that this album solidified Dannie Richmond as a drummer for Mingus.  Prior to this he played sax in the band.  If you are a fan of "Tijuana Moods," check out "The Clown."  Both records pair nicely. 

1962 - RCA.

Charles Mingus -bass; Jimmy Knepper - Trombone; Curtis Porter - Shafti Hadi, Alto Sax; Clarence Shaw - Trumpet; Bill Triglia - Piano; Dannie Richmond - Drums; Frankie Dunlop - Percussion; Ysabel Morel - Castanets; Lonnie Elder - Voices.

"Yasmina, A Black Woman" - Archie Shepp

Sorry my posts are so few and between, it's been a crazy summer.  I'm still managing one post a month which will have to do for now.

"Yasmina, A Black Woman" is a wild ride of session recorded in Paris by Shepp.  Yasmina is a twenty minute long track that lends towards a more far out theme that's more common in Pharoah Sanders.  It starts off with a big African influence with yelping vocals and heavy polly rhythms before creating a repetitive rhythm section and some soloing by Shepp while a dominant, pulsing ensemble backs him up.  

The second cut, Sonny's Back, is a straight ahead jazz-blues piece which features Hank Mobley creating dual tenors.  The drums were produced with pretty high levels allowing them to be in the foreground and strong emphasis on the kick drum.  The third and final track is a ballad called Body and Soul, which gives more of the sensibility and the blues you'd expect from Shepp.

1969 - Actuel.

Archie Shepp - tenor sax, vocals; Hank Mobley - tenor sax; Arthur Jones - alto sax; Roscoe Mitchell - bass & baritone sax; Lester Bowie - trumpet; Clifford Thornton - cornet; Dave Burrell - piano; Laurence Devereaux - balafon; Malachi Favors, Earl Freeman - bass; Art Taylor - rhythm, logs; Philly Joe Jones - drums; Sunny Murray - drums, percusion. 

"Marion Brown Quartet" - Marion Brown

Nabbed a copy of this on vinyl a few weeks back; don't get too excited, it's just a 2002 Get Back reissue, but none the less, very cool to have coming off the needle.

This is Brown's first session as a leader for ESP-Disk' and it's a solid performance. Capricorn Mood is a side-long track that starts with an Eastern influenced rhythm between Rashied Ali on drums and Ronnie Boykins and Reggie Johnson on bass. The melody kicks in cheerfully and whimsical before Brown sets off on his solo. This is then followed by Alan Shorter on trumpet. The two of them create an interesting juxtaposition over the repetitive bass line. Following all this is a dual bass improvisation and a heavy tom dominating drum solo by Ali before returning to the theme.

27 Cooper Square is a faster tempo cut with a higher collective of free improvisations. Contains the same personnel as Capricorn Mood minus Boykins on bass. Exhibition drops Alan Shorter on trumpet with the additive of Benny Maupin on sax. This track is similar to Capricorn Mood with it's Eastern influenced rhythms, but seems focused more on longer dissonance of notes. There's also a stellar solo by Ali before rapping up the set.

1967 - Esp Disk'.

Marion Brown - Sax; Alan Shorter - Trumpet; Benny Maupin - Sax; Ronnie Boykins - Bass; Reggie Johnson - Bass; Rashied Ali - Drums.

"Pharoah's First" - Pharoah Sanders

I think these recordings were created during an interesting transition in jazz, and it's definitely heard well in this session. By the mid 60s, Hard Bop was reaching it's peak and the Avant-Garde has been making a firm plant in jazz. With the exception of Stan Foster's playing, the Quintet's rhythm section showcases straight ahead, bop. The affects of Coltrane's playing is certainly heard through Sanders' licks, melodies, and improvising. It's interesting to hear how his progressive sense challenges the rest of the band, and Foster keeps up at times. This album is a must have.
1965 - ESP Disk'.

Pharoah Sanders - Sax (Tenor); Stan Foster - Trumpet; Jane Getz - Piano; William Bennett - Bass; Marvin Pattillo - Drums.

"Slug's Saloon" - Albert Ayler

This is a beautiful set put on by Ayler's band. Often times I prefer his live recordings over his studio sessions because I think the lower produced quality add to the expressiveness of the music, but also because you can really hear more of what Ayler is feeling and how hard he and his band is playing.

Everyone plays here like it may be their last date. Michel Sampson's violin playing is out of this world and creates a wonderful relationship behind Albert's squeling. Ron Jackson frails on the drums giving you an artilary of rhythm and Albert's brother Donald plays like he is going to take off. With many reminders of the themes, the ensemble parts are nearly dead perfect, creating a balance between harmony and free improvising.

My favorite tune is Our Prayer, which Ayler incorporates marching band melodies (which I'm sure he got from his time in the military). He creates wonderful build-ups that are destroyed by controlled-chaotic (if that makes any sense), collective, free expressions. The album also features token composition like Bells, Ghosts, and Truth Is Marching In.

In the documentary, My Name Is Albert Ayler, drummer Sunny Murray stated that Albert "played with love," and that couldn't be more apparent than in these cuts.
1966 - ESP Disk.
Albert Ayler - Tenor Saxophone; Donald Ayler - Trumpet; Ron Jackson - Percussion; Lewis Worrell - Bass; Michael Sampson - Violin.

Ornette Coleman Quartet Reunion

These clips are such treats.  This is in Spain in 1987.  Talk about intuitive intelligence, it is absolutely amazing how in-sync these guys are with one another.  I love how Charlie swings his fiddle bass back and forth.  Enjoy these!!!

Music Millennium Picks

I had a handful of picks at a record store I used to work at.  I made cards that had brief written reasons to why these albums stood out to me.  As you can see, I have a thing for Blue Note.

'Genius of Modern Music' - Thelonious Monk

These lower produced tracks are my favorite recordings by T. Monk.  They're worth it just for the simplified versions of the Bebop wizard's compositions that I think enhance Monk's soling and improvising.  

1947, Vol. 1 / 1951, Vol. 2 - Blue Note.

  

'In 'N Out' - Joe Henderson

This pressing has five originals by Henderson that feature amazing chord structures that are brilliantly backed by McCoy Tyner, Richard Davis, and Elvin Jones.  Former Messenger Kenny Dorham also rips with sweet trumpet solos.

1964 - Blue Note.

'Lee-Way' - Lee Morgan

This practically Jazz Messenger line-up is pureley exciting for the fun, unique solos of Art Blakey.  It's rare to hear solos like that come from Blakey since he uses the Messengers to showcase the talents of his sidemen.  

1960 - Blue Note.

'At the Half Note Cafe' - Donald Byrd

When I think of cooking, I instantly think of this live recording.  Byrd and Pearson are a dangerous duo when it comes to compositions...  And cuts like "My Girl Shirl" and "Child's Play" really represent the groups ability.

1960 - Blue Note.

'At Basin Street' - Clifford Brown & Mac Roach

This record features awesome cuts by the powerhouse quintet that hosts Sonny Rollins, Richie Powell, and George Morrow... You'll hear wonderful horn licks and tremendous rhythm sections backed by Brown and Roach.

1956 - EmArcy / Verve.

'A Night In Tunisia' - Art Blakey and the Jazz Messengers

Proabably one of the most prolific recordings of the Gillespie tune.  This album has a line-up that, what many think, is the best Messengers' roster... The disc is well worth it for Lee Morgan's, "Kozo's Waltz."

1960 - Blue Note.

"Broken Shadows" - Ornette Coleman

Coleman produces some great sets with his brief columbia sessions. Science Fiction, has more of a space-y and electronic aesthetic, where as Broken Shadows is more reminiscent of the Atlantic recordings but perhaps a bit more aggressive.

Besides the aggressiveness, you get all the boogie and swinging and positivity you’d expect. Tracks like “School Work” leave dancing melodies in your head (he has used this melody numerous of times in other compositions). Don Cherry plays at such a great level on these recordings and complements Ornette so well as he always does. Also accompanied is Bobby Bradford which makes an interesting variation to Cherry, and we also hear a strong tone difference of Dewey Redman against Coleman. Higgins and Blackwell are shown playing together making heavy rhythms and flooding sheets of percussion.

The last two tracks have Webster Armstrong joining the group singing some blues. The exciting juxtaposition of the harmolodics and vocals is like a wonderful roller-coaster filled with expression, feeling, and soul.

1972 - Columbia.

Ornette Coleman - Alto Sax; Don Cherry - Pocket Trumpet; Dewey Redman - Tenor Sax; Bobby Bradford - Trumpet,Charlie Haden - Bass, Billy Higgins - Drums, Ed Blackwell - Drums; Jim Hall - Guitar, Cedar Walton - Piano,Webster Armstrong - Vocals.

In spirit of Ornette, I’d like to talk about the PDX Jazz Festival. Not only did I get to see him perform, I saw a conversation with him and his son Denardo hosted by Howard Mandel (author Miles, Ornette, and Cecil: Jazz Beyond Jazz); at which I was able to shake Ornette’s hand and have him sign my Blue Note LP. “Only Thinking about improving the idea,” was the very first comment by him. And he continued to express his thoughts about sound, life, knowledge, sex... Everything! Always remaining in the most positive attitude and keeping a smile on his face.

Now from my understanding, all of the educational programs hosted by the festival were recorded and will eventually be available through KMHD. This one is worth checking out.

Later that night (to top off one of the best days in my life), I went and saw Coleman at the Schnitzer. Man, it was unbelievable. It was so transcendental and sublime, I spent most of the show with my eyes closed tapping my feet. Throughout the performance, melodies from classic compositions were mixed in. Like, “School Work”, “Beauty Is a Rare Thing”, “Lonely Woman”, “Turnabout”, and “Morning Song”. I feel privileged seeing how it has been 25 years since the last time Coleman played in Portland and perhaps one of the last.