1972 was the year I started taking piano lessons in order to be able to write down all the original tunes that had started popping into my head around 1970. I never developed an ear good enough to play either my tunes or other people’s melodies impromptu, but it did give me enough foundation so I could pick out melodies after some work. It also gave me a greater appreciation of the great spectrum of music, current and past, available to people like me living in an industrialized, freedom-tolerant country with access to the variety of record stores, concerts and radio stations present in 1972 Southern California.
Uriah Heep: Demons and Wizards; Elton John: Honky Chateau
Two of the many albums released in May 1972, which I purchased shortly after their release included Uriah Heep’s Demons and Wizards and Elton John’s Honky Chateau. I recorded both on a portable battery-powered tape recorder to have music for the immediately upcoming summer vacation trips, but never much took a liking to Honky Chateau (resulting in me not purchasing Elton’s next album.) Demon and Wizards was better musically, and though not as notably baroque in feel as their previous album, there was still some impressive keyboard work and invigorating instrumental passages.
Rolling Stones: Exile On Main Street
Since I could now drive, I started going to school dances, and was exposed to some of the classic dance numbers on the Rolling Stones’ Exile on Main Street, which was recorded in sessions from 1970, 1971 and 1972 and released on May 12, 1972. I never considered myself much of a Stones fan, but I loved dancing to “Tumbling Dice”, and particularly “Happy”, when some local band would play them (along with Deep Purple’s “Smoke on the Water”) at either our own high school gymnasium or at the college across the street or our local junior college. Exile is doted on by rock critics, and though it is a pretty good album, maybe the Stone’s best album next to “Between the Buttons”, and though we have Nicky Hopkins and Billy Preston on keyboards and the creative magic of Mick Taylor and Keith Richards, this is an album more suited for secondary listening, such as driving or party music, as opposed to serious, concentrated listening as appropriate to the very best Yes, Jethro Tull, Genesis or Gentle Giant albums.
Caravan: Water Lily; Wishbone Ash: Argus
In terms of rock albums that do compel serious, concentrated listening, two releases from May 1972 fall into this category: Wishbone’s Ash’s Argus, which peaked near the end of May at number 3 in the UK top ten albums, and Caravan’s Waterloo Lily.
Ornette Coleman: Science Fiction, Skies Of America
My first exposure to Ornette Coleman was from the Columbia Records 2 LP “The Progressives” album, made available around 1973 as one of several give-a-way selections (something like 5 or 10 records for $1) to join the Columbia House Columbia Records Club. This was also my first exposure to Weather Report, Soft Machine, Charles Mingus, Don Ellis, Keith Jarrett, Bill Evans (with George Russell), Matching Mole, and Gentle Giant. Gentle Giant garnered the plurality of my attention, mandating me to immediately purchase their 1972 Octopus album, but the Ornette Coleman track was a bit beyond my reach and my reality. However, around 1976, when Columbia Records issued a 2 for 1 (two for the price of one) LP of Coleman’s Science Fiction album and Skies of America album and at a price of $3.99, I considered that enticing price enough incentive to start my jazz record library, and I got my first in-depth experience with free-jazz, though I was well-prepared with the amount of twentieth century classical music I had been exposed to as a music major in college. After navigating through Xenakis, Stockhausen and Boulez, music by Ornette Coleman was now more accessible.
Science Fiction was recorded in 1971 and released in 1972 and is my favorite of the two albums. It is bold, unbridled and inventive. The album starts off with the ethereal and relatively tranquil “What Reason Could I give”, with Asha Puthil’s vocals essential in establishing the freshness and almost futuristic characteristics of this first track, and nicely setting up the overall listening experience for the entire album. “Civilization Day” provides a metallic, edgy contrast to the opening with an amazing pocket trumpet solo from Don Cherry. The third track of the album provides a softer and more open sound prior to the more aggressive fourth and fifth tracks, with the sixth track, “All My Life”, a beautiful love song with a remarkable sinuous melody and vocals handled handsomely by Puthil. The seventh track, “Law Years”, includes a compelling solo from Charlie Haden on bass, and the last track, “The Jungle is a Skyscraper” includes a terrific drum solo from Ed Blackwell immediately followed by Coleman on alto over effective support from Blackwell and Haydn, followed by Cherry, then Cherry and Coleman together with the return of the opening theme dramatically ending the album.
Skies of America, recorded in April of 1972, and released in May of 1972, fell short of what it could have been. Coleman’s writing for orchestra provides an effective foundation for an added jazz combo to improvise in appropriate places on top of the basic composition, however contractual constraints with the UK’s musician’s union resulted in Coleman having to do replace his intended “concertino” with a single soloist, himself. In addition, not the entire work was included on the album due to the time limitations of a single LP, possibly compromising the both the fullness and unity of the work — I say possibly, as I don’t believe there is any release with the entire work — I am not even sure the entire composition was recorded by the LSO during the April 1972 sessions.
That said, the album is still quite good, even with the LSO’s playing likely to have benefitted from additional rehearsal time. Coleman is in top form, and as expected, fully able to appropriately execute the underlying intention and vision of his work. The last track, “Sunday in America”, is as American as music by Aaron Copland, starting out reflective and embracing individuality, disparity, and unfettered freedom to dramatically end the movement and effectively close out the forty-minute work.
Weather Report: Live in Tokyo, I Sing the Body Electric
Perhaps a bit more accessible and commercially serviceable to Columbia Records was Weather Report’s part-studio-based, part live album, I Sing the Body Electric, released on May 26, 1972 in states. The live material is a subset of the “Live in Tokyo” 2 LP album released on May 1, 1972 in Japan, and shortly thereafter available as an import in the US, and then much later, like the second decade of the 21st century, available as a two CD set.
Randy Newman: Sail Away
On May 23, 1972, Randy Newman and Reprise records released Sail Away, Newman’s strongest album up to that time, including some of Newman’s songs that had been previously recorded by other artists and some newer material — or at least new to the public. Though not a commercial blockbuster, the album did make it into the Billboard 200, peaking at position 163. Sometime in late 1972 or 1973, I remember Newman appearing on TV and then in 1973, when, as a senior in high school, I took a Music History 100 class from cellist Terry King at the college across the street from my high school. Mr. King shared that he had played cello on this album (as well as cello on Carole King’s Tapestry) and he played a cut from the Sail Away album. Later in 1973, I saw Newman live, just him and piano, at the junior college, performing many of the songs on this album for an interested but relatively small audience. Though, I love the orchestration on this album, nothing quite brings out the sardonic wit and implied cynicism and irony of these songs as Newman tackling them live in the intimate setting of a small auditorium, in his individually, almost conspicuously, relaxed, offhand manner.