Frank Morgan - Reflections (Contemporary, 1988)

This post is by Dan

Frank Morgan (as); Joe Henderson (ts); Bobby Hutcherson (vib); Mulgrew Miller (p); Ron Carter (b); Al Foster (d)

Recorded January 11 and 12, 1988

Much has been written about Frank Morgan's reentry into jazz recording after 30 years of addiction and periods of incarceration. His comeback began in 1985 with a full recording slate, and Morgan was celebrated for his return to music as a free man.

Reflections assembles a truly all-star band of players who appear to stimulate Morgan into renewed excellence. I enjoy this album much more than his other comeback albums, which seem a bit listless to me. No so on Reflections, where the mutual inspiration between Morgan and the younger players lifts everyone to some of their strongest statements of the decade

Key tracks on the album include Bobby Hutcherson's "Starting Over," which is tackled vigorously. Morgan glides in between a driving solo by Hutcherson and Joe Henderson's great solo. Morgan is understandably a little overmatched but holds his own. "Black Narcissus" is my favorite tune on the album. It's a modal waltz stated by the full ensemble that leads to Morgan's best solo on the date. The pace of this tune - somewhere between a ballad and a burner - seems to offer everyone more options for soloing. The closing "O.K.," composed by Ron Carter, is an odd piece that does not appear to offer much to solo on - no easy blues progression or strong melody. Henderson knows just what to do with it, however, and brings the vibes and bass together in a remarkable solo spot. Too bad the track has to fade out at the end. 

The program includes two familiar tunes by Rollins and Monk. "Sonnymoon for Two" finds Morgan at his most comfortable and also grants solo space to Carter and Al Foster. "Reflections" employs an interesting arrangement in which Morgan plays the first verse, followed by Henderson and Hutcherson playing mini solos in subsequent verses. This approach is repeated after Morgan's longer soulful solo. A final ensemble section finds Henderson and Hutcherson playing countermelodies over Morgan's statement of the theme. Pretty cool stuff!

The recording and mastering are excellent. Contemporary usually gets the engineering details right. A+ for the cover art. The CD/download includes a seventh track, "Caravan," which The Penguin Jazz Guide (p. 515) reports "almost steals the show."  

Highly recommended!

David Murray - Lovers (DIW, 1988)

This post is by Dan

David Murray (ts); Dave Burrell (p); Fred Hopkins (b); Ralph Peterson, Jr. (d)

Recorded January 1988

I promised in my earlier post for David Murray's The Hill to feature one of his amazing quartet recordings with Dave Burrell. Lovers, released on the Japanese DIW label, is representative of that body of work, and I could have picked any or all of them. The other albums are Tenors, Deep River, Ballads, and Spirituals. All were recorded in New York City and released on DIW in both LP and CD formats.

The music on Lovers is a delight from start to finish. There are no dull or annoying passages to be heard - anywhere! If I had to choose a favorite track (which I don't), I'd pick Ellington's "In a Sentimental Mood." Murray plays the melody conventionally (why would anyone not play this exquisite piece the way it was written?). Burrell then plays the bridge and turns it into his solo statement. Murray then solos, exhibiting tremendous control over his extended techniques and dynamics to craft a masterpiece of improvisation. Murray also excels on the title tune, progressing in his solo from gentle to joyful to ecstatic, all the while pulling the band along with him. He also plays extended codas to several pieces.

Of the band members, Burrell is probably the least known, despite a recording career spanning 53 years (1969-present) and including over 150 recording credits, according to Discogs. As a major voice in the avant garde music of the late 1960s, Burrell recorded with the likes of Archie Shepp, Marion Brown, Noah Howard, Sunny Murray, and Grachan Moncur III. Except for a few records released by the Impulse! label, most of his work appeared on European labels (e.g., Fontana, BYG Actuel, and America Records). 

On Lovers, Burrell contributes the album's most memorable solo on "Ming," a tune Murray wrote for his wife. This is the most unique version I've heard of this song, which Murray included on a number of his other albums. Burrell makes this one of the best versions of "Ming."

A special mention goes to bassist Fred Hopkins, who excels on arco on Burrell's "Teardrops for Jimmy," a tune dedicated to Jimmy Garrison. Drummer Ralph Peterson apparently sits this one out. Hopkins uses arco again to turn Peterson's modal ballad "Water Colors" into a minor miracle. We don't find him playing a "walking" bass here; it's definitely more of a "talking bass." I also like Peterson's toms on this one. 

The reputable sound engineer Jim Anderson did the recording and mixing. The vinyl pressings are excellent - the sound is full and spatial. I imagine the CDs are also high quality.

Overall, Lovers and the other DIW albums represent a creative pinnacle in the career of David Murray. All of these records are highly recommended. 

Steve Nelson - Communications (Criss Cross, 1990)

This post is by Dan

Steve Nelson (vib); Mulgrew Miller (p); Ray Drummond (b); Tony Reedus (d)

Recorded December 30, 1987

While researching Steve Nelson's discography, I was surprised to learn that he has led only about a dozen albums in his entire career. Several of these are on the Japanese Venus and the Italian Red labels. But he does not lack exposure in the jazz world. Discogs credits him with 164 appearances on albums dating back to 1977. 

Even casual jazz fans have probably heard Nelson's work with the Dave Holland Quintet. He's an integral part of the chemistry of that unit, replacing the customary piano with his vibes. At least nine albums by the DHQ benefit from Nelson's contributions. 

Communications was Nelson's first session as a leader. He's got a dynamite rhythm section to work with. Mulgrew Miller was a frequent collaborator with Nelson, who dedicated his Brothers Under the Sun album (HighNote, 2017) to the pianist. Miller is featured throughout Communications, contributing provocative solos that complement Nelson's five original compositions and four standards. 

Nelson's original compositions give the album a distinct flavor. "Anten Hymn" is especially interesting in its construction and makes a solid impact. "Dignity" is aptly titled, and I can't think of another jazz tune that expresses honor and respect so clearly. Almost every human quality is open to jazz expression, but dignity is rarely addressed. The two original blues numbers on Communications convey an enjoyably relaxed feel. With compositions like these, Nelson distinguished himself as a major composer and soloist in the vibraphone fraternity.

Things heat up on the standard "The Song is You," showcasing Nelson's speed on the vibes and Tony Reedus' drum solo. The vibist also offers an adventurous solo on "I Didn't Know What Time It Was," which ends with a free-form coda. 

Note: There is a reference on the CD booklet to additional recording on October 11, 1989, but the nine tunes on the CD were all recorded on December 20, 1987. I haven't been able to find an explanation. It does not appear to be one of those attempts to expand an LP version because there is no LP version. 

Giorgio Gaslini - Multipli (Soul Note, 1988)

This post is by Dan

Giorgio Gaslini (p); Roberto Ottaviano (as, ss, bcl); Claudio Fasoli (ts, ss); Bruno Tommaso (b); Giampiero Prina (d)

Recorded October 6 and 7, 1987

Among the benefits of Soul Note's prolific recording schedule in the 1980s was my discovery of Italian jazz artists. Giorgio Gaslini was one of the most significant Italian musicians working across genres beginning in the 1960s and continuing until his death in 2014 at age 84. Of his 82 albums, 24 appear on Soul Note between 1981 and 2008. These range from solo outings (e.g., Gaslini Plays Monk, 1981) to orchestral works (e.g., Urban Griot, 2008).

Multipli is a favorite of mine for several reasons. First, the musicianship is top level. Each member of the quintet is a virtuoso, and Gaslini is as great a pianist as he is composer. Second, most of this music does not sound like American jazz, even the lone cover of a Jelly Roll Morton tune. It doesn't sound like Nordic jazz either. However, there are some cleverly delivered sly tributes to American jazz as noted below. Finally, this album is simply fun to listen to.

Side one of the LP (Tracks 1-4) consists of three pieces, including Jelly Roll's "Chicago Breakdown," that are structured around vamps and little thematic figures that come and go. It's hard to consider these to be "songs" because they are not strong melodically and don't follow familiar chord changes. For me, that separates Gaslini's compositions from other jazz traditions. It's still jazz, of course, but done differently.

Side 2 (Tracks 5-8) opens with a pair of tunes that are march-like. "Piano Sequenza" is a splintered march whereas "Corteo" is more measured and does rely on melody and chord sequences. It's a very nice mysterious procession. "Ornette or Not" brilliantly mimics Ornette Coleman's music and gives Roberto Ottaviano great blowing space on alto. He's my favorite Italian reed player and the subject of a future post. The album closes with a hilarious tune called "La Risata," which means "the laughter" in Italian. "La Risata" begins with a walking bass line, something we've not heard on the previous seven tracks. Suddenly, alto and tenor burst into something that might belong in the Lennie Tristano song book! The two horns sound exactly like Lee Konitz and Warne Marsh doing their Tristano thing while generating horn-like laughter. If the point was to get the listener to laugh, I got it!

Anyone who thinks that European jazz borrows too heavily from classical music should listen to this album. Gaslini spans classical/orchestral genres but was also Italy's most prolific and popular jazz artist in the 1980s. Multipli puts several styles on display and is very entertaining as well as challenging (in a good way). This might be a good choice for anyone looking for fresh ways to appreciate jazz music.

Phalanx - In Touch (DIW, 1988)

This post is by Scott and Dan

James "Blood" Ulmer (g, fl); George Adams (ts, ss, fl); Sirone (b); Rashied Ali (d)

Recorded on February 27 & 29, 1988

Phalanx is a collective of four of the most significant voices to emerge from the 1960s, dedicated to carrying on that decade's commitment to free jazz. James "Blood" Ulmer's unique approach to guitar is paired with George Adams' selection of reeds for a strong front line, backed by two of the most powerful rhythm partners of any decade. The set consists of a fascinating group of original compositions by group members and an unforgettable performance. 

Adams was born in Georgia in 1941 and lived only to age 52. He was a partner with Don Pullen in a great 1980s quartet - see Scott's post of Earth Beams. He was the subject of Pullen's marvelous composition "Ah George, We Hardly Knew Ya," which appeared on the pianist's Ode to Life album (Blue Note, 1993). 

By switching horns, Adams adds valuable diversity to In Touch. The first two tunes ("Keeping Still" and "Line In Line Out") are taken on flute, and he explores the soprano at length on "Spanish Endeavors." He ventures outward with his tenor on "Look and See," a great example of the strong connection between Adams and Ullmer. Overall, Adams demonstrates his considerable strengths as a musician committed to expressing a variety of emotions in different ways.

Ulmer emerged from the soul jazz circuit of the 1960s but was transformed by his stint with Ornette Coleman. Imagine harmolodic guitar and you might understand Ullmer's unique approach to playing the electric guitar. He co-founded the Music Revelation Ensemble with David Murray in 1980 and also performed with an array of avant-garde musicians including Pharoah Sanders, Arthur Blythe, and Sam Rivers. 

Ullmer's tone is deliberately unlike the litany of jazz guitarists following in the footsteps of Grant Green and Joe Pass. His tuning and lack of sustain result in a jagged, chattery style of playing that is nonetheless lyrical. One can hear his influence on modern players like Mary Halvorson, although he "out-souls" most guitarists of any generation. His interactions with Adams on In Touch are exciting, unexpected, and intense.

Rashied Ali, born Robert Patterson, is no stranger to intensity, as he played with John Coltrane during the tenorist's latter years. Sirone, born Norris Jones, is of like mind. He's played behind Cecil Taylor and Sabir Mateen. We have reviewed some of Sirone's gentler work on Walt Dickerson's Life Rays album. He's a tower of strength on In Touch.

All of the musicians in Phalanx were born between 1935 and 1940 (Ali was the eldest). Only Ullmer is still alive. As they came of age musically in the 1960s, they heard different possibilities and collectively forged new directions. They maintained their quest through the 1970s and arrived in the 1980s with a refreshingly new take on jazz. With In Touch, they offer a mature expression of their vision in what we consider to be one of the best albums of the period.

Ray Mantilla Space Station featuring Bobby Watson - Dark Powers (Red, 1989)

This post is by Scott

Ray Mantilla (perc); Bobby Watson (as); Dick Oatts (ss, ts, fl); Edy Martinez (p); Rubén Rodriguez (el b); Steve Berrios (d); Vivien Ara Martinez (vo, 1 trk only)

Recorded on February 26, 1988

Aldo Romano - Ritual (Owl, 1988)

This post is by Scott and Dan

Aldo Romano (d); Paolo Fresu (tr, flhn, Yamaha SPX 90); Franco D'Andrea (p); Furio Di Castri (b)

Recorded on February 15 - 16, 1988

This Italian quartet clearly demonstrates the high standards of European jazz during the 1980s. Each member is a bona fide virtuoso who knows the others well enough to read their thoughts and anticipate their moves. Aldo Romano, while the nominal leader, cedes the solo spotlight to Paolo Fresu and Franco D'Andrea. Romano is featured on the first six minutes of "Ritual," using his toms to herald D'Andrea's sparkling piano solo. Except for "9th" and the driving opener, "Magic of Tomo," the overall mood is relaxed. 

Fresu's heroes are fellow Italian Enrico Rava and Americans Miles Davis and Chet Baker. His muted and open horn throughout the album recalls all three trumpet stars while crafting unique lines of his own. The obvious tribute, "Absence (Chet Baker)" is not sentimental but rather reminiscent of Baker's open-horn ballad style. Furio Di Castri is featured on bass on this song.  

On "Magic of Tomo" and "Fragments," Fresu uses "effects" on the Yamaha SPX to create what sounds like an overdubbed trumpet. This does not spoil the otherwise natural acoustic of the quartet, but it also seems unnecessary.          

While Fresu is channeling Davis and Baker, D'Andrea consistently creates the most noteworthy solos on the album. As our post for the pianist's Chromatic Phrygian notes, D'Andrea is one of the most prolific European jazz pianists across several decades, not just the 1980s. As good as he is, he does not try to steal the show on Ritual but rather meshes perfectly with the group.

We are unsure which artists composed the eight tunes on Ritual, but none of the titles appear to be from outside the group. Some sound a bit like standards, but they are not. 

The quartet reassembled for Non Dimenticar (Polygram, 1993), a collection of traditional Italian music that is also highly recommended.