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Fifty Year Friday: Chicago Transit Authority

“Only the beginning, only just the start.”  Robert Lamm, from “Beginnings.”

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Chicago Transit Authority

Formed in Chicago in 1967, originally named the Big Sound and incorporating three horn players, a drummer, and guitarist Terry Kath, this band of talented individuals was coaxed to pick up and move to L.A. by the independent producer James Williams Guercio in 1968. Guercio provided a new name, “Chicago Transit Authority”, and ensured them of attractive gigs including the opening show at the Whisky A Go Go. Soon the group started recording their first album in January 1969, the self-titled double record set that was released on April 28. 1969.

Like many people, I didn’t hear this album until after hearing their second album.  My next neighbor first bought their second, one of the great masterpieces of 1970’s rock, and then went back and purchased their first, this generally strong eponymous Chicago Transit Authority.  Their first album, then, became a means of being able to hear additional material by the group that had released that classic double Chicago album, the group’s name change prompted by the threat of legal action by the mass transit operator for that extreme northeast section of Illinois bordering Lake Michigan, the original Chicago Transit Authority.

I am sure I would have been much more impressed by this first album, if I had heard it before their second, for it’s a fine album on its own, and the second best album of their entire catalog.  Terry Kath’s guitar work is creative and full of life, and his voice is that of a jazz or R&B singer. Robert Lamm’s  compositions, with the exception of “South California Purples”, which is a spruced up blues number, burst out with energy and sparkle and are as good as anything in rock music at that time.  The performances by the rest of the band are all excellent, and the brass arrangements, primarily by trombonist James Pankow, are effective and focused.

And yet, after Guercio arranged for CBS west coast executives to hear the band at the Whiskey, the execs were not impressed.  A second attempt by Guercio to convince the west coast CBS “brass” to sign Chicago Transit Authority met with similar results: no interest, no deal. Guercio then finally cut a demo at a small independent studio that he circulated around to others outside of CBS, and soon, when CBS Clive Davis found out, he overruled the West Coast and the band signed with CBS’s Columbia label.

With a wealth of material to record, and wishing to create a serious product, the band insisted on making a double album.  When Columbia heard about this, they would only go along on one condition: the band must give up a percentage of their royalties for a double LP.  The band agreed, and the first debut rock double album since Frank Zappa and the Mother of Inventions’ “Freak Out” was released.

Of the four sides of this album, the first two are far the strongest, with the first song composed by Terry Kath and the remaining by Robert Lamm, followed by a more exploratory third side and then a generally strong side four.  “Free Form Guitar” on side three may not be the most accessible track, but it displays Kath’s mastery of the guitar, and help provide a fuller picture of why Hendrix purportedly told Chicago sax player Walter Parazaider, “The horns are like one set of lungs and your guitar player is better than me.” While “Free Form Guitar” provides indisputable evidence of Kath’s, imagination, control, and technique, other tracks on the album, particularly the first and last tracks, convincingly showcase Kath’s musicality and artistry.  Throughout the musicianship is excellence, and the combination of strong material and strong execution makes this one of the best debut rock albums ever.

Up to this point, many would consider the Beatles the most substantial of all the 1960s pop groups, but with 1969 comes a new upsurging of talent: bands that were, to some degree or other, influenced by the Beatles, but also heavily influenced by jazz and classical music — bands that could make music equal to or surpassing the works of the Beatles.  Chicago is one of the first of such rock groups, a progressive jazz-rock group, at least initially, that produced a first and then a second album that will be listened to, like the best of the Beatles’ albums, long into the future not only by music lovers like us but by our children and the generations that follow.

 

Track listing 

LP 1
1. Introduction (6:35) (Kath)
2. Does Anybody Really Know What Time It Is? (4:35) (Lamm)
3. Beginnings (7:54) (Lamm)
4. Questions 67 and 68 (5:03) (Kath)
5. Listen (3:22) (Lamm)
6. Poem 58 (8:35) (Lamm)

LP 2
7. Free Form Guitar (6:47) (Kath)
8. South California Purples (6:11) (Lamm)
9. I’m A Man (7:43) (Steve WinwoodJimmy Miller)
10. Prologue (August 29, 1968) (0:58) (James William Guercio)
11. Someday (August 29, 1968) (4:11) (Pankow)
12. Liberation (14:38) (Pankow)

Production

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Fifty Year Friday: 1968 Jazz-Rock and Fusion

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In the late 1960s, rock music’s commercial value to the record companies far exceeded that of their jazz and classical products.  This led to many dismal outcomes, including two particularly appalling trends.  One was to try to commercialize and update jazz, with the record companies convincing (and in many cases failing to convince) reluctant jazz musicians to include rock tunes in their albums, often resulting in half-hearted attempts that included some token improvisation between the initial statement of one or more verses and the chorus and their return.  The other was to try to elevate rock music, or provide a more palatable version of it to older consumers, by saccharine orchestral or quasi-big band arrangements.  The cultural impact and commercial success of such attempts were thankfully very limited.

At the same time, a diverse range of rock groups were incorporating jazz elements into their music, and, musicians with varying degrees of jazz experience or jazz exposure were being included in some bands. Soon Miles Davis and John McLaughlin would make jazz fusion history and reap wide commercial recognition and compensation.  But prior to that, the talented and innovative vibraphonist Gary Burton, looking to make the move away from straight-ahead jazz and appeal to younger audiences drew upon his own love of popular music and started to blend jazz and rock elements in a series of four notable albums in 1967 and 1968.

Gary Burton worked with Stan Getz from 1964-1966,  during the period of Getz’s continuing ascendancy into fame from his successful merging of samba, bossa nova and jazz — Getz achieving significant recognition and acclaim from the 1963 Getz/Gilbert album that included the incredibly commercially popular “Girl From Ipanema.”  Perhaps Burton learned invaluable lessons of the breadth and flexibility of jazz, and that when it honestly and sincerely embraced and fully incorporated other elements, how it could extend its capabilities and capacity to appeal and captivate to a wide range of listeners.  Or perhaps Burton just followed his instinct of embracing the music he loved and creating music that, most of all, appealed to himself.

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During this period that Gary was working with Stan Getz, the first historically significant jazz-rock group, The Free Spirits, formed in 1965.  Playing in New York as opening acts or at very small venues, their music ranged from rock and roll to psychedelic rock,  similar to other rock bands — with the exception of the jazz background of four of their five members.  For the most part, the jazz element present was similar to the jazz element in contemporaneous rhythm and blues.  The songs on their 1967 Out of Sight and Sound album are appealing and accessible, with solid, often frenetic and dynamic drumming from Bob Moses, soulful, bluesy saxophone from Jim Pepper (no relation to Art Pepper),  and catchy compositions and expressive guitar work from Larry Coryell.  Additional band members were rhythm guitarist Columbus “Chip” Baker and bassist and vocalist Chris Hills.

After the Out of Sight and Sound album, Larry Coryell, and then later,  Bob Moses, joined up with Gary Burton.  Just as Larry Coryell significantly influenced the sound of the Free Spirits towards a contemporary rock sound, Larry Coryell would have a significant impact on the sound of the four Gary Burton albums he was a part of.

The first of these four important Gary Burton quartet albums, Duster, recorded in April 1967, and sometimes referred to as the very first fusion recording, includes guitarist Larry Coryell, talented bassist Steve Swallow and drummer Roy Haynes.  Larry Coryell had further sharpened his skills as can be heard on this indisputable example of early jazz fusion, “One, Two, 1-2-3-4” available on Youtube here.

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The second album, Lofty Fake Anagram, with Bob Moses now on drums,  was recorded in August 1967, and is a little more mellow, with continuing impressive interplay between Burton and Coryell and impressive bass work from Steve Swallow.

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The third album, recorded a month earlier in July 1967 and released in 1968, is the dramatic concept album, Genuine Tong Funeral, written by composer and pianist Carla Bley and subtitled “A Dark Opera without Words.”   Focused on the topic of death and mourning, this mixture of third-stream and avant-garde composition covers a wide range of emotion and even includes passages of irony or dry humor reminiscent of Kurt Weill.  Besides some amazing, prodigious vibraphone work by Gary Burton, using his usual four mallets and to fine effect,  there is some outstanding, pushing-the-envelope soprano sax from Steve Lacy, some nicely-miked acoustic bass work from Steve Swallow, and some welcome tuba passages performed  by Howard Johnson. The album’s last track, with a chaotic free jazz section breaking from the confines of the suite’s structural boundaries, perhaps indicating some level of relief or release from grief is followed by a return of the “Survivors” theme, providing an appropriate and proper closure to the suite.

Track listing [from Wikipedia]

All compositions by Carla Bley
  1. “The Opening / Interlude : Shovels / The Survivors / Grave Train” – 6:37
  2. “Death Rolls” – 1:36
  3. “Morning (Part 1)” – 1:43
  4. “Interlude : Lament / Intermission Music” – 4:28
  5. “Silent Spring” – 7:58
  6. “Fanfare / Mother of the Dead Man” – 2:51
  7. “Some Dirge” – 7:47
  8. “Morning (Part 2)” – 1:17
  9. “The New Funeral March” – 2:40
  10. “The New National Anthem / The Survivors” – 6:34
  • Recorded in New York City in July 1967.

Personnel

The fourth of these four Burton/Coryell albums, recorded live at Carnegie Hall on February 23, 1968, is simply titled “Gary Burton Quartet in Concert.”  Of particularly note is the amazing contrapuntal duet between Burton and Coryell in the recording of “Lines” and the overall excellence of the group’s performance of “Walter L.”  The album ends with an avant garde treatment of “One, Two, 1-2-3-4”, notably different than the original performance on Duster.

Track listing

All compositions by Gary Burton except where indicated
  1. “Blue Comedy” (Mike Gibbs) – 9:02
  2. “The Sunset Bell” – 5:17
  3. “Lines” (Larry Coryell) – 3:06
  4. “Walter L.” – 6:36
  5. “Wrong Is Right” (Coryell) – 6:14
  6. “Dreams” – 5:49
  7. I Want You” (Bob Dylan) – 3:06
  8. “One, Two, 1–2–3–4” (Burton, Coryell) – 10:45

Personnel

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In early 1968,  former Stan Kenton big band saxophonist, Steve Marcus, New Zealand born jazz keyboardist, Mick Nock,  and three former members of The Free Spirits,  guitarist Larry Coryell, bassist Chris Hills, and drummer Bob Moses,  recorded two jazz-rock albums, produced by jazz flutist Herbie Mann under Steve Marcus’s name.

The first album, Tomorrow Never Knows, appropriates five well known rock tunes and either imposes jazz commentary on them (“Mellow Yellow”) or develops and transforms them (“Tomorrow Never Knows”).  Added at the end, as a sixth tune, is Gary Burton’s “Half a Heart.”  This is one of those albums that may sound initially bizarre, with the band still wrestling to establish an overall sound and approach, but becomes more sensible and coherent after repeated listenings.

Track listing

  1. Eight Miles High” (David CrosbyHarold E. ClarkJames McGuinn) – 4:44
  2. Mellow Yellow” (Donovan Leitch) – 4:50
  3. Listen People” (Graham Gouldman) – 2:25
  4. Rain” (John Lennon, Paul Mc Cartney) – 7:02
  5. Tomorrow Never Knows” (John Lennon, Paul Mc Cartney) – 11:07
  6. Half A Heart” (Gary Burton– 5:21

Personnel

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The second album, though, Count’s Rock Band, (“Count” referring to Steve Marcus’s nickname and not that of William James Basie) is more organic, polished, and finely finished. There are only two rock covers here,  “Scarborough Fair” which is a straightforward rendition, based on Simon and Garfunkel’s version, arranged exquisitely with single focus, not straying a single step outside of its intended character, and Mick Jagger and Keith Richard’s Backstreet Girl; this modest tune is placed in an finely-crafted French cabaret-like setting with accordion  accompaniment, followed by an spellbinding jazzy middle section that evolves from straight-ahead, highly accessible jazz to wildly aggressive free jazz, followed by the return of the calm and tender original section.  The album also includes two compositions by bassist Chris Hills, which both work convincingly as final, unified outcomes of blending blues, rock and jazz.

If none of these musicians had ever recorded a note, jazz and rock would inevitably come together, just like twins separated in later years through pursuing different careers and interests, but meeting again in their more mature years.  In the case of rock, though, it’s relation to other music is more complex than simple siblinghood.  The young rock and roll looked very much, and acted very much like a young, somewhat clueless child of blues and jazz (and the baby sibling of the more capable rhythm and blues) but as rock and roll matured into rock, it developed its own identity, eventually accepting not only the best of what it’s parents could offer, but exploring all other available musical influences, examining and absorbing recorded and written music of all accessible areas of the globe and all accessible time periods.

Track listing

  1. Theresa’s Blues” (Chris Hills) – 12;19
  2. Scarborough Fair (Traditional,  Paul Simon, Art Garfunkel)” – 2:39
  3. “Drum Solo” – 3:55
  4. Ooh Baby” ( Chris Hills) – 12:14
  5.  “C’est Ca” ( Chris Swansen) – 0:19
  6. Back Street Girl” (Mick Jagger, Keith Richards) – 5:46
  7. “Piano Solo”  – 0:51

Personnel

Fifty Year Friday: Tony Scott – Music for Yoga Meditations and Other Joys; Al Kooper, Blood, Sweat & Tears – Child Is Father to the Man

Tony Scott Yoga

As a jazz instrument, the clarinet can excel from the hottest of jazz styles to the coolest and laid back genres of jazz, but there is something inherently cool, soft and tender in the lower and mid range of the clarinet that lends itself particularly well to more impressionistic. more reflective, and more introspective music.   As bebop extended into various flavors of cool jazz, Tony Scott first appeared on the jazz scene recording with Miles Davis and other jazz musicians on three tracks for “Sassy” Sarah Vaughan’s 1950 album, Sarah Vaughan In Hi-Fi. In 1953, he recorded a 10 inch album for Brunswick, “Music After Midnight”, with the music including elements bebop, cool and swing, showcasing the clarinet as well as the talents of now well-known jazz greats, bassist Milt Hinton and drummer Philly Joe Jones, as well as the versatile and gifted pianist Dick Katz.

In December 1959 , Tony Scott visited Japan and recorded some music for a radio program with Yasko Nakashima.  When Tony asked Yasko if she would like to do some improvisation around the scale (set of notes) of the previous piece they had played, she deferred, not having a background in improvising: improvisation not being a component of traditional Japanese classical music.  He then turned to the conductor of the ensemble, Shinichi Yuize, a koto player, who, though, had not previously improvised publicly, was willing to give it a go.  Four years later, in early 1964, during Tony’s last visit to Japan, Shinichi Yuize, shakuhachi artist, Hozan Yamamoto and Tony recorded what many consider the first New Age album, Music for Zen Meditation.

No additional albums appeared to have been recorded or released by Tony Scott, until February 1968, when Music for Yoga Meditation and Other Joys was recorded. American Collin Walcott, student of Ravi Shankar, and later Paul Horn associate and then member of Oregon  plays sitar pairing up with Tony Scott who is on clarinet. This album, with its wide stereo separation and forwardness of the clarinet and sitar,  comes more closely to being New Age material then the 1964 “Zen” album which is more a blend of jazz and true classical Japanese music.

For whatever reason, Verve waited until 1972 to release Music for Yoga Meditation and Other Joys.

Track listing [from Wikipedia]

  1. “Prahna (Life Force)” – 4:15
  2. “Shiva (The Third Eye)” – 5:06
  3. “Samadhi (Ultimate Bliss)” – 4:49
  4. “Hare Krishna (Hail Krishna)” – 6:15
  5. “Hatha (Sun and Moon)” – 3:40
  6. “Kundalina (Serpent Power)” – 4:42
  7. “Sahasrara (Highest Chakra)” – 3:10
  8. “Triveni (Sacred Knot)” – 3:20
  9. “Shanti (Peace)” – 2:48
  10. “Homage to Lord Krishna” – 5:04
  • All music composed by Tony Scott

Personnel

Production

Blood,Sweat&TearsChildIsFathertotheMan

Musician, Producer and songwriter, Al Kooper, put together the first jazz-rock group, Blood, Sweat and Tears, recording Child is the Father to Man in late 1967, with Columbia releasing the album on February 21, 1968.  Though this album is far more pop and rock than jazz, there are some jazz elements, including Randy Brecker on trumpet and flugelhorn supplemented with  saxophone, trombone and an additional trumpet.  Kooper provides the starting point from which the later versions of BS&T evolve, and paves the way for other jazz-rock ensembles like Chicago, Chase and Lighthouse.

Al Kooper departed from BS&T shorted after the release of this album, apparently due to creative differences, with his next project the bluesy jam album Super Session with Mike Bloomfield and Stephen Stills.

Personnel [from Wikipedia]

Blood, Sweat & Tears

  • Randy Brecker – trumpet, flugelhorn
  • Bobby Colomby – drums, percussion; backing vocals (tracks 4, 10)
  • Jim Fielder – bass guitar, fretless bass guitar
  • Dick Halligan – trombone
  • Steve Katz – guitars; lead vocals (tracks 3, 8); backing vocals (tracks 3); lute (track 6)
  • Al Kooper – organ, piano; lead vocals (tracks 2, 4-7, 9-12); ondioline (track 8)
  • Fred Lipsius – piano, alto saxophone
  • Jerry Weiss – trumpet, flugelhorn; backing vocals (track 4)

Additional musicians

  • Anahid Ajemian – violin
  • Fred Catero – sound effects
  • Harold Coletta – viola
  • Paul Gershman – violin
  • Al Gorgoni – organ, guitar, vocals
  • Manny Green – violin
  • Julie Held – violin
  • Doug James – shaker
  • Harry Katzman – violin
  • Leo Kruczek – violin
  • Harry Lookofsky – violin
  • Charles McCracken – cello
  • Melba Moorman – choir, chorus
  • Gene Orloff – violin
  • Valerie Simpson – choir, chorus
  • Alan Schulman – cello
  • John Simon – organ, piano, conductor, cowbell
  • The Manny Vardi Strings

Production

  • Producers: Bob Irwin, John Simon
  • Engineer: Fred Catero
  • Mixing: John Simon
  • Mastering: Vic Anesini
  • Arrangers: Fred Catero, Al Gorgoni, Fred Lipsius, Alan Schulman, John Simon
  • Art direction: Howard Fritzson
  • Photography: Bob Cato, Don Hunstein
  • Packaging: Michael Cimicata
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