Tuesday, September 20, 2022

Miles Davis - The Bootleg Series Vol. 7: That’s What Happened 1982-1985 (Legacy Recordings, 2022)

The return to duty by the great trumpeter Miles Davis was met with joy by most, consternation by some and anguish by a few. Where the crisply suited young lions were making their mark by returning mainstream jazz to the music that Davis had pioneered in the mid 1960's, his view remained resolutely forward thinking, continuing the fusion he developed before retirement, but with a new generation of sidemen and new technology to experiment with. This is the first time the Bootleg series he moved into the post retirement material (Davis was off the scene from late 1975 - early 1981) and the set consists of two discs of previously unreleased studio recordings from the the studio albums Star People, Decoy and You’re Under Arrest sessions, and a third disc Live in Montreal on July 7, 1983. Most of disc one comes from Star People, where Miles co-produces with Teo Macero who assisted him on many classic albums in the past. You get a sense of what Davis was looking for on the opening "Santana" with shiny synths framing bubbling electric bass and percussion, and some electric guitar creating a funky and infectious performance. "Minor Ninths Parts 1/2" go in the opposite direction, with spare electronics floating around some beautifully tasteful ballad trumpet. There is a gentle groove on "Celestial Blues 1-3" with choppy guitar and percussion setting the stage for Davis to wander freely and expound at will. "Remake of OBX Ballad and Ballad Sessions" demonstrates that Miles still has that tone that sounds like nothing else, framed by synth and spare percussion, while the sessions show them experimenting with further synth parts and interludes. Coming from the Decoy album sessions "Freaky Deaky 1/2" creates a deep earthy groove that leaves a lot of room for electric bass and guitar interplay. John Scofield is on guitar and he makes some really nice moves on this track. Davis's treatment of pop songs was a hallmark of his final period, perhaps none more so than the Cindi Lauper ballad "Time After Time," here presented as an alternate take and full session. The trumpeter plays with exquisite beauty and taste, making as much with modern pop as he did with standards and show tunes in his early career. Another pop song, Michael Jackson’s “Human Nature” is also included, with Davis adding tasteful trumpet asides to the theme, and carrying the song with a light touch, backed by electric piano and bass. The live album is an impressive one, Davis sounds vibrant, playing over a rich funky stew on the opening track, "Speak (That’s What Happened)." Darryl Jones on bass, Al Foster on drums and percussionist Mino Cinélu keep the pot boiling and Davis also has Scofield on guitar and Bill Evans on saxophones for this performance. Scofield solos at length and with some ferocity on "Star People" getting a potent feature. "What It Is" is a quick and flashy interlude for saxophone and electronics, Davis is always generous with his sidemen, but usually has the last word. Achingly emotional trumpet anchors "It Gets Better," while "Hopscotch" is a blistering up-tempo performance for the whole band. Moving dynamically from dark to light keeps the music in motion and the crowd excited. Davis leads the theme on "Jeanne Pierre" and takes the group into a lengthy performance where everyone shines. "Creepin' In" is the finale, a spacey and interesting track that spools out on synth and keyboard, breaking through with bursts of trumpet, guitar and flute. Overall this is a well done and presented set, one that shines a light on one of Davis's more unappreciated periods and shows the inner working of how the early comeback albums were made, and a live date that demonstrates their summation. The Bootleg Series Vol. 7: That’s What Happened 1982-1985 - amazon.com

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Monday, September 19, 2022

Joshua Redman, Brad Mehldau, Christian McBride, Brian Blade - LongGone (Nonesuch Records, 2022)

The original Joshua Redman Quartet dates back to the early 1990's, the young lions period where jazz seemed awash in mainstream talent, and the mainstream labels were snatching them up left and right. This album marks their most recent reunion, with Redman in tenor and soprano saxophone, Brad Mehldau on piano, Christian McBride on bass and Brian Blade on drums. The album begins with the title track "Long Gone," a mellow and genteel mid-tempo lope, gradually gathering pace, leading to a piano, bass and drums feature. Redman's saxophone returns with a clean tone engaging in a confident solo then lowering the pace for the outro. "Disco Ears" has a lighter tone, with the leader moving to soprano saxophone, presenting a quick theme and then a solo that is quite nimble and fluid, flowing between the other instruments, creating an impressive lengthy feature. The group creates a ballad beginning with piano and soft tenor saxophone on "Statuesque," with bowed bass framing and joining with the other instruments and soft percussion completing the scene. The music is very melodic but it gradually evolves into a slow moving improvised setting. "Kite Song" has a light saxophone tone in space, unaccompanied, then the band falling in beside him for a medium tempo theme. A rhythm section feature leads back to stronger more emphatic saxophone playing and drumming, driving the music forward with some force. Mehldau works to establish a medium tempo groove on "Ship to Shore," with the rhythm team as a whole working hard to bring some life to the music, especially McBride's stout bass solo, with crisp and clear piano and drums adding ideas. Redman comes in the end, showing some spark in the full band improvisation. The concluding piece, "Rejoice" is a lengthy live performance, one that really delivers the goods. Redman's tenor saxophone tone sounds much more direct and clear, and the band responds in kind. Bowed bass flows around the other sounds, while Blade builds complex rhythms, and the full band improvisation is substantial. This track is so good that it nearly does a disservice to the studio recordings, by overshadowing them. Perhaps they ran short of material. Nevertheless it demonstrates what is special about this group of musicians, and why they keep returning to each other as the calendar pages turn. LongGone - amazon.com

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Friday, September 09, 2022

Hank Mobley - A Slice of the Top (rec. 1966, LP 1979, CD 1995)

Tenor saxophonist Hank Mobley was incarcerated for narcotics offenses hen he composed five of the six pieces on this album, passing them through his lawyer to Duke Pearson who wrote the arrangements for a nonet comprised of Kiane Zawadi on euphonium, Howard Johnson on tuba, James Spaulding on alto saxophone and flute, Lee Morgan on trumpet, McCoy Tyner on piano, Bob Cranshaw on bass and Billy Higgins on drums. "Hank's Other Bag" is a swinging opener, one that works well, with the expanded front line making room for some expanded soloing and ensemble work that develops a nice up-tempo pace. Strong riffing from the supporting horns add heft to the solos and the heavy hitting rhythm section really pushes the track along. There is a stark sense of ennui pervading the next track, "There's A Lull In My Life," deeply sad for a Mobley ballad, which are usually in the 'tough love' category. Duke Pearson's arrangement really brings out the late night heartbroken loneliness in the composition and the musicians create a tone that matches his direction. "Cute 'n' Pretty" sees additional texture being added to the arrangement in the form of Spaulding's flute and the tuba of Howard Johnson. There is a stout trumpet solo with slashing rhythm accompaniment, which are first rate, trying to push Mobley back up to speed. Spaulding and Tyner solo in nimble ways, before the whole band returns to the theme to round things out. Brass pushes "A Touch of Blue" out onto the stage, strutting forth confidently, making room for a fine swinging tenor saxophone solo aided by some excellent drumming, and framing from the ensemble. A punchy trumpet feature really kicks in engaging with the other horns in an extended conversation, then turning attention to Sapulding's alto saxophone, where he develops a fleet an interesting solo of his own. It's a shame he wasn't signed to Blue Note in this period, but which changing tastes and then impending sale of the label to Liberty, he fell through the cracks. The mid tempo track "A Slice Off The Top" ends the album, with some lush arranging from Pearson, weaving through an interesting theme, letting the leader take the first solo, weaving through the horn arrangement and swirling rhythm section with aplomb. Strong sounding trumpet cuts across the thundering drums and additional help, laying out a very impressive offering, with Spaulding then lighting up a beautifully tart and sweet sounding alto spot that is his most impressive solo on the record. The rhythm team gets a turn to shine with Tyner sounding comfortable and rippling waves of piano across deep bass and complex cymbal work. Apparently Mobley wasn't too happy about the record label sitting on this album for a decade, as he was still playing well as the end of the decade approached. This album proved him right, it's unique in his discography with the little big band format, filled with top notch talent creating fine solos and ensemble play amid concise compositions and arrangements. A Slice of The Top - amazon.com

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Saturday, September 03, 2022

Steve Lehman's Sélébéyone - Xaybu: The Unseen (Pi Recordings, 2022)

Alto saxophonist and composer Steve Lehman has always been daring in his approach to music, using this second album from this group to merge hip-hop, modern jazz and live electronic music, to develop an unique musical soundscape. Joining Lehman on this project are Gaston Bandimic and HPrizm, rapping in Wolof and English respectively. Also present are Maciek Lasserre on soprano saxophone and Damion Reid on drums. The disparate elements of sound are very well integrated and the album flows organically like a continuous piece of music, cascading downhill with words and music tumbling together in an exciting manner. Highlights include "Djibril" where Wolof is spoken spare backdrop, before piercing alto saxophone enters with insistent drumming, and hip hop vocals and a powerful beat pushes the music forward, moving back to English commentary, with Lehman's saxophone moving adroitly around the vocals and other instruments. This is followed directly by "Lamina" where interesting textures are created through electronic sounds and saxophone, with the ensuing complex narrative in the rapped lyrics sounding very interesting, framed by saxophone and electronics. Complex scatting and percussion takes the music in a different direction, returning to saxophone improvising over electronics and beats. "Liminal" offers spare electronics to open, soon filled with fast declarative speaking, as the music grows from the vocalist's strength, Lehman entering on alto and providing typically unique approach. Spoken English, with positive vibe, concludes the track with saxophone and percussion supporting. Spoken conversation, electronics, moves into mid tempo loping hip hip vocals on "Gagaku" enlivened with drums and saxophone. The vocals lay out for complex jazz adjacent improvisation, before the wordsmiths return, mixing fast and slow, conversational and scatted vocals. "Zeraora" has a heavy city urban feeling strong beats, and well articulated rhymes. There is frantic French rapping in response, with broken beats and flurries of saxophone stretching out over complex fast drumming. This was quite an undertaking and it is clear that all of the musicians were engaged in the collective spirit of adventure, working together regardless of language or distance. I wish there was more saxophone, because I love Lehman's sound, but that is a small quibble in an otherwise fascinating album. Xaybu: The Unseen - amazon.com

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Tuesday, August 30, 2022

Chris Forsyth - Evolution Here We Come (No Quarter Records, 2022)

Guitarist Chris Forsyth has forged an exciting if too often overlooked career playing at the nexus of progressive rock, jazz fusion and psychedelic music. On this album he is joined by Tom Malach on guitar, Douglas McCombs on bass guitar and Ryan Jewell on drums, percussion and vibes. They create an album that is mostly instrumental with a few vocal tracks, and the music covers a wide range of ideas in a productive and successful manner. “Experimental and Professional” opens the album with swirls of guitars weaving in and out, with exciting upt-empo electric guitar coming alive and driving the music forward with slash and burn guitar techniques that are very exciting. More open hearted and poppy sounding, “Heaven For A Few” uses big optimistic sounding chords, suitable for a TV movie about the scruffy underdog overcoming long odds. This track sounds very produced, but not annoyingly so. “Bad Moon Risen” erupts with crisp percussion and grinding guitar, sounding much more raw than the previous track, setting a serrated edge to the guitar playing, setting up a bit of Crazy Horse looseness and grind, building riffs from the bottom up to a wild improvised ending with everyone playing all out. The Richard Thompson song “You’re Going To Need Somebody“ is given a hearty performance with vocals, and it sounds like the band is having a blast playing good ol rock 'n' roll, sending a nod from one killer guitar player to another, as the vocals and backup provide swelling choruses, along side a strong steady beat. “Hey Evolution” has some more introspective vocals, cast in a neon light of evening, buoyed by sparks of epic guitar, creating room for some soaring guitar playing taking over. The music quiets a bit on the beginning on “Long Beach Idyll” quietly building mid-tempo, patient guitars which then begin sparking off one another then reaching for the sky. Big strong slabs of music are moved, and then dynamically downshifted toward more melodic cells, adding phased shifting at the end. The final track is the lengthy and exciting jam “Robot Energy Machine” where the two guitars and bass form upbeat bright sounding themes, which kicks in into higher gears nicely with some excellent tandem guitar playing, gradually adding variations to the theme. The track develops into a multi layered performance that is complex, yet creative and alluring. Evolution Here We Come - amazon.com

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Sunday, August 21, 2022

Miles Davis Quintet - Live Europe 1960 Revisited (ezz-thetics records, 2022)

Trumpeter Miles Davis’s great quintet was on the verge of wholesale change as the decade turned. His saxophonist John Coltrane had blossomed into a player of immense power and wisdom after overcoming the scourge of drugs and alcohol, and having the intricacies of composition and improvisation unlocked during a brief tenure with Thelonious Monk. Rounding out the group found here is the classy swinging rhythm section that played on the Kind of Blue record from the previous year: Wynton Kelly on piano, Paul Chambers on bass and Jimmy Cobb on drums. The first three tracks on this album come from the afternoon and evening concerts in Paris on May 21, beginning with the leader’s own composition “So What” along with the standards “On Green Dolphin Street” and “Walkin’.” Miles plays with the exquisite taste that was his hallmark. He did not allow his bands to rehearse, instead wanting them to be fresh on the bandstand, taking risks and allowing the material to be reexamined every night. Many of the tunes are taken at length, 12-15 minutes, and John Coltrane is the centerpiece, looking at the source material from every conceivable angle which it might be improvised upon and then building layer upon layer of relentless music. The scene then shifts to two selections from Stockholm on March 22, “All Blues” and a second version of “So What.” Showing great stamina, Coltrane again spools out solos of great complexity and length, he's not out of control however, although he may be way out there on performances like "All Blues,” trying out every conceivable method of playing. He's like a scientist, experimenting and then refining the results and casting aside what doesn't belong. Although the audiences, particularly at the Paris concert are flummoxed by this approach, Coltrane’s quest was all consuming and genuine and this attitude would continue for the remainder of his all too brief life. This is not to short the other members of the band: Kelly's hearty and earthly piano playing works to keep the band grounded and Chambers and Cobb are wonderfully locked in. Davis is a maestro, allowing his men to play as they wish, but he is always there for a pithy statement of the melody or solo that is by turns nakedly open or punchy and taught. This is a fascinating release, showing two two of the most important figures in jazz history performing for the last time before departing for vastly different paths. Live Europe 1960 Revisited - ezz-thetics records bandcamp

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Wednesday, August 17, 2022

Stephen Gauci​/​Joe Hertenstein​/​Alexander von Schlippenbach​/​Jan Roder - Souldlift Berlin-New York (GauciMusic, 2022)

Tenor saxophonist Stephen Gauci traveled hours by plane and then more by train to meet up with this multi national, multi generational band. The legendary pianist Alexander von Schlippenbach plays piano along with Jan Roder on bass and Joe Hertenstein on drums, and the band creates three exciting lengthy improvised performances. "Soundlift 1" opens with spare piano and bass, then adding patient saxophone and percussion, and the music is starting to gain pace and friction, as the it heads to freer pastures. The collective improvisation tumbles and spins impressively with ripe saxophone expounding along side crisp rhythm work and colorful piano playing, with the saxophone dropping out briefly in favor of deft bass playing then returning with a darkened squalling attack taking the music in a new direction. Deft bass playing, patient piano, with the drums appearing, followed by the saxophone and the group plays together gracefully, with Gauchi adding some overblown saxophone accents to spice things up. "Soundlift 2" has a quiet careful piano introduction amid saxophone squeaks entering, with drumming patter and bowed bass adding further texture to a developing situation, with raw peals of saxophone crossing the horizon. Rough hewn saxophone builds over roiling piano, bass and drums creating an exciting performance, the music undulates through periods of near silence, then stark saxophone and percussion duet. There is a supple piano, bass and drums area, then the saxophone returns, developing a feverish collective improvisation with the quartet burning hot, gradually rolling back the intensity as the performance closes. A tightly wound band improvisation develops on "Soundlift 3" sounding nervous and flighty, rapid drumming and flurries of saxophone lead the way with flourishes of piano notes are heard. The saxophone reaches low doing heavy lifting, arcing upward with bursts of sound, consistent drumming and bass playing allow the saxophone and piano to range at will, creating vital music in the process. The music develops into a brawling collective free jazz improvisation with everyone playing their heart out in a thrilling fashion for a brief spell. Dynamic music, ebbing and flowing periods of quiet to sections of guided chaos, the music takes on a very free section with unmoored drumming and saxophone skidding across the deck, the music is constantly evolving and in a consistent state of motion which leads to a very impressive and truly collaborative album. Soundlift Berlin New York - GauciMusic Bandcamp

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