sexta-feira, 1 de outubro de 2010

Herbie Hancock - Sextant (1972)

When Herbie Hancock left Warner Bros. in 1971 after releasing three musically sound but critically and commercially underappreciated albums -- The Crossing, Mwandishi, and Fat Albert's Groove -- he was struggling. At odds with a jazz establishment that longed for his return to his Blue Note sound and a fierce consciousness struggle with free music and the full-on embrace of electricity since his tenure with Miles Davis, Hancock was clearly looking for a voice. Before diving into the commercial waters that would become Headhunters in 1973, Hancock and his tough group (including Billy Hart, Julian Priester, Dr. Eddie Henderson, Bennie Maupin, and Buster Williams) cut this gem for their new label, Columbia. Like its Warner predecessors, the album features a kind of post-modal, free impressionism while gracing the edges of funk. The three long tracks are exploratory investigations into the nature of how mode and interval can be boiled down into a minimal stew and then extrapolated upon for soloing and "riffing." In fact, in many cases, the interval becomes the riff, as is evidenced by "Rain Dance." The piece that revealed the true funk direction, however, was "Hidden Shadows," with its choppy basslines and heavy percussion -- aided by the inclusion of Dr. Patrick Gleeson and Buck Clarke. Dave Rubinson's production brought Hancock's piano more into line with the rhythm section, allowing for a unified front in the more abstract sections of these tunes. The true masterpiece on the album, though, is "Hornets," an eclectic, electric ride through both the dark modal ambience of Miles' In a Silent Way and post-Coltrane harmonic aesthetics. The groove is in place, but it gets turned inside out by Priester and Maupin on more than one occasion and Hancock just bleats with the synth in sections. Over 19 minutes in length, it can be brutally intense, but is more often than not stunningly beautiful. It provides a glimpse into the music that became Headhunters, but doesn't fully explain it, making this disc, like its Warner predecessors, true and welcome mysteries in Hancock's long career.
by Thom Jurek in All Music Guide

Styles:
Fusion
Avant-Garde
Jazz-Funk

Tracks:
01 - Rain Dance (9:16)
02 - Hidden Shadows (10:11)
03 - Hornets (19:35)

Line-up:
Herbie Hancock - piano, Fender Rhodes, Hohner D-6 clavinet, mellotron
Bennie Maupin - soprano sax, bass clarinet, piccolo, afuche, hum-a-zoo
Dr. Eddie Henderson - trumpet, flugelhorn
Julian Priester - bass trombone, tenor trombone, alto trombone, cowbell
Buster Williams - electric bass, acoustic bass
Billy Hart - drums
Dr. Patrick Gleeson - ARP 2600 and Pro-Soloist
Buck Clarke - percussion

Archie Shepp - Attica Blues (1972)

Refining his large-ensemble experiments of 1971, Attica Blues is one of Archie Shepp's most significant post-'60s statements, recorded just several months after authorities ended the Attica prison uprising by massacring 43 inmates and hostages. Perhaps because Shepp's musical interests were changing, Attica Blues isn't the all-out blast of rage one might expect; instead, it's a richly arranged album of mournful, quietly agonized blues and Ellingtonian swing, mixed with a couple of storming funk burners. Of course, Shepp doesn't quite play it straight, bringing his avant-garde sensibilities to both vintage big band and contemporary funk, with little regard for the boundaries separating them all. His soloing on tenor and soprano is typically sharp-edged and modal, and his nasal, slicing tone on soprano is featured quite heavily. The stylishness of the slow numbers is undercut with quivering, faintly unsettling dissonances, and the up-tempo funk cuts recall the way Sly Stone's arrangements ping-ponged many different elements off each other in a gleeful organized chaos. That's especially true on the gospel-inflected title song, a monster of a groove that later became a hit on the acid jazz revival circuit (and stands up to anything recorded by straight-up funk bands of the era). In the same vein, "Blues for Brother George Jackson" sounds like an edgier Isaac Hayes-style blaxploitation soundtrack cut. Vocal ballads are plentiful, and Joe Lee Wilson ("Steam," a song Shepp would return to often) and Carl Hall (aka Henry Hull) both acquit themselves well; more debatable are the poetic recitations and the choice of flügelhornist/composer Cal Massey's young daughter Waheeda to sing "Quiet Dawn" (although Waheeda's almost-there intonation is effectively creepy). Still, in the end, Attica Blues is one of Shepp's most successful large-group projects, because his skillful handling of so many different styles of black music produces such tremendously groovy results.
by Steve Huey in All Music Guide

Styles:
Free Jazz
Experimental Big Band
Vocal Jazz
Social Music

Tracks:
01 - Attica Blues (4:47)
02 - Invocation: Attica Blues (0:19)
03 - Steam (Part 1) (5:07)
04 - Invocation To Mr. Parker (3:16)
05 - Steam (Part 2) (5:10)
06 - Blues For Brother George Jackson (4:00)
07 - Invocation: Ballad For A Child (0:29)
08 - Ballad For A Child (3:36)
09 - Good-Bye Sweet Pops (4:22)
10 - Quiet Dawn (6:12)

Line-up:
Archie Shepp: tenor and soprano saxophones
Clifford Thornton: cornet
Roy Burrows, Charles McGhee, Michael Ridley: trumpet
Cal Massey: fluegelhorn
Charles Greenlee, Charles Stephens, Kiane Zawadi: trombone
Hakim Jami: euphonium
Clarence White: alto saxophone
Marion Brown: alto saxophone, flute, bamboo flute, percussion
Roland Alexander, Billy Robinson: tenor saxophone
James Ware: baritone saxophone
John Blake, Leroy Jenkins, Lakshinarayana Shankar: violin
Ronald Lipscomb, Calo Scott: cello
Dave Burrell: electric piano
Walter Davis, Jr.: electric piano, piano
Cornell Dupree: guitar
Jimmy Garrison, Gerald Jemmott, Roland Wilson: bass
Ollie Anderson, Nene DeFense, Juma Sultan: percussion
Beaver Harris, Billy Higgins: drums
Joshie Armstead, Henry Hull, Waheeda Massey, Albertine Robertson, Joe Lee Wilson: vocal
Bartholomew Gray, William Kunstler: narrator

quarta-feira, 29 de setembro de 2010

Art Blakey & The Jazz Messengers - A Night in Tunisia (1960)

The lengthy title track on this CD easily overshadows the rest of the program for it is one of the most exciting versions ever recorded of Dizzy Gillespie's "A Night in Tunisia." Trumpeter Lee Morgan (then only in his early 20s), tenor saxophonist Wayne Shorter, pianist Bobby Timmons and bassist Jymie Merritt formed one of the strongest of the many versions of Art Blakey & the Jazz Messengers and are actually in fine form during the remainder of the satisfying (if anticlimactic) set.
by Scott Yanow in All Music Guide

Style:
Hard-Bop

Tracks:
01 - A Night in Tunisia (11:11)
02 - Sincerely Diana (6:47)
03 - So Tired (6:36)
04 - Yama (6:20)
05 - Kozo's Waltz (6:45)
06 - When Your Lover Has Gone (6:43)
07 - Sincerely Diana" (alternative take) (6:51)

Line-up:
Art Blakey — drums
Lee Morgan — trumpet
Wayne Shorter — tenor saxophone
Bobby Timmons — piano
Jymie Merritt — bass

terça-feira, 28 de setembro de 2010

John McLaughlin - My Goal's Beyond (1970)

After bouncing around on a couple of labels (Douglas/Polydor/Ryko,) the CD reissue of this album ultimately ended up on KnitMedia. The startling thing about this record is that it points the way toward two directions McLaughlin would take in the future -- exploring Indian music and the acoustic guitar -- and this while he was in the thick of the burgeoning electronic jazz-rock movement. The first half is a John McLaughlin acoustic guitar tour de force, where he thwacks away with his energetic, single-minded intensity on three jazz standards and five originals (including one genuine self-penned classic, "Follow Your Heart") and adds a few percussion effects via overdubbing. The second half is devoted to a pair of marvelously intricate fusions of Indian rhythms and drones called "Peace One" and "Peace Two," with jazz flights from flutist/soprano saxophonist Dave Liebman, a simpatico encounter with future Mahavishnu cohorts Billy Cobham on drums and Jerry Goodman on violin, and Airto blending his sounds seamlessly with the Indian tambura and tabla. Throughout, McLaughlin's acoustic lines faultlessly straddle the line between the subcontinent and jazz, and the ethereal results still hold up beautifully today.
by Richard S. Ginell in All Music Guide

Styles:
Fusion
World Fusion

Tracks:
01 - Peace One (7:18)
02 - Peace Two (12:15)
03 - Goodbye Pork Pie Hat (3:20)
04 - Something Spiritual (3:29)
05 - Hearts and Flowers (2:10)
06 - Phillip Lane (2:36)
07 - Waltz for Bill Evans (2:01)
08 - Follow Your Heart (3:19)
09 - Song for My Mother (2:34)
10 - Blue in Green (2:38)

Line-up:
John McLaughlin -- acoustic guitar
Billy Cobham -- drums
Jerry Goodman -- violin
Charlie Haden -- bass
Dave Liebman -- flute, soprano saxophone
Airto Moreira -- percussion
Badal Roy -- tabla
Mahalakshmi -- sruti box

domingo, 26 de setembro de 2010

Charlie Parker and Dizzy Gillespie - Hot House

Art Davis Quartet - Life (1986)

Bassist Art Davis, who occasionally played with John Coltrane in the early '60s, has led relatively few sessions throughout his career. A very talented player with complete control over his instrument, Davis contributed all four selections to this impressive outing which is highlighted by "Duo" (matching his bass with tenor saxophonist Pharoah Sanders) and the 19-and-a-half-minute four-part "Add." Davis' all-star quartet also includes pianist John Hicks and drummer Idris Muhammad.
by Scott Yanow in All Music Guide

Styles:
Hard-Bop
Post-Bop

Tracks:
01 - Life (10:32)
02 - Duo (03:26)
03 - Blues for Comcertpie E for Bass (07:12)
04 - Add (19:25)

Line-up:
Art Davis - Bass
Pharoah Sanders - tenor saxophone
John Hicks - Piano
Idris Muhammad - Drums

sexta-feira, 24 de setembro de 2010

The Modern Jazz Quartet - Fontessa (1956)

This LP has a particularly strong all-around set by the Modern Jazz Quartet. While John Lewis' "Versailles" and an 11-minute "Fontessa" show the seriousness of the group (and the influence of Western classical music), other pieces (such as "Bluesology," "Woody 'N You" and a pair of ballads) look toward the group's roots in bop and permit the band to swing hard.
by Scott Yanow in All Music Guide

Styles:
Cool
Bop

Tracks:
01 - Versailles (3:22)
02 - Angel Eyes (3:48)
03 - Fontessa (11:12)
04 - Over the Rainbow (3:50)
05 - Bluesology (5:04)
06 - Willow Weep for Me (4:47)
07 - Woodyn You (4:25)

Line-up:
John Lewis - piano
Milt Jackson - vibraphone
Percy Heath - double bass
Connie Kay - drums