segunda-feira, 22 de fevereiro de 2010

John Coltrane - A Love Supreme (1964)

Easily one of the most important records ever made, John Coltrane's A Love Supreme was his pinnacle studio outing that at once compiled all of his innovations from his past, spoke of his current deep spirituality, and also gave a glimpse into the next two and a half years (sadly, those would be his last). Recorded at the end of 1964, Trane's classic quartet of Elvin Jones, McCoy Tyner, and Jimmy Garrison stepped into the studio and created one of the most thought-provoking, concise, and technically pleasing albums of their bountiful relationship (not to mention his best-selling to date). From the undulatory (and classic) bassline at the intro to the last breathy notes, Trane is at the peak of his logical yet emotionally varied soloing while the rest of the group is remarkably in tune with Coltrane's spiritual vibe. Composed of four parts, each has a thematic progression leading to an understanding of spirituality through meditation. From the beginning, "Acknowledgement" is the awakening of sorts that trails off to the famous chanting of the theme at the end, which yields to the second act, "Resolution," an amazingly beautiful piece about the fury of dedication to a new path of understanding. "Persuance" is a search for that understanding, and "Psalm" is the enlightenment. Although he is at times aggressive and atonal, this isn't Trane at his most adventurous (pretty much everything recorded from here on out progressively becomes much more free, and live recordings from this period are extremely spirited), but it certainly is his best attempt at the realization of concept — as the spiritual journey is made amazingly clear. A Love Supreme clocks in at just over 30 minutes, but if it had been any longer it could have turned into a laborious listen. As it stands, just enough is conveyed. It is almost impossible to imagine a world without A Love Supreme having been made, and it is equally impossible to imagine any jazz collection without it.
by Sam Samuelson at All Music Guide

Styles:
Free Jazz
Avant-Garde
Modal
Post Bop

Tracks:
01 Acknowledgement
02 Resolution
03 Pursuance / Psalm

Line-up:

John Coltrane - tenor saxophone
Jimmy Garrison - double bass
Elvin Jones- drums
McCoy Tyner - piano

quarta-feira, 10 de fevereiro de 2010

Billy Cohbam - Total Eclipse (1974)

This is Billy Cobham's third solo recording under his own name and is a fine follow-up to Crosswinds. The mini-suite "Solarization" not only showcases the band's technical abilities, but also Cobham's strong compositional skills. It also features a schizophrenic piano solo ("Second Phase") from the underrated pianist Milcho Leviev, who sounds like a mutation of Cecil Taylor and Bill Evans. The funky "Moon Germs," on which John Abercrombie is pushed to inspiring new heights, became a Cobham classic. "The Moon Ain't Made of Green Cheese" is a beautiful flugelhorn solo by Randy Brecker backed by Cobham's debut on piano. The band stretches out on the lengthy "Sea of Tranquility," while "Last Frontier" is a gratuitous drum solo. This recording is highly recommended as Cobham still sounds inspired.
by Robert Taylor at All Music Guide

Styles:
Post Bop
Fusion

Tracks:
01 Solarization
02 Lunarputians
03 Total Eclipse
04 Bandits
05 Moon Germs
06 The Moon Ain't Made of Green Cheese
07 Sea of Tranquility
08 Last Frontier

Line-up:

Billy Cobham - drums / piano / tympani
Michael Brecker - flute / soprano and tenor saxophone
Randy Brecker - trumpet / flugelhorn
Glenn Ferris - tenor and bass trombone
Sue Evans - marimba
Milcho Leviev - keyboards
John Abercrombie - guitar
Cornell Dupree - guitar
Alex Blake - electric bass
David Earle Johnson - congas

terça-feira, 9 de fevereiro de 2010

terça-feira, 2 de fevereiro de 2010

Jimmy Smith - The Sermon! (1958)

The seven sides on The Sermon! (1958) come from a pair of studio dates, the first of which was held August 25, 1957 and includes Jimmy Smith (organ), Lee Morgan (trumpet), George Coleman (alto sax), Curtis Fuller (trombone), Eddie McFadden (guitar), Kenny Burrell (guitar) and Donald Bailey (drums). This was followed by a second exactly six months (to the day) later on February 25, 1958. Along with Smith, present and accounted for during the session were Lou Donaldson (alto sax) replacing Coleman in addition to contributions from Tina Brooks (tenor sax) and the ubiquitous Art Blakey (drums). From the '57 confab are the popular music standards "S'Wonderful" and "Blue Room". The former is given an unhurried mid-tempo workout as Morgan banters sublime licks with McFadden. Fuller's full round tones effortlessly manoeuvre "Blue Room" with the intimate trio of Bailey and Smith in support. The real essence can be heard in the variety of styles utilized in the latter gathering. An emotive "Lover Man" is punctuated by Donaldson's fluid leads behind Smith's heartfelt changes. This is sharply distinguished by the longer jams featuring Burrell, Blakey and mighty impressive blows throughout from Morgan and Brooks. They ride hard on the Bird classics "Confirmation" and an intense "Au Privave". Brooks' solos are much of the reason why each excels with such bop finesse and are best experienced rather than simply read about. "Flamingo" is a sumptuous ballad that allows Morgan and Burrell to trade some laid back lines within the context of an unencumbered rhythm section. Whether upgrading the mid ‘80s CD or discovering the platter for the first time, The Sermon! is a prime example of Smith and company's myriad of talents.
by Lindsay Planer at All Music Guide

Style:
Hard Bop
Soul Jazz

Tracks:
01 The Sermon
02 J.O.S.
03 Flamingo

Line-up:

Jimmy Smith - organ
Lee Morgan - trumpet
Lou Donaldson - alto saxophone
George Coleman - alto saxophone
Tina Brooks - tenor saxophone
Kenny Burrell - guitar
Eddie McFadden - guitar
Art Blakey - drums
Donald Bailey - drums