Category: Impulse!

Fire Music: Jazz and Civil Rights

“… you must listen to me on my own terms. I will not let you misconstrue me. That era is over. If my music doesn’t suffice, I will write you a poem, a play. I will say to you in every instance: ‘Strike the ghetto! Let my people go!'” — Archie Shepp (taken from liner notes to The Magic of Juju, 1967)

By Carl Glatzel, Editor

Archie Shepp has long been a familiar artist in my collection. Before I knew him for his politically-charged poetry, plays and activism I knew him for his stirring brand of music on the Impulse! record label. He came into his own in the early-60s on various recordings on the Savoy and Delmark labels with forward-thinking jazz notables; Cecil Taylor, Don Cherry, John Tchicai and Bill Dixon. His record contract at Impulse! in the mid-60s began a new era of self-discovery in support of the burgeoning New Thing movement, a school of jazz based on the inventions of mid-century, avant-garde musicians. His ten-year relationship with Impulse! would prove fruitful for both label and the socio-political climate of a very tumultuous decade.

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Fire Music (1965) isn’t Shepp’s first recording for Impulse!, but it’s the first to showcase his unique talent as a composer, performer and poet, independent of John Coltrane. The album, as a whole, can be interpreted as part and parcel to the soundtrack of the Black Power movement of the era.

“There was a poem I did to Medgar Evers and to Malcom. It’s the same poem. I call it ‘To Medgar’… and sometimes I call it ‘To Malcom’, I may change it from Malcolm to somebody else—the next person they murder. It’s to Medgar. It’s to my people. That’s all.” —Archie Shepp (taken from liner notes to Live in San Francisco, 1966)

Shepp’s spoken-word poetry, referenced above, has always been a major draw for his albums and a good reason for repeated listenings. “Malcolm, Malcolm, Semper Malcolm” on <a href="http://Fire Music (1965), “Skag” on New Thing at Newport (1965) and “The Wedding” on Live in San Francisco (1966) are testaments to his writing ability, wit and political insightfulness.

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Attica Blues (1972) was a watershed album for Shepp. Large ensembles and complex arrangements are centered around the title piece based on a deadly 1971 confrontation between rioting prisoners and police at Attica Correctional Facility in New York. In an effort to end the standoff, police gunned down 39 inmates and hostages and wounded several others.

To be sure, Archie Shepp was not the only performing artist of the 60s to address civil rights issues—far from it. But, to these ears, he was one jazz musician to consistently deliver an intelligent, entertaining and varied offering in different mediums over a span of several decades. And his message, even though he tackled different aspects of inequality such as drug addiction or violence, was always raw and honest. This approach may be less desirable in today’s homogenized circles, especially with major record labels, but it’s an approach that pushes the envelope and opens peoples’ minds—at times with a push rather than with a nudge.

As for Shepp’s instrumentals, he owed much to John Coltrane’s legacy at the onset of his career. A firebrand, especially to those new to the New Thing sound, Shepp was both volatile and versatile and proved it on just about everything he recorded for Impulse! From hard-edged avant-garde blowing sessions to bluesy funk to big band ensembles reminiscent of Charlie Mingus, it’s safe to say one wouldn’t get bored with his recording output. A couple favorites of mine are The Way Ahead (1969) and Kwanza (1969), both featuring Grachan Moncur III, trombonist, composer and longtime collaborator. Both albums offer infectious post-bop blues, angry blowing and genre-bending arrangements—all the while remaining firmly rooted in Black tradition with nods to both Africa and Ellington.

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The Way Ahead (1969) is another eclectic offering from Shepp and company, showcasing avant-garde music bathed in Afrocentric blues, gospel and swing. This album also signals Shepp’s first time use of a piano in his ensemble, creating a more conventional configuration for an unconventional sound.

“It is my opinion that music born of the emotions will always seek to serve the highest level of legitimate ‘popular’ taste; and it is precisely that music which lasts, simply because it communicates something to people.” —Archie Shepp (taken from liner notes to Mama Too Tight, 1966)

With so many critically-acclaimed recordings, including many non-Impulse! sessions and concerts, Archie Shepp has secured his spot in jazz history and Black culture. During these difficult times it’s beneficial to look back at past accomplishments in the name of civil rights—there is a treasure to be unearthed for the uninitiated, full of anger, deservedly so, but also full of hope. And for those who are familiar with these recordings—don’t forget about them and let them languish. Don’t forget about the artists, the open-minded record executives and their supporters, the fans and most importantly the victims. And don’t forget the message and the rage that stoked these fires.

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Prime Cuts: Gil Evans & “Where Flamingos Fly”

By Carl Glatzel, Editor

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.

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Out Of The Cool (Japanese remastered edition), 1961

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.

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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.

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Ron Carter, double bass. Photograph by Francis Wolff © Mosaic Images.

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.

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Sketches Of Spain, 1960

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 and the Death of a Giant

By Carl Glatzel, Editor

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.

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John Coltrane, saxophones. Photograph by Francis Wolff © Mosaic Images.

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?

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Cosmic Music, 1968

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.

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A Monastic Trio, 1968

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.

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Pharaoh Sanders, tenor saxophone. Photograph by Francis Wolff © Mosaic Images.

“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.

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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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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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