Month: April 2024

McCoy Tyner, Extensions

Album of the Week, April 27, 2024

As McCoy Tyner continued on his post-Coltrane career, his version of the modal jazz that he had begun playing with Trane from the earliest days continued to evolve. We saw some of the developing hallmarks of the style with Expansions: use of minor modes, unusual percussion, and drones. These continue on Extensions, recorded by Tyner on February 9, 1970 at Van Gelder Studios in Englewood Cliffs, New Jersey, but not released by Blue Note until 1973, after he had already left the label.

Tyner brought to the sessions not only his compositional A game but an incredible band. Returning from Extensions were Gary Bartz, Wayne Shorter and Ron Carter; new members included his old bandmate Elvin Jones on drums, and another Coltrane—Alice—on harp.

Alice McLeod, born 1937 in Detroit, began her jazz career at an early age, performing on piano in Detroit clubs in the late 1950s and moving to Paris to study with the great Bud Powell. She married a jazz musician there, trumpeter Kenny “Pancho” Hagood, and had a daughter, but was forced to return to the States as Hagood’s heroin addiction worsened. She performed with her own trio and with vibraphonist Terry Pollard; she was playing in Terry Gibbs’ quartet in 1962-1963 when she met John Coltrane. They married in 1965, and Coltrane became her daughter’s stepfather; they had three children together. Alice joined Coltrane’s band in 1966 after McCoy Tyner’s departure and played piano in the quartet until Trane’s 1967 death. She encouraged Trane’s growing interest in spiritual matters from as early as A Love Supreme, and he encouraged her musical development, even ordering a full sized concert harp for her without her knowledge which was delivered after his death.

Alice Coltrane wasn’t the first to adopt the concert harp as a jazz instrument; others, notably Dorothy Ashby, pioneered the instrument in a jazz setting. But she was the first to bring its sound into spiritual jazz, where she denuded it of any classical affectations. The harp sound that she adds to the album evokes music from earlier traditions, including African and Middle Eastern, a connection reinforced by the album’s National Geographic inspired cover.

Together on Extensions, Tyner and Alice Coltrane conjured a jazz sound that took the hallmarks of Tyner’s spiritual jazz style and added an element of repetition, almost to the point of mantra, and groove. Trane had all but abandoned traditional meters by the time of his death, but the form of spiritual jazz that Tyner plays here is anchored in a constant heartbeat.

That heartbeat begins with Ron Carter, who opens “Message from the Nile” with a pulse on an open fifth. Alice Coltrane follows after four bars, adding harmonic complexity by bringing out the supertonic and seventh notes of the chord in her rhythmic harp patterns as Elvin Jones enters on cymbal and snare. Tyner enters, stating the melody with repeated, strongly rhythmic piano chords. Shorter and Bartz join at the second chorus, playing the melodic pattern in parallel fifths. The whole tune essentially consists of two tonal centers a minor sixth apart, and in each part of the tune the same melodic patterns are repeated four times, as if establishing a mantra for meditation; the static melodic and harmonic pattern still moves thanks to the strong rhythm established by piano, bass, drums and harp. Tyner solos, exploring the corners of the tonality established at the top, and then passes to Shorter, whose soprano saxophone echoes some of Coltrane’s melodic searching without dipping into the growled or smeared tones practiced by Trane. Those effects appear in Bartz’s solo as he returns over and over to the tonic. Alice Coltrane’s harp solo returns some measure of the opening ethereal meditation, underscored by a high-pitched wooden flute, uncredited but possibly played by Tyner himself (he was credited with playing the instrument on a subsequent Blue Note date). The whole thing is an active meditation, which WHUR-FM music director André Perry argued in the liner notes was influenced by the “history of the Black man … deeply rooted in the experiences that transpired on and along the Nile river.”

“The Wanderer” takes a more straightforward compositional approach and is the only track on the album on which Alice Coltrane does not appear. In contrast to “Message from the Nile,” the tune moves through eight chord changes in as many measures, the restlessness giving the tune its name. There’s a thematic connection to the prior tune, though, in the strong rhythmic pulse and in the playing of the theme in parallel fifths by the saxophones. However, there’s an abrupt gear shift about one minute in following the third statement of the melody, as Wayne Shorter takes off on a tenor exploration around the melody that’s underscored by Ron Carter’s running bass line. Carter indeed seems to find new tonal centers as he grounds the line in a sustained pulse on the tonic and the seventh. Shorter tapers off in a series of triple note runs, at which point Bartz picks up the solo torch in the alto that explores the ideas that Shorter was just playing with before returning to the melody, shifting it into a few different keys and then passing to Tyner. Tyner’s solo continues shifting the tonal center around until the players fall away and Jones wanders into several different rhythmic patterns, before transitioning back to the strong beat of the beginning as the band recapitulates the opening.

By contrast, “Survival Blues” begins with Tyner playing solo, an opening that seemingly straddles the spiritual jazz in which the record is centered with more traditional blues chords, even seeming to reach into some Duke Ellington inspired moments around the 30 second mark. At about the one minute mark, he settles into a strong rhythm backed by a repeated bass ground and supported by Jones in full polyrhythmic splendor, as well as by Alice Coltrane, who provides both chordal continuity and moments of chromatic accent. The tenor saxophone states the melody, which runs an octave via the seventh, three times before Shorter begins to shift things around, both chordally and rhythmically. His lines explore the entirety of the space around the melody before handing off to Tyner, who finds secondary rhythms and a second center of gravity around the fifth of the chord. Coltrane joins him on the second half of the solo, as she both picks up some of the secondary rhythms and reinforces the underlying chords with carefully chosen accenting notes in the upper octaves. Ron Carter takes a solo, accompanied by shaken sleigh bells, that walks the core rhythm around the entirety of the octave, finding unsettling tensions in the slide from the second to the third and down to the octave. The introductory melody returns before Jones takes an extended solo that explores the core pulse. The band returns, including Coltrane who performs an extended glissando into the restatement of the opening theme before Shorter returns once more to state the opening theme. (Bartz appears to have sat this one out.)

Coltrane brings that magnificent glissando back to open “His Blessings,” as Tyner explores the opening chord while Carter’s arco bass plays a melody that expands into a tremolo, Bartz pulses small fountains of sound, and Jones’ oceanic rolls keep things moving along. Shorter plays a line in the soprano saxophone that brings John Coltrane’s melodies on Sun Ship to mind while simultaneously calling back to In a Silent Way. Alice Coltrane takes a solo, performing glissandi in the upper strings while playing a melodic line with her other hand in the middle strings, over Carter and Tyner. Shorter returns for one more extended solo over a tremolo bass solo that hangs suspended on the fifth. If other tracks on the album call to mind some of Tyner’s earlier compositions, this one is unique, a spiritual meditation that seems to hang like a sphere in the air. The liner notes credit this as “the reflections of my life and the time afforded me with John Coltrane.”

In early 1970, Tyner was at the peak of his compositional and performing career, and Extensions reflects it. This was a peak period for his writing and performance that would continue even as he left Blue Note, a transition that delayed the release of Extensions for several years. But part of the credit for this album inevitably accrues to his players, especially Alice Coltrane. That debt becomes clearer when we listen to her work next week.

You can listen to the album here:

https://youtu.be/Yj1-m9Y_4KQ?si=vOycjqfYql86Yxw6

Pharoah Sanders, Karma

Album of the Week, April 20, 2024

Pharoah Sanders continued to work with John Coltrane following his appearance on the Seattle club performance that became A Love Supreme: Live in Seattle. The first released fruit of their collaboration was Ascension, then Meditations, Om, Kulu Se Mama, Expression and a host of live recordings. While working with Coltrane, though, he started his series of recordings for Impulse Records, beginning with the November 15, 1966 session that produced Tauhid. What followed, though, was nothing short of a hit, an almost album length performance that cemented the advances of A Love Supreme, adding additional types of percussion and making the vocals a feature, and essentially codifying the “spiritual jazz” genre.

It’s not clear that Sanders knew this was going to be the outcome when he entered the RCA Studio with Bob Thiele in New York on Valentine’s Day, 1969 to record the first session, “The Creator Has a Master Plan.” What is clear is that he had something in mind much broader than a traditional jazz quartet album. The players included Trane’s onetime bassist Reggie Workman, alongside second bassist Richard Davis; James Spaulding (previously heard on The All Seeing Eye and Schizophrenia) on flute; Julius Watkins, who had previously recorded with Trane on Africa/Brass, on French horn; the great Lonnie Liston Smith on piano; Billy Hart on drums; Nathaniel Bettis on percussion; and Leon Thomas on percussion and vocals. A second session five days later yielded the second track, “Colors,” and featured the same players minus Davis, Spaulding, Hart and Bettis, and adding Freddie Waits on drums.

Leon Thomas was a big part of the distinctiveness of the new sound. He had sung in more traditional ensembles in the early 1960s but was drafted in the early 1960s. When he returned from the service in the late 1960s, substantially weirder, he began working with Sanders on this record. His contributions included writing the poems for both tracks, singing them, adding miscellaneous percussion, and especially employing a distinctive yodel. The yodel had roots in ritual practice and in African Pygmy music; you can hear examples of the latter in the field recordings of Colin Turnbull.

“The Creator Has a Master Plan,” recorded during that first Valentine’s Day session, takes up the entirety of Side One plus half of Side Two. There have been only a few records I’ve reviewed where I feel you get a better sense of the composition by listening to the CD version, and this is one. Sanders’ vision ranges for more than 30 minutes across the two sides and signals its intent from the opening notes of the saxophone, which quote some of the progressions that Coltrane used in A Love Supreme. In this case, though, they’re played over a host of percussion, flute, and piano chords, and the modal darkness quickly gives way to a more hopeful chord as Spaulding’s flute twirls overhead.

The ensemble pauses, then the bass picks up the main theme. Again seemingly inspired by A Love Supreme, the theme is an eight-note pattern formed by two closely related motifs that stretch out over an octave before resolving back to the tonic (V-I-V-IX, V-I-V-VIII). The bass theme is accompanied by tuned percussion and by Lonnie Liston Smith strumming the strings of his piano like a harp. Spaulding picks up the theme in the flute, and Sanders finally enters, first playing pedal notes on the supertonic and tonic and then freely improvising in a major key over the open tuning of the theme. His tone is mostly ballad-smooth, but there’s a little brimstone around the edges. Smith’s piano primarily sticks to reinforcing the core chords, and Watkins’ French horn primarily provides supporting color. This beginning section of the work—call it Prologue and Part 1—proceeds for almost seven minutes and 30 seconds before Leon Thomas enters.

Thomas’s vocal and percussive part, like Trane’s chant on “A Love Supreme: Acknowledgement,” serves to kick the whole performance into a higher plane. He both provides the explicit message of the song and adds vocal color from multiple religious vocal traditions, including the aforementioned Zaire Pygmy people, gospel, and traditions even further afield. Thomas also plays hand percussion, further adding to the ceremonial overtones. This first section comes to an end with a restatement of the opening theme, now with greater passion and energy, as though the band was preparing to wrap up the performance.

But that doesn’t happen; instead, at 13 minutes, the bass theme and opening recapitulates as though beginning the work again. But this time, after about two and a half minutes of Sanders’ soloing, the tempo accelerates to double speed and the real Pentecostal hollering begins, starting with Sanders and spreading to Watkins, the basses, and finally Thomas, who takes a wordless solo that first emphasizes the melody and then moves beyond it, employing multi-octave effects, falsetto, and more. (There are stretches that echo some of the Moroccan and Egyptian street performances that Peter Gabriel sampled in his Passion soundtrack, for instance the vocal color that underpins from 0:05 – 0:23 of “It Is Accomplished.”) It’s so intense that the solo actually seems to be overdubbed in a few parts. It’s in this section, by the way, that the LP version inserts a side break, returning on side 2 to absolute chaos with every player blowing or striking their instrument at maximum volume, saturating the entire sound field and providing something akin to a vision of a multi-eyed, multi-faced, multi-winged fleet of seraphim. It’s not for the faint of heart or sensitive of hearing.

At the end of this section, Sanders reintroduces the faster theme and signals a return to tonality, but not to the more subdued meditation of the beginning. We are still transcendent beings by this point, a point he quickly reintroduces by overblowing to produce additional harmonics. Thomas’ solo returns to a more melodic yodel, this time accompanied by a sustained pedal note in the bass and French horn. Finally, 28+ minutes in, Sanders returns to the original theme and tempo and provides a final recapitulation of the opening theme along with the final statement of the poem by Thomas, going into a fadeout. A fadeout! After more than 32 minutes of straight performance! This band was going to keep playing all day.

After the onslaught of “Creator,” “Colors” comes as a meditative, though not exactly peaceful, coda. The opening statement from Sanders could almost have come from the opening theme of “Creator,” but instead of the insistent bass groove we get a field of bells, arco bass, flute and piano chords that provides a meditative bed for Thomas’ sung poem. Here he dispenses with the vocal pyrotechnics, providing a straight reading of the Creator as the source of the “rainbow of love.” Sanders blows one last run of the theme from the prelude of “Creator” under the final statements of the colors, then lets Spaulding have a final crack at the gentle melody before finishing with a last two note statement of the octave.

There is no such thing as a jaundiced listen to this music; it remains mind-blowing and repays close, repeated listening. Bob Thiele knew he had something big on his hands with this session, but had to convince the brass at ABC. He’s quoted as saying, “Until the record came out, it was the same tired tune: ‘What kind of crap is this? This isn’t going to sell; it doesn’t mean anything; it’s a lot of junk; you can’t dance to it; you can’t listen to it;’ ad infinitum.” But sell it did, and topped the Billboard Jazz chart for 12 straight weeks.

Like all good gospels, Karma recapitulated and honored what had come before while simultaneously marking the birth of something new. We’ll hear some of what followed in its wake next week.

You can listen to the album here:

PS: Another really good review of Karma by Josh Mound can be found on “The Best Version of…” in Audiophile Style.

McCoy Tyner, Expansions

Album of the Week, April 13, 2024

The classic John Coltrane Quartet was no more after December 1965, as first McCoy Tyner then Elvin Jones despaired of being able to follow Trane to the places he was going. Trane died, unexpectedly and awfully, of liver cancer at the age of 40, on July 17, 1967. But Trane’s musical legacy lived on, most notably through those who played with him and the unmistakably audible legacy his works left in theirs. Tyner was one of those, and as we’ll hear over the next few weeks, Trane’s influence ran strong in Tyner’s works for years afterwards.

Following Tyner’s departure from the Quartet, he signed with Blue Note Records and recorded a series of albums that gradually expanded Tyner’s compositional and performing concept beyond the boundaries of the jazz quartet. On Expansions, the fourth in the series (following The Real McCoy, Tender Moments, and Time for Tyner), we get an intriguing mix of modal jazz, the avant-garde, and more traditional sounds, delivered by a septet of players that included Woody Shaw on trumpet, Gary Bartz on alto sax (and wooden flute), Wayne Shorter on tenor sax (and clarinet), Herbie Lewis on bass, Freddie Watts on drums, and Ron Carter, who plays cello here.

Shaw would go on to record on sessions with Joe Zawinul (he actually appears on Zawinul), as well as . Gary Bartz had previously performed with Tyner in Charles Mingus’s workshop and would record with him again before working with Miles Davis in 1970 (resulting in the Live-Evil album) and beginning his own influential band, the NTU Troop. Herbie Lewis recorded with a long list of influential 1960s players including Cannonball Adderley, Stanley Turrentine, Bobby Hutcherson, Freddie Hubbard, Jackie McLean, Archie Shepp, Harold Land, and others. And Freddie Watts worked with Max Roach, Kenny Barron, Andrew Hill, Joe Zawinul, Freddie Hubbard, and others.

When you hear “Vision,” you could be forgiven for thinking you were hearing a leftover melody from a Coltrane session, at least until the horns enter. Tyner’s harmonic imagination is strongly influenced by Trane’s modal material. But the horns, who play the opening statement of the melody add a new element that’s distinct from the Coltrane style. And Ron Carter’s cello solo, which provides both melody and texture by playing with light pressure on the fingerboard while bowing (sul ponticello), takes the tune even further into unknown reaches. Wayne Shorter, Gary Bartz, and Woody Shaw each take a solo. Shorter’s harmonic imagination is interesting here as he plays unusually aggressively compared to his performances as a group leader. There are touches of some of his playing on Miles Smiles in the speed and bite of his playing. Bartz plays more melodically by contrast, but brings in some distortion in the saxophone. And Shaw goes even further out, playing into the upper reaches and moving well beyond the chords of the tune. The overall tune pushes beyond traditional jazz forms, urged on by Tyner’s percussive playing and Freddie Watts’ drums.

“Song of Happiness” comes from a more meditative center. The opening is played over a static chord with the piano and bass constantly in motion without moving far from the central tonality. A melody starts in the bass and is accompanied by the constantly rolling piano and, ultimately, by wooden flute and clarinet, played by Bartz and Shorter. Finally, the horns come in on a secondary melody and are answered by the bass and piano, tossing the development of the melody back and forth in eight bar patterns. Solos follow from Tyner and Shorter, and the group returns to the flute for the long coda. There’s more than a hint of the East in the arrangement, and it shows how Tyner’s imagination was broadening beyond the minor key workouts of the classic quartet.

“Smitty’s Place,” by contrast, feels almost like an Archie Shepp workout, with a clear melody alternating with free playing from the band. Shorter’s solo here is much closer to his normal playing of the late 1960s, with shadows of his Schizophrenia. The pizzicato cello solo by Carter is one of the farthest-out things on the whole record, and Tyner’s closing solo definitely the funniest.

“Peresina” finds us back in a familiar minor modal groove, led by Tyner’s assertive solo and followed by the melody which is stated in the horns. But at about the two minute mark the tune takes a left turn into something more complex chordally, and suddenly the feel is less percussive, more dancelike. It’s an interesting tune, well played by the band; again, Shorter’s solo stands out for its left turns into unusual tonalities and moments.

Last, “I Thought I’d Let You Know” is the only non-Tyner composition on the album. Written by Cal Massey, who played with Tyner and Jimmy Garrison in Philadelphia in the 1950s, the work opens with a cello feature by Carter before turning to a tender piano solo from Tyner. The two alternate with support from the rhythm section throughout. The overall effect has the serenity of “Song of Happiness” in a more traditional format, as if to say: this, too, remains.

On Expansions, McCoy Tyner’s compositional skills and range are on full display. While still touched by the shadow of Trane’s influence, tracks like “Song of Happiness” and “Smitty’s Place” show that Tyner could stretch convincingly into his own definition of the avant-garde and could command a substantially broader tonal palette. We’ll hear more of that in coming recordings from him; next week, though, we’ll check out another post-Trane recording from one of his later collaborators.

You can listen to this week’s album here:

John Coltrane, Sun Ship

Album of the Week, April 6, 2024

Like all great things, the classic John Coltrane Quartet was not to last. Trane’s restless searching, which we’ve seen in Evenings at the Village Gate and A Love Supreme: Live in Seattle, was constantly seeking new sounds and new instrumentation. This started with more drums and bass, and extended to bringing in additional horns, either individual saxophonists like Archie Shepp and Pharoah Sanders (heard on Meditations, recorded November 23, 1965), or whole horn sections as heard in Ascension (recorded June 28, 1965).

But the classic quartet continued to be a performing and recording unit throughout this pivotal year; indeed, Trane hardly stopped recording, not even letting obstacles like the unavailability of Rudy Van Gelder’s studio slow him down. As a result, many of the sessions recorded during this period were not released until years after his death, including Transition and Living Space (recorded in June 1965) and today’s record Sun Ship, recorded at the RCA Victor Studios on August 26, 1965.

“Sun Ship” begins with a blast, Trane blowing rapid four-note patterns while the rhythm section follows his staccato lead, then four bars of apocalyptic drums from Elvin Jones, a repetition of all of the above, and then an extended solo from McCoy Tyner. Tyner here is far from the mannered player of Reaching Fourth or Nights of Ballads and Blues; while rooted in chords, he nimbly shifts the focus of his solo from racing arpeggios to bomb-dropping block chords to blistering rhythmic patterns that recall Trane’s opening salvo, all egged on by Jones’ massive drum presence. Jimmy Garrison holds on throughout it all, providing running commentary and suspended fifths. When Trane reenters, he is in full prophetic mode, the tone of his saxophone fraying and smearing as he plays extended runs that blow right past the metrical bounds of the composition. He finds honking, bleating tones at both the high and low end of his range and keeps pushing the limits of his instrument’s sound right up until the track stops abruptly just past the six-minute mark.

“Dearly Beloved” starts with a rare snippet of studio chatter from Trane to his band: “then you can go into it later… well, I think it would better to keep pressing, so we will keep a thing happenin’ all through it, but you can go through it when you feel like it. Ready?” At which point Trane introduces a broad, dramatic minor-key melody that would have been at home between the “Resolution” and “Psalm” movements of A Love Supreme. Jones and Garrison provide a heartbeat beneath Trane’s melody. Tyner, meanwhile, sketches the chord progressions with alternating block chords and ornaments, at points barely audible beneath Trane’s onslaught. When Trane subsides, we hear what Tyner has been doing: he has his own melody against a brook-like obbligato that captures a serene pause before racing back through Trane’s chords, to return once more to the C♯ tonality from the beginning. The track is full of movement but returns again and again to this serene center. “Amen” follows a similar structure, though the melody and chords bear a family resemblance to “Resolution.” At one point Tyner’s crashing chords roll forward into a triple meter, a sort of frenzied waltz, before falling back to Trane. Coltrane’s closing solo seems to take the form of a wailing prayer before tapering off to a quieter conclusion; the crashing wave of Elvin Jones’ drums brings the track to a conclusion.

Side two opens with the quiet melodic statement of “Attaining,” played freely over the quartet’s oceanic explorations with a statement reminiscent of “Lonnie’s Lament” from Crescent. After the introduction, though, the quartet drops into a lower key, with Trane speaking the words of an unknown poem through his horn over a relentless triplet rhythm in Elvin Jones’ drums. (A listen to the complete Sun Ship recordings, released a few years ago, shows that the key change is actually the result of a splice of two different takes!) When the group coalesces into a forward beat, it’s driven forward by a prominent pizzicato part from Garrison over bursts on the cymbals and snare from Jones, while Tyner takes an extended solo. The brilliant bit of the track, though, is the way that Tyner and Jones collectively slow the heartbeat through their use of polyrhythms without appreciably slowing the actual tempo of the underlying pulse. There’s one more statement of the psalm followed by another roaring wave from Jones before the quartet changes key down once more, with psalm in saxophone over a bowed line in the bass. The whole thing is breathtaking.

And then Jimmy Garrison begins “Ascent” with a simple six-note ascending chromatic figure, alternating with patterns of descending thirds, then the chromatic figure played in parallel on adjoining strings a fourth apart. Garrison continues with his solo exploring different melodic patterns around the chords implied by the chromatic scale. After about five minutes—halfway through the track—Jones joins with a bouncing figure on the cymbals and snare, and he and Garrison slow to a halt. Then Trane joins with a version of the chromatic theme played in the original lower key, and Tyner splashes blocks of chords underneath everything. Together, they take the quietly spoken prayer and make it a group cry, before Garrison repeats the theme one last time.

“Ascent” serves as a fitting send-off for the quartet in its original form. Tyner, Jones and Garrison were clearly the only group on the planet that could keep up with his energy, but the writing was already on the wall that their time together was limited. In early 1966, Elvin Jones left, feeling that his polyrhythmic style was clashing with the more omnidirectional approach of Rashied Ali, who had joined as a second drummer. McCoy Tyner had already left in December 1965, saying something similar about Ali and the other percussionists who joined: “I didn’t see myself making any contribution to that music… All I could hear was a lot of noise. I didn’t have any feeling for the music, and when I don’t have feelings, I don’t play.”

Trane continued to add more avant-garde players to his sound in the last years of his life. We’re going to hear from some of them, but next week we’ll listen to one of the members of the Classic Quartet in his rejuvenated career as a leader.

You can listen to this week’s album here: