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: 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.

*****

Review: Bobby Hutcherson - Oblique

'Oblique' is probably my favourite Bobby Hutcherson album of the sixties. Odd then that it sat in the vaults unreleased for almost 15 years. Such is the way of prolific Blue Note recording artists...

‘Oblique’ was Bobby Hutcherson’s second session both leading a quartet and attempting a more commercially viable take on his normally more avant-garde stylings. Sharing three-quarters of the band from ‘Happenings’, Herbie Hancock and Joe Chambers both make a welcome return, while Albert Stinson replaces the more well-known Bob Cranshaw on bass. Not that this should be seen in any way as ‘Happenings 2’; here there’s much less focus on Hutcherson the composer, with Hancock and Chambers both contributing - for the better - and also whereas before everything both benefitted and suffered from a little too much simplicity, ‘Oblique’ revels in it’s greater complexity.

The opening sweet samba-light ‘’Til Then’ sounds, at first glance, like a simple number, but underneath there’s a huge amount going on, and both the vibes and the piano get some exhilarating solos. As does ‘My Joy’, which starts at first as a waltz, before moving into a harder territory, and serves as a perfect launchpad for a blinding solo by Stinson.

The third piece though raises the bar. Hancock’s classic ‘Theme From Blow-Up’ is given perhaps the most straight jazz reading that he was ever involved in, with some stellar complementing between Hancock and Hutcherson, and the only real downside being that it highlights just how much stronger the pianists compositions are than that of the bandleaders.

‘Subtle Neptune’ returns to samba and gives the vibesman his best solo of the album, while intriguingly Hancock delivers his worst. Not outright bad, it’s merely long and winding without really adding anything. Afterwards though, we hit the double winning hit of the title track and ‘Bi-Sectional’. ‘Oblique’ is the emotional peak, with thoughtful traded moves between piano and vibes, while ‘Bi-Sectional’ begins almost playfully, before Hutcherson and Chambers begin a full-on percussion attack.

Bobby Hutcherson’s ‘Oblique’ is along with ‘Happenings’ only one of two quartet dates he recorded for Blue Note, but unlike that earlier album, was another of the label’s sessions that stayed in the vault until 1980 for it’s first release – and then only in Japan. And the truth is, it’s actually a far superior date than ‘Happenings’, boasting greater energy, creativity, compositions and even band. Albert Stinson is a wonderfully inventive player, who if listened to closely is doing a great many things under the rest of the band. Tragically, he would die only two years after this recording, aged just twenty-four.

One of Hutcherson’s greatest albums, its infrequent availability only serves to heighten its status. Not that it needs it by any means; the whole recording is a clear winner from start to end. Anyone with any interest in Hutcherson at all should seek this perfect five-star session out immediately.

Oblique artworks - 1980 Japan-only release, and the more traditional Blue Note style 2005 RVG Remaster.
*****

Review: Bobby Hutcherson - Happenings

Bobby Hutcherson is probably my favourite vibraphone player. I say 'probably' as I love the music and playing of Gary Burton, but Hutcherson's sheer variety of sound in his work is absolutely incredible. Personally I'm a fan of his more avant-garde material, and his work from the 1970's in particular. But for a first Hutch album review, why not something a little less cerebral, and a little more easy to get into...

Bobby Hutchersons ‘Happenings’ marked a new direction for the vibraphonist. Moving away from the avant-garde and his adventurous compositions that had made his name, it’s sometimes seen as perhaps less important than the work that he recorded just before, and that he would create later. It’s a perhaps uninformed opinion, with the album being the first to present the vibesman as the soloist leading a conventional rhythm section of piano, bass and drums, instead of the experimentally focused larger groups he’d played with earlier in his career. As a consequence it’s probably one of the easiest of his albums to get into and also one of the the best introductions to his music.

Another first is that the entire album, barring one track, is composed by Hutcherson, whereas previously he had relied on other writers. Much of it is very good too, right from the stomping opener ‘Aquarian Moon’. It’s balanced nicely too, from the swinging of ‘Head Start’, to the soft and gentle ‘Bouquet’, while taking in funky Latin grooves on the excellent ‘Rojo’, and on ‘When You Are Near’, showcasing some strong ballad playing that also stands as Hutchersons best composition here, but somewhat frustratingly it’s also the shortest. The best overall though is the take on Herbie Hancocks classic ‘Maiden Voyage’, which has always been an outstanding piece and here is given a brilliant treatment. Hancock of course is here too, and he’s on fire as he always was throughout the sixties, with the remainder of the rhythm team being made up by Bob Cranshaw and Joe Chambers.

Most of the pieces in truth though are more nicely composed than being exceptional, but the playing on each of them is second to none, and it is this that elevates everything to sounding absolutely terrific. The only disturbance to this highly listenable and accessible music comes with the final track ‘The Omen’. An ambitious sprawl that sounds more at home with the far experimental music of his earlier records, its stop-start cacophony doesn’t sit at all with the rest of the album - and its likely to make most listeners confused as to what they’re hearing, having just experienced the much easier sounding grooves a few minutes earlier. Its inclusion here really on this record is a very big mis-step.

Having laid down highly memorable work on other Blue Note alumni’s recordings, such as Eric Dolphy’s much-lauded ‘Out To Lunch’ and Grant Green’s outstanding double-excellence of ‘Idle Moments’ and ‘Street Of Dreams’, Hutcherson with ‘Happenings’ launched himself as a more acceptably closer-to-the-mainstream artist, and the gamble largely paid off. Just over a year later the same band, with Cranshaw replaced by Albert Stinson, would go on to record Hutchersons ‘Oblique’. He and Hancock’s exquisite partnership would even better highlight just how good they could be together, and with the upping of the quality of the writing the session would be even better.

‘Happenings’ is Hutchersons bid for mainstream jazz acceptance and it works a treat. A classy recording, it’s one of the vibes players most easy and relaxed dates as a leader, and only one of two ever dates leading a quartet, as well being a simply great showcase for Hancock. For the best introduction to the Bobby Hutcherson, this is for most a good starting point – but there is much greater music worth exploring in Hutcherson’s catalogue for anyone wanting to dip more than just a toe in the water.

****