Blue Note – JazzSherpa

Bobby Hutcherson in 1968: Total Eclipse

Recorded in July of 1968, Total Eclipse offers a lean and progressive sound. Although featuring a top-flight quintet, much like Patterns from March of the same year, its minimal aesthetic is evident. One could attribute the spare soundscape to the pianist on the date, Chick Corea. Less prone to embellishments than his Patterns counterpart, Corea embodies a wholly modern approach to piano. A contemporary of Herbie Hancock, the two share a similar tact on keyboard when comping behind soloists as well as a later fascination with fusion and electronics. Corea’s contribution can be felt throughout this 1968 session.

total_eclipse_album_cover — Total Eclipse, 1968

The album springs to life with an upbeat track entitled “Herzog”. With Hutcherson’s main collaborator, Harold Land, firmly planted in the tenor seat a theme is established and Corea takes the lead with a brisk-paced solo. Hutcherson punctuates throughout until he takes a solo which matches Corea’s in speed and invention. Joe Chambers and Reggie Johnson shore up any loose ends while keeping perfect time on drums and double bass respectively. Harold Land then takes over for Hutcherson and wails on his outing. A perfect foil for Corea, Land is also uniquely modern in his approach to tenor. At times he plays with outside leanings but never moves above middle register — a straight arrow for tenor in 1968.

A perfect foil for Corea, Land is also uniquely modern in his approach to tenor.

Up next is the title track, “Total Eclipse”, which slows down the quintet’s pace to a contemplative mood. The slower time signature offers Land more space to explore which comes as a benefit to the listener. Here is where Land excels and shines with a signature solo — breezy, earthy and tasteful. Corea also takes advantage of the space and comps beautifully behind Land, punctuating his lines yet staying out of the tenor giant’s gait. Clocking in at just shy of 9 minutes, “Total Eclipse” has enough space for every lead voice and Hutcherson moves forward with a gentlemanly approach to his solo. Much more concise than Land’s, Hutcherson bows out quickly to allow Corea more time to feel his way around. And just like Land, Corea shines in this hushed environment. With the bottom-end firmly planted by Johnson and Chambers, Corea is granted access to investigate the terrain with an abstract solo.

harold_land_tenor — Harold Land, tenor saxophone. Photograph by Francis Wolff © Mosaic Images.

“Matrix”, the following track and penned by Corea, picks things up again and pushes Land out in front with a rough and tumble solo. We hear Land approaching the top of his register which adds to the intensity of the track. While Chambers bubbles and churns underneath, Hutcherson takes an extended solo displaying his quick dexterity on the unwieldy instrument. After a somewhat free outing Hutcherson allows Corea to venture in and take the reins. After a short burst of energy on the keyboard, the quintet returns to the theme and closes it out.

A seeming roller coaster of emotions, the session takes another turn down a melancholy avenue with the following track, “Same Shame”. At nearly 9-1/2 minutes, this track unfolds slowly allowing each member ample time in the spotlight. After Hutcherson’s mid-tempo solo, Land slows things down at the beginning of his outing but Corea and Chamber’s edgy comping styles push the tenor player to more agitated activity. Corea again takes full advantage of the allotted space and lays down a brilliant solo. The languid lines of the theme fold back in on itself and ends the dreamy track.

The real standout of this session anchors the album in truly modern panache, the final track, “Pompeian”, features a sweet and sour approach — a compositional style used on sessions past by Hutcherson’s former session leader, Jackie McLean.

The real standout of this session anchors the album in truly modern panache, the final track, “Pompeian”, features a sweet and sour approach — a compositional style used on sessions past by Hutcherson’s former session leader, Jackie McLean. A straight-forward theme carried throughout the composition is repeated by the quintet which is then dissected by abstract interludes used as a means to jointly solo. Land is at home on flute which flutters throughout the stormy turbulence. Chambers finds himself in familiar territory which harkens back a few years to albums like 1965’s Components. Either an apparition of Hutcherson’s former days in the avant-garde or a foreshadowing of things to come — it’s hard to say. Whatever it is it’s amazing and it totally engulfs the listener. One does not have long to wait for what comes next in this auditory game of cat and mouse. “Pompeian” is a somewhat unorthodox end to what some say is a transitional album — one is at a loss for what exactly may come next in Hutcherson’s outstanding catalog.

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Bobby Hutcherson in 1968: Patterns

By Carl Glatzel, Editor

An artist whose musical prowess can still be felt in today’s youth-centric jazz scene, Bobby Hutcherson cut his teeth in the service of such legends as Eric Dolphy, Archie Shepp and Jackie McLean. His choice of instruments, the vibraphone, may have kept him out of the limelight — earning him favorable reviews but never achieving super stardom on the international scene. Hutcherson’s notoriety had as much to do with his recordings as sideman as his sessions as leader. When Hutcherson did take helm of a session modern jazz listeners were sure to enjoy the transcendent mix of cerebral compositions and angular interplay. His playing was different from his contemporaries on the instrument, more lyrical and mellower perhaps — at least in the post-avant-garde years. In the early to mid-60s, however, one could hear his percussive accents beaten out blacksmith-style.

The late-60s witnessed the emergence of another side of Hutcherson, still brimming with creativity, although, without the blunt-nosed abandon of his younger days. He also maintained the company of forward-thinking musicians, all of whom were virtuosos in their own right. An outstanding recording exemplifying this matured approach is Patterns from 1968 on the Blue Note Records label. It begins on a mysterious note with the track “Effi” — Stanley Cowell’s composition dedicated to his wife. With the feel of traversing through a dark, dense forest, “Effi” captivates the listener and moves him to another place altogether. James Spaulding’s flute solo weaves a fine tapestry — one with all the filigree to be expected, yet, all the while holding the listener in a somber state of mind. “Effi”, and more specifically Spaulding and Hutcherson’s interplay, reminds one of all the beauty in this world in spite of its dark corners.

joe_chambers — Joe Chambers, drums. Photograph by Francis Wolff © Mosaic Images.

“A Time to Go”, composed by Spaulding as a tribute to Dr. Martin Luther King, Jr., is perhaps the most melancholy track Hutcherson ever cut as a leader, with the possible exception of “Bouquet” from his 1966 outing on Happenings, also on Blue Note. More a vehicle for Spaulding’s extended flute solo, “A Time To Go” offers up reflection, heavy with emotion. Spaulding’s high notes are tightly crisp and his buoyant ideas are kept modern and succinct, never overtly saccharine.

On Patterns, Spaulding dishes out some of his best, and sadly underrated, alto work alongside Hutcherson’s bright vibes.

In stark contrast, the title track brings with it a sense of lilting intensity. On Patterns, Spaulding dishes out some of his best, and sadly underrated, alto work alongside Hutcherson’s bright vibes. Both race toward their respective ends in quick and sure-footed solos. Heated interplay is key to this track and its non-stop action doesn’t disappoint.

stanley_cowell_studio_shoot — Stanley Cowell, piano

Irina, which pulls a drowsy cover over this session, resonates with the same sense of loss found in “A Time To Go”. Stanley Cowell’s delicate solo work on piano is pushed to the forefront. It’s a classic Hutcherson ballad, much in the same vein as “When You Are Near” on Happenings or “Summer Nights” on Stick Up! — both from 1966.

On the last track, Nocturnal, drummer/composer Joe Chambers makes use of Reggie Workman on double bass as pure foundation. Workman, a jazz veteran at this point, lays down a deep groove on which Hutcherson and Spaulding effortlessly skate across — pushing and pulling the composition in many directions. Spaulding’s alto emerges out of Hutcherson’s driving solo and soars upward and out, breaking through the cacophony laid down by the outside-minded Chambers on the kit. “Nocturnal” proves to be focused and wild all at once, a brilliant piece of jazz and an ideal end to a truly unique and personal listening experience.

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Jazz Collecting: Artists & Labels

By Carl Glatzel, Editor

After suffering the impacts of the pandemic, namely unemployment and quarantine, I, like many others, have afforded myself some time. And time is definitely something one can use more of when collecting jazz. So, with this extra time at home I’ve been able to take stock of my personal collection. To be fair, it’s not one of those vast collections where you need a separate listening room or zip code to appreciate. It’s relatively modest but stocked with artists and labels that I believe merit repeated listening.

the-jazz-messengers-at-the-cafe-bohemia-volume-1-5275f1d23832d — Like many other collectors, my entrée into Hard Bop was Art Blakey and the Jazz Messengers on Blue Note Records. My first jazz album purchase was “At the Cafe Bohemia – Volume One”. I have to confess, not knowing much about the genre at the time and being a designer, I chose it simply for its typographic cover—a decision I never regretted. Thank you, John Hermansader.

As for the actual recordings, I’m one of those collectors who, for the most part, sticks to certain labels for the bulk of his collection. ECM and Blue Note Records are great examples of this approach. Rule of thumb, if you find one or two artists you really enjoy on one label there’s a good chance you’ll find more—appreciation through chance discovery. Although with certain artists, Bill Evans for example, labels matter less. If you follow an artist throughout his or her career you’ll find that oftentimes they skip around—usually pursuing the best contract or more creative freedom.

nefertiti_cover — A true visionary in every sense of the word, Miles Davis trailblazed the far reaches of jazz. His second great quintet, including Wayne Shorter, Herbie Hancock, Ron Carter and Tony Williams, represents the quintessential modern jazz group in my book—conceptual, explorative and intelligent.

As with Bill Evans, you’ll find a fanbase that rallies around a particular period in the recording career of an artist. Take the distinguished career of Miles Davis, there are diehard fans of Miles’ first great quintet and their associated record label, Prestige. Others may gravitate toward Miles’ second great quintet on Columbia Records or his later electric outings on the same label. John Coltrane is another artist who produced many divided camps. He had a successful early solo career on Prestige and Blue Note, then moved to Atlantic with his first great quartet in the early-60s, and then Impulse! Records in the mid-60s which found him exploring more avant-garde avenues with personnel that would prove to be in flux.

sunday_at_the_village_vanguard_cover — The often imitated Bill Evans has made his way back into my collection for over twenty years. One can easily hear echoes of Evans in the works of many contemporary artists. His years on the Riverside label with his first trio are still one of my favorite periods of his—romantic, subtle and introspective. If you’re not already familiar with Evans, try spinning a couple of his critically-acclaimed albums, “Portrait in Jazz” (1960) and “Sunday at the Village Vanguard” (1961).

If you’re a completist, like myself, you’ll collect from every recording period of a favorite artist—oftentimes picking and choosing particular albums based on year recorded, personnel or audio fidelity. Bill Evans, one of my perennial favorites, definitely falls into the multi-period, multi-label category. His first trio on the Riverside label, featuring Scott LaFaro on bass and Paul Motian on drums, defined the gold standard for jazz trios. A deft and cohesive unit famous for anticipating each others’ actions. After the untimely death of bassist, Scott LaFaro (one of my personal jazz heroes), Bill Evans began to move around with solo and trio stints on Verve, Blue Note, Fantasy and Warner. There are hardcore first trio fans who only swear by the early Riverside recordings as a measure of Bill Evans’ improvisational genius. As for myself, I can appreciate all his outings, be it solo, trio or third stream. If you find an artist who really hits a chord you’ll follow him or her anywhere.

If you’re a completist, like myself, you’ll collect from every recording period of a favorite artist—oftentimes picking and choosing particular albums based on year recorded, personnel or audio fidelity.

sun_bear_cover — Keith Jarrett, a virtuoso pianist with an uncanny ability to improvise lengthy solo concerts, gained his global following on the ECM label. Although he led groundbreaking groups, including his long-lived trio, he became best known for his solo output. His massive “Sun Bear Concerts” 1978 box set, showcasing over six-and-a-half hours of very personal music, is an achievement hard to be matched by any performing artist, past or present.

By following an artist from one label to another one can also experience the creative growth an artist achieves. Some Coltrane fans lament his move to Impulse! Records as it would eventually showcase his interest in spiritualism and the avant-garde which, regrettably, shed some of his followers who were only interested in his modal music. Another artist who would truly come into his own because of his association with a particular label is Keith Jarrett. His early career as sideman to jazz masters Art Blakey, Charles Lloyd and Miles Davis on various labels would eventually jettison him to a famed solo career starting at Atlantic Records in the late-60s. But it wasn’t till his move to ECM in 1971, for an astonishing 49-year partnership, where he would flourish and rise to international fame with unprecedented live solo recordings such as Solo Concerts: Bremen and Lausanne (1973), The Köln Concert (1975), The Sun Bear Concerts (1976/78), and Concerts: Bregenz/München (1982).

So, be it artist-centric or label-centric, starting and maintaining a jazz collection will always prove fruitful, especially if the listener devotes time to enjoy the fruits.

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Reid Miles: 500 Album Covers can’t be wrong

By Carl Glatzel, Editor

The man with a thousand layouts up his sleeve, Reid Miles has been a major influence on my personal design aesthetic throughout my career. His style exudes modernism with the occasional nod to the Bauhaus and International Style—God was always in the details.

Miles began working at Blue Note Records in the late-50s where he would go on to design almost 500 record sleeves. He typically worked on tight deadlines, oftentimes restricted to a 2-color palette and limited typefaces. He would at times hand-cut his own letterforms to realize some of his concepts, some of which are still emulated to this day. Layouts would range from economical and austere to complex and detailed with the occasional visual pun.

Layouts would range from economical and austere to complex and detailed with the occasional visual pun.

Among Miles’ collaborators, Blue Note co-founder, Francis Wolff, was his most prolific. Wolff doubled as staff photographer on hundreds of album covers—offering jazz enthusiasts intimate artist portraiture taken during and throughout recording sessions.

The early-60s witnessed the multi-faceted Miles adding photography to his list of duties, which would soon usher in a dramatic career change in the mid-60s and ultimately his departure from Blue Note. His photographic style proved to be just as modern and forward thinking as his layouts—displaying an interest in experimental techniques and the avant-garde.

The handful of album covers chosen to illustrate this post typifies Miles’ recognizable design and playful photography.

breaking_point_album_cover — Breaking Point, 1964

steppin_out_album_cover — Steppin’ Out, 1963

some_other_stuff_album_cover — Some Other Stuff, 1964

maiden_voyage_album_cover — Maiden Voyage, 1965

out_to_lunch_album_cover — Out To Lunch, 1964

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A Houston House of Jazz

By Carl Glatzel, Editor

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.

DSCN8007 — 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_album_cover — 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.

DSCN8018 — 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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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.

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Big Band Horsepower: Buddy Rich and Maynard Ferguson

By Carl Glatzel, Editor

Fuel-injected and testosterone-drenched are not descriptions usually associated with big band music. Enter Buddy Rich and Maynard Ferguson. These prominent big bands of the late-60s and 70s throw convention and easy listening out the window. Each band had a fearless leader who was a virtuoso on his respective instrument.

big_swing_face_album_cover — Big Swing Face, 1967

Buddy Rich, known the world over as the best drummer of all time, heads up his band from the rear with fireworks and showmanship. On several live sessions you can hear Rich shouting orders like a gunnery sergeant. He was notoriously hard on his players and it paid off in spades — leaving behind numerous recordings, most on the Pacific Jazz label, teaming with hard-driving, turn-on-a-dime tracks. Rich usually supplied a mix of compositions, both contemporary and jazz standards, on his albums. Some tracks dipped in to the WWI-era swing bag. However, it’s Rich’s contemporary tracks that really offer his band’s full pyrotechnic potential. A favorite of mine is the album Big Swing Face from 1967 on Pacific Jazz. On this release we can hear some true modern gems like “Mexicali Nose” and “Willowcrest”. The band roars in focused unison while Rich lays down superhuman drum solos. On 1969’s Keep The Customer Satisfied Rich pays tribute to the score from the film Midnight Cowboy with a lengthy medley that just about brings down the house. To have seen this band live would have been an opportunity to witness perfection.

mf_horn_3_album_cover — M.F. Horn 3, 1973

Maynard Ferguson, oppositely, lead from the front on both trumpet and trombone. He was best known for his “stratospheric” playing on trumpet having had the ability to hit a triple C in his trademark upper register. Ferguson was also known to dance on stage — achieving his usual euphoria by his band’s infectious swing. By 1970 he honed his players into a contemporary sound machine with the uncanny ability to play anything and everything. He sometimes covered pop themes such as the title track from 1974’s Chameleon or “Gonna Fly Now (Theme from Rocky)” on 1977’s Conquistador without reservation. He made the “Theme from Shaft” on 1972’s M.F. Horn Two swing like nobody’s business. Some of his staples have aged very well including the moody “Eli’s Comin'” and the 10-minute epic “Macarthur Park” both from the excellent 1970 release M.F. Horn. Ferguson proved to be a genius at arranging — making familiar tunes wholly original and relevant. If anything, Ferguson breathed new life into big band orchestrations with his unabashed enthusiasm, bold strokes and crowd-pleasing material.

If anything, Ferguson breathed new life into big band orchestrations with his unabashed enthusiasm, bold strokes and crowd-pleasing material.

Next time you need a soundtrack to a formula one grand prix or a jumpstart to your day try spinning some Rich or Ferguson — seat belts are optional.

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The Curious Case of Baby Face

By Carl Glatzel, Editor

Roosevelt Willette, aka “Baby Face”, was somewhat of a mystery man. Even his birthplace is disputed — it might have been Little Rock or possibly New Orleans. One thing is for certain, however, his appearance on the jazz scene couldn’t have been more serendipitous. In the late 50s he met soon-to-be labelmates, Lou Donaldson and Grant Green, in New York after a move from Chicago. Donaldson, acting as unofficial scout for Blue Note Records, was a catalyst in signing both Willette and Green to the label. Willette’s soulful touch on the Hammond B3 reflected his gospel background and would later become a high-water mark, if not a significant footnote, in Blue Note’s storied past.

face_to_face_album_cover — Face To Face, 1961

Armed with a big, bluesy sound and brimming with raw emotion, Willette would go on to lead his own groups on two outings in 1961 — both excellent sessions: Face to Face and Stop and Listen. Each group featured Grant Green on guitar and Ben Dixon on drums. Willette’s first session, Face to Face, added the earthy, southern swagger of Fred Jackson on tenor — duck calls, squawks and all.

By the time of his debut as a leader Willette had an original sound pinned down — easily giving similar units such as Smith/Burrell and Turrentine/Scott a run for their money. Although it was early in the recording careers of each member, his group played like weathered professionals — effortlessly belting out greasy, gospel-tinged lines in flawless Blue Note fashion. Even Willette’s sideman contributions on Lou Donaldson’s Here ‘Tis and Grant Green’s Grant’s First Stand are standout examples of Soul Jazz at its finest. There was no doubting it, the man had the golden touch. It was a crying shame he didn’t get to record more for the label. With regular creative partners such as Grant Green, Lou Donaldson and Ben Dixon, Willette could have gone on to record several more albums in the same vein, perhaps even exploring larger group settings or varied instrumentation. Instead, he mysteriously left Blue Note and resurfaced a few years later on the Argo label cutting two more sessions as leader in 1964 — neither hitting the heights of his earlier efforts.

After Argo, Willette left recording altogether and made his way back to the live jazz scene in Chicago where he played from 1966 till his untimely death in 1971. How on Earth could such a natural talent fade away into utter obscurity? Willette’s chops were, arguably, on par with the likes of Jimmy Smith and Jack McDuff. And yet, he wholly owned an original and identifiable sound — something quite difficult to achieve in a climate dominated by the innovators of his instrument of choice. Was there a falling out with his collaborators or label chiefs? Or did he pose a threat to more established artists on the roster? Unanswered questions and a handful of excellent tracks are all that’s left of “Baby Face” Willette’s checkered and mysterious recording career.

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Grant Green and Idris Muhammad

By Carl Glatzel, Editor

Deemed as the original funky drummer, Muhammad played a pivotal role on several Blue Note sides throughout the late 60s and early 70s. His unique and immediately recognizable sound propelled Blue Note Records into the world of jazz funk and inspired legions of followers along the way. The drummer usually found himself teamed up with the label’s heavy hitters of the day, Lou Donaldson and Grant Green were among his esteemed recording partners.

idris_muhammad — Idris Muhammad, drums. Photograph by Francis Wolff © Mosaic Images.

The year 1969 marked a rebirth of sorts for the jazz guitarist and the beginning of a fertile partnership with Muhammad firmly planted behind the drum kit — a match made in heaven.

His infectious backbeat graced one certain standout 1969 Grant Green recording, Carryin’ On. Muhammad laid down a solid foundation for Green’s airy, explorative lines which focused on the lighter side of the guitarist’s funk repertoire. This was a standout session for Green because it marked the beginning of a new direction in his recording career. He intentionally moved into a more economically-viable vein within the label, for obvious reasons. However, unlike some of his peers, he excelled at this new sub-genre and went on to record several inspired studio and live sessions, including the excellent Live at Club Mozambique in 1971. The year 1969 marked a rebirth of sorts for the jazz guitarist and the beginning of a fertile partnership with Muhammad firmly planted behind the drum kit — a match made in heaven.

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Big John Patton’s “Understanding” Misunderstood

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

I usually use AllMusic.com as a litmus test for unfamiliar recordings. I’m glad I went with my gut when I found a 1995 Blue Note re-issue of Big John Patton’s Understanding at a local, used book store. If I had gone with the AllMusic critic’s opinion I would have avoided it like the plague and tossed it aside. For the uninitiated, Patton is an organist who came to prominence on the Blue Note label in the early-60s. He was known for his economical, modern approach and inspired, bluesy solos. One of the few organists of the era to dodge the Jimmy Smith comparison.

understanding_album_cover — Understanding, 1968

After outputting a handful of releases with label regulars Grant Green and Lou Donaldson he ventured off into some uncharted territory. The 1968 release Understanding is not truly a dramatic departure but it does house some free playing by saxophonist Harold Alexander and that is what AllMusic took issue with. It’s stated to somehow interrupt the groove and comes across as disjointed and out of place. Perhaps to the untrained ear, or to a listener not familiar with or accustomed to the unorthodox sounds of Pharaoh Sanders or the other artists from the Impulse! New Thing stable. Alexander’s playing is by no means that of Peter Brotzman or a young Gato Barbieri. To these ears, it comes off as more to do with exuberance, where the spirit of the session takes the helm. Understanding still defaults to a soul jazz category and it’s easy to dismiss free (or freer) playing in this arena, but one listen to this vibrant interplay and you’ll fall into the groove and won’t want to leave. Patton is at the top of his game and his bandmates push him to his swinging limit. The trio is rounded off by Hugh Walker on drums who gives his all — keeping a steady, turbulent backbeat under the soulful wailing laid down by Patton and Alexander. This is music to drive to, you’ll want to be moving and moving quickly.

Patton is at the top of his game and his bandmates push him to his swinging limit.

Right from the opener “Ding Dong” you know exactly where you stand – this is some heavy-duty soul and these players aren’t about to let up. That’s what’s so enticing about this particular release, the raw sounds of Alexander’s sax really churns the already boiling pot. Each player builds on one another adding more fuel to the fire, keeping things interesting. This certainly isn’t the Soul Jazz recordings of previous years — dare I say — in some ways it’s even better. Patton proves he’s not afraid to go out on a limb with a loose canon like Alexander. The addition of Walker on drums is a great move, his style adds some necessary backbone to help ground a free range player like Alexander. Patton is spot on, as usual, with soloing and his signature basslines. It’s Patton’s buoyant, almost hypnotic, bass that really adds a sense of forward motion to each track. His lines are deceptively simple, undulating deep down under Walker’s rock-steady drumming — the album’s blood and guts.

This certainly isn’t the Soul Jazz recordings of previous years — dare I say — in some ways it’s even better.

It’s now time to go out and seek this holy grail of groove. And when you do, you’ll want to turn up your hi-fi and tune out the naysayers.

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