Jackie McLean - New And Old Gospel

barabara sounds sez:

It's been a while since I listened to this, and it sounds just as good as ever to my ears. It's experimental sure — Ornette on trumpet still seems pretty left-field — and a long long way from what McLean was doing on Blue Note just a few years earlier. But it's also a great listen. You've just got to love the way side 2 starts in with Ornette's righteous bluesy Old Gospel (an Amazon reviewer calls it a "pentecostal groover" — can't improve on that). Actually, over in Chateau Barabara, this is a 'must listen'.

allaboutjazz sez:

Although he could be easy classified as a died in the wool bebopper, saxophonist Jackie McLean loved to shake things up, which he regularly did through a disparate set of Blue Note dates that span the mid 1950s to the late 1960s. New And Old Gospel is considered to be one of his more controversial sets, pairing him with Ornette Coleman, here playing trumpet. What might have been intriguing would have been to hear Coleman on alto saxophone alongside McLean, for he plays the trumpet with limited proficiency. Still, there's a sense of urgency that makes this set well worth some close listening. Most interesting are Coleman's two pieces, which originally took up the second side of an LP. Old Gospel comes from a down home and soulful point of view that does indeed mix new and old sensibilities for an intriguing new hybrid, stoked by the chameleon-like drumming of Billy Higgins. Not McLean's best effort in the new vernacular, but still a damn fine listen.

Personnel:

Jackie McLean alto sax; Ornette Coleman trumpet; Lamont Johnson piano; Scott Holt bass; Billy Higgins drums

Anthony Williams - Spring

barabara sounds sez:

What a drummer, what a line-up, what a way to introduce yourself to the world. Classic cover art too. Outstanding album all round.

Dusty sez:

Startling! This album is one of two that a young Tony Williams cut for Blue Note, back when he was just hitting the age of 20, and when he was already blowing the minds of masters like Jackie McLean (who first hired him) and Miles Davis (who stole him from Jackie for his own group!) with an approach to drumming that was freed from usual time constraints. Williams conception was so unique, other young modernists -- like the album's Wayne Shorter, Herbie Hancock, and Sam Rivers -- quickly benefited from his presence, as you'll hear in this amazing session that sounds very little like any other Blue Note release. Williams wrote all of the tracks, but the style is much freer than any sense of composition might imply -- and the group is shaken up differently from track to track.

cduniverse sez:

Drummer Tony Williams played all over the kit, and though his tricky, unorthodox time-keeping might sometimes give the impression of wild unpredictability, he always managed to keep a tight rein over the momentum of any session in which he participated. His work on SPRING is only surpassed by his equally mesmerizing playing on Eric Dolphy's seminal OUT TO LUNCH, to which SPRING is often compared.

Wayne Shorter tenor sax

Sam Rivers tenor sax

Herbie Hancock piano

Gary Peacock bass

Anthony Williams drums

blue note nonstop 60 trax

barabara sounds sez:

Here we go with the full album complete with artist/track names. In case anyone missed the first post, this was a Japan-only sampler CD issued in 1999 to mark Blue Note's 60th anniversary. What you get is 60 snippets from some of the biggest artists on the label -- most of the obvious names and some classic riffs.

Chucho Valdés - Briyumba Palo Congo (Religion Of The Congo)

barabara sounds sez:

Too much talk about virtuosity and prodigious technique, not enough about the passion and balls that the great Chucho Valdés brings to the table. Catch him live and you'll be blown away.

Like the recent Sabu post, this album is inspired by the traditional rhythms of Cuba's 'Religion of the Congo' — but apart from the sheer percussive power, it's a very diffferent beast. In Chateau Barabara, it's an all-time classic.

Jazziz sez:

Pianist Valdés once again puts Cuban and American music through the speed blender of his imposing technique, swirling together cuban secular dance rhythms and religious music with swing, bop, modal, and free jazz at a dizzying pace. His second Blue Note effort away from Irakere (his long-standing Afro-Cuban answer to the Jazz Messengers) spotlights his staggering chops with a quartet featuring bassist Francisco Rubio Pampin, drummer Ra·l Pineda Roque, and percussionist Robert Vizcaino Guillet.

"El Rumbon," played over an uncharacteristically fast guaguanco rhythm, features the pianist's surreal changes of direction, as he cartwheels between hammered two-note drum patterns, McCoy Tyner-ish chords, blindingly fast lines, and blues licks. Ellington's "Caravan" features devilish left-hand patterns and accents that explode into dark, atonal note clusters, then downshift into the type of four-four chording that Erroll Garner would have related to. Valdés saves the most audacious ideas until the end of the album. "Ponle le Clave" grafts the basic clave rhythm and montuno piano vamps onto a 7/4 meter. Gershwin's familiar "Rhapsody in Blue" is reshaped as an elegant danzün.

The title track, the most experimental on the disc, blends a celebratory Palo religious chant with stride and gospel accents from Valdés. Then it opens into a free-tempo exchange between singers, percussionists, and piano, before ending with an unaccompanied piano solo that alternates between frantic energy and quiet lyricism. Sometimes, the pianist's skill and overheated imagination can get the better of him, turning the music into directionless technical displays, but when everything clicks, there are few more exciting or provocative pianists in jazz.

Personnel:

Chucho Valdes (piano, background vocals); Mayra Caridad Valdes, Juan "Chan" Campo Cardenas (vocals); Joaquin Olivero Gavilan (Cuban wooden flute); Francisco Rubio Pampin (acoustic bass, background vocals); Raul Pineda Roque (drums, background vocals); Roberto Vizcaino Guillot (congas, bata drums, background vocals); Haila Mompie Gonzalez (background vocals)

Sabu - Palo Congo

barabara sounds sez:

Sabu leads a thundering Afro-Cuban percussion session, with the great Arsenio Rodriguez among some equally impressive backing musicians. High spots in this set are Aggo Elegua and the outstanding title track, both channeling the Santaria ritual. If you're looking for more typical latin sounds, then Tribilin Cantore could be the one: Arsenio's fluid guitar lines set out a blueprint for a generation of Zairean/Congolese grooves. Laid down in 1957, the original Blue Note release was in mono; this rip is from the stereo CD reissue. Whichever way you hear it, this is powerful music.

dusty sez:

One of the most unique sessions ever cut for Blue Note — an album of very traditional Afro-Cuban jamming, led by percussionist Sabu Martinez! The music on the album's comprised mostly of percussion -- plus some occasional guitar, bass, and vocals shouted by Sabu, and group members that include Arsenio Rodriguez, Ray Romero, and Willie Capo. The whole thing's incredibly haunting — and about as different from the average Blue Note hardbop set as you could get! Titles include "Simba", "Aggo Elgua", "Tribilin Cantore", "Asabache", and "Billumba-Palo Congo".

hipwax sez:

The emotional kinship between the world of this recording and the world of jazz seems so strong at times that the distance between the worlds seems no wider than the pavement of West Fifty-Fourth Street which separates the Museum of Primitive Art from the Museum of Modern Art. Yet the step from Afro-Cuban music to jazz is a long step, for the European elements of jazz are always in the foreground, while here the latin elements of "latin" music are often imperceptible. It is mostly Africa that we hear in this recording: some rituals dedicated to African Gods, a good deal of singing and chanting in African antiphonal style, and all the instruments, whether obviously African like the quinto, a Cuban version of the slit signal drum, or as apparently European as guitar and bass, played like their African proto-types in African musical tradition. Still, the kinship is there to hear, for Afro-Cuban music shares with jazz the intense motor excitement, the rhythmic fluidity that Andre Hodeir calls vital drive, and the striving for ecstatic communion which supplies much of the motive force.

Soul Fingers ...and Funky Feet - a Blue Note compilation

barabara sounds sez:

When this Japan-only compilation came out in 1990, most of the tracks were OOP and unavailable on CD; these days there's little in the Blue Note vaults that hasn't been excavated. Even so, it's a fine compilation of swinging organ grooves from the (mostly) 60s, ranging from Baby Face Willette and Jimmy Smith to Lonnie Smith and Richard Groove Holmes. The top cut is the last one: Stanley Turrentine blowing some soulful sax on God Bless The Child, over Shirley Scott's smoldering keyboards.

And yes there ought to be some crap cover award for those wooly mittens — totally unworthy of the Blue Note name and label.

Robert Glasper Trio - Mood

allaboutjazz sez:

Mood might be interpreted at first sight to be a "mood record." This is accurate only as relates to the tracks with Bilal though, which include a very ethereal version of Herbie Hancock's "Maiden Voyage" and the vocal feature "Don't Close Your Eyes," which is definitely a moody ballad to say the least. For those not familiar, Bilal is not a stereotypical male R&B vocalist in any way, so he should prove to be of interest to openminded listeners. He doesn't try to be a "jazz singer" here but he's not asked to be either, only to bring his thing to the table in terms of generating some serious atmosphere.

The majority of the record, though, is devoted to well-executed, swinging and creative piano trio music made in tandem with Glasper's comrades: bassist Robert Hurst and drummer Damion Reid.

barabara sounds sez:
Catch Glasper live if you have the chance. Failing that, check out his Blue Note album 'In My Element'. This, an earlier album, is perhaps less compelling but it's still excellent.

track listing:

Maiden Voyage; Lil Tipsy; Alone Together; Mood; Don't Close Your Eyes; Blue Skies; Interlude; In Passing; L.N.K Blues

personnel:

Robert Glasper piano; Bob Hurst bass; Damion Reid drums; Mike Moreno guitar (track 4); John Ellis tenor saxophone (tracks 4, 9); Marcus Strickland tenor saxophone (track 9)

HOT OFF THE PRESS (late November)

Bilal has just announced his first LP since his 2001.

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