By using the search box at the top of this page you will be able to look at content from over 140 separate posts for views and reviews of work by numerous modern jazz artists.
At the end of June 2016 disappointment holds sway, from the ballot box to the football field and Tuesday night saw me heading off to Leytonstone for some respite at the East Side Jazz Club. It is amazing how time flies and it is probably over 12 months since my last visit. Indeed it was my first visit to the new venue (Leytonstone and District Ex-Servicemen’s Club) with its floral kitsch stage dressing providing an unexpected splash of colour.
I was drawn by Vasilis Xenopoulos, a Greek tenor saxophonist and graduate of Boston’s Berklee College of Music. He shared the stage with guitar and bass stalwarts, Nigel Price and Simon Thorpe with the ever-present Clive Fenner on drum and MC duties.
Xenopoulis immediately won the audience over with his engaging personality before slowly revealing his excellent command of his instrument throughout a set which was made up of mainstream standards such as I Remember You, Autumn Leaves, Witchcraft and Imagination. I was equally impressed by the inventive guitar work of Nigel Price, whose schedule of forthcoming gigs confirms the the ex- James Taylor Quartet member is massively in demand. I have a weakness for good jazz guitar and was delighted when the third number of the set, Grant Green’s Mambo Inn was introduced.
East Side always have a raffle during the interval and one of this week’s prizes was a CD copy of Oliver Nelson’s Blues And The Abstract Truth. Such was the versatility of this outfit that Vasilis was able to call Stolen Moments, one of the highpoints of the recording, seemingly on the spur of the moment, with the band delivering a solid version. Also of particular note was Nigel Price’s mash-up of Monk and Charlie Parker on Straight No Bounce which was an unlikely but excellent melding of Billie’s Bounce and Straight No Chaser.
Throughout the show, Simon Thorpe and Clive Fenner provided a rock-solid foundation and were able to show what they are capable of through their own short solos.
All in all, another fine night at East Side Jazz Club, where you are assured a warm welcome every week and which is well worth a visit (although they will be taking their summer break after 12 July through to 20 September). Indeed, next week’s annual visit by Derek Nash and the East Side R & B Band is highly recommended and a review from 2014 is here.
There’s great excitement and anticipation in the downwithit household. As Pharoah’s summer gig at Ronnie Scott’s approaches it seems opportune to introduce or possibly remind you of one of his lesser-known albums. I’m trying out a simple poll for visitors on this post- just to see how many of you own recordings by Pharoah, so please feel free to complete, if you so wish.
After coming to notice as a trusted sideman during John Coltrane’s final years, recording a string of his own sets on Impulse and accompanying Alice Coltrane and Don Cherry, the mid-1970’s arrived. To state things simply, this was a difficult, transitional time for the music. Free Jazz and the New Thing had exploded into difficult territory and many of those at the vanguard had turned back towards a hybrid fusion, funk and R & B sound (as exemplified by the late work of Albert Ayler- I will take a look at New Grass sometime perhaps) and the eclecticism of Archie Shepp’s Attica Blues.
Pharoah Sanders seemed to have lost his way and in 1978 he released a soul jazz album on Arista, Love Will Find A Way, which I have yet to hear. I understand this featured a vocal track from Phyllis Hymen and a poor cover of Marvin Gaye as the title track.
Fortunately, in 1978 Pharoah went into the studio with pianist, Ed Kelly, who was an important figure in the local San Francisco and Oakland jazz scene. The two of them recorded six tracks which ranged from covers of standards, through soul jazz through to two real gems. The album was originally released as Ed Kelly and Friend due to Pharoah being contracted to Arista Records at the time. Indeed, as you can see, the cover shows Kelly playing next to Pharoah’s hat, shoes and Selmer tenor saxophone. Let’s explore:-
Heavens above! Smooth Jazz alert! Rainbow Song, a Kelly composition, opens matters in a manner far removed from Pharoah’s work on his Impulse albums (although there had been a dramatic change of course when he signed with Arista and recorded). This is firmly in Grover Washington Junior territory with a liberal sprinkling of oh so tasteful strings. The Master’s sound is full and mighty as ever, but the overall confection is too tame.
Thankfully, with the radio track out of the way it is business as hoped for and Newborn is a Sanders composition that burns with intensity. The power of his solo is as good as anything he has produced and he runs over the full span of the tenor’s range and onwards into territory lesser known or explored by 99% of sax players. You can take a listen, courtesy of zigett at YouTube:-
To play, touch or click on the arrow (or you may even be able to command Siri to do something).
Sam Cooke’s You Send Me is treated with reverence and respect, with Pharoah delivering a sensitive and heartfelt rendition and ending with some extraordinary phonics, which we will meet again on later albums. Kelly’s accompaniment complements Sander’s playing before he receives his own space for a shimmering yet restrained solo which discloses what this non-pianist assumes to be an agile right hand.
Pippin is another Ed Kelly composition, based firmly on the 1980″s soul sound and only merits passing attention.
Answer Me My Love is an early 50’s ballad with a fascinating back story. On its initial release in post-war Britain, covers of this this fine melody stirred sufficient controversy for the song to be banned by the BBC. What led to it being barred from broadcast on the Light Programme and treated like Anarchy For The UK, Wet Dream and Give Ireland Back To The Irish? I can reveal that the reason for this draconian action was that the original version was entitled ‘Answer Me, My Lord’. In the olden days, it seems that a direct appeal to God was considered to be blasphemous- especially if set in a secular or selfish context (I can’t understand how hymns got around this though). Further research indicates that Nat King Cole made the most celebrated recording and that Bob Dylan used to sing it live in the 1990’s, presumably during his overtly Christian phase- which I didn’t know until now was so risky. Anyway, it is a grand tune, played very well but listen with care and don’t attempt to Google the lyrics. Here at downwithit.info we have to warn you that too much of that sort of thing may place your mortal soul in peril (to those unfamiliar with English humour, I am joking here).
Pharoah went on to record at least three studio versions of his great anthem You’ve Got To Have Freedom but the one here is the earliest incarnation that I am aware of. It is also the most restrained treatment of the theme, although Pharoah’s solo shows his ability to play with fire and power over the entire range of the horn. There’s plenty of space for Kelly’s piano too and he provides an elegant setting for Sanders’ exploratory work. The version on Africa (recorded 1987) is taken at a faster pace and features an equally fine piano solo from John Hicks.
These six tracks made up the selections released on the original album on Theresa Records. From this point on, Pharoah’s work on the CD is complete and the final five recordings are from 1992 and feature Ed Kelly with a quintet on the first two and on solo piano for the last three. They are well worth a listen and my notes follow:-
Song For The Street People endeavours to create an aural representation of day to day life in Oakland. Like the next track it has that jaunty mainstream sort of feel that makes you feel all is good in the world.
West Oakland Strut wouldn’t be out of place on Donald Byrd / Mizell brothers production. AJ Johnson’s muted trumpet sounds fine but overall the piece is slightly too light for me.
The CD concludes with three solo piano pieces. Lift Every Voice has been referred to as the Black American national anthem and Kelly’s piano offers a reflection on a tune of great cultural significance. Just The Two Of Us is the popular MacDonald, Salter, Bill Withers number, which was recorded by Withers and Grover Washington Jr. on Winelight. Stripped of strings and over-embellishment it is most listenable.
Finally, Kelly takes a look at Thelonious Monk’s Well You Needn’t, which he interprets wonderfully and which shows what a talented pianist he was.
I came across this CD a couple of months ago and was surprised as I had never heard of it before. It represents a satisfying bridge from the free-fire of the Impulse recordings to the later more melodic Sanders. You should be able to track it down on CD, but expect to pay over £15.00 (which is small change for collectors of first pressings).
As I have said elsewhere, Pharoah Sanders seems to be somewhat ignored by many lovers of jazz. Some of his work on Impulse can be abrasive and difficult and, since he emerged in the mid-1960’s he doesn’t have the hard bop pedigree that some insist on. That is their loss. Ed Kelly and Pharoah Sanders has been a great find and if you want a good introduction to this great saxophonist it may be a suitable springboard for you.
Ed Kelly shows a talent that could have enabled him to have made his name on the international stage. However, he chose family life on the West Coast over potential fame in New York and was a professor of Music at Laney College, Oakland for 27 years before his untimely death aged 69 in 2005. There is an obituary here.
The bands etc: Tracks 1-6 (the Pharoah Sanders collaborations from 1978).
Ed Kelly (Piano); Pharoah Sanders (Tenor and Soprano Saxophone); Peter Barshay (Bass); Eddie Marshall (Drums).
Recorded: Bear West Studios, San Francisco. December 1978. Tracks 7 and 8 (quintet selections from 1992).
Ed Kelly (Piano); Robert Steward (Tenor Saxophone); AJ Johnston (Trumpet); Harley White (Bass); Mark Lignell (Drums). Tracks 9-11 (solo piano from 1992).
Ed Kelly (Solo Piano).
Recorded: Hyde Street Studios, San Francisco. 8 December, 1978.
Produced by Allen Pittman and Al Evers. recording and Mixing Engineer: Mark Needham. Premastering: Dave Shirk. Cover design Imageworks. Cover photos: Tom Copi. CD released 1993. Evidence ECD 22056-2.
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Reader, I have a confession. This started out as a review of Thelonious Monk Live At The It Club (in Los Angeles 1964) but ended up as a look at the Carnegie Hall Concert (November 1957), via a visit to The Five Spot in New York City (August 1958). There is an explanation. Firstly, although it is an excellent recording featuring a great performance by Monk, a review of The It Club set is a daunting prospect. The Colombia double CD runs to over 150 minutes and contains 19 separate compositions. I did think about writing about it over two or three posts but, somehow that didn’t seem satisfactory. Secondly, I came to realise the significance of a short period during an amazing year for two of the all time greats (if not the greatest). Thirdly, I wanted to write about the Carnegie Hall Concert, with its tale of the re-discovery of a lost treasure of incalculable value. So here we go.
At the end of November 1957, Monk was invited to play in two performances of a benefit concert at Carnegie Hall to raise funds for the Morningside Community Center in Harlem. The prospect of making a contribution to this local social action centre appealed to him because as a young person he had spent most of his free time at a youth centre across the road from his family home in Midtown New York. The rest of the bill was stellar and included Billie Holliday, Dizzy Gillespie, Chet Baker, Zoot Simms and Sonny Rollins. Ray Charles headlined with a jazz set. Two dollars, or $3.95 for the best seats and you were in.
In the four months before the concert, John Coltrane had been playing as part of Monk’s quartet at the Five Spot. This was the year in which Coltrane’s talents flowered. He had kicked heroin after being fired by Miles Davis in April 1957 and spent a great deal of time at Monk’s apartment, learning from the older master-musician. The superb and informative booklet which accompanies the CD release records Coltrane as saying:- “I’d go by his apartment and get him out of bed (laughs). He’d wake up and roll over to the piano and start playing… He would stop and show me some parts that were pretty difficult, and if I had a lot of trouble, well, he’d get his portfolio out and show me the music…sometimes, we’d get through just one tune a day. Maybe.”
In ’57 Monk also had much to celebrate. Brilliant Corners had been released and earlier work on Blue Note and Riverside was re-released on the new 12″ long playing LPs. He had regained his Cabaret Card in May 1957 and was once again able to play in New York clubs that served alcohol. In July, he obtained a residency at The Five Spot, a small bar on the edge of The Bowery and on Tuesday July 16, he was joined by John Coltrane. The original piano was inadequate and in very poor repair but with an eye to the crowds lining up outside every night the club owner rapidly agreed to allow Monk to source a Baldwin baby grand.
The night at Carnegie Hall gave Monk the opportunity to perform in public on one of renowned venue’s concert grands. Monk’s Mood features a pianist taking great delight in the tone of an excellent piano and the fine acoustics of the hall (although he also had access to two baby grand Steinway pianos: his own rented instrument and one owned by his friend Baroness Pannonica de Koenigswarter). John Coltrane also approaches this beautiful ballad, that he made great efforts to learn and interpret, with great sensitivity, while Shadow Wilson’s drumming is sparse and complements the two soloists.
Evidence is angular and almost jagged with Monk giving Coltrane the space to develop a solo that contains fast phrases reminiscent of his work on the recently recorded Blue Train.
Crepuscule With Nellie had been written in the early summer of 1957 at a time when Monk’s beloved wife was facing a major thyroid operation. Monk laboured long and hard to produce music which captured his feelings and sought perfection in a piece that he usually played without improvisation or embellishment (on this version there is a brief reference to the ’52nd Street Theme’ just after Coltrane starts to play). ‘Crepuscule’ sounds like some type of seafood but it actually means ‘twilight’ and it was suggested that Monk should consider using the French word by his friend the Baroness.
This is followed by a jaunty version of Nutty, which features some fine percussion and great fluency from Coltrane.
Epistrophy is complex with some fine cymbal work. The quartet is really tight and this is superlative musicianship.
I understand that the final four tracks were recorded during the second set of the evening.
Bye-Ya is another vehicle for John Coltrane to shine on, although there is a short solo from Monk before the band moves straight into Sweet And Lovely, the standard favoured and recorded regularly by Monk.
Blue Monk is taken at a brisk pace. This tune is a classic which has become a staple of the young jazz musician’s repertoire, which means that it is regularly put through the mangle. I recently heard a sax player in a local pub who should never play this again until he can aspire to get within a million miles of how Coltrane plays here (not playing flat would be a start). You can listen courtesy of Praguedive on Youtube by touching or clicking on the arrow below:-
Finally a second truncated reprise of Epistrophy from the second set closes the recording.
Although Thelonious Monk and John Coltrane worked together during an intense period of about six months, very little was recorded by the great quartet. There were three studio tracks and a further live recording made by Coltrane’s first wife on a portable tape machine. There was an awareness that the Carnegie Hall concerts had been recorded by Voice of America and Coltrane biographer Lewis Porter had made enquiries at the Library of Congress, which was believed to be where they had been consigned to, but the tapes were lost. Then, in February 2005, Larry Appelbaum, a recording lab supervisor, found several tapes labelled ‘Carnegie Hall Jazz 1957’ and one had a box with a note labelled T Monk. A treasure had been discovered and within six months this resulting album was released. It is available on vinyl- with the Mosaic recording being the one to seek out. However, I’m delighted with the CD which comes complete with a brilliant booklet. This is a recording that I recommend without reservation and which I hope you will enjoy. Happy listening.
The band etc: Thelonious Monk (piano); John Coltrane (tenor sax); Ahmed Abdul-Malik (bass); Shadow Wilson (drums). Recorded: 29 November 1957. Produced for release: T.S. Monk and Michael Cuscuna. Cover illustration: Felix Sockwell. Sleeve notes: Amiri Baraka; Ira Gitler; Ashley Kahn; Stanley Crouch; Robin D.G. Kelley; Lewis Porter and Larry Appelbaum. Released as Blue Note 35173 on September 27, 2005.
downwithit was partly inspired by Nile Rodgers. In his autobiography he writes that Chic started each project with something that he calls DHM (deep hidden meaning) to the fore. I’m not sure that there’s a unifying sense of DHM about Yusef Lateef’s Impulse album, 1984 but the title does have a hidden meaning which has nothing to do with George Orwell or the year 1984. If you stick with me all will be revealed at the end of the last paragraph.
Previous posts have confirmed that I regard Yusef Lateef as being amongst the great jazz woodwind players. I had been searching for this set on CD for some time and finally cornered it during a visit to New York last year at Frederick Cohen’sJazz Record Center (which itself takes a bit of tracking down). Mr Cohen is the author of the first comprehensive Blue Note collectors discography ‘Blue Note Records: A Guide For Identifying Original Pressings. His premises are hidden away in an office building on W26th Street but are well worth seeking out. He a nice guy who was happy to have a chat and pose for a quick photograph. I departed happy and with my Japanese release of 1984, which cost me a very reasonable $18.99(£13.34 at today’s exchange rate)
Pic shows: Mr Fred Cohen of Jazz Record Center, NYC
Anyway, on to the album. It is something of a mixed bag and, in my opinion, would have benefitted immeasurably by some disciplined editorial oversight. Of course part of the thing about Impulse was that the artists had an unprecedented degree of control over their recordings and chances were taken. The title track, billed as ‘…a mythical trip to the future’ on the sleeve, is evidence of this. The notes explain that Yusef Lateef is playing within a 12 tone system of his own creation and that he is employing a range of instruments of an exotic and self-fashioned type. However, his experimentalism on this track doesn’t do anything for me and, to my ears, almost spoils a largely excellent set with its sonic meanderings which include squeaks and sub-vocalisations (which make reappearances albeit in a more restrained context on some of his later work on Atlantic). Oh well, I’m glad the future hasn’t turned out like this yet!
Try Love brings the listener gently back into the mainstream. Yusef plays oboe on this one and New Zealand pianist Mike Nock”s work is a delight, although some expressive drumming reminds us that this is 1966 and everything is up for grabs.
Soul Sister is a sophisticated up-town sort of a track on which Yusuf takes takes us strutting out led by his tenor saxophone. At 3.06 it is all too brief an excursion. You can have a listen courtesy of YouTube:-
To play either click on or touch the arrow.
Mike Nock’s Love Waltz closes the first side of the long playing record and it is a vehicle for his piano, with Yusef Lateef, generously giving the sideman an opportunity here and sitting out on this one.
The next track is yet another lapse in editorial judgement. One Little Indian actually opened side 2 of the original LP. It will be more familiar to UK audiences as the bewhiskered Michael Finnegan but in the USA it goes by the other title and it has attracted criticism because of racially offensive lyrics in several of its incarnations. We can be confident that Yusef Lateef was not seeking to be provocative here- but, in my view, it is a filler track at very best and probably should not have been included on the album release.
Happily, Listen to The Wind is another rather more listenable track starting with an ECMish introduction before Yusef shows he can play hard bop choruses as well as anybody. The tune then changes tempo again for a piano solo, with a reflective saxophone piece to close matters.
Duke Ellington’s Warm Fire is a delicious late-night track, played deightfully and conventionally before Gee! Sam Gee takes us back into restrained tone poem territory, with Lateef resisting temptations to take us on a sonic excursion.
The Greatest Story Ever Told is the theme tune from a then current sword, sandals and Bible epic of the same name. In 1961 Lateef had offered themes from Spartacus and The Robe on Eastern Sounds, an excellent set which I’ll take a look at here at some stage. Although this is not the greatest tune that Yusef ever recorded, it’s OK, with some pleasant flute playing.
Although I was delighted to get hold of 1984 and it is an album which has some strong playing on it, it is uneven. I rate it as an album for the completest collector rather than an essential purchase and two of the tracks disappoint massively. The sound quality is excellent throughout and although the cover does not say where 1984 was recorded, Rudy Van Gelder’s presence gives a clue- although this may be a false one, as reliable sources say that the set was recorded at Pep’s Lounge in Philadelphia, although the recording didn’t take place before a live audience. Cover photos are by Charles Taylor who I also mentioned in more detail here.
Yusef Lateef plays a King tenor sax on this set (doubtless the silver model with the under slung neck pictured on the cover). However, I have also seen another more recent picture showing his instruments featuring no less than six Selmer tenors (the Selmer Mark vi was the instrument favoured as first choice by most of the greatest players- and not so great as I owned one myself for many years).
The Band etc: Yusef Lateef (Tenor saxophone, flute, diverse wind instruments); Reggie Workman (double bass); James Black (drums); Mike Nock(piano). Recorded: 24 February 1965. Produced: Bob Thiele. Engineer: Rudy Van Gelder. Cover: Robert Flynn / Viceroy. Cover photography: Charles Stewart. Sleeve Notes: Bob Hammer. Released as Impulse AS84.
So what about the hidden meaning of the title? Well it is actually quite straightforward. This is Impulse release number 84. A is letter 1 of the alphabet and S is letter number 19- 11984- delete the first 1 and you get 1984. Simple really. Give yourself a round of applause if you stayed with things so far, and play the wonderful Soul Sister (again).
There’s only one place to start this post: with a plea of Guilty as charged. I thought I was familiar with all of the great albums by John Coltrane up to the time that I assumed that he forsook beautiful and comprehensible playing for the outer limits exemplified by the likes of Interstellar Space, an album that I struggle with.
I was wrong. To my ears, Crescent should be ranked amongst Coltrane’s finest releases. Many tag this as Coltrane’s darkest and most sombre set. I prefer to think of it as the product of an artist going through a contemplative and reflective period of composition and recording. Entirely overshadowed by his next release, A Love Supreme, Crescent should be better known and far more celebrated than is currently the case.
The opening number which gives the set its title starts out with Coltrane laying down his theme in ballad form. Then the rhythm section and piano come in and Coltrane starts an improvisation that is at first leisurely but which grows in complexity. McCoy Tyner’s subtle and melodic boundaries are matched by Garrison and Elvin Jones and Coltrane’s freer and more phonic playing is contained within a structure that keeps things entirely, in my opinion, intelligible. Take a listen courtesy of YouTube:-
To play, touch or click on the arrow.
Wise One is one of the great Coltrane ballads. It is reflective rather than joyous and none the worse for that- some would say it is spiritual. Again Tyner is superb. I’ve long been familiar with this performance as it features on the excellent Gentle Side of John Coltrane compilation, which I also wholeheartedly recommend.
Bessie’s Blues is a short hard bop excursion, which hits the spot in a straight-ahead 4/4 style.
Lonnie’s Lament offers sophisticated listening, perhaps best heard at the end of a day when the listener is open to reap the rich rewards of a track which is evocative of whatever deeper thoughts one wants to evoke but which does not strike me as a sad lament (perhaps You may perceive it as such though). Garrison gets a good opportunity to show his talent on a lengthy bass solo that he plucks from heart and soul.
Drum Thing doesn’t surprise as it contains a fine drum solo from the great Elvin Jones. Coltrane’s contribution sounds very Northern European and, to my way of hearing, would not be out of place on an ECM release (which, to clarify, I consider to be a very good thing, though in moderation).
There is a belief that at Coltrane may have written about his intentions and subject matter for some of these compositions and others, including Alabama, in prose or poetry but any evidence of this remains missing, perhaps lost for ever. The tunes themselves are strong enough, alone, to stand the tests of time.
So there we have it. Crescent is a brilliant album that you should not miss. Coltrane plays wonderfully on a set where his great quartet are at the height of their powers and all members receive time and space to solo impressively. I can’t recommend this set too highly.
The band etc: John Coltrane (tenor saxophone); McCoy Tyner (piano); Elvin Jones (drums); Jimmyy Garrison (bass). Produced: Bob Thiele. Recorded: Rudy Van Gelder Studios, Englewood Cliffs. 27 April & 1 June 1964. Cover Design: Freddie Paloma. Cover Photography: Charles Stewart. Released: 1964. Original release: Impulse AS-66.
I’m surprised that I have not written about True Blue before now. My recent acquisition of an excellent Music Matters copy on vinyl presents me with an opportunity to put that right though.
In 2001 in Blue Note Records: The Biography, Richard Cook wrote: ‘This is one of the forgotten masterpieces of the Blue Note catalogue.’ Thankfully, diligent work from Michael Cuscuna and a series of reissues has made this gem readily available.
Tina Brooks was one of a select group of female artists who played on the New York scene and were recorded by Blue Note.
No he wasn’t! His actual name was Harold and Tina was a childhood nickname, deriving from ‘tiny’ or ‘teeny’. Although he recorded four self-led sessions with Blue Note between 1958 and 1961, True Blue was the only recording issued with him as leader in his lifetime. He played on notable sessions with Jimmy Smith and Kenny Burrell but it has been suggested that, with a reserved and shy demeanour, he didn’t push his own case sufficiently well with Blue Note for the label to issue strong sets including Minor Move and Back to The Tracks (which are both in my collection). He never recorded again after 1961 and played local gigs in The Bronx. TB died in obscurity in 1974 after a life marred by drug-related illness. He was a contender who, perhaps, could have been a king. There’s a piece entitled ‘Who killed Tina Brooks’ which you can find if you want to know more- but I’ve not linked to it here as those in the know have suggested that it is unjust in its criticism of TB’s treatment by Blue Note.
Good Old Soul is the first of five Tina Brooks compositions here. It has a slinky feel about it and an extended solo from TB which shows his command of his tenor. A 22 year old Freddie Hubbard is also on fine form here too, as is Duke Jordan on piano.
Up Tight’s Creek bops and bustles along and after a bright trumpet solo from Hubbard, features a fluent tenor contribution. Duke Jordan’s piano is also worth pausing to listen to.
Theme for Doris is a mid-paced piece that is pleasing and again showcases TB’s inventiveness as a soloist.
True Blue opens the second side of the set. To these ears there’s something that conjures images of Sixties city architecture, all concrete, glass and straight lines- in the most unlikely event that I produce a TV documentary about The Barbican, you now know part of the soundtrack. What do you think (courtesy of YouTube)?
To play touch or click on the arrow
Miss Hazel is a conventional hard bop piece with another flowing tenor solo followed by Hubbard and Jordan.
Nothing Ever Changes My Love for You is the only standard tune here. Written by Jack Segal and Marvin Fisher, it had been a hit for Nat King Cole in 1956.
There is a collection of Tina Brooks complete works available on Mosaic. When compiling this Michael Cuscuna went to Freddie Hubbard, whose career had flourished. His memories of Tina Brooks were warm ones and he recalled TB’s talent and strengths as a musician.
The sound quality of the Music Matters pressing of True Blue is excellent on my Rega RP6/Naim/Spendor system. If you don’t have any of his recordings you should consider seeking some out. True Blue particularly benefits from working as a showcase for TB’s musicianship and compositional skills. It is an album where the tunes fit well together and has a greater sense of unity than some Blue Note sessions where the artist seems to want to cover too much ground by including a distracting variety of styles. Often a straight ahead tune will be followed by a snippet of Bossa, a sprinkle of standard and a slice of ballad with the sum total lacking a true centre. That’s not the case here though.
The RVG series CD has alternate takes of True Blue and Good Old Soul from the same session. The version of True Blue which omits the piano for the first eight bars of the intro is of particular interest.
The band etc: Tina Brooks (tenor saxophone); Freddie Hubbard (trumpet); Duke Jordan (piano); Sam Jones (bass); Art Taylor (drums). Recorded: 25 June 1960. Rudy Van Gelder Studio, Englewood Cliffs, New Jersey. Produced: Alfred Lion. Recorded: Rudy Van Gelder. Sleeve Notes: Ira Gitler. Cover design: Reid Miles. Cover photos: Francis Wolff. Issued as Blue Note 84041.
This is another Pharoah Sanders gig that I didn’t get to see, mainly because it was in New York City and I was in London.
There is a New York Times reviewhere accompanied by an excellent photo.
It seems like Pharoah was playing well and I enjoyed this paragraph in particular:-
But this crowd was listening hard and well. At one point, Mr. Booth played a solo that alternated between only two notes. It was an exercise in focused simplicity, and the crowd processed exactly what was good about it: Cheers erupted when he finished. The same went for a single note played by Mr. Sanders toward the end: not particularly long or showstopping, but big and strong and decisive, full of overtones. The audience members seemed to understand that it was more than a note; they understood the power of its placement, and the information it contained, and how in a way it represented Mr. Sanders’s whole enterprise.
I remain hopeful that we will get the chance to see Pharoah in the UK later this year.
Time for another look at a Pharoah Sanders set. In late November 1966, Pharoah was ready to lead the first Impulse session to go out under his own name and Tauhid was the result. Having already come to notice alongside John Coltrane, where his tenor saxophone added heat and fire he was in the driving seat. What were listeners to experience on hearing his first album for what I’m tempted to refer to as the label that enabled?
Upper and Lower Egypt represents Pharoah’s attempts to create an image of how his extensive reading about that part of the world made him feel and the resonances that it created in him. The slower portentous Upper Egypt introduction gives way to a repetition of the theme that is very close to the later You’ve Got To Have Freedom. We are some 12 minutes into the piece before Pharoah’s tenor takes pride of place, sounding as though he wants to blow it apart. A brief scat vocal follows
Henry Grimes, who we met playing alongside Marc Ribot here, adds double bass throughout and a very impressive contribution he makes too!
Japan is a delightful short tune that Pharoah wrote While reflecting on a trip that he took there with John Coltrane in the summer of 1966. There’s a bit of improvised vocalise and it is enjoyable.
The final suite was written as three individual pieces which flowed together when recorded. Sanders plays alto saxophone on Aum, which features a series of scales and phrases played extremely fast in a manner reminiscent of Coltrane’s sheets of sound. The sleeve notes record how for Pharoah, the word holds a kind of magical quality and:- ‘It means God. It means peace. It means the beginning of things.’ Sanders was certainly aiming for something miles away from easy melody when he started to blow on this and Grimes adds to the challenging cacophony with sharp notes he finds and plucks from his four strings.
I assume the transformation into the Venus section is the point where we return to conventional tune and melody. Venus was written with Sanders star sign in mind, as was Capricorn Rising which, he informs us, is also part of his horoscope. It is both sweet and sour, seemingly without form but improvised around a beautiful tune. If a tune can frighten the horses while soothing the savage breast it is this one.
A bass passage (coda?) leads us into Capricorn Rising. This piece is an angry sounding, instrument testing taster for the lyricism which came to the fore in Phroah’s playing on his much later A Prayer Before Dawn set (which we will visit at some stage).
Tauhid is an album where Pharoah doesn’t seek to hog the limelight and where he sought to convey feelings and impressions. He speaks about what he is trying to do: ‘…it’s not that I’m trying to scream on my horn. I’m just trying to put all my feelings into the horn. And when you do that the notes go away’. So Tauhid is not an album of dinner jazz or one for a first date. Those chained to a classical sense of what is musical and what isn’t will run away making dismissive comments, but the open-minded will reap rich rewards here. Why not give it a try courtesy of YouTube:-
To play, touch or click on the arrow
Pharoah Sanders (Tenor and Alto saxophones, Piccolo, Voice); Sonny Sharrock (Guitar); Dave Burrell (Piano); Henry Grimes (Bass); Roger Blank (Drums); Nat Bettis (Percussion). Recorded: 15 November 1966. Van Gelder Studio, Englewood Cliffs, NJ. Produced: Bob Thiele. Recording engineer: Rudy Van Gelder. Cover notes: Nat Hentoff. Cover photography: Charles Stewart. Originally issued in 1967 as Impulse AS9138.
Regular readers may know that Pharoah Sanders is a saxophonist that I enjoy very much.
When checking to see if any UK dates are scheduled (sadly, none listed at present), I came across a recent live review by Gary Vercelli, which you can read here. The author was wondering if 74 year old Pharoah can still perform at a high level. His conclusion is that:-
Pharoah Sanders showed that age is just a number. He still negotiates the chord changes with ease and finesse and inner child is still very much alive!
That’s good news– hopefully we’ll see for ourselves later in 2015.