Showing posts with label Jack DeJohnette. Show all posts
Showing posts with label Jack DeJohnette. Show all posts

Friday, 2 September 2022

Collin Walcott - Cloud Dance (1976)

Essentially John Abercrombie's Gateway Trio with a very different lead voice, in the form of Orgeon/CODONA's multi-instrumentalist (here focusing on his considerable talents on sitar) Collin Walcott (1945-1984).  This stunning record was recorded in the same month as Gateway's debut, right in the white heat of ECM's golden age with a lineup who perfectly merge jazz with Indian musical forms.  
 
Lengthy explorations giving the quartet full chance to shine, like opener Margueritte, sit alongside miniature features for Walcott and Dave Holland such as Prancing and Eastern Song.  Abercrombie is by turns liquid and languid (Night Glider, the lovely title track) and throughly electrified (Scimitar).  Walcott's sublime playing remains the star of this album, and would continue to occupy a unique space in the ECM sound world (including with a reformed Oregon) until his tragic accidental death at the age of 39.

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Collin Walcott at SGTG:

Friday, 30 July 2021

Miles Davis - Live-Evil (1971)

First in a three-Friday look at some of the many double-live albums released by Miles Davis in the 1970s (already posted: Agharta, see list below).  This one does actually include short tracks of studio material, three of them by Brazilian composer Hermeto Pascoal and recorded in June 1970; Pascoal also contributes vocals, percussion and electric piano to those pieces.  All the rest are live recordings from The Cellar Door in Washington DC, 19 December 1970.  Joining Miles on stage were Gary Bartz, John McLaughlin (a quick end-of-residency addition), a rare electrified Keith Jarrett before he swore off amplified keyboards, and a cracking rhythm section of Michael Henderson, Jack DeJohnette and Aitro Moreira.

The album title, and a couple of the track titles, come from the mirror-text effect on the vinyl gatefold: MILES DAVIS LIVE = SELIM SIVAD EVIL.  Sivad is the first lengthy live jam - might that be Jarrett's (in)famous vocalising halfway through? Could be Airto.  What I Say turns up the tempo for an even funkier exploration - Jarrett sounds like he's about to play LA Woman in the intro there.  The brief studio tracks by Pascoal are mellow, drifting drones, and completing Record 1/CD1 is a studio take of Gemini/Double Image by Davis/Zawinul, which actually dates back to February 1970.  That last one adds Khalil Balakrishna on electric sitar, and all the studio material adds Chick & Herbie to the keyboard section.
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Over on Disc 2, Selim provides a quick overture in the form of a Pascoal piece sounding similar to the other two, then it's Live Evil all the way in the two remaining long tracks.  Funky Tonk does what it says on the tin, with plenty of Jarrett grooves, McLaughlin solos and storming percussion.  To close, Inamorata is a great straight-ahead funk jam, with the "Narration By Conrad Roberts" being a brief voice-over poem near the end by the titular actor, for reasons I've never quite seen explained.

Disc 1 link
Disc 2 link
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Wednesday, 9 June 2021

Miles Davis - A Tribute To Jack Johnson (1971)

Soundtrack to a 1970 documentary about heavyweight champion boxer Jack Johnson (1878-1946), and also just an incredible electric-period Miles Davis album; perhaps an even better John McLaughlin album, given the guitarist's starring role.  First released as simply "Jack Johnson", with the LP cover below, all subsequent releases switched to the monochrome image of Miles (which apparently should've been the proper front cover in the first place), and added "A Tribute To" to the title.

Most of the music on the album's two side-long tracks was recorded on 7th April 1970, with inserts from earlier sessions.  Wanting to put together "the greatest rock 'n' roll band you've ever heard", Davis chose McLaughlin, Michael Henderson on bass guitar, Billy Cobham on drums and Steve Grossman on soprano sax to tear through the spontaneous rock groove of Right Off.  Eventually they were joined by Herbie Hancock, who happened to be passing through the studios and was plonked in front of a grungy organ to further electrify the groove at its midpoint.

Yesternow is an altogether weirder listen, with Teo Macero wielding the tape blade for a concoction that even has a brief excerpt of Shhh/Peaceful from In A Silent Way in the mix.  The first thirteen minutes are a much more slow-burning piece a la Ife on Big Fun, then post-Shhh the track jumps to another completely different session from February 1970.  The lineup here includes Sonny Sharrock on second guitar (not sure if it's him or McLaughlin doing that volley of laser-blast effects in the right channel), Chick Corea, Bennie Maupin, Dave Holland and Jack DeJohnette.  At the very end, a calm orchestral outro features a Jack Johnson voiceover performed by actor Brock Peters.  Altogether, A Tribute To Jack Johnson is one of Miles' most scorching electric records, and one that deserves to be just as well appraised as the better known classics like Bitches Brew/Silent Way.
Original LP cover
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Wednesday, 12 May 2021

Keith Jarrett Trio - Standards In Norway (rec. 1989, rel. 1995)

Typically transcendent telepathy from Jarrett, Peacock & DeJohnette, recorded in October 1989 at the Konserthus, Oslo, then released six years later in what now sounds like one of their very best live albums.  A slinky mid-tempo All Of You gives way to a gorgeous Little Girl Blue (lovely Peacock solo there), to a groovy Just In Time, and so on.  So no great surprises in the song selection, but then this trio's essence was always in taking the over-familiar and making it shine afresh like material that could've been composed yesterday.

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The Standards Trio at SGTG:
Tribute (recorded on the same tour as Standards In Norway)

Wednesday, 27 May 2020

Gateway - Homecoming (1995)

Twenty years on from their first session together (posted a couple of weeks back), and seventeen since they'd last recorded, the Gateway trio of John Abercrombie, Dave Holland and Jack DeJohnette reunited in style.  There was plenty of fire left in the trio, as evidenced right from the opening title track - after a cool, swinging earworm of a theme, Abercrombie cranks up the volume and a great group improv ensues.

As with their debut, Holland is the standout songwriter here, penning the title track and also the barreling-forwards Modern Times, the firey groove of How's Never (with a great drum solo) and also the spare In Your Arms.  Abercrombie writes three tunes, including the glowing embers of Waltz New - his guitar tone is never less than a thrill on this record, even when not at full pelt; and DeJohnette pens the closing pair, including a switch to piano on the gorgeous closer Oneness.

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Previously posted at SGTG:
Gateway - First Album
Characters (Abercrombie)
Sargasso Sea / Five Years Later (Abercrombie/Towner)
Pictures (DeJohnette/Abercrombie)

Friday, 15 May 2020

John Abercrombie, Dave Holland & Jack DeJohnette - Gateway (1975)

John Abercrombie, Dave Holland & Jack DeJohnette's first session in March 1975 sparked a classic trio that would lead to a further album in the 70s, and two more in the 90s.  The debut Gateway album, though, isn't just one of the most inspired ECM albums (amongst a mid-70s purple patch where the label churned out classic after classic), it's one of the greatest and most firey guitar trio jazz records ever made.

It all starts though in a deceptively understated mode, as the laidback groove of Back-Woods Song lopes into life with a memorable hook and some effortless finesse in Abercrombie's solos.  Next there's a short diversion to give Holland and DeJohnette the spotlight, then the album really starts to cook.  After another melodic introduction, May Dance spins out into a lengthy free-for-all, giving the group's interplay room to really shine.

The album's second half cranks up a gear with the Abercrombie-DeJohnette head-to-head of Unshielded Desire.  Abercrombie's volume and tone, not to mention sheer chops, are up there with anything John McLaughlin blasted out in the early 70s.  Jamala, another Holland-penned tune out of four on the album, offers some atmospheric breathing space before the final epic of Sorcery.  If Metheny's Bright Size Life from the same era was a dewy Midwestern sunrise, Gateway is a midday scorcher.

link
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Previously posted at SGTG:
Characters (Abercrombie)
Sargasso Sea / Five Years Later (Abercrombie/Towner)
Pictures (DeJohnette/Abercrombie)

Friday, 20 March 2020

Keith Jarrett Trio - Tribute (1990)

Haven't returned to Jarrett, let alone the Standards Trio, for a while on this blog now.  So here's a nice two-hour serving of phenomenal playing, interaction and improvisation, and not so phenomenal (but tolerable) vocalizing.  Tribute is a recording of a particularly sublime Jarrett-Peacock-DeJohnette concert held on 15th October 1989 at the Köln Philharmonie.  The 'Tribute' concept is that each track on the album is dedicated to a jazz legend who once performed it; the dedicatees are included in brackets after each song title in the tracklist.

Disc 1 gets underway with an effortless strut through Lover Man [Lee Konitz] and I Hear A Rhapsody [Jim Hall], everyone firing on all cylinders as expected.  The trio take the tempo down a bit for a gorgeous Little Girl Blue [Nancy Wilson] before the first half of the concert ends on a massive high.  Solar [Bill Evans] segues into a lengthy group improvisation, one of their very best, which was titled Sun Prayer for the album.

Disc 2 follows a similar pattern, with a frantic Just In Time [Charlie Parker] giving way to an achingly beautiful Smoke Gets In Your Eyes [Coleman Hawkins] and much more.  The finale doesn't spill straight over into improvisation this time: It's Easy To Remember [John Coltrane] deserves the spotlight in and of itself.  Then the trio launch into a minimal Jarrett groove with a Latin flavour, entitled U Dance (and you will - or at least tap a foot) for the final improv.  Gorgeous to the last drop. (I nicked that last line from a much better reviewer than me.)

Disc 1 link
Disc 2 link
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Previously posted at SGTG:
Setting Standards: New York Sessions
Changeless
At The Blue Note: Saturday, June 4th 1994, 1st Set
Tokyo '96

Wednesday, 15 May 2019

Mick Goodrick - In Pas(s)ing (1979)

ECM's 50th Anniversary release of 50 more 'Touchstones' reissues continues at the end of this week, with the second batch of 25 albums including early jewels like Paul Motian's Tribute, Julian Priester's Love Love and Bennie Maupin's Jewel In The Lotus.  Sadly, as in January, there doesn't seem to be any that are making their digital debut: if, like me, you were holding out for a CD release of long-deleted treasures like John Clark's Faces or Hajo Weber/Ulrich Ingenbold's Winterreisse, we'll just have to keep hoping.

Anyway, here's a favourite out of a small handful that I picked up from January's tranche (see news for 18 Jan 2019) of new Touchstones.  Philadelphian guitarist Mick Goodrick made his ECM debut in Gary Burton's group, appearing on three albums - the first of which comes back into print on Friday, and the third was among the original 2008 Touchstones.  A few years later, Goodrick recorded his only ECM album as leader, with the dream team of Eddie Gomez & Jack DeJohnette on bass and drums, and John Surman on saxes and bass clarinet.

In Pas(s)ing, named as a pun on the Munich district, is an album of slow-burning, after-hours beauty.  Goodrick is such a subtle and understated player that you can at times find yourself forgetting you're not listening to a Surman album.  But whenever Surman takes a break, as on the brightest tune Summer Band Camp, the quiet beauty of Goodrick's chords and runs makes clear whose material you're enjoying.  Tonally, Goodrick is somewhere in between Metheny and Abercrombie and leaning towards the latter, but is a strong enough identity in his own right to make this an album to return to repeatedly.  A single favourite track is difficult - they're all cut from one cloth without being samey - but I'll go for the melancholy lilt of Pedal Pusher.

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Monday, 25 June 2018

Miles Davis - On The Corner (1972)

Someone mentioned late 60s-70s Miles in the comments recently, which made me dig this one out.  When On The Corner got its Columbia Legacy reissue in 2000, it became my introduction to Miles Davis' electric period - and holy crap, what a choice for diving into his post '68 journey to the outer limits of jazz fusion.  Already getting a hammering from establishment jazz critics for setting his sights light years farther than theirs, by 1972 the James Brown/Sly Stone-influenced Davis cared less than zero with On The Corner, its straightahead funk cacophony and its cartoon cover by illustrator Corky McCoy (Miles' idea being to appeal to a younger African-American audience).

If On The Corner was meant to be a record to groove to, that's not exactly easy at the outset, as the odd rhythm (the sixteenth-notes on the hi-hat are the key to following it) cuts in mid flow.  The title track - the first three minutes of the opening suite - is the kind of full-on fury that would lead to scorching live documents like Dark Magus and Agharta a few years later, with John McLaughlin's guitar and Collin Walcott's sitar wah-wahing like fighting lions.  Even as the larger 20-minute track opens up to give a bit more space, the subsequent sections deftly spliced by Teo Macero (wonder if he was ever aware of Tago Mago?), the groove doesn't calm down until the very end.

The head-shaking of the jazz critics continued as the rest of the album - that's 34 minutes - proceeded to hinge around one single bassline.  I must admit on early listens this did make me tune out, particularly on the 23 minute Helen Butte/Mr Freedom X - big mistake.  To follow these tracks closely is to hear infinite variations from the assembled players (Miles himself sticks mostly to electric organ, in his Fela-like lead shaman role), and an abundance of clever editing and other studio trickery, influenced by both Stockhausen and Paul Buckmaster  Essential, life-affirming deep groove music that the rest of the world is still catching up to.

link

Monday, 12 June 2017

Kenny Wheeler - Double, Double You (1984)

Let's stick around with 80s ECM for another post - and a fine set of tunes from the late Kenny Wheeler (1930-2014), the Canadian-transplanted-to-UK trumpeter who wholly deserves to be namedropped as often as much more familiar names on the instrument.

Four months on from the legendary Jarrett trio recordings that we ended last week with, Jack DeJohnette found himself back in the same studio to give another rock-solid performance - but the real supporting star here as far as I'm concerned is pianist John Taylor, especially on the triptych of songs that takes up the whole second half of the album.  Wheeler and Taylor had of course worked together in Azimuth (I'll post a few of their albums eventually, but if memory serves I think Opium Hum did the essential first one not long ago) and were on telepathic form by this point.

Still haven't mentioned the absolute highlight of Double, Double You - the 14-minute opener, Foxy Trot.  Superbly constructed, with a lengthy, winding theme that constantly seems just about to trip over its own feet before it eventually slams back into the major key to resolve itself into a wonderfully memorable hook.  Everyone sounds great on this one.  Yes, even Michael Brecker, who I ordinarily wouldn't have much interest in - this record appears to have been his sole ECM appearance, and it's a good one all round.

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Friday, 9 June 2017

Keith Jarrett Trio - Setting Standards: New York Sessions (2008 compi, rec. 1983)

This blog's had a decent sprinkling of Keith, Gary & Jack doing their thing in concert - see Changeless, Blue Note and Tokyo '96 - so here's the original studio blueprint for the Standards Trio, when they first recorded in a NYC studio at the beginning of 1983.  Three albums' worth of material ensued, and for the Standards Trio's 25th anniversary all three were reissued in this handy box.

It wasn't the first time ever that these three musicians had played together - that was a Peacock-led date in 1977.  This however was the moment when they chanced on the proposition (without even planning - see below!) that what jazz needed in 1983 was a back-to-basics Great American Songbook investigation, and one that breathed fresh life into these classic songs, making them sound freshly minted.  Case in point - the 15 minute joyous romp through Billie Holiday's God Bless The Child that ends the first disc here, originally released later in 1983 as Standards Vol. 1.

Apparently the recording session began with no rehearsal or song choices - they just simply played, and ended up with two hours' worth of standards and improvisations.  The two improvisations were in fact the next to be released, as Changes (1984) - an inspired, free-form album (Disc 3 in this box set) that built into this Standards Trio's modus operandi that they'd always leave room to improvise and run with a mood if it took them.  Changeless, as mentioned above, would be the next installment of that.  Lastly, in 1985, the cool and contemplative Standards Vol. 2 (Disc 2 here) was released, and was possibly the most successful album in creating an extended, unified mood reminiscent of Bill Evans' great trios.
original album covers
Disc 1
Disc 2
Disc 3

Monday, 24 April 2017

Charles Lloyd - Forest Flower: At Monterey, 1966 (rel. 1967)

Speaking of Keith Jarrett... nearly thirty years prior to that trio date in Tokyo, he appeared at the Monterey Jazz Festival in his early sideman role to the great Charles Lloyd.  Showing great promise even then, Jarrett fills out the clipped, Latin rhythm (Jack DeJohnette's here too) of the 'Forest Flower' suite as the perfect foil to Lloyd's warm, mellifluous tenor sax.

Jarrett ups the groove whenever Lloyd takes a more free flight and takes an assured solo early in the 'Sunset' section, and even plucking the piano strings towards the end.  The fact that I've mostly made this writeup all about Jarrett clearly shows I need to listen more widely to Charles Lloyd (his flute playing on the Jarrett composition Sorcery is also superb), so consider that my homework.

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Friday, 21 April 2017

Keith Jarrett Trio - Tokyo '96 (rel. 1998)

From the intermittent SGTG tradition known as Jazz Piano Friday, some more Jarrett, Peacock & DeJohnette on rollicking form at the Orchard Hall, Tokyo on 30 March 1996.  By the time ECM released it two years later, Jarrett was laid low with ME/CFS, but would fortunately recover in time to take the Standards Trio into the 21st century for more transformed songbook classics and extended improvs.  Highlights on this particular release include the turbo-charged It Could Happen To You and Billie's Bounce in the first half, and the two Jarrett originals - Caribbean Sky and Song - that are effortlessly segued from standards at the end.

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Previously posted at SGTG: Changeless / Blue Note June 4, 1994

Monday, 13 February 2017

Pat Metheny / Ornette Coleman - Song X (1986)

Or, as ECM's Manfred Eicher probably called it - the one that got away.  Imagine how much of a game-changer this phenomenal meeting of minds would've been for the German label that had nurtured Metheny for a decade, with ECM regulars Haden & DeJohnette on board, not to mention the glittering prize of having free jazz legend Ornette Coleman sharing the bill.  The artwork would've been similarly minimal under Sascha Kleis' direction, and it would've deservedly remained an ECM bestseller to this day.

Unfortunately for Eicher, come 1985 Metheny was ready for a new challenge, and parted ways with ECM to land on David Geffen's burgeoning stable.  And what a fresh start Song X was - kicking off with the lightning-speed title track, this was free jazz updated for the amphetamine-yuppie era, and would've blown Huey and Genesis out of the water if introduced to Patrick Bateman's CD collection.  The 13-minute Endangered Species goes even further out, with Metheny exercising judicious use of the guitar synth (and wisely restraining himself from it for the bulk of the album, not unlike Belonging from three years prior, also with Haden).

The second half of the album is more accesible, and mellows out considerably with the gorgeous Kathelin Gray.  The clean production throughout (another ECM similarity!) ensures that you can get the most enjoyment possible out of each contributor, without the knottier passages becoming cluttered.  A stunning high watermark in 80s jazz.

link

Friday, 13 January 2017

Keith Jarrett Trio - Changeless (rec. 1987, rel. 1989)

By the late 80s, Keith Jarrett, Gary Peacock and Jack DeJohnette had carved out their niche as the great standards trio - but in concert they were also leaving room to stretch out and improvise, whenever a particular groove led them.  Four especially inspired examples of this were collected on this album, from recordings of a US tour in October 1987; the fifteen minute Endless is generally held to be the standout, as it gradually weaves its hypnotic spell, and I'm not going to disagree.  An essential document of pure inspiration.

link

Friday, 23 September 2016

Keith Jarrett - At the Blue Note: Saturday, June 4th 1994, 1st Set

It's that time of year again for autumn leaves - to be specific, my favourite rendition of the Joseph Kosma chestnut, stretched to a thrilling 26 minutes by my favourite jazz piano trio.  After four minutes of Jarrett's solo meanderings, the Peacock/DeJohnette engine room revs up and locks in to an upbeat cruise through the melody, followed by plenty of soloing.  From the 13 minute mark onwards, we're into one of these stellar improvs that only this trio can pull off.

The Standards Trio spent a whole weekend's residency at the legendary Blue Note in June 1994, and every note they played was released the following year in a 6-CD box set.  This disc, the first set from Saturday night, was the only one to be released in its own right - presumably  because it's absolutely phenomenal from start to finish.  Everyone's at the top of their game, Jarrett's vocalisations are...tolerable, and the recording quality, as you'd expect, is peerless - perfect jazz club intimacy.  Other than Autumn Leaves, the other extended high-point of the set is You Don't Know What Love Is segueing into a Jarrett original called Muezzin.  Jack DeJohnette switches to hand percussion, and the results are pure magic.

link

Monday, 16 May 2016

Jack DeJohnette - Pictures (1977)

Jazz drumming legend Jack DeJohnette, still going at 72, has been an explosive partner to many great musicians over the years, and a masterful, expansive improviser.  Pictures, however, is a much more intimate record, that by DeJohnette's own admission was something to put on and listen to when you "wanted to be alone".  It's also an ECM gem that tends to get lost in the shuffle among the better-known masterpieces of its era.

In a succinct 37-minute tour of DeJohnette's Picture gallery, we're treated to six works titled only by numbers, half of which feature guitarist John Abercrombie.  We start out with DeJohnette solo though, layering a swirling organ drone over a funky drum track on Picture 1, then accomplishing one of the most engrossing and thoroughly melodic drums solos you'll ever hear on Picture 2, owing to his masterful percussion tuning.

Just under a year previous to recording this album, DeJohnette and Abercrombie had been in the ECM studio with bassist Dave Holland to record their legendary first album as the 'Gateway' trio, and we're in similar territory for Pictures 3 through 5, the latter creating a high point in the album through Abercrombie's switch to acoustic guitar.

Picture 6 is back to DeJohnette solo, on percussion and piano.  Opening with a gorgeous, subtly reverbed piano statement (it's often forgotten what a fine pianist the man is, as he's spent so long in the shadow of Keith Jarrett in the Standards Trio).  This is gradually replaced by ominous gongs, which are rejoined by the piano from about the halfway point of the track, becoming more fractured and haunting, taking us to a stunning, evocative conclusion to a great little album.

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