I'm going back to the start - Music Diaries

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Gil Evans - The Individualism Of Gil Evans
You might remember I didn’t completely get into Out Of The Cool, which is considered his magnum opus if we exclude his collaboration with Miles Davis, yet I somehow liked this one much more. It’s based on the same principles for the most part, yet the combination of finesse, flair and emotion reached a new level for me. That’s an album to wish you the sweetest dreams.
7/10.

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John Fahey - Death Chants, Break Downs ...ry Waltzes
First of all, I can’t help but notice those super cool titles – both the album and the tracks. Not much else to say unfortunately, you know I struggle with the blues, so this faithful to the tradition but at the same time unconventional and imaginative take on the genre (may I call it post-blues or something) was bound to be way too much for me. Of course I have tons of respect for the man, I know many people who take music seriously swear by his name and it’s easy to see why, anyone who is remotely interested in what a guitar can do, go ahead and check this album out – and the rest of his discography as well - as soon as possible.
6.5/10.

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The Beach Boys - All Summer Long
Listening to a Beach Boys album – especially All Summer Long – at the heart of winter, talk about some awkward timing. On the other hand, the fact that this record doesn’t fail to deliver even under such circumstances is a testament of their improvement. Up to this point, they were making baby steps. This time, I’d say they got it right – or at least close to it. There are a few songs that could qualify as filler, but it does feel like a “proper” album and not a collection of great and not so great songs. Every track succeeds in giving you the summer vibes – and they do that without lacking in terms of musical or emotional diversity, which is quite impressive. I can’t even hate Our Favorite Recording Sessions, it always gives me a good laugh. And of course there are some stunning highlights, the brightest of them all undoubtedly being I Get Around, their best song until now and in the running for their second best song ever.
7.5/10.

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The Beach Boys - The Beach Boys' Christmas Album
Ok, that’s better timing-wise, though it’s still one month too late, never mind. I don’t know, I’ve always believed they seemed destined to make a great Christmas album. After all, if there’s one famous artist that every kid should like without any problem whatsoever, it’s The Beach Boys – don’t get me wrong, I’m not trying to imply they are childish or anything, everyone who’s spent a decent amount of time with them knows how complex some of their harmonies are, it’s simply that they can be enjoyed by virtually anyone with a beating heart, their appeal is universal, just like The Beatles. Anyway, the concept was promising, but I don’t like the direction they took, it should have been more entertaining(see the first side) and not so religious (see the second side).
6.5/10.

حمزة علاء الدين [Hamza El ...c Of Nubia
Another debut album and that’s actually my first exposure to Hamza el – Din’s work, apparently an important figure in this type of music. His oud playing is very expressive (Ahmed Abdul-Malik is my man when it comes to this instrument, though their styles share little in common, based on my limited understanding of their playing). On the other hand, I have to say I wasn’t a big fan of the vocals, if anything they acted distracting. The more minimal the setting, the more it suits him.
6/10.
_________________
Bob Dylan
Charles Mingus

kokkinos

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Jean-Luc Ponty - Jazz Long Playing
It’s not often I come by a jazz album where the violin is the star of the show. On top of that, his approach is rather funky - in a way that would make Stevie Wonder pround - for a violin based album, so it’s definitely not something you listen every day. Also, it has to be said that it’s far from an one-dimensional album, the rest of the band has plenty of room to shine as well, check out the bass in Au Private and the drums in A Night In Tunisia.
6.5/10.

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Albert Ayler - My Name Is Albert Ayler
Debut albums from essential and highly influential artists keep coming up, 1964 was quite a year after all. When it comes to Albert Ayler, we are only one year away from Spiritual Unity and you can tell he’s up to something special. You’ll have to watch your step, this makes for a heavy listen, as it can get painfully wild and chaotic, almost violent if you will. Despite the uncontrollable bloodbath, the final outcome is more peaceful than one might expect. At first, I wasn’t sure how or why, but slowly I realised it’s the solid foundation provided by the rhythm section that does the trick. Making a note to myself there’s a film with the same title that I’d like to watch at some point, I read it’s a great documentary.
7.5/10.

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The Dave Brubeck Quartet - Jazz Impressions Of japan
This didn’t strike me as Japanese inspired, though I’m by no means an expert on Japanese music or culture in general, so maybe it was there and I missed it. Anyway, what I liked the most about it is how balanced it was, some tracks were joyful in an anxious, sort of neurotic way (Tokyo Traffic, Toki’s Theme, Osaka Blues), some were melancholic in a more realistic (Fujiyama) or theatrical (The City Of Crying, Koto Song) way, some others were playful and weird (Zen Is When). Overall, a nice and pleasant mix.
6.5/10.

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Dusty Springfield - A Girl Called Dusty
Speaking of important debuts, here comes Dusty Springfield. Not much to say really, you know what a great singer she is and those are some fine songs to get going, Dusty’s take on girl group/ brill building is as good as anyone’s. On a side note, I don’t think I’ve ever listened to the US version (titled Stay Awhile / I Only Want To Be With You), though it’s hard to believe it will be significantly better or worse, considering they share most songs.
7.5/10.

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Phil Ochs - All The News That's Fit To Sing
Whenever the man’s name is brought up, I can guarantee you someone will make a comment along the lines of “Dude, why waste your time with Phil Ochs, go listen to Bob Dylan instead.” It’s true that they were both engaged in making some protest songs, though their foundation is vastly different. I’d say Dylan is more poetic, abstract, charismatic and of course timeless, while Ochs is more direct, focused, closer to reality and more interested in the signs of his times, approachable and anthemic. Not to sound too harsh or anything, but you could sum it up by saying one’s a visionary and the other’s a journalist. That being said, there’s one Dylan record that comes to mind and that’s obviously The Times They Are A-Changin’, although this one’s clearly softer and not as menacing. My favourite part has to be the talking blues tracks (e.g. Talking Vietnam Blues or Talking Cuban Crisis), which are also the most Dylanesque. It may sound like I hate it or something, which isn’t true at all, I quite like it, it’s only that he can’t possibly compete with everyone’s favourite bard, which is fine, no one else could either.
7.5/10.

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Dionne Warwick - Make Way For Dionne Warwick
Unfortunately, not a fan. I mean, she is a good singer, no doubt about it, but the overall vibe of the album isn’t for me. It’s soft and relaxed, which shouldn’t be that bad on general principle, yet some parts were too sensual and made me a bit uncomfortable, not to mention the otherwise harmless jazzy background makes matters worse in that regard.
5.5/10.
_________________
Bob Dylan
Charles Mingus

kokkinos

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The Beach Boys - Shut Down, Volume 2
Man, I completely forgot this album existed. I should have posted it before All Summer Long, as that’s the correct chronological order, now we’ve lost the natural progression. Anyway, the improvement I was talking about the other day is nowhere to be found here, that’s a typical release of their early period, namely it contains an absolute beast of a song – that’s Don’t Worry Baby – which belongs to the same category as I Get Around, meaning it can compete with almost anything they ever did and I could see it climbing as high as #2 in the “greatest Beach Boys songs ever” list, easily top-10 no matter what. Other than that, a few good/above average hits and many fillers, nothing extraordinary yet. They even made some room for their trademark joke-track that most people hate, yet I somehow can’t get enough of – that’s "Cassius" Love Vs. "Sonny" Wilson.
7/10.

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The Temptations - Meet The Temptations
Speaking of The Beach Boys, here are some more lovely vocals. They are too goofy for their own good, though I’m the last person that would complain about it, not to mention the album could have been too dramatic without it, there's a lot of passion here. Relatively solid all around, but the opening track is the absolute star, simply wonderful.
7/10.

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Jacques Brel - Olympia 64
Jacques Brel is another artist whose performance is driven mainly by his passion. As I’ve mentioned before, I usually prefer his lighter side, but I have to admit this was quite convincing – parts of it at least, one has to take into account the language barrier as well, a factor that can’t be ignored especially in this type of music.
6.5/10.
_________________
Bob Dylan
Charles Mingus

kokkinos

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Thelonious Monk - Monk.
It features only two Monk compositions, one that was already a classic at this point (Pannonica) and one that appeared on record for the first time (Teo). This doesn’t matter that much, though, as Monk really knows how to approach jazz standards, everything sounds so fresh and spontaneous, as if it’s the first time listening to these well-established tunes, his colourful and expressive style takes over. Monk and Charlie Rouse is a match made in heaven – the rest of the band is not to be underestimated either. I especially like how effortless and natural it all is, they take their time and do each number justice. Could this be better than Monk’s Dream? Probably not, but it’s up there for sure.
8/10.

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Etta James - Etta James Rocks The House
When Etta is in the zone, you know you can’t stop her, she’s a powerhouse. The best part is that the audience responds to her energy in a way you don’t see that often and is having the time of their lives. The fact that this was recorded and we have the chance of almost being there is a blessing.
7/10.

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Michael Garrick Trio - Moonscape
Oh, come on, why only 22 minutes? It’s hard to find anything else to complain about, that’s my only problem, we don’t get enough. A trip to the moon has been a source of inspiration for some great music – I guess Interstellar Overdrive is the most famous case, but there’s many more examples and this gem of an album is definitely one of them. So, it starts off with the opening track, Moonscape, we are cheerful and excited for the upcoming adventure. Then comes Music For Shattering Supermarket (what a title by the way) and it gets lyrical out of nowhere. Maybe a last chance to say goodbye before heading into the unknown. Sketches Of Israel is an epic, we are finally under way. A Face In The Crowd is probably my favourite track, it slowly builds up intensity and suspense, I’m thinking it would make more sense were it placed before Sketches Of Israel. Man, Have You Ever Heard is quirky and playful in a Monk-reminiscent manner. Take Off is a fitting closer, it doesn’t feel like an epilogue, it’s as if the joy of discovery lies ahead. No idea why it didn't receive more attention, but this clearly counts as an underrated and underlooked album in my book.
8/10.

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Rev. Gary Davis - The Guitar And Banjo ...Gary Davis
The 1 or 2 albums of his that I’ve heard so far were quite disappointing, so I expected a similar outcome in this case. I have to admit I was pleasantly surprised and I liked this one slightly more. The most reasonable explanation is that I’m not a fan of his singing and an instrumental release showcases his talents the best – though I would easily skip the banjo and focus on the guitar. The timing also helped, I needed something different right now and this miraculously hit the spot.
6/10.

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John Coltrane - Black Pearls
Another case of a Coltrane record with a gap of 6 years between being recorded and being released, one has to be careful with the dates when examining jazz albums. My main complaint would be that we don’t get enough Coltrane. To be fair, that’s more evident in the opening track. Why the rest of the band gets so much time in the spotlight is beyond me. The other tracks are more Coltrane-heavy, though it remains clear that the band is not ready for the forward-thinking performance of Coltrane and as a result are no match for the man.
6.5/10.
_________________
Bob Dylan
Charles Mingus

kokkinos

Edison Machado - Edison Machado E Samba Novo
This isn’t anywhere close to my favourite branch of jazz, but, credit where credit's due, it’s a great effort. If you have a swinging big band and add some infectious samba rhythms, you are going to get a highly entertaining combo and that's exactly what happens here, few albums have such an extrovert personality - considering that Edison Machado is a drummer, I’d go on to say this generates an excitement similar to that of a Max Roach release, if only it had the same ambition as well, that would have been something special.
7.5/10.

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Nara Leão - Nara
Followed by some more Brazilian music, though that’s totally different from the above, softer and smoother, it goes for a way more relaxed vibe all around. She has a unique, instantly recognisable voice that’s been highly influential – and the most impressive is how universal her impact has been, travelling across time and space. Maybe it was a bad idea to listen to it directly after the above, I have to admit this bored me a bit, it was floating in a seemingly aimless manner and I couldn’t find anything to grab me.
6/10.

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Bill Evans - Trio '64
Bill Evans has been one of the usual suspects of this diary, so it was about time that I come back to him. Looser and happier than usual, you might argue it’s far from his finest, but it’s clearly one of his most relatable. Even though it’s relatively balanced, there are many instances where the bass takes centre stage, any bass aficionados are sure to enjoy it.
6/10.

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Sahib Shihab - Summer Dawn
This was nice, exotic rhythms, elegant enough – mainly thanks to the flute- but never distant or inaccessible, it maintains a warm and relaxing mood, every musician knows exactly what he’s supposed to do and adequately contributes his share. Please Don't Leave Me strikes me as the odd one out, I don’t think an up-tempo track was needed, some of the magic is gone. The rest of the album plays out like a late-50s/early-60s Miles Davis record, maybe a bit more bouncy.
7/10.

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Thelonious Monk - Big Band And Quartet In Concert
Monk is undoubtedly one of the most interesting artists ever and can deliver under any circumstances. However, the big band is a setting that doesn’t suit him that much in my opinion – at least in this particular recording, maybe there’s a better example out there, I don’t know. Also, it didn’t give the impression of a live album, the energy was kinda off – maybe because all of his albums have a particular energy and spontaneity, so it’s hard to tell the difference between live and studio. On top of that, it felt unnecessarily long.
5.5/10.
_________________
Bob Dylan
Charles Mingus

kokkinos

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Chico Hamilton - Man From Two Worlds
I was a big fan of Chico Hamilton’s 1963 album - Passin’ Thru - and this might be even better. We are down to a quartet instead of a quintet, though it’s hard to tell, as the sound is so full and rich. The guitar work is once again lovely, subtle and well-thought out, big props to Gábor Szabó. The saxophone is also on fire, I’m sure Charles Lloyd would fit nicely in a Mingus band. The opening track, Man From Two Worlds, stands out by being ahead of its time, I bet someone like Frank Zappa would be a fan. Blues Medley is so unapologetically happy and energetic, impossible to resist. Forest Flower takes another interesting turn as it gives Albert Stinson and his bass the chance to shine. Drum solos usually annoy me, but Chico Hamilton manages to avoid common pitfalls so to speak and as a result it was surprisingly tolerable. Child's Play establishes a warm and romantic mood, which may initially feel like a well-worn theme, but it’s creative enough to keep your attention. Blues For O.T. should be a favourite of any flute afficionados, while Mallet Dance somehow combines elegance and bombast. Love Song To A Baby is an excellent choice for a closing track, wishing us goodbye in the most smooth and tender manner.
8/10.

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Andrew Hill - Black Fire
Andrew Hill is an important figure in the avant-garde jazz scene and this is the album that set the foundation for what was about to follow. His compositions walk a fine between being accessible and unconventional. He’s got an eccentric playing style - everyone compares him to Monk and it’s easy to see why, though he’s not as playful or exciting, I’d say his approach is slightly more serious and classy. Joe Henderson is an excellent addition to any band. He doesn’t appear on each track and it’s the piano that gets the lion’s share of attention, but his contribution is memorable nonetheless. Roy Haynes’ drumming was a pleasant surprise, he has many ideas that he displays in a balanced – energetic without getting overwhelming – way. Richard Davis is rock solid, keeps it tight for the most part and makes the most of his chances, e.g. in the self-titled track or Cantarnos.
7/10.

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Joseph Spence - Happy All The Time
First time listening to this artist and there’s one thing that sticks out, what are those vocals? I have no idea what to think of them, definitely interesting if nothing else. His guitar, on the other hand, sounds way more familiar – think of Piedmont Blues or something. Cool record, not exactly my cup of tea.
6/10.

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Eric Dolphy - Last Date
Man, this was recorded less than a month before Dolphy passed away, to think of how much more this wonderful artist could have done, what a tragedy. Anyway, Dolphy live may be even more spectacular compared to the studio – if that’s somehow possible - and this album is no exception, he is on top of his game. Of course you know that already, so I’ll take a moment and tell you I loved the piano work here – see South Street Exit as a bright example. I will shamelessly confess to my total ignorance about Misja Mengelberg, though the first signs are extremely promising, anyone who comfortably stands next to Dolphy’s dominating presence deserves a pat on the back. And the way Miss Ann closes is incredibly mesmerising, Eric Dolphy may not speak a lot, but this is a quote for the ages.
"When you hear music, after it’s over, it’s gone in the air. You can never capture it again."
8/10.
_________________
Bob Dylan
Charles Mingus

kokkinos

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Wolfgang Dauner Trio - Dream Talk
A piano, bass and drums trio isn’t exactly my favourite lineup and this particular group excels in what such bands usually excel, so unfortunately no luck with that one. Way too progressive, minimal, subtle, classy and sophisticated for me.
6/10.

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The Albert Mangelsdorff Quintet - Now Jazz Ramwong
Now, this was better - admittedly, there was a higher degree of familiarity in this case, as I've already listened to the quintet's 1963 album, Tension. Anyway, if you were to compare it to the above you could say it’s in the same spirit, as it’s also forward-thinking - Albert Mangelsdorff’s handling of the trombone is rather unique-, but it’s clearly more lively and more tangible, it wants to challenge you, but it wants to entertain you as well. Those soothing rhythms do help a lot, it all flows so naturally.
6.5/10.

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Anna King - Back To Soul
A relatively solid soul album that's unmistakably of its time, nothing out of the ordinary. Such records rely heavily on the emotional aspect and this one falls flat. As a result, it gets tiring surprisingly fast and I doubt it would reward multiple listens. Interesting fact: James Brown is credited as the producer.
6/10.
_________________
Bob Dylan
Charles Mingus

kokkinos

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The Impressions – The Never Ending Impressions
Not much separates this and their debut, that's another charmingly flawed effort. Many otherwise forgettable songs that are single-handedly carried by Curtis and a few moments – the opening track, Sister Love, is my favourite by some distance, few people can write and perform a simple pop song like Curtis - of incredible beauty, a glimpse of what was about to follow.
7.5/10.

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The Impressions - Keep On Pushing
That’s slightly more sophisticated and ambitious, adding more personal elements and slowly moving away from standard pop of the time. It’s way more consistent too. There’s no breathtaking song that stands out, but it all fits together nicely, it establishes a smooth groove and never lets go. Curtis remains the absolute star – and of course his songwriting keeps growing – but it feels more like a team effort.
8/10.

Joe Henderson - Our Thing
Did you miss them, Joe Henderson and Andrew Hill combo strikes back. Compared to their other cooperation, Black Fire, I brought up a couple of days ago, Henderson’s stamp is more explicit here, which is always a recipe for success, his “paying my dues to tradition but at the same time going the extra mile” playing style is a joy to behold. Of course he never comes anywhere close to being an attention-seeker, each member of the band has the chance to express himself and brings his own style to the table. My first impression is I may like this even more than Page One, but I’d blame it on recency bias, let’s wait a while and see how it goes.
7.5/10.
_________________
Bob Dylan
Charles Mingus

kokkinos

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Wayne Shorter - Night Dreamer
Even though Wayne Shorter is mostly well-known for being part of The Jazz Messengers, some of his work as a bandleader is equally commendable. His playing here isn’t as tight, one might argue It’s not as exciting, but he has more room to express his ideas and his emotions, it’s all fluid and natural. And of course his partnership with Lee Morgan is a can't-miss combo.
6/10.

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John Coltrane - Live At Birdland
What I said when I commented on his 1963 album, Impressions, applies here as well (“I’m starting to think maybe Coltrane’s live albums are easier to like than his studio ones”). Another similarity is that both of them are semi-live. In this case, only the first three tracks are live recordings. Coltrane is the star of the show -as always – but it’s more balanced than usual. The other members of the band receive some attention, which turns out to be justified, great team effort.
6.5/10.
_________________
Bob Dylan
Charles Mingus

kokkinos

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Mary Lou Williams - Mary Lou Williams
This has to be the first album by Mary Lou Williams I've ever listened and it's a tricky one. There are a few delightful moments (the funkiest parts are the highlights, see My Blue Heaven) and it’s clear she is an enormously talented individual, but this doesn’t live up to her potential – in my opinion of course. She tries to visit too many different places and ends up being lost, way over the top – I’m mostly looking at the addition of a choir. You know what they say, maximalism is a risky business.
5.5/10.

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Blue Mitchell - The Things To Do
I’ve mentioned before that Blue Mitchell is one of the few exceptions to the rule that I tend to find it hard to get into a jazz trumpet album and I usually end up respecting it more than liking it – in fact, his 1959 and 1960 releases were among the first I posted here. His style is full of energy without getting too aggressive or excited or weird, there’s a warm, lyrical side to it that keeps everything balanced. It draws you in without forcing matters and before you realise what’s going on, you are addicted, hypnotised even. He's not the most groundbreaking trumpeter, but he's clearly one of the most entertaining. Also, it’s worth pointing out that this record features legendary pianist Chick Corea, so there’s that as well, it’s impressive that he has already developed his own artistic identity despite being so young.
7.5/10.
_________________
Bob Dylan
Charles Mingus