I revisited some of my favorite albums on the Impulse! label and decided to take another look at Gil Evan’s thought-provoking 1961 release, Out of the Cool.
Although many people may prefer the lengthier and more complex “La Nevada” or the upbeat throwback of “Sister Sadie”, I, historically, have always been drawn to the quiet simplicity of “Where Flamingos Fly”. Let’s start with the title — and what a title! Already, it evokes a sense of mystery and noir. What was Evans imagining when this track was arranged and performed? Seemingly, it’s a very moody and somber place where these brightly-colored birds dwell.
Seemingly, it’s a very moody and somber place where these brightly-colored birds dwell.
Evans’ mastery of arrangement and timing is brought to life in this 5-minute masterpiece. It could be described as a concerto for trombone. Which leads us to another curiosity — the selection for lead voice: trombone. It may have worked with a trumpet or, even more so, a flugelhorn. However, Evans’ choice in a trombone sets the mood beautifully here. There is an understated melancholy in the sound of Jimmy Knepper’s playing which also displays an uncanny grace and humility. After listening to this track countless times I can’t really see any other instrument playing this all-important role.
There is an understated melancholy in the sound of Jimmy Knepper’s playing which also displays an uncanny grace and humility.
A solitary piano repeating the same 4 notes opens the track, soon woodwinds join in the theme and Ron Carter’s strong arco double bass picks up the bottom end with slow, melodic lines. The drama conjured up by the short introduction is staggering. Knepper’s trombone rises out of nowhere to start off his sad, lengthy solo. As the trombone winds around slow-moving turns the sound of hushed percussion and brass begin with fills. But through it all we hear that lonely trombone as it courses through the track. It ends with a return to the 4-note theme and it gently expires — as if vanishing into thin air. It’s an achingly beautiful composition that rarely gets much play these days.
When Gil Evans is mentioned it’s hard not to look back at his historic stint on Columbia with collaborator Miles Davis. Albums like Porgy and Bess and Sketches of Spain are the usual suspects in most playlists. But as far as creativity and raw emotion go it’s hard not to give Out of the Cool, and more specifically a gem like “Where Flamingos Fly”, a spin or two.
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Alice Coltrane replaced McCoy Tyner in John Coltrane’s lineup in 1966. After her joining, the group’s output became even more spiritual in context and Coltrane’s personal playing kept pushing boundaries. There was an undeniable symbiotic relationship and mutual influence between John Coltrane and his wife, Alice. Coltrane took on the role of teacher in the ways of his brand of music and its relationship to Eastern mysticism. Religion had become an overt part of Coltrane’s music ever since 1964’s A Love Supreme.
There was an undeniable symbiotic relationship and mutual influence between John Coltrane and his wife, Alice.
Coltrane’s highly-creative, cart-blanche tenure with Impulse! Records aided in his musical and religious journey, producing a varied and vast body of work in a relatively short amount of time. As Coltrane put it, he was in search of a “universal sound”. I believe it was in Alice Coltrane that he found his “musical compass”. His late-career recordings such as the posthumous Expression and Cosmic Music display the raw vigor and spiritual connection that his deft unit was known to typify. There was a new sense of urgency in Coltrane’s sound, his avant-garde leanings, along with frontline partner Sanders, were oftentimes brutal. A question which resurfaces time and time again is with regard to the direction of Coltrane’s music — what did he have in store?
After the dust settled from her husband’s untimely death in July of 1967, Alice Coltrane returned to the studio to cut her 1968 solo debut, A Monastic Trio. Dedicated to Ohnedaruth, John Coltrane’s mystic pseudonym, this release teems with brooding and reflective tracks sometimes expressing anguish, other times promise. Some believe this release may have hinted at John Coltrane’s musical direction, a jumping off point of sorts. After all, Alice Coltrane was closest to the master and may have had the best insight to what made him tick.
On A Monastic Trio there is a heavy use of percussion, namely bells and shakers, which creates an Eastern-inspired drone effect. An effect that would be further developed by the addition of classical Indian instruments on later sessions. Alice Coltrane divides her playing equally on piano and harp. She tends to focus her piano on either upper or lower registers based on the mood of her composition.
The first two tracks are from a prior John Coltrane posthumous release, Cosmic Music. A fiery Pharaoh Sanders belts out angry solos on the opener, “Lord Help Me To Be”. Alice Coltrane rambles beneath the fire with thick, bluesy chords while Jimmy Garrison lays down a melodically strong bass line. On “The Sun”, we hear the band, including the late John Coltrane, on a vocal intro repeating a mantra: “May there be peace and love and perfection throughout all creation, oh God”. It eerily sets the stage for a composition of remembrance where Alice Coltrane plays a restless, searching piano. There are very lucid moments in her soloing with cascading notes that follow.
“May there be peace and love and perfection throughout all creation, oh God”.
The composition “Ohnedaruth” comes off as a requiem for the late saxophonist. The longest track, at just under 8 minutes, as well as the darkest, with its lower-register piano, droning percussion and menacing saxophone. John Coltrane is definitely top-of-mind in the frenzied voice of Sanders’ oblique playing. The following track, “Gospel Trane” most assimilates to John Coltrane’s bluesy modal work from earlier dates. As the most accessible track, we hear a more upbeat piano from Alice Coltrane as well as an orthodox drum solo from Rashied Ali. And Jimmy Garrison walks his bass, adding to the feel of a track from years past.
“I Want To See You” is the last track where Alice Coltrane plays piano. Again we hear a pervasive use of percussion. Her playing is comparatively brighter and shows off her exquisite right hand approach on keyboard. Based on its title it’s a heart-wrenching personal reflection by a still-grieving widow.
Although I’m a bigger fan of her unique and gospel-inspired abilities on piano her harp playing lends itself to the dreamlike quality of her compositions.
“Lovely Skyboat”, “Ocean Beloved” and “Atomic Peace” all feature Alice Coltrane on harp. These tracks are a precursor to her many subsequent albums on the Impulse! label. Although I’m a bigger fan of her unique and gospel-inspired abilities on piano her harp playing lends itself to the dreamlike quality of her compositions. The steadfast Jimmy Garrison continues to ground the bottom end of these tracks with his rich, ever-present notes.
Jimmy Garrison, double bass
It’s still up for debate whether Alice Coltrane propagated her husband’s musical direction — in effect becoming an extension of his own vision. And although nobody can claim to play anything like John Coltrane we do have Pharaoh Sanders on several more recordings as a reliable and sincere follower on saxophone. With all the acclaim and idol worship surrounding John Coltrane and his other-worldly abilities you just have to wonder if he really was on loan from another planet. He stood alone. And now that both he and his wife have been taken from us that vision, that unique musical direction, will forever remain a mystery to his legions of adoring fans and disciples.
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An unassuming mid-century bungalow in southwest Houston holds a jazz horde to be reckoned with. Local musician, photographer and jazz aficionado, Lindy Pollard, has turned his small but tasteful home into a living jazz museum. Some 5,000 titles grace his walls in custom-built shelving installed by the owner and his brother. Upon entering this treasure trove a visitor is oftentimes overwhelmed at the sheer volume. His collection spans decades as well as formats. Pollard will occasionally spin an LP but the bulk of his collection is of the compact disc variety. As neat and precise as the surroundings with its modern appointments, each album is arranged alphabetically by artist and is easily accessible. Pollard is quite literally ensconced in jazz whenever he sits to listen to one of his recordings or play with his cats. Seven-foot tall, vintage Klipsch speakers anchor his living room and offer a surround sound experience to be coveted by any audiophile. It’s safe to say this Houston native will never run out of things to listen to. His musical tastes run the gamut, from Brazilian jazz to vintage ECM releases to hard bop staples. Row upon row of out-of-print and rare releases sit waiting for an eager listener to happen by. Just standing amidst the volumes makes a jazzophile feel anxious.
Upon entering this treasure trove a visitor is oftentimes overwhelmed at the sheer volume.
Pollard’s dining room, one of many rooms surrounded by his massive collection.
Having grown up in the 50s Pollard has held such virtuosos as Paul Desmond and Sonny Stitt in high regard. As we talked about the artists that fill his walls, he fondly remembers attending a Paul Desmond concert as a young sax student back in 1963. He recalls racing a classmate backstage to grab one of Desmond’s used reeds — one man’s treasure. His enthusiasm for jazz hasn’t wained one bit over the years. Having so many titles at his disposal helps to maintain a learning environment. “There’s always something new on a recording you haven’t heard before,” Pollard points out.
Agharta, 1975. Miles Davis is a staple in Pollard’s collection.
Aside from being a long-standing Bayou City multi-reedist Pollard is also an accomplished jazz photographer and graphic artist. Boasting several hundred originals, he has attended countless venues showcasing some of the most notable icons in the history of the genre. Many images catch artists in candid and even reflective poses. Artists such as Miles Davis, Chet Baker and Duke Ellington are only some of the mainstays you’ll see in his portfolio. His love for the artform is apparent in his attention to detail — each shot a special moment in jazz history. His photos have been exhibited at local galleries over the years to much acclaim. As of recent, Pollard has taken up nature photography as well. With trips to state parks, and even to his own backyard, he has begun to fill new photo albums with his boyish love of nature.
Despite being ensconced by CDs, Pollard still likes to spin vinyl.
Having visited this personal jazz vault several times over the years I never tire at slowly perusing the titles, wishing today’s circumstances would still allow me to do the same at local retail outlets—those were the days.
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