Showing posts with label Elvin Jones. Show all posts
Showing posts with label Elvin Jones. Show all posts

Wednesday, June 19, 2013

The Used Jazz Record Bin

It's not quite dead, yet.  There is no point in complaining about the steady disappearance of jazz sections in record stores when record stores are all but extinct.  It was a little disconcerting when I discovered that the modern jazz section of the Music Factory in New Orleans was all but gone.  It is pretty clear that jazz artists aren't going to sell their recordings at those venues.  However, this is not really anything new.  How many record stores have ever carried good jazz sections or even good alternative rock sections for that matter?  No record store in my hometown ever carried Patti Smith's great recordings.  What is new is that you can get almost anything you want online. 

What I am really sad to see go are the bins where you could find good second hand jazz CDs.  I did manage to find a couple of gems this weekend at Cheapo Records in the Twin Cities.  I have a respectable collection of Elvin Jones recordings, but I didn't have the double album Illumination/Dear John C. until now.  Well, I did have Illumination.  I was glad to get the second half for a very good price. 

Dear John C., as you might have guessed, is a tribute to Trane.  The lineup is Elvin Jones on drums, Charlie Mariano on alto sax, Roland Hanna and Hank Jones on piano, and Richard Davis on bass.  It's worth a listen.  I am playing the title cut and 'Love Bird'. 

I picked up Natural Illusions by Bobby Hutcherson.  It is a 1972 recording that seems to be rather lack luster, but it does fill out my Hutcherson collection. 

I was pleased to find Revue, by the World Saxophone Quartet.  This all star, all sax group is something you want to check out if you think, as I do, that the saxophone is the main register of modern jazz.  The quartet features Hamiet Bluiett on baritone sax and also clarinet; Julius Hemphill on alto, soprano, and flute; Oliver Lake on the same; and David Murray on tenor sax and bass clarinet.  There is enough texture here that you could float on it. 

I am playing the title cut and 'David's Tune'. 

Saturday, March 23, 2013

Sonny Simmons' Unsung Genuis



There are a lot of Sonny’s in jazz.  It takes more than few clicks to scroll through my IPod library from Sonny Clark to Sonny Stitt.  Tonight I added a couple of albums by alto sax man Sonny Simmons.  Simmons has by God paid his dues.  He was born in 1933 and played with a number of jazz greats in the 1960’s, including Mingus, Dolphy, and Elvin Jones.  Then he disappeared for a couple of decades, apparently living on the streets for a spell.  He reemerged in the mid 90’s. 
Simmons is described in the Penguin Guide as one of the most underappreciated jazz masters.  From what I have been listening to, I am inclined to agree. 
I am playing cuts from the two albums both recorded in 1966.  The Penguin Guide suggests Music from the Spheres as the first Simmons album you ought to have.  It is certainly a robust new thing document, leaving no doubt that you are listening to an alto virtuoso and a compositional genius.  I am playing ‘Zarak’s Symphony’ and ‘Dolphy’s Days’.  The latter is a superb bit of chameleon jazz.  You want Eric Dolphy?  I can be Eric Dolphy!  From Discogs, here is the lineup:

1.       Alto Saxophone, Written-By – Sonny Simmons
2.      Bass – Juney Booth*
3.      Drums – James Zitro
4.      Piano – Michael Cohen (2)
5.      Trumpet – Barbara Donald

I am also playing ‘Metamorphosis’ from Staying on the Watch.  If Simmons was very explicitly channeling Dolphy in the other album, here he is evidently channeling Ornette Coleman. 

1.       Alto Saxophone – Sonny Simmons
2.      Bass – Teddy Smith
3.      Percussion – Marvin Pattillo
4.      Piano – John Hicks
5.      Trumpet – Barbara Donald

This is very energetic, compelling avant garde jazz.  The piano work by Hicks has to be noted as brilliant.  I haven’t yet heard any of Simmons’ later work.  I will be hunting. 

Friday, August 24, 2012

Michael Feinberg: The Elvin Jones Project

I received a delightful recording for review: The Elvin Jones Project.  I am a big fan of Elvin Jones, so I was happy to see this tribute album.  I will be lazy and give you what the publicity release has:

Twenty five year old bassist/bandleader Michael Feinberg was particularly inspired by the core of Coltrane’s rhythm section: drummer Elvin Jones.  While he perused his favorite drummer’s catalog, Feinberg found himself drawn to the interplay the legendary percussionist had with a multitude of bassists. Feinberg soon discovered that his favorite bassists had had a significant musical relationship with Jones. The study of these relationships became the root of Feinberg’s project and subsequent recording: The Elvin Jones Project.

Feinberg’s third recording as a leader, The Elvin Jones Project, was inspired by the relationships that Jones established with bassists Jimmy Garrison, Gene Perla, George Mraz, Richard Davis and Dave Holland. Feinberg decided to create an ensemble that would tackle compositions reflecting the link between these rhythmic pairings without emulation. As Feinberg was set to channel the vibe of these various bass players, he enlisted the great drummer Billy Hart to substitute for the deceased Jones.

Two years younger than Jones, Hart had a close, brotherly relationship with the drummer. The two had been good friends and Jones’s techniques had rubbed off onto the younger player. Feinberg chose Hart for this project because he felt that Hart played with a similar style as Jones, with an emphasis on the 1 while most drummers focused on the 4. Hart also possessed a certain “swagger” that Feinberg liked: “He can bang the shit out of a drum.” Upon their first meeting, Hart remarked to Feinberg: “Elvin would have liked playing with you!”

The other members of Feinberg’s ensemble include two of the most inspiring musicians of the past few decades and a young lion. Saxophonist George Garzone - who co-produced the record and who had once played with Elvin - and trumpeter Tim Hagans are featured as a well-seasoned frontline, while the up and coming Leo Genovese – a member of Esperanza Spalding’s ensemble - holds down the keys.
All of the musicians on this disc play with sparkle and depth.  Some of the earlier pieces have a magical, slightly fussionesque sound.  The latter cuts are equally impressionistic, but more solidly hard bop in mood.  I am especially impressed by Hagans' trumpet and Genovese's piano.  

I am playing two cuts from the album: 'Miles Mode' and 'Three Card Molly'.  I am also playing the latter tune from an Elvin Jones recording.  You should give this recording a good listen and then buy it.  Need I say that contemporary jazz men deserve our support. 

Friday, January 20, 2012

More Elvin Jones on Blue Note

On July 17, 1970, Elvin Jones recorded a session in the Rudy Gelder Studio that is astonishingly good.  It was released as Coalition.  I am playing a couple of cuts from this session: 'Ural Stradania' and 'Shinjitu'.  The recording features
  • Frank Foster (tenor sax on the first and alto clarinet on the second)
  • George Coleman (tenor sax)
  • Wilbur Little (bass)
  • Candido Camero (congas and tambourine)
  • Elvin Jones (drums)
Everything on the album is good, but Foster's low horn on Shinjitu is way deep down in the bone.   I found all this on the Complete Elvin Jones Blue Note Sessions, a box set that is a really box of treasure. 

In February of the following year, Jones and Foster returned to Gelder's studio for a second session.  Most of this session was released as Genesis. I already have 'For All The Other Times' playing on my L365 station.  I am adding 'Three Card Molly'.  
  • Frank Foster (tenor, alto flute, alto clarinet).  
  • Joe Farrell (tenor sax and soprano sax)
  • David Liebman (tenor sax and soprano sax)
  • Gene Perla (bass).  
  • Elvin Jones (drums)
This is great jazz on the cusp of hard bop and avant garde.  Enjoy.

Thursday, January 19, 2012

Art Pepper

Art Pepper is one of those guys you can count on, if you are holding one of his recordings in one of the few remaining jazz stores and not, say, leaving something valuable where he could get at it.  Pepper is a study in genius, psychological dysfunction, and heroin.  It may be one of the most insidious things about the fine white powder that it didn't stop someone like Pepper from producing exquisite music. 

I went back this evening to his Village Vanguard recordings.  It is a fine collection if you want to get to know Art Pepper.  There is a lot of his voice introducing the sets.  If you have ever known someone who is always on the edge, psychologically, you will recognize the tone when he speaks.  He lets the audience know that they are recording a classic. 

Anyway, Pepper produced a lot of essential bop when he wasn't in the slammer or too high to play.  Even when he was too high to play, he could still play.   I am putting some Pepper on my L365 station.  'Caravan' can be found on his Complete Village Vanguard Sessions, disc 2.  Here is the lineup:

I am also including 'Anthropology', which opens with a very special dialogue between Pepper and Mraz on bass.  This is an essential live jazz recording.  There are nine discs in the box set, covering several sets over three days.  I would also note the presence of Elvin Jones, who I have been pushing lately on my L365 station.  This Pepper box is a great example of his work as a sideman.