Miles Davis/Bill Laswell - "Panthalassa - The Music of Miles Davis
1969-1974"
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If you're wondering, as I was, what "reconstruction and mix translation"
is, then allow me to explain. Basically it is remixing and collaging a
piece of music, or pieces of music, as Bill Laswell has done on this
recording. Sony/Columbia and the Miles Davis estate has obviously
allowed Laswell to use three Miles recordings - "In a Silent Way", "On
the Corner", and "Get Up With It" - to reconstruct and mix translate.
Laswell does a great job in seamlessly blending sections of a piece and
having it flow into another song. He has even re-mixed the sound of the
original recordings and has made them slicker and cleaned up some of the
sections sonically to bring out the layered effect of the instruments.
Laswell was also able to get some never before heard alternate takes
which he mixes into the collage.
This era (1969-1974) was important not only for Miles' career, but the
music he put out in that period helped change music once again. He
dove-tailed rock and jazz, brought a younger audience to jazz and
blended fusion, funk and even explored hip hop to an extent almost
twenty years before it was really even labeled. Many jazz writers seem
to overlook or even looked down on his output from this era, which is a
shame because it was very rich in experimentation.
My personal take on this "reconstruction and mix translation" is one of
distaste. Why change something so historical. It's kind of like opening
someone's coffin and rearranging the hair. This music was reactionary,
bar 37 happened because of what happened in bars 27-36 etc….to take bar
37 and attach it to something else doesn't make sense musically. I
personally think someone should go out and buy "Bitches Brew", "In a
Silent Way", "On the Corner" and "Argartha" to get a real look into the
brilliance of this music. (S.B.)
Columbia CK 67909 to order
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Miles Davis - "The Complete Birth of the Cool"
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RealAudio Sample |
The innovative sound that Miles Davis brought to these sessions recorded
in 1948-49-50 is welcome once again as an important reissue (this is the
second time on CD) with some surprising tracks from, what I would look
upon as "a live rehearsal before we go into the studios". The live
tracks come from a date at the Royal Roost club in September of 1948,
and despite the quality give the listener an idea of what this
experiment was to offer. Listening to the studio recordings in
comparison (January, April 1949 and March 1950) proves how this band was
able to approach the tough charts and arrangements of Gerry Mulligan,
John Lewis, Gil Evans and John Carisi.
All the solo work is exceptional (Lee Konitz, Gerry Mulligan, Miles, Kai
Winding, John Lewis………), on both the studio and live dates. The Miles
Davis Nonet certainly, in its very short existence, changed the path
that jazz was to take in the 50's, and for those fans who collected this
recording when it first became available this CD with the extra tracks
is a must, and for those who want to explore the sounds of beginning of
the "cool school" add this one to your collection. (H.H.)
Capitol Jazz CDP 7243 4 94550 2 3 to order
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Bud Shank and Bill Perkins - "Bud Shank and Bill Perkins"
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RealAudio Sample |
Approximately four years after Miles Davis created the "cool" sounds of
jazz on the East Coast; various like-minded artists created a
distinctive West Coast sound. Gerry Mulligan took his piano-less quartet
featuring Chet Baker into a club called The Haig and suddenly the jazz
world focused its attention on Los Angeles. The music drew excited
crowds into the Haig and other clubs; small independent record companies
began to record the music, as in this hothouse atmosphere
experimentation's became rife, and attempts to adapt the instruments and
techniques of the concert hall to jazz were tried.
Such was the case with multi instrumentalist Bud Shank who collaborated
with saxophonist Bill Perkins (both of these artists became featured
soloists with another experimenter, Stan Kenton), to record an album of
compositions with Hampton Hawes - piano, Red Mitchell - bass and Mel
Lewis - drums on some tracks and with Russ Freeman - piano, Carson Smith
- bass and Shelly Manne - drums, on others. Both saxophonists utilized
their talents on flute, alto, tenor and baritone in different settings
that resulted in some swinging sounds. Most of the tracks on this
reissue come from the aforementioned release on Pacific Jazz label, but
additional tracks with a different rhythm section comprising of Jimmy
Rowles - piano, Ben Tucker or Leroy Vinnegar - bass and again Mel Lewis
- drums are added to this CD to make for a superb collection of the
history of modern West Coast Jazz. The sound, incidentally, is
excellent. (H.H.)
Pacific Jazz CDP 7243 4 93159 2 1 to order
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Jack Montrose - "The Jack Montrose Sextet" |
RealAudio Sample |
Two sessions from 1954 and 1955 make up this reissue with more examples
of the intricacy of the West Coast arrangers, most of whom were
beginning to spend a lot of time in the movie studios.
The recording is listed as the Jack Montrose Sextet, when in fact the
first eight tracks do actually comprise of the Montrose Sextet (the
complete recordings for Pacific in this setting as a leader…note:
earlier material under his leadership was recorded for Atlantic and
later sessions were released on Affinity and RCA), the other nine tracks
on this release feature a Quintet which was initially released under Bob
Gordon's name and does feature Montrose.
All of the recording technicalities aside, the music is as exciting
today as it was when it was first released. Both Montrose (tenor) and
Gordon (baritone) are most inventive in their solo work and the Sextet
sessions are sparked by the addition of another front line with the
presence of one of the Candoli (trumpet playing) brothers - Conte. The
Sextet rhythm section consists of Paul Moer - piano, Ralph Pena - bass
and Shelly Manne - drums. The Quintet has Moer back on piano, Joe
Mondragon - bass and Billy Schneider - drums. Montrose as a composer
combines classical techniques with jazz feeling. He favoured
contrapuntal rather than vertical writing, but always managed to breathe
a little more individuality into the scores.
"Listen, Hear" is a minor-key fugue that moves to major on the bridge,
and Montrose's lines feel more natural than is usually the case in such
attempts at cross-pollination. Of the remaining originals, "Speakeasy"
and "Credo" are similar attempts to stretch the boundaries of jazz
writing. Both use a technique that Montrose had introduced in a Chet
Baker album earlier; the rhythm-section instruments carry the full
weight of the composition's line; they are not used simply as
timekeepers (although they do break into time behind the soloists).
"Pretty", a ballad, is indeed - but Montrose keeps things from getting
saccharin with a sprinkling of out-of-key chord changes. And "Some Good
Time Blues" are just that also. There are three standards on the CD, and
each gets a fresh treatment from Montrose that gives it the flavour of
an original composition. "Bewitched, Bothered and Bewildered" opens, for
example, with a statement of the verse by bassist Ralph Pena. It is
played as a ballad, while "Fools Rush In" and "That Old Feeling" are
both taken at rapid clips. For a dip into the past that is an important
document in any collection this is a recommended
recording. (H.H.)
Pacific Jazz CDP 7243 4 93161 2 6 to order
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Cy Touff - "His Octet & Quintet" |
RealAudio Sample |
In contrast to most of the recordings that were labeled "West Coast" and
considered representative of the cool school this session is very
similar in sound to that of the Count Basie Band, only much smaller in
size.
From the Woody Herman Herd (1954) came a young energetic bass trumpeter
Cy Touff, and when Pacific Jazz owner Richard Bock heard him he knew he
had to record him, but finding the right setting and charts took some
time. Johnny Mandel, a trombonist and veteran of the big bands (Boyd
Raeburn, Jimmy Dorsey, Buddy Rich and Count Basie), had recently left
the Basie band and settled in Hollywood. When Herman came through
Hollywood with an octet featuring Touff - in 1955 - it seemed to the
right time for Bock to get everything together and record. Of course
finding the right personnel had been established, and some of the very
best musicians were hired. Harry Edison, Conrad Gozzo - trumpets, Richie
Kamuca - tenor, Matt Utal - alto and baritone, Russ Freeman - piano,
Leroy Vinegar - bass, and Chuck Flores - drums and of course Touff -
bass trumpet made up the octet. For the quintet sessions Touff was
accompanied by Richie Kamuca - tenor, Pete Jolly - piano, Leroy Vinnegar
- bass and Chuck Flores - drums. Highlights from the octet date include
"Keester Parade", a slow blues recorded elsewhere by Harry "Sweets"
Edison as "Centerpiece". Edison starts things off with a relaxed yet
blues-drenched solo in Harmon mute, and Touff and Kamuca - following a
couple of solo choruses each - trade fours as the ensemble builds in a
crescendo behind them. Russ Freeman also takes a typically understated
solo. "TNT" is a medium up-tempo , and "Groover Wailin' " is way up; on
both charts Mandel achieves the feeling of a big band in full cry
despite the limited octet instrumentation. Ernie Wilkins did the
arrangement of Duke Ellington's beautiful song "What am I here for?"
The arrangement takes some liberties with Ellington's melody, but it is
satisfying none the less.
The quintet sessions include "Half Past Jumping Time", a Neal Hefti
tune, which is a medium-tempo swinger, as is a head arrangement of an
original of Touff and Kamuca's titled "Primitive Cats". "Prez-ence" is
a line based on Lester Young's solo (recorded on the Aladdin label) on
"You're Driving Me Crazy". The two other performances by the quintet are
"A Smooth One" (relaxed and easy), and "It's Sand, Man", a Count Basie
composition that has the quintet playing in full steam.
These recordings are just a few of the many sessions that were done in
and around Los Angeles during the period known as "West Coast" and bring
to the fore some exceptional musicians in their prime, both playing and
writing/arranging. Another worthy addition to your collection. Watch for
more. (H.H.)
Pacific Jazz CDP 7243 4 93162 2 5 to order
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Michael Brecker - "Two Blocks from the Edge" |
This band sounds so great, strong proof of their being together on the
road for a year and a half. Everyone is comfortable with the music, and
Brecker is at his best on this recording and even after these years of
being one of the greatest saxophonists in music, he is still probing and
searching for new things in his playing. Jeff Watts is one of my
favourite drummers and it's good to see him recording a bit more outside
of the Marsalis camp, even though I love Branford's playing. Joey
Calderazzo is without a doubt one of the brightest lights on the scene
and continues to grow everytime I hear him and James Genus is a fabulous
acoustic and electric bass player, who is one of the few guys that can
do both on that kind of level. I recommend this release
highly. (S.B.)
Impulse IMP-260 to order
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The Dave Weckl Band - "Rhythm of the Soul" |
Dave Weckl made his big international debut as a member of Chick Corea's
Elektric Band in the eighties and has recorded with Eliane Elias, Mike
Stern and Robert Plant just to name a few. He has also recorded as a
leader several times on the GRP label. Although he has legions of
drummers falling at his feet as if he were the Second Coming, he has
left a lot of the musical community with a cold and sterile impression
of him. In the last little while he implies that he has gone back to his
roots and tried to get to the heart of the groove with much less "going
for drumming history in every fill sort of drumming".
Having made these observations, on this recording he has some great
sidemen - saxophonists Bob Malach and Steve Taraglione, guitarist Frank
Gambale and some lesser-known musicians such as guitarist Buzz Feiten
whose playing is very interesting. However the end result is a fairly
sterile sounding session. "Access Denied" will give you some idea of
what to expect. (S.B.)
Stretch SCD-9016-2 to order
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Jimmy Raney - "But Beautiful" |
When I think of how jazz has been marketed lately and how all the major
labels are promoting; for the most part, very safe and retro sounding
artists I always think of artists like Jimmy Raney, who was basically
overlooked by the major labels and never fell into the right age of
social circles. Raney was one of the few guitarists to be influenced by
Django Reinhardt but come out of it with his own voice, and what a voice
that was. Spending a few years with Stan Getz in the early 50's helped
to boost his exposure, but in the 60's he spent most of his time working
outside of music altogether. It wasn't until the 70's that he returned
to the music scene with a series of recordings and live playing in the
U.s. and Europe. It was Gerry Teekens (owner of Criss Cross) who became
a major factor in getting Raney back to playing and recording. On this
recording Raney is joined by George Mraz on bass and Lewis Nash on drums
and the trio beautifully plays standards such as "Indian Summer",
"Someone To Watch Over Me", "But Beautiful", "Long ago and far Away"
plus others. At the time of this recording, Jimmy Raney was 65 (he
passed away in 1997) and his playing has a little bit less fire than his
older recordings but is certainly full of harmonic beauty and his
playing is still nothing short of amazing. I highly recommend this
CD. (S.B.)
Criss Cross 1065-CD to order
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Carey Bell - "Good Luck Man" |
Carey Bell, now in his early sixties, is one of the last links to the
great generation of Chicago bluesmen like Sonny Boy Williamson, Little
Walter and Big Walter Horton, all of whom, especially Big Walter, taught
him a thing or two about playing harmonica. On this latest release, he
both gives a nod to the past by covering tunes by Muddy Waters, Johnny
Young, Jimmy Reed, Willie Dixon and Big Walter, all of whom he has
played with at one time or another, and keeps the blues alive in the
present with his own tunes, both instrumental features like "Bell Hop"
and "Double Cross", but, most impressively, on the slower numbers like
"Hard Working Woman" and "Teardrops". Carey Bell is one of the great
blues harmonica players, and he is working with an excellent band,
headed by his musical partner of the last decade, guitarist Steve
Jacobs, and former Junior Wells pianist Johnny "Fingers" Iguana. His
singing and lyrics on these last two numbers show that songwriting is
not just an afterthought for Carey Bell, in fact, his own compositions
are generally very strong. There's enough tired, derivative blues around
that an album like "Good Luck" comes as a breath of fresh air and a
reminder that it is still possible to make the blues form convey
something authentic. (C.P.)
Alligator ALCD 4854 to order
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Rob McConnell - "Brass My Soul & Tribute" |
RealAudio Sample |
Two exceptionally fine examples of early Boss Brass material finally get
released on CD. Originally recorded in 1979 and 1980 these sessions
capture the band in sparkling form as they swing through standards "You
took advantage of Me", "Everything happens to Me", "Smoke gets in your
Eyes", and originals by the leader McConnell "The Waltz I Blew for
You", "Start with Mrs., Beanhart" plus jazz standards "Things are
getting Better" (C.Adderely), "Blue Hodge" (Gary McFarland), "Blue
Daniel" (Frank Rosolino) and "Wendy" (Paul Desmond). There is also a
composition by John Tropea and David Spinoza "Twist of the Wrist". But
two tracks that were on the original recording of "Tribute" "Peace/Blue
Silver" and "My Bells" are omitted due to time limitations of the CD. I
consider these tracks more important than a couple of other titles here,
but the timing is generous regardless; most of the tunes are lengthy
allowing us to hear stretched out solos by Guido Basso, Rick Wilkins,
Jerry Toth, Don Thompson, Moe Koffman, Eugene Amaro, Sam Noto, Ed
Bickert, Ian McDougall, and the leader Rob McConnell. Incidentally the
"Brass my Soul" album was originally released as "Present Perfect". For
fans of this great band in particular, and there are legions, and lovers
of big bands in general I suggest you add this to your collection. (H.H.)
MPS 539 083-2 to order
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Del Dako - "Vindaloo" |
RealAudio Sample |
The title " Vindaloo is a South Indian curry, always the hottest thing
on the menu, but simple enough in its ingredients" (liner), and aptly
describes the band heard here and the contents (tracks).
Multi-Instrumentalist Dako concentrates on the alto and baritone
saxophones for the twelve tracks here, most of which are a mixture of
jazz standards, old standards and originals, in that order of quantity.
Del along with pianist Bernie Senensky, bassist Duncan Hopkins and
drummer Greg Pilo take us along a different route with their
interpretation of well known tunes "Eiderdown", "Airegin", "Old Devil
Moon", "Some Time Ago", "Blood Count", "Poinciana", "Along Came Betty",
"Star Eyes", "Dolphin Dance" and three originals by Del "Taureau, Baby",
"Blue Salami" (there is a very funny story about the title which can
only be told by the leader himself) and "Spocnic".
Generously timed, beautifully recorded with ample helpings of hard
driving intensity and energy by all members of the band this is a must
for serious jazz lovers of all ages. (H.H.)
MAX MXR CD 001 to order
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Dave Young - "Inner Urge" |
RealAudio Sample |
Bassist Young is always moving from one recording unit to another,
constantly is exploring different ideas. Some of his best in recent
years have been his piano/bass duo recordings with many of the best jazz
pianists around, all whom he has worked with in one setting or another.
(Three volumes of these sessions are available on the Justin-Time
label).
Here he has recorded with a some-time working trio of Reg Schwager -
guitar and Michel Lambert - drums plus special guest Gary Burton - vibes
on three tracks - "Inner Urge", "It Don't Mean A Thing" and "Bolivia".
There are four originals by Young, one by Antonio Carlos Jobim and one
by Thad Jones.
Burton sounds very much at home with this unit and explores the material
with a relaxed and swinging approach. Schwager is a guitarist who fits
in well with any genre of jazz and shows his love of playing with
brilliant ideas. Drummer Lambert listens attentively to the front line
and extends a strong support at all times. The leader is without
question one of the most important bassists on the scene; lithe, fresh
and strong, powerful and resonant throughout. (H.H.)
Justin Time JUST 110-2 to order
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Highly recommended CD's without reviews, star rated
as follows:
***** Excellent
**** Good
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