After recording the seminal ‘A Love Supreme’, John Coltrane embarked upon an intensive period of ‘recording activity’. The five albums contained within were recorded within a three year period and more was to follow. The classic quartet remained (just about) intact, but already there were clear indications of the changes afoot both in terms of future personnel and evolving musical ideas. In many ways ‘Meditations’ was the logical spiritual follow up to ‘A Love Supreme’. The modal feel of ‘Compassion’ features stirring solos from McCoy Tyner and Jimmy Garrison while on the romantic ballad ‘Love’’Coltrane proved, if ever proof were required, that he was always capable of moments of intense beauty. In contrast ‘Consequences’ hinted at what was to come and is considerably freer in outlook whereas the relatively short piece ‘Serenity’ focused on the melodic improvisation of the quartet collectively.
The earlier album ‘John Coltrane Quartet Plays’ is an interesting item in the Coltrane discography and parallels with the Atlantic album ‘My Favourite Things’ are inevitable given the deconstruction of both ‘Chim Chim Cheree’, from the ‘Mary Poppins’ soundtrack, and, a relative newcomer to the American songbook at the time, ‘Nature Boy’. Both feature ‘Trane on soprano saxophone and are radical reworkings of the original songs. Extensive original liner notes courtesy of the avant-garde and decidely left of centre musical historian Frank Kofsky provide a fascinating outlook on the recording industry at the time.
One album that is out on a limb among the others is the live recording at the Newport Jazz Festival from 1963. Part of the concert featured the classic quartet, another with an entirely different line up of musicians including vibist Bobby Hutcherson, tenorist Archie Sheep (a long time fan of ‘Trane)and the vastly underrated drummer Joe Chambers. Four out of the five compositions were penned by Shepp with only one piece, ‘One down, one up’ written by Coltrane himself and featuring the classic quartet with modal musings by Tyner and ably assisted by Elvin Jones with the predictable fireworks on polyrhythmic drums. Of the Archie Shepp pieces, the unsually structured ‘Le matin des noire’(sic)impresses with its building of tension between vibes and drums.
‘Kulu Se Mama’ contains moments of great beauty as well as a good deal of freer activity. This is illustrated on the gorgeous ballad ‘Welcome’ which is notable for the building and release of tension between Tyner and Jones, while ‘Trane is here at his most melodic. In a freer form ‘Vigil’ is essentially a duet between Jones and Coltrane while the title track is a fiery affair augmented by reeds from Donald Garrett and Pharoah Sanders. Again from 1965 ‘Ascension’is a big band album, but not in any conventional sense of the word. Like ‘Africa Brass’ it is an attempt at a larger ensemble work and one that includes the talents of Marion Brown, Freddie Hubbard, Pharoah Sanders and Archie Shepp. This is by no means a casual listen and in many ways follows on from Ornette Coleman’s ‘Free jazz’ recording.
These newly re-mastered albums have undergone a minor change in their digipak format with notes contained within the gatefold sleeves exactly as the original vinyl was. There are no additional tracks or notes save for a second and preferred version from Coltrane of ‘Ascension’. This is truly timeless spiritual music for decidedly spiritless current times. Revisiting these old chestnuts one cannot fail to be impressed by, on the one the one hand the great urgency inherent in the music, but equally the sheer beauty contained within them. Chronologically this represents a relatively brief period in ‘Trane’s overall and prolific career. Yet within this one finds a diversity of approaches, formations and styles. This alone is testimony to the true great of musical mind that John Coltrane possessed.
Having forged a reputation as a television and film arranger and composer, pianist Janette Mason has recorded a second album that is both a breath of fresh air and a mature and wholly engaging listen. Compositionally this is an overall work of great sophistication and one where sheer musicality wins out. Possibly the influence of pianists such as Herbie Hancock, Ahmad Jamal and Keith Jarrett in knowing how to create space has impacted upon Mason. Certainly this is very American sounding. A varied selection of self-composed pieces includes the beautiful ‘Mae’s Song’, a ballad dedicated to her musician mother and one that EST would have been proud of. The catchy and inventive re-working of ‘Sweet Dreams’ is indicative of Janette Mason’s inventive mind and the shift between chorus and bass/piano vamp makes for fascinating listening. Soulful is the only way to describe ‘The Blues walked out’ and accomplished ensemble playing permeates proceedings with the subtle use of hammond organ in the background providing layered texture. With a shifting tempo on the title track, a larger brass ensemble piece, what a great way to end the album and hint at potentially new areas for the leader to explore in future albums. An exquisite album of depth and new ideas successfully transmitted to the listener.
Jazz and Spain have enjoyed a long and fruitful collaboration and this has ranged from pianists such as Pedro Iturralde and Chano Dominguez, flamenco-fusion such as Jorge Pardo, through to enterprising labels such as Fresh Sound out of Barcelona and its championing of homegrown talent like Perico Sambeat. The Discos Calandria label, however, is far well less known to the public save for a few connoisseurs and it is therefore a welcome discovery to find the sides contained within this compilation that are the brainchild of Antoliano Toldos. After settling in Madrid at the age of twenty, Toldos had a break into the music industry after Spanish national television placed him in charge of composing and recording duties for the test patterns between programmes. Toldos recruited top musicians such as Iturralde and began producing a series of singles on his Calandria label. The first jazz sides were recorded in 1967 and this is serves as the starting point for ‘Iberico Jazz’. Clearly Spanish jazz musicians at the time were influenced by American jazz and in particular the Blue Note label, and more generally the genre known as Latin-jazz. This is reflected in the superb grooves of the Conjunto Selif on ‘Tom Jazz’, which has a catchy rhythm in the same vein as ‘Watermelon Man’, with an impressive Freddie Hubbard-like trumpet solo to accompany it, and the percussive-heavy ‘Trompeta Loca’ with Wes Montgomery-influenced guitar licks and the feel of ‘Cantaloupe Island’. Equally impressive are Quinteto Monteliro with the compilation’s title track that takes a leaf out of the Les McCann piano book while ‘Opaco’ offers a decidely flamenco feel on trumpet and hints at what Miles Davis might have sounded like if surrounded by the cream of Spanish jazz musicians. Big band bossa permeates the length of ‘Flauta ‘blue’’ from Quinteto Diamont alongside more mainstream jazz from the collective. Conjunto Segali provide a modal flavour to the floating ‘Jazz Progressivo’ and brass a la Roland Kirk on ‘Jazz a las tres’. All in all, this is an excellent jazz compilation that will appeal to fans of jazz-dance, funky jazz and plain old opened-minded jazz alike.
Eugene McDuffy, better known as Brother Jack McDuff, is an Illinois-born hammond B3 organist who is equally at ease with blues, soul and funk-inflected grooves as he is with jazz. He forged his early reputation as an organist for the Prestige label and in particular for his recordings alongside crack band members comprising guitarist George Benson, saxophonist Red Holloway and drummer Joe Dukes. McDuff, however, also played as sideman with a host of top jazz musicians including Roland Kirk, Yusef Lateef and Sonny Stitt among others.
By the late 1960s the traditional organ jazz combo was undergoing new influences, primary amongst them being the new drum beats pioneered by James Brown’s band and the emerging sound of soul. This was reflected in the two albums McDuff recorded at this period for Blue Note with the grittier ‘Down Home Style’, taking a leaf out of the Stax label, and on the superb ‘Moon Rappin’’, where improvisation and funky licks merged effortlessly. Jack McDuff was shifting at this stage between the legendary Blue Note and other labels, but then began what proved to be a long-term collaboration with the jazz subsidiary of Chicago’s Chess label, Cadet.
It is from this fruitful collaboration that ‘Gin and Orange’, recorded in 1969, derives. Clearly McDuff’s music was in a transitional period with not only the aforementioned soul and funk influences, but equally those of psychadelic rock. A new style characterised by heavy bass lines, with greater emphasis placed upon the rhythm, came to the fore. It was not uncommon at this time to hear jazz 45s on jukeboxes and the boogaloo-inspired title track was an obvious attempt to garner wider public appeal.
Easy listening mid-tempo grooves can be heard on the lilting ‘On the case’ while repetitive groove-laden irffs abound on ‘Get it up’. Long-term fans of the organist will be attracted by arguably the catchiest self-composition, ‘With the wind’, harking back in sound to the classic mid-1960s combo while ‘Channel One’ is uptempo and classic McDuff territory on which nice guitar licks and hammond solos predominate. Among his Cadet recordings, then, ‘Gin and Orange’ surely rates as one of McDuffs most eclectic albums. While it did not quite reach the dizzy heights of ‘Heatin’ System’ (richly deserving of a re-issue again) or ‘Natural Thing’, it nonetheless showcased the new McDuff sound and as a difficult enough album to find is a welcome discovery for the listener.
Detroit rightly earned a reputation for some of the classiest soul music and this wonderful mid-1970s album does little to dissuade one of this view. Richard ‘Popcorn’ Wylie began his career as one of many aspiring musicians and singers at Motown, and indeed cut a couple of late 1960s 45s for the label in addition to performing for a time as in-house pianist. However, by the early 1970s Wylie had decided to focus on his songwriting skills and instead began a fruitful collaboration with the Holland brothers on Motown subsidiary Invictus. Thus by the time it came to record the album contained within in 1974, Wylie had not only acquired substantial experience as a songwriter, but could also count upon the support of some of the cream of session musicians on offer. The all-round strength of the album songs and its timeless feel is testimony to the multiple skills deployed here. Add in the formidable writing skills of one Lamont Dozier, the arrangements of Paul Riser and Gene Page, and a classy album was always on the cards. Soaring strings and gorgeous harmonies abound on ‘Lost Time’ and the opener ‘Singing about you and me’. Wylie’s vocals are not dissimilar to those of Dozier and his rasping voice is used to good effect on the mid-tempo stormer ‘Georgia’s after hours’. A terrific left-field track is the instrumental ‘How did I lose you’ which sounds like something off a Marvin Gaye soundtrack album. Inspired vocals and arrangements are in abundance on ‘ESP’ and one cannot fail to be impressed by the beautifully crafted production. An exceptionally strong album, then, by a musician’s musician and this uplifting and neglected masterpiece is fully deserving of re-issue.
From the same label that introduced us to the sounds of Lura and more recently the earliest recordings of Cesaria Evora comes a new album from a legendary figure in Angolan music, but one who has strangely not caught on with a wider audience until now. Bonga has enjoyed a long and distinguished career and during the 1970s released two classic albums adored by African music cognoscenti: Bonga ‘72 and Bonga ‘74. However, he is equally well known in his native Angola as both a footballer (for the inimitable Benfica of Lisbon)and as a political activist as spokesman for the Angolan Liberation Movement or MPLA. In fact it was in this latter role that Bonga was forced to flee the dictatorship of Salazar and seek refuge first in Portugal and then in Paris. The latest album, fittingly recorded in Lisbon and Paris, is arguably his best in a couple of decades and what makes this music such a treat is the multiplicity of influences on offer. Bonga’s style is known as semba which in practice is a variation on the classic Brazilian samba, particularly with the use of the cavaquinho string instrument, and the lilting rhythms that accompany this genre. One of the albums highlights is the mournful ‘Kipiri’ which takes a leaf out of Cape Verdean morna while the opener and title track is a laid back blues-inflected burner of a song. In stark contrast the uptempo ‘Zukada’ with its gorgeous background harmonies is influenced by Antillean dance music, ‘Mana Minga’ by Congolese soukous and ‘Aguenda’ by traditional Brazilian samba. Perhaps strongest of all the faster tempos on ‘Bairro’ is the joyous accordeon-led ‘Makanisa’ which hints at Columbian vallenato. In sum Bonga’s singer-songwriter talents are admirably showcased here and the album from start to finish is both a listening and dancefloor treat.