Henry Threadgill in WSJ

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A nice interview with Henry Threadgill in the Wall Street Journal.  His new album “This Brings Us To, Vol. II” on Pi Records is really happening.  I have posted a couple tracks from Volume 1 after the article…

WALL STREET JOURNAL
November 9, 2010
By MARTIN JOHNSON

For a quarter century beginning in the mid-1970s, reedman and composer Henry Threadgill was a dominant force on the jazz and contemporary-classical music scenes. He led a variety of ensembles with increasingly idiosyncratic names like Air, the Henry Threadgill Sextett, the Very Very Circus, Make a Move and Zooid. These groups pushed the boundaries of both jazz and new music, yet they also trafficked in familiar elements like tangos, marches and fanfares. It was easy to become a Henry Threadgill fan without being a lover of jazz or new-music.

“What first struck me about Henry’s work is its lyricism,” said Butch Morris, a composer, cornetist and conductor who has followed Mr. Threadgill’s career since the ’70s. “He’s taken familiar forms and really advanced them.”

Then about eight years ago, Mr. Threadgill faded to the margins. He released no widely distributed recordings, and was heard in concert only sporadically. He finally returned last autumn with his band, Zooid, on “This Brings Us To, Vol. I,” (Pi Recordings), which was widely hailed as one of the best jazz recordings of the year.

This season, Mr. Threadgill is much more prominent, with “This Brings Us To, Vol. II” (Pi) and Mosaic Records’s limited-edition eight-disc retrospective, “The Complete Novus & Columbia Recordings of Henry Threadgill & Air.” In addition, Zooid is to perform Mr. Threadgill’s newest works at Roulette in SoHo for three nights this week beginning Thursday.

Over drinks at an Italian café near his East Village home, Mr. Threadgill said the hiatus gave his band time to master his new style of composing music. “I have completely left the majorminor system in favor of a chromatic way,” he said.

Liberty Ellman, Zooid’s guitarist, added via email, “It’s a system for developing harmony and counterpoint from a set of intervals that originate in chord analysis.”

For Mr. Threadgill, one of the key goals of the new system was to facilitate collective improvisation along the lines of early jazz. Mr. Ellman said it was a challenge to learn the new system. “It’s difficult at first to put aside your pre-existing vocabulary while learning to play Henry’s music, but over time it becomes intuitive and it really opens your ears up to a larger musical universe.”  Full Article…

Henry Threadgill Zooid – “To Undertake My Corners Open”

Henry Threadgill Zooid – “Sap”

From “This Brings Us To, Vol. 1” : 2009 : Pi Recordings Pi31

Listening Room – “Inventions & Dimensions”

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Herbie Hancock – “Succotash”

Herbie Hancock – “A Jump Ahead”

From “Inventions & Dimensions” : 1963 : BLP 4147

After debuting on Blue Note with two very successful albums (“Takin’ Off” & “My Point of View”), Herbie Hancock quickly showed off the adventurous spirit that would go on to make him one of the most important purveyors of jazz over the next 4 decades (and still today!).  Rather than continue with his previous winning formula, Hancock changed gears and put together a quartet that focused almost entirely on rhythm.  Even though Willie Bobo and Chihuaha Martinez are providing the percussion, this album is not Latin jazz in the least, but rather is a classic hard bop session.  The overall feel of the album is a very spacious one, as if there is larger group playing than the one assembled.  Because this album preceded two stone cold jazz classics from Hancock (“Empyrean Isles” and “Maiden Voyage”) it is often overlooked in his vast discography, but it certainly should not be.  In the hands of a lesser talent this recording could easily fall flat, but as he has done so many times over Hancock finds a way to take the expected and make it unexpectedly amazing.

Players:
Herbie Hancock (p)
Paul Chambers (b)
Willie Bobo (d, tim)
Osvaldo “Chihuahau” Martinez (cga, bgo, finger cymb, guiro)

“S. Neil Fujita – R.I.P”

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S. Neil Fujita was a graphic designer responsible for some of the most well known and classic jazz album covers of the 1950′s.  He passed away from complications of a stroke on October 23rd.  A nice obit from the NY Times can be found here.  Some of his best known covers are below (can you imagine these records with any other artwork?):

The Dave Brubeck Quartet “Time Out”  : 1959  :  Columbia CL 1397

The Jazz Messengers “The Jazz Messengers” : 1956  : Columbia CL 897

Charles Mingus “Mingus Ah-Um” : 1959 : Columbia CS 8171

Miles Davis “‘Round About Midnight” : 1955 : Columbia CL 949

Listening Room – “Confirmation”

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Jimmy Smith – “What Is This Thing Called Love”

Jimmy Smith – “Confirmation”

From “Confirmation” : 1958 : Blue Note LT 992

A really nice blowing session from 1958 that was not released in the US until 1979 (Blue Note aficionados will recognize the artwork as part of the Blue Note LT series releases that began that year).  The album features two different sextets which fortunately included most of the cream of Blue Note’s roster at the time.  The players easily latch on to Smith’s steady lead and make this album a bit more interesting than some of the other jam sessions released around this time.   The 1979 LP release consisted of only 3 tracks (Confirmation took up all of Side 2) and as far as I know this material has never been released in CD form.  Any Jimmy Smith recording on Blue Note is a worthwhile listen, and with the addition of a young Lee Morgan and Kenny Burrell sitting in on both sessions (Confirmation was recorded a year later than the other 2 tracks) and you’ve got a great addition to Smith’s already legendary discography.

Players:
Jimmy Smith – Organ
Lee Morgan – Trumpet
Curtis Fuller – Trombone on What Is This Thing Called Love?
Lee Donaldson – Alto Sax on Confirmation
Tina Brooks – Tenor Sax on Confirmation
George Coleman – Alto Sax on What Is This Thing Called Love?
Kenny Burrell – Guitar
Art Blakey – Drums on Confirmation
Donald Bailey – Drums on What Is This Thing Called Love?

Listening Room – “Sugar”

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Sugar

Stanley Turrentine – “Sugar”

Stanley Turrentine – “Impressions”

Stanley Turrentine – “Sugar (Live)”

From “Sugar” : 1970 : CTI 6005

“Sugar” was Stanley Turrentine’s debut recording for CTI, a label for whom he would go on to record a string of fantastic albums.  The original album only contained three tracks, while the out-of-print 1991 CD reissue added on a bonus live track of the title track (included here) which is a killer take on the album version that adds Johnny Hammond, Hubert Laws and Billy Cobham to the band [recorded at the Southgate Palace in Los Angeles in 1971].  The whole album is a showcase for Turrentine’s smoldering soul jazz saxophone sound, while Freddie Hubbard (who would record a few masterpieces for CTI) and George Benson are also in top form.  The band’s take on Coltrane’s Impressions closed out the original LP in fine fashion with the players firing on all cylinders.

Players:
Stanley Turrentine – Tenor Sax
Freddie Hubbard – Trumpet
Hubert Laws – Flute (Live track only)
Lonnie Liston Smith – Electric Piano
Johnny Hammond – Electric Piano (Live track only)
George Benson – Guitar
Butch Cornell – Organ
Ron Carter – Bass
Richard “Pablo” Landrum – Congas
Billy Kaye – Drums
Billy Cobham – Drums (Live track only)

From “Sunday Night”, 1989.  Stanley Turrentine – Sax, Hiram Bullock – Guitar, Philippe Saisse – Keys, Don Alias – Percussion, Tom Barney – Bass, J.T. Lewis, Drums.

Listening Room – “Blues-ette”

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Curtis Fuller – “Five Spot After Dark”

Curtis Fuller – “Blues-Ette“

Curtis Fuller – “Minor Vamp”

From “Blues-Ette” : 1959 : Savoy MG 12141

An absolute stunner of a jazz record that is not anywhere near as well known as it deserves to be.  While the initial impression of the album is its cool and relaxed feel, repeated listens show how much fire the players are putting forth.  Fuller’s muted trombone and Benny Golson’s smoky tenor sound are perfectly complemented by Tommy Flanagan’s delicate touch at the piano.  Fuller is still making great music today, but “Blues-ette” may very well stand as his most magnificent jazz achievement.

Players:
Curtis Fuller – Trombone
Benny Golson – Tenor Sax
Tommy Flanagan – Piano
Jimmy Garrison – Bass
Al Harewood – Drums

Listening Room – “Life Time”

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Tony Williams – “Two Pieces Of One: Red”

Tony Williams – “Two Pieces Of One: Green”

Tony Williams – “Memory”

From “Life Time” : 1964 : Blue Note BLP 4180

Tony Williams debut album as a leader (he was still going by Anthony Williams when it was issued) is a great example of some classic Blue Note post bop.  The lineup features a strong group of label regulars at the time, including the under appreciated Sam Rivers on tenor saxophone.  The tracks Two Pieces of One: Red and Two Pieces of One: Green took up all of side one of the original LP and feature all the players except Hutcherson.  Williams wrote all of the compositions on the album and the open feel to much of the music shows that even as a young eighteen year old he had many of the chops in place that would make him one of the all time great jazz drummers.

Players:
Sam Rivers – Tenor Sax
Gary Peacock – Bass
Richard Davis – Bass
Ron Carter – Bass
Bobby Hutcherson – Vibes
Herbie Hancock – Piano
Tony Williams – Drums & Percussion

R.I.P. Herman Leonard

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Thelonious Monk, Minton’s Playhouse, NYC, 1949

Herman Leonard, the great photographer of jazz musicians passed away Saturday at the age of 87.  An important figure in jazz, Leonard went beyond simple portraits and his images of artists in their element defined the heyday of jazz to many listeners.  A great obituary in the LA Times can be found here.



Dexter Gordon, Royal Roost, NYC, 1948


Bud Powell, Birdland, NYC, 1949


Frank Sinatra, Monte Carlo, 1958


Charlie Parker with Metronome All-Stars, NYC, 1949

All images © Herman Leonard

Listening Room – “Upon This Rock”

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Upon This Rock

Joe Farrell – “Weathervane”

Joe Farrell – “Upon This Rock”

From “Upon This Rock” : 1974 : CTI 6042

This 1974 fusion extravaganza was Joe Farrell’s fifth release in a string of fantastic records for CTI.  This album again features the guitar talents of Joe Beck, who could have easily been credited as a co-leader, as his instrument is front and center throughout the entire recording.  Farrell shows off his many talents, switching between the tenor and alto saxophones as well as the flute.  The record opens with the blistering Weathervane, while the title track settles into a groove as Beck and Farrell have their way with the funky melody.  For whatever reason, this album is currently out-of-print.

Players:
Joe Farrell – Tenor & Soprano Sax, Flute
Joe Beck – Guitar
Herbie Hancock – Piano
Herb Bushler – Bass
Don Alias – Conga
Jim Madison – Drums

Listening Room – “The Jaki Byard Experience”

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Jaki Byard – “Parisian Thoroughfare”

Jaki Byard – “Shine On Me”

Jaki Byard – “Memories Of You”

From “The Jaki Byard Experience” : 1968 : Prestige PR 7615

It is easy to see why Jaki Byard’s collaboration with Roland Kirk (in his pre-Rahsaan days) resulted in one of his finest albums.  Besides being one of the great unsung pianists in jazz history, Byard’s solo output is often overlooked in comparison with his contemporaries.  The album opener, the Bud Powell classic Parisian Thoroughfare, starts off like a fist fight between the band, but then evolves into a beautiful and emotional rendition of the oft-covered tune.  Shine on Me is a traditional early jazz tune given a nice modern twist, while the real gem of the album might be the duet between Byard and Kirk on the standard Memories of You (check out Kirk’s tone on the saxophone!).  It is obvious that these two ultra-talented guys enjoyed and respected each other’s company in the studio and it really comes through both on the duet and the album as a whole.

Players:
Jaki Byard – Piano
Roland Kirk – Tenor Sax, Clarinet, Manzello, Whistle, Kirkbam
Richard Davis – Bass
Alan Dawson – Drums