January
GARY BURTON QUARTET with Orchestra A General Tong Funeral (1968)
The music of Carla Bley as performed by The Gary Burton Quartet with some help from the Berklee School of Music orchestra. The mateiral was recorded in New York City in July of 1967 and then released by RCA Victor early in 1968.
Line-up /Musicians:
- Gary Burton / vibraphone
- Steve Swallow / bass
- Lonesome Dragon / drums
- Larry Coryell / guitars
Orchestra:
- Carla Bley / piano, organ, leader
- Steve Lacy / soprano saxophone
- Carla Bley / piano, organ, leader
- Steve Lacy / soprano saxophone
- Lenadro "Gato" Barbieri / tenor saxophone
- Jimmy Knepper / trombone, trombone [bass]
- Michael Mantler / trumpet
- Howard Johnson / tuba, baritone saxophone
- Michael Mantler / trumpet
- Howard Johnson / tuba, baritone saxophone
A1. "The Opening; Interlude (Shovels); The Survivors; Grave Train" (6:38)
A2. "Death Rolls" (1:34)
A3. "Morning - Part One" (1:42)
A4. "Interlude: "Lament"; Intermission Music" (4:28)
A5. "Silent Spring" (8:00)
B1. "Fanfare; Mother Of The Dead Man" (2:51)
B2. "Some Dirge" (7:49)
B3. "Morning - Part Two" (1:18)
B4. "The New Funeral March" (2:40)
B5. "The New National Anthem; The Survivors" (6:35)
Total Time: 43:52
A2. "Death Rolls" (1:34)
A3. "Morning - Part One" (1:42)
A4. "Interlude: "Lament"; Intermission Music" (4:28)
A5. "Silent Spring" (8:00)
B1. "Fanfare; Mother Of The Dead Man" (2:51)
B2. "Some Dirge" (7:49)
B3. "Morning - Part Two" (1:18)
B4. "The New Funeral March" (2:40)
B5. "The New National Anthem; The Survivors" (6:35)
Total Time: 43:52
I think most music lovers are want to elevate this album into "Jazz-Rock Fusion" status due to their reverence for these musicians--especially the under-appreciated Carla Bley--but I hear very little material that I would put anywhere near J-R F territory: parts of "Lament" and "Some Dirge" along with a few riffs and dynamics that might have been inspired by Rock (or Pop) sources. Otherwise it sounds and feels to like a jazzy theatric rendering of a New Orleans funeral. There are many songs and albums by Don Ellis and his orchestra that are more closely aligned with the "fusion" that we will soon be calling "Jazz-Rock Fusion" than there are on this album. I mean, just cuz Larry Coryell is present (and Rock-solos on "Some Dirge" and "The New National Anthem") it does not automatically qualify an entire album as J-R F!
On the other side: the music is lovely, fun, interesting, with some fine performances from all participants. I, too, wish there was more universal consideration of the compositional talent of Ms. Bley.
JEREMY STEIG Jeremy & The Satyrs
A band that was formed kind of by default as the original lineup of Jeremy, Eddie, Donald, and Warren had been hired to back up singer-songwriter Tim Hardin but had to cope with Tim's sudden and unannounced disappearances by still gigging and practicing. After a particularly long absence of Tim's Jeremy decided they should go ahead without Tim, officially, whereupon they hired "blues singer" Adrian Guillery to help carry on. The album that became Jeremy & The Satyrs was recorded in 1967 in New York City at A&R Studios and then released by Reprise Records in January of 1968--and lo! and behold! The world had the makings of a fusion of Blues, R&B, Jazz, and Rock.
Line-up / Musicians:
- Jeremy Steig / flutes
- Edgar "Eddie" Gomez / bass
- Donald MacDonald / drums
- Warren B. Bernhardt / electric piano
- Adrian Guillery / guitars
- Donald MacDonald / drums
- Warren B. Bernhardt / electric piano
- Adrian Guillery / guitars
A2. "Superbaby" (3:52) blues jazz from Warren Bernhardt using a modern rhythm & blues rhythm section and electric guitar and harmonica (both by Adrian Guillery) and electric piano. There is a definite Southern blues component due to Adrian's dynamic harmonica play but the rhythm section seems to keep bringing it back to a jazzy Rhythm & Blues foundation. The musicians are definitely all locked in, despite the frequent changes of pace and motif demanded by the composition. (9/10)
A3. "She Didn't Even Say Goodbye" (6:30) the album's second Adrian Guillery composition opens with some very bluesy electrified acoustic guitar with piano, bass, drums, and flute playing around his guitar Swamp Blues ministrations and deep Southern blues singing. Once again I commend the musicians for being on the same page--and for being so dialed in. (Thank goodness Time Hardin didn't show up!) notable performances capture and engineered so well. The blues has never had a better launch pad. (9.125/10)
A4. "The Do It" (2:58) a composition credited to both Adrian Guillery and Warren Bernhardt that the band performs as a quick-tempo Rhythm & Blues tune. (8.75/10)
A5. "The First Time I Saw You Baby (With Your Pretty Green Eyes)" (3:29) another jazzed-up R&B tune from Adrian that plays out like a BLOOD, SWEAT & TEARS tune--with the caveat of still more excellent instrumental performances--especially from Jeremy and Adrian's guitar. (8.875/10)
B1. "Lovely Child Of Tears" (3:55) pastoral flute with a gorgeous, dreamy, gentle West Coast psychedelic instrumental palette of acoustic guitar, double bass, "quiet" Jimmy Webb-like drums and electric keys. An unexpected and incredible song, thanks to composer Warren Bernhardt. Was beauty like this really being served up in 1968?! Though all of the performances involved add immeasurably to the song's overall beauty, those of Jeremy (via multiple tracks) and particularly Eddie strike at my heart zone. (10/10)
B2. "(Let's Go To The) Movie Show" (2:41) a really fun prosaic song in the WILSON PICKETT tradition that tells its mundane A simple, somewhat imitative song that hits the sweet spot so well I'm astonished this song hasn't become a standard covered by myriad bands since its inception. (9.5/10)
B3. "Mean Black Snake" (5:15) yet another Adrian Guillery song, this one puts on display more of guitarist Adrian Guillery's extraordinary talent as a blues guitarist and emotional and theatric blues-rock vocalist. A completely masterful song whose lyric is modeled after the famous Billy Roberts song "Hey, Joe," a folk song that Jimi Hendrix had made quite famous the year before. Such great perfromances like this only beg the "Whatever happened to …" question RE Adrian Guillery. (9.75/10)
B4. "Canzonetta" (2:25) Eddie's composition features the double bass and some percussion. Gentle, melodic, and meditative--like something from The Paul Winter Consort. (4.625/5)
B5. "Foreign Release - The Satyrs" (3:21) flute, double bass, various hand percussion instruments, and some piano, electric guitar, and strange electronic sounds all playfully dancing around like ballet dancers in one of Diaghilev's feted performances of the Ballet Russes in pre-World War I Paris. Chaotic and mischievous but ultimately spirited and light. (9.125/10)
B6. "Satyrized" (3:41) moving straight from the bacchanalia of "Foreign Release" the band opens a door from the ballet stage and comes out in the middle of a raucous crowd in a Prohibition-era back-woods or swamp-bound Juke Joint playing the rough psychedelic-tinged R&B that opened the album. Another spirited Adrian Guillery composition and performance that sounds like it could've been on The Commitments soundtrack. (8.875/10)
Though this album is by no means a Jazz-Rock Fusion album, there is a futuristic fusion of a wide range of sounds, styles, and elements going on here--on each and every song! Singer-songwriter and guitarist Adrian Guillery is incredibly talented while definitely coming from a Blues/R&B background, perspective, and preference. Warren Bernhardt's piano-keyboard and compositional style feel much oriented toward pop music sounds, styles, and structures--steering some of the band's sound toward a Smooth Jazz product. High School mates and life-long friends and collaborators Eddie Gomez and "bandleader" Jeremy Steig were definitely approaching their instrumental performances from Jazz perspectives though both were eminently malleable to fitting into any and all styles presented to them. And drummer/percussionist Donald MacDonald was definitely in for the excitement of this new and exciting experimental ride that is churning and stirring the roiling primordial brew that would become Jazz-Rock Fusion. Thus, what you have hear is the fusion of several unlikely streams and approaches that works, thanks to the seasoned/mature distance that the bandleader and his rhythm section had at the time.
92.98 on the Fishscales = A/five stars; a masterpiece of diverse song styles (most coming from the blues perspective of guitarist-singer-songwriter Adrian Guillery)--all of which illustrate the ways in which musicians from completely different musical training, traditions, or backgrounds were interested and able to collaborate. (Jeremy Steig never knew what kind of musical style he played his flute in until he started jamming with other players--and yet he sat in on the closing set of every one of Bill Evans Trio performances whenever they performed in New York City.)
February
STEVE MARCUS Tomorrow Never Knows
The debut album as a band leader by former lead saxophonist for Stan Kenton's Big Band, Steve Marcus. The musicians he chose to surround himself with is a strong indication of his intentions as they are all young musicians who were highly interested and saturated in the latest trends of music and youth culture. Recorded late in 1967 and released by Vortex Records on February 17, 1968, the album was built around covers of some of Rock 'n' Roll's most creative and psychedelic hit songs.
Line-up / Musicians:
- Steve Marcus / saxophones [soprano, tenor], bandleader
- Chris Hills / bass
- Bob Moses / drums
- Larry Coryell / guitars
- Mike Nock / piano- Larry Coryell / guitars
A1. "Eight Miles High" (4:44) an excellent cover of the Byrds' classic. Larry Coryell's work on the 12-string guitar is amazing! (9.25/10)
A2. "Mellow Yellow" (4:50) the cover of the Donovan number one hit is awesome--rendered in a kind of Beatles "Yellow Submarine" palette and parody form that even carries a heavier dose of sarcastic than the Fab Four ever mustered. Again, Larry Coryell's guitar "play" is extraordinary--and pianist Mike Nock bandleader Steve Marcus join in on Larry's free jazz craziness more and more as the song progresses--all in the right channel while the original "small town big band" plods away in their dirge-like fashion in the left. Awesome! High marks for creativity and wit. (9.5/10)
A3. "Listen People" (2:25) Graham Gouldman's monster hit for Herman's Hermits turned into something jazzified for the masses and easy listening radio play. (8.875/10)
A4. "Rain" (7:02) a Beatles song that is churned up and spit out with even more sarcasm and humor than the composers ever saw coming. Steve seems to be purposefully dragging his notes out onto the floor like a rubber-legged drunk dancing solo on the dance hall dance floor. Of the other musicians, only drummer Bob Moses seems to be expressing the same degree of affected derision. In the fifth minute Larry gets his chance to voice his own feelings under the spotlight--which he does as if an electric guitarist suddenly went strum crazy--at first showing a kind of dexterity but then devolving into something more akin to the drunken dancer. The final minute is . I love bassist Chris Hills' thick NOEL REDDING/PEARL JAM-like bass sound and play (which feels as if it would have been more befitting to the next song). Comical while also expressing the skill and talent of these musicians. (13.75/15)
B1. "Tomorrow Never Knows" (11:07) with the spacious opening--only bass and drums establishing anything constant--the music sounds like The Doors' "In the End" in which lots of space is given to the solo inputs of drug-addled musicians: first Larry Coryell's wild and crazy electric guitar musings, then Mike Nock's almost mockingly simplistic and saccharine child-like piano musings. But, like Larry, his structure and sanity seem to derail as he goes along, turning into a totally awesome/amazing jazz piano solo by the end of the fourth minute. Mike continues far into the eighth minute as Chris and Bob continue to lay down the most constant rock beat. Then Steve takes a turn (surprisingly: his first) at the end of the eighth minute, using his soprano sax for the first time. I don't know why these guys chose to sound and feel more genuine, even respectful, on this cover, but they do an extraordinary of trying to elevate their expressions above and beyond those of traditional Jazz performances--which seems befitting and, therefore, respectful of the original composers (to me). With the recapitulation of the Beatles' main melody for the final minute of the song I hear and feel, for the first time, a kindredness of this song with John Coltrane's Love Supreme.!! Amazing! (19.25/20)
B2. "Half A Heart" (5:21) a cover of a previously-unrecorded Gary Burton composition (with whom Bob Moses and Larry Coryell had been working for the past couple years). Nice, smooth, melodic, with performances reflective of the disciplined, professional side of these musicians--as if toeing the line for the respect of the demanding Jazz community. (8.875/10)
Total time: 35:29
Though lacking any original songs, the renditions of the band's covers is very much grounded in the instruments and sounds of contemporary rock 'n' roll making this a truly pioneering venture into the fusion of Jazz and Rock. I have no qualms or hesitation proclaiming this a true representative of the musical form that the world will eventually be calling Jazz-Rock Fusion or just "Fusion."
92.667 on the Fishscales = A/five stars; an amazingly ahead-of-its-time, pioneering, full-fledged Jazz-Rock Fusion album that feels so natural and mature. Mega kudos, Steve and Gang! You've created one of the first bona-fide fusion albums of Rock and Jazz!
DON ELLIS ORCHESTRA Shock Treatment (1968)
Recorded on February 18 & 19 of 1968 and released in August or September, this is the album that caused such a stir in the public eye because of the record company (Columbia)'s massive mess up with its initial mastering and publication.
Line-up / Musicians:
- Don Ellis / quarter-tone trumpet
Rhythm Section:
- Mike Lang / piano, clavinet, Fender piano
- Ray Neapolitan / bass, sitar
- Frank De La Rosa / bass
- Dave Parlato or Jim Faunt / bass
- Steve Bohannon / drums
- Chino Valdes / congas, bongos
- Mark Stevens or Ralph Humphrey / timbales, vibes, miscellaneous percussion
- Alan Estes or Joe Pocaro / miscellaneous percussion
Saxes & Woodwinds:
- Ruben Leon / alto & soprano saxophones, flute
- Joe Roccisano or Joe Lopez / alto & soprano saxophones, flute
- Ira Shulman / tenor saxophone, piccolo, flute, clarinet
- Ron Starr / tenor saxophone, flute, clarinet
- John Magruder / baritone saxophone, flute, clarinet, bass clarinet
Trumpets:
- Glenn Stuart, Alan Weight, Ed Warren, Bob Harmon,
Trombones:
- Ron Myers or Vince Diaz, Dave Sanchez
- Terry Woodson / bass trombone
1. "Overture" (1:33) talk about a Frank Zappa influence! This is classical symphonic music with a track of uncontrolled laughter (one might say, lunacy). It's taking The Beatles' George Martin effect and Frank Zappa eclectic skills and absurdism to new levels! (4.625/5)
2. "I Love You More Than You'll Ever Know" (5:58) blues-based organ, bass & drums with electric rock guitar and very skilled lead vocals. What a great James Brown-like horn arrangement, great female background vocal "ooo's," great guitar sounds (both lead and rhythm) as well as a very zoned-in lead vocal of some powerful lyrics from Al Kooper. The finale is incredible! I wish it weren't faded out. Wow! This kind of perfection I was not expecting (from a debut album launched in 1968). (10/10)
3. "Morning Glory" (4:15) a solid, polished, professional song that does little to (9/10)
4. "My Days Are Numbered" (3:18) a song whose Soul gravity predicts the band's monster hits of the near future as well as sounding exactly like Paul Weller's transitional music from The Jam to The Style Council, it's is blessed with an amazingly intricate overal construct of multiple motifs all arranged and performed with such feeling, plus possessing an amazingly-catchy chorus. (9.75/10)
6. "Just One Smile" (4:37) another wonderfully-arranged and -rendered musical landscape with more of Jim Fielder's awesome electric bass play, Al's vulnerable and emotional vocal and incredible horn section . Weirdly, the chorus is the song's weakest element as it doesn't quite deliver the promise that the verses seem to build toward. I love the little Baroque interplay of the lute and keyboard in the instrumental passage in the first half of the fourth minute! (9.375/10)
7. "I Can't Quit Her" (3:39) opening with some Burt Bacharach like piano play of a few chords before the bass and drums enter, followed soon thereafter by Al's reverb-treated vocal and the accents of the Beatles-like horn section. Strings and female choir back the first chorus section before routing the band back into a repeat of the verse section. Then around 2:30 there is a powerful transition to a heavier, more emotional instrumental section which plays out to the final fade-out of the music with no other return of the vocal/lyrics. Awesome! What creative song construction! (9.25/10)
9. "Something' Going On" (8:00) pure JAMES BROWN bluesy R&B with each and every instrument being asked to play at their loudest and most concise/compact forms while Al sings a purely blues-oriented vocal performance. Steve Katz' electric guitar solo in the third minute is surprisingly loud while also benefitting from enough distortion to make it sound like something between Eric Clapton and Jimi Hendrix. Even Steve's ensuing rhythm guitar play behind Al's piano solo in the fourth minute is loud: way louder than Al's piano. The horns, too, are really loud as Al returns to the vocal, singing as if he's trying to incite some loud audience participation/response. Tenor sax starts to solo beneath Al's call & response-like vocals. At the end of the seventh minute the music thins and returns to the form of the opening section for the band and Al to pull it to a close--but then they really ramp things up again for the finish! Great drumming from Bobby Colomby! (13.25/15)
Total time 49:24
THE MICHAEL MANIERI QUARTET Insight
This is an album that I've found mentioned several times in my reading and research on the history and foundations of Jazz-Rock Fusion. It was recorded in 1967 and released on the United Artists subsidiary, started by Sonny Lester and Phil Ramone, Solid State Records. The album was produced by Phil Lester.
Lineup / Musicians:
- Mike Mainieri / vibraphone, arranger
- Lyn Christie / bass
- Don McDonald / drums
- Joe Beck / guitar
A1. "Autumn Leaves" (7:00) a cover of the jazz standard "Les feuilles morts," first penned by the French songwriting team of Jacques Prévert and Joseph Kosma and later lyrics rewritten for English by Johnny Mercer. Besides the use of electric guitar and the electrified vibraphone, I'm not sure what it is about this song that might qualify it for entry into the Jazz-Rock Fusion hall of fame. (13/15)
A2. "Skating in Central Park" (8:00) cover of The Modern Jazz Quintet's John Lewis and Judy Spencer song, too much here reminds me of watching Fred Rogers' television show. It's nice; it's relaxing, but it's Charlie Brown Christmas music! (13.25/15)
A3. "Rain Child" (6:00) a Mainieri original, this one might truly qualify as Jazz-Rock Fusion, though it's still 60-75% jazz. (8.875/10)
B1. "On the Trail" (6:47) a cover of the Ferde Grofe and Harold Adamson song, it's quite melodic and peppy--almost poppy--especially from bassist Lyn Christie and Joe Beck's guitar (and voice). Still pretty jazzy, though. (13.75/15)
B2. "Instant Garlic" (6:35) composed by Mike himself, this one fades in during a particularly-heated free for all as the band was obviously jamming but, by the start of the second minute, things have been reigned in so that Mike and Joe can solo with a little more humanity (less wild animal) over the steady structure offered by Lyn and drummer Don McDonald. The more frenetic parts remind me more of free jazz than J-R F but the part revolving around Don's solo in the third and fourth minutes does feel a bit more Rock 'n' Roll than Jazz. Interesting and worth studying. (9.125/10)
B3. "Minnesota Thins" (2:45) composed by bass player Lyn Christie, this one starts out with a definite Pop/R&B structure, style, and flare. Lyn's vocalizations as he bows his double bass even serve to add to this Pop/Rock feel. Joe Beck even manages to display a few of the "tricks" he'd picked up from the Rock world. Nice crossover, Boys! (9/10)
B4. "La plus que lente" (5:00) a Mainieri arrangement of a Claude Debussy song starts out with Mike tout seul and stays that way for the entire five minutes. It's pretty, lovely, as a piece meant for the background of a reading of a childrens' story should be. (8.875/10)
Columbia Records releases MILES DAVIS' Nefertiti. Recorded in June and July of 1967, it was the fourth studio album to come from the pioneering trumpeter's "Second Great Quintet."
To be sure, this has to be one of the most talented lineups ever in jazz history--and despite Miles' collaborators being in their young 20s and most definitely showing signs of some immaturity, the greatest innovation occurring here is with Tony Williams' drumming.
1. "Nefertiti" (7:52) a rather dull and slightly melodic lead song with Miles and Wayne up front has some rather adventurous performances from Herbie Hancock and, especially, the dynamic Tony Williams. (13.25/15)
2. "Fall" (6:39) another pleasant, melodic song in which the musicians are operating more nearly on the same wavelength--until fourth minute, that is, when Tony begins to go off into his own world, rhythmically, beneath Herbie's piano solo, but then he backs off and gets very quiet during Wayne's following solo and what follows. Interesting! (8.875/10)
3. "Hand Jive" (8:54) a much more dynamic song construct with Ron Carter walking all over his upright double bass while Tony Williams flies around his cymbals and toms. There is an odd, subtle shift in tempo in the third minute that I do not think is intentional but obviously not considered significant enough to correct or redo--and Ron Carter is not always "in the pocket" (at least not according to these amateur ears), but the song certainly displays the skills of all of the band members, with a considerable amount of time given to Wayne Shorter's solo in the middle. When Herbie is next given his turn, he seems a bit lost at first, but, after he gets warmed up, he starts to move better. Maybe everybody's just a little overwhelmed or intimidated by Tony's creativity (and Ron's hot-and-cold conformity to the "pocket"). (17.5/20)
4. "Madness "(7:31) more of the same as the previous song with Ron's fast walking and Tony's cymbal play providing the bulk of support beneath one of Miles' more dynamic and passionate solos on the album. The trio seem quite entrained. Then Wayne is given the nod to take over from Miles. He's not quite as dynamic but very impressive for his softer, breathy notes. When it comes time for Herbie's turn, everybody nearly cuts out, with only Ron and Tony remaining beneath part time, not flying around the fretboard and cymbal like they were. But then they return to their earlier form as Herbie heats up, though not quite as synched as they were with Miles--which may have something to do with Herbie's less smooth, less-melodic approach. And then they all come back together ever-so briefly before bringing the song to a quick close. (13.375/15)
5. "Riot" (3:04) Same cymbal play from Tony while Ron machine guns around the upper registers of his bass and Herbie plays a lot of chords beneath Wayne's initial lead. Then Miles is there, too. It's nice to hear the whole band working together (and Tony does get a little more active as the song develops). (8.875/10)
6. "Pinocchio" (5:08) a song that feels more like standard or old Miles bebop or hard bop. Opening with the whole rhythm section behind Wayne and Miles, Ron and Tony become more active as the song develops, something that is more noticeable during Wayne's solo (as Miles and Herbie check out). Tony really picks it up here, even when Miles and Wayne return to recapitulate the main melody. Then Herbie gets his solo. It's good, probably the best on the album, but then its over and the band pulls together to close. Very tight, "standard" jazz tune. (8.875/10)
Total Time 39:08
I think this album is most significant for confirming how much of a force drummer Tony Williams is (and is going to be). As impressive as Tony is (and Miles and Wayne, as well), I think Herbie Hancock and Ron Carter are showing how much growth they have yet to achieve--especially to be able to achieve the moment they are called upon (i.e., in the improvisation department).
88.44 on the Fishscales = B/four stars; an excellent album for prog rockers to gain insight into the genius of some of Jazz-Rock Fusion founders and all-stars--especially the phenom that was drummer Tony Williams.
DON SEBESKY The Jazz-Rock Syndrome
In mid-May, Miles Davis wraps up recording the material that would become the album Miles in the Sky, an album whose music and electrified sound palette display a definitive shift in Davis' music.
In 1967 Miles Davis met and started dating 22-year old model and driven/aspiring singer, clubber, model, and socialite, Betty Mabry. The two would marry in September of 1968 and divorce one year later. The association would dramatically expand Miles' musical and cultural perspectives--especially through his exposure to the music (and style) of James Brown, Sly & The Family Stone, and Jimi Hendrix. Previous to this relationship, Miles was notoriously obsessed with classical and jazz music--to the utter exclusion of radio, pop, and television. Betty even introduced Miles to Sly Stone and her friend Jimi Hendrix--with whom Miles would form an instant and profound connection and bond (despite his marriage-ending jealousy of him). The result, of course, would be Miles looking to see, hear, and jam with more young new musicians who were exploring the new electronically-enhanced instruments (piano, guitar, bass guitar) as well as the presence of an infusion of rock 'n' roll influence from his drummers.
JUNE 19-21 - Miles Davis is back in the studio, recording material that would end up on the album Filles de Kilamanjaro. At Columbia's 30th Street Studio, on the 19th, they got "Petits machins (Little Stuff)" in the can; on the 20th, two versions of "Toute de suite (Right Away)," and, on the 21st, in Columbia Studio B, "Filles de Kilamanjaro (Girls of Kilamanjaro)."
Line-up / Musicians:
- Miles Davis / trumpet
With:
- Wayne Shorter / tenor saxophone
- Herbie Hancock / Fender Rhodes electric piano
- Chick Corea / piano & RMI Electra-Piano
- Ron Carter / electric bass
- Dave Holland / double bass
- Tony Williams / drums
Line-up / Musicians:- Horace Silver / piano
- Charles Tolliver / trumpet
A1. "Stuff" (17:02) the experimentation with the "new" electronic options available to jazz musicians is finally being endorsed (commanded) by Miles: electric piano for Herbie and electric bass for Ron (which we all know he never really enjoyed despite his excellence at it). The result is something that definitely feels more modern--and more sassy-smooth. The slow-down/almost pauses every 30-seconds or so are kind of hard to get used to: they make me feel as if either the song is winding down to a conclusion or that they're preparing us for a new motif (like a bridge), but, no! The same theme keeps on; only the lead instruments change (sometimes). I like the sassy performance Miles gives us: it's as if he's really locked in and enjoying a loose, carefree day--and I think his attitude is infectiously affecting his studio mates cuz this song is overall very chill and relaxed. The length of the song, however, is a matter of question: was 17 minutes really necessary? (32/35)
A2. "Paraphernalia" (12:41) a composition credited to both Wayne and guest George Benson, as many have noted, this has got to be one of George's most unusual guitar performances, mostly sitting back as a single bass-dominant chord rhythmatist, reinforcing Tony's driving rhythm track, accenting Ron's wildly-exploratory and mountaintop-to-valley- floor walking bass line. As a matter of fact, until the sixth minute, George does little else but play one chord in perpetual rhythm--like another tom on Tony's kit. Herbie, Miles, Wayne, and even Tony, however, really flash and flair--whether in solos (Miles and Wayne), melodic support (Herbie) or rhythmic attack (Tony). Finally at 7:10, George is "allowed" to step up to the front of the stage. But by the end of the ninth minute it's over: Herbie takes over for his first and only true solo (which, to my ears, sounds a little harsh and "off"--until he hits a cool series of chords in the beginning of the 12th minute, then he's cookin'. At the end of the 12th minute the horn players rejoin--though reluctantly as it is uncertain whether Herbie has completed his statement (he has not: he just continues doing so--off in his own very cerebral world--while the others tentatively play around him. I really like this ending: the ambiguity and uncertainty is really endearing for the fact that it shows the band's individual humanity with all of its doubt and frailty! Cool song! Especially for Tony's dynamic play, Ron's amazing adventurosity, Herbie's perseverance in the face of adversity and uncertainty, and Miles and Wayne's professional maturity. As for George: he's almost a non-entity; a moot member; I can't even remember his solo! (23.75/25)
B1. "Black Comedy" (7:32 or 13:49: I'm only reviewing and rating the 7:32 version since that's all I can find posted on YouTube.) A solid nondescript hard bop (or post bop, if you must) song of the ilk that Miles has been doing for some years. I have trouble staying focused much less remembering anything from this song once it has passed. (13.125/15)
B2. "Country Son" (12:51) a more loosely organized jam that sounds like something Teo recovered from hours of tape, fade in, splice away, and faded out--which would lead me to deduce that the song was not very cleanly composed (which is probably why Miles took the writing credit); it's more of a series of themes and ideas strung together--quite possibly played in the order published, even possibly planned as is with the thematic and stylistic shifts occurring due to signals from Miles, but that third and fourth minute feels to me as if the band was just wandering around beneath Wayne's soling sax, searching and fumbling around for the right style and pace to support him with--with Ron usually the promulgator of stylistic and rhythmic changes. It's just too weird of a conglomeration of musical themes to be intentional; it has to be a flow of thematic attempts--though, hearing this, one cannot help but compare these rather severe and dramatic shifts to prog songs like "Close to the Edge," "Supper's Ready," "Tarkus," or even one of Camel or Nektar's side-long symphonic pieces. This may be able to fall under the label "symphonic" but I swear: no symphony I've ever heard has this kind of radical stylistic and melodic shifting going on within a continuous flow. I'd be more inclined to call it a medley or, less respectfully, a hodge podge of leftovers pulled randomly and sequentially out out of the refrigerator. I like many of the themes present here, I think the motif that Herbie leads in the seventh into the eighth minute might be my favorite though Miles melodic play with his band's support in the thirteenth minute is pretty cool, as well. Overall, it just leaves me with a weird aftertaste. Like leftovers. (22.25/25)
Total Time: 51:04
The presence of four notably long songs supposedly squeezed into two sides of vinyl is a bit suspicious (though Todd Rundgren would routinely squeeze 30-40 minutes into a side during his mid-1970s heyday)--and I wish I could verify if Teo and Columbia managed to squeeze the long version of "Black Comedy" onto Side Two--which would equal some 25 minutes of music
A-/five stars; a minor masterpiece of hard bop/post bop that many people consider transitional to, or pre-, Jazz-Rock Fusion. I hear some of what they're talking about but to me its sounds more like a group of musicians who are quite familiar with one another, who are showing signs of growing a bit bored or fatigued with their collaboration: they're still performing at a high level but they feel as if, at times, they're reaching, stretching for inspiration and motivation-- especially on that last song. And I agree with the critics of "Stuff" in that it begins to over stay its welcome--to sound repetitive--after about ten minutes.
Total Time: 51:04
Line-up / Musicians:
- Jeff Beck / electric, acoustic (6) & pedal steel (1) guitars, bass (5), arrangements
With:
- Rod Stewart / lead vocals, co-arranger (6)
- Jimmy Page / 12-string electric guitar (5, 8)
- John Paul Jones / Hammond (4, 5), bass (8)
- Nicky Hopkins / piano (3, 4, 8, 9)
- Ron Wood / bass
- Micky Waller / drums, tambourine (2)
- Keith Moon / drums (8), timpani (5)
- ??? / bagpipes (3)
2. "Let Me Love You" (4:44) classic Blues-based Rock 'n' Roll of the sort that resulted in the music of bands like Led Zeppelin. Nice bass work from Ron Wood that helps ground the song while Jeff's guitars ( active rhythm in the left channel, riffing lead in the right). (9/10)
3. "Morning Dew" (4:40) galloping bass and tambourine open this before Ron and Micky settle back to support Jeff and Rod's emotive plaintive performances. In the second half of the second minute the band ramps up into full-on power rock for the chorus, then falls back into the more spacious, reflective motif that was established for the first verse. Repeat, rinse and dry. Nice to hear Nicky Hopkins' piano work pop up during the second half. Jeff could make an electric guitar sound so smooth. (9/10)
4. "You Shook Me" (2:33) pure blues with Hendrix-like guitar fixin's and more than ample garnishments from both piano (Hopkins) and organ (John Paul Jones) while Rod and Jeff pump out the leads. (4.5/5)
5. "Ol' Man River" (4:01) an interesting organ-based and Keith Moon timpani-accented cover of the classic show tune. Rod proclaiming his respect for the "classics" before his late-career return to the form. Electric guitar doesn't really appear until the fourth minute and when he does it is with quite some flash. (8.875/10)
DON ELLIS ORCHESTRA Shock Treatment
Recorded on February 18 & 19 of 1968 and released in August or September, this is the album that caused such a stir in the public eye because of the record company (Columbia)'s massive mess up with its initial mastering and publication. Here' the story in Don's own words extracted from a letter he sent to the "Chords and Discords" forum of DownBeat magazine immediately following the magazine's review of (the first version) of the album:
Leaving The John Coltrane Quartet did nothing to slow Elvin down: the man remained as active, prolific and productive as ever. Conjecture as to what role his marriage to manager/pianist Keiko Okuya has in all this (the Yoko Ono effect?), but it is definite that Elvin's interests and influences lay beyond the parameters of straightforward American Jazz. Recorded at the Van Gelder Studio, Englewood Cliffs, New Jersey on April 8, 1968, Puttin' It Together was released by Blue Note Records in September.
A2. "Sweet Little Maia" (7:43) a nice, slow paced, spacious tune that is very much driven by Jimmy Garrison's oh-so-cool, seemingly-laid-back bass play. Being his composition, I guess he has a right to dictate pace and vibe. There are whole minutes that pass with Jimmy soloing a cappella but you barely notice the absence of his collaborators because his performance is so fulfilling, so compelling, so commanding. At the end of the seventh minute Elvin and Joe rejoin to close things out as if the bar is already empty and they just need to finish things off so that they can get out of there. (13.675/15)
A3. "Kei Ko's Birthday March" (6:47) a tribute to his wife that, quite naturally, contains a prolonged drum solo to express his love and respect for his wife and her Japanese culture through the language he had known and loved the longest: the parade-like expression of the marching band that he had loved as a child and which prompted his entry and involvement in music (even with his stint with the Army)--especially in high school. (13.375/15)
B1. "Village Greene" (5:05) a cool composition from Southern Jazz musician and composer William Greene in which Elvin, Jimmy, and Joe each seem to travel their own rather unique pathways while remaining totally tunnel-fixated on their own style and melody line rather than worrying about the harmonic interplay and weave of the sound. To maintain such laser focus for five straight minutes! So admirable! (9/10)
While the music of this album definitely does very little to cry out "Jazz-Rock Fusion," the performances coming from each of the Jazz virtuosi are highly creative and experimental--which lends fuel to the kind of explorational experimentation that fomented J-R F.
A very unusual album for its fully orchestrated presentation, David Axelrod's funky, jazzy compositions take on a lively fullness that is rarely experienced outside the concert hall or Broadway/West End music hall. Way ahead of its time! And this was the composer, arranger, producer, and multi-instrumentalists debut of his own material! Released by Capitol Records in October of 1968 and recorded in Los Angeles only months before, the album employs a cast of sessions musicians that make up a virtual Who's Who in music history--including a full complement of members of Los Angeles' The Wrecking Crew as well as orchestra members who would all go on to become very accomplished and known in the orchestral world.
Line-up / Musicians:
- David Axelrod / vocals, composer, arranger
- Carol Kaye (THE WRECKING CREW) / bass
2. "Holy Thursday" (5:32) more great orchestra-presented funky jazz musical fare that could've come off of an album coming out of Motown or from Burt Bacharach as likely as a 1970s Black Sexploitation film soundtrack. Is that future Westfall and 1970s soundtrack session drummer Gene Estes on vibraphone? and Howard Roberts shredding on the electric guitar? Great stuff! Carol Kaye is so amazing! (9.5/10)
TERJE RYPDAL Bleak House (released early in 1969)
A 21-year old Norwegian guitarist-composer bursts onto the world scene with some highly experimental "future" jazz in which he fuses together multiple genres of jazz and rock (with shocking facility) into tightly-designed compositions that profess a maturity and musical understanding far beyond his years. Recorded over three days in 1968 (October 7, 8 & 22) at Roger Arnhoff Lydstudio, Oslo, Norway, and then released early in 1969.
Somewhere in 1968, 20-year old Bradford guitarist Allan Holdsworth forms 'Igginbottom with Bradford mates Steven Robinson (guitar), Mick Skelly (bass), and drummer Dave Freeman. Saxophonist Ray Warleigh sees them perform up in Bradford and asks the band to join him in London where Ray gets them on stage with him at his friend Ronnie Scott's. Ronnie recommends 'Igginbottom to Decca's Deram Records A&R who record and release their album, 'Igginbottom's Wrench sometime in 1969. One of the quirkiest, most uniquely unpretentious, psychedelic, almost-Canterbury Style, albums you'll ever hear, 'Igginbottom's Wrench is on a par of creativity with anything Robert Fripp or Terje Rypdal are doing at the time. Plus, you get to hear Allan's wonderful singing voice on most of the songs!
HERBIE HANCOCK Speaks Like a Child
Songs one through three were originally recorded on March 6th, 1968 (as well as material that would appear on later expanded releases as "bonus" songs #7 & 8) while songs four through six were recorded on March 9th (as well as bonus song #9), all at Rudy Van Gelder's Studio in New Jersey. Other than long-time collaborator Ron Carter, Herbie's new lineup of collaborators are all musicians of his own choosing.
1. "Riot" (4:40) good standard fare jazz. Nothing to write home about--except for the very palpable sense that one gets that this album is about Herbie, Herbie's piano play, and Herbie's ideas. (8.875/10)
2. "Speak Like a Child" (7:51) an amazingly beautiful song: it really draws one in and holds one close, surrounding and imbuing the listener with a calming, comforting feeling that is akin to those precious moments of deep connection between parent and child. One of the finest songs Herbie ever created--and some of the most beautiful piano playing he ever recorded. Quite the appropriate song title. (15/15)
3. "First Trip" (6:02) the only song on the album that is not attributed to Herbie, this is bassist Ron Carter's first and only compositional contribution to Speak Like a Child, one can certainly derive from this tune how much Ron loves bop--especially the mindless entertainment jazz of the past, both post World War II and pre-war; happy-go-lucky, carefree music to escape into--and it's all for Herbie (who solos over the entire song)! (9.25/10)
4. "Toys" (5:53) perhaps Herbie is giving back a little with this one as Ron Carter's bass is mixed very far forward. In the second minute Ron settles into a steady walking routine while Herbie steps into the spotlight--the music feeling very similar to the Vince Guaraldi stuff in the Charlie Brown television show soundtracks (thus the song title?). Herbie's piano work is exquisite: never getting stale or drowsy, always staying vibrant, melodic, and youthful. Brilliant! (9.333/10)
5. "Goodbye To Childhood" (7:07) pretty late-night deep-rumination music--something about this song reminds me of the work of both Bill Evans and the near-ambient solo work that Eberhard Weber would start doing around 1976. An eminently enjoyable musical listening experience; I feel washed and cleansed after listening to this beautiful song. Kudos to the brass section: their contributions were perfect as complements to Herbie's stellar piano play. (14.125/15)
6. "The Sorcerer" (5:37) it is rare that I feel some Chick Corea in Herbie's music, but this is one of those occasions: the tempo and phrasing (as well as Ron Carter's walking bass lines) feel as if they come straight out of my favorite Chick album of all-time, 1978's The Mad Hatter (to which, curiously, Herbie was a contributor). (9.125/10)
Total time 37:10
I agree with many other reviewers and music critics that with this album Herbie puts on display the extraordinary growth he has achieved piano player but more it shows how mature he's become as both a composer and bandleader! Not really a Jazz-Rock Fusion offering, Herbie was exploring new ideas and forms for the expression of his music--here employing a flutist, bass trombonist, and fluegelhorn player to harmonize with his piano without ever being offered solos! Speak Like a Child definitely contains some of my favorite piano music of all-time.
93.87 on the Fishscales = A/five stars; another Jazz masterpiece--this one piano-centric--that I think every music lover would like, especially if you're partial to the melodic side of jazz. I have to say that I think of all the Herbie Hancock albums I've heard, this one might contain the most beautiful music--and certainly Herbie's prettiest piano playing.
DON ELLIS ORCHESTRA Autumn
Don's first album since the Shock Treatment debacle (Columbia Records' righted wrong), Autumn is a bit of a scattered collection of songs. Also, it is the Orchestra's first album without superhuman work of drummer Steve Bohannon. (Replacement Ralph Humphrey [The Mothers of Invention] is pretty amazing in his own right). The August release sees the band here stretching out with new arrangements of "Indian Lady" (recorded live at Stanford University) and a cover of Charlie Parker's "K.C. Blues" as well as two other songs recorded under live conditions during the "Summer of Love." It also presents to the world the rollicking fun "Pussy Wiggle Stomp"--a song that would become the band's signatory opening song at live performances for the next few years. Autumn was either recorded or released in August, probably the former.
Lineup / Musicians:
LARRY CORYELL Lady Coryell (Recorded and released in 1968)
Line-up / Musicians:
- Larry Coryell / guitar, bass, vocals, co-producer
With:
- Jimmy Garrison / bass (7)
- Bob Moses / drums
- Elvin Jones / drums (7,9)
1. Herman Wright (3:21) blues rock built around a "House of the Rising Sun"-like style but with more Terry Kath-like vocals and a track (L) devoted entirely to Larry's fuzzed-up guitar and another (R) that appears in the last minute without the fuzz effect. Not a great song but interesting from an historical perspective. (8.6667/10)
2. "Sunday Telephone" (2:28) a Hendrix-like sound palette with lots of wah-wah lead guitar over which Larry sings with a Gregg Allman-like "Midnight Rider" voice. Not bad! (8.875/10)
3. "Two Minute Classical" (2:08) a full-band instrumental that sounds like a kind of a blend of The Who and The Beatles worked off a mathematical arrangement. Nice guitar performances on multiple tracks. (4.625/5)
4." Love Child Is Coming Home" (2:30) here Larry seems to be trying out Bob Dylan. (4.375/5)
Line-up / Musicians:
- David Clayton-Thomas / vocals (excl. 3)
- Steve Katz / guitar, harmonica (solo 5), lead (3) & backing vocals
- Dick Halligan / organ, piano (solo 5), flute (3), trombone, chorus vocals, arrangements
- Fred Lipsius / alto sax, piano (solo 2), arrangements
- Lew Soloff / trumpet, fluegelhorn
- Chuck Winfield / trumpet, fluegelhorn
- Jerry Hyman / trombone, recorder
- Jim Fielder / bass
- Bobby Colomby / drums, percussion, chorus vocals
With:
- Alan Rubin / trumpet (7)
- Al Kooper / arrangements (2, 4, 8)
2. "Smiling Phases" (5:10) a song that really puts on full display the band's power and enthusiastic energy while also introducing their powerful new vocalist, David Clayton-Thomas. After 90 seconds, the band launches into an impressive jazzy instrumental section in which bass player Jim Fielder, drummer Bobby Colomby show their skills as the horns and Fred Lipsius' piano show off their skills over what turns out to be a two-part movement: the first fast, the second slow and protracted, before returning to the opening motif for David and the band to finish with the same energy as they opened with to bookend the song. Nice! (9/10)
3. "Sometimes In Winter "(3:08) smooth, beautiful, fully-orchestrated music with the smooth vocal of Steve Katz, the band finds themselves creating more of that Jimmy Webb folkie, anachronistic Baroque Pop that is so pleasing to the ear. I like this song very much. Steve Katz could definitely have had a career as a singer: he sounds like a cross between a certain member of The Association and Bobby Darren. (9.25/10)
4. "More and More" (3:04) picking up where "Smiling Phases" left off (though David's voice is mixed a little more deeply into the soundscape than before). More creative uses for the horn section to inject their accents into the mix (substituting for the B.B. King-like blues guitar riffs). Jim and Bobby bring it with such amazing energy and skill! The futuristic (Frippian) guitar tone used by Steve Katz in the solo toward the end of the second minute, during the organ-based instrumental mid-section, is quite cool (and loud)! Incredibly tight and powerful musicianship on this complex tune. (9.125/10)
5. "And When I Die" (4:05) the hit cover of Laura Nyro's song, the song is notable for its dynamic shift between its sparse, dirge-like harmonica opening, the ensuing easy-going circus-music-like verses and the way the music turns to vaudeville-Western-showtune-like as they go on. And then there are the dramatically-held suspension of the song's title in the chorus and unusual pauses. Very much like something one would see on a Broadway musical. The faithful rendering of a rather complicated composition is the most impressive part for me (on a song that I've never really been very high on). (9/10)
6. "God Bless The Child" (5:56) another song that feels stage-worthy (which makes sense since it was composed by Arthur Herzog, Jr. and Billie Holiday). In a very interesting (and totally unexpected) twist, at 3:06 the song turns into a Afro-Cubano-flavored piano- and percussion-based jam for the horn players to really stretch out: both collectively and each, individually. But then at 4:24 the song comes back to its origins (though with noticeably more forceful horns, more organ, and the joinder of a bluesy harmonica, which weren't so prevalent in the opening). Ballsy but these guys are definitely up to the challenge. (9.125/10)
7. "Spinning Wheel" (4:07) one of those memorable brainworm songs, this one composed by newcomer David Clayton-Thomas. The horns were always my favorite part though David is solid (and even able to show some sensitivity). Definitely the most interchangeable song with the other Brass Rock pioneer, CHICAGO (Transit Authority). The instrumental section in the middle (which is sometimes cut out for radio play) is pretty cool--as is the finale with it's horn blasts, great drumming, and calliope-like recorder play. (9/10)
8. "You've Made Me So Very Happy" (4:19) the album's first single release, it was borrowed from the Motown catalogue having been covered by one of its authors, Brenda Holloway in a mildly-successful 1967 release as a 45 rpm single (the final arrangement of which Ms. Holloway fought hard to control, a battle she ultimately lost--which led to her leaving Motown/Tamla). BS&T's version was a massive chart topper that remains memorable and emotionally relevant to this day. I am most impressed by David Clayton-Thomas' ability to tone it down and soften his delivery for the tender, sensitive verses. (9.25/10)
9. "Blues-Part II" (11:45) an instrumental epic that opens with organ, bass, drums, all of which are quite simple and rudimentary (which is greatly disappointing considering the absolutely jaw-dropping skills the band's rhythm section has shown in the super-tight, super demanding arrangements of all their vocal songs). By the time the fifth minute rolls around the band has finally settled into something more meaty (though, ironically, it's a two-chord vamp) over which Fred Lipsius performs a long multi-part solo on his alto sax: at first over the fast-tempo vamp but then equally-impactful over the slowed down for the seventh and eighth minutes. How humorous is it that the band (Jim Fielder) chooses the "Sunshine of Your Love"/"In-a-gadda-da-vida" bass line to open and carry the next section. Luckily, he lets go of it at 8:40, whereupon the band transitions into a purely-Blues motif over which David sings in a genuinely-feeling blues tradition as Steve Katz tries to project a Blues guitar tone and style while Bobby bashes away on the drum kit beneath and the horn section slowly ramps up their intensity--until someone in the production booth decided to pull the plug: they slowly fade the song out even while David is launching into a classic Wilson Pickett lyric with increasing power and emotion! (22/25)
10. "Variations On A Theme By Erik Satie (1st Movement)" * (1:37) a replication of the opening movement from the beginning of the album, this time ending before the Brass Rock rendering starts--with the sound of a door slamming shut! (4.75/5)
* Adapted from Satie's "Trois Gymnopédies"
Total time 45:41
A2. "Blues For Instance" (5:10) definitely built/based on American Blues construct and melodies, Volker, bassist Peter Trunk, and drummer Cees See give ample life to this original composition. Not my favorite type of music, but the trio really bring their best to make it both interesting and impressive. (8.75/10)
A3. "Norwegian Wood" (2:20) now this is more of what I was expecting from Volker's first tackle of a Lennon & McCartney tune: creative interpretation, juxtaposition, variation, and improvisation galore; he's using the original as a jumping off point, not as a template to follow respectfully close. The injections of Jazz twists and turns are rampant and replete--and nary a sitar or sitar-imitation necessary! (9/10)
A4. "Traffic Jam" (3:59) the fourth and final song from the Köln studio recording sessions finds Volker stretching out with his band on this original composition that is founded in more of a folk Jazz tradition similar to the works of Django Rheinhard but Volker finds his usual ways of making it his own: expanding Django-like phrasing into American Jazz traditions pioneered by Charlie Christian as well as sneaking in a some flourishes of psychedelic rock into the last minute of the song. This, to my mind, is the first song that really begins to show Volker's wildly creative genius in tandem with his virtuosic dexterity. I really like drummer Cees See's instinctual sensibilities and control when he fully joins in around the halfway mark. (8.875/10)
B1. "Morandi" (3:29) another Kriegel original that finds Volker exploring the sounds and styles of Spanish classical guitaring of Rodrigo, Segovia, Niño Ricardo, and Manolo Sanlúcar. Most people think of Volker as an electric guitarist but I'm here to tell you that he was an amazing acoustic guitarist as well. As I suggested in this review's introductory paragraph, I consider Volker quite the eclectic musician: a Zelig who could and would transgress fearlessly into any style or genre of sound or music with an ease that I credit to intuition as much as to intention--and the dude was totally self-taught! (9.125/10)
B2. "Na Na Imboro" (8:42) a composition from Claudio Szenkar, the Vibraphonist sitting in on all of the songs on Side Two (those songs recorded in Frankfurt). The main melody and structure have quite a similar feel to the song "Mas Que Nada" (made famous internationally in 1966 by Sergio Mendes & Brasil '66). While Peter Baumeister flails away with great vim and vigor, bassist Günter Lenz keeps up as Claudio and Volker trade vibrant and dynamic solos, both challenging the other to up their game, even urging the other on from beneath the soloist's spotlight while the other is soloing! Very cool and energetic Jazz! Virtuosi, both! (18.625/20)
B3. "Interpunctuation" (4:44) though Claudio and Volker lay down the chords, this song presents itself as more of a vehicle to show off the drumming talents of Peter Baumeister. After the first minute, though, Peter and Günter settle into something structured while Volker nad Claudio take turns soloing, Volker riffing with such smooth fluidity as to surprise and astonish, over and over again. Claudio uses his genius to show his chord play during his solo (toward the end). I kind of wish Peter's drums were mixed a little more quietly into the final mix: they can be a little overbearing. (9.125/10)
Recorded on February 18 & 19 of 1968 and released in August or September, this is the album that caused such a stir in the public eye because of the record company (Columbia)'s massive mess up with its initial mastering and publication.
Line-up / Musicians:
- Don Ellis / quarter-tone trumpet
Rhythm Section:
- Mike Lang / piano, clavinet, Fender piano
- Ray Neapolitan / bass, sitar
- Frank De La Rosa / bass
- Dave Parlato or Jim Faunt / bass
- Steve Bohannon / drums
- Chino Valdes / congas, bongos
- Mark Stevens or Ralph Humphrey / timbales, vibes, miscellaneous percussion
- Alan Estes or Joe Pocaro / miscellaneous percussion
Saxes & Woodwinds:
- Ruben Leon / alto & soprano saxophones, flute
- Joe Roccisano or Joe Lopez / alto & soprano saxophones, flute
- Ira Shulman / tenor saxophone, piccolo, flute, clarinet
- Ron Starr / tenor saxophone, flute, clarinet
- John Magruder / baritone saxophone, flute, clarinet, bass clarinet
Trumpets:
- Glenn Stuart, Alan Weight, Ed Warren, Bob Harmon,
Trombones:
- Ron Myers or Vince Diaz, Dave Sanchez
- Terry Woodson / bass trombone
BLOOD, SWEAT & TEARS Child Is Father to the Man
The world's first and pre-eminent Jazz-Rock band releases their first album, thanks to Columbia Records, on February 28, 1968. Led by multi-instrumentalist musical genius Al Kooper and former Blues Project mate Steve Katz, the band was focused and committed to sporting a James Brown-like horn section as well as orchestral accompaniments. On February 21, Columbia Records releases the debut album of this jazz-rock fusion pioneer--The album had been recorded during studio sessions in December of 1967.
Line-up / Musicians:
- Al Kooper / vocals (2, 4-7, 9-12), organ, piano, ondioline & bass drum (8), string arrangements (11)
- Steve Katz / electric & acoustic guitars, lute (6), vocals (3, 8)
- Fred Lipsius / alto sax, piano
- Randy Brecker / trumpet, fluegelhorn (5, 6)
- Jerry Weiss / trumpet, fluegelhorn
- Dick Halligan / trombone
- Jim Fielder / Fender bass
- Bobby Colomby / drums, marching drums (8), tambourine & vocals (10)
With:
- Al Gorgoni / guitar (5)
- Doug James / shaker (7)
- Al Kooper / vocals (2, 4-7, 9-12), organ, piano, ondioline & bass drum (8), string arrangements (11)
- Steve Katz / electric & acoustic guitars, lute (6), vocals (3, 8)
- Fred Lipsius / alto sax, piano
- Randy Brecker / trumpet, fluegelhorn (5, 6)
- Jerry Weiss / trumpet, fluegelhorn
- Dick Halligan / trombone
- Jim Fielder / Fender bass
- Bobby Colomby / drums, marching drums (8), tambourine & vocals (10)
With:
- Al Gorgoni / guitar (5)
- Doug James / shaker (7)
- Fred Catero / arrangements (5), Fx (12)
- John Simon / string arrangements (1, 2, 7, 11), conductor (1, 11), arrangements (4, 6), piano (5, 10), organ (6), cowbell (10), producer & mixer
Strings:
Strings:
- Gene Orloff / violin
- Leon Kruczek / violin
- Paul Gershman / violin
- Harry Lookofsky / violin
- Julie Held / violin
- Manny Green / violin
- Anahid Ajemian / violin
- Harry Katzman / violin
- Manny Vardi / viola
- Harold Collett / viola
- Charles McCracken / cello
- Alan Schulman / cello
- Leon Kruczek / violin
- Paul Gershman / violin
- Harry Lookofsky / violin
- Julie Held / violin
- Manny Green / violin
- Anahid Ajemian / violin
- Harry Katzman / violin
- Manny Vardi / viola
- Harold Collett / viola
- Charles McCracken / cello
- Alan Schulman / cello
Vocalists:
- Valerie Simpson / chorus vocals (7, 12)
- Melba Moorman / chorus vocals (7, 12)
- Leslie Gurgle / vocals (8)
- Melba Moorman / chorus vocals (7, 12)
- Leslie Gurgle / vocals (8)
2. "I Love You More Than You'll Ever Know" (5:58) blues-based organ, bass & drums with electric rock guitar and very skilled lead vocals. What a great James Brown-like horn arrangement, great female background vocal "ooo's," great guitar sounds (both lead and rhythm) as well as a very zoned-in lead vocal of some powerful lyrics from Al Kooper. The finale is incredible! I wish it weren't faded out. Wow! This kind of perfection I was not expecting (from a debut album launched in 1968). (10/10)
3. "Morning Glory" (4:15) a solid, polished, professional song that does little to (9/10)
4. "My Days Are Numbered" (3:18) a song whose Soul gravity predicts the band's monster hits of the near future as well as sounding exactly like Paul Weller's transitional music from The Jam to The Style Council, it's is blessed with an amazingly intricate overal construct of multiple motifs all arranged and performed with such feeling, plus possessing an amazingly-catchy chorus. (9.75/10)
5. "Without Her" (2:41) the jazzy/lounge side of the band with a poppy Brit-Pop swing to it and more distinctly-defined individual instrumental sounds and performances (piano, bass, jazz drums, trumpet, sax, close intimate vocal performance) as well as Jobim-like Spanish guitar play serving as the rhythm guitar. Awesome both musically and as an brainworm. (10/10)
6. "Just One Smile" (4:37) another wonderfully-arranged and -rendered musical landscape with more of Jim Fielder's awesome electric bass play, Al's vulnerable and emotional vocal and incredible horn section . Weirdly, the chorus is the song's weakest element as it doesn't quite deliver the promise that the verses seem to build toward. I love the little Baroque interplay of the lute and keyboard in the instrumental passage in the first half of the fourth minute! (9.375/10)
7. "I Can't Quit Her" (3:39) opening with some Burt Bacharach like piano play of a few chords before the bass and drums enter, followed soon thereafter by Al's reverb-treated vocal and the accents of the Beatles-like horn section. Strings and female choir back the first chorus section before routing the band back into a repeat of the verse section. Then around 2:30 there is a powerful transition to a heavier, more emotional instrumental section which plays out to the final fade-out of the music with no other return of the vocal/lyrics. Awesome! What creative song construction! (9.25/10)
8. "Meagan's Gypsy Eyes" (3:24) starting out with gently-picked acoustic guitar the song then amps up with the arrival of horns and a weird keyboard. There are ample effects applied to the anachronistic keys and doubled-up vocal track, this song travels with a fairly thin and simple psychedelic sound palette until the chorus when the horns and strings get involved. This sounds a lot like something from DONOVAN, The 13th Floor Elevators, or even one of the British Baroque Pop making their way across The Pond. Steve Katz' lead vocal is great for the delivery of the song's folkie-psychedelic lyrics but he's nowhere near as strong or powerful as Al Kooper; he's more of a gnome-like delivery person. Still, this is a cool, interesting, and, ultimately, memorable song. (9/10)
9. "Something' Going On" (8:00) pure JAMES BROWN bluesy R&B with each and every instrument being asked to play at their loudest and most concise/compact forms while Al sings a purely blues-oriented vocal performance. Steve Katz' electric guitar solo in the third minute is surprisingly loud while also benefitting from enough distortion to make it sound like something between Eric Clapton and Jimi Hendrix. Even Steve's ensuing rhythm guitar play behind Al's piano solo in the fourth minute is loud: way louder than Al's piano. The horns, too, are really loud as Al returns to the vocal, singing as if he's trying to incite some loud audience participation/response. Tenor sax starts to solo beneath Al's call & response-like vocals. At the end of the seventh minute the music thins and returns to the form of the opening section for the band and Al to pull it to a close--but then they really ramp things up again for the finish! Great drumming from Bobby Colomby! (13.25/15)
10. "House In The Country" (3:04) a peppy little song that with multiple vocal tracks that sounds like something from a sophisticated British pop band (not The Stones or Who, more Beatles) and then they inject some of the the Zappa-like absurdist humor with ancillary voice-acted tracks. Interesting. (8.875/10)
11. "The Modern Adventures Of Plato, Diogenes And Freud" (4:12) delicate voice with chamber strings support again remind one of British Baroque Pop bands as Al sings over the top with a sincerity and literacy that sounds/feels like contemporary social commentary poetry being sung (but, again, previews an artist like Paul Weller). (9/10)
12. "So Much Love / Underture" (4:43) a bit of a PROCOL HARUM sound and feel to this as Jim and Bobby lay down a funky David Axelrod-like rhythm track with Al's organ and Steve's twangy rhythm guitar strokes. Horns and background choir vocals join in from time to time, usually in bridges and sometimes in the verse passages and then over the choruses. For the final 90 seconds there is a simple pulsing organ note punctuated by brass chord blasts before the strings and weird organ oscillation sounds join in. Could've come from a West End musical. (8.75/10)
Total time 49:24
There are many times when the clever, sophisticated songs on this album remind me of the genius of artists like The Moody Blues, Pete Townsend, Paul McCartney, Brian Auger, and James Brown.
92.40 on the Fishscales = A/five stars; a ground-breaking masterpiece of R&B/Rock Fusion (what we've all come to refer to as "Brass Rock"), one of the finest debut albums to ever explode onto the 1960s music scene.
92.40 on the Fishscales = A/five stars; a ground-breaking masterpiece of R&B/Rock Fusion (what we've all come to refer to as "Brass Rock"), one of the finest debut albums to ever explode onto the 1960s music scene.
This is an album that I've found mentioned several times in my reading and research on the history and foundations of Jazz-Rock Fusion. It was recorded in 1967 and released on the United Artists subsidiary, started by Sonny Lester and Phil Ramone, Solid State Records. The album was produced by Phil Lester.
Lineup / Musicians:
- Mike Mainieri / vibraphone, arranger
- Lyn Christie / bass
- Don McDonald / drums
- Joe Beck / guitar
A1. "Autumn Leaves" (7:00) a cover of the jazz standard "Les feuilles morts," first penned by the French songwriting team of Jacques Prévert and Joseph Kosma and later lyrics rewritten for English by Johnny Mercer. Besides the use of electric guitar and the electrified vibraphone, I'm not sure what it is about this song that might qualify it for entry into the Jazz-Rock Fusion hall of fame. (13/15)
A2. "Skating in Central Park" (8:00) cover of The Modern Jazz Quintet's John Lewis and Judy Spencer song, too much here reminds me of watching Fred Rogers' television show. It's nice; it's relaxing, but it's Charlie Brown Christmas music! (13.25/15)
A3. "Rain Child" (6:00) a Mainieri original, this one might truly qualify as Jazz-Rock Fusion, though it's still 60-75% jazz. (8.875/10)
B1. "On the Trail" (6:47) a cover of the Ferde Grofe and Harold Adamson song, it's quite melodic and peppy--almost poppy--especially from bassist Lyn Christie and Joe Beck's guitar (and voice). Still pretty jazzy, though. (13.75/15)
B2. "Instant Garlic" (6:35) composed by Mike himself, this one fades in during a particularly-heated free for all as the band was obviously jamming but, by the start of the second minute, things have been reigned in so that Mike and Joe can solo with a little more humanity (less wild animal) over the steady structure offered by Lyn and drummer Don McDonald. The more frenetic parts remind me more of free jazz than J-R F but the part revolving around Don's solo in the third and fourth minutes does feel a bit more Rock 'n' Roll than Jazz. Interesting and worth studying. (9.125/10)
B3. "Minnesota Thins" (2:45) composed by bass player Lyn Christie, this one starts out with a definite Pop/R&B structure, style, and flare. Lyn's vocalizations as he bows his double bass even serve to add to this Pop/Rock feel. Joe Beck even manages to display a few of the "tricks" he'd picked up from the Rock world. Nice crossover, Boys! (9/10)
B4. "La plus que lente" (5:00) a Mainieri arrangement of a Claude Debussy song starts out with Mike tout seul and stays that way for the entire five minutes. It's pretty, lovely, as a piece meant for the background of a reading of a childrens' story should be. (8.875/10)
Why this album is mentioned in the context of the earliest examples of a jazz and rock fusion, I'm not sure. To me this is far more similar to the soothing jazz of Fred Rogers/Johnny Costa or Vince Guaraldi.
89.26 on the Fishscales = B+/4.5 stars; a collection of seven lovely songs that illustrate the fledgling attempts of jazz musicians to pick up and incorporate riffs, sounds, and stylings from the more radio-dominant Pop and R&B worlds.
March
To be sure, this has to be one of the most talented lineups ever in jazz history--and despite Miles' collaborators being in their young 20s and most definitely showing signs of some immaturity, the greatest innovation occurring here is with Tony Williams' drumming.
1. "Nefertiti" (7:52) a rather dull and slightly melodic lead song with Miles and Wayne up front has some rather adventurous performances from Herbie Hancock and, especially, the dynamic Tony Williams. (13.25/15)
2. "Fall" (6:39) another pleasant, melodic song in which the musicians are operating more nearly on the same wavelength--until fourth minute, that is, when Tony begins to go off into his own world, rhythmically, beneath Herbie's piano solo, but then he backs off and gets very quiet during Wayne's following solo and what follows. Interesting! (8.875/10)
3. "Hand Jive" (8:54) a much more dynamic song construct with Ron Carter walking all over his upright double bass while Tony Williams flies around his cymbals and toms. There is an odd, subtle shift in tempo in the third minute that I do not think is intentional but obviously not considered significant enough to correct or redo--and Ron Carter is not always "in the pocket" (at least not according to these amateur ears), but the song certainly displays the skills of all of the band members, with a considerable amount of time given to Wayne Shorter's solo in the middle. When Herbie is next given his turn, he seems a bit lost at first, but, after he gets warmed up, he starts to move better. Maybe everybody's just a little overwhelmed or intimidated by Tony's creativity (and Ron's hot-and-cold conformity to the "pocket"). (17.5/20)
4. "Madness "(7:31) more of the same as the previous song with Ron's fast walking and Tony's cymbal play providing the bulk of support beneath one of Miles' more dynamic and passionate solos on the album. The trio seem quite entrained. Then Wayne is given the nod to take over from Miles. He's not quite as dynamic but very impressive for his softer, breathy notes. When it comes time for Herbie's turn, everybody nearly cuts out, with only Ron and Tony remaining beneath part time, not flying around the fretboard and cymbal like they were. But then they return to their earlier form as Herbie heats up, though not quite as synched as they were with Miles--which may have something to do with Herbie's less smooth, less-melodic approach. And then they all come back together ever-so briefly before bringing the song to a quick close. (13.375/15)
5. "Riot" (3:04) Same cymbal play from Tony while Ron machine guns around the upper registers of his bass and Herbie plays a lot of chords beneath Wayne's initial lead. Then Miles is there, too. It's nice to hear the whole band working together (and Tony does get a little more active as the song develops). (8.875/10)
6. "Pinocchio" (5:08) a song that feels more like standard or old Miles bebop or hard bop. Opening with the whole rhythm section behind Wayne and Miles, Ron and Tony become more active as the song develops, something that is more noticeable during Wayne's solo (as Miles and Herbie check out). Tony really picks it up here, even when Miles and Wayne return to recapitulate the main melody. Then Herbie gets his solo. It's good, probably the best on the album, but then its over and the band pulls together to close. Very tight, "standard" jazz tune. (8.875/10)
Total Time 39:08
I think this album is most significant for confirming how much of a force drummer Tony Williams is (and is going to be). As impressive as Tony is (and Miles and Wayne, as well), I think Herbie Hancock and Ron Carter are showing how much growth they have yet to achieve--especially to be able to achieve the moment they are called upon (i.e., in the improvisation department).
88.44 on the Fishscales = B/four stars; an excellent album for prog rockers to gain insight into the genius of some of Jazz-Rock Fusion founders and all-stars--especially the phenom that was drummer Tony Williams.
Again, I cannot help but mention the unfathomable error that Columbia Records made when mistakenly switching the two album covers intended for this album and its predecessor, Sorcerer. How do such colossal blunders occur? Wasn't it obvious that "sorcerer" is a male assignation and thus deserving of a male cover photo and "Nefertiti" female and thus deserving of a female cover photo? Was Miles (and his team) not paying attention?
April
Recorded June, 1967, and January, 1968 and then released by Verve Records sometime in the Spring.
Line-up / Musicians:
– Richard Spencer / alto saxophone
– Don Sebesky / harpsichord, clavinet, organ, piano
– Donald MacDonald / drums
– Chuck Rainey / electric bass
- Don Payne / electric bass
– Joe Beck / guitar
- Larry Coryell / guitar
– Janet Sebesky / vocals– Don Sebesky / harpsichord, clavinet, organ, piano
– Donald MacDonald / drums
– Chuck Rainey / electric bass
- Don Payne / electric bass
– Joe Beck / guitar
- Larry Coryell / guitar
A1. "The World" (3:35)
A2. "Shake A Lady" (3:42)
A3. "Banana Flower" (2:48)
A4. "Meet A Cheeta" (4:01)
A5. "I Dig Rock 'N' Roll Music" (2:05)
B1. "Never My Love" (3:06)
B2. "Dancing In The Streets" (3:17)
B3. "Somebody Groovy" (4:07)
B4. "You've Got Your Troubles" (2:52)
B5. "Big Mama Cass" (2:51)
Total Time 78:12
A2. "Shake A Lady" (3:42)
A3. "Banana Flower" (2:48)
A4. "Meet A Cheeta" (4:01)
A5. "I Dig Rock 'N' Roll Music" (2:05)
B1. "Never My Love" (3:06)
B2. "Dancing In The Streets" (3:17)
B3. "Somebody Groovy" (4:07)
B4. "You've Got Your Troubles" (2:52)
B5. "Big Mama Cass" (2:51)
Total Time 78:12
The music of this album of cover songs sounds like the performances of a small orchestra or band that has integrated a full lineup of rock 'n' roll musicians to cover easy listening, radio- (and television-) friendly instrumental covers of the latest popular hit songs. This is exactly the kind of music that was played in my family's household while I was growing up--my dad's favorite delivery form for the day's pop music hits. There some really great arrangements here and great performances by all--including the orchestral horn and strings sections and the amazing rock 'n' roll and studio musicians involved (look at that lineup!) You can tell that everybody here is fully engaged and having a great time--even Don's wife, Janet, performing the mostly-wordless vocalese of these massive radio and Billboard hits. This was The Sixties, folks! I can see why this qualifies as Jazz-Rock Fusion--and they're not wrong as this is very much like the music that David Axelrod was producing at the same time--but, due to the lack of original compositions, I think the fusion of Jazz is on the minimal side; it's actually more like Orchestra-Rock Fusion.
May
In 1967 Miles Davis met and started dating 22-year old model and driven/aspiring singer, clubber, model, and socialite, Betty Mabry. The two would marry in September of 1968 and divorce one year later. The association would dramatically expand Miles' musical and cultural perspectives--especially through his exposure to the music (and style) of James Brown, Sly & The Family Stone, and Jimi Hendrix. Previous to this relationship, Miles was notoriously obsessed with classical and jazz music--to the utter exclusion of radio, pop, and television. Betty even introduced Miles to Sly Stone and her friend Jimi Hendrix--with whom Miles would form an instant and profound connection and bond (despite his marriage-ending jealousy of him). The result, of course, would be Miles looking to see, hear, and jam with more young new musicians who were exploring the new electronically-enhanced instruments (piano, guitar, bass guitar) as well as the presence of an infusion of rock 'n' roll influence from his drummers.
June
- Miles Davis / trumpet
With:
- Wayne Shorter / tenor saxophone
- Herbie Hancock / Fender Rhodes electric piano
- Chick Corea / piano & RMI Electra-Piano
- Ron Carter / electric bass
- Dave Holland / double bass
- Tony Williams / drums
Veteran pianist Horace Silver tries dabbling in the new rock-infused sounds of electrified jazz on an album that was recorded in two different sessions, with two different lineups of musicians, February 23 and March 29, both at Van Gelder Studio in Englewood Cliffs, NJ. The album Serenade to a Soul Sister by The Horace Silver Quintet was released by Blue Note in June.
Line-up / Musicians:
- Charles Tolliver / trumpet
- Bob Cranshaw / bass (A1, A2, A3)
- Mickey Roker / drums (A1, A2, A3)
- Stanley Turrentine / saxophones (A1, A2, A3)
- John Williams / bass (B1, B2, B3)
- Billy Cobham / drums (B1, B2, B3),
- Bennie Maupin / saxophone [tenor] (B1, B2, B3)
- Bennie Maupin / saxophone [tenor] (B1, B2, B3)
July
MILES DAVIS Miles in the Sky (released July 26, 1968)
Recorded January 16, 1968; May 15-16-17, 1968 for Columbia Records, this would be the last studio album recorded exclusively (except for the song "Paraphernalia") by Miles' "Second Great Quintet." It was also the first album on which Miles made the demand of Ron and Herbie to "go electric": Ron being asked to play the electric bass (which, years later, he claimed he detested), Herbie the electric piano.
Line-up / Musicians:
- Miles Davis / trumpet
- Wayne Shorter / tenor saxophone
- Herbie Hancock / piano, electric piano on "Stuff"
- Ron Carter / bass, electric bass on "Stuff"
- Tony Williams / drums
- Wayne Shorter / tenor saxophone
- Herbie Hancock / piano, electric piano on "Stuff"
- Ron Carter / bass, electric bass on "Stuff"
- Tony Williams / drums
With:
- George Benson / electric guitar on "Paraphernalia"
A1. "Stuff" (17:02) the experimentation with the "new" electronic options available to jazz musicians is finally being endorsed (commanded) by Miles: electric piano for Herbie and electric bass for Ron (which we all know he never really enjoyed despite his excellence at it). The result is something that definitely feels more modern--and more sassy-smooth. The slow-down/almost pauses every 30-seconds or so are kind of hard to get used to: they make me feel as if either the song is winding down to a conclusion or that they're preparing us for a new motif (like a bridge), but, no! The same theme keeps on; only the lead instruments change (sometimes). I like the sassy performance Miles gives us: it's as if he's really locked in and enjoying a loose, carefree day--and I think his attitude is infectiously affecting his studio mates cuz this song is overall very chill and relaxed. The length of the song, however, is a matter of question: was 17 minutes really necessary? (32/35)
A2. "Paraphernalia" (12:41) a composition credited to both Wayne and guest George Benson, as many have noted, this has got to be one of George's most unusual guitar performances, mostly sitting back as a single bass-dominant chord rhythmatist, reinforcing Tony's driving rhythm track, accenting Ron's wildly-exploratory and mountaintop-to-valley- floor walking bass line. As a matter of fact, until the sixth minute, George does little else but play one chord in perpetual rhythm--like another tom on Tony's kit. Herbie, Miles, Wayne, and even Tony, however, really flash and flair--whether in solos (Miles and Wayne), melodic support (Herbie) or rhythmic attack (Tony). Finally at 7:10, George is "allowed" to step up to the front of the stage. But by the end of the ninth minute it's over: Herbie takes over for his first and only true solo (which, to my ears, sounds a little harsh and "off"--until he hits a cool series of chords in the beginning of the 12th minute, then he's cookin'. At the end of the 12th minute the horn players rejoin--though reluctantly as it is uncertain whether Herbie has completed his statement (he has not: he just continues doing so--off in his own very cerebral world--while the others tentatively play around him. I really like this ending: the ambiguity and uncertainty is really endearing for the fact that it shows the band's individual humanity with all of its doubt and frailty! Cool song! Especially for Tony's dynamic play, Ron's amazing adventurosity, Herbie's perseverance in the face of adversity and uncertainty, and Miles and Wayne's professional maturity. As for George: he's almost a non-entity; a moot member; I can't even remember his solo! (23.75/25)
B1. "Black Comedy" (7:32 or 13:49: I'm only reviewing and rating the 7:32 version since that's all I can find posted on YouTube.) A solid nondescript hard bop (or post bop, if you must) song of the ilk that Miles has been doing for some years. I have trouble staying focused much less remembering anything from this song once it has passed. (13.125/15)
B2. "Country Son" (12:51) a more loosely organized jam that sounds like something Teo recovered from hours of tape, fade in, splice away, and faded out--which would lead me to deduce that the song was not very cleanly composed (which is probably why Miles took the writing credit); it's more of a series of themes and ideas strung together--quite possibly played in the order published, even possibly planned as is with the thematic and stylistic shifts occurring due to signals from Miles, but that third and fourth minute feels to me as if the band was just wandering around beneath Wayne's soling sax, searching and fumbling around for the right style and pace to support him with--with Ron usually the promulgator of stylistic and rhythmic changes. It's just too weird of a conglomeration of musical themes to be intentional; it has to be a flow of thematic attempts--though, hearing this, one cannot help but compare these rather severe and dramatic shifts to prog songs like "Close to the Edge," "Supper's Ready," "Tarkus," or even one of Camel or Nektar's side-long symphonic pieces. This may be able to fall under the label "symphonic" but I swear: no symphony I've ever heard has this kind of radical stylistic and melodic shifting going on within a continuous flow. I'd be more inclined to call it a medley or, less respectfully, a hodge podge of leftovers pulled randomly and sequentially out out of the refrigerator. I like many of the themes present here, I think the motif that Herbie leads in the seventh into the eighth minute might be my favorite though Miles melodic play with his band's support in the thirteenth minute is pretty cool, as well. Overall, it just leaves me with a weird aftertaste. Like leftovers. (22.25/25)
Total Time: 51:04
The presence of four notably long songs supposedly squeezed into two sides of vinyl is a bit suspicious (though Todd Rundgren would routinely squeeze 30-40 minutes into a side during his mid-1970s heyday)--and I wish I could verify if Teo and Columbia managed to squeeze the long version of "Black Comedy" onto Side Two--which would equal some 25 minutes of music
A-/five stars; a minor masterpiece of hard bop/post bop that many people consider transitional to, or pre-, Jazz-Rock Fusion. I hear some of what they're talking about but to me its sounds more like a group of musicians who are quite familiar with one another, who are showing signs of growing a bit bored or fatigued with their collaboration: they're still performing at a high level but they feel as if, at times, they're reaching, stretching for inspiration and motivation-- especially on that last song. And I agree with the critics of "Stuff" in that it begins to over stay its welcome--to sound repetitive--after about ten minutes.
Total Time: 51:04
The second set of recording dates coincided with Miles getting serious with his girl friend, 23-year old Betty Mabry. (The two would marry in September.) Through clubbing and attending high profile concerts of the hot pop R&B artists of the day, Betty had been introducing Miles to a whole new world of pop culture: the Sixties' post-Beat, "hippie" and Black "counter" culture. One can definitely hear some of this influence in the music and instrumental sounds and textures of this album.
91.125 on the Fishscales = A-/five stars; a minor masterpiece of primordial Jazz-Rock Fusion.
91.125 on the Fishscales = A-/five stars; a minor masterpiece of primordial Jazz-Rock Fusion.
JEFF BECK Truth
An album of wide-ranging guitar-centric songs that was compiled from studio recording sessions from May of 1966 and May of 1968, this is Jeff Beck's debut solo album--which was released on July 29 by EMI/Columbia and Epic Records.
Line-up / Musicians:
- Jeff Beck / electric, acoustic (6) & pedal steel (1) guitars, bass (5), arrangements
With:
- Rod Stewart / lead vocals, co-arranger (6)
- Jimmy Page / 12-string electric guitar (5, 8)
- John Paul Jones / Hammond (4, 5), bass (8)
- Nicky Hopkins / piano (3, 4, 8, 9)
- Ron Wood / bass
- Micky Waller / drums, tambourine (2)
- Keith Moon / drums (8), timpani (5)
- ??? / bagpipes (3)
1. "Shapes of Things" (3:22) great drumming, guitar, and vocals on this version of The Yardbirds' transformational tune. (9/10)
2. "Let Me Love You" (4:44) classic Blues-based Rock 'n' Roll of the sort that resulted in the music of bands like Led Zeppelin. Nice bass work from Ron Wood that helps ground the song while Jeff's guitars ( active rhythm in the left channel, riffing lead in the right). (9/10)
3. "Morning Dew" (4:40) galloping bass and tambourine open this before Ron and Micky settle back to support Jeff and Rod's emotive plaintive performances. In the second half of the second minute the band ramps up into full-on power rock for the chorus, then falls back into the more spacious, reflective motif that was established for the first verse. Repeat, rinse and dry. Nice to hear Nicky Hopkins' piano work pop up during the second half. Jeff could make an electric guitar sound so smooth. (9/10)
4. "You Shook Me" (2:33) pure blues with Hendrix-like guitar fixin's and more than ample garnishments from both piano (Hopkins) and organ (John Paul Jones) while Rod and Jeff pump out the leads. (4.5/5)
5. "Ol' Man River" (4:01) an interesting organ-based and Keith Moon timpani-accented cover of the classic show tune. Rod proclaiming his respect for the "classics" before his late-career return to the form. Electric guitar doesn't really appear until the fourth minute and when he does it is with quite some flash. (8.875/10)
6. "Greensleeves" (1:50) Jeff playing six-string steel-string acoustic guitar?!! (4.5/5)
7. "Rock My Plimsoul" (4:13) back to the classic Southern Blues turned rabid by Jeff's amazing electric guitar instincts. (Even his raunchy rhythm guitar chord strikes are attention-grabbing!) Rod's vocal performance is fine but not quite as completely engaged as one might desire. (9.125/10)
8. "Beck's Bolero" (2:54) with great buddy Jimmy Page strumming away on a 12-string and John Paul Jones (bass), Keith Moon (drums) assisting and not one but two Jeff Beck guitar tracks, plus a great melodic hook and an awesome shift into heavy rock domain for the second half, one cannot deny this song it's place in Rock 'n' Roll Valhalla. (9.375/10)
9. "Blues Deluxe" (7:33) Nicky Hopkins blues piano opens this before Ron and Micky join in with Jeff's two tracks of blues guitar playing and Rod's convincing vocal performance. Despite some great nuances from Rod and Jeff, this is really Nicky Hopkins' song (the intermittent audience participation seems fake: taped in)--at least until sixth minute when Jeff really lets loose and tears it up. (13.25/15)
10. "I Ain't Superstitious" (4:53) back to LED ZEPPELIN-like Rock 'n' Roll with everybody here on full CREAM-like power-to-eleven. But, still it is totally Blues derived and Blues reflective. Jeff's constant contributions of end-of-phrase accents are fine but it's when he really goes wild in that flurry of fury in the fourth minute that the song really elevates. (8.875/10)
Total Time 40:43
Total Time 40:43
This album turned out to be the absolute wet dream for John Q. Public, the young, hungry, guitar geek, who had (unknowingly) just been waiting for one of the guitar gods of the early Sixties to unleash something totally guitar-centric. It was also the world debut of singing sensation Rod Stewart. While there is almost nothing of a jazz-and-rock fusionary nature on this album, there is a lot of guitar magic and experimentation here that would add a lot of fuel to the fledgling fire of both Rock 'n' Roll and Jazz-Rock Fusion.
90.0 on the Fishscales = A-/4.5 stars; a minor masterpiece of Rock 'n' Roll but not a qualifier as a Jazz-Rock Fusion piece.
August
DON ELLIS ORCHESTRA Shock Treatment
Recorded on February 18 & 19 of 1968 and released in August or September, this is the album that caused such a stir in the public eye because of the record company (Columbia)'s massive mess up with its initial mastering and publication. Here' the story in Don's own words extracted from a letter he sent to the "Chords and Discords" forum of DownBeat magazine immediately following the magazine's review of (the first version) of the album:
“Regarding the review of my record Shock Treatment by Harvey Pekar (DB, Sept. 19), I would like to set the record straight on some little known facts in connection with this album. The copy that was reviewed was one about which I am embarrassed and not proud. The story behind this is as follows:
Upon completion of the album, I did the mixing and editing here in California and then sent the finished product to New York. It wasn’t until the album was already released that I heard a pressing. Much to my horror, I found that without consulting me the whole album had been changed around—rejected masters and unapproved takes were used (not the ones which I had selected and edited), the wrong tunes were on the album, unauthorized splices were made which disturbed the musical flow of some of the compositions (beats were even missing from bars), whole sections were cut out, some of these being the high points of the album. Therefore the liner notes, which were done to the original album, do not agree with what is actually on the album, calling attention to solos and high spots which are not there. I’m surprised that this wasn’t mentioned in the review! Also, the wrong personnel is listed on the jacket. When I discovered what had happened I was, naturally, disturbed and asked Columbia to redo the album. They graciously consented and I was able to change the album back to its original form except that I left Mercy Maybe Mercy, which my producer particularly liked, in place of Zim, which I hope will appear in a future album. Unfortunately, they were not able to call back all the thousands of albums which had already been released. However, they did send a note to the reviewers telling them that the copy which they had received was defective, and to please not review it until they received the corrected copy. It looks as if Down Beat didn’t get that letter. In conclusion, let me state that I have no quarrel with Harvey’s review, but I do wish that he or someone else would review the correct album.”
Great story: One that illustrates, once again, how obtuse record companies can be to the desires, preferences, and wishes of their artists as well as to how little say/control an artist has over the finished product of their work. What they think will sell is not always in line with the artist's creative vision for their finished product--in this case, not nearly in line.
Line-up / Musicians:
- Don Ellis / quarter-tone trumpet
Rhythm Section:
- Mike Lang / piano, clavinet, Fender piano
- Ray Neapolitan / bass, sitar
- Frank De La Rosa / bass
- Dave Parlato or Jim Faunt / bass
- Steve Bohannon / drums
- Chino Valdes / congas, bongos
- Mark Stevens or Ralph Humphrey / timbales, vibes, miscellaneous percussion
- Alan Estes or Joe Pocaro / miscellaneous percussion
Saxes & Woodwinds:
- Ruben Leon / alto & soprano saxophones, flute
- Joe Roccisano or Joe Lopez / alto & soprano saxophones, flute
- Ira Shulman / tenor saxophone, piccolo, flute, clarinet
- Ron Starr / tenor saxophone, flute, clarinet
- John Magruder / baritone saxophone, flute, clarinet, bass clarinet
Trumpets:
- Glenn Stuart, Alan Weight, Ed Warren, Bob Harmon,
Trombones:
- Ron Myers or Vince Diaz, Dave Sanchez
- Terry Woodson / bass trombone
INITIAL 1968 unsanctioned Columbia Record company vinyl RELEASE:
A1. "A New Kind of Country" (Hank Levy) (4:10) (/10)
A2. "Mercy Maybe Mercy" (Hank Levy) (3:22) (/10)
A3. "Opus 5" (Howlett Smith) (8:05) (/15)
A4. "Beat Me, Daddy, Seven to the Bar" (edit) (3:03) (/10)
A5. "The Tihai" (7:16) (/15)
B1. "Milo's Theme" (4:26) (/10)
B2. "Star Children" (3:22) (/10)
B3. "Homecoming" (3:03) (/10)
B4. "Seven Up" (Howlett Smith / arr. Joe Roccisano) (3:58) (/10)
B5. "Zim" (John Magruder) (3:58) (/10)
Total Time 44:43
SECOND June 26, 1968 "Santa Maria" VINYL PRESSING:
A1. "A New Kind of Country" (Hank Levy) (4:10) (/10)
A2. "Night City" (Ellis, MacFadden / arr. Don Ellis) (2:58) (/10)
A3. "Homecoming" (3:00) (/10)
A4. "Mercy Maybe Mercy" (Hank Levy) (3:22) (/10)
A5. "Opus 5" (Howlett Smith) (9:22) (/20)
B1. "Star Children" (3:18) (/10)
B2. "Beat Me, Daddy, Seven to the Bar" (6:15) (/10)
B3. "Milo's Theme" (4:24) (/10)
B4. "The Tihai" (8:40) (/20)
Total Time 45:29
THIRD 2005 Columbia (Terra Haute) VINYL PRESSING
(Same as the second but with slightly different liner notes):
2003 Koch Jazz (Sony Music)) CD release:
1. "A New Kind of Country" (Hank Levy) (4:10) sounds like a modernized big band standard (with some electrified instruments and recording techniques) waiting for a young crooner to sing over the top--like Don is here definitely taking advantage of all of the Latin-infused musics infiltrating the American music scene in the 1960s--especially and probably Stan Getz (and, to a lesser degree) Paul Desmond more than any others. Could have been a theme song to one of the game shows of the day--like The Dating Game or The Newlywed Game. (8.875/10)
2. "Night City" (Ellis, McFadden / arr. Don Ellis) (2:56) the co-composers must have been trying to reach the wider record-buying audiences of the day (1967) with this very LAWRENCE WELK-like song. Elaborately arranged MITCH MILLER-like choral vocals (male and female) are accompanied by a Latin rhythm to create this rather heavy-hearted song. I like it though it is not very progressive or particularly fusionary. Also could be a tribute to the great music being written for Broadway musicals by new artists like Burt Bacharach and Stephen Schwartz. (8.875/10)
3. "Homecoming" (3:02) sounds so familiar--like the more emotional old-time music that was so popular with moms and pops on the old porch settings. (Could've fit in Gershwin's Porgy and Bess.) (8.75/10)
4. "Mercy Maybe Mercy" (Hank Levy) (3:20) sounds like a watered-down version of Billy Page's "The 'In' Crowd" (8.75/10)
5. "Zim" (John Magruder) (3:59) a fan favorite from the first release that Don grew to like specifically because of the enthusiastic feedback he received. Composer and, here, bandmate John Magruder came up with several memorable songs for Don and the Orchestra over the years. (9.25/10)
6. "Opus 5" (Howlett Smith) (9:19) nice polyrhythmic foundation over which muted horns play makes for a cool start. In the second minute a bridge serves as a kind of rewind so that everything starts over, only this time the full horn section--in two different lines--can recapitulate the superceding melody--and then piano and very odd upper-end bass make themselves known to be the soloists for the second half of the third and first half of the fourth minutes. Lead trumpet takes over at 3:30. Rest of horns slowly creep back in in the middle of the fifth minute before backing off to a softer bank, but, man! I keep getting lost in the rhythm lines! Congas and drums actually get some spotlight before horn banks bridge into more "team-sharing" section of rather complex multiple team-interplay. By the time we get to the eighth minute there are so many layers working together at the same time (like 9 or 10!) that it shocks me that they all can stay on their own path--and it all works incredibly well blended together! Amazing! What a design (composed by pianist/composer Howlett Smith)! (19.25/20)
7. "Star Children" (3:21) weird song with weird combination of sedate jazz with choral vocals. (8.666667/10)
8. "Beat Me, Daddy, Seven to the Bar" (6:12) this spirited blues-rock vamp makes me feel as if I'm at a party in a Peter Sellers movie from the day--maybe even a pool party--which gets kind of "serious" when the percussionist (conga player) is given sole occupancy of the recording tape. Supremely tight performances of yet-dated music. (8.75/10)
9. "Milo's Theme" (4:23) experimentation with echo effects on Don's trumpet and then all the instruments to follow. Weird but pretty cool! (And using very pretty and melodic cinematic music to do it). I love hearing artists take chances like this. The ensuing horn and then full band harmonized buildups are wonderful (if "Big Band Era" dated), but then we return to the modulation effects experimentation for the finish. Cool! (9/10)
10. "Seven Up" (Howlett Smith / arr. Joe Roccisano) (3:59) like a blast from the past with this one sounding like the soundtrack music for either "I Dream of Jeannie" or "Bewitched" (maybe that's why I love it: I grew up on those shows). Awesome jazz bass walking beneath Don's trumpet and his complex, multi-horn accompaniment. Again, to think that we're at an episode of some dance routine on the Lawrence Welk Show is not a far-off stretch of the imagination, but those big explosions of horns and alternating cutesie flute and muted-horn passages are so fun! (8.875/10)
11. "The Tihai" (8:44) Don's preferred edit and mix of this one sounds. There are moments where the melodic rhythm track feels and sounds like something from The Flinstones cartoon soundtracks of the day and others that feel like soundtrack music to an Elvis Presley (or Our Man Flint or Pink Panther) beach movie scene. And then, surprise of all surprises, there is the Konnakol Carnatic Indian percussive vocal exchange taken from the South Indian traditions at the six-minute mark. Odd use of minor keys at times where popular tradition would have made different choices. (18/20)
12. "Zim" (alternate take) (John Magruder) (4:00) a much more smooth-flowing "Take Five"-like version of the tune; this was not Don's preferred version of the song but he was serving popular demand from the response of listeners from those who had purchased or heard the original unapproved version on Columbia's initial release of the material. I can't say that I dislike it. The mix ius a bit muddier than the other one, but that almost gives it an era-appropriate psychedlic acid-trip feel! (9/10)
13. "I Remember Clifford" (Benny Golson / arr. Terry Woodson) (5:25) a more traditional lounge jazz tune like something you might have heard at Rick's Café in Casablanca. (8.875/10)
14. "Rasty" (2:52) another song that sounds like a Big Band remnant brought into the late 1960s for renovations. (8.666667/10)
Total Time 65:42
While most of music on this album does sound (almost laughably) out-dated and anachronistic one cannot the technical and compositional skills required put together and then pull with such tight (and professional) performances--captured in just two days in the recording studio!
I've decided to post my rating and ranking according to the version of music published in CD from in 2003 because this release offers the listener a fine cross-section of the two original releases.
89.58 on the Fishscales = B+/4.5 stars; a near-masterpiece of large-spectrum Jazz and Jazz-Rock performances of cutting-edge compositions.
P.S. That girl photographed for the album cover has some long-ass toes!
Line-up / Musicians:
- Don Ellis / quarter-tone trumpet
Rhythm Section:
- Mike Lang / piano, clavinet, Fender piano
- Ray Neapolitan / bass, sitar
- Frank De La Rosa / bass
- Dave Parlato or Jim Faunt / bass
- Steve Bohannon / drums
- Chino Valdes / congas, bongos
- Mark Stevens or Ralph Humphrey / timbales, vibes, miscellaneous percussion
- Alan Estes or Joe Pocaro / miscellaneous percussion
Saxes & Woodwinds:
- Ruben Leon / alto & soprano saxophones, flute
- Joe Roccisano or Joe Lopez / alto & soprano saxophones, flute
- Ira Shulman / tenor saxophone, piccolo, flute, clarinet
- Ron Starr / tenor saxophone, flute, clarinet
- John Magruder / baritone saxophone, flute, clarinet, bass clarinet
Trumpets:
- Glenn Stuart, Alan Weight, Ed Warren, Bob Harmon,
Trombones:
- Ron Myers or Vince Diaz, Dave Sanchez
- Terry Woodson / bass trombone
INITIAL 1968 unsanctioned Columbia Record company vinyl RELEASE:
A1. "A New Kind of Country" (Hank Levy) (4:10) (/10)
A2. "Mercy Maybe Mercy" (Hank Levy) (3:22) (/10)
A3. "Opus 5" (Howlett Smith) (8:05) (/15)
A4. "Beat Me, Daddy, Seven to the Bar" (edit) (3:03) (/10)
A5. "The Tihai" (7:16) (/15)
B1. "Milo's Theme" (4:26) (/10)
B2. "Star Children" (3:22) (/10)
B3. "Homecoming" (3:03) (/10)
B4. "Seven Up" (Howlett Smith / arr. Joe Roccisano) (3:58) (/10)
B5. "Zim" (John Magruder) (3:58) (/10)
Total Time 44:43
SECOND June 26, 1968 "Santa Maria" VINYL PRESSING:
A1. "A New Kind of Country" (Hank Levy) (4:10) (/10)
A2. "Night City" (Ellis, MacFadden / arr. Don Ellis) (2:58) (/10)
A3. "Homecoming" (3:00) (/10)
A4. "Mercy Maybe Mercy" (Hank Levy) (3:22) (/10)
A5. "Opus 5" (Howlett Smith) (9:22) (/20)
B1. "Star Children" (3:18) (/10)
B2. "Beat Me, Daddy, Seven to the Bar" (6:15) (/10)
B3. "Milo's Theme" (4:24) (/10)
B4. "The Tihai" (8:40) (/20)
Total Time 45:29
THIRD 2005 Columbia (Terra Haute) VINYL PRESSING
(Same as the second but with slightly different liner notes):
2003 Koch Jazz (Sony Music)) CD release:
1. "A New Kind of Country" (Hank Levy) (4:10) sounds like a modernized big band standard (with some electrified instruments and recording techniques) waiting for a young crooner to sing over the top--like Don is here definitely taking advantage of all of the Latin-infused musics infiltrating the American music scene in the 1960s--especially and probably Stan Getz (and, to a lesser degree) Paul Desmond more than any others. Could have been a theme song to one of the game shows of the day--like The Dating Game or The Newlywed Game. (8.875/10)
2. "Night City" (Ellis, McFadden / arr. Don Ellis) (2:56) the co-composers must have been trying to reach the wider record-buying audiences of the day (1967) with this very LAWRENCE WELK-like song. Elaborately arranged MITCH MILLER-like choral vocals (male and female) are accompanied by a Latin rhythm to create this rather heavy-hearted song. I like it though it is not very progressive or particularly fusionary. Also could be a tribute to the great music being written for Broadway musicals by new artists like Burt Bacharach and Stephen Schwartz. (8.875/10)
3. "Homecoming" (3:02) sounds so familiar--like the more emotional old-time music that was so popular with moms and pops on the old porch settings. (Could've fit in Gershwin's Porgy and Bess.) (8.75/10)
4. "Mercy Maybe Mercy" (Hank Levy) (3:20) sounds like a watered-down version of Billy Page's "The 'In' Crowd" (8.75/10)
5. "Zim" (John Magruder) (3:59) a fan favorite from the first release that Don grew to like specifically because of the enthusiastic feedback he received. Composer and, here, bandmate John Magruder came up with several memorable songs for Don and the Orchestra over the years. (9.25/10)
6. "Opus 5" (Howlett Smith) (9:19) nice polyrhythmic foundation over which muted horns play makes for a cool start. In the second minute a bridge serves as a kind of rewind so that everything starts over, only this time the full horn section--in two different lines--can recapitulate the superceding melody--and then piano and very odd upper-end bass make themselves known to be the soloists for the second half of the third and first half of the fourth minutes. Lead trumpet takes over at 3:30. Rest of horns slowly creep back in in the middle of the fifth minute before backing off to a softer bank, but, man! I keep getting lost in the rhythm lines! Congas and drums actually get some spotlight before horn banks bridge into more "team-sharing" section of rather complex multiple team-interplay. By the time we get to the eighth minute there are so many layers working together at the same time (like 9 or 10!) that it shocks me that they all can stay on their own path--and it all works incredibly well blended together! Amazing! What a design (composed by pianist/composer Howlett Smith)! (19.25/20)
7. "Star Children" (3:21) weird song with weird combination of sedate jazz with choral vocals. (8.666667/10)
8. "Beat Me, Daddy, Seven to the Bar" (6:12) this spirited blues-rock vamp makes me feel as if I'm at a party in a Peter Sellers movie from the day--maybe even a pool party--which gets kind of "serious" when the percussionist (conga player) is given sole occupancy of the recording tape. Supremely tight performances of yet-dated music. (8.75/10)
9. "Milo's Theme" (4:23) experimentation with echo effects on Don's trumpet and then all the instruments to follow. Weird but pretty cool! (And using very pretty and melodic cinematic music to do it). I love hearing artists take chances like this. The ensuing horn and then full band harmonized buildups are wonderful (if "Big Band Era" dated), but then we return to the modulation effects experimentation for the finish. Cool! (9/10)
10. "Seven Up" (Howlett Smith / arr. Joe Roccisano) (3:59) like a blast from the past with this one sounding like the soundtrack music for either "I Dream of Jeannie" or "Bewitched" (maybe that's why I love it: I grew up on those shows). Awesome jazz bass walking beneath Don's trumpet and his complex, multi-horn accompaniment. Again, to think that we're at an episode of some dance routine on the Lawrence Welk Show is not a far-off stretch of the imagination, but those big explosions of horns and alternating cutesie flute and muted-horn passages are so fun! (8.875/10)
11. "The Tihai" (8:44) Don's preferred edit and mix of this one sounds. There are moments where the melodic rhythm track feels and sounds like something from The Flinstones cartoon soundtracks of the day and others that feel like soundtrack music to an Elvis Presley (or Our Man Flint or Pink Panther) beach movie scene. And then, surprise of all surprises, there is the Konnakol Carnatic Indian percussive vocal exchange taken from the South Indian traditions at the six-minute mark. Odd use of minor keys at times where popular tradition would have made different choices. (18/20)
12. "Zim" (alternate take) (John Magruder) (4:00) a much more smooth-flowing "Take Five"-like version of the tune; this was not Don's preferred version of the song but he was serving popular demand from the response of listeners from those who had purchased or heard the original unapproved version on Columbia's initial release of the material. I can't say that I dislike it. The mix ius a bit muddier than the other one, but that almost gives it an era-appropriate psychedlic acid-trip feel! (9/10)
13. "I Remember Clifford" (Benny Golson / arr. Terry Woodson) (5:25) a more traditional lounge jazz tune like something you might have heard at Rick's Café in Casablanca. (8.875/10)
14. "Rasty" (2:52) another song that sounds like a Big Band remnant brought into the late 1960s for renovations. (8.666667/10)
Total Time 65:42
While most of music on this album does sound (almost laughably) out-dated and anachronistic one cannot the technical and compositional skills required put together and then pull with such tight (and professional) performances--captured in just two days in the recording studio!
I've decided to post my rating and ranking according to the version of music published in CD from in 2003 because this release offers the listener a fine cross-section of the two original releases.
89.58 on the Fishscales = B+/4.5 stars; a near-masterpiece of large-spectrum Jazz and Jazz-Rock performances of cutting-edge compositions.
P.S. That girl photographed for the album cover has some long-ass toes!
September
September 24 - Miles Davis is back from his honeymoon after marrying Betty Mabry. He calls his company back into the studio for the final session of recording the music that will become the February 1969 release, Filles de Kilamanjaro, which means, basically, recording the song "Mademoiselle Mabry (Miss Mabry)" in honor of his new bride--though a new version of the album's opening song, "Felon brun (Brown Hornet)" was also put in the can during the day's sessions.
THE NEW ELVIN JONES TRIO with Joe Farrell and Jimmy Garrison Puttin' It Together
Line-up / Musicians:
- Elvin Jones / drums
- Joe Farrell / tenor saxophone, soprano saxophone, flute, piccolo
- Joe Farrell / tenor saxophone, soprano saxophone, flute, piccolo
- Jimmy Garrison / bass
A1. "Reza" (7:10) a fairly straightforward Hard Bop cover of a tune composed by Edu Lobo and Ruy Guerra. Solid performances from three virtuosi that lack a little melody and/or lustre. (13.25/15)
A2. "Sweet Little Maia" (7:43) a nice, slow paced, spacious tune that is very much driven by Jimmy Garrison's oh-so-cool, seemingly-laid-back bass play. Being his composition, I guess he has a right to dictate pace and vibe. There are whole minutes that pass with Jimmy soloing a cappella but you barely notice the absence of his collaborators because his performance is so fulfilling, so compelling, so commanding. At the end of the seventh minute Elvin and Joe rejoin to close things out as if the bar is already empty and they just need to finish things off so that they can get out of there. (13.675/15)
A3. "Kei Ko's Birthday March" (6:47) a tribute to his wife that, quite naturally, contains a prolonged drum solo to express his love and respect for his wife and her Japanese culture through the language he had known and loved the longest: the parade-like expression of the marching band that he had loved as a child and which prompted his entry and involvement in music (even with his stint with the Army)--especially in high school. (13.375/15)
B1. "Village Greene" (5:05) a cool composition from Southern Jazz musician and composer William Greene in which Elvin, Jimmy, and Joe each seem to travel their own rather unique pathways while remaining totally tunnel-fixated on their own style and melody line rather than worrying about the harmonic interplay and weave of the sound. To maintain such laser focus for five straight minutes! So admirable! (9/10)
B2. "Jay-Ree" (3:45) a fully-interwoven trio song composed by Joe Farrell on which Elvin expresses more through cymbal play that his usual tom-pounding punctuation marks. Joe's tenor sax play is really impressive on this: flying through almost every second of it as the leader and driver. Brilliant song! Jazz does not, in my opinion, get more impressive than this! (10/10)
B3. "For Heaven's Sake" (5:05) the band's cover of this 1946 classic feels so reverential--as if they're recreating it with the respect and precision of a classical music composition. Quite lovely--and impressive.(with Elvin playing only brushes). Joe's flute playing is so light and clear, so delicate and fluid, and perfectly melodic without being syrupy. (9.75/10)
B4. "Ginger Bread Boy" (5:10) opening with some more primal tom play (think The Beatnick drum music on a couple of episodes of The Flintstones). Once Jimmy and Joe join Elvin we get a smooth flowing swing song with Jimmy's constantly moving finger walking and Joe's Another amazing song--this one composed by Jimmy Heath and covered by Miles' Second Great Quintet's Miles Smiles album just two years before. (9.333/10)
Total Time: 41:20
Total Time: 41:20
While the music of this album definitely does very little to cry out "Jazz-Rock Fusion," the performances coming from each of the Jazz virtuosi are highly creative and experimental--which lends fuel to the kind of explorational experimentation that fomented J-R F.
92.22 on the Fishscales = A-/five stars; an excellent minor masterpiece of boundary-testing Jazz.
October
DAVID AXELROD Song of Innocence
Line-up / Musicians:
- David Axelrod / vocals, composer, arranger
- Carol Kaye (THE WRECKING CREW) / bass
- Earl Palmer (THE WRECKING CREW) / drums
- Gary Coleman (THE WRECKING CREW) / vocals
- Don Randi (THE WRECKING CREW) / keyboards, conductor
- Don Randi (THE WRECKING CREW) / keyboards, conductor
- Howard Roberts (THE WRECKING CREW) / guitars
- Al Casey (THE WRECKING CREW) / guitars
- Ollie Mitchell (THE WRECKING CREW) / trumpet
- Tony Terran (THE WRECKING CREW) / trumpet
- Gene Estes (WESTFALL) / percussion, vibraphone
ORCHESTRA STRINGS: Alvin Dinkin [viola], Anne Goodman [cello], Arnold Belnick [violin], Benjamin Barrett ([violin] FRANK ZAPPA); well known for his session work on 1970's funk, soul, and disco releases]), Bobby Bruce [violin], Douglas Davis [cello], Gareth Nuttycombe [violin, viola], Harry Bluestone [violin], Harry Hyams [violin], Harry Roth [violin], Jack Shulman [violin], Leonard Malarsky [violin], Marshall Sosson [violin], Myron Sander [violin, viola], Nathan Ross [violin], Raphael Kramer [cello], Sidney Sharp [violin], Tibor Zelig [violin].
ORCHESTRA HORNS: Allen Di Rienzo [trumpet], Art Maebe [French horn], Freddie Hill [trumpet], Harry Sigismonti [French horn], Lewis McCreary [trombone], Richard Leith [trombone], Vincent DeRosa [horn], Bill Hinshaw [horn].
1. "Urizen" (4:01) an awesomely jazzed-up orchestral funk composition that seems way ahead of its time (but for its similarity to contemporary sound developments both on Broadway and at Motown Records). Melodic and dence-provoking. Nice lead guitar work in the second half of the second minute followed by some stunningly awesome bass and drum work from legendary Wrecking Crew members Carol Kaye and Earl Palmer, respectively. (9.25/10)
2. "Holy Thursday" (5:32) more great orchestra-presented funky jazz musical fare that could've come off of an album coming out of Motown or from Burt Bacharach as likely as a 1970s Black Sexploitation film soundtrack. Is that future Westfall and 1970s soundtrack session drummer Gene Estes on vibraphone? and Howard Roberts shredding on the electric guitar? Great stuff! Carol Kaye is so amazing! (9.5/10)
3. "The Smile" (3:26) sadly, a variation of the previous song with the exact same drumming and orchestration but harpsichord/electric piano and electric guitar given more solo spotlight. Bassist Carol Kaye has some funky chops! And David's orchestral arrangements and Don Randi's orchestra are awesome! (8.875/10)
4. "A Dream" (2:30) bass and harpsichord open this one before gentle support drums and some low end orchestral support appear. At 1:23 the orchestra takes over. Beautiful! The bass and Harpsichord play are rather simple. (8.875/10)
5. "Song of Innocence" (4:33) another great, surprisingly funky orchestral composition blended supremely well between the strings, horns, and the bass and drums. Gene Estes and Carol Kaye provide such an awesome rhythmic foundation and Howard Roberts' Eric Gale-like electric guitar (even volume pedaled) is awesome, but the strings/orchestra steal the show on this one. I also like the addition of Don Randi's supportive organ work. Who knew jazz-rock fusion could/would ever look like this! (10/10)
6. "Merlin's Prophecy" (2:44) this cinematic song feels more like the orchestral rendering of a famous pop radio hit or main theme song from a spy movie: crossing over a little too much into the realm of elevator music. Still, it has great sound, melody, and funk! (8.875/10)
7. "The Mental Traveler" (4:02) starting with a long orchestral opening, Carol Kaye's bass is the first instrument to lead the shift to jazzy-rock funk motif that follows. Electric guitar and the presence of vibes gives this song a slightly different feel though it does end up feeling as if it's all coming from the same funky movie soundtrack. (9/10)
Total time 26:48
Total time 26:48
It's been such a joy and delight to have discovered this album--one of the surprise/delights of the year! I had no idea how much funk existed before the 1970s! Despite being so short, this is definitely one of my favorite albums from the year 1968.
91.96 on the Fishscales = A-/five stars; a masterpiece of jazz-rock fusion--one of the finest blends of orchestra with jazz-rock musicians that you will ever hear!
A 21-year old Norwegian guitarist-composer bursts onto the world scene with some highly experimental "future" jazz in which he fuses together multiple genres of jazz and rock (with shocking facility) into tightly-designed compositions that profess a maturity and musical understanding far beyond his years. Recorded over three days in 1968 (October 7, 8 & 22) at Roger Arnhoff Lydstudio, Oslo, Norway, and then released early in 1969.
Line-up / Musicians:
- Terje Rypdal / guitars, flute, vocalsPerformer [Solo] – Christian Reim(track A1), Jan Garbarek(tracks B1,B2)
Bass – Terje Venaas (tracks: A2 to B2) Conductor – Knut Riisnæs (tracks: A2, B1, B2)
Drums – Jon Christensen (tracks: A2 to B2), Tom Karlsen (tracks: A1)
Horns [Horn] – Frøydis Ree Hauge (tracks: B2, B3),
Odd Ulleberg (tracks: B2, B3)
Piano, Organ – Christian Reim (tracks: A1 to B2)
Saxophone [Alto], Flute – Carl Magnus Neumann (tracks: A2 to B2)
Saxophone [Baritone] – Hans Knudsen(tracks: A2, B2)
Saxophone [Tenor] – Knut Riisnæs (tracks: A3)
Saxophone [Tenor], Flute, Bells – Jan Garbarek (tracks: A2 to B2)
Trombone – Frode Thingnæs (tracks: B1, B2), Kjell Haugen (tracks: A2, B1, B2), Tore Nilsen (tracks: A2), Øivind Westby (tracks: A2)
Trumpet – Ditlef Eckhoff (tracks: A2), Jarl Johansen (tracks: A2 to B2), Kåre Furuholmen (tracks: A2, B1)
Bass – Terje Venaas (tracks: A2 to B2) Conductor – Knut Riisnæs (tracks: A2, B1, B2)
Drums – Jon Christensen (tracks: A2 to B2), Tom Karlsen (tracks: A1)
Horns [Horn] – Frøydis Ree Hauge (tracks: B2, B3),
Odd Ulleberg (tracks: B2, B3)
Piano, Organ – Christian Reim (tracks: A1 to B2)
Saxophone [Alto], Flute – Carl Magnus Neumann (tracks: A2 to B2)
Saxophone [Baritone] – Hans Knudsen(tracks: A2, B2)
Saxophone [Tenor] – Knut Riisnæs (tracks: A3)
Saxophone [Tenor], Flute, Bells – Jan Garbarek (tracks: A2 to B2)
Trombone – Frode Thingnæs (tracks: B1, B2), Kjell Haugen (tracks: A2, B1, B2), Tore Nilsen (tracks: A2), Øivind Westby (tracks: A2)
Trumpet – Ditlef Eckhoff (tracks: A2), Jarl Johansen (tracks: A2 to B2), Kåre Furuholmen (tracks: A2, B1)
Tuba – Frode Thingnæs (tracks: B1, B2)
Originally recorded on March 6th (1-3, 7, 8) and 9th (4-6, 9), 1968, at the Van Gelder Studio, New Jersey, the album was released by Blue Note Records in October. The music on Speaks Like a Child was intended by its composers (Herbie and, on the song "First Trip," Ron Carter & his 12-year old son [and future NBA basketball legend], Ron Jr.) to offer a gentler, more optimistic "child-like" alternate view of the world in the times of social and political upheaval that was the 1960s.
Line-up / Musicians:
- Herbie Hancock / piano
With:
- Thad Jones / fluegelhorn
- Jerry Dodgion / alto flute
- Peter Philips / bass trombone
- Ron Carter / bass
- Mickey Roker / drums
Line-up / Musicians:
- Herbie Hancock / piano
With:
- Thad Jones / fluegelhorn
- Jerry Dodgion / alto flute
- Peter Philips / bass trombone
- Ron Carter / bass
- Mickey Roker / drums
Songs one through three were originally recorded on March 6th, 1968 (as well as material that would appear on later expanded releases as "bonus" songs #7 & 8) while songs four through six were recorded on March 9th (as well as bonus song #9), all at Rudy Van Gelder's Studio in New Jersey. Other than long-time collaborator Ron Carter, Herbie's new lineup of collaborators are all musicians of his own choosing.
1. "Riot" (4:40) good standard fare jazz. Nothing to write home about--except for the very palpable sense that one gets that this album is about Herbie, Herbie's piano play, and Herbie's ideas. (8.875/10)
2. "Speak Like a Child" (7:51) an amazingly beautiful song: it really draws one in and holds one close, surrounding and imbuing the listener with a calming, comforting feeling that is akin to those precious moments of deep connection between parent and child. One of the finest songs Herbie ever created--and some of the most beautiful piano playing he ever recorded. Quite the appropriate song title. (15/15)
3. "First Trip" (6:02) the only song on the album that is not attributed to Herbie, this is bassist Ron Carter's first and only compositional contribution to Speak Like a Child, one can certainly derive from this tune how much Ron loves bop--especially the mindless entertainment jazz of the past, both post World War II and pre-war; happy-go-lucky, carefree music to escape into--and it's all for Herbie (who solos over the entire song)! (9.25/10)
4. "Toys" (5:53) perhaps Herbie is giving back a little with this one as Ron Carter's bass is mixed very far forward. In the second minute Ron settles into a steady walking routine while Herbie steps into the spotlight--the music feeling very similar to the Vince Guaraldi stuff in the Charlie Brown television show soundtracks (thus the song title?). Herbie's piano work is exquisite: never getting stale or drowsy, always staying vibrant, melodic, and youthful. Brilliant! (9.333/10)
5. "Goodbye To Childhood" (7:07) pretty late-night deep-rumination music--something about this song reminds me of the work of both Bill Evans and the near-ambient solo work that Eberhard Weber would start doing around 1976. An eminently enjoyable musical listening experience; I feel washed and cleansed after listening to this beautiful song. Kudos to the brass section: their contributions were perfect as complements to Herbie's stellar piano play. (14.125/15)
6. "The Sorcerer" (5:37) it is rare that I feel some Chick Corea in Herbie's music, but this is one of those occasions: the tempo and phrasing (as well as Ron Carter's walking bass lines) feel as if they come straight out of my favorite Chick album of all-time, 1978's The Mad Hatter (to which, curiously, Herbie was a contributor). (9.125/10)
Total time 37:10
I agree with many other reviewers and music critics that with this album Herbie puts on display the extraordinary growth he has achieved piano player but more it shows how mature he's become as both a composer and bandleader! Not really a Jazz-Rock Fusion offering, Herbie was exploring new ideas and forms for the expression of his music--here employing a flutist, bass trombonist, and fluegelhorn player to harmonize with his piano without ever being offered solos! Speak Like a Child definitely contains some of my favorite piano music of all-time.
93.87 on the Fishscales = A/five stars; another Jazz masterpiece--this one piano-centric--that I think every music lover would like, especially if you're partial to the melodic side of jazz. I have to say that I think of all the Herbie Hancock albums I've heard, this one might contain the most beautiful music--and certainly Herbie's prettiest piano playing.
November
DON ELLIS ORCHESTRA Autumn
Don's first album since the Shock Treatment debacle (Columbia Records' righted wrong), Autumn is a bit of a scattered collection of songs. Also, it is the Orchestra's first album without superhuman work of drummer Steve Bohannon. (Replacement Ralph Humphrey [The Mothers of Invention] is pretty amazing in his own right). The August release sees the band here stretching out with new arrangements of "Indian Lady" (recorded live at Stanford University) and a cover of Charlie Parker's "K.C. Blues" as well as two other songs recorded under live conditions during the "Summer of Love." It also presents to the world the rollicking fun "Pussy Wiggle Stomp"--a song that would become the band's signatory opening song at live performances for the next few years. Autumn was either recorded or released in August, probably the former.
Lineup / Musicians:
Don Ellis / quarter-tone trumpet, amplified trumpet
With:
- Saxes & Woodwinds:
Ira Schulman - alto sax
Frank Strozier - alto sax, clarinet
Ron Starr - alto sax, flute, piccolo, soprano sax, clarinet
Sam Falzone - tenor sax, soprano sax, flute, clarinet
John Klemmer - tenor sax clarinet
John Magruder - baritone sax, clarinet, bass clarinet
- Trumpets:
Glenn Stuart
Stu Blumberg
John Rosenberg
Bob Harmon
- Trombones:
Ernie Carlson
Glenn Ferris
Don Switzer - bass trombone
Terry Woodson - bass trombone
- Tuba:
Doug Bixby
Roger Bobo
- Rhythm:
Pete Robinson - piano, clavinet, electric piano, prepared piano
Mike Lang - piano, claviniet, electric piano
Ray Neapolitan - bass
Dave Parlato - bass
Ralph Humphrey - drums
Gene Strimling - drums, miscellaneous percussion
Lee Pastora - conga
Mark Stevens - vibes, miscellaneous percussion
1. "Variations for Trumpet" (19:23) A wonderfully-recorded exploration of spacious arrangements and shifting time. Don's trumpet in the lead is as strong as ever, as are the clarity of the recordings of all of the other instruments of the Orchestra--which in and of itself is quite a feat for the follow-up of the massively corrupted and misproduced predecessor, Shock Treatment. (38.5/40)
2. "Scratt and Fluggs" (1:57) sounds like a real hoot at a country barn dance! (4.375/5)
3. "Pussy Wiggle Stomp" (6:47) a couple steps out of the deep woods of the Ozarks or Western Appalachia starts this rollicky dance tune. Eventually, the music conforms to more normal WW II-like Big Band jazz dance hit styles--only waiting for the professional dancers or the Andrews Sisters to step up front for the stage entertainment. Pretty amazing drum solo in the fifth minute! And then there is a downshift into yet another face of the Pussy Wiggle Stomp (a return to the opening motif). Such an infectious song with such tightly performed and well-recorded musicianship! (14/15)
4. "K.C. Blues" (8:44) opening with Frank Strozier's lone alto saxophone tearing up the skies yet playing with such distinct clarity that I'm sure original composer and performer Charlie "Bird" Parker would be proud. The band finally joins in during the third minute, playing pretty straightforward 1950s big band jazz, at first supporting and accenting Frank but then finally taking over for him around the five-minute mark. The rich, full arrangements that follow are notable for how numerous the banks' memberships feel. More sax soloing int he sixth minute but this time on a tenor, eventually finding the full band backing him in every way possible before everybody recedes for an electric piano solo. Nice performances, arrangements, and sound recording; just not my favorite kind of jazz. (17.5/20)
5. "Child of Ecstasy" (3:14) such solid musical performances of what feels like a simple (but we know is not) composition. The realization of the ideas of a true master of musical composition. And let's not forget how infectious is this man's energy and passion that he inspires such incredible performances like this! (9.510)
6. "Indian Lady" (17:42) those familiar horns at the start are the same but some of the instrumental performances have changed or the emphases within the soundscape mix. It feels as if the bass and drums and trumpet play have all been speeded up and clarified. The fact that this is from a live performance is nice for having the reactions of the live audience captured in the recording. But, man can these instrumentalists boogie! Because of the familiar earworm of the main melody one forgets how long this song is: so many twists and turns, so many ways to keep the main melody going on different levels while the other elements go off on crazy solo or group tangents--every expression displaying amazing skills instrumentally as well as compositionally. The all-percussion frenzy in the fourteenth and fifteenth minute is another amazing highpoint as is the frenetic bass playing behind and throughout. Simply astonishing! And that's not even mentioning the four or five times Don and the band "trick" us into thinking they're winding down to the finish only to start right back up again! I have to say that the amazing precision, recording, and energy of this long version of a song that was only eight minutes long in its first studio presentation on Electric Bath is more impressive and winning than even the great original. (33.75/35)
Total Time: 53:49
Autumn manages to showcase Don's continued compositional exploration of how to simplify complexities (i.e. create memorable, even danceable melodies while still incorporating constantly shifting time signatures) while also continuing to explore his own private fixation with the replication of classical Indian music melodies through his quarter-tone trumpet.
While continuing to hold the bar exceedingly high for demanding skills and performance cohesion, the music on Autumn, on the whole, feels far more diverse, dynamic, and rollicking than Don's previous recordings have captured. I may be wrong--it may be the wonderful clarity and separation of all of the individual instruments captured by the recording engineers, but it's just a great music listening experience, start to finish.
On October 17 of this year, 1967, Don Ellis’s prodigious drummer (and uncloseted organist) Steve Bohannon was killed in a car accident. Steve had been the original drummer for Don's Orchestra, being hired at the age of 18. He had only recently chosen to leave Don's Orchestra--after the recording of Shock Treatment--in order to broaden his horizons (playing organ for Howard Roberts and Shelley Manne). As a result of Steve's departure, all of the drumming duties fell upon Ralph Humphrey and percussionist Alan Estes. Autumn represents the first studio recording without Bohannon. Humphrey then became a staple of Ellis’s rhythm section until 1973.
With:
- Saxes & Woodwinds:
Ira Schulman - alto sax
Frank Strozier - alto sax, clarinet
Ron Starr - alto sax, flute, piccolo, soprano sax, clarinet
Sam Falzone - tenor sax, soprano sax, flute, clarinet
John Klemmer - tenor sax clarinet
John Magruder - baritone sax, clarinet, bass clarinet
- Trumpets:
Glenn Stuart
Stu Blumberg
John Rosenberg
Bob Harmon
- Trombones:
Ernie Carlson
Glenn Ferris
Don Switzer - bass trombone
Terry Woodson - bass trombone
- Tuba:
Doug Bixby
Roger Bobo
- Rhythm:
Pete Robinson - piano, clavinet, electric piano, prepared piano
Mike Lang - piano, claviniet, electric piano
Ray Neapolitan - bass
Dave Parlato - bass
Ralph Humphrey - drums
Gene Strimling - drums, miscellaneous percussion
Lee Pastora - conga
Mark Stevens - vibes, miscellaneous percussion
1. "Variations for Trumpet" (19:23) A wonderfully-recorded exploration of spacious arrangements and shifting time. Don's trumpet in the lead is as strong as ever, as are the clarity of the recordings of all of the other instruments of the Orchestra--which in and of itself is quite a feat for the follow-up of the massively corrupted and misproduced predecessor, Shock Treatment. (38.5/40)
2. "Scratt and Fluggs" (1:57) sounds like a real hoot at a country barn dance! (4.375/5)
3. "Pussy Wiggle Stomp" (6:47) a couple steps out of the deep woods of the Ozarks or Western Appalachia starts this rollicky dance tune. Eventually, the music conforms to more normal WW II-like Big Band jazz dance hit styles--only waiting for the professional dancers or the Andrews Sisters to step up front for the stage entertainment. Pretty amazing drum solo in the fifth minute! And then there is a downshift into yet another face of the Pussy Wiggle Stomp (a return to the opening motif). Such an infectious song with such tightly performed and well-recorded musicianship! (14/15)
4. "K.C. Blues" (8:44) opening with Frank Strozier's lone alto saxophone tearing up the skies yet playing with such distinct clarity that I'm sure original composer and performer Charlie "Bird" Parker would be proud. The band finally joins in during the third minute, playing pretty straightforward 1950s big band jazz, at first supporting and accenting Frank but then finally taking over for him around the five-minute mark. The rich, full arrangements that follow are notable for how numerous the banks' memberships feel. More sax soloing int he sixth minute but this time on a tenor, eventually finding the full band backing him in every way possible before everybody recedes for an electric piano solo. Nice performances, arrangements, and sound recording; just not my favorite kind of jazz. (17.5/20)
5. "Child of Ecstasy" (3:14) such solid musical performances of what feels like a simple (but we know is not) composition. The realization of the ideas of a true master of musical composition. And let's not forget how infectious is this man's energy and passion that he inspires such incredible performances like this! (9.510)
6. "Indian Lady" (17:42) those familiar horns at the start are the same but some of the instrumental performances have changed or the emphases within the soundscape mix. It feels as if the bass and drums and trumpet play have all been speeded up and clarified. The fact that this is from a live performance is nice for having the reactions of the live audience captured in the recording. But, man can these instrumentalists boogie! Because of the familiar earworm of the main melody one forgets how long this song is: so many twists and turns, so many ways to keep the main melody going on different levels while the other elements go off on crazy solo or group tangents--every expression displaying amazing skills instrumentally as well as compositionally. The all-percussion frenzy in the fourteenth and fifteenth minute is another amazing highpoint as is the frenetic bass playing behind and throughout. Simply astonishing! And that's not even mentioning the four or five times Don and the band "trick" us into thinking they're winding down to the finish only to start right back up again! I have to say that the amazing precision, recording, and energy of this long version of a song that was only eight minutes long in its first studio presentation on Electric Bath is more impressive and winning than even the great original. (33.75/35)
Total Time: 53:49
Autumn manages to showcase Don's continued compositional exploration of how to simplify complexities (i.e. create memorable, even danceable melodies while still incorporating constantly shifting time signatures) while also continuing to explore his own private fixation with the replication of classical Indian music melodies through his quarter-tone trumpet.
While continuing to hold the bar exceedingly high for demanding skills and performance cohesion, the music on Autumn, on the whole, feels far more diverse, dynamic, and rollicking than Don's previous recordings have captured. I may be wrong--it may be the wonderful clarity and separation of all of the individual instruments captured by the recording engineers, but it's just a great music listening experience, start to finish.
On October 17 of this year, 1967, Don Ellis’s prodigious drummer (and uncloseted organist) Steve Bohannon was killed in a car accident. Steve had been the original drummer for Don's Orchestra, being hired at the age of 18. He had only recently chosen to leave Don's Orchestra--after the recording of Shock Treatment--in order to broaden his horizons (playing organ for Howard Roberts and Shelley Manne). As a result of Steve's departure, all of the drumming duties fell upon Ralph Humphrey and percussionist Alan Estes. Autumn represents the first studio recording without Bohannon. Humphrey then became a staple of Ellis’s rhythm section until 1973.
91.81 on the Fishscales = A/five stars; an excellent collection of diverse Jazz-Rock Fusion songs coming from one of the greatest compositional and motivational masters of the movement.
December
The first release of Larry's material as a solo artist/bandleader. The album puts on display not only his roots, but some of his dreams for where he'd like to try to take music. It also lets people know that here we have a very talented musician/guitarist.
Line-up / Musicians:
- Larry Coryell / guitar, bass, vocals, co-producer
With:
- Jimmy Garrison / bass (7)
- Bob Moses / drums
- Elvin Jones / drums (7,9)
1. Herman Wright (3:21) blues rock built around a "House of the Rising Sun"-like style but with more Terry Kath-like vocals and a track (L) devoted entirely to Larry's fuzzed-up guitar and another (R) that appears in the last minute without the fuzz effect. Not a great song but interesting from an historical perspective. (8.6667/10)
2. "Sunday Telephone" (2:28) a Hendrix-like sound palette with lots of wah-wah lead guitar over which Larry sings with a Gregg Allman-like "Midnight Rider" voice. Not bad! (8.875/10)
3. "Two Minute Classical" (2:08) a full-band instrumental that sounds like a kind of a blend of The Who and The Beatles worked off a mathematical arrangement. Nice guitar performances on multiple tracks. (4.625/5)
4." Love Child Is Coming Home" (2:30) here Larry seems to be trying out Bob Dylan. (4.375/5)
5. "Lady Coryell" (6:31) a full band instrumental psychedelic trip into Larry's sex life: a musical expression of a love making episode with his wife. Did Larry help birth "Southern Rock"? Again, lots of tracks devoted to various guitar styles and sounds here--including one that sounds very much like a sitar (!?) (8.875/10)
6. "The Dream Thing" (2:35) this one sounds like an excursion into the history of the electric guitar with Larry using some genius chord progressions in his three tracks of guitar over drums and bass. I like this one very much: you can really feel Larry's genius for guitar jazz. (9.125/10)
7. "Treats Style" (5:42) like being in the bar for a blues-jazz performance--all instrumental, walking bass line, single line of guitar play. Very nice--and nicely recorded and mixed. When he ramps up both his intensity and clarity/precision at the end of the third minute it's almost as if another guitarist has stepped on stage for a solo turn. (The voices in the background throughout make me think of Buddy Guy.) (9/10)
8. "You Don't Know What Love Is" (2:35) acoustic guitar supporting Larry's plaintive lead--sounding here a bit like Chet Atkins (from a mastery of the melody play--excepting the fact that Chet would play both parts on one guitar, in one track, in one take.) Well done. And pretty! (9/10)
9. "Stiff Neck" (7:12) jazzy R&B drums from Elvin Jones with a jazz- and rock-directed electric guitar playing solo over the top. Elvin is so precise--despite being so syncopated--that his playing sounds as if it were digitally looped. Larry's free-form play, relying on his sound effects as much as his playing dexterity, in the sixth and seventh lends itself toward a psychedelic categorization bordering on that which would become called "heavy metal." (13.25/15)
10. "Cleo's Mood" (4:24) a blues rocker with a great blues "hook" and multiple layers of guitars wailing away over the bass and hand drums. Like a room of hungry cats all impatiently decrying the tardiness of their meal. (8.875/10)
Total Time 39:26
Total Time 39:26
89.12 on the Fishscales = B/four stars; an excellent and very solid display of early, or proto-jazz-rock fusion from one of Jazz-Rock Fusion's earliest and future stars.
DON SEBESKY The Distant Galaxy (1968)
Recorded between March and October of 1968, the album was released by Verve Records at the end of the year. What's different about this album from his earlier 1968 release, The Jazz-Rock Syndrome, is the inclusion of some original compositions among the numerous cover songs here as well as a far-more-jazzified treatment of the original material.
Line-up / Musicians:
– Don Sebesky / synthesizer [Moog], arranged by, conductor
– Chuck Rainey / bass
– Donald McDonald / drums
– Rick Horton / effects [Electronic]
– Hubert Laws / soprano saxophone, flute
– Dick Hyman / piano
– Warren Bernhardt / clavinet
– Richard Spencer / soprano saxophone, alto saxophone
– Marvin Stamm / trumpet
– Larry Coryell / sitar, guitar
– Lois Winter / vocals
– Ronald Zito / drums– Chuck Rainey / bass
– Donald McDonald / drums
– Rick Horton / effects [Electronic]
– Hubert Laws / soprano saxophone, flute
– Dick Hyman / piano
– Warren Bernhardt / clavinet
– Richard Spencer / soprano saxophone, alto saxophone
– Marvin Stamm / trumpet
– Larry Coryell / sitar, guitar
– Lois Winter / vocals
A1. "The Distant Galaxy"
A2. "Dance The Night Away"
A3. "Sounds Of Silence"
A4. "Martian Storm"
A5. "Soul Lady"
A6. "Reflectivity"
A7. "Mr. Tambourine Man"
A8. "Cosmic Force"
A9. "Water Brother"
B1. "Spiral Nebulae"
B2. "The Blue Scimitar"
B3. "Satellite"
B4. "Elvira Madigan Theme / Honey"
B5. "Solar Emissions"
B6. "Guru-Vin"
B7. "I Wish It Would Rain"
B8. "Lady Madonna"
Total Time 78:12
A2. "Dance The Night Away"
A3. "Sounds Of Silence"
A4. "Martian Storm"
A5. "Soul Lady"
A6. "Reflectivity"
A7. "Mr. Tambourine Man"
A8. "Cosmic Force"
A9. "Water Brother"
B1. "Spiral Nebulae"
B2. "The Blue Scimitar"
B3. "Satellite"
B4. "Elvira Madigan Theme / Honey"
B5. "Solar Emissions"
B6. "Guru-Vin"
B7. "I Wish It Would Rain"
B8. "Lady Madonna"
Total Time 78:12
Many of the musicians' performances here feel quite a bit looser and jazzier than those on the previous album (despite the fact that the lineup of musicians is virtually the same as that for The Jazz-Rock Syndrome); there are far more isolated instrumental jazz solos and layers of separated dynamics going on during these songs, making the covers sound and feel far more jazzified than anything on the previous album--which were all pretty much straightforward instrumental covers of their hit/radio originals. New acrobatic vocalese vocalist Lois Winter is talented but I think I preferred Don's wife, Janet. A lot of people will still call this elevator or dentists' office music (or "musak") though it's arrangements are sophisticated and quite demanding of its performers--and the liberties taken on the main and secondary melodies and multiple layers of instrumentation are far more intricate than those of their originals.
BLOOD, SWEAT AND TEARS Blood, Sweat and Tears
Exit founder and leader Al Kooper (turning toward the production and A&R side of Columbia Records), here today is power vocalist David Clayton-Thomas. Other members remaining from the debut album include the excellent rhythm corps of bassist Jim Fielder, drummer Bobby Colomby, and guitarist Steve Katz as well as sax player Fred Lipsius and trombonist Dick Halligan (who now has added piano, flute, and organ to his The album was recorded in New York City at Columbia's 30th Street Studios ("The Church") during the span of October 7-22, 1968 and then released at the end of the year from where it dominated the charts, holding the #1 spot for six weeks in 1969, spawning three hit singles to each reach #2: "You've Made Me So Very Happy," "Spinning Wheel," and "And When I Die" before winning the 1970 Grammy Award for Album of the Year.
Line-up / Musicians:
- David Clayton-Thomas / vocals (excl. 3)
- Steve Katz / guitar, harmonica (solo 5), lead (3) & backing vocals
- Dick Halligan / organ, piano (solo 5), flute (3), trombone, chorus vocals, arrangements
- Fred Lipsius / alto sax, piano (solo 2), arrangements
- Lew Soloff / trumpet, fluegelhorn
- Chuck Winfield / trumpet, fluegelhorn
- Jerry Hyman / trombone, recorder
- Jim Fielder / bass
- Bobby Colomby / drums, percussion, chorus vocals
With:
- Alan Rubin / trumpet (7)
- Al Kooper / arrangements (2, 4, 8)
1. "Variations On A Theme By Erik Satie (1st and 2nd Movements)" * (2:30) performed rather faithfully by Steve Katz providing the chords normally left to the piano's left hand on his classical guitar with flutes, and/or recorders tracking the main melody up top--until, that is, until the tinkling of a percussionists winde chimes signals a bridge to a fully meted out Brass Rock version (the "2nd Movement") varying the notes and chords with highly-treated (flanged) drums, bass, and loud horn section. Interesting! (9.125/10)
2. "Smiling Phases" (5:10) a song that really puts on full display the band's power and enthusiastic energy while also introducing their powerful new vocalist, David Clayton-Thomas. After 90 seconds, the band launches into an impressive jazzy instrumental section in which bass player Jim Fielder, drummer Bobby Colomby show their skills as the horns and Fred Lipsius' piano show off their skills over what turns out to be a two-part movement: the first fast, the second slow and protracted, before returning to the opening motif for David and the band to finish with the same energy as they opened with to bookend the song. Nice! (9/10)
3. "Sometimes In Winter "(3:08) smooth, beautiful, fully-orchestrated music with the smooth vocal of Steve Katz, the band finds themselves creating more of that Jimmy Webb folkie, anachronistic Baroque Pop that is so pleasing to the ear. I like this song very much. Steve Katz could definitely have had a career as a singer: he sounds like a cross between a certain member of The Association and Bobby Darren. (9.25/10)
4. "More and More" (3:04) picking up where "Smiling Phases" left off (though David's voice is mixed a little more deeply into the soundscape than before). More creative uses for the horn section to inject their accents into the mix (substituting for the B.B. King-like blues guitar riffs). Jim and Bobby bring it with such amazing energy and skill! The futuristic (Frippian) guitar tone used by Steve Katz in the solo toward the end of the second minute, during the organ-based instrumental mid-section, is quite cool (and loud)! Incredibly tight and powerful musicianship on this complex tune. (9.125/10)
5. "And When I Die" (4:05) the hit cover of Laura Nyro's song, the song is notable for its dynamic shift between its sparse, dirge-like harmonica opening, the ensuing easy-going circus-music-like verses and the way the music turns to vaudeville-Western-showtune-like as they go on. And then there are the dramatically-held suspension of the song's title in the chorus and unusual pauses. Very much like something one would see on a Broadway musical. The faithful rendering of a rather complicated composition is the most impressive part for me (on a song that I've never really been very high on). (9/10)
6. "God Bless The Child" (5:56) another song that feels stage-worthy (which makes sense since it was composed by Arthur Herzog, Jr. and Billie Holiday). In a very interesting (and totally unexpected) twist, at 3:06 the song turns into a Afro-Cubano-flavored piano- and percussion-based jam for the horn players to really stretch out: both collectively and each, individually. But then at 4:24 the song comes back to its origins (though with noticeably more forceful horns, more organ, and the joinder of a bluesy harmonica, which weren't so prevalent in the opening). Ballsy but these guys are definitely up to the challenge. (9.125/10)
7. "Spinning Wheel" (4:07) one of those memorable brainworm songs, this one composed by newcomer David Clayton-Thomas. The horns were always my favorite part though David is solid (and even able to show some sensitivity). Definitely the most interchangeable song with the other Brass Rock pioneer, CHICAGO (Transit Authority). The instrumental section in the middle (which is sometimes cut out for radio play) is pretty cool--as is the finale with it's horn blasts, great drumming, and calliope-like recorder play. (9/10)
8. "You've Made Me So Very Happy" (4:19) the album's first single release, it was borrowed from the Motown catalogue having been covered by one of its authors, Brenda Holloway in a mildly-successful 1967 release as a 45 rpm single (the final arrangement of which Ms. Holloway fought hard to control, a battle she ultimately lost--which led to her leaving Motown/Tamla). BS&T's version was a massive chart topper that remains memorable and emotionally relevant to this day. I am most impressed by David Clayton-Thomas' ability to tone it down and soften his delivery for the tender, sensitive verses. (9.25/10)
9. "Blues-Part II" (11:45) an instrumental epic that opens with organ, bass, drums, all of which are quite simple and rudimentary (which is greatly disappointing considering the absolutely jaw-dropping skills the band's rhythm section has shown in the super-tight, super demanding arrangements of all their vocal songs). By the time the fifth minute rolls around the band has finally settled into something more meaty (though, ironically, it's a two-chord vamp) over which Fred Lipsius performs a long multi-part solo on his alto sax: at first over the fast-tempo vamp but then equally-impactful over the slowed down for the seventh and eighth minutes. How humorous is it that the band (Jim Fielder) chooses the "Sunshine of Your Love"/"In-a-gadda-da-vida" bass line to open and carry the next section. Luckily, he lets go of it at 8:40, whereupon the band transitions into a purely-Blues motif over which David sings in a genuinely-feeling blues tradition as Steve Katz tries to project a Blues guitar tone and style while Bobby bashes away on the drum kit beneath and the horn section slowly ramps up their intensity--until someone in the production booth decided to pull the plug: they slowly fade the song out even while David is launching into a classic Wilson Pickett lyric with increasing power and emotion! (22/25)
10. "Variations On A Theme By Erik Satie (1st Movement)" * (1:37) a replication of the opening movement from the beginning of the album, this time ending before the Brass Rock rendering starts--with the sound of a door slamming shut! (4.75/5)
* Adapted from Satie's "Trois Gymnopédies"
Total time 45:41
91.02 on the Fishscales = A-/five stars; a minor masterpiece of genre-leading Brass Rock. Though I am nowhere near as much a fan of this album as their debut, I recognize the superior craftsmanship that went into the rendering of each and every song and cannot imagine denying it it's deserved masterpiece status.
VOLKER KREIGEL With a Little Help from My Friends
One of those Renaissance men that could have found success in many (any?) careers, this album was Volker's debut as a band leader. After stints with Ingfreid Hoffmann and Klaus Doldinger in the mid-60s, for With a Little Help from My Friends we find the creative guitarist working with some of the same musicians that he worked with on Klaus Doldinger's Goes On album while also working with drummer Peter Baumeister for the first time. Tracks A1 to A4 were recorded in 1968 in Köln while Tracks B1 to B3 were recorded in 1968 in Frankfurt. The album was then released by Liberty Records, also sometime in 1968.
Line-up / Musicians:
- Volker Kriegel / guitarsWith:
(in Köln):
- Claudio Szenkar / Vibraphone (B1 to B3)- Peter Trunk / bass (A1 to A4)
- Cees See / drums (A1 to A4)
(om Frankfurt):
- Günter Lenz / bass (B1 to B3)
- Peter Baumeister / drums (B1 to B3)
A1. "With A Little Help From My Friends" (3:13) though quite faithful to the Beatles' original vocal melody lines, Volker is so accurate and precise as to almost seem reverential (i.e., not the creative Jazz treatment I was expecting). (8.875/10)
A2. "Blues For Instance" (5:10) definitely built/based on American Blues construct and melodies, Volker, bassist Peter Trunk, and drummer Cees See give ample life to this original composition. Not my favorite type of music, but the trio really bring their best to make it both interesting and impressive. (8.75/10)
A3. "Norwegian Wood" (2:20) now this is more of what I was expecting from Volker's first tackle of a Lennon & McCartney tune: creative interpretation, juxtaposition, variation, and improvisation galore; he's using the original as a jumping off point, not as a template to follow respectfully close. The injections of Jazz twists and turns are rampant and replete--and nary a sitar or sitar-imitation necessary! (9/10)
A4. "Traffic Jam" (3:59) the fourth and final song from the Köln studio recording sessions finds Volker stretching out with his band on this original composition that is founded in more of a folk Jazz tradition similar to the works of Django Rheinhard but Volker finds his usual ways of making it his own: expanding Django-like phrasing into American Jazz traditions pioneered by Charlie Christian as well as sneaking in a some flourishes of psychedelic rock into the last minute of the song. This, to my mind, is the first song that really begins to show Volker's wildly creative genius in tandem with his virtuosic dexterity. I really like drummer Cees See's instinctual sensibilities and control when he fully joins in around the halfway mark. (8.875/10)
B1. "Morandi" (3:29) another Kriegel original that finds Volker exploring the sounds and styles of Spanish classical guitaring of Rodrigo, Segovia, Niño Ricardo, and Manolo Sanlúcar. Most people think of Volker as an electric guitarist but I'm here to tell you that he was an amazing acoustic guitarist as well. As I suggested in this review's introductory paragraph, I consider Volker quite the eclectic musician: a Zelig who could and would transgress fearlessly into any style or genre of sound or music with an ease that I credit to intuition as much as to intention--and the dude was totally self-taught! (9.125/10)
B2. "Na Na Imboro" (8:42) a composition from Claudio Szenkar, the Vibraphonist sitting in on all of the songs on Side Two (those songs recorded in Frankfurt). The main melody and structure have quite a similar feel to the song "Mas Que Nada" (made famous internationally in 1966 by Sergio Mendes & Brasil '66). While Peter Baumeister flails away with great vim and vigor, bassist Günter Lenz keeps up as Claudio and Volker trade vibrant and dynamic solos, both challenging the other to up their game, even urging the other on from beneath the soloist's spotlight while the other is soloing! Very cool and energetic Jazz! Virtuosi, both! (18.625/20)
B3. "Interpunctuation" (4:44) though Claudio and Volker lay down the chords, this song presents itself as more of a vehicle to show off the drumming talents of Peter Baumeister. After the first minute, though, Peter and Günter settle into something structured while Volker nad Claudio take turns soloing, Volker riffing with such smooth fluidity as to surprise and astonish, over and over again. Claudio uses his genius to show his chord play during his solo (toward the end). I kind of wish Peter's drums were mixed a little more quietly into the final mix: they can be a little overbearing. (9.125/10)
Total time 31:37
Though for whatever reason I find myself resistant to listening to Volker Kriegel material, I always come away super impressed by this musician's abilities. He attacks the guitar with such intuition and virtuosity and yet he somehow makes it sound so easy! There are other fluid guitarists out there but I can think of no other who makes his fluid movements and clear note play seem as effortless as Volker--even here, at age 25, in this, his first record as a bandleader. And then there's the factor of his compositional abilities: these four original compositions of his are so good, so complete, and so confident, that it makes the listener swear that they must be covers of old classic songs by much more mature and practiced composers!
90.47 on the Fishscales = A-/five stars; a minor masterpiece of proto-Jazz-Rock Fusion: here fusing jazz interpretations of a variety of musics (Pop, Spanish, American Blues, and Brasilian) with eclectic meanderings from his encyclopedic mind. Brilliant! Volker is a force! And I need to hear more of Claudio Szenkar's work!
90.47 on the Fishscales = A-/five stars; a minor masterpiece of proto-Jazz-Rock Fusion: here fusing jazz interpretations of a variety of musics (Pop, Spanish, American Blues, and Brasilian) with eclectic meanderings from his encyclopedic mind. Brilliant! Volker is a force! And I need to hear more of Claudio Szenkar's work!
