Zumwalt Poems Online

Posts tagged ‘Herbie Hancock’

Fifty Year Friday: Roy Ayers, Stoned Soul Picnic; Eric Burdon & The Animals, Every One of Us

Stoned Soul Picnic.jpeg

About the time that the Fifth Dimension released their single of Laura Nyro’s “Stoned Soul Picnic”, Roy Ayers recorded tracks for his second album on June 20, 1968  that included Nyro’s tune and would be named for that song. The session and the released album also included three originals, Jobim’s “Wave” and Ron Miller and Orlando Murdon’s “For Once in My Life” (previously recorded by Tony Bennett [#91 on the pop singles chart] and several Motown Artists including the Temptations, before Stevie Wonder’s hit version would be released later that year.) Sometimes these jazz covers of pop hits are just a waste of time to listen to, but not here.

Roy Ayer’s opens the album with his own composition, “A Rose for Cindy”, which starts off like free jazz before dissolving into a sensual chromatic passage that precedes the main section of a thoughtful and introspective ballad.  Notable here is the excellent soloing and interplay between the participants. Hubert Laws and Herbie Hancock are both particularly attuned to the character of the piece and provide an appropriate, impressionistic sensibility that make this the most memorable track on the album.

“Stoned Soul Picnic is vibrant and funky with Evan’s mallet work, Law’s flute, Ron Carter’s bass, Hancock’s keyboard work (he plays what sounds like a Hammond B-3) and Charles Tolliver’s trumpet essential to the sense of freedom and exuberance that permeates this version.  This is followed by a surprisingly engaging and inescapably immersive version of  “Wave” with Miroslav Vitouš replacing Ron Carter for the rest of the album, and strong solos from Gary Bartz and, as the case on every track here, Herbie Hancock.

“For Once in My Life” is treated tenderly. but not over-delicately, followed by Tolliver’s upbeat “Lil’s Pardise” highlighted by Ayer’s vibe solo and Hancock’s piano solo.  The album concludes with Edwin’ Birdsong’s evocative “What the People Say” with introspective yet enchanting solos by Ayers and Laws. Overall, an excellent post-bop album characterized by overall beauty and unaffected optimism.

Track listing [from Wikipedia]

  1. “A Rose for Cindy” (Roy Ayers) – 8:56
  2. Stoned Soul Picnic” (Laura Nyro) – 2:50
  3. Wave” (Antônio Carlos Jobim) – 7:59
  4. For Once in My Life” (Ron Miller, Orlando Murden) – 3:50
  5. “Lil’s Paradise” (Charles Tolliver) – 6:33
  6. “What the People Say” (Edwin Birdsong) – 8:09

Personnel

animals eoou.jpeg

This is not a particularly strong album by the Animals. Listening to this today, it seems there is more filler than essential components, though the political statement Burdon makes on side two is pretty remarkable given the inherent expectations by the record label for a high level of commercial appeal from a group as well known as this.  And there is commercial appeal in “White Houses”, which hints at Caribbean rhythmic and melodic influences, and in the group’s initially very dark, then bluesy and rocking rendition of “St. James’ Infirmary”, a follow-up of sorts to the groups’ very successful version of “The House of the Rising Sun.”

The main item of note, particularly for historical interest, is Burdon’s “Year of the Guru” somewhat modeled after Dylan’s  “Subterranean Homesick Blues”, but with more of a rock than folk character — sounding more like rap music than can reasonably be expected for 1968.  Certainly there are other cases for early “proto-rap”, but “Year of the Guru” sounds too much ahead of its time instrumentally and vocally to be categorically overlooked, particularly in light of the social commentary of the lyrics:

“My leader said son you’d better get yourself together
Never mind the fools who know what we’re getting into
But a forty mile walk would do us both a world of good
And he sat down and watched me take off down the road.”

…..

“Now here I sit in a state-run asylum
Limitless, friendless but much more together
I decided to do some good book readin’
About the art of people leadin’
Now I’m the leader and they’re being led
What’s the matter if they’re crazy till you hear what I’ve said
Being the leader is really where its at
But just how long can a good thing last
Oh, oh leader
Oh, oh leader
Now listen to this baby
This is the year of the guru
Now the thing to do is to ask yourself
What can a guru do for me?
Then you say to yourself
I gotta get a guru”

 

Track listing [from Wikipedia]

All selections written by Eric Burdon except where indicated.

Side 1 

  1. White Houses” (4:43)
  2. “Uppers and Downers” (0:24)
  3. “Serenade to a Sweet Lady” (John Weider) (6:17)
  4. “The Immigrant Lad” (6:15)
  5. “Year of the Guru” (5:25)

Side 2 

  1. St. James Infirmary” (Traditional, arranged by Eric Burdon) (4:15)
  2. “New York 1963-America 1968” (Eric Burdon, Zoot Money) (19:00)

Personnel 

 

 

 

 

 

 

Advertisements

Fifty Year Friday: Herbie Hancock, Speak Like a Child; The Web, Fully Interlocking; Deep Purple, Grateful Dead

web cover_5115101992017_r

The Web; Fully Interlocking

Released by Deram sometime in 1968, The Web’s debut album, Fully Interlocking, is both an early jazz-rock album and an early progressive rock album. Though no home run is scored under either of these uniforms, credit must be given for the moments of sophistication and the early foray into the two new styles of rock music that would soon surge in popularity. In accordance with the title, the music is interlocking with no silence between tracks.  Track 4, Green Side Up,  is particularly notable as a fully-formed prog rock instrumental, with King Crimson-like rhythmic punctuation (this before King Crimson’s first-ever rehearsal in January 1969), a Robert Wyatt-like second theme, and effective saxophone and bass guitar lines. No progressive rock fan should miss hearing this.

The band included two guitars, two percussionist, an electric bass, and Tom Harris who played sax and flute. There was one American, their dedicated vocalist, John L. Watson, who was quite good, but sounded more like a lounge singer than a rock or progressive rock vocalist. (Later Watson would be replaced by singer and keyboardist Dave Lawson who would eventually join Greenslade.)

Some of the music sounds dated, such as their attempted single, “Wallpaper”, and some doesn’t live up to its conceptual promise such as the “War and Peace” suite, but this generally ignored album contains much of interest, both musically and historically.  Three bonus tracks are available on CD, and the first two of these are not to be missed.  “I’m A Man”, predates Chicago’s version on the first album, and works perfectly for Watson, who provides a strong rhythm-and-blues delivery.  The similarities between this and the later Chicago version, are striking, and one wonders if someone from Chicago or Columbia records had somehow heard The Web’s version first.  The second track, is Billie Holiday’s “God Bless the Child”,  also sounding strikingly similar to the Blood, Sweat and Tears’ version that was recorded in October 1968.

This album, only obtainable as a used LP in previous decades, is available as a CD, mp3s, or from a streaming service. It’s worth checking out for anyone that has an interest in rock, jazz-rock, or progressive rock history.

Tracks Listing [from progarchives.com]

1. City of Darkness (2:55)
2. Harold Dubbleyew (3:10)
3. Hatton Mill Morning (3:37)
4. Green Side Up (2:02)
5. Wallpaper (2:40)
6. Did You Die Four Years Ago Tonight? (2:20)
7. Watcha Kelele (3:57)
8. Reverend J. McKinnon (2:55)
9. Sunday Joint (2:03)
10. War or Peace (9:56) :
– a. Theme 2:11
– b. East Meets West 2:39
– c. Battle Scene 0:38
– d. Conscience 2:00
– e. Epilogue 2:28

Total time 35:35

Bonus tracks on 2008 remaster:
11. I’m A Man (3:33)
12. God Bless The Child (5:00)
13. To Love Somebody (3:29)

Line-up / Musicians from progarchives.com

– John L. Watson / vocals
– John Eaton / guitar
– Tony Edwards / guitar
– Tom Harris / sax, flute
– Dick Lee-Smith / bass, congas
– Kenny Beveridge / drums
– Lennie Wright / vibes, congas, claves

With:
– Terry Noonan / orchestra direction & arrangements

 

HH1MI0000442216

Recorded in March 1968 and released a few months later, this is Herbie Hancock’s first album as a leader since his classic Maiden Voyage, recorded 3 years earlier.  The album starts out with a calmer version of “Riot” than that recorded on Miles Davis;’s Neferiti, and ends with “The Sorcerer”, a composition on Davis’s 1967 “Sorcerer” album.  In between these tracks we have compositions relating to childhood, three by Hancock and one by Ron Carter — the Ron Carter piece being different in character and not including the alto flute, flugelhorn and bass trombone present on the  rest of the album.

Track listing[from Wikipedia]

All compositions by Herbie Hancock, except as indicated.

Side A:

  1. “Riot” – 4:40
  2. “Speak Like a Child” – 7:50
  3. “First Trip” (Ron Carter) – 6:01

Side B:

  1. “Toys” – 5:52
  2. “Goodbye to Childhood” – 7:06
  3. “The Sorcerer” – 5:36

 

Personnel

herbie-hancock-speak-like-a-child-uk-bn-back-cover-1800-ljc

 

Shades of Deep Purple

 

Deep Purple: Shades of Deep Purple

In their debut album, recorded in three days in May of 1968, and released on July 17, 1968, Deep Purple comes out swinging, providing exuberant hard rock with multiple glimpses of early heavy metal and progressive rock.

This album didn’t do well at all in the UK, but due to the single, “Hush”, which received significant airplay in the States, and reached the #4 slot, Shades of Deep Purple sold fairly well in the U.S., staying for 23 weeks on the Billboard top 200 album list and peaking at #24 in November, 1968.

The arpeggiated keyboard-led opening, interlude, and return included amongst the garden- variety chord progressions of “One More Rainy Day” is historically notable as this simple, but effective, compositional technique soon becomes a significant part of the musical vocabulary found in 1970s progressive rock.  Also, common to early progressive rock, is the quoting of classical music — in this case, Rimsky-Korsakov’s  Scheherezade, which provides the material for “Prelude: Happiness”, followed by Deep Purple’s take on Cream’s “I’m So Glad” based on the Skip James 1930’s tune.

Deep Purple would tour the U.S. while their album was climbing the charts, making a name for themselves, and establishing the appeal of this new style of rock music.  Below is a replica (from Dirk Kahler’s Deep Purple Tour Page) of the Oct. 18 ticket for their engagement as an opening act for Cream’s two night appearance at the Fabulous Forum.

deep purple ticket

Tracks Listing [from progarchives.com]

1. And The Address (4:38)
2. Hush (4:24)
3. One More Rainy Day (3:40)
4. Prelude: Happiness / I’m So Glad (7:19)
5. Mandrake Root (6:09)
6. Help (6:01)
7. Love Help Me (3:49)
8. Hey Joe (7:33)

Total time 43:33

Bonus tracks on 2000 remaster:
9. Shadows (Outtake) (3:38)
10. Love help me (Instrumental version) (3:29)
11. Help (Alternate take) (5:23) *
12. Hey Joe (BBC Top Gear session, 14 January 1969) (4:05) *
13. Hush (Live US TV, 1968) (3:53) *

* Previously unreleased

Line-up / Musicians

– Rod Evans / lead vocals
– Ritchie Blackmore / guitars
– Jon Lord / Hammond organ, backing vocals
– Nick Simper /bass, backing vocals
– Ian Paice / drums

0066___grateful_dead___anthem_of_the_sun_by_sunsetcolors-dag1wxs.jpg

Grateful Dead: Anthem of the Sun

A day after the release of Shades of Deep Purple, Grateful Dead’s second album, Anthem of the Sun, was released on July 18, 1968.  Very different than their first album, which was mostly rock and roll and blues rock, this second album has more folk-rock, bluegrass,  psychedelic and progressive elements including a suite-like first track. Micky Hart’s addition to the band as their new percussionist appears to extend their boundaries as does their bold approach of mixing live and studio versions for the content of each track, focusing on achieving an overall aesthetic product that delineated the separate instruments but also achieved a sense of immediacy and freedom present in live shows. Throughout, there is an interesting mix of studio segments and additions with live material and improvised passages like the quote of Donovan’s “There is a Mountain” on side two’s “Alligator.”  Note that there are two versions of this album: the original mix from 1968 and a 1971 more commercial, and more commonly available, remix.  Released earlier this week, the 50th anniversary edition of Anthem of the Sun includes both the 1968 and 1971 mixes, remastered, on the first CD,  with additional live tracks from a 10/22/1967 concert at Winterland, San Francisco.

Track listing

Side one

#

Title

Length

1.

That’s It for the Other One” (Jerry GarciaBill KreutzmannPhil LeshRon McKernanBob WeirTom Constanten)

  • I. Cryptical Envelopment (Garcia)
  • II. Quadlibet for Tenderfeet (Garcia, Kreutzmann, Lesh, McKernan, Weir)
  • III. The Faster We Go, the Rounder We Get (Kreutzmann, Weir)
  • IV. We Leave the Castle (Constanten)

7:40

2.

“New Potato Caboose” (Lesh, Robert Petersen)

8:26

3.

Born Cross-Eyed” (Weir)

2:04

Side two

#

Title

Length

4.

“Alligator” (Lesh, McKernan, Robert Hunter)

11:20

5.

“Caution (Do Not Stop on Tracks)” (Garcia, Kreutzmann, Lesh, McKernan, Weir)

9:37

Personnel

Grateful Dead

Additional personnel

Production

  • Grateful Dead – producers, arrangers
  • David Hassinger – producer
  • Dan Healy – executive engineer
  • Bob Matthews – assistant engineer

Fifty Year Friday: Miles Davis Quintet “Nefertiti”

 

0000765885

Recorded in June and July of 1967 and released, as best as I can determine, around February 1968, give or  take a month, Nefertiti is the ever-exploring, adventurous Miles Davis’s last all-acoustic instrument album. I also consider this one of the first albums to take significant steps into both Fusion and New Age territory.

Miles Davis time at Julliard is partially evident here (just as Tony Scott’s time at Julliard is partially evident in what some consider the very first New Age record, the 1964 album, Music for Zen Meditation.)  Miles seems to infuse Bartok and Satie, whose music he admired, into some of this work,  as well as possibly (this is maybe a reach on my part, based only on the nature of some of the rhythmic and melodic patterns) Olivier Messiaen.  Miles also drives his fellow musicians to further reaches of creativity producing a work like no other work recorded in 1967 or released in 1968.  Some call this free-bop, and there are elements of free jazz present, but overall this is generally an accessible album, very much a predecessor to the fusion jazz and progressive-jazz psychedelic/rock-impressionism that will soon follow in so many albums of the 1970s.

The title track, “Nefertiti”, recorded on June 7, 1967 as a single take, is named after the Egyptian queen, Neferneferuaten Nefertiti who, with her Pharoah husband, brought about a religious revolution in Egypt by narrowing religious worship from many gods to only one. And with this first track, “Nefertiti”, there is a singularity of focus.  Missing are solos from the trumpet and saxophone.  Instead, the two instruments blend into an ambient, cleverly crafted circular sonic stream (well done, Wayne Shorter!), much as when drifting into alternative realms of consciousness prior to sleep.  The piano, bass and drums provides the greater variety and commentary here, the entire work thoroughly and unapologetically breaking from the traditional be-bop approach to ensemble sections and solos.  We have a strong case for this being jazz minimalism despite the richness of material provided by Herbie Hancock, Ron Carter and Tony Williams, based on the foundational, hardly perceptible variations provided by Miles and Wayne Shorter.

“Fall”, “Pinocchio” (two takes) and “Riot” were recorded on July 19, 1967, two days after John Coltrane’s death.  This tragic and monumental event shapes the nature of the performances of these works, particularly Miles’ solos.  The other tracks on the Nefertiti album,”Hand Jive” and “Madness”, are more extroverted and were recorded on June 22 and June 23, respectively.  Though this album may not have been conceived as a whole work (the amazing “Water Babies”, the sharp-edged”Capricorn” and the reflective, surreal “Sweet Pea” [this last a perfect fit for the Nefertiti album] were also recorded during these sessions and released years later, in 1976),  it comes together nicely and provides a general mood of near-mystical introspection.  The performances by all members of the quartet border on mythical, with Miles inspiring and encouraging his fellow musicians in reaching further levels of excellence.

This a particularly subtle, perhaps initially elusive, album — one that many will not fall in love with on the first listening.  Not as accessible as the previous album, the 1967 Sorcerer, it is often considered to be more substantial: pushing jazz into an unexplored territory that soon becomes part of the language of not only jazz, but rock, fusion, progressive rock, new age, and late twentieth century classical music.   Darken the room and give Nefertiti your undivided attention when listening, if not already a devoted fan.

Side One:
 “Nefertiti”  — Wayne Shorter  (7:52)
“Fall” —  Wayne Shorter (6:39) 
“Hand Jive” — Tony Williams (8:54)
Side Two:
“Madness” —  Herbie Hancock  (7:31)
“Riot” —  Herbie Hancock (3:04)
“Pinocchio” — Wayne Shorter (5:08)

miles 2Capture

 

%d bloggers like this: