Thursday, November 16, 2006


today's show was...interesting.

Sahib Shihab Blu Around Jazz Sahib
Benny Golson, Phil Woods, Bill Evans, Oscar Pettiford and Art Taylor join Shihab in 1957

Miles Davis Blue in Green Kind of Blue
from the gussied up reissue that's pitch-corrected and remastered.

Thelonious Monk Mood Indigo Thelonious Monk Plays Duke Ellington
Oscar Pettiford and Kenny Clarke join Monk for this example of how jazz musicians lovingly make something their own

Hamiet Bluiett Tranquil Beauty Jazz Loft Sessions
Is there a better name in jazz than Hamiet Bluiett? Juney Booth, Butch Campbell, Olu Dara, Don Moye, Billy Patterson, Bobo Shaw, 1976

John Carter Sweet Sunset Night Fire
From one of Carter's "Folk Suites," underrated jazz classics that will probably get a lot of hype in 10-15 years

John McLaughlin Binky's Beam Extrapolation
astonishing first recording with McLaughlin as leader, 1969, with Tony Oxley, John Surman, Brian Odges

Billy Cobham Spanish Moss Crosswinds
How does Cobham manage to make 17/16 funky? The Breckers and John Abercrombie help, but it's Cobham's show

Sonny Rollins East Broadway Rundown East Broadway Rundown
with Freddie Hubbard, Elvin Jones, Jimmy Garrison. A centerpiece at 21 minutes, worth every second.

Billie Holiday/Esquire All Stars I'll Get By/Tea for Two
The First Esquire Concert, recorded and released by the US Army on shellac V-disks. Check out the announcer. 1944.

Charlie Parker Back Home Blues/Lover Man Swedish Schnapps +
This is what Parker was up to during the WWII recording ban

Steve Lacy/Mal Waldron Star Crossed Lovers Sempre Amore all duets, all Duke or Strayhorn. 1987.

Cecil Taylor Pemmican/Points Garden
I can hear the whole history in Taylor's playing. This is the last 8 minutes of a 103 minutes solo piano performance, November 16, 1981

I seem to be getting better at transitions that are relatively smooth between stuff that one would normally think of as widely divergent. I have no idea how it happened, for example, that the Tea for Two piece segued so naturally into John Lewis's piano intro to Back Home Blues. I think playing the entire 21 minute East Broadway Rundown may have rattled the daylights out of my station manager...and how ironic is it that Rollins/Hubbard/Garrison/Jones perhaps pushed the aesthetic limits the most out of all the selections on the above list?

I had forgotten how much I admire Extrapolation. McLaughlin sets up a fairly straight rhythm section concept with Oxley and Odges, but his guitar sound has rich shades of Brit "blues revival" and then astonishing jazz chording. One wonders if this was something McLaughlin jumped off too soon, after, say, Emergency! or some of the Miles stuff. Surman blows the everloving crap out of the bari, great gorgeous yawps.

And Spanish Moss, the funkiest 17/16 ever. Cobham plays more 8.5 than 17 which helps funk it up. This too is a kind of music that seems largely undeveloped. Fusion-esque textures and instruments, but great horn lines. Sophisticated yet accessible. Lose the fake wind sound and everything would be fine....

Mr. Taylor's last bit of Garden tied the whole thing up somehow. At least I thought so....

1 comment:

Larry Love said...

Hullo again Peter, I haven't heard too much other V5 either. But for some reason, I remember that the 'Free Jazz Classics' title had more relevance on that release. This is a somewhat foggy memory to be honest, but I think that the songs were more of what one would consider to be the material that began to shake the foundations of jazz. Ornette, Cecil, Dolphy. The repertory idea is a little scary (shades of canon/cannon thinking), but the feeling I got listening to vol 3&4 is they just liked the tunes and wanted to play them. Ashamedly, I don't have the relationship to Sonny Rollins recordings that you enjoy (yet), so it may have felt a little less labored to me.