Dick Heckstall-Smith - A Story Ended Year: 1972
Style or Subgenre: Progressive Rock, Fusion
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I guess there's enough improvised (or at least improvised-sounding) sax here that one could label this jazz, or at least fusion, but in reality, this album sits squarely in the progressive rock realm. Fortunately, it's an absolutely superb prog album and not a single second of my time was wasted, even if I did start out looking for some jazz.
Lucia Cadotsch - Speak Low Year: 2016
Style or Subgenre: Vocal Jazz
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Lucia Cadotsh is praised for bringing all new interpretations to old standards. In many of my Sunday morning vocal listens, I have found this sort of assessment to be a real boon to my enjoyment of jazz, and its continuing evolution. Not so much here though. Although Cadotsch's phrasing can be interesting at times, the songs can be relentlessly plodding one after the other as the album takes on a sameness of a type that I'm not one to stick with. Only Willow Weep For Me really worked for me on this one. I'm in no hurry to seek out Speak Low II.
Haftor Medbøe - In Perpetuity Year: 2006
Style or Subgenre: Contemporary Jazz, Ambient Jazz, Third Stream
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Norwegian guitarist Haftor Medbøe is another all new to me artist and I found his second album, In Perpetuity, to be a very interesting listen. There is a lot going on here which could be considered stereotypical, but yet it really isn't. There is a lot of variety on this album across a variety of jazz fusions. The inclusion of the string quartet occasionally lends itself to classical influence. The inclusion of an electronic musician has predictable results, at least on the surface. The occasional emphasis on ambient textures can make one think more of things not at all jazz. And then there's the new ageyness of some songs, again on the surface might make you think this album is less than it really is. But again, all that is just on the surface; an attentive ear will hear transcendence of these genres and their cliches. And the variety from one song to the next keeps the album fresh. Some of that diversity may be attributable to the membership of the main group which includes Susan MacKenzie (Scottish) on soprano sax, Signy Jakobsdottir (Icelandic) on percussion, Chris Grieve (Australian) on trombone, and Kenny MacDonald (British) brining in the electronic element.
The opening "little Auk" is a gently and delightfully melodious contemporary composition with the strings providing a lilting foundation and MacKenzie laying down those glorious melodies in the lower register of her soprano with very good effect and I was immediately smitten. The following "Spor" starts of with a simple repeated motif, and then builds and when the solos come in, they hit with a gently flowing but highly engaging force. "Charivari" leans heavily on its 20th Century style string quartet opening before abruptly shifting to Medbøe's guitar and MacKenzie's playing exotic-sounding Middle Eastern melodies aptly supported by Jakobsdottir's percussion followed by increasing electronic presence; a lot going on in a short space and it makes for a fun listen. The title cut sits dead center of the seven cuts and is the most blatantly ambient of the album, and the one I initially took to the least. The aptly named "Hop Skip" is a rather clever bit of dancing melodies playfully hopping about each other in a light-hearted counterpoint. "Teetotum" again starts with that 20th Century string quartet vibe, rather reminiscent of a Leos Janacek quote, but quickly alternates with pleasant melody and another more angular Zappa-esque melody. Much of the song takes on a cinematic quality even as it bounces around from one mood to another. The closing "Spor" is very much an extramusical soundscape leading into a brief piece of melody bringing the whole thing to a gentle close.
Emiliano D'Auria - In Equilibrio Year: 2022
Style or Subgenre: Contemporary Chamber Jazz (my description)
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Sticking with new-agey, contemporary European Jazz, I pulled down this recent (Oct 2022) release from Emiliano D'Auria. Odd Gjelsnes of Losen Records, considers “this record to be of the best released on Losen Records and a record that is often played here in the house. You don’t easily get tired of this music.” Not being familiar with the Losen catalog, I'm not sure how big an accomplishment this may be, but this is indeed pleasant, charming music. In his Jazz Views review, Chris Baber says " ...there is plenty in the playing of the quintet that gently disturbs, disrupts and displaces melody and rhythm in order for the tune to be brought back to its safe harbour." The key word in that sentence is "gently"; this music never wanders very far from that safe harbour before bringing you back. In fact, I'd say the music is almost continually charming throughout, which works quite nicely here. This was a perfect listen for what is a very grey and gloomy Sunday in my neck of the woods.
Ronnell Bright - Bright's Spot Year: 1956
Style or Subgenre: Bop, Mainstream Jazz
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From the rather less heralded vaults, I unearth Ronnell Bright. Another one of those frequent sidemen with few titles to his own name, Mr. Bright delivers some mighty fine and fun bop/mainstream jazz in this 1956 outing. This is a drumless trio with none other than guitarist Kenny Burrell, really lights the place up with his clean, tasteful, and expressive playing; probably as good as most titles in which he was leader. Bright is no slouch on the piano either, and him and Burrell together is a delight. What a great find.
John Scofield - Uberjam Year: 2002
Style or Subgenre: Contemporary Jazz, Fusion, Guitar Jazz
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John Scofield - Uberjam Deux Year: 2013
Style or Subgenre: Contemporary Jazz, Fusion, Guitar Jazz
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John Scofield - Past Present Year: 2015
Style or Subgenre: Contemporary Jazz, Straight Ahead Jazz, Guitar Jazz
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John Scofield's Uberjam Deux was one of my early jazz/fusion guitar purchases and I loved it. Eventually, I got around to going back and picking up the original Uberjam. This is the exception to the rule, where I liked the sequel better than the original. As creative as the original Uberjam can be, it's heavy use of less interesting (to me)/less swinging beats didn't hit it for me (some songs are exceptions). But with each subsequent listen, I appreciate Scofield's creativity with the fretboard more, even if the milieu is less to my taste.
Past Present, on the other hand , hit me from the start and I continue to appreciate it. This quartet includes a collaborator from Sco's past, Joe Lovano on sax, and the results fit very nicely into my ear. While I generally love Sco's fusion work, his cleaner tone here sits nicely in the acoustic quartet environment and what makes the album extra special is his synergy with Lovano. This is one of the many colors of the musical chameleon that is John Scofield that I love most.
John Hardee - A Little Blue: The Definitive Black & Blue Sessions Recording Date: 1975
Recording Date: 1999
Style or Subgenre: Bop, Cool Jazz
John Hardee, who shone briefly but brilliantly in the 1940s emerged to record these sessions in Antibes, France in 1975. No need to worry about any rust here, Hardee's tenor is as deep and soulful as ever. He's joined on the front line by what might be the coolest nicknamed trombone player ever, Gene "Mighty Flea" Conners, who almost matches Hardee's soul. With Gerry Wiggins on Piano, Bill Pemberton on bass, and Oliver Jackson on drums, this quintet keeps things swinging nicely throughout. But oh, what a magically blue world they create, especially on the title cut, which immerses the listener for a full 11 minutes.... and it's only the second longest cut on the album where no song wears out its welcome. this is a most joyful find.
Sunbirds - Zagara Year: 1972
Style or Subgenre: Jazz-Rock, Soul Jazz
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Music on this 1972 fusionesque release ranges from commercial friendly background music to seriously fiery and funky soul jazz. I do love the sound from this era, with lots of flute and electric piano.
Charles Mingus - Mingus Mingus Mingus Mingus Mingus Recording Date: 1963
Release Date: 1964
Style or Subgenre: Progressive Jazz, Post Bop
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The great master quickly draws you right into his brilliantly multicolored world, doesn't he? Mingus kicks off the opening "II B.S." with a brief bass solo, before some swinging drums hop in and provide a quick but effective transition to the rest of the band joining in, and building a colorful musical portrait. Everyone is totally on point throughout, even as the composition teeters on the edge of cacophony at point. The deftness with which all members handle seemingly impossible transitions here and throughout the album is a wonder to behold in itself. I'm not sure I've heard upright bass played with such a combination of power and sensitivity as Mingus does on this album. Truly incredible.
Whether raucously rambling through totally unique and soulful progressive jazz tuneage, or even balladeering, these cats all maintain that simmering to explosive energy in song after song. "Celia" was another raucous highlight and on "Theme for Lester Young " (aka Goodbye Pork Pie Hat, which mad it's first appearance five years earlier on Ah, Um), the gorgeous main theme exudes so much captivating melody, it can be totally captivating. I also couldn't help but go totally gaga over the closing "Hora Decubitus," especially as trumpeters Eddie Preston and Richard Williams totally go off! "Freedem," an addition on various reissues is most worthy as well, opening with utterly compelling narration from Mingus himself.
I'm now realizing why my brain started thinking "Miles, Mingus, Monk" some time ago, and it's not just because of the catchiness of the alliteration. Like Miles, Mingus plays quite well, but there may be even more wonder in his composition and how he so effectively gets others to deliver his unique and highly expressive musical vision. And just as Monk is always thoroughly Monk, Mingus is always Mingus through and through. I wouldn't use the old cliché "often imitated, never duplicated," because I don't think I've heard many try to imitate Mingus.... probably because it's so obvious that you just can't.
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