Anthony Davis, Jay Hoggard - Under the Double Moon (MPS/PAUSA, 1981)

This post is by Dan

Anthony Davis (p); Jay Hoggard (vib)

Recorded September 1 and 2, 1980

Piano-vibe duets have become a distinctive format for jazz players, most famously the Chick Corea-Gary Burton duets that commenced with their classic Crystal Silence LP in 1972. On Under the Double Moon, Anthony Davis and Jay Hoggard advance the genre using mainly original compositions. The pianist's interest in composition has been cited as an example of an important aspect of the 1980s jazz by critic Francis Davis (In the Moment: Jazz in the 1980s: Oxford University Press, 1986). "Modern" jazz composition has always been a part of jazz, but the 1980s were said to focus upon new forms and assemblages borrowed from other music, including classical forms.

How does modern composition translate into a duet format? Under the Double Moon includes one obscure Duke Ellington piece ("The Clothed Woman" which appeared as the B side on a 1948 78rpm record); the remainder are three compositions by Davis and two by Hoggard. Thankfully, the resulting performances do not sound too scholarly or complex. Because these players came up together and shared the same teachers (Ed Blackwell, in particular, according to the liner notes), they understand the approach and execute the program gracefully and adventurously. While rather "brainy" in its conception (judging by the sources of inspiration in the pianist's liner notes), there are few obstacles to enjoyment of the music. Whatever the motives or aspirations of the players, the listener is amply rewarded.

The album was recorded in Germany at producer H.G. Brunner-Schwer's MPS Studio in the Black Forest. This is the same producer who provided recording opportunities to many visiting jazzmen, notably Oscar Peterson. The domestic (US) release on PAUSA suggests a reversal of the usual way jazz was produced and distributed before the 1980s. In those days, European labels would distribute different versions of original American albums. Here we have two American artists recorded in Germany on a German label, which is later picked up by an American reissue label. Jazz as an art form owes gratitude to European labels and producers, and this blog's later entries will acknowledge this debt multiple times.