This year was Michael Butterman’s last as our interim conductor, and he brought a lot, as usual, to the proceedings, including some of the nicest Baroque orchestra performances to accompany a Glee Club concert on record. Which is why your bonus photo for today is from the St. Paul’s performance of a young Butterman getting his bow tie adjusted by an even younger John Vick. Ah, history.
Steamin’ with the Miles Davis Quintet, reissue on Jazz Wax Records
Album of the week, March 12, 2022
With this #albumoftheweek, we have come to the final of Miles’ four “contractual obligation” albums for Prestige Records. Recorded as he was beginning his stellar career for Columbia (about which, more later), the four albums – Cookin’, Relaxin’, Workin’, and Steamin’ – showcase the versatility and talent of the First Great Quintet. It would also be one of the last recordings of this particular lineup.
Miles had struggled with heroin early in his career, going so far as to move out of New York to the Midwest for a few years to give him the space he needed to kick the habit. Unfortunately, his saxophone player, John Coltrane, was still in the thralls of the drug, and left after these recording sessions for a period. He would get clean in 1957 (which is a story for another day) and rejoin the band in 1958.
Red Garland and Philly Joe Jones also suffered from an addiction to heroin; their performances didn’t suffer but their professionalism did, and their unfortunate habit of showing up late for gigs meant that both would ultimately be fired by Miles after the quintet’s first two Columbia recordings, ’Round About Midnight and Milestones. They made his last recordings with Miles’ group in March of 1958 and their last performance in November of that year, on a radio broadcast. Garland would be replaced in Miles’ band by a young pianist named Bill Evans, who had made an impression at Newport; Jones would be replaced by Jimmy Cobb. Both would continue playing and recording until their deaths in 1984 and 1985, respectively.
Paul Chambers would stay in Miles’ groups until 1962, appearing on many of the early Columbia recordings including the band recordings with Gil Evans and the landmark Kind of Blue. He left Chambers in 1962, along with Jimmy Cobb and pianist Wynton Kelly, and the trio would form one of the most memorable rhythm sections in jazz until Chambers’ untimely death from organ failure in 1969, brought on by tuberculosis and hastened by his own heroin and alcohol addictions.
It is sobering to listen to Steamin’ in light of the band’s history, but it’s also a pure pleasure. Trane is great on this album, particularly the opener. And the arrangements are something else. “Salt Peanuts” in particular cooks along at light speed, and the band’s version of Thelonious Monk’s “Well, You Needn’t” is a remarkable illustration of how it could stretch and drive even the most difficult material into something that was wholly its own. It’s a fitting finale for this set of great Miles recordings.
We’ll take a short break from our Miles survey next week, but in the meantime please enjoy listening to this remarkable album.
Today’s next album in the Virginia Glee Club Bandcamp discography is a classic, A Shadow’s on the Sundial. I’ve written about this album before, but aside from the folks that were there at the time (and people like me who have scored copies on eBay), very few people have had a chance to hear it. Now’s your chance!
In addition to featuring the only recording of David Davis‘s Summer Songs, there are some outstanding performances of staples of the Glee Club’s repertoire from the 1970s and 1980s including “Shoot, false love” and “Hark, all ye lovely saints.” And it’s a really great chance to hear the Loach-era Glee Club at the beginning of their great stretch in the 1970s—after all, this was the album that raised funds to take the Glee Club on their first European tour!
Listen and buy here! As a reminder, all proceeds from sales go to support the Glee Club.
As I was writing Ten Thousand Voices, one of the things that kept hitting me was that it was a little like dancing about architecture. How could readers who hadn’t listened to all the various recordings connect with some of the stories about the music that is the Virginia Glee Club’s mission?
We’re addressing a bit of that today with an experiment. Music for a Noble Acoustic, released on cassette in 1993 and capturing the Glee Club’s early 1990s repertoire in concert, is now available for preview and purchase on Bandcamp, on the Virginia Glee Club’s very own artist page. You can now hear what the group sounded like under John Liepold, as well as hearing early renditions of “The Winter Song,” “Shenandoah” and other Club favorites.
This is an experiment. There are a lot more recordings awaiting remaster and publishing if this one works out, so all are encouraged to check it out.
And one of the benefits of the Bandcamp platform is the ability to embed a preview here, so check it out!
We are just at the halfway point in our #albumoftheweek run through Miles’ quartet of First Great Quintet recordings for Prestige, and it would be tempting to conclude there is nothing left to say about these four records. That would be a mistake. First and foremost, these records are great because of the music on them — the performances and arrangements — and each one has its own identity. In the case of Workin’, released in 1960 but recorded at the same sessions as Cookin’, Relaxin’, and Steamin’ in May and October 1956, the rhythm section is the thing. In fact, this record might really be said to belong to Red Garland.
That seems a weird (or “vierd,” as Blue Note founder Francis Wolff would reportedly say) thing to say about a Miles Davis album featuring John Coltrane. But the performance leads off with a hypnotic performance of “It Never Entered My Mind,” led by a fluid arpeggiated entrance from Garland before Miles comes in on the melody, backed by a heartbeat-like bass line from Paul Chambers. The third track on the first side, Dave Brubeck’s sublime “In Your Own Sweet Way,” features spectacularly subtle playing from both Garland and Miles on the sweet standard. The second side even features a trio number by the rhythm section without any horns, on “Ahmad’s Blues.” Reportedly the latter number was enough to convince Bob Weinstock of Prestige to sign Red and his trio to their own recording contract.
It’s not just Red Garland’s playing that shines here, though. Philly Joe Jones’ muscular drumming on the beginning of “Four” is easily the most exciting thing about the arrangement, with bombs dropping in and out of the beat throughout the track. And—returning to “It Never Entered My Mind”—Paul Chambers’ subtle bass ground as the melodic line and chords suspend above him, followed by a freer line after the second chorus and even an arco line at the end is practically a master class in the bass.
I haven’t written as much about the horns here. Throughout the album, Coltrane and Miles play together principally on the head and coda of each arrangement and then alternate verses. Again, where Miles typically plays with the cool restraint that was already his trademark in 1956, Coltrane’s playing is still evolving. He has not yet found the “sheets of sound” — the compressed, rapid arpeggios and runs that would become the trademark of his classic sound after his sojourn in Thelonious Monk’s group in 1957. But his lines here still are more exuberant and searching than Miles’. His work on “In Your Own Sweet Way” is an example, as he explores different scales and modes around the changes of Brubeck’s standard.
A note on the cover: the first two records in the series are undeniable classics of graphic design, with Relaxin’ in particular approaching something like mid-century modern high art. Then we get this album, which seems almost pedestrian by comparison, with the blue-tinted photo of Miles. But look closer: the strong lines of the industrial building and the road in the background form their own geometry around Miles, who, even in a tweed sportcoat, looks impossibly cool. Other covers featuring Miles in the 1950s feature him playing his horn; here, instead holding a cigarette, he looks impatiently at the photographer. He’s ready to get back to work.
As I mentioned in last week’s#albumoftheweek post, we’re going through Miles’ early albums for Prestige Records. This week is the second of Miles’ last four albums for the label, released as contractual obligations after he was signed to Columbia Records and all recorded on two dates in 1956. Relaxin’ with the Miles Davis Quintet thus features the same personnel, the same ambience, and the same concept as Cookin’: Miles with Red Garland, Paul Chambers, Philly Joe Jones, and John Coltrane in the studio, playing “live-in-studio” takes of their considerable repertoire of standards.
Except that Relaxin’ shows a different side of the Quintet. If Cookin’ showed them at their most serious (“My Funny Valentine”) and hottest (“Airegin”), Relaxin’ finds the band in a much more laid back mode, beginning with Miles’ voice in the opening groove: “I’ll start playin’ and then I’ll tell you what it is.” “If I Were a Bell” is not a well-known jazz standard—Frank Loesser wrote it for Guys and Dolls—but the band swings into it as though it were “Dancing Cheek to Cheek.” The ballad playing throughout the record is outstanding too, with Coltrane’s solo on “You’re My Everything” hinting at the great work he would do two years later on Lush Life and on his early Impulse! recordings.
Other material is less reflective but still swinging, with “I Could Write a Book” and Sonny Rollins’ “Oleo” finding the horn players burning over the great rhythm section. On that note, I’ve often thought that Garland, Jones and Chambers could make anyone sound good, but it’s interesting to hear them shift their styles in “I Could Write a Book” to reflect the differences between Miles’ cool, muted playing and Trane’s more aggressive approach. This is particularly evident in Philly Joe Jones’ drumming, which shifts from a quieter tone to a more propulsive, explosive style under Trane’s solo.
Of note, too, is that this record features two heavily bebop-influenced tunes, with both “Oleo” and Dizzy Gillespie’s “Woody’n You” showing the influence that Miles took from his time working with Charlie Parker. All in all, another solid Prestige session for the quintet. Most of the material for the record comes from the October 1956 sessions, coming just a month after the last sessions for Round About Midnight but sounding remarkably consistent with the sound the quintet shows on the May 1956 sessions, here represented by “It Could Happen to You” and “Woody’n You.”
All in all, Relaxin’ is a great document of this great quintet, and fun to listen to. (And to look at, too: Miles may have reserved his original compositions for his Columbia recordings, but the covers for this album and last week’s are absolute works of art.)
For this week’s installment of #albumoftheweek, we continue driving through Miles Davis’ early albums. Last week saw Miles’ early work for Prestige, with a band that featured a young Sonny Rollins in one of his earliest recordings. But it wasn’taMiles Davis group; the players came together in the studio but hadn’t spent months together on the road. Miles was in bad shape; hooked on heroin, needing fees from recording sessions to buy the drugs. He was not a top-shelf artist.
Then, in 1955, after spending a few years kicking the drugs, returning to New York, and recording several pivotal albums for Blue Note Records, he played at the Newport Jazz Festival in a group with Gerry Mulligan, Thelonious Monk, Percy Heath, Connie Kay and Zoot Sims. His performance wowed the critics and the record-buying public alike, as well as George Avakian of Columbia Records, who wanted to sign him. The only problem? Miles still had a year left on his contract with Prestige, and owed them four albums to boot.
Miles addressed the problem with aplomb. He negotiated in his contract with Avakian that Columbia wouldn’t release any recordings he made for them until his contract with Prestige expired. He then entered the studio with a group formed at Avakian’s suggestion and with whom he had recently played a string of dates at Cafe Bohemia: the Miles Davis Quintet. The original membership of the quintet included pianist Red Garland, bassist Paul Chambers, drummer Philly Joe Jones, and tenor sax Sonny Rollins. But Rollins was struggling with his own heroin addiction, and Miles fired him and replaced him with another great young tenor player (and heroin addict): John Coltrane. With Trane on board, the group later known as the First Great Quintet was complete.
The chronology of Miles’ recordings in late 1955 through 1956, as he played out his commitment to Prestige, is a little confusing. The Quintet first entered the Columbia studio in October to record Round About Midnight, then three weeks later was in Rudy Van Gelder’s studio in Hackensack recording The New Miles Davis Quintet. Legendarily, Miles had to pay for the next sessions in the Van Gelder studio out of his own pocket; he returned with the Quintet in May 1956, in between recording dates with Columbia for Miles Ahead, and knocked out material that would end up on three of his last four albums for Prestige. The Quintet returned to Hackensack one last time, on October 26, 1956, to record more material with Van Gelder, including all the tracks on Cookin’.
Perhaps because of the constraints of the session time, perhaps because Miles’ attention was on the more complex sessions for Columbia, the Prestige sessions are relaxed, feature familiar jazz standards straightforwardly played, and for all intents and purposes “live” in the studio. That is not to call them simple or mediocre. On the contrary, Cookin’ in particular, especially its opening performance of “My Funny Valentine” and the second-side opener “Airegin,” rank among the greatest numbers Miles ever recorded.
What is it about these performances? Simply put, they show a group that was capable of listening closely to each other, improvising collectively in unusual ways, and expressing subtlety and hard bop in equal measures. The First Great Quintet had range, from Miles’ cool playing to Coltrane’s fire, Garland’s melodic chords, Philly Joe Jones’ power, and the incredible versatility of Chambers’ bass, both pizzicato and arco (bowed). (Chambers is featured in one of my Exfiltration Radio sessions from a while ago.) And perhaps because the sessions were recorded quickly, they are unfussy, unforced, and genuinely fun to listen to.
My copies of these albums are modern repressings, nothing too fancy to write home about, but there is still a joy in listening to the sound leap off the vinyl. Red Garland’s opening piano melody on Side One caused my sleeping dog to wake up and perk up his ears, but Jones’ brushwork on “When Lights Are Low” settled him right down again. We’ll listen to more from these sessions next time.
We’re going to be featuring a lot of Miles Davis over the next while here on #albumoftheweek, so strap in!
Today we’re talking about Dig, which is credited to Miles Davis Featuring Sonny Rollins. I dig Dig — partly for what it is, partly for what it isn’t.
Miles recorded these sessions, which also included two numbers that showed up on the Prestige Records compilation Conception, on October 5, 1951, and they were among the earliest music he released on Prestige. The music wasn’t originally released on a 12” LP, though; it originally came out on two 10” LPs, The New Sound and Blue Period. Thus, this music includes Miles’ first tracks on an LP as a leader (the Birth of the Cool sessions, featuring Davis’ nonet with arranger Gil Evans, wouldn’t be released in compiled form until 1957), and his first full album as a leader for Prestige. It also happens to be Jackie McLean’s jazz recording debut.
It’s also, perhaps more contentiously, the first album to feature Miles’ “first quintet” sound, though it isn’t actually a First Quintet album. The players—McLean and Rollins on saxophones, Walter Bishop Jr. on piano, Tommy Potter on bass, and Art Blakey on drums—have no overlap with the personnel of the group that Miles assembled for Prestige later in the decade. But the hallmarks of the classic “hard bop” sound are all there, including Miles’ relatively open chordal voicings and tempi that were less “cool” than his nonet material but also more relaxed than his earliest recordings with Charlie Parker. Put simply, it just sounds like Miles. And it sounds great.
Unfortunately, the sessions were also recorded while Miles was in the throes of his addiction to heroin, so he wouldn’t maintain the high standard of performance on this record for long. Several uneven records for Prestige followed, and he would even turn to pimping during the next few years, all to make money for his drug habit. He wouldn’t turn to greatness until he left New York for St. Louis and Detroit in 1953, kicked heroin, and found a different way to approach the music. We’ll see the fruit of that approach next time.
My copy of this album is a 2015 mono repressing on translucent blue vinyl, bought at Newbury Comics. I was relatively new to buying records at the time and didn’t realize that the translucent vinyl meant that the optical sensor on my Denon turntable, which tries to automatically select 33 1/3 or 45 RPM based on the size of the record on the turntable, would get confused and refuse to play! I now have a slipmat that eliminates the problem by covering the sensor in the platter, since translucent vinyl is, for better or worse, a common feature of 21st century repressings…
This go-round of Exfiltration Radio investigates an unusual jazz instrument, the flute. This one has been bubbling around in my mind since I started putting jazz mixes together. I kept running across unusual instrumentation on some of the recordings, well beyond the sax or trumpet plus piano/bass/drums that I first started listening to thirty years ago. First it was organ, then vibes, and today I finally started pulling together this playlist, which focuses on that other woodwind, the flute.
One thing that jumped out at me in looking through the credits on these tracks is the number of flautists who were also, or even primarily, known for their chops on the saxophone. James Moody, who leads off this set with his famous false start from his Last Train from Overbrook album, was one, but then there’s Pharoah Sanders and Joe Henderson on Alice Coltrane’s “Blue Nile,” and Yusef Lateef (who here is playing the xun, or “Chinese globular flute”).
But part of the fun of this set for me was digging into some of the artists who were best known for their work as flautists. Hubert Laws, whose playing graces “Windows” (here drawn from the Chick Corea compilation Inner Space, but originally released on his own Laws’ Clause), is all over recordings from the 1960s and 1970s where the flute appears — in fact, he’s also on “Blues Farm.” (There is an alternate universe in which this mix is all Hubert Laws, all the time.) Bobbi Humphrey’s fine playing on “Harlem River Drive,” though drenched in 1970s production values by the Mizells, is outstanding, as is the more modern playing on Chip Wickham’s “Soho Strut.” Finally, we come somewhat full circle on Matthew Halsall’s cover of Alice Coltrane’s “Journey in Satchidananda.”
So kick back, dig, while we do it to you in your earhole.
The Moody One – James Moody (Return From Overbrook)
The Plum Blossom – Yusef Lateef (Eastern Sounds)
The Great Pumpkin Waltz – Vince Guaraldi (It’s the Great Pumpkin, Charlie Brown)
Windows – Chick Corea (Inner Space)
Blue Nile – Alice Coltrane (Ptah, the El Daoud)
Harlem River Drive – Bobbi Humphrey (Blacks And Blues)
Blues Farm – Ron Carter (Blues Farm)
Nancy Wilson – Brian Jackson, Ali Shaheed Muhammad, Adrian Younge (Brian Jackson JID008)
Soho Strut – Chip Wickham (Shamal Wind)
Dogon Mysteries – Idris Ackamoor & The Pyramids (Shaman!)
Journey In Satchidananda – Matthew Halsall & The Gondwana Orchestra (Journey In Satchidananda / Blue Nile)
For every Miles, Trane or Monk, there is an Eddie Costa.
Even the most enthusiastic jazz reissue program inevitably falls into a rut. You get the umpteenth repressing of Kind of Blue, you get (admittedly fabulous) live concert recordings from a high school janitor who just happened to be taping Thelonious Monk. But you don’t see too many revivals of interest in players like Eddie Costa, Mat Mathews and Don Elliott.
The Clef Series, issued on Verve in the US and Columbia in the UK, consisted of recordings related to Norman Granz, the impressario behind Verve and Ella Fitzgerald. In this particular case, Granz was making a bet on some of the lesser known musicians that played the afternoon sets at the Newport Jazz Festival in 1957.
Eddie Costa was on his way up then, a rising star on both piano and vibes, and was recording prolifically with his own groups and as sideman for Gigi Gryce, Gunther Schuller, Shelly Manne and others. He appeared on over 100 recordings before being killed in a car crash in 1962.
Mat Mathews, a Dutch jazz accordionist, was less well known, but he still recorded sessions with Herbie Mann, Oscar Pettiford, Kenny Clarke, Art Farmer, Percy Heath, Carmen McRae, Charlie Byrd and others. And Don Elliott was a multi-instrumentalist, recording on trumpet, vibes, mellophone and vocals in his career.
The sessions on this record are loose and swinging, up tempo and genuinely fun to listen to. They are not momentous, save perhaps in featuring an early recording by Don Elliott’s pianist, who had been studying with George Russell: Bill Evans. Evans would record one more album with Elliott before auditioning in early 1958 to replace Red Garland in Miles Davis’s sextet, and the rest is history.
I found this copy, of the first UK pressing, in my local bargain bin in Burlington. When I want to remind myself that jazz is supposed to be fun, I put this on the record player (or cue up the ripped tracks in Apple Music) and listen.
There doesn’t appear to be a full copy of the album anywhere, but here are a few tracks:
It was the day after she died that I first heard of her.
I was listening to a jazz radio show on a Sunday morning in November 1996, probably driving back from church in McLean, Virginia, and I heard the announcers talking about a local performer who had passed away the previous day. They talked about her voice and how incredible it was to hear it coming from a small blond girl. They talked a lot, and I had to get out of the car before they actually played any of her music. But it made me want to seek her recordings out.
At that time there were two recordings available: an album of R&B duets recorded with the Godfather of Go-Go, Chuck Brown, and her only solo album, a recording called Live at Blues Alley. I opted to pick up the latter. And was blown away. Cassidy’s voice was pure but it was also passionate, vital, and utterly unforgettable. And she brought vulnerability with her to the stage; you could hear it in her voice as she introduced her cover of Buffy St. Marie’s “Tall Trees in Georgia.” What she did to Sting’s “Fields of Gold” helped me to understand the impact an interpreter could have on a song. And her bravura performance on “Cheek to Cheek,” the album’s opener, was alternately jaw-dropping, moving, saucy, and brilliant as her voice pivoted from high belting to subdued precision within the same chorus.
Needless to say, I was hooked. And disappointed; I had found an amazing talent and she was gone. After the Chuck Brown duets, there wasn’t anything else to discover.
Except, of course, there was. In 2000, when I was in grad school, I found Eva by Heart. Then the Songbird compilation, which would be the one that would vault her to posthumous fame. I think her official discography lists six studio albums and three live; not bad for someone who died at the age of 33.
Anyway, I’m writing about her today because the New York Times flagged the 25th anniversary double-vinyl reissue of Live at Blues Alley as one of their best recordings of 2021, and I had to pick it up. And it sounds better than ever, after all these years. Heaven… I’m in heaven.
Bonus video: there is actual footage of one of those two nights at Blues Alley, which appears to include songs from the eventual album release with others that wouldn’t see release until Nightbird, a few years later. You can really get the full impact of her performance here. Enjoy!
Boris Blank, of the 1980s band Yello, with the Fairlight CMI sampler
Today’s edition of Exfiltration Radio looks at making songs from other songs. I started making it just as an exercise in a certain type of 1980s dance music, but realized that what drew me into these songs were the bits of other songs and sounds that popped their heads up in the mix. And why not? The 1980s were when sampling came into its own—whether the cut and paste techniques of Steinski or the early digital sampling exercises of Art of Noise. Even some kinds of remixes fall into the pattern, where a song is deconstructed to its component pieces and augmented with other sounds to make something new. And weird, don’t forget weird.
Do not attempt to adjust your set, there is nothing wrong.
Jazz – Steinski (What Does It All Mean?: 1983-2006 Retrospective)
Close (To the Edit) – Art of Noise ((Who’s Afraid Of) The Art of Noise?)
Regiment – Brian Eno & David Byrne (My Life in the Bush of Ghosts)
Megamix – Herbie Hancock (Megamix)
Love Missile F1-11 (Ultraviolence Mix) – Sigue Sigue Sputnik (The Remixes)
Push It (Remix) – Salt-n-Pepa (Hot, Cool and Vicious)
Pump Up the Volume (USA 12) – Colourbox (Best of Colourbox: 1982-1987)
Wise Up Sucker (12″ Youth Remix) – Pop Will Eat Itself (This Is the Day…)
Beef – Gary Clail & On-U Sound System (End Of The Century Party)
God O.D., Pt.1 – Meat Beat Manifesto (Storm The Studio (Remastered))
Justified & Ancient (Stand By The Jams) – The KLF (Justified & Ancient)
Paranoimia – The Art of Noise with Max Headroom (Paranoimia (12″))
As a singer, I am not a solo artist. I did not study at a conservatory, and don’t have a book of solos that I have practiced and performed. So when someone asks me to sing a solo in church, I have to really dig deep to figure it out.
This time, I agreed to sing a solo for Mark Morgan, our music director at Hancock United Church of Christ, with plenty of lead time, so I started thinking about what to do. My thoughts turned to shape note music; Mark shares my interest in early American hymn tunes, and it struck me that I might be able to find something. So I turned to my copy of Southern Harmony.
The Southern Harmony and Musical Compendium is the lesser known spiritual brother of the Sacred Harp, which is well known as the hymnbook preserving the shape note tradition. The Southern Harmony is the product largely of one man, William Walker, who both wrote new tunes and borrowed existing ones from the folk song all around him. I learned about the Southern Harmony, as so much that I know about shape note singing, from the Boston Camerata, who included “The Midnight Cry” on their Christmas album Sing We Noel.
So I opened my copy of Southern Harmony. And I found “Complainer.”
At first I giggled at the title, and skipped past it. Then I flipped back and hummed the tune to myself. Later, having put the book back, I was still hooked. So I decided I had to do something with it.
The problem was the text. Like many 19th century hymns that call to mind Terry Gilliam’s “God” in Monty Python and the Holy Grail—“Like those miserable psalms, they’re so depressing!”—the text was, shall we say, a bit of a downer, particularly in the ending:
I read that peace and happiness meet Christians in their way, That bear their cross with meekness, and don’t neglect to pray But I, a thousand objects beset me in my way So I am filled with folly, and so neglect to pray.
Also, the original text was five verses long. About two or three too much. So I decided to bring in another text to supplement it, and after searching quite a bit, I found another text, this one from the Sacred Harp, in 7.6.7.6 meter, ironically in my sister’s church service while we visited.
So here’s the final setting, and here’s the service in which I sang it (the offertory starts at 23:45). While adapted as a solo, I think you could take the arrangement and have voices on the accompaniment parts instead. If you use the arrangement, please let me know!
It’s been quite a rollercoaster of a year, for all sorts of reasons, and there were times when it felt like we were hunkering down and waiting for a beating to end. But people are getting vaccinated now and it’s spring, and suddenly it seems reasonable to start hoping once more.
Musically, the period I associate most with “hope,” as opposed to “nihilism” or “despair” or “80s hair,” is the time from the late 1990s through about 2003 or so, which produced some of the loveliest songs of hope and happiness I can remember. Part of it was the rise of indie rock, part probably the sustained recovery of the world economy. Maybe it was just that I got married at the beginning of the period, who knows? For whatever reason, it feels like a good time to dust off some of these tracks and start hoping again.
Do not attempt to adjust your set…
Untitled 4 (“Njósnavélin”) – Sigur Rós (( ))
Scratch – Morphine (Yes)
The Laws Have Changed – The New Pornographers (Electric Version)
When You’re Falling – Afro Celt Sound System (Volume 3: Further in Time)
The Way That He Sings – My Morning Jacket (At Dawn)
Diamond In Your Mind – Solomon Burke (Don’t Give Up On Me)
Brief & Boundless – Richard Buckner (Since)
All Possibilities – Badly Drawn Boy (Have You Fed The Fish?)
Time Travel is Lonely – John Vanderslice (Time Travel Is Lonely)
Shine – Mark Eitzel (The Invisible Man)
Why Not Smile – R.E.M. (Up)
You Are Invited – The Dismemberment Plan (Emergency & I)
Where Do I Begin – The Chemical Brothers (Dig Your Own Hole)
Lee Morgan’s “Search for The New Land” session, Van Gelder Studio, Englewood Cliffs, NJ, February 15, 1964. This is the cover shot for Shorter’s “The All Seeing Eye.”
I’ve been going down a rabbit hole in my listening lately, as I grow increasingly conscious that great artists live among us… but perhaps not for too much longer. One I’m thinking about right now is the great saxophonist and composer Wayne Shorter.
I started listening to Shorter over 30 years ago, thanks to a CD copy of The Best of Wayne Shorter: The Blue Note Years that I found in Plan 9. Like all single-disc anthologies (and like this mix!), it’s a sparse summary of an astonishing period of creativity and excellent performances. But it hooked me… especially the opening track, the title from Shorter’s sixth album, which manages to be both relaxed and full of tension at the same time thanks to his unshowy use of modal scales.
I think I heard this album before I came across the Second Great Quintet recordings he did with Miles, which included many of Shorter’s compositions (especially the great “Footprints,” heard here) in very different arrangements. Miles’s version of “Footprints,” on Miles Smiles, ups the anxiety in the modal scale through tempo and urgency, especially in Tony Williams’ polyrhythmic drumming. I also looked backwards in time, finding some of the great recordings that he did with Art Blakey and the Jazz Messengers (and recently uncovering some of the sideman work he did for some of his colleagues, including Lee Morgan here).
Thanks to early-90s bias against fusion (which, in fairness, had fallen pretty low by the late 1980s), it took me years to discover Weather Report, particularly the first album, and I only recently began to listen to some of Shorter’s mid-1970s output, which featured a more accessible side of the great composer on songs like “Ana Maria.” And his late-period works with Danilo Perez, John Pattituci and Brian Blade continue to blow my head off with the genius of the collective improvisation, even as they document Shorter’s declining physical stamina. (He retired from performance in 2019 due to mounting health issues.)
Like that first Blue Note compilation, this sixty minute set is necessarily scanty, but hopefully will convince you to seek out more of Shorter’s work as well—and to utter a silent word of thanks that we walk the earth at the same time he does.
Enjoy…
Speak No Evil
–
Wayne Shorter
(
Speak No Evil
)
Ping Pong (No. 1)
–
Art Blakey and the Jazz Messengers
(
Complete Studio Recordings (with Lee Morgan, Wayne Shorter…)
)
Edda
–
Lee Morgan
(
The Rumproller
)
Yes or No
–
Wayne Shorter
(
JuJu
)
Footprints
–
Miles Davis Quintet
(
Miles Smiles
)
Tears
–
Weather Report
(
Weather Report
)
Ana Maria
–
Wayne Shorter
(
Native Dancer
)
Aung San Suu Kyi
–
Wayne Shorter and Herbie Hancock
(
1+1
)
Adventures Aboard The Golden Mean (live)
–
Wayne Shorter Quartet
(
Emanon
)
Pinocchio
–
Herbie Hancock Quintet
(
A Tribute To Miles
)
