Review: Masada - Live At Tonic 2001

‘Live At Tonic’ is perhaps Masada’s greatest live album, benefitting from being not only one of the later, tighter and more muscular live entries, but also crucially being recorded in front of a home crowd, who really add to the atmosphere and excitement levels.

Featuring two complete sets from the same night, we have here more than two total hours of music that takes in everything (almost) from the Masada arsenal. And as with all of the quartets live recordings, the music reaches even higher levels than the already excellent studio works.

Throughout we get beautiful balladry with sultry atmospheres, and languid solos, and also furious frenzies with pounding rhythms and the front-line of John Zorn’s saxophone and Dave Douglas’ trumpet playing interwining and mult-layering dual melody lines.

Disc  one even touches on early 70’s era Miles Davis, in the heady brew and thick atmosphere generated, especially the driving pacy rhythms created by the winning combination of Greg Cohen’s bass finesse and Joey Baron’s incredibly multi-faceted drumming (whose hand drums in particular are one hell of a secret weapon). A seventeen minute epic ‘Karaim’ makes for a beautiful yet blistering opener, carried the whole way throughout by an undulating desert wind-swept sounding hypnotic bass that anchors everything else here, be the unified or split horns, or Baron’s mix of hand and drumstick percussion playing. ‘Ner Tamid’ that follows manages to be distinctly different, with a more straight-ahead bop style (comparatively) that winds to a close in a relatively succinct five minutes.

‘Acharai Mot’ is John Zorn does Miles Davis’ ‘Bitches Brew’, and throwing in some Ornette for good measure, with everyone playing full-force, and cooking up a storming maelstrom of sound. ‘Kisofim’ returns us to a desert-at-midnight’ pulse, with typical dual playing from Zorn and Douglas, but Zorn just edging it with a wistful yet focused and melodic solo that should hopefully silence any still curmudgenly critics out there. ‘Jachin’ opens up with a fast paced yet soulful bass groove, with Baron’s drum skittering over the top that becomes more insistent as it goes on.

The second set here is even better, with the focus being on the more intense and the more dramatic. Cohen shines throughout; standing strong and providng a driving yet anchored pulse that impressively never wavers, even in the face of the storm of horns and Barons thunderous drumming reaches new levels of power.

Over two sets you could be forgiven for expecting repeats of certain tunes, but of course, this being Zorn and Masada, with a catalogue of hundreds of pieces, there is just the one. ‘Malkhut’ is perhaps Masada’s take on Zorn’s other most famous group Naked City, possessing the same stop-start surf-punk-jazz feel as that outfit, but filtered through Masada’s own distinctive lense. Sadly both versions are perhaps the weakest things on the sets, but then, you can’t have everything.

Even if you have every studio recording Masada ever made, you would be well recommended to invest in some of the live albums, given the full strength of playing, occasion and excitement that each is able to generate, and just how much more full-bodied Greg Cohen’s bass is in a live context. But even if you already own every other live recording, ‘Live At Tonic 2001’ still offers something more - when the final piece here comes to an end you can feel the palpable euphoria emenating from the stage. And that is something you want to experience.

*****

Review: Masada - Live In Sevilla 2000

‘Live In Sevilla’, recorded in 2000, is another stellar live effort from one of the then most-recorded quartets in modern jazz. Live Masada albums of course are far from being short in supply, but Sevilla is perhaps a strong contender for first port of call for anyone who wants to look into the group, live or otherwise.

Notably the sound is absolutely pristine, with excellent sonics, and superb clearly defined instruments. But most of all the band on the night and the recording itself just crackles; with energy, with spontanaeity and with incredible intensity.

The band play at a personal peak here, with John Zorn having upped his more lyrical side, and trumpeter Dave Douglas having become simultaneously one of the most distinctive players on the scene and also Zorn’s perfect counter soloist. The rhythm section here however are exemplary, with a strong groove feeling throughout, and Joey Baron providing some soulful yet driving drumming, entirely with his hands in place of the sticks (which most often works best in this group), whilst Greg Cohen provides deep and resonant pulsing bass everywhere.

So, the best sound, of one of the best recorded nights of a band playing at their very best; ‘Live In Sevilla’ is a first rate album from a group that continues to make a distinctive Eastern free jazz that both goes more out there, yet is also incredibly accessible. Richly ethnically infused jazz, this is a fantastic recording.

*****

Review: Masada - Live In Middleheim 1999

Masada’s ‘Live In Middleheim’ gives us the band possibly at the peak of their powers, in 1999, where the quartet had developed such an interplay together that anything they would play live would be bound to guarantee a high level of excellence.

The group absolutely explodes into action with the thrilling ‘Nevuah’, with John Zorn and Dave Douglas playing a dual solo lead that has a thunderous backing courtesy of Greg Cohen’s bass and Joey Baron’s storming drums. If you ever doubted Baron’s potential as best contemporary jazz drummer then this alone should convince you otherwise. ‘Sippur’ too maintains the intense nature of the music, albeit in a slightly quieter fashion, while after this things tend to ease off a little bit.

‘Kochot’ showcases Dave Douglas playing with a highly understated, yet enormously beautiful trumpet, that shows exactly why he’s been in so much demand for his entire career, while ‘Kedushah’ is Greg Cohen’s biggest moment in the sun, perfectly blending yearning beauty with full-blooded aggression.

Everywhere on here shows us a perfect melding of Eastern sounds and the avant jazz world, with the best pieces here being a very fine and deep-grooved ‘Ne’eman’, highlighting Zorn at his restrained and more-minimal best, and the stunningly gorgeous ‘Ashnah’ that surely is one of the very best group performance pieces by this quartet.

‘Live In Middelheim’ is without doubt one of the strongest, if shorter, of the Masada live albums (possessing just the one set/disc, as opposed to the usual two), and is a clear example of the musical telepathy displayed by the four men – all the more breathtaking given that this performance was their first appearance together in almost a whole half year. The recording quality too is pristine, giving us some deeply inspired solo and group playing with a full rich palette of sound. An ideal starting point for anyone interested in some Masada, live or otherwise, this is essential for anyone who counts themselves a fan of any of the musicians here, and even godfather of free-jazz Ornette Coleman. It’s that good.

*****

Review: Masada - Live In Jerusalem 1994

‘Live In Jerusalem 1994’ is a double-disc set documenting and celebrating Masada’s trip to Israel and highly raved-about appearance at the Jerusalem Festival, having in that year only just appeared on the scene and also laid down material for their first four albums (‘Alef’, ‘Beit’, ‘Gimel’ and ‘Dalet’). The occasion is obviously an important one, to both the band and the audience, and a sense of this is palpable in the atmosphere throughout. So whilst much of this music can be easily found on Masada’s studio albums, the numbers here, and the feeling of each, is powerfully different, and perhaps even more compelling.

As with the best Masada, the key here is the tension in the music, and the way it can build, pushing higher and higher, further and further, with second piece ‘Bith-Aneth’ being a strong example of this. Beginning subtley and quietly, with the rhythm team of Greg Cohen and Joey Baron suitably hushed, before Zorn and Douglas play the main theme, and then start soloing, playing together, and interlocking with each other, and Zorn continuing to egg Douglas on just that little bit more.

‘Live In Jerusalem 1994’ is a superb live recording of a momentous performance that throughout it’s two hour running time sounds like an exhilarating blend of celebration and catharsis. Musically faultless and oozing raw power, you also benefit from a genuine feel of the connection between the band and audience – indeed the reception and response from the crowd is absolutely ecstatic.

If there is too be one complaint made, it is that Greg Cohen’s normally full, deep, rich and rounded bass is just a little too quiet in the mix – something that normally would not be too big an issue with most other groups, but given Cohen’s skill and sound on the instrument, it is slightly disappointing. Barring this however, the album is a fantastic document, perhaps the best live recording from their earlier days, and is a must have. Highly recommended.

*****

Review: Masada - Volume 8 - Het

Masada’s eighth volume of free-jazz meets klezmer Jewish music gets very much back on track after the relative mixed bag that was the seventh volume ‘Zayin’. Also somewhat striking is that ‘Het’ is a much easier ride than before; the sometimes aggressive drive and dramatic changes are here given a notably smoother (though ‘smoother’ by John Zorn standards) sound, and we even have ballads!

Opener ‘Shechem’ starts almost as a standard jazz-with-middle-eastern-inflections stroller before gradually building into some very Ornette style free sounds, but Joey Baron’s deft tom-toms driving everything skillfully and even catchily. Zorn and Douglas get some good solos in too, and the eleven minutes passes in no time. ‘Eliliah’ though then reigns things in with a fairly rare Masada ballad, that over just four minutes weaves a spell of dual melodies, before moving nicely into a second slower number ‘Kodashim’, where Greg Cohen gets to deploy a warmly welcome bass solo.

And just as you think Masada may be getting a bit too comfortable ‘Halom’ throws in two minutes of free and wild playing, seemingly almost just to act as a palette cleanser. It works too, with the strikingly eastern sounding groove piece ‘Ne’erman’ that follows positioning the quartet as late-night smoky jazz players, and Greg Cohen’s bass leading with some relaxed noir drive. Infectious and gorgeous, it’s probably the strongest thing here, and again shows Zorn and Douglas at their very best – both as soloists, but also when cross-cutting and interweaving with each other.

‘Abed-Nego’ and ‘Tohort’ display some typical Masada-like mid-way changes, though in very different ways, and ‘Mochim’ again eases on the pace for perhaps the groups most ‘standard’ ballad piece, which features some nicely woozy sounding lead sax work from Zorn.

‘Amarim’ then jumps in with some winding melodies powered by a very strong bassline that leads into Cohen being given his second big moment of the album, almost funkily pushing everything forward, before Baron gets to show his stuff, percussively dancing on top of the strutting groove. And things then round off nicely with ‘Khebar’, a mid-tempo stroll providing a nice bed for the two winding horns, and then coming to a perfect close.

Het is an interesting Masada record then, choosing to forgo the usual kinetic fireworks frenzy that can at times typify both Zorn and the group. Here the four players try a slightly different tact, and create something equally satisfying, and perhaps even more mesmerizing – a great disc stuffed with intriguing and strong material, played to perfection and all guided by an outstanding rhythm. Perhaps not the finest Masada around, but certainly one that offers something a bit different and on the strength of that, and on the actual music here itself, this is certainly one of the must-check releases from this most impressive of groups.

*****

Review: Masada - Volume 6 - Vav

After Masada’s fifth and best volume, ‘Hei’, it seemed unlikely that the Zorn-lead quartet could maintain that peak of Eastern melodies against a strong jazz spirit, and yet entry number six in the Jewish free jazz catalogue is arguably just as good.

A good variety of the different sides of Masada is present on ‘Vav’, with a welcome number of quieter numbers lining up alongside the more intense, knotty and sometimes dissonant personality; but whatever the group play here, their playing is uniformly excellent and their best yet. Better still is Zorn’s writing. Of course, being his songbook, all of the pieces are again written by him alone (although with improvisational aid from his group here), but for some reason on ‘Vav’ the compositions just seem to be that much more well-formed than perhaps his earlier efforts.

Another winning element to the blend this time around is that Greg Cohen has seemingly been able to step up yet another gear. ‘Shebuah’ is brilliantly introduced by the bassist in style, while on ‘Avelut’ he gets a very good solo into the mix, and yet this is all just in the shadow of his superb supporting of the whole quartet – in particular drummer Joey Baron. On a number of occasions Cohen holds the pace (and pulse) whilst Baron gets to flex with typical aplomb, such as on the excellent ‘Nevalah’ which gives us one of Baron’s potentially career-best solos.

But what of the two leads – Zorn himself and trumpeter Dave Douglas? Again there is some more career-peak work from an already superb team, with the two soloing stunningly, playing dual leads, interweaving, improvising together and Douglas in particular displaying some very fine heart and soul on the slower more openly moving pieces.

‘Beer Sheba’ ends the album with something quite different, sounding more like a Jewish take on Zorns more hardcore rock pursuits. It comes as a surprise, and it won’t be for everyone, but it makes for a thrillingly visceral finale that brings everything to a close with a strong punch.

Masada continue to dazzle, with compelling music equally entwined with an incredible quartet that are probably one of the most exciting and muscular to ever play on record. Quite simply, you need to hear this.

*****

Review: Masada - Volume 5 - Hei

After a relatively disappointing volume 4, John Zorn and Masada decided to reconvene and show their best hand yet with volume 5, ‘Hei’.

Whereas the first four volumes came from two recording sessions (with one session providing material for a whole three and half of those),  ‘Hei’ comes from two entirely new fresh sessions, and it shows, with the band now having developed a much stronger and tighter sound, and arguably more confidence.

Zorn and trumpeter Dave Douglas shine even brighter than previously, referencing Ornette Coleman and also touching more on plenty of Middle Eastern melody and harmony, beautifully subtly on the opening ‘Paran’ but much more obviously as the album goes on.

‘Hobah’ returns the quartet to their more aggressive identity, shaking things up, but also crucially keeping things fresh. It is on album highlight ‘Beeroth’ though that bassist Greg Cohen and drummer Joey Baron really get to play like men possessed, propelling the music forward with such power that Zorn and Douglas almost sound like they might need to reassert themselves.

A gloriously thrilling album, and arguably the pinnacle of Masada’s studio work (although there are easily a good number of potential rivals) it is also without doubt one of Zorn’s most melodic recordings, and for any fan of each of the men here, free jazz, Middle Eastern fusion, or even just new and exciting music, this is a great collection worth investing some serious time in.

*****

Review: Masada - Volume 3 - Gimel

Volume number three for John Zorn’s Masada, and ‘Gimel’ though recorded at the same sessions as ‘Alef’ and ‘Beit’ raises the bar to near-perfection. Of course the outfit of Zorn, Dave Douglas, Greg Cohen and Joey Baron are as excellent as ever and together form arguably the finest twin-horn inspired quartet this side of Ornette Coleman.

‘Gimel’ is a notably more diverse and experimental record than before, though not necessarily toward the avant garde. Aside from the assumed dense ‘Masada sound’ of some pieces here, a good few numbers possess a stunningly meditative vibe. ‘Abidan’ in particular, featuring some superb Zorn and Douglas teamwork, is a real gem, not just on this album, but also in the entire Masada discography. ‘Karaim’ too benefits from some incredible playing courtesy of Douglas, while ‘Tannaim’ chooses a more spacious and clear sound than is usual, and with its sumptuous Eastern leanings it works to great effect. ‘Sheloshim’ is perhaps an odd mix, starting with a simmering tension that is pure brilliance, before exploding into something both passionate and aggressive, that though also strong, doesn’t quite gel with how it starts. It is however by no means a weak track.

A very strong slice of the hefty Masada catalogue, ‘Gimel’ with the first two volumes forms a genuinely great opening trilogy that should all definitely be investigated. Zorn obviously loved it a great deal too as he would go on to rework some of the material here for his equally great Bar Kokhba.

*****

Review: Lou Donaldson - The Natural Soul

After reviewing one too many lacklustre Lou Donaldson albums, I realised that it might look like I don't actually like the alto sax great. But in truth I actually do love Lou Donaldson, or at least his fifties and early sixties classics. So here's perhaps my favourite Donaldson (it might change next week)...

After a direct and successful foray into soul-jazz with ‘Here ‘Tis’, Lou Donaldson took a further step away from hard bop and upped the funk levels a further notch. And as with that first organ effort, Donaldson assembled another crack band, again featuring Grant Green on guitar, with John Patton providing the Hammond this time around (in place of Baby Face Willette), Ben Dixon on the drumstool and Tommy Turrentine (brother of tenor sax man Stanley) on trumpet.

The overall feel of the session is one of a relaxed groove, with the three rhythm men providing a cooking pulse, and despite hitting some fiery highs, the group always sounds easy and comfortably laid-back. Green’s solos in particular simply soar, but also do so leaving a sensation of euphoria and invigoration. Patton and Donaldson for the most part keep up and match Greens heady solos, while Turrentine unfortunately mostly sounds awkward and somewhat self-muted, playing behind Donaldson and keeping his lines short, as if he’s struggling to adapt his trumpet sound from its usual hard bop to suit the slow soul groove being newly asked of him.

The three standards handled here are done so skilfully and full of verve, and with Pattons own ‘Funky Mama’ building up a steamy smouldering mood, while Johnny Acea’s ‘Nice And Greasy’ sounds cheerfully exactly as the title suggests. It’s Donaldsons own originals though that leave the overall indelible impression, which themselves aren’t more than just outlines of blues and souls vamps, riffs and rhythms, but they create the perfect springboard for all five men to work up something truly hot each time.

And it is exactly that which Lou Donaldson is trying to achieve with ‘The Natural Soul’; groove - hot and hypnotic groove. Funky jazz, without being funk, it leaves the listener knowing and feeling more for the chops of all the players involved, with the longer the pieces being, the more room each of the leads has to stretch and fully develop their solos. ‘Funky Mama’ and ‘Sow Belly Blues’ may both be close to ten minutes, but Patton, Green and Donaldson ensure that they pass in no time at all.

A strong jazz album on its own, it can also serve to double up as a backing to a laid-back smokey party without being cocktail music. It also builds on the incredible high standard set by Donaldsons first step into the soul-jazz waters with ‘Here ‘Tis’ and remains one of his very best efforts, in any genre. For the most ideal crossover between the worlds of bop and soul, look no further.

*****

Review: Keith Jarrett - The Out Of Towners

By this point, together for almost twenty years, the trio of Keith Jarrett, Gary Peacock and Jack DeJohnette are easily the longest association and most constant group in jazz. All three masters of their individual craft, since first getting together their collective skill and interaction has resulted in an empathy and that almost no-one else can touch.

Preferring to avoid the more avant regions with which the members have individually sometimes gone to, either solo or with other groups, this Standards Trio have chosen instead to focus for the most part on original and sometimes surprising takes on classic jazz tunes. So, recorded at the Munich State Opera, ‘The Out Of Towners’ like all of the trios releases, comes with great anticipation. But, as some naysayers may enquire, what differentiates this from the many others in the trios’ catalogue?

To start, the sound recording here is absolutely pristine. I strongly doubt you’ll ever find a better live recording of a piano trio than you will here - the clarity of the sound is superb. But also just as importantly the song choices are more than just the usual standards.

Opening with a brief solo introduction, Jarrett makes ‘I Can’t Believe That You’re In Love With Me’ a lovely and complex rendition. And the way the rhythm duo enters behind him is so smooth it should be used as textbook for any aspiring group out there. Later ‘You’ve Changed’ is a gorgeous ballad and is a perfect example of how this group takes a song you think you know and is able to just open it up – presenting it in a new way that somehow enhances the melody of the piece.

Gerry Mulligans ‘Five Brothers’ swings as it was meant to do and Cole Porters ‘I Love You’ is near-perfection, only just a tad marred by a frankly odd and unengaging cymbals-only solo. The best trio piece here though is the Jarrett original title track; a lengthy and funky blues-gospel, it benefits greatly from some inspired soloing by Peacock. For those that - understandably - bemoan Jarretts lack of composition more recently, here is a shining example of his compositional talents, but one that is undeniably improved by the intuition of the band.

As an encore we are given a tranquil yet moving ‘It’s All In the Game’, in which Jarrett performs solo – his first in this context for two years, and live for six years, since 1995s ‘La Scala’. Perfectly as in the moment as his famous solo recordings, he shows great restraint and stays true to the melodically-rich piece. Achingly beautiful, it is unreservedly a highlight of Jarretts career.

A good starter for anyone unfamiliar to the trio, it’s also be a great additional volume for fans of the trio and their other recordings, showing as it does an incredible raising of the art of interpretation to what is arguably an even higher level. The way they play these tunes is so fresh that each of them can sound like an entirely new piece each and every time they sit down to play it. The sheer breadth of material and playing here gives the impression of something very complete, and Jarretts final stirring playing is so heartfelt, you’d have to possess the stoniest of hearts not to be entirely transfixed. ‘The Out Of Towners’ is stellar Standards Trio, but more than that, it is stellar piano trio, and simply brilliant music.

*****

Review: Tord Gustavsen Trio - Being There

Album number three on ECM for pianist Tord Gustavsen’s trio, and it’s his best yet. Still composing and playing in a sparse and stripped down manner, Gustavsen continues to favour quietly intense and introspectively cool in place of any ego-lead shows of virtuosity, or indeed anything above a mid-paced tempo, that in a way Gustavsen is perhaps the perfect artist and foil for label owner and producer Manfred Eicher, and his singular vision.

Here ‘Karmosin’ showcases a masterclass in rhythm and melody, all the while maintaining that uniquely strong Scandinavian atmosphere, where at the other end of the spectrum ‘Blessed Feet’ shows the trios own distinctive take on blues, and ‘Around You’ is just pure beauty. And yet, everything here maintains a fine and cohesive whole, such is the clarity of intent of the trio – less a piano payer backed by a rhythm section, and more three players all leading and exchanging ideas between each other.

Better still, of the many piano trios out there, Gustavsen’s is probably, alongside E.S.T., the most song focused, with ‘Being There’ being the best example of this. Thirteen tracks, with most falling under the five minute mark, each is a concise and full piece that lets its charms and strengths play out unrushed, yet without ever meandering or dragging.

For the fans of his earlier work, here Gustavsen rewards their loyalty with an even stronger effort, whilst newcomers should be well-served by this winning albums crystal-like sound and its langorous yet intense musical landscapes. Consistently beautiful, Tord Gustavsen has here created a new piano trio record that can sit proudly alongside the established classics of the genre.

*****

Review: Hank Mobley - Workout

Hank Mobley has often been tagged as one of the lesser saxophone players of the 1950’s and 1960’s era. Dubbed ‘the middleweight champion of the world’ by critic Leonard Feather, to reflect his neither having the heavyweight aggression and free explorations of John Coltrane or the lighter melodically rich stylings of Stan Getz, and instead possessing a strong ‘rounded’ quality, many often mistakenly took the term to be one of derision. Commercial success too seemed to elude him, and only briefly playing with Miles Davis, and heard on his ‘Someday My Prince Will Come’, he was roundly dismissed as being an incompatible match for what Davis wanted.

The truth though is that despite his lack of unique style or tone, and his in truth no better than just good technique, he was always a highly melodic and lyrical tenor man, who though lacking any notably distinctive improvisational prowess, was also a very impressive composer. His career as bandleader is usually seen as being in three clear parts; the good mid-fifties work, the career plateaux of the early sixties, and everything later from the mid-sixties and a few sessions from the early seventies. His early sixties work then is the definitive period that everyone should check out, it being for the most part responsible for the half dozen truly excellent albums he recorded.

‘Workout’, recorded in 1961, is one of his very best, just nipping at the heels of ‘Soul Station’ (and possibly ‘Roll Call’) for the position of his best album. The title track and ‘Smokin’’ are pure bop and hard bop with Mobley at his most impassioned and best, while ‘Greasin’ Easy’ is a harder blues and ‘Uh Huh’ occupies a more soul and R&B field. Excellent tunes played superbly, they’re all by Mobley, and sit nicely with the two standards here which feature the tenor saxman at his most beautiful.

‘Three Coins In A Fountain’ is typically lyrical Hank, but ‘The Best Things In Life Are Free’ is simply uplifting euphoria and happiness in musical form. Staying close to the melody of the piece, it’s a sunny rendition and the good time everyone in the studio is having is palpable in the air.

The Wynton Kelly Trio with Paul Chambers on bass and Philly Joe Jones on drums provide a great rhythm. Kelly’s piano lines are tasteful and slightly bluesy, providing a nice match against Grant Greens highly valuable guitar ork, whose own interplay with Mobley on his ‘Uh Huh’ is outstanding. But no-one on this sesson plays better than Mobley himself, his pristine tone and lyrical beauty here unassailable.

*****

Review: Freddie Hubbard - Red Clay

The dominant and possibly defining jazz label of the 1970’s, CTI had an occasionally almost schizophrenic output, producing for the most part straight and swinging jazz as well as some of the best fusion works of the time, but also releasing a number of recordings that helped create the roots of smooth-jazz and muzak. As such, for every Stanley Turrentine’s ‘Sugar’ with it grooving funky jazz, or Jim Hall’s undisputed masterpiece ‘Concierto’, there’s a Bob James record which borders dangerously close to disco (good pianist, excellent arranger, lacklustre artist).

Grabbing the then biggest names in jazz, Creed Taylor signed them up to enjoy quite often their most commercially successful periods. For Freddie Hubbard this was obviously true, whose albums here sold massively in comparison to his earlier Blue Note sessions. Prior to CTI, his best work was often playing under the leadership of others such as Herbie Hancock or Wayne Shorter, but under Taylor’s wing he produced a tight fist of work that rank as his highest achievements under his own name. The first of these in particular, ‘Red Clay’, surrounds him with the stellar company of Herbie Hancock, Ron Carter, Joe Henderson and Lenny White, and is immediately a winner.

The title track opens with a short section that wouldn’t sound out of place on one of Miles Davis’ spacier sections from his epochal ‘Bitches Brew’, with Hubbard and Henderson trading blows, before quickly settling into a soulful and easy rhythm set out by Carter and White. Hancock plays some nice and languid electric piano over the top and everyone gets to solo with impressive skill and finesse. ‘Delphia’ that follows is almost as good too; a slower moving piece, with some moody organ work from Hancock, the trumpet man gets to play one of his finest solos, flitting from introspective to upbeat and lightly boppy. Some tasteful flute is added too, for colour rather than any solo, and it raises the piece nicely.

The cleverly-titled ‘Suite Sioux’ is perhaps the least interesting piece here, sounding like a more traditional if likeable enough bop, albeit with a subtle hint of bossa and the use of some electrics. Henderons solo though is spot on. A very seventies fade-out-and-then-fade-back-in closes the track unmemorably. ‘The Intrepid Fox’ gets things back on track though with an urgent and feverish number that has everyone sounding lively and energized, with some great riffing and Hubbard going for a definite less-is-more approach that handsomely pays off.

As bonuses we get a bold and funky take on John Lennon’s ‘Cold Turkey’, which though fun is far from essential and just runs out of puff. Much better is an impressive version of the title track from a later live date. At almost nineteen minutes, it’s some six minutes longer than the studio take and it’s a corker; looser and freer-flowing, it’s a powerful show, with the bonus presence of guitarist George Benson adding greatly to the mix.

‘Red Clay’ is a fusion work that doesn’t really fall into the same bucket as most other ‘fusion’. One of the earliest and perhaps ‘less fused’ records of the era, it’s basically a then contemporary take on modal jazz, but with harder hitting drums, and electric piano and bass instead of acoustic. No attempts here to borrow head-down groove from funk bands, slashing guitar work from the rockers, or bizarre keyboard effects and sounds, and as such it gives Hubbard his own voice while at the same time preventing it from sounding as dated as other similar works of the era. Additionally and importantly, there’s certainly no obvious copying of any of Miles or his then current experimentations. In fact it sounds simply like good strong jazz and is consequently one of the trumpeters (and labels) defining albums.

*****

Review: Keith Jarrett - Vienna Concert

Keith Jarrett has been quoted, and repeated in the liner notes to this release, as saying “I have courted the fire for a very long time, and many sparks have flown in the past, but the music on this recording speaks, finally, the language of the flame itself” - typically modest and humble comments from the man himself, which admittedly don’t reach the level of self-belief of his ‘La Scala’ liner notes, but taken on their own terms, do speak the truth. Considered by Jarrett to be his most epic and simply best live improvisation, Vienna really is, from beginning to end, the most complete of his performances to date.

Part I is the centrepiece of the recording, and at forty-two minutes effectively divides itself into several movements. The first, at a dozen minutes, creates a simple and beautiful theme, and toys with it in various ways, slowly building the tension and creating a musical story. Beautiful, the music approaches an almost transcendant quality, before the second movement comes in, beginning quietly and then rising itself to a climactic crescendo. Seguing into another basic theme, Jarrett comes down in mood for the piece’s coda, quoting the theme from the earlier movement in a different manner, before ending with a truly sublime falling cascading motion of notes, allowing the listener a soft and satisfying conclusion to easily one of his most complete and ultimate performances.

One of the finest improvisations you will ever hear from Jarrett, or anyone, the way the themes are built into a tight narrative almost convinces you that the piece had to be composed. Possessing a devastatingly beautiful melody that builds into a soulful swagger and leads admittedly to a few of Jarrett’s trademark ‘oohing’ and ‘aahing’ as he knows he’s hit the right spots. Moments build and ease away, picquing the listeners’ interest and then drawing them in closer.

The second piece here starts with much more intensity than the first and overall doesn’t feel quite as varied, lacking the build and fall of the earlier piece. The prowess of Jarretts’ piano playing though is much on display as the music flows through a number of astounding movements and passages. Playing around a basic groove, it lacks perhaps the sophistication of Part I, and there is maybe a slight hint of Jarrett being tired after that gargantuan epic. More like a coda to the first part than a second individual performance, but as a stand alone it is an impressive piece.

The whole concert here is one of the most soulful and beautiful Jarrett has ever played. Even with the many wonderful works of beauty he has created spontaneously, this one glorious night in Vienna stands as his peak, with perhaps only his much-loved Koln concert to rival it. It is music of the highest calibre.

*****

Review: Gary Burton Chick Corea - Crystal Silence: The ECM Recordings 1972-79

Pianist Chick Corea and Vibraphonist Gary Burton had originally first attempted to play together in the 1960s, but had found that it didn’t really work. Playing in a quartet, with the piano and the vibraphone both being chordal instruments, the two had a habit of getting in the way of each other and not really being able to play side by side.

A few years later in 1972, both men happened to be performing at the Munich Festival as solo acts, and as fate would have it ended up being the two artists at an after hours jam. Without a rhythm section, and just having the other to play off, somehow there was an instant on-stage rapport between the two musicians – a rapport that immediately caught the attention of the then-present Manfred Eicher. His ECM label, still only a few years old, had already gathered a solid reputation for its strong releases and played host to a small number of Coreas solo piano works, and Eicher heard in the two players a potential new take on an intimate chamber jazz that would be a perfect fit for ECMs clear and pristine sound capturing and production.

What would eventually be released as ‘Crystal Silence’ a year later was in fact recorded in just one day in November of 1972 in a studio in Oslo. Despite the strong and passionate enthusiasm for the music they had all produced, Burton, Corea and Eicher had very low commercial expectations for the album, expecting the prospect of a piano-vibraphone duet album to entice just a relatively small audience. The album in fact though went on to garner superb reviews and eventually sell almost 500,000 copies.

Featuring material largely written by either Corea or Burton’s musical partner, bassist Steve Swallow, the sole exception is Michael Gibbs darkness-tinged ballad ‘Feelings And Things’. Coreas classic ‘Senor Mouse’ opens though and immediately sets high expectations, with the two instruments combining to form melody, harmony and rhythm, and then throwing the roles between the two. Despite the structured and detailed music, both men move responsibilities throughout, with at times electric spontaneity. Chamber jazz it may be, but here we see equal parts gentle music with at other times playing that has huge energy.

‘I’m Your Pal’ is a great ballad piece played to perfection, with more than a hint of gospel, and ‘Falling Grace’ is elegant and lively - elsewhere ‘Arise, Her Eyes’ is the only version you’ll ever need of arguably Swallows finest composition. Corea also brings two Return To Forever pieces to the party and they shine joyously, but nothing is as strong here as the title track. Nine minutes of beauty and nuance create an outstanding soundscape that highlights that although the two shine individually plenty, it is their subtle and brilliant interactions that both creates a kind of singular intent and sound that really raises the bar.

Obviously, the magic and beauty here was a huge personal success for the two friends, and luckily they happened to be entirely wrong about its commercial appeal. Six years though would pass before Corea and Burton would reconvene in the studio together, this time though without the presence of Eicher, and in Sheridan, Oregon. Corea in the interim had become a leader in the jazz-fusion world with the electric quartet version of Return To Forever, before ending the band and creating more orchestrated sounding solo works on the Polydor label. ‘Duet’ however signposted a definite return to more acoustic interests, which would in turn result in a line of further ECM albums focusing on his piano trio and solo ideas.

The ‘Duet Suite’ opens the album that in fifteen-minutes reveals a solid number of twisting melodies delivered in unison and the two virtuosos’ ability to play more than just mere notes from a page. Coreas Spanish percussive way of playing the piano too comes more to the fore.

This time Burton brings just two Swallow tunes, ‘Radio’ with its elegant swing and a solo piano section that is in this reviewers opinion the highlight of the album, and ‘Never’, a softer gentler tune that shows just how good a blend the dueting partners here can achieve. Corea, bringing the lions share of the tunes including the freshly written ‘Song For Gayle’, donates two more Return To Forever pieces, that best show how the chemistry between them had improved since their first meeting. It also fully demonstrates the duos ability to improvise and create both individually and together - Burton would later say playing with Corea was just like “having a conversation with your best friend”.

Almost a whole year later, the two would perform in Zurich, recording the show as ‘Zurich, October 28, 1979’. Opening with the same piece that opened ‘Crystal Silence’, ‘Senor Mouse’ has even more energy and virtuosity, helping quash any doubters’ thoughts about just how in the moment the two studio works were.

For too long only available as a single disc, a good portion of the performance was cut out. Thankfully here we again get the whole performance across two discs, which importantly allows us to hear both men play solo pieces and also more crucially gives us the proper flow of the concert. Proper and due consideration of track sequencing can often improve an album, especially with a concert performance, and ECM have always been incredibly aware and astute in terms of generating the right ‘narrative’, in large part to label head Manfred Eicher and his personal involvement and enthusiasm in everything his label produces. The earlier one disc version was good. The re-insertion of Burton taking on ‘I’m Your Pal’ and ‘Hullo, Bolinas’, and Coreas’ captivating fourteen minute version of his own ‘Love Castle’ (originally just five minutes long) though, returns it to undeniably great.

Interestingly, as testament to the pairs growing collective skill and fell for the music, all of the tunes from the studio works are different and arguably for the most part better. The already sublime ‘Crystal Silence’ is somehow enhanced further, benefitting from a more percussive Corea, who donates three new tunes; the bright sounding ‘Tweak’ and ‘Mirror, Mirror’, and the bebop-esque ‘Bud Powell’, which interestingly would later become a Corea favourite for his acoustic groups. What really sets it so high though is its impeccable sound and capture of the instruments on-stage - making ‘In Concert’ a great and vivid live document of a duo that can really generate a strong sense of atmosphere.

This superb 4-disc box-set from the always high-calibre ECM collects these three duo albums recorded for the label. 1983’s ‘Lyric Suite For Sextet’ also recorded by the two isn’t included, it not being a duet performance like the other three and therefore thematically being very different (in truth it is also nowhere near as stellar a work as any of the three here). The pair of studio albums are as good as they have always ever been, boasting tunes, atmosphere and crystal clear sound in spades. For most though, it is the live album where the real money is, feeding off the audience the live set is just incredible, and for a long time only available in truncated form, here it is restored to full and deserved double-disc glory. Corea transforming the previous electric group piece ‘Love Castle’ from his earlier ‘My Spanish Heart’ into a lengthy expanded what can only be described as tour-de-force alone is worth this new chunk of gold, but this whole package is compellingly good.

Gary Burton and Chick Corea continue today, individually and with respective groups, to play and record at an incredible and productive rate. As a duo, and with each other and other players, they play together every year, although recordings of the two duetting are still small in number. ‘Crystal Silence – The ECM Recordings’ is a very welcome release at a very appropriate time, helping to celebrate both Manfred Eichers labels historic 40^th birthday and also the musical pairing also nearing the same anniversary. Beautiful and daring, Burton and Coreas music is as fresh and moving today as it was on its original release.

*****

Review: Antonio Carlos Jobim - Stone Flower

A gifted and much lauded songwriter, Antonio Carlos Jobim’s recorded material under his own name also proved incredibly popular. After his well-known songs, now considered standards and covered by pretty much everyone in the western hemisphere, his twin albums ‘Wave’ and ‘Tide’ are his two big hits, being for the most part instrumental, but featuring every bit the feel and yearning melody you would associate with his more recognisable songs.

Sandwiched in-between these two classics is the oddly lesser-known ‘Stone Flower’ issued on the then newly formed Creed Taylor Independent record label – Taylor having been a big and highly respected producer with Verve. Where many would have heard his more famous work and then may have picked up ‘Wave’ or ‘Tide’, ‘Stone Flower’ even now remains a sadly slightly over-looked album.

Which is a shame, as ‘Stone Flower’ is arguably superior to both. The key to this lies largely in the arrangements - where the strings on ‘Wave’ were used to bring out the subtle and quiet romance of the melodies, ‘Stone Flower’ goes for a much fresher approach. Choosing to explore a darker side of bossa nova, the album is replete with enchanting melodies, but delivered in a more hauntingly languid and melancholic manner.

A recording of quality from start to finish, the Ary Barroso classic ‘Brazil’ stands out as a highlight, with its instantly catchy one-finger electric piano and bouncing rhythm. Featuring a strong vocal from Jobim, the song is transformed from an anthem into a floating and hypnotic sprawling epic. ‘Amparo’ too is a perfect display of Jobim’s composing abilities, and the title track itself is a driving and memorable tune with an arrangement providing the musical equivalent of a warm tropical breeze.

No-one could, or can, write bossa nova as well as Jobim, and for any who have dismissed the genre outright for being lightweight, ‘Stone Flower’ is valuable education. Featuring tight and intricate rhythms, the music is dark, enigmatic and intoxicating. A revelation for any who have a jaded view on bossa nova, and an essential item for anyone with even a passing enthusiasm for the music, ‘Stone Flower’ is simply a brilliant record of quiet and beautiful intensity.

*****

Review: Donald Byrd - Electric Byrd

Donald Byrd’s 1970’s ‘Electric Byrd’ was the trumpet players own reaction to rival Miles Davis’ ‘Bitches Brew’ and the musical gauntlet it had thrown down. It is also seen by many of the jazz cognoscenti as his last worthwhile jazz effort, before he confidently strode into the funk world and the massive commercial successes that it would bring him.

Byrd of course rose to the challenge he had set himself brilliantly. With just the slightest presence of Miles looming, Byrd occupies the same sound but with his own style setting the agenda for the explorations here. Just four lengthy tracks, all orginals, make up the album, with the undeniable masterpiece ‘Estavanico’ opening. Eleven perfect minutes form a groove that redefines the term fusion, taking in a heady brew of jazz, funk, samba and psychedelia among many others. Atmospheric and simply just brilliant, it’s one of Byrds highest creative and musical peaks, and any even casual fans of Miles’ seventies work should definitely check it out.

‘Essence’ completely changes direction with a languorous and strolling bass line, and some wah-wah guitar just bubbling beneath with barely-contained restraint. More exciting rhythms too propel everything forward and allowing a line of soloists to impress with some highly skilled yet not overdone use of echo technology. ‘Xibaba’ takes us back into a Brazillian flavoured groove and some very catchy rhythms on a variety of exotic percussion, with some perfectly pitched soothing flute. It takes a while to get going, but the eastern sounding trumpet that opens is outstanding, and when it heats up, the complex and swirling sounds that engulf the listener are something really very special.

‘The Dude’ meanwhile lives up to its name with one of the heaviest grooves ever – and, like the rest of the album, deserves much greater exposure than it has received. The group is almost big band in size, with a mix of youngsters and old hands blending seamlessly, and a great jazz and funk hybrid is created that is different enough in sound from Byrd’s contemporaries to make it really stand out.

Often, and mistakenly, generalised as being in the same vein as Byrds later funkier, poppier and lighter output, ‘Electric Byrd’ is still a jazz album at heart and it still sounds like a groundbreaking revelation today. To some it’s his last great jazz album, but whatever you think of his later work, this is both a key part of his recording history and is simply awesome music.

*****

Review: Blue Touch Paper - Stand Well Back

Colin Towns has built an impressive career built as much on variety as quality; in more recent years though he has become most well-known for his Mask Orchestra, and being its highly skilled composer, arranger and bandleader. However with this, his new smaller sextet Blue Touch Paper, what has really come to the fore is Towns the superbly skilled keyboard player. And this happily is just one of the many revelatory pleasures from the excellent ‘Stand Well Back’.

The top-flight group is headed up by Towns, but each member here is a star. Drummer Benny Greb and percussionist Stephan Maass create a highly tight and funky rhythm team, further raised by Edward Maclean’s strong full-sounding bass, and the soloists are some of the best of the circuit right now. Saxophonist Mark Lockheart, known from amongst many others Loose Tubes and Polar Bear, and constantly rising guitar star Chris Montague, are some fiery players and throw in some of the finest pure jazz, fusion, rock, funk and cinematic cop soundtrack sounds around.

Even Towns’ somewhat unexpected vocals are perfectly suited here, lending an articulate and intense, yet moving and lyrical quality to the music. This though is no mere vanity project of a player insisting he can sing as well, but a musician using all his musical faculties to best effect. And it works a treat. As does the interplay and interwining of all the instrumentation here, from the way one instrument solos into another, to the bubbling rhythms that play underneath and on top of those same skillful solos.

A fresh sounding recording, and full of vigour, it grabs your attention and doesn’t let up, even over a spacious seventy minute plus playing time. And though sharply produced with plenty of bite and grit, the interplay of the group is such that you just know they’ll be a killer live act. With so much going for them, you have to hope Towns decides to keep the group going far beyond this debut. A crack team of players, with some great tunes, and all under the leadership of a truly class act, this is a real must-hear record and deserves to find its way into as many record collections as possible.

*****

Review: John Coltrane - Stellar Regions

Of the many (too many?) stock-piled John Coltrane works that would later see the light of day after his shock early passing aged just forty years old, 'Stellar Regions' is without doubt the most important, and easily the most musical.

A complete session, recorded on the day of February 15th 1967, just five months before his death, Coltrane is here joined by wife Alice on the piano, long-time bassist Jimmy Garrison, and drummer Rashied Ali, making this his very final quartet date – notably lacking the presence of, the alternately powerfully moving and infuriatingly cacophonous, Pharoah Sanders (depending on your own personal opinion of course).

Eight numbers make up the session, with only one ever appearing elsewhere ('Offering', having made up part of 'Expression'), making it an incredibly worthwhile 'kept in the vaults' piece of 'Trane history. Although having only appeared as late as 1995, one has to wonder why it took so long for Alice Coltrane to unveil it to the world – especially when the results are as consistently brilliant as they are here.

Intriguingly though, while the music is itself very good, it doesn't really show where exactly the saxophonist was planning on heading next - the tunes are strong and the band play fantastically but, partly because of the studio nature of the date (as opposed to the sometimes epic live free-for-alls) and other unknown factors, the pieces are somewhat briefer and more concise than one might expect. Indeed many will strongly wish the tunes would stretch out and tantalise us with the future-looking musical ideas more.

Some may point to Coltrane's then deteriorating health as a factor for this ‘simpler’ and more refined style, but this is easily refuted by the man's impressive and intense playing, some as strong and as explorative as any he had ever laid down. And although decidedly free, everything he plays here heads toward somewhere planned, distinctive and rewarding. If he really was ill at this stage in his final year, then you certainly can't hear it.

The most major release of John Coltrane's posthumous recordings, 'Stellar Regions' is a complete and musical set that perhaps would (and definitely should) have actually seen the light of day had Coltrane lived, rather than the mostly out-takes and unfinished material that made up the bulk of the 'new and exclusive' music that came out after 1967. An impressive set, any Coltrane fan would do well and in fact be wholly recommended, to seek it out, with even the more casual appreciator of his later more 'spiritual' affairs likely to be won over. 'Stellar Regions' is more than just a great session though, it is arguably John Coltrane's last great album, and Impulse and John Coltrane’s may fans would do well to treat it as such.

*****