Charles Brackeen - Bannar (Silkheart, 1987)

This post is by Dan

Charles Brackeen (ts, ss, voc); Dennis González (tr, voc); Malachi Favors (b); Alvin Fielder (d)

Recorded February 13, 1987

This wonderful album is performed in the spirit of records made 20 years earlier by members of the New York City loft scene. As a refugee of that scene, Charles Brackeen had only occasional opportunities to record. Two of those were in Paul Motian's band, a collaboration that yielded a pair of excellent albums for ECM: Dance (1977) and Le Voyage (1979). That's when Brackeen first came to my attention.  

In 1987, trumpeter Dennis González invited Brackeen to record on the Swedish Silkheart label. As González put it: "I found him mowing lawns in Los Angeles. He said that was the only way he could earn a living" (Penguin Jazz Guide, p. 513). Brackeen liked what González had to offer and joined him in Dallas's Omega Audio studio for a week of recording. The output was four full albums: Bannar, two led by González, and one by Ahmed Abdullah. Later in 1987, Brackeen returned to Dallas to record two additional albums - Attainment and Worshippers Come Nigh. Sessions in 1988 and 1989 yielded two more González albums on which Brackeen played.

Bannar offers an eclectic mix of musical emotions. The opening "Three Monks Suite" is a through-composed sequence of seven short pieces that are closely connected (no dead air between them). Brackeen plays a bright soprano sax on these cuts. The suite is followed by the high-energy "Open" on which Brackeen switches to the more expressive tenor sax. "Allah" follows and features Brackeen and González literally singing praises of the almighty, sandwiched around an outstanding tenor solo. 

The second side of the LP ventures into more familiar territory and emphasizes the free soloing of both Brackeen and González on two long cuts. This is the side I usually play for myself. The solos are all outstanding and represent a slightly more "regulated" version of free jazz, post loft scene. More regulated, in this instance, refers to the quality of the production and the careful programming. This helps to bring this type of jazz to more people who may have shied away from less regulated versions back in the day.

Jazz can be a fickle business, as Brackeen's story illustrates. Following his burst of Silkheart recordings, he apparently receded from recording again. I'm grateful that his music made a positive impact on the jazz world during the late 1980s. His recordings and the entire Silkheart catalogue remain available for streaming or download.

Any comprehensive assessment of jazz in the 1980s needs to engage this music. It's that compelling. 

Steve Tibbetts - Big Map Idea (ECM, 1989)

This post is by Dan

Steve Tibbetts (guitars, dobro, kalimba, pianolin, tapes); Marc Anderson (congas, steel dr, perc, berimbau); Marcus Wise (tabla); Michelle Kinney (cello)

Recorded 1987-1988

Steve Tibbetts is a unique artist. Were it not for his "discovery" by ECM's Manfred Eicher in the 1980s, he might never have made a ripple in the vast ocean of jazz music. His self-released debut recording, Steve Tibbetts, was rarely heard outside of his hometown of Minneapolis. The follow up, Yr, was the only release on the Frammis label and attributed to Steve Tibbtz. Somehow, ECM acquired the rights to reissue Yr in 1988. Since then, Tibbetts has recorded eight albums on ECM, including his most recent Life Of (2018). He has also collaborated with Nepalese vocalist Chöying Drolma on other labels. I have not heard those records.

Most of his ECM output follows a similar approach. Paired with Marc Anderson and occasional other players, Tibbetts concocts a collage of sounds from a wide array of instruments and tape effects. There is no simple way to distinguish the original sources of the sounds, which are mixed and processed over time before a release is finalized. Guitars and various percussion dominate, although there are no solos per se and no obvious chord changes or melodies. I'm tempted to label his work as "ambient" except that it's much more interesting than the typical wash of synthesized music that passes as ambient. 

Big Map Idea lists four players and 12 instruments, although the instruments named "tapes," "guitars" and "percussion" are expandable categories. All compositions are by the band except for Jimmy Page's "Black Mountain Side," which first appeared on Led Zeppelin's debut album. Including it does not make Big Map Idea a rock album by any stretch of the imagination. If anything, Led Zeppelin's version sounds more like classic Steve Tibbetts, complete with acoustic guitar and tablas.  

My best advice when approaching Tibbetts' music is to sit back and enjoy the sonic bath. It might very well transport you to places you've never been within the world of jazz. 

Tibbetts' other releases on ECM are on the same plane as Big Map Idea. They are listed below. Given the lengthy production process for Tibbetts, the release dates are unlikely to match the recording dates. It doesn't matter.

Yr, 1980

Northern Song, 1981

Safe Journey, 1983

Exploded View, 1986

The Fall of Us All, 1994

A Man About a Horse, 2002

Natural Causes, 2008

Life Of, 2018

John Surman - Private City (ECM, 1987)

This post is by Dan

John Surman (ss, bs, bcl, rec, synth)

Recorded December 1987

Private City is one of several solo albums that John Surman made over his long tenure with ECM. When reviewing The Amazing Adventures of Simon Simon (ECM, 1981) earlier in this blog, I referred to the unfair criticism of his solo albums as being too inward or withdrawn. Although Private City's title might be interpreted as a signal to that effect, Private City actually refers to a ballet for which Surman wrote two of the compositions on the album. 

Ultimately, listeners can judge for themselves whether an artist's music reaches them or not. I have enjoyed all of Surman's solo projects, as well as practically all of his ECM releases (at least those that I have heard - there are over two dozen of them at last count!). Personally, the solo albums pose no barriers to my enjoyment. 

Private City has Surman playing a recorder on several tracks, and it's featured on the Scottish-influenced "Hubbard Hill." On most tracks, multiple instruments are overdubbed to create tonal contrast and harmony. "Levitation" overdubs the same instrument, creating a bass clarinet duet. I prefer the rich harmonies of multiple winds together, as on "Roundelay." The synthesizer is typically used to provide a background for the horns, as on "Not Love Perhaps," where the synth builds ominously behind the soprano sax lead. It almost sounds like some displaced medieval liturgical choir. On "The Wanderer," Surman make the synth sound like a pipe organ, over which he plays both soprano sax and bass clarinet.

My favorite track on Private City is the first, "Portrait of a Romantic." I love the synth lines and the minor chord changes, which do not follow a predictable pattern. Surman begins on recorder, then shifts to baritone, and ends on bass clarinet. 

Nothing on this album is boring or repetitive. Every track is different and novel in particular ways. Unless you're absolutely opposed to the use of synthesizers, there's plenty of jazz to enjoy. Meanwhile, you might rethink your biases and open your ears to hear how skillfully synths can mesh with jazz. 

Dave Liebman - Homage to John Coltrane (Owl, 1987)

This post is by Scott

Dave Liebman (ss, arr); Caris Visentin (ob); Jim McNeely (p); Jim Beard (synth); Eddie Gomez (b); Mark Egan (el b); Adam Nussbaum (d, perc); Bob Moses (d, perc)

Recorded on January 27-28, 1987

Lee Konitz Quartet - Ideal Scene (Soul Note, 1986)

This post is by Scott and Dan

Lee Konitz (as); Harold Danko (p); Rufus Reid (b); Al Harewood (d)

Recorded on July 22 and 23, 1986

Our earlier posts for Lee Konitz focus on his duet performances. Ideal Scene is a quartet session featuring Harold Danko, one of his duet partners. The title refers to Konitz's description of the recording sessions which followed a tour of eight concerts with the band. Most jazz musicians would agree that recording sessions that follow tours are easier and more satisfying. Soul Note's producers often took advantage of the opportunity to record American musicians on tour in Europe.

Konitz is in especially fine form for this album. The tunes include originals by Konitz and Danko and three jazz standards. The closing "Stella by Starlight" is perhaps the best performance, stretching out to 9:24 minutes. It combines Konitz's love of ballads with his slightly dry tone, making Stella a more attractive yet mysterious character. 

Danko's "Tidal Breeze" is also a favorite track. He played this tune with Chet Baker on the trumpet player's Once Upon a Summertime album (Artists House, 1977). Danko has recorded over 30 albums as a leader, many on SteepleChase with his quartet with Rich Perry. He's simply one of the best pianists still on the scene.

Konitz acknowledges the Soul Note team of Giovanni Bonandrini and Giancarlo Barigozzi in his liner notes. We should all thank Soul Note for the opportunities provided to artists like Lee Konitz and many others. Forty years later, their contributions to jazz still stand as a high point of the 1980s. 

Clifford Jordan - Royal Ballads (Criss Cross, 1987)

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Clifford Jordan (ts); Kevin O'Connell (p); Ed Howard (b); Vernel Fournier (d)

Recorded December 23, 1986

Clifford Jordan's Royal Ballads continues a "purple patch" of outstanding 1980s recordings. Thanks to Criss Cross, Jordan and other American artists found a receptive label for their mid-career recordings. If you ever wanted to hear these classic songs played straight, without pretense or artifice, this is the album for you. 

Ed Howard and Kevin O'Connell may not be familiar names. Howard was a regular member of Jordan's groups at a relatively young age. He was 26 at the time Royal Ballads was recorded. He's credited on about 100 recordings beginning in 1984. Kevin O'Connell has a lower profile as a recording artist, but he has sustained an active career playing live with numerous artists. Both he and Howard make solid contributions to Royal Ballads, and it's a shame that O'Connell does not have more records.

The surprise member of the quartet is New Orleans drummer Vernell Fournier, who joined Ahmad Jamal’s trio in 1957 and remained with the group until 1962, appearing on a series of recordings including the bestselling Live at the Pershing (Chess, 1958). He was 58 at the time of the Royal Ballads session and lived to age 72. 

For a change, the expanded CD version offers two additional royal ballads, as shown on the back cover image. It's the same group on the same day and new songs instead of retakes. Thank you, Mr. Teekens. 

The sound is rich and detailed, as registered in Rudy Van Gelder's studio. I especially like the bass on this all-digital recording. It has a deep, round sound. A first-class production all the way.

Charlie Haden - Quartet West (Verve, 1987)

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Charlie Haden (b); Ernie Watts (ts, as, ss); Alan Broadbent (p); Billy Higgins (d)

Recorded December 22 and 23, 1986

Quartet West is an unabashed attempt to recapture the 1950s Hollywood vibe. It was one of several albums by Charlie Haden and his quartet to have this nostalgic aim. And it worked! People loved these albums not only for their retro sensibility but also for the playing. They're outstanding jazz albums that appeal to the public, just like jazz did in the 1950s.

The follow-up album, In Angel City, continued the quartet format. Subsequent albums by Quartet West focused on Hollywood film music and expanded the line up to include vocalists and string sections. I like the first two albums, which stayed in their jazz lanes better than the pop material and arranging in the later albums. 

My favorite track on Quartet West is "Hermitage," composed by Pat Metheny and first aired on his New Chautauqua album (ECM, 1979). It perfectly sets the mood for a laid-back rediscovery of times past. Ernie Watts' tenor fits the mood perfectly while Haden and Billy Higgins move things along coolly. Other highlights include an Ornette Coleman tune, "The Good Life," and two standards - "Body and Soul" and "My Foolish Heart." The album closes with a 7:39 bass solo, "Taney County," which is dedicated to Haden's parents. 

It's practically impossible to grasp Haden's enormous impact on jazz over his 60-plus years of playing, composing, arranging, and leading a wide variety of jazz projects. Quartet West represents just one small facet of a great artist.

The CD includes two additional tracks. I have not heard these. Obviously, the band enjoyed playing together, as their smiles show!

Sonny Fortune, Billy Harper, Stanley Cowell, Reggie Workman, Billy Hart - Great Friends (Black & Blue/Evidence, 1987)

This post is by Scott and Dan

Sonny Fortune (as); Billy Harper (ts); Stanley Cowell (p); Reggie Workman (b); Billy Hart (d)

Recorded on July 7, 1986

This record is a pure joy. The quintet brings together five of the greatest artists of the 1980s playing their own music. Great Friends is obviously a group project that needs no leader. There are no weak pieces in the program, and the performances are energetic without becoming chaotic. Clearly one of our favorite albums by several of our favorite artists.

Great Friends has an interesting issue history. It was recorded in France and issued on CD in 1987 by the Black and Blue label, an imprint known for prolonging the careers of veteran American jazz artists. We can only imagine the impact this group made in the studio during the recording. 

The Evidence label then released the CD in the U.S. in 2003, which is how we discovered it. An alternative blue cover was used, as shown. Evidence has rescued many sessions from oblivion on labels that limit their distribution or production runs.  

Then, surprisingly it received the Pure Pleasure audiophile treatment and was released in 2022 as a 2-LP set, its first appearance on vinyl. Owning the premium vinyl release should be a priority for some fans of these artists. The vinyl cover is close to the original French CD. The players shown left-to-right are Billy Harper, Stanley Cowell, Billy Hart, Sonny Fortune, and Reggie Workman. 

Any fan of the individuals in the group can expect great things from these great friends. It's not as far "out" as some might fear, but it's also not old timers reminiscing on the past. The tunes include two by each of the band members except for Hart. Cowell's "Equipoise" is perhaps his most recognizable tune. Both Fortune and Harper offer compositions that they have recorded before. The surprise composer could be bassist Workman, whose "Synapse" was included on his Synthesis album reviewed in this blog. 

This is vital, inspirational music performed by masters. It's a shame that Great Friends took so long to become available in the country where all the artists are from. 

Andrew Hill Trio & Quartet - Shades (Soul Note, 1987)

This post is by Scott and Dan

Andrew Hill (p); Clifford Jordan (ts); Rufus Reid (b); Ben Riley (d)

Recorded on July 3 and 4, 1986

Contrary to the sleeve notes for Shades, Andrew Hill was not born in Haiti. That story was perpetrated by Hill himself who thought it would help his career. He was actually born in Chicago in 1931 and died in 2007. He is best known for his eight Blue Note albums released between 1964 and 1970. His many unreleased sessions for Blue Note during that period have now all been released in various formats and editions. 

Beyond the Blue Notes, Hill recorded on a variety of labels during the 1970s, including East Wind, SteepleChase, Arista, and Artists House. In the 1980s, almost all of his new recordings appeared on Soul Note, including Strange Serenade, Shades, and two solo albums: Faces of Hope and Verona Rag. Of these, Shades is the masterpiece. It uses Rufus Reid and Ben Riley as rhythm partners and Clifford Jordan as tenorist on four of the six tracks. 

"Monk's Glimpse" leads the album off with a jaunty Monk-like tune. Following several choruses by the leader, Jordan enters with a great solo that doesn't shy away from the complexity of the composition. 

The trio introduces the second track, "Tripping," with an air of mystery as Riley plays ringing cymbals over his toms. Hill then proceeds to solo for almost six minutes, continuously probing the song's odd structure for clever and interesting things to play. Along with "Domani," "Tripping" shows Hill at his very best as a soloist. He really puts a lot into these pieces. 

The second trio cut, "Ball Square," is a choppy theme of contrasts. Riley is key to the success of the tune. He is also featured on "Chilly Mac," a quartet piece that finds him trading fours with Jordan right after the tenorist states the theme. It's unusual but it works. Hill reprised "Ball Square" on his Dusk album (Palmetto, 2000).

"Laverne" is a tribute to Hill's wife. It's the longest piece on the album and gives both Jordan and Hill all the solo space. Each man approaches the beautiful theme with dignity and reverence. Hill has revisited this composition on many of his other recordings. 

We think it is remarkable that four of the six Hill compositions on Shades have not appeared elsewhere in Hill's discography. It speaks to his ingenuity as a composer at mid-career to come up with original material that is never routine or conventional. He is also a remarkable soloist, often compared to Monk, but in fact steering towards more challenging new material as his career progressed. 

There are plenty of Andrew Hill albums past the 1960s. We think the 1980s were great ones for Hill and Shades and Eternal Spirit (reviewed elsewhere in this blog) are two of his all-time best. 

Oliver Lake - Gallery (Gramavision, 1986)

This post is by Scott

Oliver Lake (as, ss, ts, fl); Rasul Siddik (tr, 1 trk only); Geri Allen (p); Fred Hopkins (b); Pheeroan akLaff (d)

Recorded in July 1986

David Murray Trio - The Hill (Black Saint, 1986)

This post is by Dan

David Murray (ts, bcl); Richard Davis (b); Joe Chambers (d, vib)

Recorded November 29, 1986

My best single-word characterization of David Murray is "irrepressible." He plays with an exuberance rarely heard, even in the post-Coltrane era of tenor players. He is also extremely prolific, having led almost 100 albums and appearing in dozens of other groups since his debut recording in 1977. His octet recordings in particular demonstrate enormous power and energy. See our post for New Life (Black Saint, 1985).

From all his output, two series of albums stand out for me. In January 1988 Murray collaborated with pianist Dave Burrell in a quartet format to create five incredible albums that were released on the DIW label. I will be reviewing one of these later in the blog. The second group are the dozen or so recordings for Black Saint in the 1980s. 

The Hill comes near the end of the Black Saint run. By this time, Murray had realized that his early style would not gain him the acceptance he was seeking from the New York jazz community. So he adjusted. As he told Francis Davis: 

"If you listen to my records in chronological order, you'll notice me gradually laying off of the overblown notes. I still use energy techniques as a kind of capper to my solos. I try to use the top of my register to embellish what I've already done on the bottom. I try to put all my 'energy' into achieving pure, crystal-clear notes." (Davis, In the Moment, p. 46). 

Near the end of the decade, his records reflect a more sensitive, clearly articulated approach, which is displayed on The Hill and the aforementioned DIW recordings. 

The two side men on The Hill respond warmly to the new David Murray. Both Joe Chambers and Richard Davis are lyrical players on their respective instruments. Chambers turns "Chelsea Bridge" into a delightful bit of chamber (no pun intended) jazz with his vibes, Murray's bass clarinet, and Davis's bass. It's one of two compositions from the Ellington/Strayhorn book. 

Despite the strategic change in his music, Murray would still never be mistaken for Stan Getz, Clifford Jordan, or any of the other great tenor players of the 1980s. He's still David Murray, still possessed of extraordinary technique, and still churning out albums.