... the jazz journey rolls into 1977....and it is one glorious stop!
Marian McPartland - Now's the Time Year: 1977
Style or Subgenre: Mainstream Jazz
This popped up in my queue for my 1977 listen, which was great, as I'm always happy to listen to Marian McPartland' I love her piano playing. The interest factor increased as this is an all female quintet, rather unusual as late as 1977. And then the expectations went off the charts as I saw one of those women was Mary Osborne. I'm always on the lookout for Osborne as she is most definitely one of my favorite guitarists, any genre. Even with such elevated expectations this album did not disappoint. Here are exceptional presentations of many great standards spanning just over 80 minutes.... and as it turns out, some of Mary Osborne's most enjoyable work, which is really saying something. Her lines are sparkling clean, fluid and precise, and yet still chock full of expression. Lovely. Just lovely. Oh, and it's not just Mary and Marian making this a special album. Previously unknown to me (AFAIK) alto Vi Redd seriously adds to the expressiveness factor. Pioneering drummer Dottie Dodgion and bassist Lynn Milano on bass keep everything grounded but swinging nicely. Wonderful album. Strong keeper.
Ella Fitzgerald and Joe Pass - Fitzgerald & Pass... Again Year: 1977
Style or Subgenre: Vocal Jazz
For Saturday Night Vocals, I reached for the 2nd of three collaborations between veteran icon Ella Fitzgerald and guitar virtuoso Joe Pass. I hadn't heard this album before either and was once again blown away. The then 60 year old Fitzgerald is absolutely brilliant.... brilliant I say! Her combination of control and expressiveness is a sound to behold. Sitting in a support role, Pass isn't showing off chops, but his uber-clean technique is sheer perfection in supporting the top quality vocals. Yeah, another strong keeper here.
... the jazz journey rolls into 1977....with a bonus connection!
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Jean Luc Ponty - Cosmic Messenger Year: 1978
Style or Subgenre: Fusion
This is a violin album for people who don't like violin. In addition to violin, Pony plays a lot of synth, and even when he's playing violin, it's run through enough effects that it doesn't really sound like a violin. But most importantly, this is great music. I haven't heard his whole catalog, but from what I have heard, this is one of Ponty's more tuneful albums, probably a great starting place for someone wanting to begin exploring fusion.
Joanne Brackeen with Ryo Kawasaki - Trinkets and Things Year: 1978
Style or Subgenre: Post Bop
I can never get enough Joanne Brackeen. When I saw new-to-me this album as a '78 release, I had to slip it into this year's edition of my latest jazz journey. I was not disappointed. When soloing, she is as dynamic as ever. She is equally adept at providing a foundation for virtuoso guitarist Kawasaki's flights of fancy. And when the two get going together, it blows my musical mind in the best possible way. This may not be the most acclaimed entry in the Brackeen discography, but it is both unique in her output and as brilliant as ever. Interestingly, as I was listening to it for the first time, I couldn't help but recall a 2000 duo release from Dream Theater virtuosos John Petrucci (guitar) and Jordan Rudess (piano), which I had to slip back into the queue for comparison.
John Petrucci and Jordan Rudess - An Evening with John Petrucci and Jordan Rudess Year: 2000
Style or Subgenre: Free Improv, Neo Prog
Upon pulling this out from my collection and listening to it immediately following the Brackeen/Kawasaki, I thought it provided a nice compare/contrast experience. The style here contrasts in sound, recording, and the specific direction the virtuosity takes. But the genre and sound contrasts sound superficial relative to the strong comparison in approach; both albums excel due to the incredible, uber-sympathetic interplay between the two musicians on each. Two instruments, one musical mind, one vision, and a fantastic album in each case.
Bonus Material: My car of the year, the Mercury Monarch
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Accompanying anecdote: I purchased one of these (mine had a white vinyl landau top) in 1983. In reality, it was just a glorified Ford Granada, but it was astonishingly quite, smooth, and the 302 under the good gave it a surprisingly serious amount of get up and go. I loved the car. My girlfriend not so much. You see while the car was not quite land yacht huge, it was pretty big and in the two door version, those doors were quite long.... and quite heavy. I lived in a mountainous area and you always had to park on a hill, so that big ol' heavy door always wanted to fly open or fly shut, depending on which side of the street you were parked on. It seemed every time my girlfriend got in the car, the door tried to maim her; she subsequently named the car "Christine" after the sentient evil car in the Stephen King book/movie that was always trying to kill the protagonists girlfriend.
Jack DeJohnette - Special edition Year: 1979
Style or Subgenre: Post Bop, Avant Garde
Jack DeJohnette is, if not my favorite drummer, at the very least in my top 3, but I have little music from him as leader. So it was easy to grab his Special Edition as one of my 1979 choices. In addition to DeJohnette being maybe the most musical percussionist I know, I love him for his versatility; he can play with literally anyone and elevate the music as a result. Here as leader, he goes mostly avant garde flowing out of a post bop foundation and gives us yet another release that is both excellent and unique. This album is quirkier/less straight ahead than I'm used to from DeJohnette, and took a couple extra listens to resonate, but I had zero qualms about taking the time and making the effort to do so, because DeJohnette never fails to reward, and that's the fact, Jack.
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Charles Mingus - Mingus at Antibes Year: 1979
Style or Subgenre: Post Bop, Avant Garde
Alright, so this one is a bit of a cheat. Yes, it was released in 1979, but it was recorded in 1960. It makes an interesting contrast with the DeJohnette album above. Both can be categorized as bridging from post bop into avant garde, yet the two decade differential distinctly influences the approach and outcome, as does the distinct personalities of the leaders. This one is all Mingus, that's for sure. It seems every time I dig back into a Mingus album which may be a little less familiar to me, the more impressed I am with his body of work, and digging into this one is no exception.
I think of it like this. Here I am trying to pick up as much Czech as I can in preparation for a vacation in Czechia. As someone obviously fluent in my native English, and who has comfortably picked up enough Spanish, German, and French to travel to those places, I'm a little taken aback at how different Czech is. Which is not to say It's not a beautiful language; it most certainly is highly appealing to my ear. But it's different. Very different. I'm not just talking about how plurals are made or how verbs are conjugated here; Czech has its own, very distinct rhythm, a flow unique unto itself. This makes it a little more challenging, as well as a genuinely fascinating delight to listen to. So it is with Mingus. He speaks his own language. His work is totally unique and has its own, totally distinct shape and flow. It is a genuinely fascinating delight to listen to.
Bonus material- my car of the year, the Porsche 911 Turbo 3.3 Coupe
Betty Carter - The Audience with Betty Carter Year: 1980
Style or Subgenre: Vocal Jazz
I have two previous Betty Carter albums and love them both, but they didn't prepare me for this! This is a monster two album live set that is the sort of thing it can be surprising to hear actually get released. The songstress takes full control here and starts the sprawling set with a 25 minute vocal improv-fest... and it never gets old. The rest of the double album isn't as ambitious (how could it be?), but it is every bit as singular and a continuous testament to artistic integrity. Carter delivers tremendous variety without ever losing energy and, at the risk of sounding cliche, I'll say this is an exposition of an artist truly being her authentic self. It's definitely a winner.
Pat Metheny - 80/81 Year: 1980
Style or Subgenre: Post Bop, Avant Garde
I coincidentally went big again for my second 1980 selection as this Pat Metheny release is also a full double. Interestingly, it also kicks off with a cut running over 20 minutes, that also holds interest throughout its considerable length. Truth be told, the sax does get a little too avant-goosehonking for my taste at times, but overall, the composition and delivery are superb. Throughout the album, Metheny is in top melodic form, delivering one hummable tune after another along with his trademark tone and precision picking. This is essential Metheny for sure.
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