Marilyn Crispell - For Coltrane (Leo, 1993)

This post is by Dan

Marilyn Crispell (p)

Recorded July 10, 1987

The story of Marilyn Crispell's transformation from a classical pianist to a jazz artist begins with her first encounter with John Coltrane's masterpiece, A Love Supreme. Her recollection was captured by critics Brian Morton and Richard Cook:

"I was living alone. I didn't have much at all. And then someone played me A Love Supreme. And that just seem to change everything. From that moment" (Penguin Jazz Guide, 2010. p. 512).

 For Coltrane is a solo piano tribute to Crispell's inspiration. Although recorded in 1987 before a live London audience, it was not released until 1993 on the Leo label. The recital begins with a straightforward passionate reading of "Dear Lord," one of Coltrane's most moving compositions. It ends with another of Coltrane's inspirational songs, "After the Rain." In between, she injects a three-part collage of freely improvised impressions and two more Coltrane tunes. "Lazy Bird" is a playful version of the bebop tune, in which every inch of the keyboard seems to be engaged in a four-minute span. 

Morton and Cook refer to the penultimate track, "Coltrane Time," as "important," an unusual descriptor for any jazz interpretation. It soars like "Lazy Bird," yet the playing is entirely original and virtually uncategorizable. Although my first response to this track was to identify a few of Cecil Taylor's signature moves, closer listening dispels the comparison almost completely. Crispell is an original voice, possessed of a remarkable technique and an expansive artistic imagination. "Coltrane Time" is one of the most compelling jazz performances by a solo pianist I've ever heard. 

I'm not sure what to make of Ani Tashjian's original cover art. There could not be a greater contrast between the original cover and the plain blue-and-white cover of the reissue. 

Hilton Ruiz - El Camino (The Road) (Novus, 1988)

This post is by Scott

Hilton Ruiz (p); Sam Rivers (ts, ss, fl); Lew Soloff (tr); Dick Griffin (tb); Rodney Jones (g); Andy Gonzalez (b); Steve Berrios (d, guiro); Jerry Gonzalez (cga, perc); Jose Alexis Diaz (cga, perc); Endel Dueño (tim)

Recorded on October 15, 1987

James Williams - Magical Trio 2 (EmArcy, 1988)

This post is by Scott

James Williams (p); Ray Brown (b); Elvin Jones (d)

Recorded in November 1987

Batacumbele - In Concert: Live at the University of Puerto Rico (Montuno, 1988)

This post is by Scott

Angel "Cachete" Maldonado (ldr, perc, tim); Giovanni "Mañenguito" Hidalgo (cga, d); Anthony Carrillo (bgo, cowbell, bata); Jimmy Rivera (d); Jose Ramirez (bata); David "Cuba" Rosado (perc, vo); Amuni Nacer (kybd); Arturo Ortiz (kybd); Eric Figueroa (p); Eddie "Guagua" Rivera (b); Jerry Medina (tr, vo); Tommy Villarini (tr); Hector Veneros (sax, fl); William Cepeda (tb); Jose Luis "Chegui" Ramos (vo); Richie Flores (cga, 1 trk only); other guest artists

Recorded in 1988

Richard Davis, Sir Roland Hanna, Frederick Waits - Persia My Dear (DIW, 1987)

This post is by Scott

Richard Davis (b); Sir Roland Hanna (p); Frederick Waits (d)

Recorded on August 01, 1987

Henry Threadgill - Easily Slip into Another World (Novus, 1988)

This post is by Scott and Dan

Henry Threadgill (as, ts, b fl); Rasul Siddik (tr); Frank Lacy (tb); Diedre Murray (vc); Fred Hopkins (b); Reggie Nicholson (perc); Pheeroan akLaff (perc); Asha Puthli (vo on "My Rock")

Recorded on September 20, 1987

Encountering Henry Threadgill's recordings is like slipping into another world, of music, that is. As one of the founding members of the trio Air, Threadgill charted a course in the 1970s that ran counter to the mainstream. Coming from Chicago, he associated with free-leaning artists like Anthony Braxton, Muhal Richard Abrams, and Roscoe Mitchell. Air was influential in many ways and laid the groundwork for Threadgill's larger groups. In particular, Air Lore presaged Threadgill's interest in early jazz forms with its variations on Scott Joplin compositions. 

Easily Slip into Another World is easier to enjoy than to describe, partly because of its unusual instrumentation. By enlisting two drummers, a cellist, two brass, and his own searing saxes, Threadgill creates dense textures that echo the bygone era of New Orleans brass bands and other traditional jazz settings. The textural base supports the free flights of the horns, particularly Threadgill's range of extended techniques. Diedre Murray's cello often takes a central role, as in "Hall," a dedication to Muhal Richard Abrams. Frank Lacy's trombone frequently serves as the bass instrument, as the tuba did in early jazz bands. That frees Fred Hopkins to play more of a front-line role on his acoustic bass, as on "Award the Squadtett."  

The lone vocal number is by Asha Puthli, who grew up in India but moved to the U.S. and began to record in the 1970s. She appears on two tracks of Ornette Coleman's Science Fiction album (Columbia, 1971) and on 13 albums of her own. On Easily Slip, she sings "The Rock" in an unsentimental way that contrasts with the more adventurous instrumental tracks. The inclusion of vocal tracks on instrumental albums is a much earlier tradition in jazz recording, which Threadgill found appropriate for his venture into that other world. 

Easily Slip into Another World is the second of three albums that Threadgill's Sextett recorded for RCA's Novus imprint. The others are You Know the Number (1986) and Rag, Bush and All (1989). The Novus albums tend to be more accessible than his other recordings, although they are by no means conventional. They are also not like any other albums recorded in the 1980s, but all are enjoyable especially if you appreciate surprises. 

If you like the 1980s albums, you will also enjoy Carry the Day (Columbia, 1995) by Threadgill's Very Very Circus Plus band. With the line up extended to nine players, the music expands to embrace more variety while lowering the temperature somewhat. 

Steve Lacy Trio - The Window (Soul Note, 1988)

This post is by Scott and Dan

Steve Lacy (ss); Jean-Jacques Avenel (b); Oliver Johnson (d)

Recorded on July, 30 and 31, 1987

The Window finds Steve Lacy in a trio format, along with long-time bandmates Jean-Jacques Avenel and Oliver Johnson. It's their first recorded outing as a trio. The smaller version of the Lacy sextet offers new glimpses into compositions played by the larger band. Without vocals, violin, or a second horn, more of the filigree of the larger tapestry is revealed.

Like most Lacy albums, the compositions are by the leader. In one case, "A Complicate Scene," Mary Frazee is listed as a co-composer. She is a lyricist who also co-composed "The Mantle," which appeared on Lacy's Anthem (Novus, 1990). It's a reminder that song is the basic foundation of Lacy's work, with or without lyrics. 

The title tune is composed of two modes, one song-like and the other suspenseful. "The Window" grants extensive solo time for Johnson and Avenal. "Flakes" follows with another sing-song melody and a wonderful duet between bass and drums. It's good to know that the rhythm players in Lacy's groups are so talented. Lacy's own solo on "Flakes" dances delicately over the continuing rhythmic conversion.

"A Complicate Scene" features Lacy playing in the highest register of the soprano sax. It's incredible to maintain such a clear tone that far up any wind instrument, much less the challenging soprano. He also quietly explores the breathy overtones of his horn. The free meter is punctuated by Johnson's brushwork.

"Twilight" begins as a lively march involving all three members of the trio. The pace quickens and grows less orderly after a few minutes, as Lacy explores the composition's possibilities. Eventually, Avenel takes over with a percussive solo that disregards the "beat" the tune started with, to be followed by a brief drum solo and Lacy's return to the march. 

The joyful "The Gleam," one of Lacy's most frequently recorded songs, follows. His partners again provide a fascinating backdrop to his beautifully lyrical sax. We're not sure how the repeated woodblock sounds are made but it's a great touch. Johnson's solo on "The Gleam" shows again just how resourceful a percussionist he is.

"Retreat" closes The Window gently with another three-way conversation that convinces us of the value of the trio format for these players. 

Hearing Lacy's music today, 20 years following his death, reaffirms his legacy as one of the most intriguing artists in the history of jazz. No one else has ever sounded like him or adopted his methods of composing. His consistent inventiveness across his 40-year career, never peaking but never letting up, is a wonder to reflect on.