A Veracode Hackathon has started and it’s pirates! Just as with our abortive pirate-themed Hackathon of the annus horribilis 2020, this one has occasioned a mix of cover songs! Cover songs consist of one artist performing the music of another, which sometimes feels like “love and theft,” as Bob Dylan once wrote, hence the name.
The prior mix was strictly themed, featuring reggae covers of pop songs—and reggae originals that later became pop songs in famous covers. This new one is a little more freewheeling, but that’s not to say it’s not equally fun. Just be prepared for that last cover at the end.
Listen here:
Do not adjust your set; there is nothing wrong.
I Am I Said – Bunny Scott (To Love Somebody)
Something – Booker T. and the M.G.s (McLemore Avenue)
Do Right Woman, Do Right Man – The Flying Burrito Brothers (The Oxford American Southern Sampler 1999)
Golden Lady – Lambchop (TRIP)
Ziggy Stardust – Bauhaus (Swing the Heartache: The BBC Sessions)
Love Will Tear Us Apart – Hot 8 Brass Band (Love Will Tear Us Apart)
Ashes to Ashes – Tears for Fears (Saturnine Martial & Lunatic)
Love and Anger (Kate Bush) – Nada Surf (if I had a hi-fi)
I Wanna Be Adored – The Raveonettes (I Wanna Be Adored – Single)
Where Is My Mind – Bobby Bare, Jr. (The Longest Meow)
Five Years – Cowboy Junkies (Songs of the Recollection)
Born Under Punches – Good in the Dark (If You Feel It – EP)
There Is a Light That Never Goes Out – Dum Dum Girls (He Gets Me High – EP)
I Can’t Give Everything Away – Spoon
Fitter Happier – Samson Dalonoga (Feat. The Found Sound Orchestra) (Stereogum Presents… OKX: A Tribute To OK Computer)
We’ve seen a lot of different influences in jazz: classical music, blues, rock. But one big strain that didn’t really touch Miles, but influenced a lot of other jazz musicians, is Cuban music. Arriving in the US in the 1940s, by the mid-1950s it was a well established strain of jazz music, championed by Dizzy Gillespie and Chano Pozo, among others. And trumpeter and composer Kenny Durham dove into the music for this, his second album as a leader and first for Blue Note Records.
As we’ve seen with Herbie Hancock’s early Blue Note recordings, dates for the label often drew on different groups of players who were also recording for the roster, meaning that when you pick up a Blue Note recording made in 1955, you stand a very good chance of seeing familiar names in the line-up. Afro-Cuban is no exception, with a group boasting J. J. Johnson on trombone, the great Horace Silver on piano, Hank Mobley on tenor sax, Cecil Payne on baritone, Oscar Pettiford on bass, and Art Blakey on drums. To this assemblage were added Carlos “Patato” Valdes on conga and Richie Goldberg on cowbell. The album was actually recorded in two sessions, with the musicians above appearing in session on March 29, 1955, and the first four tracks on the album were originally released on a 10” LP. Blue Note decided to reissue the record in 1957, adding three tracks from an earlier session recorded January 30, 1955 without Valdes and Goldberg, and substituting Percy Heath for Pettiford on bass.
The album opens with strong Afro-Cuban flavor with “Afrodisia,” the congas telegraphing the artistic direction of the album at once. After the brass line states the opening theme, Dorham’s trumpet provides a solo that combines the Cuban flavor with his own hard bop approach to the music, with hard bop changes alternating with the melodic licks across several choruses. Mobley’s refined sax follows, kicking the group briefly into a different unsyncopated pattern before he settles back into the swing of things and passes it to J.J. Johnson, who takes two choruses before letting Blakey and Valdes trade eights with the entire horn line.
“Lotus Flower” is a slower ballad, with the horns introducing the melody over a gently loping bass and conga pattern. Dorham provides a good opportunity to hear the differences in his approach to the horn from other players like Miles. There’s no mute here, and a good deal more motion in the line; Miles would likely have played half as many notes, but Dorham’s approach is equally lovely. The interlude is brief; “Minor’s Holiday” returns to the Cuban dance rhythms of the opening, with Dorham briskly soloing over Valdes’ Cuban rhythms and Blakey’s customarily volcanic drumming. Indeed, while Blakey is normally no slouch in bringing energy to the recording session, here he sounds positively charged by Valdes.
The only composition not by Dorham on the record, “Basheer’s Dream” (written by the redoubtable Gigi Gryce, some seven years before he adopted the Islamic name Basheer Qusim) is here steeped both in the Cuban rhythms of the opening and the post-bop approach that Gryce introduced in his work with Miles on Birth of the Cool. Johnson’s trombone solo is especially tasty here, as he pulls a minor countermelody out of the chord progressions of the song, contrasting with the high solo lines of both Dorham and Mobley.
The second side of the album reads as more straight-ahead hard bop, but it’s no less delightful, thanks to the continued excellent work of the front line. “K.D.’s Motion,” true to its name, roams all over the chords in the opening chorus and in Dorham’s solo before he passes to Cecil Payne for a rare baritone solo. The transition between Payne and Mobley is almost telepathic, with the latter picking up Payne’s swing for a brief turn before passing it to Silver who gets a relatively rare moment atop the rhythm section before the chorus returns.
Dorham’s “La Villa” begins where “K.D.’s Motion” ended, with a propulsive statement on the drums from Blakey. The tune, which can also be found under Sonny Rollins’ name in several compilations thanks to his presence on a later Dorham session, is blistering throughout as the band navigates through the changes. Solos from Dorham, Mobley and Payne are followed by a spate of trading fours with Blakey and a final statement of the theme. “Venita’s Dance” closes the second side in a mid-tempo statement that’s kept lively by Blakey and Silver’s insistent underpinnings; indeed, it’s eye-widening to listen to Silver’s melodic approach to the chords underneath each of the soloists and to reflect on the two completely different melodies at work each time.
Dorham was perpetually underrated, a situation not helped by his movement across several labels during his career in the 1950s and 1960s; he recorded four more sessions for Blue Note in between records for Riverside, Time, Prestige/New Jazz, and (after he moved to Europe) SteepleChase. He ultimately died young of kidney disease in 1972. But sessions like Afro Cuban offer tantalizing glimpses of what might have been, and are a good reminder of the pleasures to be found in what might otherwise seem to be just another Blue Note session.
Miles, being Miles, was never one to stay locked into a format for long—and for a musician who wanted to continue to play and record, a small group was surely a more attractive—and affordable—option than the 19-piece orchestra he had recorded Miles Ahead with. So he spent the rest of 1957 in various small group formats, including a brief version of his quintet with Sonny Rollins and several groups in France. But in late February and early March 1958, he rejoined with Coltrane, fresh from his work with Thelonious Monk, alongside a new face: at the alto sax, Cannonball Adderley. The record they recorded as a sextet, Milestones, more than lived up to its name, with several original songs that signaled that Miles was not done upending the jazz cosmos.
And five days after the group finished recording Milestones at Columbia’s 30th Street Studios, Cannonball and Miles were across the river in Hackensack, New Jersey, recording at Rudy Van Gelder’s with the Jones brothers on piano and bass and Art Blakey on drums. The session was for Blue Note Records, and so had to be issued under Adderley’s name. It was the only recording of this lineup, and featured a single original composition, Miles’ title track. But that track is not the one that Somethin’ Else is remembered for. That honor goes to “Autumn Leaves.”
Miles had fully embraced the modal approach, based on scales rather than chords, by this time, as evidenced by his band’s arrangement of “Milestones,” “Autumn Leaves” takes the modal approach further, blending the chords of the standard with a modal intro and outro in a Doric minor scale. Miles is muted throughout, playing with an intimate closeness that is at once deeply felt and reserved. The contrast with Adderley’s solo is striking, with Cannonball bringing both heat and a certain volubility. Unlike Coltrane, though, the alto sax line is not cried so much as shouted, and you can hear the seeds of Adderley’s later successful embrace of “soul jazz” in the way he brings the melody around in the high reaching line of his improvisation. Italian pianist Leo Ravera points out that the track becomes more intimate as it proceeds, with each soloist bringing the dynamic down until Miles and Hank Jones close it out in another modal passage. The whole thing is a stunning performance, and the first sixteen bars give me chills every time I listen.
The rest of the album is a striking blend of styles. It is interesting to hear “Love for Sale” rendered here, with Davis’s cool approach surrounded by a rumba-inspired approach, completely different from the version he would record just a few months later with his own sextet. “Allison’s Uncle” is more straightforward bop, celebrating the birth of Nat Adderley’s daughter. “Somethin’ Else” continues in this vein with a theme that alternates statements from the trumpet and the sax, in a form that is more than slightly reminiscent of Miles’s “The Theme.” “One for Daddy-O” is a straightforward blues with a less than straightforward theme, veering from major into minor and leading into a wailing solo from Cannonball. And “Dancing in the Dark” is played as a straight ballad, in which the alto reveals a strong stylistic debt to Coleman Hawkins.
This group would never play in this configuration again. But Cannonball would remain a fixture of Miles’ sextet for some time to come. They would play together at Newport and, in between Miles’ next sessions with Gil Evans, perform on radio broadcasts and at the Plaza Hotel. And, almost a year to the day after they traveled to Hackensack, they would enter the studio to begin recording their next studio album, an undisputed masterpiece.
In this light, it’s worthwhile hearing this date two ways: once as the high point of Miles’ stylistic development to date that it represented, and once as the prelude to Kind of Blue.
Today’s #albumoftheweek may seem like a detour from our exploration of Miles Davis’s recording career (via my record collection), and it is, a bit. But in other ways it picks up where we left off last week, with Miles’ band mostly leaving as they fell prey to their addictions. Today we explore what happened next to the most famous of those sidemen.
What happened to John Coltrane was that he found God.
This is not an inference or an exaggeration. In 1964, Trane wrote in the liner notes to A Love Supreme that “During the year 1957, I experienced, by the grace of God, a spiritual awakening which was to lead me to a richer, fuller, more productive life.” The newfound spirituality enabled Trane to quit heroin, though not before it irrevocably marked him; there is good reason to suppose that the drug, along with the alcoholism that accompanied his addiction, contributed to the liver cancer that was to kill him just ten years later.
Trane also found Monk, or vice versa, in 1957, and their collaboration made a substantial difference to their respective careers. Thelonious Sphere Monk himself had been struggling for years, after the discovery of narcotics (likely belonging to his friend Bud Powell) in his car led to the revocation of his cabaret card. His ability to perform in public limited and his eccentric composition style granting his music an unfair reputation for difficulty, his record sales for Prestige were relatively meager. In fact, when he sought to go to Riverside, the latter label was able to buy out Monk’s contract with Prestige for only $108.24.
But somehow Trane and Monk found each other in mid-1957 and began performing together at the Five Spot Cafe. Because Trane was still under contract to Prestige Records, he was not able to record widely in the studio with Monk’s group, but somehow the label managed to secure the rights to include him in this recording, which featured exclusively Monk’s compositions—plus, in a note of irony, a horns-only performance of the hymn “Abide with Me,” written by William Henry Monk (no relation).
The inclusion of the hymn takes us back to the evolution of Trane during this period, and spotlights the substantial and lasting difference that his spiritual conversion made in Trane’s music, almost from the very beginning. The single verse of the hymn is played solemnly and straight, with harmonies straight from the hymnbook. Structurally it serves as a prelude to the next track, “Well, You Needn’t,” which features an astonishing solo from Coltrane in full on pentecostal mode.
In fact, “Well, You Needn’t” is an astonishing track from start to finish. Monk’s piano opens by itself, swinging the rhythm and stretching it into something like 6/4, before being joined by the full band. Monk remains gnomic in his solo, approaching the chords of the melody obliquely rather than playing into it, before calling for his tenor saxophonist: “Coltrane! Coltrane!” And Trane enters, blowing leaps of fifths and sevenths across two choruses in something like a holy shout. He then yields the floor to Ray Copeland for a turn at the melody on trumpet, before Wilbur Ware and Art Blakey pick it up. Ware’s exploration of the melody evolves it into a pattern of descending fifths that is then picked up by the redoutable Blakey, who then takes the pattern across all the elements of his drum kit. Coleman Hawkins and Gigi Gryce take the last solos, with more conventional but no less fierce approaches to the melody, before the full band comes back in to close the track. It is nothing short of a master class in jazz improvisation.
The third track, “Ruby, My Dear,” is the one track on which Coltrane doesn’t play, but that is not a reason to skip it. It’s a remarkably tender ballad and on any other record would be the romantic highlight. But not here. On Monk’s Music the second side goes through some gnarly territory with the one-two punch of “Off Minor” and “Epistrophy” before it lands on a new composition, “Crepuscule with Nellie.”
The tune, dedicated to Monk’s wife, was originally to be titled “Twilight with Nellie,” before the countess Pannonica de Koenigswarter, a staunch advocate of American bebop musicians, suggested the use of the French word. The performance is through-composed, meaning that Monk wrote out the entire track rather than sketching the melody and chords as a basis of improvisation. It also means that what we hear in the recording is an unusually true representation of Monk’s original intentions—notable since this version, unlike most covers of the work, keep the rhythm straight rather than ”swinging” the eighth notes in the original melody. Indeed, throughout the album Monk plays with expectations of rhythm, often turning them on their heads, such as the off-center chordal interjections that run through “Well, You Needn’t.” However it happens, “Crepuscule” stands as a romantic highlight, not just of the recording but perhaps of all of 1950s jazz.
Trane’s time in Monk’s group would be brief, yielding this one studio recording and a handful of live appearances that have since popped up on record. He would soon reenter the studio as a leader, recording Blue Trane later in 1957 for Blue Note Records, and an immense amount of material—some 37 sides, released over many albums—for Prestige Records in 1958. In fact, 1958 was a pivotal year for Trane, who rejoined Miles in the January of that year. By that time the quintet had become a sextet, with the addition of another saxophonist who we’ll meet next week.
I first found Monk’s Music at Plan 9 Records in Charlottesville, Virginia. It was a happy accident brought on by my habit of rifling through all the Original Jazz Classics CD reissues and buying the ones that had the most interesting liner notes (a habit I wrote about some years ago). The copy shown in the photograph above was a reissue on translucent red vinyl courtesy of Newbury Comics some years ago. Listen and enjoy.
