Month: January 2020

The ECM Sound

By Carl Glatzel, Editor

The sounds contained in certain ECM recordings are evocative of the stark, oftentimes abstract, artwork that grace their covers. At the core there is a consistent sound that binds most vintage ECM recordings. It’s one of reflection and meditation rooted in a northern European melancholy. Major players, Ralph Towner, Eberhard Weber and John Surman are the keepers of that flame. For decades these jazz veterans have established and exercised the ECM sound. They’ve managed to create a musical brand unique to their own personal pursuits all the while unifying a label’s output.

solstice_album_cover
Solstice, 1975, allows one to delve deep into the Northern European aesthetic of the ECM sound.

With a multitude of introspective compositions in both solo and group settings, Towner cements himself as a pillar of the ECM sound.

Stepping out of his longtime association with the genre-bending group, Oregon, guitarist Ralph Towner began his long-time association with ECM in 1973. Along with his technical prowess Towner brought with him an established artistic direction and personal sound which meshed naturally with his new label mates. Towner outputted several solo albums which showcase his virtuosity on classical guitar as well as his uncanny talent for writing. With a multitude of introspective compositions in both solo and group settings, Towner cements himself as a pillar of the ECM sound. Some standout sessions are 1978’s Batik with legendary bassist Eddie Gomez, 1979’s Solo Concert with its excellent covers of John Abercrombie’s Timeless and the Bill Evans-associated “Nardis”, 1989’s City of Eyes and 1995’s Lost and Found. Towner continues his visionary association with the label to this day.

later_that_evening_album_cover
Later That Evening, 1982, is one of many excellent outings by Weber in the lates-70s and early-80s.

German bassist, Eberhard Weber, brings a wholly-unique approach to the label. Weber’s background in mainstream jazz changed dramatically with his appearance on ECM in 1973 with his classic recording, The Colours of Chloe. Weber is a true virtuoso in every sense of the word, pushing the envelope on his own instrument and venturing into new sonic territory. He took initiative to re-construct his own instrument to suit his personal playing style, adding one then two strings to his double bass. The resulting effect is near magical — long, fluid lines seemed to dance off the fingerboard giving them a life of their own. His standout recordings usually include his working group Colours. 1975’s excellent Yellow Fields catches the bassist with feet in both reflective and faster-paced settings. On 1976’s The Following Morning Weber’s bass proves to be a subtle beacon in the gray mist that is the 10-minute “T. On A White Horse”. His playing here is indicative of what he brought to the label — a floating, elevated and cerebral sound that relies as much on space as it does technical virtuosity.

private_city_album_cover
Private City, 1987, situates itself in a timeless state—a place that Surman comfortably inhabits.

Last, but certainly not least, is English clarinetist John Surman. Having had experience outside the jazz mainstream before joining the label in 1979, Surman brings a sense of restless exploration. His recordings define the ECM sound in yet another light — one of experimentation and wanderlust. Surman’s playing is akin to that of a medieval minstrel, with storytelling at its core. Armed with soprano, baritone and bass clarinets Surman makes use of overdubs and synthesizers to round out most of his solo efforts. Although he also shines in group settings its his one-man shows that showcase his unique compositional style and depth of playing. Titles such as 1979’s Upon Reflection, 1984’s Withholding Pattern and 1996’s A Biography of the Rev. Absalom Dawe expose his inventive soloing and tasteful use of electronics. Surman’s style lends itself to other genres as well, having ventured into classical territory. Works by Elizabethan lutist John Dowland are among some of his more popular achievements on ECM, offering proof of his flexibility and range as an elite instrumentalist.

Surman’s playing is akin to that of a medieval minstrel, with storytelling at its core.

One may find the only obstacle in truly appreciating the recordings by these modern masters is a lack of time. Time to focus on nuances, time for introspection and time for further investigation.

Donate to JazzSherpa

Help support this jazz blog and make a small donation to help purchase material to review.

$5.00

Please visit the JazzSherpa Bodega for great looking jazz merch and support jazz wherever you are.

Art Blakey’s Hardest Hits

By Carl Glatzel, Editor
Photograph by Francis Wolff © Mosaic Images.

This isn’t jazz, it’s war. On February 10, 1964 Art Blakey enlisted the aid of a special ops unit for his trailblazing mission — Free For All. This edition of the Jazz Messengers was the quintessential hard bop lineup and the perfect team for the job. The frontline was a heavily-armed triple threat consisting of Freddie Hubbard on trumpet, Wayne Shorter on tenor sax and Curtis Fuller on trombone. Cedar Walton on piano, Reggie Workman on bass and Art Blakey on drums brought up the rear and had the near impossible task of grounding this tour de force. Blakey was a well-known beast on the skins — infamously destroying drum kits on stage — and was relentless on the Shorter-penned title track, which opens the album. There’s no slow build here, it’s an all-out assault from the word go. Blakey pounds away with everything at his disposal while the frontline crashes through the gate as if charging a bunker amid heavy shelling. With Blakey’s detonations blasting all around, each horn takes an extended solo while weaving through their fearless leader’s tumult. After a glorious 11-minute show of bravado from all parties the finale ends with a classic example of Blakey’s pure adrenal rush on the kit — a thunderous roar followed by a single hit on the hi-hat and then peaceful silence. An outright classic and well worth the price of admission.

free_for_all_album_cover
Free For All, 1964. For all its bravado and firepower there is an overarching sense of control and forward motion on this Jazz Messengers album.

By this outing, Shorter was at the very top of his creative game and shortly after he would be on his way to joining the fabled Miles Davis Quintet as its principal composer. On this album we have two great works by Shorter — displaying his versatile style in all its glory. The second track, “Hammer Head”, another Shorter original, is cooler than the bombastic opener and moves with a well-defined swagger. This is classic Blakey material where his famous press rolls and shouts introduce soloists who take the floor with commanding flair.

wayne_shorter_session
Wayne Shorter, tenor saxophone. A follower of Coltrane, Shorter’s tenor is still one of the most distinguishable in modern jazz. Photograph by Francis Wolff © Mosaic Images.

The third track, “The Core”, is a Hubbard original and another cooker. This piece is a great example of Hubbard’s writing ability and another great showcase for the raw power behind this seamless unit. I’ve always been of mind that Hubbard played to his full creative potential as a sideman at Blue Note rather than session leader. His outings on both the Atlantic and CTI labels in the late-60s and early-70s have always been go-to listening to these ears.

I’ve always been of mind that Hubbard played to his full creative potential as a sideman at Blue Note rather than session leader.

freddie_hubbard_session
Freddie Hubbard, trumpet. A bright, muscular tone and chops to match, Hubbard’s performance on this session sizzles. Photograph by Francis Wolff © Mosaic Images.

The last track, a Clare Fischer composition, will throw you for a loop. Suddenly, and most dramatically, a truce is called and “Pensativa” is the white flag. This laid-back bossa tune would be right at home on a Hank Mobley album of the same period. It clocks in at just under 8-and-a-half minutes and is a sheer joy to listen to. We finally hear the bright, clarion call of Hubbard’s pristine trumpet and Blakey’s effortless timekeeping. “Pensativa” balances out this amazing album to create a truly unique recording — one which rewards fans with new insights upon repeat listenings.

Donate to JazzSherpa

Help support this jazz blog and make a small donation to help purchase material to review.

$5.00

Please visit the JazzSherpa Bodega for great looking jazz merch and support jazz wherever you are.

Donald Byrd’s Transitional Period

By Carl Glatzel, Editor
Photograph by Francis Wolff © Mosaic Images.

In the wake of jazz great Donald Byrd’s passing, there has been a revived interest in his critically-acclaimed Hard Bop period as well as his later involvement with funk and disco. There is a time between years 1969 and 1972 that is oftentimes overlooked — I like to call this Byrd’s transitional period. It was during these explorative years that electric instruments as well as a much more relaxed compositional style were introduced.

fancy_free_album_cover
Fancy Free, 1970

Byrd’s 1970 release, Fancy Free, offers a larger ensemble than previous recordings including key creative partner Duke Pearson on electric piano. Some call this abrupt end to hard bop stylings a knee-jerk reaction to the sparks that came from Miles Davis’ release In a Silent Way just a few months prior. Although not earth shattering as Davis’ effort, Fancy Free marks a significant change in direction for the hard bop trumpeter. The title track itself proved to be a favorite cover to such contemporaries as Elvin Jones and Grant Green, both on the Blue Note label.

electric-byrd-5229d91021a16
Electric Byrd, 1970

Davis’ 1970 release, Bitches Brew, opened a Pandora’s Box with regard to shifting the jazz paradigm and the dawn of jazz fusion. This powerful influence was felt in Byrd’s 1970 release Electric Byrd. Here we find Byrd in full experimental mode complete with post production studio effects. The material leaned to a floating, cerebral compositional style with less focus on groove and backbeat. Decidedly a brave outing by an even larger band consisting of 11 members. Davis sideman, Airto Moreira, keeps a tight bond to the Dark Prince as he lays down complex percussion over Brazilian themes. Collaborator Duke Pearson is back on electric piano adding to a very stylized and dreamy soundscape. Reedmen Frank Foster and Lew Tabackin are also in tow. After much free-form improvisation and Davis leanings we do get a taste of plain funk with final track “The Dude”. It shores up the album as if to put listeners at ease after the storm of pioneering uncertainty.

Donald Byrd_LP_BlueNote
Kofi, 1971

Along comes 1971 and Byrd releases yet another stellar session, Kofi. Regulars, Tabackin and Foster are heard here along with legendary bassist Ron Carter and percussionist Airto Moreira. The title tune nears 8 minutes and is a burner, it easily earns its Blue Note Rare Groove monicker. The rest of the album covers more adventurous territory. Most tracks hark back to the heady sound of Electric Byrd with its use of space and percussion supplied by magician Airto. Heavy electric piano dominates arrangements with Byrd’s airy trumpet gliding on top like a hawk riding a thermal. The album ends on Foster’s composition “The Loud Minority” which rings like a dark interval from the Buddy Rich Big Band songbook.

ethiopian-knights-596e237d926ec
Ethiopian Knights, 1972

Many critics will end Byrd’s transitional sessions here but I like to include the excellent 1972 release Ethiopian Knights. On this album we find Byrd delving into a dark jazz-laden funk. This is not the vocal-tinged upbeat funk of Black Byrd and definitely not the polarizing disco from down the road. This recording still owes indebtedness to Miles Davis and his experiments with funk elements at the time. There are still lengthy solos here along with a lot of electric bass and a barrage of drums. With only three tracks this album blows away many straight-up funk contemporaries with its hard-driving beats and surgical precision. All three Byrd-penned pieces are more singularly focused than their free-wheeling predecessors. Two long tracks, “The Emperor” and “The Little Rasti”, sandwich the 3-1/2 minute “Jamie” — an interlude piece which offers to cleanse the palette in between double helpings of multilayered funk.

After sitting back with these four excellent outings one can appreciate Byrd’s intent to experiment and reach. He still maintains a firm footing in hard bop interplay and virtuosity, added is his uncanny ability to mix electronics and funk elements to great effect. With so many artists indebted to him for his creative genius, pioneering spirit and focus on education Donald Byrd will be sorely missed.

Donate to JazzSherpa

Help support this jazz blog and make a small donation to help purchase material to review.

$5.00

Please visit the JazzSherpa Bodega for great looking jazz merch and support jazz wherever you are.