Enrico Rava Quintet - Andanada (Soul Note, 1983)

This post is by Scott

Enrico Rava (tr, flhn); Pietro Tonolo (ts); Franco D'Andrea (p); Giovanni Tommaso (el b); Bruce Ditmas (d)

Recorded on May 6 - 7, 1983

Warne Marsh Quartet featuring Lou Levy - A Ballad Album (Criss Cross, 1984)

This post is by Scott and Dan

Warne Marsh (ts); Lou Levy (p); Jesper Lundgaard (b); James Martin (d)

Recorded on April 7, 1983

There are three common problems with ballads: familiarity, prettiness, and pace. These problems often pose difficulties for improvisors seeking to impress with originality and speed, and to avoid prettiness at all costs. The tendency is to include one or two ballads in a jazz album, and few are exclusively devoted to ballads.

Warne Marsh might seem to be the least likely candidate for creating a ballad album, but A Ballad Album is just what it says it is. It succeeds due to Marsh's solutions to the three problems. He makes the familiar unfamiliar; his dry tone does not sound sweet or pretty; and he embraces the slower pace and makes it work in his favor. In fact, he actually slows the pace of "How High the Moon" from its more accustomed role as a rave up for artists like Howard McGhee, Illinois Jacquet or Ella Fitzgerald. 

Most of the tunes are approached in the same way. The familiar melodies are played "somewhat" faithfully (only "Emily" is played note perfect), followed not so much by solos but rather reinventions of the ballad melodies so that the original tunes become unrecognizable. In most cases, the group never returns to the original themes. That said, the listener never loses awareness of the underlying songs, perhaps because they are so familiar.

It helps that the group members are fully subordinate to Marsh's designs for ballads. Only Lou Levy gets much solo space. Jesper Lundgaard gets in three short bass solos, and drummer James Martin has no solos although he works in some fine brushwork behind Levy on "My Romance." 

The rewards for the listener are, quite simply, fascination at the seemingly endless possibilities that familiar tunes offer to a gifted improviser like Marsh. The slower pace also reveals more detail about his variations, which do not seem tied to any particular formula or method. They are spontaneous, relevant, and purely artistic. 

The CD reissue adds additional takes of three songs at the end. Since the original recording was analog (ADD), one might imagine that the LP sounds better. (Dan's vinyl copy sounds great.) The vinyl is still in print and obtainable. A cost-effective option would be to download the lossless digital version, whether you want the bonus tracks or not. Regardless, getting this album in any format should be a priority for anyone captivated by Marsh's music.

Timeless All Stars - Timeless Heart (Timeless, 1983)

This post is by Scott and Dan

Harold Land (ts); Curtis Fuller (tb); Bobby Hutcherson (vib); Cedar Walton (p); Buster Williams (b); Billy Higgins (d)

Recorded on April 8, 1983

We both love this group and this album a lot. Not only is it a legitimate group of all-stars, it also uses original compositions from the group's members. 

It's tempting to dismiss this group as a "label band," created for the purpose of promoting the Timeless brand. Actually, the group performed live and recorded at least five albums together between 1982 and 1991. They certainly sound like a working band, and given the compositional skills of Cedar Walton, Harold Land, and Buster Williams, their material is of the highest quality. 

Of the songs on the album, Land's "World Peace" stands out from the rest. It's based on a stately progression of chords over which the band holds long notes comprising the melody. It's not bebop or songlike - just profound as the title suggests. On this tune and others, it's clear why Land and Bobby Hutcherson played as a co-led group for a while. 

The other notable tune is Walton's "Fiesta Español" (spelled "Espagnol" here). All six members of the group execute concise solos - little portraits of all-stars in action. This Walton tune also appears on Junior Cook's Somethin's Cookin' LP also reviewed in this blog. 

The recording was made in Rudy Van Gelder's studio, and it sounds analog instead of digital. It's hard to know exactly when Van Gelder's first digital recording was made but it was around the time of Timeless Heart. To Dan's ears, Buster Williams' rubbery base sounds more wooden and natural than in many subsequent digital recordings. 

There is a minor error in the naming of tunes on the album. The two Williams compositions, "Christina" and "Tayamisha" are not programmed in the order that they appear on the label. Christina comes second and "Tayamisha" comes last. "Christina" appears on so many other albums that it's almost a jazz standard. It does not appear that any of the CD reissues corrected the error. 

Jack DeJohnette's Special Edition - Album Album (ECM, 1984)

This post is by Dan

Jack DeJohnette (d, kybds); David Murray (ts); John Purcell (as, ss); Howard Johnson (tba, bs); Rufus Reid (b)

Recorded June 1984

Jack DeJohnette's Special Edition is indeed a special band. Album Album's cover and rear artwork picture the DeJohnette bio-family enjoying a day in the woods. Inside the gatefold cover are 16 other black-and-white photos. A photo album within a record album, hence the title. Album Album  is dedicated to DeJohnette's mother and celebrates her memory. One of the tunes, "New Orleans Strut," is dedicated to his father.

Jazz albums are often inspired by real-life events, and the passing of a parent surely triggers the creative impulse. For DeJohnette, the inspiration informs the compositions as well as the performances. All except "Monk's Mood" are written by the leader

The music is compelling. The band is tight and together. The individual voices are tremendously expressive, and the ensemble sections are skillfully arranged and played. This is a group with a personal signature, one that allows energy in abundance as well as tight ensemble passages. It's a great companion to the earlier Special Edition album, Tin Can Alley, recorded in 1981 and reviewed in our blog.

As for the program, it's pretty hard to describe. I'll start with the easiest. "Monk's Mood" is the one familiar piece, and it's given a luxurious arrangement by Howard Johnson that includes five-part harmonies (on which DeJohnette appears to play a melodica or other keyboard). Johnson's baritone solo is featured in the dark but lovely rendition of the Monk classic.

From that point on, I am at a loss for words that do justice to the music itself. All of the tracks have something unique to offer. These are unusual compositions with a lot of different sections. For example, the wonderful "Third World Anthem" seems simple in parts but has a lot going on. It's part calypso, part chant, all fascinating. Purcell's alto solo over a roiling bass line is a high point. There are actually two tuba solos on this one. Overall, it rates very high on the "wow" factor. "Zoot Suite" is also assembled from parts - some fast, others slow. "New Orleans Strut" is jaunty and makes it hard to sit still. 

My overall reaction to the album is amazement at the creativity and playing skills that are displayed. It's remarkable that music this different can be mastered by the group and played with such energy and spirit. I may never figure this music out completely, but that hardly interferes with my enjoyment. 

If you've not known about Special Edition before, try one. I bet you'll end up investigating them all.

Lee Konitz, Harold Danko - Wild as Springtime (G.F.M./Candid, 1984)

This post is by Dan

Lee Konitz (as); Harold Danko (p)

Recorded March 29, 30 and April 3, 1984

In an earlier post, Scott draws attention to the large number of duet recordings made by Lee Konitz accompanied by piano. Wild as Springtime qualifies as one of the best of that collection and is my particular favorite. It's a studio recording made in Glasgow, Scotland and originally released on the Scottish G.F.M. imprint. The Candid reissue preserves the original cover art (left), which shows a spotlighted alto sax neck and mouthpiece protruding from the ground surrounded by 7 cylindrical pillars. Gotta have a wild imagination to create something like that! 

A later reissue chose a different cover that is clearly more conventional but not as "interesting," shall we say. Completing the photo gallery is a grainy picture of Konitz and Harold Danko playing together at about the time of the recording. 

Throughout many years of listening, I've admired the talents of these two artists. Konitz records date back to the very early 1950s, years before my awakening to jazz. Harold Danko came onto my radar screen through his recordings with Chet Baker in the 1970s and through his long series of quartet, solo, and trio albums for SteepleChase. He's another in my select group of "no wrong notes" pianists.

The program on Wild as Springtime is interesting: two tunes that Konitz recorded in 1951, two Danko and two Chick Corea compositions, and one by Frederick Chopin. The basic formula is for Konitz to state themes and solo over Danko's accompaniment and for Danko to solo without accompaniment. Danko proves to be more exploratory than his elder, adding special flourishes now and then. Konitz retains his customary dry tone and never fails to generate interesting phrases that fit the moment. 

The last two tracks are short duet performances without solos. "Hi, Beck" finds Danko playing counterpoint in the piano's upper register for the full 3:37 of the tune. "KO" is an even shorter free improvisation on which Danko can be heard plucking piano strings with one hand while hitting keys with the other. These small touches move the program from one that is merely expert to one that is ingeniously creative. 

Lee Konitz's 70-year recording career ended when he died two years ago from COVID-19 at the age of 92. His legacy is enormous. His recordings as a leader or co-leader exceed 200 albums, and he appeared on over 100 more, according to Discogs. 

Chico Freeman - The Pied Piper (Blackhawk, 1984)

This post is by Dan

Chico Freeman (ts, as, ss, bcl, fl); John Purcell (as, bs, sups, ob, fl, pic); Mark Thompson (p on "The Pied Piper" and "Monk 2000"); Kenny Kirkland (p on all others); Cecil McBee (b); Elvin Jones (d)

Recorded April 9, 1984

Earlier in this blog, we reviewed two other albums by Chico Freeman: Destiny's Dance and Peaceful Heart, Gentle Spirit. For The Pied Piper, Freeman and fellow reedist John Purcell brought 12 instruments to the session, including one that is called a "surpranino." I can find sopranino clarinets and saxophones on Google but not supranino. So, I consider it an alternate spelling for sopranino. 

Why is this important? It's not really. What matters is the sound conjured up by the reeds and accompanying players. We know that Freeman loves to create interesting textures in his music, and the array of instruments allows this. Also, Purcell is absolutely the best partner for such creations. His contributions to Jack DeJohnette's Special Edition are duly noted elsewhere in this blog. 

The Pied Piper is an adventurous album that does not settle for the normal theme/solos/ theme arrangements. While the soloing is excellent throughout, it's the material and arrangements that place this record above most others. The title tune, for example, has a 7/4 rhythm but the melody is in 4/4, according to Herb Wong's liner notes. A film track piece, "The Rose Tattoo," follows and features Freeman's impressive tenor solo. It nicely counterbalances the complex meter of the opening track. Pianist Mark Thompson's "Monk 2000" is another interesting tune and features Purcell playing the aforementioned supranino. "Softly, as in a Morning Sunrise" follows a customary development featuring outstanding solos by Freeman on tenor and Kenny Kirkland on piano. Like most jazz renditions of this song, it's anything but soft. 

Sometimes albums that pursue originality come across as studied or pretentious, as though the motivation of the artists is to show off their versatility. It's a credit to Freeman that this effort avoids self-indulgence yet finds original ways to make valid artistic statements. Having Elvin Jones and Cecil McBee on the session probably had a lot to do with keeping things righteous. 

James Newton - Luella (Gramavision, 1984)

This post is by Scott and Dan

James Newton (fl); Gayle Dixon (vn); John Blake (vn); Abdul Wadud (vc); Jay Hoggard (vib); Kenny Kirkland (p); Cecil McBee (b); Billy Hart (d)

Recorded in 1983

From our point of view, James Newton's Luella is one of the finest jazz albums of the 1980s. It successfully combines jazz and classical influences to produce a lyrical masterpiece, comparable to his self-titled Gramavision debut (1983) and his subsequent Water Mystery, reviewed elsewhere in this blog. The three string players are integral to the band, not mere colorists. They perform solos and generate rhythmic figures driving the music forward.

Newton and company visit some serious topics: the bittersweet love ballad "Not Without You;" the socio-economic tragedy of South Africa; and the title composition that honors Newton's aunt, Luella Scott, who was brutally murdered two months before the recording of the album. With conscious resolve, Newton explains, he sought to avoid the "requiem syndrome" and focus on the positive aspects of his aunt's life. He certainly does not avoid the despair and pain, but from such dark emotions spring beautifully powerful sounds. 

Newton also includes more conventional fare: a tribute to Eric Dolphy and a cover of Wayne Shorter's "Ana Maria." These become vehicles for the best solos on the album. 

All of Newton's albums lie some distance away from the mainstream, yet all are indisputably solid jazz albums that help to define what jazz was like in the 1980s and beyond.  

José Roberto Bertrami - Blue Wave/Dreams Are Real (Milestone, 1999)

This post is by Scott

On Blue Wave: José Roberto Bertrami (kybd, el p, org, synth, perc, vo); José Carlos (Bigorna) (fl, ss); Hélio Delmiro (g); José (Bicão) Alves (b, el p); Claudio Bertrami (el b); Robertinho Silva (d); Aleuda (vo, perc)

On Dreams Are Real: José Roberto Bertrami (p, el p, org, synth, perc, vo); Paulinho Oliveira (flhn); José Carlos (Bigorna) (fl); Mauricio Einhorn (hca); Jota Moraes (vib); Durval Ferreira (O Gato) (g); Otávio Bonfá (g); Nico Assumpção (b, el b); João Palma (d); Robertinho Silva (d); Laudir de Oliveira (perc); Zizinho (perc); Flora Purim (vo)

Recorded in 1983 & 1984

Martial Solal - Bluesine (Soul Note, 1983)

This post is by Scott and Dan

Martial Solal (p)

Recorded on January 18 and 19, 1983

Born in Algiers in 1927, French pianist and composer Martial Solal's performance and recording activities are too extensive to summarize respectfully. For every memorable recording, there are dozens of others that also deserve mention. We choose the solo piano album, Bluesine, as our favorite of the decade not because it is representative of Solal's oeuvre, but because it sits as a precious gem in a vast field of accomplishments. Simply put, Bluesine is a perfect jazz performance.

Only three of the nine tracks on the album are composed by Solal. The rest are familiar fare, which Solal interprets in a personal way, neither "far out" nor too far "inside." Each reading offers fresh understanding of the familiar, which is unusual for even the most accomplished jazz musicians. The tracks range in length from 2:47 to 6:00, so there are no Tippett-like or Taylor-esque excursions to absorb. Each tune is carefully proportioned and simply needs to be heard to be appreciated.

Recorded in Giancarlo Barigozzi's Milano studio, Bluesine is graced by warm acoustics and a wonderful piano sound. 

Michel Petrucciani - Live at the Village Vanguard (Concord/Blue Note, 1984)

This post is by Dan

Michel Petrucciani (p); Palle Danielsson (b); Eliot Zigmund (d)

Recorded March 16, 1984

It may seem incredible that a 21-year-old French pianist would even be allowed to play at The Village Vanguard, much less perform an astonishing recital of jazz standards and originals as leader of a premier trio. But Michel Petrucciani was already several albums into a busy performing and recording career that lasted until his death in 1999 at the age of 36.

Throughout the 1980s, he recorded prolifically for the Owl label, Blue Note Records, and later for Dreyfus Jazz. He adopted saxophonist Charles Lloyd as his mentor and was responsible for a resurgence in Lloyd's career that continues to the present. 

Aside from Petrucciani's poignant human-interest story, which includes his well-chronicled genetic disease and resulting physical challenges, the music speaks for itself. It's clear that Bill Evans is a primary influence on Petrucciani's approach to phrasing and dynamics. That's a positive, just as it is for almost every pianist in jazz since the 1960s. But Petrucciani is able to channel Evans' influence into a highly individual style. Technically, he is all over the keyboard and seems able to play effortlessly whatever enters his mind. On the Vanguard set, he displays huge energy on tunes like "Three Forgotten Magic Words," which clocks in at 8:56. He is beautifully lyrical on "To Erlinda" and "Say It Again and Again." two of his best compositions. And his version of Monk's "'Round Midnight," which closes the album, is stately and elegant. What a clever arrangement to end a terrific set!

The recording first appeared as a 2-LP set on The George Wein Collection, distributed by Concord Records. While I enjoyed the LPs for many years, I find the 2002 CD reissue to be more satisfying. The mastering at 24/96 is excellent, and I don't have to turn records over. Mentally, I can sit in my seat at the Vanguard 38 years ago and enjoy a 70-minute set of exquisite jazz! Such is the miracle of recorded music.

In addition to the care taken with the master tapes, Mitchell Feldman's liner notes written for the CD reissue are highly informative about the music and the artist. I especially admire the story of Petrucciani's first trip to New York and his journey to California to meet Lloyd. Michel Petrucciani's music and life story are both tremendously inspiring. 

Clifford Jordan - Repetition (Soul Note, 1984)

 This post is by Dan

Clifford Jordan (ts); Barry Harris (p); Walter Booker (b); Vernel Fournier (d)

Recorded February 9, 1984.

Not all records issued by the Italian Soul Note label were recorded in Italy. Clifford Jordan's Repetition was recorded in New York by renowned sound engineer David Baker. The jazz people (Jordan and consultant Melba Liston) were involved in the mixing of the tracks to produce one of Soul Note's best recordings of the 1980s. 

Jordan emerged in the mid-1950s as a regular session player and leader for Blue Note. He was remarkably consistent throughout his career, both as a first-call side man and as a leader. Thirty years after he "blew in from Chicago," he continued to perform some of his best work. Besides Repetition, his 1980s output includes his featured role in Art Farmer's series of recordings on Contemporary Records. We will be reviewing these albums later in this blog. In all, Jordan appears on seven albums in our survey. Need we admit that we are Clifford Jordan fans?

Repetition benefits tremendously from the work of Barry Harris on piano. I sometimes speculate that Harris single-handedly kept recorded jazz going during the 1970s and 1980s since he contributed to so many outstanding albums by so many different performers. Here he comps and solos with a master's touch, driven on by his partners in the rhythm section. This solid backing makes Jordan's contributions shine and makes the whole album a delight from beginning to end.