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ALBUM SPOTLIGHT 1
[Labels]
Fusion
Electronic
Spiritual Jazz
Avant-Garde
Modal Jazz
Experimental
Psychedelic
Eddie Henderson / Realization
Capricorn Records, 1973, Promo
Flutes, Saxophones, Bass Clarinet – Bennie Maupin Mwile
Bass, Bass [Fender] – Buster Williams Mchezaji*
Design, Photography By – Bruce Steinberg
Drums – Lenny White III*
Drums, Percussion – Billy Hart Jabali*
Electric Piano, Organ – Herbie Hancock Mwandishi
Engineer – John Vieira
Producer – Patrick Gleeson, Skip Drinkwater
Synthesizer [ARP, Moog], Organ – Pat Gleeson
Trumpet, Cornet, Flugelhorn – Eddie Henderson Mganga
Eddie Henderson's debut album as a leader picks up with the Mwandishi band right where they left off in 1972 their previous album Sextant. This might be my favorite album from this band. Five groove-laden experimental jazz funk journeys are presented on this LP, with Side A having a funky urgency to it, versus Side B which uses a lot more space and texture.
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ALBUM SPOTLIGHT 2
Abercrombie Quartet / M
[Labels]
Contemporary Jazz
Ambient
John Abercrombie is brilliant on this 1981 release. This album features modern vocabulary and a compositional style that matches the minimalist cover art perfectly. This album is one that perfectly encapsulates the ECM sound, but also manages to swing pretty hard at times (although not nearly as hard as some of his earlier records on ECM). I love the balance this record has, mixing new-age guitar ambience with cutting edge post-bop and leaning completely into Abercrombie's signature sound. With an excellent rhythm section and Abercrombie's incredible tone, this album always inspires.
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ECM Records, 1981
Bass – George Mraz
Drums – Peter Donald
Guitars – John Abercrombie
Piano – Richard Beirach
Producer – Manfred Eicher
Design – Barbara Wojirsch
Engineer – Martin Wieland
Written By – Mraz (B4), Abercrombie (A1, A2, B2), Beirach (A3, B1, B3)
ALBUM SPOTLIGHT 3
Joe Zawinul /
The Rise & Fall of the Third Stream
[Labels]
Rare Groove
Avant-Garde
Fusion
Jazz-Funk
Soul Jazz
Cello – Kermit Moore
Double Bass – Richard Davis
Drums – Freddie Waits, Roy McCurdy
Percussion – Warren Smith
Piano, Electric Piano – Joe Zawinul
Producer – Joel Dorn
Tenor Saxophone, Arranged By – William Fischer
Trumpet – Jimmy Owens
Viola – Alfred Brown, Selwart Clarke, Theodore Israel
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Vortex Records, 1968. Atlantic's more daring, experimental label Vortex is home to some pretty out sounds, and I have found it to be a reliable source of thought provoking jazz. Each of Zawinul's early albums as a leader have a completely different feel and sound, but there is a very noticeable evolution that takes place in his composing and playing after playing on In A Silent Way and Bitches Brew. This album has funk/soul and eastern inspirations, but still features some great tripped-out post bop and features William Fischer on Tenor which is a treat to hear.
Further Listening: Joe Zawinul -- Zawinul,
Harold McKinney -- Voices And Rhythms Of The Creative Profile
Alice Coltrane -- Eternity
ALBUM SPOTLIGHT 4
The New John Handy Quintet /
New View!
[Labels]
Modal Jazz
Post Bop
Alto Saxophone – John Handy
Bass – Albert Stinson
Drums – Doug Sides
Guitar – Pat Martino
Vibes -- Bobby Hutcherson
Photography By – Columbia Records Photo Studio
Liner Notes – Gordon Donaldson (2)
Producer – John Hammond
Engineer – Edward Graham, Russ Payne
Photography By – Columbia Records Photo Studio
Columbia, 1967. An all-star record from John Handy, one of my favorite reedmen and composers. By this point in his career, Handy had already recorded five albums with Charles Mingus and many albums as a leader including the acclaimed Recorded Live at the Monterey Jazz Festival, a monumental 1965 recording that featured Don Thompson and Michael White. John Handy was always on the cutting edge, and this 1967 album proves that. The sidemen are all heavy hitters and match Hany's energy perfectly. Hearing an early Pat Martino in this context is especially exciting. Like all of Handy's albums, this is an inexpensive title.
Further Listening: Bobby Hutcherson - Harold Land Quintet – Blow Up
Donald Byrd -- Fancy Free
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ALBUM SPOTLIGHT 5
[Labels]
Modal Jazz
Post Bop
Fusion
Spiritual Jazz
Avant-Garde
Soul-Jazz
Billy Parker's Fourth World /
"Freedom of Speech"
Drums - Billy Parker
Double Bass – Cecil McBee
Tenor Sax -- Ronald Bridgewater
Vocals, Piano, Rhodes -- Donald Smith
Vocals -- Dee Dee Bridgewater
Trumpet -- Cecil Bridgewater
Recording Engineer -- John Battiloro
Mixing Engineer -- Randy Adler
Photography By – Darnell C. Mitchell
Strata-East, 1975. Spiritually charged soul and funk meets avant-garde jazz on this 1975 masterpiece from Billy Parker. Strata East is a personal favorite label of mine, so expect many more selections from the label in these album spotlights. The album opens with the track "Dance of the Little Children" with vocals from Donald Smith (brother of Lonnie Liston Smith and vocalist for the Cosmic Echoes band). This song is unique in it's construction, with a groove that switches between Latin rhythms to post-bop swing, and a vocal style incomparable to any "vocal jazz" recorded up until this point, having much more to do with soul/R&B. Brothers Ronald and Cecil Bridgewater trade choruses and then Donald Smith takes a breathtaking solo on the piano. "Gemini's Lullaby" is a spiritual instrumental track featuring a wonderful Cecil McBee solo. "Home" closes out side A, and it is an explorative piece, with reaching solos from Ronald Bridgewater, Cecil Bridgewater, and Donald Smith, and Cecil McBee. This is a highlight of the album, and is a great example of forward-thinking "post-Coltrane" jazz. This track sounds like it could have been recorded yesterday, it's that fresh. Side B opens up with "Get With It", a funky, R&B-inspired tune with vocals from Dee Dee Bridgewater. Short and to-the-point, this song lifts and refreshes the listener (probably in preparation of what is to come). The fifth and final track on this album is a brainmelter. Electrified post-bop with a hard edge. This is probably Billy Parker's opus, 16 minutes of hard-hitting progressive jazz. Starting with an exceptionally free drum solo that gives way into the masterfully percussive and haunting melody, Donald Smith then takes it away with the Rhodes solo to end all Rhodes solos. This is the very song that inspired me to get a Rhodes of my own. Words will not do this song justice, so I encourage you to make a point to listen to this one with headphones in the dark.
Further Listening: Stanley Clark -- Children of Forever
The Ensemble Al-Salaam – The Sojourner
Rudolph Johnson -- The Second Coming