Joe Henderson - The State of the Tenor: Live at the Village Vanguard, Vols. 1 and 2 (Blue Note, 1985)

This post is by Dan

Joe Henderson (ts); Ron Carter (b); Al Foster (d)

Recorded November 14-16, 1985

This much celebrated pair of albums helped to fuel the resurgence of straight-ahead jazz in the 1980s. The obvious comparison is to Sonny Rollins' Village Vanguard trio album from 1957, and it's a fair comparison as to both format and substance. Joe Henderson is a worthy keeper of the flame, but his contributions go far beyond revivalism. He was a consistently active and probing voice on the tenor for more than 20 years by the time these tracks were recorded. The State of the Tenor did much to resuscitate Blue Note Records and prolong Henderson's recording career.

The program consists of three compositions by Henderson, one by Ron Carter, eight by other jazz artists (Monk, Ellington, Mingus, Silver, Rivers, and Parker), as well as two show tunes ("Stella by Starlight" and "All the Things You Are"). It hardly matters which song is being played; the same high level of art remains on display for the whole length of two volumes. This is serious music that avoids extreme blowing while never becoming smooth or sweet.

The recording is up close and detailed, whether heard in analog or digital format. The most recent pressings in the Blue Note Tone Poet reissue series are exquisite. 

Henderson died in 2001. Both Al Foster and Ron Carter, pictured below, continue to record. 

Other trio recordings by Henderson are worth investigating. They include:

Henderson with Charlie Haden and Al Foster in a concert at the Genova Jazz Festival in Italy. The resulting recording, An Evening with Joe Henderson (Red Records, 1987) is just as good as State of the Tenor and even includes two of the songs from the Vanguard sessions ("Beatrice" and "Ask Me Now"). 

Henderson with Haden and Foster at the 1989 Montreal Jazz Festival, released posthumously in 2003 as The Montreal Tapes (Tribute to Joe Henderson) (Verve, 2003).

A studio album with Rufus Reid and Al Foster: The Standard Joe (Red Records, 1991). The title is misleading because it is not a set of standards but rather a mix including Henderson's own compositions. 

Mal Waldron, Marion Brown - Songs of Love and Regret (Freelance, 1985)

This post is by Dan

Mal Waldron (p); Marion Brown (as)

Recorded November 9 and 10, 1985

Mal Waldron and Marion Brown made two duet albums in the 1980s: Songs of Love and Regret in 1985 and Much More! (Freelance, 1988). Both were recorded in France. The choice of the former as my favorite is arbitrary. Much More! is a brilliant continuation of a warm and intimate dialogue. Both albums are great examples of the possibilities afforded by duo performances. 

My first exposure to Brown was his role in Coltrane's free-blowing Ascension album (Impulse, 1965). First impressions can be misleading. It is wrong to type-cast the members of Coltrane's ensemble as ferocious free players. To the contrary, other members of Coltrane's Ascension group - including Archie Shepp, John Tchicai, Pharoah Sanders, Freddie Hubbard, and Coltrane himself - proved to be versatile players who frequently chose tender balladry over avant garde roars. Brown has a plaintive tone on alto that sounds almost like a speaking voice. His playing is deeply emotional, befitting the themes of love and regret in the title. 

As for Waldron, this type of setting reveals his inimitable style of comping and soloing. He likes to repeat figures and create slight variations instead of leaping around the piano keys. He's still a virtuoso, but one that conveys his message in measured steps that all seem connected.

The CD version contains a bonus track - a much longer version of Blue Monk" - in addition to the LP version. The music on each track proceeds unhurriedly over durations ranging from 4:42 to 15:42 (for the alternate take of Blue Monk on the CD).

Joe Bonner - Suite for Chocolate (SteepleChase, 1985)

This post is by Dan

Joe Bonner (p); Khan Jamal (vib); Jesper Lundgaard (b); Leroy Lowe (d)

Recorded November 4, 1985

In my earlier post about Joe Bonner's Impressions of Copenhagen (Theresa, 1981), I described his cinematic, story-telling approach to composing and playing. Although there is a film titled "Chocolate," and another named "Chocolat," Bonner's Suite for Chocolate was composed for a lady friend of his. Nonetheless, the music has the same movie-theme quality of his earlier album. 

Joined by Khan Jamal on vibes, Bonner expands his signature ringing sound, especially on the opening track "Under the Big Sky." The first few bars always remind me why this is one of my favorite albums of all time, not just the decade of the 1980s. The lovely ballad "Where Did You Go?" follows and contains a wonderful solo from Bonner. And so it continues for the full 56:30 of the CD. 

For this album, I recommend the CD over the LP because the two bonus tracks make solid contributions to the integrity of the album. Neither is an alternative take, and although Harold Vick's "Winter Blossom" is the only track Bonner did not compose, it fits perfectly and could easily be mistaken for a Bonner composition.

 

Leroy Lowe appears elsewhere in this blog on Khan Jamal's two SteepleChase albums. He fits perfectly with Bonner's concepts and plays a lyrical solo on "A Time for Living." Most of Lowe's recording credits are on European labels. He is yet another American jazz artist who gained acceptance in the Nordic countries. He died of cancer at age 55 in Stockholm. 

Jesper Lundgaard is a Danish bassist with hundreds of recording credits. He follows in a long line of internationally recognized Danish bass players. His playing on Suite for Chocolate is rock solid from beginning to end, and his resonant woody bass sound comes through clearly in the mix.

Kenny Barron - New York Attitude (Uptown, 1996)

This post is by Scott and Dan

Kenny Barron (p); Rufus Reid (b); Frederick Waits (d)

Recorded on December 14, 1984

When Dan first learned of Scott's choice of Kenny Barron's New York Attitude, he began to look for it. A few weeks later, Dan found a pristine vinyl copy at a record swap meet for $3.00. (He also had a nice long chat with the 90-plus-year old man he bought it from). This is a relevant story because it speaks to the availability of outstanding records that have become our favorites, as well as the joys of meeting other aficionados. 

The LP program consists of three Barron originals, Monk's "Bemsha Swing,' George Gershwin's "Embraceable You," and the title tune. The CD reissue contains three additional tracks, including a second take of "Embraceable You." It's a nicely balanced program and contains extensive liner notes.

Like most of Barron's trio recordings, New York Attitude/Autumn in New York is swinging and tasteful. The Van Gelder recording is first rate, and the vinyl pressing is superb. 

The trio is in complete sync from beginning to end. We are particularly drawn to the presence of drummer Frederick Waits, who never led a recording session but who appeared with virtually all of the greats between 1964 and his premature death in 1989 at age 46. Waits provides a careful balance between simply accompanying his trio mates and provoking them to create more artful statements. 

The same could be said for bassist Rufus Reid, who has compiled hundreds of recording credits at age 78. "Support" players like Waits and Reid are what make the seemingly common format of the piano trio so interesting.

Frank Foster & Frank Wess - Frankly Speaking (Concord, 1985)

This post is by Scott

Frank Foster (ts, ss); Frank Wess (ts, fl); Kenny Barron (p); Rufus Reid (b); Marvin "Smitty" Smith (d)

Recorded in December 1984

Sheila Jordan - The Crossing (BlackHawk, 1986)

This post is by Scott and Dan

Sheila Jordan (vo); Tom Harrell (flhn); Kenny Barron (p); Harvie Swartz (b); Ben Riley (d)

Recorded on October 1 and 2, 1984

Vocalist Sheila Jordan got a late start as a recording artist, as her debut Portrait of Sheila (Blue Note, 1962) was recorded when she was 33 years old. She is now 94 and can look back at almost 100 recordings on many labels. It would be hard to pick any one album as her "masterpiece," but The Crossing should certainly be one of the nominees. 

The backing band is first rate. Bassist Harvie Swartz (known frequently as Harvie S.) played duets with Jordan on several full albums: Old Time Feeling (Palo Alto, 1983), Songs from Within (M*A, 1993), The Very Thought of Two (M*A, 2000), and Yesterdays (HighNote, 2012). He appears on many of her other albums. Obviously, there is a strong connection between them. Tom Harrell's fluegelhorn is also a perfect partner for Jordan's voice. Kenny Barron and Ben Riley round out the blue-ribbon supporting band.

"Sheila's Blues" and "The Crossing" are overtly autobiographic, as Jordan shares experiences from her youth and her recovery from alcoholism. Such bare honesty may not be everyone's cup of tea, but she pulls it off. The blues namechecks the bebop artists she admired and knew as a child, and she confesses that she would not be alive without their music to inspire her. (A more recent autobiographical album is Jazz Child (HighNote, 1999)). The Crossing also includes a delightful medley to honor her main influences: Billie Holiday and Lester Young. 

To quote Andrew Rowan's sleeve notes, "The Crossing is another jewel in the crown of one of America's finest artists. She faces her disappointments and demons and rejoices in her triumphs, and we are privileged to share these moments."  Indeed!

Clifford Jordan Quintet featuring Junior Cook - Two Tenor Winner (Criss Cross, 1985)

This post is by Scott and Dan

Clifford Jordan (ts); Junior Cook (ts); Kirk Lightsey (p); Cecil McBee (b); Eddie Gladden (d)

Recorded on October 1, 1984

The "tenor battle" is one of the more dubious settings for jazz artists. The tradition of "cutting" bandmates in performance by out-dueling them never produced the best jazz, although it was a format that may have helped younger players to establish reputations by cutting their elders. When successful, tenor battles often highlighted the differences in approach, exemplified by the friendly fire between Eddie "Lockjaw" Davis and the rising Johnny Griffin. At the very least, battling tenors helped to sell records.

Two Tenor Winner's title suggests that two can win a contrived battle. That's certainly the case in this delightful pairing of veterans Clifford Jordan and Junior Cook, both of whom are featured elsewhere in this blog. Together, they cooperate to produce an amiable outing in which each player gets to show off without cutting the other. 

The title tune, a basic blues, has each tenorist stating the head, then shifting into a counterpoint duet, followed by full solos for each man, and ending with an alternating trading of fours with drummer Eddie Gladden (his only solo opportunity on the album. 

Even on the Dizzy Gillespie warhorse "Groovin' High," the right stereo channel (Cook) and left channel (Jordan) engage in a productive dialog that is instructive of their different strengths as jazzmen. The graciousness is further exemplified by Jordan sitting out for "Make the Man Love Me," which is a ballad feature for Cook. 

Two of the more interesting tunes come from the pens of bassist Cecil McBee and pianist Kirk Lightsey. McBee's "Song of Her" is a haunting melody prompting searching solos, first by Cook and then by Jordan. Lightsey's "The Water Bearer' is a churning modal workout that fades out as the tenorists trade short solo statements. The album ends with Jordan's "Doug's Prelude," a brief two-part harmonization for the horns that casts a shade of melancholy over the proceedings. 

Overall, this update on the tenor battle format is one of the highlights of the decade. In either CD or LP format (both with all seven tracks), one gets to hear two of the top tenorists of the 1960s engaging in deep conversations and supported by outstanding rhythm players. Who could ask for more?

Chick Corea, Miroslav Vitous, Roy Haynes - Trio Music: Live in Europe (ECM, 1986)

This post is by Scott and Dan

Chick Corea (p); Miroslav Vitous (b); Roy Haynes (d)

Recorded in September 1984

When Chick Corea recorded his Trio Music double LP for ECM in 1982, it received almost universal acclaim. Much like Wynton Marsalis' return to the traditional format of the two-horn quintet, Corea's piano trio signaled a return to tradition. The trouble was, Corea's Trio Music was anything but traditional. One of the two records was completely improvised, while the other was devoted to compositions by Thelonious Monk. 

Two years later, the tracks for Trio Music: Live in Europe were recorded at two concerts in Europe. The album was released in 1986. This time, perhaps due to the live audience, the same trio produced one of the most engaging performances of the decade. The free improvisations and Monk charts are replaced by two Corea tunes, one each by Roy Haynes and Miroslav Vitous, three standards, and a prelude by Scriabin. To add interest, two tracks are arranged as medleys.  

Since all three players were at or near the top of the ranks on their respective instruments, the only question would be whether the group could cohere as a trio. That question is answered with a resoundingly affirmative "you betcha!" This is great stuff from beginning to end. The group interplay is telepathic, the ambience of the stages (one in Switzerland and the other in Germany) is palpable, and the energy is cranked all the way up. All three trio members shine in their solo opportunities, especially the leader who always seems to shine.

It would be overthinking things to treat Trio Music: Live in Europe as further evidence of jazz's shift back to earlier eras. More simply, this music is taken from live gigs by musicians who can shift focus from free jazz to fusion to bebop without hesitation. Corea himself was referred to as the chameleon because of his ability to play almost any kind of music with authoritative command. So, perhaps we should stop thinking and keep listening. Music this good doesn't require too much in the way of explanation. Anyone hearing this album for the first time is bound to be delighted. 

Anthony Braxton - Six Compositions (Quartet) 1984 (Black Saint, 1985)

This post is by Scott and Dan

Anthony Braxton (as, ss, Cm-sx, cl, fl); Marilyn Crispell (p); John Lindberg (b); Gerry Hemingway (d, perc)

Recorded on September 10-11, 1984

As with our other two posts of Anthony Braxton's albums, we face the challenge of using words to describe his unique style of composing. The assumption is that understanding the music is helpful in explaining why they are our favorites. That assumption may be flawed. Perhaps it is best to side-step the musicology and just enjoy what we hear.

A distinguishing aspect of this recording is that it includes Braxton's most simpatico quartet members: Marilyn Crispell, John Lindberg, and Gerry Hemingway. They are all leading free players, and they collectively respond to the musical challenges put before them. Braxton acknowledges their importance in the liner notes:

"After all is plotted and theorized it is still the musicians who must in the final analysis 'make the music live'. I could not have been more fortunate in this regard."

Braxton has frequently emphasized the importance of pulse to his music, as heard on Composition 114 which leads off the album. Elsewhere, the pulse is replaced by a free four-way conversation in which no single voice dominates. One can also just listen to one of the musicians at a time, a good way to appreciate jazz of any form. Hemingway in particular is heard as responsive and reactive to what the others are doing. That is certainly not the role of rhythm instruments in most other jazz.

Crispell, of course, is also worth singling out. She seems always to interject fascinating and unexpected comments into the conversation. She's a great foil for Braxton, who is always full of ideas that he seems to express effortlessly. Together, the group fashions a fascinating sound across all of the six pieces.

Braxton scholars could spend lifetimes deciphering the messages from this great artist. Listeners need not engage the theoretical aspects that drive Braxton's art. It's probably difficult to play but accessible, novel, and enjoyable to hear.

John Hicks - In Concert (Theresa/Evidence, 1986)

This post is by Scott

John Hicks (p); Walter Booker (b); Idris Muhammad (d); Bobby Hutcherson (vib, 1 trk only); Elise Wood (fl, 1 trk only)

Recorded in August 1984

Gil Evans & the Monday Night Orchestra - Live at Sweet Basil, Vols. 1 & 2 (Gramavision/Evidence, 1985)

This post is by Scott

Gil Evans (p, el p, arr, cond); Lew Soloff (tr); Hannibal Marvin Peterson (tr); Shunzo Ohno (tr); Miles Evans (tr); George Adams (ts); Chris Hunter (as); Howard Johnson (tu, bs, b cl); Tom Malone (tb); Hiram Bullock (g); Pete Levin (synth); Mark Egan (el b); Adam Nussbaum (d); Mino Cinelu (perc)

Recorded on August 20 & 27, 1984

Mike Westbrook Orchestra - On Duke's Birthday (Hat Hut, 1985)

This post is by Scott and Dan

Mike Westbrook (p); Chris Biscoe (as, ss, bs, pic, al cl); Danilo Terenzi (tb); Kate Westbrook (tenor hn, pic, bamboo fl, vo); Stuart Brooks (tr, vo); Phil Minton (tr, vo); Dominique Pifarély (vn); Georgie Born (vc); Brian Godding (g); Steve Cook (el b); Tony Marsh (d)

Recorded on May 12, 1984

Mike Westbrook's marvelous album is a work commissioned by Le Temps du Jazz and dedicated to the memory of Duke Ellington. It was performed in Amiens, France to mark the tenth anniversary of Ellington's passing in 1974. It's one of the most unique of the 1980s favorites collection, and one of the most enjoyable listening experiences of them all. The rich sonic tapestry stretches across 80 minutes of playing time (one CD, 2 LPs). 

There are only five compositions, the shortest - "Checking in at Hotel Le Prieure" - clocking in at just under nine minutes. The three YouTube links below cover all of sides 1 and 2 of the LP set. Be sure to check out "East Stratford Too-Doo." It's amazingly beautiful in ways that are unusual and surprising. A sign of pure genius. There are two versions of the title track; the second is not a new "take" but rather a different arrangement.

There are many surprises, which is amazing during a live performance of such intricate arrangements. The pairing of different instruments during solo spots produces a variety of sounds rarely heard in jazz. We hear bamboo flute and piano, electric bass and electric guitar, violin and cello, flute and piano, etc. Just when you think you've heard everything, Westbrook throws in a vocal chorus on the second version of the title track. But the most jaw-dropping segment is Phil Minton's vocal on the first track. He sounds like a plunger trombone playing wah-wah style. He is quickly followed by a real trombone. 

Despite the intricate arrangements, the music is mostly based on simple repeated figures. The arrangements allow for ebbs and flows over long compositions, and interest never flags. 

It might appear that the single CD is preferable to the two LPs, but there is a significant sonic improvement on vinyl. However, given the relative scarcity of vinyl copies, a digital version is more practical and cost effective. hat Art and hatOLOGY reissues have made their way into lossless streaming/download services at relatively low cost. Sample the links below but spend for the lossless version.

Abdullah Ibrahim - Water from an Ancient Well (BlackHawk/Ekapa, 1986)

This post is by Dan

Addullah Ibrahim (p); Dick Griffin (tb); Carlos Ward (as, fl); Ricky Ford (ts); Charles Davis (bs); David Williams (b); Ben Riley (d)

Recorded November 1985

The music of Abdullah Ibrahim always evokes historical images of more peaceful times. Whether portrayed as "home," which is the English translation of the group name Ekaya, or an ancient well, the past is brought into the present through the music. 

The particular line up for this version of Ibrahim's ensemble is the same as on the Ekaya album that I reviewed earlier, with David Williams substituting for Cecil McBee. Each soloist is given plentiful space, and each delivers compelling improvisations that fit seamlessly within Ibrahim's artistic vision.  

The title track on Water from an Ancient Well is reason alone to spend time with this album. It's a stately, lilting melody that presents everyone with opportunities to solo. At almost 12 minutes, it's unusually long for Ibrahim, but the length accommodates extended solos from each player. One of the more difficult assignments a jazz soloist receives is to improvise meaningfully at slow tempos. Ibrahim's band rise to the challenge with some of the most soulful statements imaginable. "Water from an Ancient Well" reminds me of the title track on Grant Green's Idle Moments album, which also gives each soloist time to develop ideas that build off of simple melodic material. 

"The Wedding," which appears on at least a dozen of Ibrahim's albums that I know of, receives a short, celebratory reading that I never tire of hearing. It's power and beauty wrapped together into a few wonderous minutes. Obviously, "The Wedding" has deep meaning for the composer, who must know of the spell it casts on listeners. Smart man.