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

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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)

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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)

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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.

Billy Harper - Destiny Is Yours (SteepleChase, 1990)

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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)

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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