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Fifty Year Friday: Larry Young “Contrasts”; Joe Zawinul, “The Rise and Fall of the Third Stream”

Front Larry Young Contrasts

Trained in classical and jazz piano, playing as a teenager in R&B bands, then recording soulful jazz for the Prestige label as a leader, then switching to the Blue Note label, Larry Young records one strong album after another, including the innovative 1965 Unity album with Woody Shaw, Joe Henderson and Elvin Jones which includes a progressive jazz version of the exuberant victory march from Zoltan’s Kodaly’s opera, Háry János.

Young’s 1967 release, “Contrasts”, may not have the stellar personnel of Unity (Larry picks fellow Newark musicians that he knew or played with previously), but the musicianship and chemistry is excellent, and though “Contrasts” is not the classic that “Unity” is, it provides a magnetically engaging first side, and a diverse second side that includes a particularly evocative vocal sung by Althea Young (his wife, which as far as I know appears only one one other album, Young’s next Blue Note album), and ends with a free jazz track, “Means Happiness”.  Per the liner notes, Young was particularly fond of this last track, which is based on the word “Hogogugliang.” Unfortunately, an internet search on this term returns no matches, and I can find nothing that elaborates on the purpose or meaning of this track, except for the liner notes, which simply just indicates that “Hogogugliang” means happiness and is derived from Eastern thought.

Fans of modern jazz will not want to miss hearing the first side of this album, or the very tender and beautifully soulful version of Tiomkin’s “Wild is the Wind.”

Track listing[from Wikipedia]

All compositions by Larry Young except as indicated.
  1. “Majestic Soul” – 11:58
  2. “Evening” – 7:12
  3. “Major Affair” – 3:50
  4. Wild Is the Wind” (Dimitri TiomkinNed Washington) – 4:31
  5. “Tender Feelings” (Tyrone Washington) – 6:51
  6. “Means Happiness” – 4:47

Personnel

William Fischer  and Joe Zawinul were first introduced to each other in New Orleans, then, by chance, met a second time in Vienna (Zawinul judging an Austrian sponsored International Jazz Festival and Fischer working on an opera sponsored with a State Department grant),  and then once again by chance, met a third time at the Apollo Theater in New York where the got to know each other a little bit.  After some musical exploration together, in 1967, they recorded the music on “The Rise and Fall of the Third Stream” — the music composed and notated by William Fisher with one additional title composed by Austrian pianist and composer Friedrich Gulda. (Gulda also composed an interesting theme and variations on the Door’s “Light My Fire” and a Prelude and (jazzy) Fugue performed both by Gulda, and in an altered form during live concerts in the 1970’s, by Keith Emerson.)

Recorded in the latter part of 1967, beginning on October 16th, the “Rise and Fall of the Third Stream” is a thoughtfully composed and arranged album with a non-traditional string quartet (one bass, one cello and two violas), Joe Zawinul on piano, prepared piano, and electric piano, the composer, William Fischer on tenor sax, Jimmy Owens on trumpet, two hard bop jazz drummers, and classically trained Warren Smith on percussion.

Third Stream is the term composer  Gunther Schuller coined for music that blends elements of jazz and classical together, or in Schuller’s words exists “about halfway between jazz and classical music”, including jazz-like improvisation.  Although the title of this album seems to show a disdain for this term, the music embraces the concept fully, in the very best sense.  This is an excellent album from first track to last.

Track listing[from Wikipedia]

  1. “Baptismal” (William Fischer) – 7:37
  2. “The Soul of a Village – Part I” (William Fischer) – 2:13
  3. “The Soul of a Village – Part II” (William Fischer) – 4:12
  4. “The Fifth Canto” (William Fischer) – 6:55
  5. “From Vienna, With Love” (Friedrich Gulda) – 4:27
  6. “Lord, Lord, Lord” (William Fischer) – 3:55
  7. “A Concerto, Retitled” (William Fischer) – 5:30

Personnel

 

 

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Fifty Year Friday: Billy Strayhorn and Duke Ellington

Recorded in December 1966, released in June 1967,  and winning a Grammy for  Best Instrumental Jazz Performance – Large Group or Soloist with Large Group in 1968,”Far East Suite” is one of the finest concept albums of the 1960’s.  A collaboration between Billy Strayhorn and Duke Ellington, as is the case with much of the Ellington catalog between 1939-1967, this work is a set of reflections of the Ellington band’s 1963 world tour that included visits to Syria, Lebanon, Jordan, Iraq Iran, Afghanistan, Pakistan, India, Sri Lanka, and Bangladesh, and then later, their 1964 visit to Japan. All the music with the exception of the last track on the LP, “Ad Lib on Nippon”, is inspired by their 1963 exposure to locations of the Near East.  This is not music based on music of those locations, but music inspired by impressions of these locations. The construction and quality of each composition blending crafted arrangements, colorful chords and chord voicings, and including solos that enhance and not detour from the arrangements, make this recording one of the gems of anyone’s LP or CD collection (the CD including alternative takes of tracks 1-3 and track 8.)

Track listing[from Wikipedia]

(All compositions by Ellington & Strayhorn except 9. by Ellington.)

  1. “Tourist Point of View” – 5:09
  2. “Bluebird of Delhi (Mynah)” – 3:18
  3. Isfahan” – 4:02
  4. “Depk” – 2:38
  5. “Mount Harissa” – 7:40
  6. “Blue Pepper (Far East of the Blues)” – 3:00
  7. “Agra” – 2:35
  8. “Amad” – 4:26
  9. “Ad Lib on Nippon” – 11:34

Personnel

Billy Strayhorn initial inclinations were towards classical music, but the oppressive social barriers at the time made an entry into the classical realm much more difficult than one into the  jazz world. Strayhorn was talented enough to excel in either, and given the nature of classical composition in the 1930s-1960s, it’s fair to comment that the more meaningful and relevant new music was being produced as jazz and not the “avant-garde” school music composed for the concert hall and academia, which received limited performance and provided limited commercial recognition and compensation.

Billy Strayhorn was diagnosed with esophageal cancer in 1964, and bravely fought on, continuing to compose, even at the end when hospitalized, with his last year including works like “Blood Count” and “U.M.M.G. (Upper Manhattan Medical Group).”  On May 31, 1967, he lived his last day in Billy Strayhorn’s body, but continued to survive through his arrangements, compositions and recordings, with this memorial album, “… And His Mother Called Him Bill”, a timeless work of deep love and respect from Mr. Ellington and his orchestra, providing an everlasting, very personal homage to this great 20th Century giant.

On the original LP, the last track is a fortuitously captured recording of Duke Ellington reflectively playing  Strayhorn’s “Lotus Blossom” with bass player Aaron Bell, however the chance recording only has one working microphone and captures only the piano portion of this private performance.  Later, a trio version of this was recorded, but the producer found the spontaneous version more emotional and selected that. Both versions are particularly poignant with the solo piano version more personal and the trio version more polished. One can get both versions either in the Duke Ellington Centennial Edition 24 CD set or in the most recent (2016) CD reissue.  The tracks on the original LP are all excellent and transcend any stylistic classification.  If you love listening to the very best music, whether classical, jazz, rock or anything else, and attentively, actively listen to music, not just having it on as background but diving deeply into its innermost fabric, then you will find this album enormously rewarding.

Original LP [from Wikipedia]

  1. “Snibor” (Billy Strayhorn) – 4:16
  2. “Boo-Dah” (Strayhorn) – 3:25
  3. Blood Count” (Strayhorn) – 4:16
  4. “U.M.M.G. (Upper Manhattan Medical Group)” (Strayhorn) – 3:09
  5. “Charpoy” (Strayhorn) – 3:05
  6. “After All” (Strayhorn) – 3:28
  7. “The Intimacy of the Blues” (Strayhorn) – 2:55
  8. “Rain Check” (Strayhorn) – 4:34
  9. Day Dream” (Ellington, John La Touche, Strayhorn) – 4:18
  10. “Rock Skippin’ at the Blue Note” (Ellington, Strayhorn) – 2:59
  11. “All Day Long” (Strayhorn) – 2:56
  12. “Lotus Blossom” (Strayhorn) – 3:52

2016 CD reissue

  1. “Snibor” (Strayhorn) – 4:16
  2. “Boo-Dah” (Strayhorn) – 3:28
  3. “Blood Count” (Strayhorn) – 4:18
  4. “U.M.M.G.” (Strayhorn) – 3:14
  5. “Charpoy” (Strayhorn) – 3:07
  6. “After All” (Strayhorn) – 3:52
  7. “The Intimacy of the Blues” (Strayhorn) – 2:58
  8. “Rain Check” (Strayhorn) – 4:37
  9. “Day Dream ” (Ellington, Latouche, Strayhorn) – 4:25
  10. “Rock Skippin’ at the Blue Note” (Ellington, Strayhorn) – 3:02
  11. “All Day Long” (Strayhorn) – 2:58
  12. “Lotus Blossom [Solo Version]” (Strayhorn) – 3:54
  13. “Acht O’Clock Rock” (Ellington) – 2:23
  14. “Rain Check [alternate take]” (Strayhorn) – 5:22
  15. “Smada” (Ellington, Strayhorn) – 3:21
  16. “Smada [alternate take]” (Ellington, Strayhorn) – 3:20
  17. “Midriff” (Strayhorn) – 4:35
  18. “My Little Brown Book” (Strayhorn) – 4:13
  19. “Lotus Blossom [Trio Version]” (Strayhorn) – 4:56

Personnel

Check out Must Listen To Music for recommendations of other classic works.

Previous Fifty Year Friday Posts:

The Beatles

Arthur Rubinstein/Pink Floyd

Marta Argerich and Carlos Paredes

Jimi Hendrix

David Bowie, Marc Bolan, John’s Children

John Coltrane/Jefferson Airplane

Thelonious Monk/McCoy Tyner

Hindustani Classical Music

The Doors

The Velvet Underground

Aretha Franklin/Simon Dupree and the Big Sound

Mahler recordings

Rolling Stones

Zappa/Beefheart

 

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

Fifty Year Fridays

Stealing a page — no,  a series of pages — from fellow blogger, Rich Kamerman at kamertunesblog, the current administrator of this site will be posting a new post each Friday covering a single album from 1967.

In the meantime, check out Mr. Kamerman’s blog and these other review sites:

jazzreview.com

planethugill.com

progreport.comprogreport.com

classicalcdreview.com

musicweb-international.com

classical-cd-reviews.com

pitchfork.com

jazzviewscdreviews.weebly.com

progressivemusicplanet.comprogressivemusicplanet.com

jazzwax.com/

Please reply with any CD review sites you would like to recommend.  The more, the better!

Note from administrator

I’ts been a while since we have posted a new Zumwalt poem, but Zumwalt is alive and well and one never knows when one will receive something in the mail that we can post here.

Appreciate those that still follow this blog and in the meantime, will try to keep this site from completely vanishing from the google search engine by posting now and then.

For those that like music, there are a few pages on this site addressing that topic.  They aren’t easy to find, so I will call out one in particular: Must Listen To Music

The author that provided this page, believes that music is music, and that even classifying music as great, good, mediocre and poor is a worthless and impossible activity.  However, there is some music you should check out and this is what is listed here.

Whether you have heard everything listed or you haven’t heard any items on the list, you can do the author a favor and in your reply to this post, list music that you think the author should listen to.  If I just get one reply back, I will know this site is again attracting readers and can then maybe use this to entice Zumwalt to eventually provide another poem for us to post.

 

 

Beach Café

Beach Café

Chiming glassware
Lusty laughter and liquid murmurs
Midsummer night in Balboa
In the dream-dark
Charcoal curls spiral from the tables
Writhing arabesque and rococo
Like nomads’ campfires.
Detached
Sphinx-like
From a darker corner enclave
I survey the scene sucking my mug of java
Black and bitter.
The bartender
Grins through a wizard’s beard
Pouring, mixing, performing
For the waterfront gentry
While a waitress weaves a winding honey dance
With ball bearing grace bearing trays of beers
Through the clustered tables.

The locals
Burned and blonde
Gleam polished keyboard smiles
Brandish biceps and exhibit cleavage
Perched like cheetahs poised for game.
Or, Heineken in hand, they prowl in puka shells
Floral shirts and sandals
Sporting the seashore regalia
And predatory as the alligators embroidered
Above their hearts.

My focus withdrawn
I study the brown pit of my cup
Embarrassed by my suppressed, cynical envy
And my incipient paunch
Which spills below my sternum and sits
Like Signal Hill
Above my belt.
I spin theories about Their intellect or character
Judging smugly
But knowing, too
That the judgment’s just jive
And petty consolation
For my social shortcomings
A shoring up of a shaky soul
Discomfited by the competition and the game.
So I stroke my moustache
That drooping display of virility
And stay stoic behind an Agamemnon mask
Listening to an Aegean known only to me
Aloof and passive
As a walrus on an offshore rock.

The band
Back from break and beer
Slide into the electric haze
Tune up with playful foreplay before performing
Then splash emotion in the whisky illumination
The bassist
Measures out time like a beating heart, while
The drummer—a clock—
Clips it off
As the sax man belies his horn’s brassy brilliance
And cries the blues.

Behind the dancing tobacco curtain
I am anchored at my corner table
Cloistered in a turtleneck and straight leg jeans
An anachronism looking
For an age to join.

— Zumwalt (1978)

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