Steve Kuhn - Oceans in the Sky (Owl, 1990)

This post is by Scott and Dan

Steve Kuhn (p); Miroslav Vitous (b); Aldo Romano (d) 

Recorded on September 20 - 21, 1989

Steve Kuhn has had one of the longest careers in jazz history. Between 1960 and his recent retirement from touring in 2022, he performed and recorded with a countless number of jazz luminaries. He is, of course, a luminary himself with hundreds of recording credits, often as a leader.

Oceans in the Sky finds Kuhn in a trio format with bassist Miroslav Vitous and drummer Aldo Romano. Kuhn was active in both the U.S. and Europe throughout his career, and recording in Paris on a French label with a Czech and an Italian was by this time perfectly normal in jazz.

It would be easy to overlook this album as just another fine trio date with excellent musicians. It's a tasteful performance by all participants and does not flaunt its virtues. But careful listening reveals an uncommonly strong date replete with small gems and palpable chemistry among the three players.

Following a lovely rendition of Ivan Lins' classic "The Island," Kuhn takes "Lotus Blossom" at a blistering pace, which would have probably pleased composer Kenny Dorham (who was also one of Kuhn's earliest employers back in 1960). Next comes an unusual medley pairing Debussy's "La Plus Que Lente" with Ellington's "Passion Flower." (This is not the first adaptation of Debussy's composition to jazz; both Gerry Mulligan and Mike Mainieri have also recorded it). For the rest of the album, the trio engage in brilliant three-way communication, approaching each piece with fresh arrangements and an abundance of acute detail. There is not a dull moment, even on the most familiar material. 

The original compositions by members of the trio stand out. Romano's "Dò," which means "give" in Italian, is a lovely ballad that prompt's one of Kuhn's most expressive solos. Kuhn's

two compositions include the title piece, which builds dramatically around a marvelous progression of chords. His "Ulla" is a somewhat darker ballad with a mysterious introduction by Romano. Kuhn explores the piano's highest register as he extends the song to its conclusion. 

Vitous deserves special mention for his conventional approach on this album, which contrasts with his own more adventurous albums and his work with Weather Report. It would be interesting to play tracks from Oceans in the Sky in a blindfold test to see if he would be recognized. 

Marty Ehrlich, Anthony Cox - Falling Man (Muse, 1991)

This post is by Scott

Marty Ehrlich (ts, as, ss, fl, al fl); Anthony Cox (b)

Recorded on October 03, 1989

Poncho Sanchez with special guest Tito Puente - Chile con Soul (Concord Picante, 1990)

This post is by Scott and Dan

Poncho Sánchez (cga, batá, vo); Tito Puente (tim); Gene Burkert (ts, as, fl); Sal Cracchiolo (tr, flhn); Arturo Velasco (tb, vo); Charlie Otwell (p); Tony Banda (b, vo); Ramon Banda (d, tim); Jose "Papo" Rodriguez (bgo, perc, vo)

Recorded in November 1989

Ildefonso "Pancho" Sánchez's recording career began with his "discovery" by Albert Marx on his Discovery label. Pancho (1979) and Straight Ahead (1980) were both arranged and produced by Clare Fischer for Discovery. Sánchez then signed onto Concord's Picante imprint and reeled off a new album every year for the next 20 years. This astounding pace of recording solidified Concord's place in Latin jazz and established Sánchez as a premier artist of the genre. 

Listening to Chile con Soul reveals all of the attractive features of Sánchez's artistry and that of the genre as a whole. There are "hot" tunes, jazz standards, ballads and blues, funk, and original compositions from pianist Charlie Otwell. There are also plenty of features for the brass section and guest Tito Puente's timbales, for instance on "Ti-Pon-Pa." Throughout this joyful album, Sánchez's conga and batá provide a colorful pulse. He also joins the vocal chorus that is characteristic of Latin popular music. On the final track, he rips into a medley of James Brown's "Cold Sweat" and Lester Christian's classic "Funky Broadway."

With jazz this appealing, it's no wonder that Sánchez returned to the studio frequently. Even if your tastes do not naturally extend to Latin music, this wonderful album should not be missed.

Paul Bley, Gary Peacock - Partners (Owl, 1991)

This post is by Scott and Dan

Paul Bley (p); Gary Peacock (b)

Recorded on December 18, 1989

Partners is a reunion for Paul Bley and Gary Peacock, who recorded Paul Bley and Gary Peacock for ECM in 1970. Their first meeting was the third album ever released by ECM. The reunion 19 years later is a much longer album consisting of 15 mostly short pieces including five duets, six solos by Peacock, and four solos by Bley. The first meeting contained only eight tracks and ran about 35 minutes.

Both Bley and Peacock are masters of spare improvisation, so the setting fits them perfectly. Peacock makes the greatest impression with his beautifully recorded bass notes running precisely through seemingly endless ideas. Bley is his usual unpredictable but always interesting self. The longest piece is the duet, "Who's Who Is It?" a boppish tune that runs for 11:37 minutes. While the duets may be assumed to offer the most interest, the solos are just as interesting or more so. 

Special mention should be made of the sound. The original session was recorded by David Baker live to digital two-track in New York. Editing was done in Paris and released by Owl in 1990 on CD. In 2001, Universal France released a remastered version. The sound of the remastered version is spectacular - woody piano and bass, vibrating strings, decay, you name it. This session even sounds great as an mp3 stream. 

Bley and Peacock collaborated as a duo again on Mindset (Soul Note, 1997).

Ralph Peterson, Jr. - Ralph Peterson Presents the Fo'tet (Blue Note, 1991)

This post is by Dan

Ralph Peterson, Jr. (d); Don Byron (cl, bcl); Bryan Carrott (vib); Melissa Slocum (b); David Murray (ts, bcl); Frank Lacy (tb, flhn)

Recorded December 22 and 23, 1989

The format for Ralph Peterson's fo'tet is one of my favorites. The tonal blend of Bryan Carrot's vibes with Don Byron's clarinets provides an uncluttered, cool presence reminiscent of Eric Dolphy's classic Out to Lunch album (Blue Note, 1964). The addition of David Murray and Frank Lacy on three of the nine tracks draws the comparison with Dolphy's quintet even closer. Like Art Blakey before him, Peterson leads from behind the group with an insistent pulse, even on the quirkiest compositions.

Composing credits are shared within the group, with the exception of the standard "I Can Dream, Can't I?" and Billy Strayhorn's "Johnny Come Lately." 

The Fo'tet were to remain an intact band for several years, releasing eight albums between 1989 and 2016 with varying personnel. Bryan Carrott was the mainstay on vibes until 2016 when he was replaced by Joseph Doubleday. Carrott does not seem to have led any recorded albums, but he appears frequently with leaders like Butch Morris, Roy Campbell, Muhal Richard Abrams, and David "Fathead" Newman. I always admire his contribution to the various ensembles where he plays a supporting role. He is one of many valuable players whose body of work is extensive, yet not distinguished by leadership. Jazz depends a lot on people like Carrott.

The other key player in the Fo'tet is bassist Melissa Slocum. She also has extensive recording and performing credits and keeps the two-part rhythm section cooking. In addition to her jazz gigs, she is a regular in several symphony orchestras and Broadway productions. She has a Doctor of Musical Arts degree and teaches. I love that Ralph Peterson drew upon her talents to launch one of his best groups near the end of the 1980s. 

Horace Tapscott - The Dark Tree, Volumes 1 and 2 (hat ART, 1989)

This post is by Dan

Horace Tapscott (p); John Carter (cl); Cecil McBee (b); Andrew Cyrille (d)

Recorded December 14-17. 1989

Leave it to the Swiss hat ART label to give deserved recognition to Horace Tapscott, an American pianist, band leader, and community activist. Before The Dark Tree was released by hat ART, most of Tapscott's recordings were on the independent Nimbus West label, which was formed to record and release his music and to support artists engaged in the civil rights movement in Los Angeles. 

Knowing now what artists were on the bandstand during the gigs makes it a true "super group." We've praised John Carter's "Roots and Folklore" series, and Cecil McBee and Andrew Cyrille remain strong voices in all sorts of jazz settings. Tapscott died in 1999 at age 64. Fortunately, his recorded legacy lives on through reissues.

Volume 1 of The Dark Tree kicks off with a 20-minute version of the title composition. It's a basic vamp-based tune that gives ample space for soloists, especially Carter on clarinet. "Tales of Drunken Mary" follows in similar fashion and features a great bass solo by McBee. All of the players are locked into the performances in front of the live club audience. Music like this was rarely recorded in the 1980s except for labels like hat Art, which released many concert recordings in Europe and the U.S. 

Volume 1 was released in 1990. Volume 2 was released the following year. The hatOLOGY reissues include both volumes 1 and 2. All selections were taken from a 4-day gig at Catalina's Bar and Grill in Hollywood. The second disc includes all new tunes except for a second take of the title tune. There are two reissues on hatOLOGY in 2000 and 2009. 

Eddie Henderson - Think on Me (SteepleChase, 1990)

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Eddie Henderson (tr); Joe Locke (vib, DX7); Kenny Barron (p); Wayne Dockery (b); Billy Hart (d)

Recorded December, 1989

After the release of his Present Tense album, Joe Locke became a regular member of Eddie Henderson's quintet for more than a decade. Listening to Think on Me reveals how well the pairing of vibes and trumpet sounds. Henderson granted Locke plenty of solo space and included two of the vibist's original compositions, which are the longest pieces on the album.

Along with Locke's vibes and Henderson's gorgeous sound on trumpet, the percussion of Billy Hart grabs attention in all the right ways. On the fast-paced "Bilal," he pushes the soloists hard and they respond vigorously. His trading of fours with Henderson near the end is remarkable. He's also the driver of the title track, composed by pianist George Cables, taking what sounds like a variation on "Maiden Voyage" way beyond the ordinary. 

 

Locke lays out on the two ballads, which are played beautifully by the remaining quartet. Henderson's tone on open horn is rich and full, and Kenny Barron's solo on "Everytime We Say Goodbye" is a model for improvising at a slower tempo.

Locke's two compositions offer the most intriguing solo opportunities for the rest of the players. "Restless Dreams" is a modal affair with alternating free-form and chord-based sections, allowing each soloist a chance to play both ways. It reminds me of some of Jackie McLean's tunes from the mid-1960s, when he explored newly found freedoms. 

Locke's "Seven Beauties" begins with a long introduction with Henderson on mute over a roiling dark bottom. I think this is where Locke plays the Yamaha DX7, unobtrusively but with a positive effect. The majestic theme is played in 3/4 (or 6/8) time and offers plentiful material for the soloists to explore. The outro begins noisily (in a good way) before fading down to end the album.

There's a lot to enjoy on Think on Me. Henderson made a good move to include the rising Locke with a team of veteran performers, especially Hart and Barron. 

Shirley Scott - Oasis (Muse, 1990)

This post is by Scott

Shirley Scott (org); Virgil Jones (tr); Charles Davis (ts); Houston Person (ts, 1 trk only); Arthur Harper (b); Mickey Roker (d)

Recorded on August 28, 1989

Tony Williams - Native Heart (Blue Note, 1990)

This post is by Scott and Dan

Tony Williams (d); Billy Pierce (ts, ss); Wallace Roney (tr); Mulgrew Miller (p); Ira Coleman (b); Robert Hurst (b)

Recorded on September 11 - 13, 1989

The last great Miles Davis quintet, which featured Wayne Shorter and Herbie Hancock, left an indelible mark on the venerable quintet format during the 1980s. It was the format and style that Wynton Marsalis adopted in his efforts to restore the jazz tradition. Wallace Roney, the trumpet player on Native Heart, adopted the same approach on his debut album (Verses, Muse, 1987). 

Tony Williams, of course, was the drummer for Davis before Miles moved on to a more electric, R&B-based style. Native Heart was the fourth of a series of albums that Williams recorded for Blue Note in the 1980s. It followed Foreign Intrigue (1985), Civilization (1987), and Angel Street (1988). Listening to these albums today reminds us of how fundamental Williams was to the sound of the great Davis 1960s quintet. His drums produced a splashy, polyrhythmic sound that occupied much of the foreground on albums like Miles Smiles and E.S.P. On Williams' 80s Blue Notes, that sound comes close to dominating the proceedings but not in a negative way. Indeed, the drums provoke soloists Roney, Mulgrew Miller, and Billy Pierce to make their voices heard. If anyone is disadvantaged, it would be the bass players. 

One reason that we chose Native Heart over the earlier Blue Notes is the composing. It's common to disregard the writing skills of drummers, but Williams has composed many outstanding tunes. One of his best is "Sister Cheryl," which appeared on Marsalis' debut album as well as Foreign Intrigue. On Native Heart, all of the tunes are composed and arranged by Williams, and they all serve the artistic vision of the composer. "Crystal Palace" was also included on Miller's Countdown album (Landmark, 1989) on which Williams played. "Extreme Measures," the funky "Juicy Fruit," and the title track are all very strong compositions by the leader.

Native Heart was issued on LP, CD, and Cassette in 1990. A remastered Japanese release appeared in 2013. The CDs include a bonus track "Liberty," a 5:18 minute drum solo, which is nice but also dispensable.