Zumwalt Poems Online

Archive for the ‘Music & Musings’ Category

Thoughtful Thursday: Feeling the Future

bela lugosi

“People like us, who believe in physics, know that the distinction between past, present and future is only a stubbornly persistent illusion.”  — Albert Einstein

“You, predictable reader, follow these words and I know that what you read next is what I write now.” — Zumwalt

“It’s a poor sort of memory that only works backwards”  — From “Through the Looking Glass” by Lewis Caroll

Time may not be what it seems.  Sometimes what we assume is true is not: our senses may initially lead us to believe the sun revolves around the earth, but if we observe beyond what is most self-evident, and carefully examine a wider range of data then we must conclude that the earth revolves around the sun. As in the case with planetary bodies,  it may be that our sense of time is based on our frame of reference and not a true understanding of reality.

Physics has provided evidence during our lifetime that the future can determine the past.  The most famous example is the “quantum eraser” experiment. One can google this or check out this article: http://iheartintelligence.com/2017/01/20/quantum-experiment-present-past/.  One can even try this experiment at home: https://www.scientificamerican.com/slideshow/a-do-it-yourself-quantum-eraser/\

Is there any chance of sensing the future?  Some studies, like the famous, but controversial and legitimately challenged, Cornell University trials indicate this may be possible: http://dbem.ws/FeelingFuture.pdf

As a graduate student in music, perhaps as a break from listening to too much atonal music, I became interested in parapsychology experiments, and read numerous journals in our large college library covering this topic. There were a couple of experiments with cockroaches that really impressed me. One was an experiment by Helmut Schmidt in which he placed various laboratory animals on a divided electrical grid with a 50% chance of the shock going to the area where the animal was.  Schmidt recorded that in most trials (and these trials included hundreds of shocks), the gerbil, guinea pig or other small animal ended up being shocked around 48 to 49 percent of the time.  Schmidt was a sloppy researcher and it is not clear if this statistically significant number was due to Schmidt’s own psi abilities influencing the outcomes, or the animal’s psi abilities protecting themselves. When he put cockroaches to the test, he found they ended up being shocked 52 percent of the time as opposed to the expected 50 percent of the time. Schmidt admitted his particular dislike of cockroaches, and so it is not clear if the cockroaches were masochistic or whether it was Schmidt’s distaste for them that influenced the outcome.

Schmidt

A later researcher, revising Schmidt’s experiment, placed the cockroaches on a divided grid, with one or the other side receiving a shock and providing the cockroaches the freedom and time to travel to one side or the other.  In this experiment, the researcher recorded whether the cockroaches ended up on the side that received the electrical charge or the side that did not get the charge. Again, the result was that the cockroaches got shocked around 51 to 52 percent of the time depending on the set of trials. Were the cockroaches anticipating the future, even if there actions were not in their best interests? Or was the researcher somehow still influencing the cockroaches to get punished slightly more than expected?  Perhaps it doesn’t matter, as neither the various Schmidt experiments nor this follow-up experiment with the divided grid was ever able to be consistently replicated with the same significant results.

In the recent, and earlier referenced, Cornell set of experiments,  the most interesting ones, (okay — I concede that some may find the salacious-content experiments more interesting), are the two similar experiments addressing “Retroactive Facilitation of Recall.”  Basically the subjects are asked to look at a set of words. After this is done,  they are given a recall test (not being told about this beforehand) and each participant’s ability to recall what they have memorized is recorded.  The computer selects, randomly, half the words the subjects had previously looked at as study material, and then the students study these words.  It turns out the subjects do much better on recalling the words they had studied after the test then those they had not. Basically, this proves that if one is unable to find time to study for a test beforehand, they can always study after the test and improve their test scores — at least slightly.  (This is why, when I pick losing lottery ticket numbers, I always carefully study the winning numbers and carefully commit them to memory to increase my chances of having picked the right numbers in the first place: if I am/was successful, I not only get some extra pocket-change, but get back any time I had spent studying those numbers.)

The key here, from a very practical standpoint, is not whether others can sometimes sense the future, but whether you or I can sense the future and, if possible, how best to develop that ability.   As one might guess (or sense), there are many online opportunities to research this further. Now that I told you this, I have increased your chances of already knowing this, and I suspect that you are thinking to yourself that, yes, you already knew this, and you really don’t need to waste you time reading this blog which isn’t disclosing anything new to you at all. This of course, is what you are thinking now that you have read this. If you had read a blog on politics or music, instead, you wouldn’t be thinking this at all. If you had read a blog on politics, you probably wouldn’t even be thinking.

Back to the present, please. Let’s take a look at one particular online test:  http://www.psychicscience.org/staring.aspx

First, do the practice trial to get a sense of how simple this experiment/test is.

When doing an actual trial, my only advice is to not base your guesses on what already happened, but what you feel is about to happen.  In other words, don’t let three or four blank screens in a row bias you to select the “staring” screen based on some misunderstanding of probability.  Stay in the present and realize each display has a fifty-fifty chance of being either blank or a staring screen and don’t let what occurred before influence your decision/guess/prediction. Just feel whether you will be stared at or not and then pick your choice based on that feeling. (This may be the same sensation you get when you feel someone on the other side of the room is staring at you.  I often get this feeling when I shout and yell at the waiter or waitress in the restaurant — or when they yell at me.)

Also, best to stay relaxed and let yourself get in “the zone.” Don’t let a string of successes put pressure on you. If you feel such pressure, it may be best to take a break and come back. The screen will wait for you. (If you need to take a break, you can read some Zumwalt poems liked by previous readers. Note that any poems you click “like” on may influence anyone that read them in the past to have clicked “like” also.)

Developing an ability to feel what will happen next, may be like developing any skill.  It takes repeated practice, day after day, for an allocated time each and every day.  It is very similar to ear training exercises like this one: http://pitchimprover.com/index.php?type=Relative

After doing this http://www.psychicscience.org/staring.aspx exercise every day, for several months, please let me know if you have seen any improvement.  If so, it may motivate me to do the same. If you can’t seem to improve your ability to see into the future, don’t feel bad, at least knowing this limitation in the future should translate in your spending less time on these exercises in the here and now — or even not bothering to read this blog post.

 

 

Category:

Philosophy, Physics, Thoughtful Thursday

Tagged with:

Fifty Year Friday: John Coltrane; Jefferson Airplane “Surrealistic Pillow”

Coltrane1

“One positive thought produces millions of positive vibrations.” — John Coltrane

Coltrane’s left us fifty years ago on July 27, 1967.   He played, improvised, and composed music for a number of essential albums including “Blue Train”, “Bags and Train” with Milt Jackson, “Giant Steps”, “Thelonious Monk with John Coltrane”, “My Favorite Things”, “Live at the Village Vanguard”, “Duke Ellington & John Coltrane”, “Coltrane live at Birdland” with an incomparable version of “Afro Blue”, the one of a kind “John Coltrane and Johnny Hartman” album, and the classic “A Love Supreme.” Also of note is the June 1965 session (released in 1970) as the album “Transition” with the title track being essential to fans of  the music contained in a”Love Supreme.”  There is also music recorded in 1967, released years after Coltrane’s death, that could be classified as Free Jazz including “The Olatunji Concert: The Last Live Recording” recorded on April 23, 1967. It’s interesting to compare a 1963 live version of “My Favorite Things” to the 1967 version:

Thank-you, Mr. John Coltrane for the all this incredible music you provided.

Twenty-six year old department store model, Grace Slick, a graduate of Palo Alto High and resident of the Bay area (San Francisco Bay area) after reading an article about one of the local bands, Jefferson Airplane, in the San Francisco Chronicle newspaper, went to see them live where they played regularly (“The Matrix”, a club on Fillmore Avenue) and was soon inspired to start a band, with her husband, his brother, and three others.  

This band, “The Great Society”, named after LBJ‘s set of programs to address unjust social conditions, soon opened for other more established Bay Area groups including Jefferson Airplane, and eventually attracted the attention of Columbia Records which offered them a recording contract at about the same time that the Jefferson Airplane was looking to replace their female vocalist, Signe Toly Anderson.  Mrs. Anderson, an expecting mother, felt that she could no longer tour with the band and take care of a newborn and so gave notice, informing the public, on October 15, 1966 with words befitting any flower-power child: “I want you all to wear smiles and daisies and box balloons. I love you all. Thank you and goodbye.”

Grace Slick left her band, which not being able to continue without her, disbanded, and she joined Jefferson Airplane, bringing with her two particularly notable songs: the Great Society’s lead guitarist’s medium-tempo song “Someone to Love” and her own drug-inspired composition, “White Rabbit.”

Jefferson Airplane embraced both Grace’s powerful singing and these two tunes, which they re-arranged, maybe not for the better, but certainly with greater commercial appeal.

“Surrealistic Pillow”, Jefferson’s Airplane’s second album and the first album with Grace Slick takes advantage of Grace’s high-energy vocals from the very first track, where her background vocals are of more interest than Marty Balin’s main vocals and perhaps the main melody itself. The second track, is “Somebody to Love”, played with more force and at a faster tempo than the Great Society arrangement.

This album also includes a song that Marty Balin wrote originally for Tony Bennett: “I wrote it to try to meet Tony Bennett. He was recording in the next studio. I admired him, so I thought I’d write him a song. I never got to meet him, but the Airplane ended up doing it.” Jerry Garcia plays guitar on several tracks for this album including the short repetitive electric guitar phrase heard here:  


“Today” is followed by the evocative, marijuana-paced (and perhaps marijuana-influenced) Balin composition “Comin’ Back to Me.”

Side 2 starts with “3/5 of a Mile in 10 Second”, more for dancing then listening.  “DCBA” is relaxed and with somewhat puzzling lyrics:

“It’s time you walked away and set me free”

but later

“I take great peace in your sitting there
Searching for myself, I find a place there.”

and then in the middle of this

“Here in crystal chandelier, I’m home.
Too many days, I’ve left unstoned.
If you don’t mind happiness
Purple-pleasure fields in the sun.
Ah, don’t you know I’m runnin’ home.
Don’t you know I’m runnin’ home (to a place to you unknown? )”

“How do you feel” is one of those innocuous feel-good songs that would be comfortably at home on an album by The Mamas and Papas or The Association. “Embryonic Journey” is an excellent acoustic guitar instrumental, composed as part of a guitar workshop in Santa Clara by Jorma Kaukonen three years before he was invited to join Jefferson Airplane band by friend and fellow-classmate Paul Kantner.

The penultimate cut of the album, is the standout “White Rabbit”, rearranged musically to be succinct, focused, rhythmic and eerily similar to Ravel’s Bolero.  No concessions were made lyrically:

“One pill makes you larger
And one pill makes you small
And the ones that mother gives you
Don’t do anything at all:
Go ask Alice
When she’s ten feet tall.

“And if you go chasing rabbits
And you know you’re going to fall
Tell ’em a hookah-smoking caterpillar
Has given you the call:
Call Alice
When she was just small.

“When the men on the chessboard
Get up and tell you where to go
And you’ve just had some kind of mushroom
And your mind is moving low:
Go ask Alice
I think she’ll know.

“When logic and proportion
Have fallen sloppy dead
And the White Knight is talking backwards
And the Red Queen’s off with her head
Remember what the dormouse said:
‘Feed your head.
Feed your head.'”

I think it is at this point in time, more or less, that the commercial interests of the major music labels became more important than censorship of music with anti-establishment lyrics.   During the last eight weeks of summer, it seemed that one could not turn on Southern California AM radio without “Light My Fire” or “White Rabbit” being played at least once in any given hour. As a twelve-year old, I knew something was changing in the world around me as an older culture began to buckle under the weight of newer ideals — even if those ideals were plainly self-indulgent.

“Surrealistic Pillow” ends with a trippy, protypical Haight-Ashbury tune, “Plastic Fantastic Lover”, mocking the ascendancy of the boob tube:

“Her neon mouth with the blinkers-off smile
Nothing but an electric sign
You could say she has an individual style
She’s part of a colorful time.

“Secrecy of lady-chrome-covered clothes
You wear cause you have no other
But I suppose no one knows
You’re my plastic fantastic lover.

“Her rattlin’ cough never shuts off
Is nothin’ but a used machine
Her aluminum finish, slightly diminished
Is the best I ever have seen.

“Cosmetic baby plugged into me
I’d never ever find another;
I realize no one’s wise
To my plastic fantastic lover.

“The electrical dust is starting to rust
Her trapezoid thermometer taste;
All the red tape is mechanical rape
Of the TV program waste.

“Data control and IBM
Science is mankind’s brother
But all I see is drainin’ me
On my plastic fantastic lover.”

Music can transcend time, be a document of its time, or both.  “Surrealistic Pillow” is indisputably an important musical document of its time. As as listener, you must decide if it transcends time. For those of us that grew up with this music, it tends to take us back in time, which, I suppose, is as valid way as any to transcend time.

Track listing (from Wikipedia)

Side one
  1. “She Has Funny Cars” (Jorma Kaukonen, Marty Balin) – 3:14
  2. “Somebody to Love” (Darby Slick) – 3:00
  3. “My Best Friend” (Skip Spence) – 3:04
  4. “Today” (Balin, Paul Kantner) – 3:03
  5. “Comin’ Back to Me” (Balin) – 5:23
Side two
  1. “3/5 of a Mile in 10 Seconds” (Balin) – 3:45
  2. “D.C.B.A.–25” (Kantner) – 2:39
  3. “How Do You Feel” (Tom Mastin) – 3:34
  4. “Embryonic Journey” (Kaukonen) – 1:55
  5. “White Rabbit” (Grace Slick) – 2:32
  6. “Plastic Fantastic Lover” (Balin) – 2:39

Personnel (from Wikipedia)

  • Marty Balin – vocals, guitar, album design, lead vocals on “Today”, “Comin’ Back To Me” and “Plastic Fantastic Lover”, co-lead vocals on “She Has Funny Cars”, “My Best Friend” and “Go To Her”
  • Jack Casady – bass guitar, fuzz bass, rhythm guitar
  • Spencer Dryden – drums, percussion
  • Paul Kantner – rhythm guitar, vocals, lead vocals on “How Do You Feel”, co-lead vocals on “My Best Friend”, “D. C. B. A.-25” and “Go To Her”
  • Jorma Kaukonen – lead guitar, lead vocals on “Come Back Baby” and “In The Morning”
  • Grace Slick – vocals, piano, organ, recorder, lead vocals on “Somebody To Love” and “White Rabbit”, co-lead vocals on “She Has Funny Cars”, “My Best Friend”, “D. C. B. A.-25” and “Go To Her”
  • Signe Toly Anderson – lead vocals on “Chauffeur Blues” (UK only)
  • Skip Spence – drums on “Don’t Slip Away”, “Come Up the Years”, and “Chauffeur Blues” (UK only)
Additional personnel

Category:

Fifty Year Friday, Music, Rock, Uncategorized

Tagged with:

Thoughtful Thursday: Interpretation and steps prior to Action

In the previous post, I presented my own take on the DIKW pyramid as something useful for both business improvement, and if one is so inclined, self-improvement. I proposed a model that, rather than address, “Data”, “Information”, “Knowledge”, “Wisdom”, focused on the transformation of data into action.

I really had eleven steps originally, but to prior to finalizing the post, I thought best to simplify by collapsing one of the steps, “Interpret” into “Evaluate.”

Act

On reflection, “Interpret” is a necessary step much of the time.  For example, if the data quality is compromised, then one has to interpret that into usable commodity.  And collapsing it into “Evaluate” was not very appropriate as interpretation must occur very early on, not only before “Evaluate” but before “Recognize.”  For example, one is in a foreign country and one hears some strange words, then one must look them up in Google Translate (or have an app translate them) into a language one understands before one recognizes what is being said.

There is another adjustment needed besides adding “Intepret”.

After one understands, then one can act. But there are steps that are either are part of act or happen before action and these include preparation and planning. I still have these as a part of “Act” — preparing and planning are actions — but have added a missing step, “Conceive” which must occur before any action,  whether that action is preparation, creating a plan, or something as non-conscious and mechanical as clenching one’s teeth before the start of a race or taking a deep breath before speaking.

Here is an improved or enhanced version of the earlier diagram, starting with “Observe” and ending with “Act” — which can then be followed by additional observation.

 

Concept3

Is this accurate? How can this be improved?  Appreciate your thoughts in the comments.

Category:

Non-Zumwalt, Thoughtful Thursday

Tagged with:

Fifty Year Friday: Thelonious Monk “Straight, No Chaser”; McCoy Tyner “The Real McCoy”

 

2evhqIn launching a Google search for lists of Jazz albums of 1967, one finds lists like this that include many fine albums:

1967

  1. Sun Ra: Atlantis (1967)
  2. Gary Burton: A Genuine Tong Funeral (1967)
  3. Sam Rivers: Dimensions And Extensions (1967)
  4. Roscoe Mitchell: Old Quartet (1967)
  5. Bill Dixon: Intents And Purposes (1967)
  6. George Russell: Othello Ballet Suite (1967)
  7. Muhal Richard Abrams: Levels and Degrees of Light (1967)
  8. Archie Shepp: The Magic of Ju-Ju (1967)
  9. Jackie McLean: New and Old Gospel (1967)
  10. Roland Kirk: The Inflated Tear (1967)
  11. Don Ellis: Electric Bath (1967)
  12. John Coltrane: Interstellar Space (1967)
  13. Frank Wright: Your Prayer (1967)
  14. Spontaneous Music Ensemble: Withdrawal (1967)
  15. Peter Broetzmann: For Adolph Sax (1967)
  16. Chick Corea: Now He Sings Now He Sobs (1967)
  17. Miles Davis: Nefertiti (1967)
  18. Don Ellis: Live in 3 2/3/4 Time (1967)
  19. Jackie McLean: Demon’s Dance (1967)
  20. Miles Davis: Sorcerer (1967)
  21. Gary Burton: Duster (1967)
  22. John Coltrane: Expression (1967)
  23. McCoyTyner: The Real McCoy (1967)
  24. Wayne Shorter: Schizophrenia (1967)
  25. Lee Konitz: Duets (1967)
  26. Paul Bley: Virtuosi (1967)
  27. Lester Bowie: Numbers 1 & 2 (1967)
  28. Paul Bley: Ballads (1967)

(from http://www.scaruffi.com/jazz/60.html#1967)

However, notably missing from all such lists (I have seen) is one of the best jazz albums of 1967, Thelonious Monk’s “Straight No Chaser.”

Why is this? Why do fairly knowledgeable jazz listeners fail to include an album of such exceptional music?

The clear-cut answer is that Monk is competing against himself.

By 1947, when Monk first started recording for Blue Note, five days after his thirtieth birthday, his style, approach and individual voice were already established, making those Blue Note recordings exceptional statements by a fully mature artist. From 1947 to 1951, many of the most celebrated Monk compositions were captured forever for all of us: “Ruby, My Dear”,  “Well, You Needn’t”, “Round Midnight”, “Evidence”, “Misterioso”, “Epistrophy”, “Criss Cross” and “Straight, No Chaser.”

Over the next two and half decades, as jazz in general continued to expand beyond Bebop with Hard Bop, Cool, West Coast Jazz, Third Stream, Post Bop, Soul Jazz and Fusion, Monk’s approach and stylistic traits remained relatively stable.  In the sixties, Monk was no longer viewed by some as a unique innovator, but rather, just simply unique. The innovation was there — not stylistic, but in playing freshly, honestly, and incisively, continuing to balance silence against sound and expressing himself naturally, logically and directly.  His music still evolved, but slowly. and more in terms of refinement than in alignment with the other changes happening in jazz.

By this album, “Straight, No Chaser”, Monk has established a continued level of excellence — connecting directly and succinctly. That this was one of the best albums of the year could only be overlooked by those comparing this music to Monk’s work from the late 1940’s on the Blue Note label, recognizing the historical influence of that music and finding no such historical significance in this 1967 Columbia album.

The personnel for this album:

Clearly, the quality of the only non-rhythm section soloist (Monk goes way beyond being part of a rhythm section, of course) is going to have a considerable impact on the overall merit and quality of this recording, and Charlie Rouse, at this point, after working with Monk since 1959, has become the ideal tenor sax partner.  In one sense, he is an extension of Monk’s brilliance, and yet he still has his own voice and ideas.

The album I am using for this trek back through time is the LP version without the bonus tracks available on the CD version.

  1. “Locomotive” (Thelonious Monk)
  2. “I Didn’t Know About You” (Duke Ellington)
  3. “Straight, No Chaser” (Thelonious Monk)
  4. “Japanese Folk Song (Kōjō no Tsuki)” (Rentarō Taki)
  5. “Between the Devil and the Deep Blue Sea” (Harold Arlen)
  6. “We See” (Thelonious Monk)

“Locomotive”, opens the album, slow and steady, initially creating a sound picture of a locomotive chugging out of the station and then giving way to one of those “every note counts” Monk solos, a solo that is cognizant of, and at points includes fragments of, the original melody.  Rouse solos follows with Monk accompanying and the piece ends in typical bebop fashion, repeating the opening section.

The fourth track, “Japanese Folk Song” is particularly of note. On the LP the length is around 11 minutes.  On the CD reissue, the length is listed at 16:42, indicating that the LP version has been edited.  The folk song melody that opens the piece is Rentarō Taki’s “Kojo No Tsuki” (The Moon Over the Desolate Castle), originally written in 1901 as a school-book lesson in “Songs for High School Students”, and later recorded in the 1920’s becoming a well-known tune throughout Japan that was so associated with Japanese nationalism that the tune was banned by the Allies during their post WWII occupation of Japan.

Monk takes the original tune and twists it with syncopation, runs and Monk’s own distinct dynamic approach to striking the keys. Rouse comes in playing the melody eerily evenly on the beat before journeying more distantly away. At the 4 1/2 minute mark on the LP we have the start of an extended, mesmerizing solo by Monk.  (I am guessing this is where the edit is, dropping out a solo by Rouse to accommodate the time limitations of the LP.)  The last 3 minutes Rouse and Monk wind their way to the finish with interwoven, intertwined, Monk-trademark counterpoint before a brief and satisfying coda.

“The Real McCoy” is McCoy Tyner’s seventh album, but please notice that the label is no longer Impulse but Blue Note.  Blue Note Records, founded in 1939, historically seems to be the label that takes artists to their next level and so it is here with Tyner, who had recorded his last album with John Coltrane in 1965 and was not aligned with the direction Coltrane was pursuing.  Tyner: ” All I could hear was a lot of noise. I didn’t have any feeling for the music, and when I don’t have feelings, I don’t play.”

Well, there’s not any dispute about Tyner playing on this album. From the opening upbeat, contemporary “Passion Dance” to the more traditional “Blues on the Corner” spiced with Tyner’s harmonics and his energetic, almost frenetic solo, this is an excellent album.

With Tyner are three world-class jazz artists:

I am often disinterested in the obligatory bass solo (whether that is once each track or even, as in this case, once on an album), but Ron Carter, is always exceptional as he shows here on his solo, in the introspective second track, “Contemplation.”

Elvin Jones was the ideal drummer for the many Coltane albums he is on, and an excellent fit for Tyner’s compositions and Tyner’s playing.

Joe Henderson made important contributions on Blue Note albums starting in 1963, appearing on important albums for Grant Green, Andrew Hill, Horace Silver and Lee Morgan as well as Larry Young’s incomparable “Unity” album. He shimmers and sparkles on this album with inventive, engaging and compelling soloing and ensemble work.

If one compares the quality of Tyner’s piano work to Monk’s, which, of course, really isn’t fair to either artist, Tyner does come in second place in terms of overall musical intensity and economy of expression. This is evident in the exceptional track “Contemplation.” From almost the beginning Tyner includes these short repeated scalar phrases (some would call this “noodling”) which, unfortunately, remind me a little too much of some of the soloing filler of the guitarists in the 1980’s hair bands, and is not so distant to some of the unnecessary busy-ness that one can even find in earlier pianists like Art Tatum.  This is only a slight distraction, and less annoying on repeated listenings of this track; particularly as Tyner treats this as an integral part of the composition and so once one has heard the composition, these quick spurts of adjacent notes become part of the performance’s fabric.

Putting such a minor quibble aside, Tyner has put together a diverse set of compositions. The modal “Passion Dance” is exceptionally vibrant and vital. “Contemplation” is an introspective ballad.  “Four by Five” is an aggressive, wild work starting with a 4 against 5 theme and highlighted by amazing soloing by Joe Henderson. From the Blue Note Liner Notes: “McCoy explains … ‘Four By Five receives its title because the melody is constructed as if there’s a middle -it’s in 4/4 on the outside and 5/4 on the inside. But we improvise as if there weren’t a middle; we improvise only in 4/4’.”

“Search for Peace” is a soothing statement about the value of peacefulness and tranquility.  The album ends with a casual, relaxed blues-based tune, “Blues on the Corner”, nicely wrapping up an album that covers a range of emotions and attitudes, accessible and yet solidly fresh, modern music for 1967 that is as engaging today as ever.

Track listing 

All compositions by McCoy Tyner

  1. “Passion Dance” – 8:45
  2. “Contemplation” – 9:10
  3. “Four by Five” – 6:35
  4. “Search for Peace” – 6:25
  5. “Blues on the Corner” – 6:05

Quick Reference & Semantic Summary (Fifty Year Friday Archive)

  • Primary Subject: Retrospective reviews of two standout 1967 jazz albums representing established bebop mastery and post-bop evolution.
  • Featured Artists & Albums:
    • Thelonious Monk: Straight, No Chaser (1967)
    • McCoy Tyner: The Real McCoy (1967)
  • Primary Musical Genres: Jazz, Bebop, Post-Bop, and Modal Jazz.
  • Historical & Critical Context:
    • Thelonious Monk: Argues that Straight, No Chaser is frequently and unfairly omitted from 1967 “best of” jazz lists simply because critics measure Monk against his own revolutionary 1940s Blue Note innovations. The review asserts the album demonstrates a fully mature master refining his craft, balancing sound and silence with supreme economy, aided by the ideal tenor sax partnership of Charlie Rouse. Highlights include a dynamic, syncopated re-sculpting of “Japanese Folk Song (Kōjō no Tsuki).”
    • McCoy Tyner: Reviews The Real McCoy as a triumphant Blue Note debut following Tyner’s departure from John Coltrane’s increasingly avant-garde group. Backed by a world-class quartet (featuring Joe Henderson, Ron Carter, and Elvin Jones), the album is praised for its accessible yet deeply modern compositions. The review covers the album’s emotional and structural diversity, ranging from the vibrant, modal “Passion Dance” to the complex time signatures of “Four by Five.” While making a minor critique of Tyner’s busier piano style compared to Monk’s strict economy of expression, the review ultimately hails the album as a vibrant, fresh, and essential 1967 release.
  • Archival Context: Part of the Fifty Year Friday retrospective music review series.

Category:

Fifty Year Friday, jazz, Uncategorized

Tagged with: