Review: Grant Green - Solid

Grant Green recorded a truly vast number of sessions for Blue Note in the early ‘60s. So many in fact, that a good number, both as leader and as a highly-regarded sideman, were left in the vaults for many years, and not released until after his young death in ’79, and his later rediscovery by the acid-jazz crowd in the early-90s.

Of those left in the can, most in fact rank alongside his finest works, such as his two sessions recorded with the rhythm section of McCoy Tyner, Bob Cranshaw and Elvin Jones, which made the excellent ‘Matador’ and, with the additions of Joe Henderson and James Spaulding, would go on to make ‘Solid’.

‘Solid’ is perhaps the hardest sounding recording Green has ever made, not that the set itself ever becomes hard - all the players here have recorded much harder-edged material with other bandleaders. Strong material choices come from a wide range of sources, taking in the jazz world (Sonny Rollins, Joe Henderson, Duke Pearson), pop (Burt Bacharach) and Greens own always strong compositions.

‘Minor League’ sets up an upbeat opening that swings and gives us some great solos from Green and his largest ever horn section, while ‘Ess-Thetic’ will come as a strong surprise to any who would erroneously claim he possessed lesser technical skills than that of Wes Montgomery or George Benson. Elvin Jones too makes a great bid for his spotlight moment with some highly notable drumming.

The title-track and Greens own ‘Grant’s Tune’ are more blues-based, with a laid back yet good time feel, while Henderson’s frequently covered ‘The Kicker’ gets a slower paced cover than is usual, and invites favourable comparison with both Bobby Hutchersons and Horace Silvers takes on the same number. Oddly, on most re-issues of the album, Bacharach’s ‘Wives And Lovers’ is tacked on the end. It’s the exact same version that’s also on Green’s earlier ‘Matador’ sessions, and while it does sit better there, it still feels very badly out of place and tacked-on on both recordings.

‘Idle Moments’ and ‘Street Of Dreams’ come as the more well-known ‘cool’ recordings from Green, with many others coming highly recommended, such as ‘Grants First Stand’ or ‘Sunday Mornin’’. ‘Solid’ however in its different groove is a good set of harder-bopping blues-jazz, and is strongly advised for anyone who is interested in hearing Grant with a harder edge.

****

Review: Grant Green - Matador

Grant Green’s ‘Matador’ was recorded in 1964 during his prolific four-year frenzy at Blue Note, where he recorded over twenty sessions under his own name (and many more as a sideman) for producer Alfred Lion. ‘Matador’ though is one of those many sessions that went unreleased for a good many years until after Greens premature death. Finally given a Japan-only release in 1979, it eventually went on to get the first of a few issues in the rest of the world in 1990. And again it’s another head scratcher as to why this recording took so long to see the light of day.

Teamed with two of John Coltrane’s famed quartet rhythm section, McCoy Tyner on piano and Elvin Jones on drums, as well as Sonny Rollins regular Bob Cranshaw on bass, this is not only one of the best of Green’s unreleased works, but one of the best of all of his works.

The Green original ‘Matador’ leads, with an easy going rhythm - the mood one of smouldering energy, which surely inspired the pieces title, along with the theme that opens and closes helping to convey a subtlebut smouldering Spanish feel. Green seemed to possess more than just a passing interest in Spain around this time, also writing the similarly themed ‘Plaza De Toros for Larry Young’s ‘Into Somethin’’ album – which Green also played on. McCoy Tyner plays some supple runs that work to create a calming effect, and you’d swear you can hear some small hints in his playing of the next song to come.

An ambitious gamble makes the second track here, with Green deciding to tackle John Coltrane’s famous personal theme ‘My Favorite Things’. Playing with half of Coltrane’s band, Green none-the-less recasts the tune into his own, with a typically relaxed breezy take on the melody, before attacking a solo with gusto, but never losing the easy rhythm. Building in unhurried intensity, it’s an emotive release before returning relaxed and natural to the main melody. Tyner’s solo that follows is one of his best, and is if anything better than the more famous one he recorded on Coltrane’s well-known version. A brave move to take on another artists signature work, and especially one as revered as Coltrane, Green none-the-less succeeds with flying colours, and any comparisons that are to be invited are wholly favourable.

‘Green Jeans’ is an altogether lighter and freer piece, with Green sounding upbeat and playful, before ‘Bedouin’ takes us back to a more moody setting. Elvin Jones’ only solo of the album here is pure gold, and when the rest of the band come back in, full-tilt, they sound euphoric and brimming with renewed energy. In contrast, the oddly tacked-on cover of Burt Bacharach’s ‘Wives And Lovers’ is best described as ‘not bad’. Pleasant enough, it sounds good, but is not a patch on the four excellent tunes that go before it, and is by no means indispensible.

Seemingly treated (by the record label at least) as one of the lesser Green articles in his sizeable canon, with poor attention to more up-to-date remastering and even the artwork (it’s nice enough, but rivals ‘Iron City’ as the blandest, most personality-free Green album art), it is simply one of his best. Great tunes handled with skill and a real feeling for the music, it deserves serious re-evaluation and a more lovingly handled restoration work. After Green’s more famous and highly regarded work, you should immediately check this out.

****

Review: John Coltrane - Coltrane

'Coltrane', one of John Coltrane's first sessions for Impulse, is simultaneously one of the least well-known of the great saxophonists releases, and one of the most favourite amongst his fans. Eponymously titled and lacking any particular specific theme along the same lines as say the overt spirituality of 'A Love Supreme', the obvious romanticism of 'Ballads', or the large ensemble arrangements of 'Africa/Brass', means that it is often confined by many lazy first-timers as being 'just another' in Coltrane's admittedly vast discography. They're wrong.

To start things off, the album opens with a bona-fide classic, here in the form of 'Out Of This World'. At fourteen minutes it's clearly the intended centrepiece, and for those minutes it creates a spellbindingly hypnotic sound that boasts an intense and swirling tenor sax lead. So enamoured with this composition would 'Trane be, that he would throughout his career frequently choose it as a concert staple, sitting up there with other such pieces as 'Naima' and 'My Favorite Things'.

It though is not the only tune here - even if it is the most famous. 'Miles Mode' shows a satisfyingly harder sound to 'Trane's tenor playing, one that is evenly balanced by McCoy Tyner's shimmering crystal clear piano work, while 'Tunji' offers more complex eastern-sounding moves that subtly oozes just the right hint of menace. And for the fans of Coltrane's gentler more romantic side, 'Soul Eyes' more than hits the mark, while 'The Inchworm' showcases the lilting and yearning qualities of 'Trane's second trademark sound on the soprano saxophone.

Despite, and also because of, the wide ranging variety in styles in this session, it all adds up to make an incredibly satisfying listen, which purely on musical merit is enough to recommend this album. But on top of that, for trivia fans, this is the first solely 'classic quartet' recording of Coltrane, Tyner, Jimmy Garrison and Elvin Jones; and that surely should make this somewhere near the top of anyone’s to-get Coltrane list.

*****

Review: Grant Green - Street Of Dreams

A huge Grant Green fan, I have pretty much written reviews for everything he ever recorded (so much, and yet so little). My struggle now is to stagger these so this doesn't become the Grant Green Blog. At some point I'll post some of his less favourable albums, but in the meantime here is the 'companion' recording to his masterpiece 'Idle Moments' - 'Street Of Dreams'.

Sometimes referred to, quite rightly, as the godfather of acid jazz, Grant Green is surely now one of the most sampled guitarists of all-time. Whereas his earlier material and records took on a cool slant on jazz, his work from the late 60’s till his death in the late 70’s became increasingly funk driven, often built around extended and, crucially, infectious  jams.

His legacy has tended to be vastly overshadowed by Wes Montgomery, who in truth was a more rounded and polished player, but his albums with Blue Note, especially those from the early part of his career have endured incredibly well, of which ‘Street Of Dream’ is definitely in the list of top picks.

‘Idle Moments’ is arguably his finest effort, and ‘Street Of Dreams’, though not as strong, breathes that same late-night atmosphere, also boasting a welcome reunion with vibes-man Bobby Hutcherson. A line-up featuring no bass or horns in any form, the group is completed courtesy of organ player Larry Young and, borrowed from John Coltrane’s quartet, Elvin Jones on drums.

Four tunes make up the album, including the much covered, usually as a vocal number, ‘Lazy Afternoon’. Structurally different to its normal performance, Green makes it the best tune here. Throughout, his guitar is so fluid and smooth; he makes it sound effortless and dreamlike. By listening here you can clearly see the influence he paved for future guitarists, notably George Benson, and to a lesser extent Nigel Price.

What really makes the album cook though is Young’s organ playing. Indispensable  he plays with a soulful and gentle touch that many others could never reach. Jones makes some some strong poly-rhythmic work, which when combined with Hutchersons subtle vibes work, works to create a nice richly-textured background.

The title track alone needs to be heard, and is one of Green’s best covers, but also very worthy of note is the ‘Naked City’ TV series theme ‘Somewhere In The Night’, which after the version played here would go on to be picked up by many more jazz players.

A mellow groove permeates the whole of ‘Street Of Dreams’ with some slick and astounding lines from all three soloists. A great Green recording, and clearly one of his best, it’s one of the most soulful jazz albums to ever be released and should be in any guitar jazzers collection.

*****