Category: Columbia

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.

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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.

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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.

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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.

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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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Herbie Hancock and the Shock of the New

By Carl Glatzel, Editor

After the release of his 1970 Warner album, Mwandishi, Herbie Hancock was well on his way to introducing electronics to his brand of jazz. His top-flight team of improvisers made it that much easier to make the transition to fusion. Although naysayers were wrapped around Hancock’s funky hard bop from his Blue Note years, there was an audience to be had with this new free-form, electric jazz.

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Mwandishi, 1970

Miles Davis had already taken off with his 1969 Columbia release, Bitches Brew, plus a handful of live recordings which featured an even edgier take on his dark vision. Hancock’s work, by comparison, did not display the raw bravado of Davis’, its strength, rather, lied with its creator’s love affair with technology and the possibilities it could bring to his music.

Hancock’s work, by comparison, did not display the raw bravado of Davis’, its strength, rather, lied with its creator’s love affair with technology and the possibilities it could bring to his music.

This love affair becomes all the more evident in Hancock’s next Warner release, 1971’s Crossings. He pulls out all the stops here, adding an additional voice in Dr. Patrick Gleeson on Moog synthesizer. Here, Hancock crosses over to an avant-garde realm only visited briefly, and acoustically, on his already long resume. With banks of synthesizers, Hancock plugs in and creates a world wholly his own.

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Crossings, 1971

Although the Davis influences are impossible to deny, it’s Hancock’s own genius in multilayered arrangements that forges each piece into something unique. With track titles like “Quasar” and “Water Torture” it’s obvious this isn’t the laid back hard bop of years past — the future is now. The opener, “Sleeping Giant”, is just that — a giant. It’s a near 25-minute roller coaster of a suite incorporating Hancock’s new electronic instrumentation. Changing tempos, frenetic drumming, and the blips and chirps from synths soon show the way to a new approach that will eventually be more fully embraced on Hancock’s next release.

Experimentation abounds, much of Sextant sounds as if it was created live in a science lab setting.

Hancock’s debut on Columbia Records is an album that some may consider menacing to say the least. 1972’s Sextant is a full-on fusion album, quite literally equal parts man and machine. Experimentation abounds, much of Sextant sounds as if it was created live in a science lab setting. I like to call this sub-genre of music Sci-fi Jazz. Much of the album sounds like a funky, and oftentimes frightening, soundtrack to a science fiction journey. The opener, “Rain Dance”, sets the spacey mood with a flurry of electronic effects which carry throughout the piece and register as electronic water drops. Perhaps giving credence to the surrealistic album cover as a sort of alien dance ritual.

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Sextant, 1972

The second of the three tracks is “Hidden Shadows” and is indeed dark. And for all the percussion, synths and alien effects there is still the signature Hancock sound that musters familiarity right off. The keyboard chordings, the solos and the group harmonies — all transplanted from Hancock’s former life at Blue Note. There is a theme that continues to reign in the blowing and keyboard wizardry to keep “Hidden Shadows” as the most conservative and least likely to scare off the uninitiated.

The crowning achievement on this album is the final piece, “Hornets”. Abstract and nearly inaccessible, it begs further inspection. The redundant use of kazoo instills the frenzy of the track’s namesake. There are Fender Rhodes passages with free blowing over top in this 20-minute piece that sound reminiscent of Davis’ live outings from the same period. There was something undeniably in the water back then. Sometimes, I wish that certain something would make a return posthaste.

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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.

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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.

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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.

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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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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.

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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.

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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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1958 Album of the Year: Porgy and Bess

By Justin Scoville, Guest Contributor

Wow, I have had a tough time with this one. Although 1959 was certainly a watershed year for Jazz, 1958 wasn’t too shabby either. A Great Day in Harlem, the famous photo taken by Art Kane, was captured in 1958. (And yes, this photo is hanging in my living room). Many pivotal albums were released in 1958, including these personal favorites:

  • Deeds, Not Words Max Roach’s innovative piano-less group that featured Ray Draper on tuba and a stunning, 20 year old Booker Little on trumpet. My mom bought this for me when I was a teenager and that was the start of my fascination with Booker.
  • Somethin’ Else Miles Davis’, er, Cannonball Adderley’s sublime Blue Note album which offers the definitive, most swinging-est versions of “Autumn Leaves” and “Love For Sale”.
  • Moanin’ If you had to choose one Jazz Messenger’s album that encapsulated all of Art Blakey’s mission as a musician, this wouldn’t be a bad choice.
  • Cool Struttin’ Man, Sonny Clark swung hard. Love that guy. He was out of the Bud Powell school with a lighter touch and infused his solos with blues and wit.
  • Looking Ahead One of Cecil Taylor’s first forays into the New Thing.
  • Milestones An absolute classic. Trane, Miles, and Cannonball as a front line… Wow. The title track foreshadows Modal Miles.
  • Everybody Digs Bill Evans: Keepnews Collection Recorded in 1958 but released in early 1959, this album saw Evans conceptualizing his modal approach in the hypnotic Peace Piece.

Anyways, my choice for 1958 is Porgy & Bess, Miles Davis’s second of three collaborations with Gil Evans in a large ensemble setting. (I’m cheating on this one… Porgy and Bess was actually released in 1959 but recorded in 1958. The field for 1959 is too crowded).

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Miles Davis at the Porgy & Bess sessions, 1958

Miles Ahead (1957) augmented the Birth of the Cool’s nonet into a full-blown big band, allowing Miles to pontificate against an obtuse instrumental backdrop. 

Sketches of Spain (1960) was, at the time of its release, a radical departure from jazz convention and stirred up controversy about what was and wasn’t jazz.

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Miles Ahead, 1957

Porgy and Bess falls in the middle of Miles Ahead and Sketches of Spain chronologically and musically. Gershwin’s conglomeration of the American Folk tradition and European Classical harmony made a perfect musical playground for Evans. His complex yet melodic voicings, brought to life by a top-notch group, laid the foundation for Miles to advance his pioneering style away from Bebop and into the Unknown. Evans also captures the drama of the opera in his adaptation, along with Miles as the lead soloist. Both Evans and Davis were fascinated with the nascent modal innovations of George Russell, and although Milestones captured some of what was to come in Kind of Blue, I feel like Porgy and Bess is the first full realization of the modal approach in Jazz.

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Porgy And Bess, 1959

“Buzzard Song”, “Summertime”, and “It Ain’t Necessarily So” are clear historical favorites from this album. For me, from a strictly musical standpoint, “Gone” and “Prayer” are the standout tracks. “Gone” opens with ragged but spirited ensemble passages sandwiched between brilliant drum fills from Philly Joe Jones. The centerpiece of the song is Miles blowing chorus after chorus over a minor mode with Philly Joe and Paul Chambers. The absence of a chordal instrument doesn’t hinder Miles at all; instead, he sheds his old Bebop skin and emerges a new man. Prayer builds from a mournful blues statement from Miles into a wailing climax. (I always love how Cannonball plays during the crescendo; his levels are so high he must have freaked out the recording engineers). Prayer is a radical departure from the Head-Solo-Head structure of most jazz songs from then and now, with the ensemble building organically together with Miles’s melodic improvisations.

The absence of a chordal instrument doesn’t hinder Miles at all; instead, he sheds his old Bebop skin and emerges a new man.

Porgy and Bess is a beautiful masterpiece and a lasting monument to Gil and Miles, whose musical partnership would span several decades, not to mention genres, of Jazz.

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Justin Scoville is a Denver-based trumpeter and jazz blogger.

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