Billy Harper - Destiny Is Yours (SteepleChase, 1990)

This post is by Dan

Billy Harper (ts); Eddie Henderson (tr); Francesca Tanksley (p); Clarence Seay (b); Newman Baker (d)

Recorded December, 1989

It's hard to believe that Billy Harper will turn 80 years old in January. 2023 will also mark his 50th year as a recording artist. Those landmarks should be celebrated with tribute concerts and reissue programs, but more than likely they will pass unnoticed by the jazz business. Jazz fans in the know, however, should reflect on his many accomplishments.

Throughout the 1970s and 1980s, Harper pursued a form of jazz that can easily be called spiritual, much as John Coltrane's music pursued a spiritual quest. Harper's quintet format is conventional but the compositions and playing are not. Both Coltrane and Harper reach for higher meaning in their art. 

In 1975, Harper's album Black Saint launched the Italian record label of the same name. He also recorded for Strata East, MPS, Black and Blue, Marge, and Denon. SteepleChase gave Harper greater exposure with the opportunity to record multiple albums. Destiny Is Yours is an excellent introduction to his strongest and most durable quintet. SteepleChase's three volumes of live performances from 1991 further document the band (Live on Tour in the Far East Vols 1,2,3).

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A key player in the quintet is pianist Francesca Tanksley, who was born in Italy, raised in Germany, studied in Boston, worked in New York City where she joined Harper's quintet, and now teaches music at Bard College in New York State. Tanksley plays with seasoned authority on every track, soloing extensively and comping behind the fiery front line. To my knowledge, she has recorded only one album as a leader (Journey, DreamCaller, 2002).

The rest of the quintet is equally well-suited to the music. Eddie Henderson is the best trumpet player Harper has worked with, in my opinion. The rhythm section is cohesive and works together to create some of the most compelling music I've ever heard. 

I recommend the CD version of Destiny Is Yours over the LP because of the two additional tracks: "Dance in the Question" (composed by Tanksley) and "My Funny Valentine." Adding these cuts to the CD makes it more representative of the live performances, which normally include a ballad feature for Harper.

Harper's quintet also delivers a strong visual impact. The leader typically dresses imposingly in black leather and occasionally makes announcements, and even sings, in his deep voice. The band can be seen on the DVD Billy Harper in Concert: Live from Poland (Arkadia, 2004). Polish trumpeter Piotr Wojtasik is featured along with a full choir in a stunning video performance that makes the music seem larger than life, which it is.

Three albums recorded in the 1990s continue the excellent sequence that begins with Destiny Is Yours:

Somalia (Evidence 1995)

If Our Hearts Could Only See (DIW, 1997)

Soul of an Angel (Metropolitan, 1999)

These are all highly recommended.

Franco D'Andrea Trio - Chromatic Phrygian (YVP, 1989)

This post is by Dan

Franco D'Andrea (p); Stephan Schertler (b); Bill Elgart (d)

Recorded October 12 and 13, 1989

One of the pleasures of collecting jazz recordings is the discovery of something fresh and new. I had read the Penguin Guide's review of Chromatic Phrygian many years before I ever heard it. I had an mp3 download for a while but eventually acquired the CD, which not surprisingly opened a window to the important details and dynamics missing from the mp3. I was familiar with Franco D'Andrea's Airegin album (Red, 1991), but that did not prepare me for its amazing precursor, Chromatic Phrygian.

D'Andrea's side men were also new discoveries, and they account for much of the quality of the trio. Bill Elgart's drumming is at times reminiscent of Tony Oxley but avoids taking center stage. Stephan Schertler keeps the date on course while adding important detail and sonic variety. None of the trio member's names leap to mind in discussions about favorite jazz artists or recordings. None of them are likely to receive a Grammy nomination or enter Down Beat's Hall of Fame. Despite relative obscurity to the American jazz audience, Chromatic Phrygian stands tall in the crowded field of piano trios in the long history of jazz. 

YVP is a German label, D'Andrea is Italian, Elgart is American, and Schertler is Swiss. Including Chromatic Phrygian as one of my favorites reinforces one of the themes of the blog - the internationalization of jazz in the 1980s. But that is not the main reason for including it. An album that demonstrates excellence in so many ways deserves inclusion simply because it's excellent. 

                Elgart - D'Andrea - Schertler

Nick Brignola - On a Different Level (Reservior, 1989)

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Nick Brignola (bs); Kenny Barron (p); Dave Holland (b); Billy Hart (d)

Recorded September 25, 1989

Nick Brignola was the type of musician that might be overlooked by casual jazz fans but on the playlists and in the collections of true jazz fans. His locational preference for upstate New York may have worked against his reputation, but his string of outstanding CDs on the Reservoir label from 1988 to 2003 ensures that his legacy will not be forgotten.

On a Different Level is an apt title because Brignola is playing at his best in this session. Joined by Kenny Barron, Dave Holland, and Jack DeJohnette, he turns in a transcendent performance on a diverse program featuring charts from Duke Ellington, Ornette Coleman, Charles Mingus, Tadd Dameron, and Benny Carter as well as two standards. Different Level finds Brignola on baritone exclusively and focused on the up-tempo numbers, including a rousing "Softly, as in a Morning Sunrise" to close the program.

One track stands out as different from the others: Holland's brief "Backwoods Song." A longer version of it is the opening track of the first Gateway album (ECM, 1975), played by Holland, DeJohnette and John Abercrombie. It's a surprise to find it here and to hear how well the group embraces the song. Brignola chose "Backwoods Song" as the opening track of his later Tour de Force CD (Reservoir, 2001).

I suggest that an appropriate alternative title for On a Different Level would be The State of the Baritone 1989. (But then, I'm just a blogger, not a record producer.) It's as worthy a statement as Joe Henderson's celebrated State of the Tenor recordings, reviewed earlier. Brignola's statement is delivered without pretense or hype. It's straight-ahead modern bop that speaks for itself.

Cassandra Wilson - Jumpworld (JMT/Winter & Winter, 1990)

This post is by Scott

Cassandra Wilson (vo); Gary Thomas (ts); Steve Coleman (as); Greg Osby (as); Graham Haynes (tr); Robin Eubanks (tb); David Gilmore (g); Rod Williams (p, kybd); Kevin Bruce Harris (b); Lonnie Plaxico (b); Mark Johnson (d)

Recorded on July 08, 1989

Donald Brown - Sources of Inspiration (Muse, 1990)

This post is by Scott

Donald Brown (p); Eddie Henderson (tr, flhn); Gary Bartz (ss, as); Buster Williams (b); Carl Allen (d)

Recorded on August 11, 1989

Stanley Cowell Trio - Sienna (SteepleChase, 1989)

This post is by Scott and Dan

Stanley Cowell (p); Ron McClure (b); Keith Copeland (d)

Recorded on July 8, 1989

Stanley Cowell will always be remembered as a "thinking" musician, which by no means should detract from his recorded legacy. His academic teaching fueled his own composing and performing, which culminated in Sienna, his "finest moment on record" according to The Penguin Jazz Guide (2010, p. 532). We tend to agree while not wishing to minimize his career accomplishments and contributions to jazz over 50 years. 

Sienna is one of hundreds of piano trio albums recorded during the 1980s, but it stands apart from most because of the depth of the compositions and the virtuosity that Cowell brings to the program of six originals and three jazz staples. "I Think It's Time to Say Goodbye Again," the second track on the album, is a gently developed and uncommonly expressive ballad that portrays deep affection and sadness, as the title suggests it should. It's definitely the product of a "thinker," but not in the least "cerebral." 

The third track is Monk's oft-covered "Evidence," a tune that most players shy away from interpreting differently than Monk's version. Cowell's version is obviously Monk-like but not slavish to the canon. It bounces and soars in an uplifting way. After Ron McClure's solo spot, Cowell closes the tune with a remarkable chorus that finds his left hand stabbing out the bare melody while his right hand races up and down the keyboard. Simply amazing!

"Sylvia's Place" is another great original, full of rhythmic and melodic complexities that don't sound "studied," even though they are studious. "Dis Place" is Cowell's unique approach to the blues. Like "Evidence," it shows how Cowell delights in finding fresh avenues to explore on conventional material. The album closes with Bud Powell's "Celia," a tribute to an important influence on Cowell's style and a great demonstration of how lyrical bebop could be. 

The CD reissue includes two long tracks that do not appear on the LP. The LP program is more concise and focused than the CD, but either one is highly recommended.

John Scofield - Time on My Hands (Blue Note, 1990)

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John Scofield (g); Joe Lovano (ts); Charlie Haden (b); Jack DeJohnette (d)

Recorded September 11-13. 1989

I recall the Downbeat review that hailed John Scofield's Time on My Hands as his "breakthrough album." Scofield had already established a formidable string of albums during the 1980s, including the critically acclaimed Still Warm, Electric Outlet, and Shinola. So what was he breaking through?

The answer, somewhat predictably, is that Scofield had broken "out" of his funky fusion guitar-hero identity and "into" mainstream jazz. By teaming him with Joe Lovano, Charlie Haden and Jack DeJohnette, Blue Note had surrounded Scofield with "proper" jazz players. Such was the self-righteousness of jazz traditionalists as late as 1989.

The irony is that Scofield bent traditional jazz more toward his musical inclinations than adopting a more conservative, mainstream persona. Jazz was to benefit from his incredible technique, his funkiness, and his longevity. Now in his early 70s, he's still releasing albums on labels like Impulse, Verve, Motéma, and ECM. 

The program on Time on My Hands ranges from funky ("Wabash III") to laid back ("Since You Asked"), to free ("So Sue Me"), to beguiling ("Flower Power" - my favorite). The band appear eager to wrap their heads around Scofield's compositions and arrangements. They sound like they "got it" immediately, especially Lovano who, to my ears, sounds like he's having more fun than on any of his own recordings. He and Scofield play a unison melody on the pretty "Let's Say We Did," a song that should have lyrics written for it. Haden also seems to enjoy a vacation from his heavier assignments. 

I was pleasantly surprised when Blue Note included Time on My Hands in their 75th anniversary vinyl reissue program, remastered by Bob Ludwig, no less. There are eight tracks on the LP compared to 11 on the CD, but I like the sound quality of the vinyl better. 

If you like to watch guitarists play, I recommend Scofield's Blu-Ray DVD New Morning: The Paris Concert (Inakustic, 2010). Sound and vision, as well as the music, are outstanding!

Scofield and Lovano recently reunited for Past Present (Impulse, 2015), playing another set of Scofield's compositions. The quartet is completed with Larry Grenadier on bass and Bill Stewart on drums. 

Dave Holland - Extensions (ECM, 1990)

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Dave Holland (b); Steve Coleman (as); Kevin Eubanks (g); Marvin "Smitty" Smith (d)

Recorded September, 1989

I remember the mixed reviews that Dave Holland's Extensions received when first released. Reviewer Graham Lock in Wire raved: "Yes, Yes, yes, yes, yes. When a record is as good as this, what else is there to say?" (Wire, Nov. 1989, p. 55). Lock also refers to Holland's "aerated beat that allows the music to jump and jolt with elastic charm." High praise indeed. 

The Penguin Guide editors did not agree. They wrote: "Eubanks is untameable and Smith can be ruthlessly self-indulgent. Poor Old Holland found himself out of things at his own party" (The Penguin Guide to Jazz on CD, 6th ed., 1992, p. 734).

Part of the reason for the mixed reviews was the presence of guitarist Kevin Eubanks, brother of Robin Eubanks (who later became a regular in the Dave Holland Quintet). Since Kevin was typed as a smooth jazz/fusion guitarist, and was the first electric instrument in Holland's groups, ECM followers may have underestimated his contributions. His popularity may also have skewed critical judgment. 

In my opinion, that would be unfair. If anything, Eubanks may have paved the way for electric guitarists to break free from the model laid down by Kenny Burrell, early Grant Green, and Joe Pass. Eubanks' funky solos on Extensions would be uncontroversial in today's jazz, in which players like John Scofield, Bill Frisell, Nels Cline, Julian Lage, and other contemporary stars exploit the full range of their axes.                                                                                      

Eubanks not only plays great guitar on Extensions, but also composed two pieces including the opening "Nemesis," which for me sets the mood for a beautifully balanced record. It fades in over Holland's bouncy vamp as Steve Colemen enters on alto. There's no doubting Coleman's lyricism or his dependable presence in Holland's various groups. He contributes one tune to the program: "Black Hole." Holland's "The Oracle" also appears here in one of its better renditions. 

Returning to the mixed reviews, I admire all of the respective reviewers and have discovered marvelous music based on their critical insights. Conflicting reviews stimulate greater interest in a recording, as I try to settle the dispute with my own ears. My resolution is to consider Extensions a personal favorite, one that brings enjoyment each time I play it.