A high-energy, modal/spiritual, face-melter of a jazz record that packs a mighty wallop. Fans of McCoy Tyner’s early 70s Milestone records will go bonkers over this. Kohsuke Mine handles both tenor and soprano sax and is the composer of all five mid-to-long tracks on ‘Daguri’. He’s joined by Hideo Miyata (tenor sax), Fumio Itabashi (piano), Hideaki Mochizuki (bass) and Hiroshi Murakami (drums). The opening track is molten intensity, as the saxes and piano intertwine and build the tension, somehow digging the groove deeper while soaring higher. They dare one another to keep up and the challenge is accepted as each peak is reached and transcended. The drum and piano work throughout moves from intricate to manic to hyperactive—the first track alone will leave you breathless and reaching for another coffee. But the instrumental verbosity never steps on the tunefulness…groove, swing, and virtuosity co-exist in ideal proportions on every track. There’s only one tune, “Self Contradiction” that’s on the downtempo side. Otherwise, you should set the gearshift for the high gear of your soul! The title track appeared on the compilation J-Jazz Vol 2 which came out last year, but the full LP is very much worth seeking out. A bit of a tough pull on vinyl, but it is available across the digital spectrum and also received a CD reissue recently so it’s around. Lethal, but who ever said great jazz was safe?
Today marks the 50th anniversary of this remarkable live set of exploratory modal/post-bop that Mr. Charles Tolliver himself has called out as a personal favorite. The audience at Slugs that night must have been pinned to their seats by the intensity of this Music Inc. quartet which also includes Stanley Cowell (piano), Cecil McBee (bass) and Jimmy Hopps (drums). All give stellar performances. Fans of Woody Shaw’s work or ‘Live at the Lighthouse’-era Lee Morgan will *LOVE* this album, which never quite drifts into avant territory though it does peek through the fence to take a glance once in a while. Tracking down Strata East vinyl isn’t easy—original pressings are scarce, bootlegs sound pretty crummy, and unfortunately both volumes have yet to see a modern vinyl reissue, but hopefully an enterprising boutique label might step in? (Looking at you @purepleasurerecords !) However you *CAN* pick them up in (to be honest) much better sound quality as part of the Charles Tolliver ‘Mosaic Select 20’ triple CD, which combines both volumes of the Slugs LPs, the equally terrific (and difficult to find) ‘Live in Tokyo 73’ LP, and a third CD which combines additional tracks from BOTH Slugs and Tokyo which were left off the original LPs due to time constraints. Sound quality on that third CD is a bit thinner than the originally released material but not so much so to impair any listening enjoyment, and the unreleased material is KILLER. Hat tip to Tolliver’s vision in forming Strata East which took a lot of guts—Strata East aspired to establish a greater degree of artist independence in an industry rife with exploitation, institutionalized racism, and the prioritization of commercial potential over artistry. As stated on the back of Vol 1 “MUSIC INC was created out of the desire to assemble men able to see the necessity for the survival of a heritage and an Art in the hopes that the sacrifices and high level of communication between them will eventually reach every soul
Knockout. This record is relentlessly kicking my ass. It’s a futuristic big band romp in modal/spiritual territories with a swing *SO* mighty, you’d best be sitting down when listening, lest you be knocked flat by its gargantuan wallop. “The Call” takes flight immediately, launching skywards with gusto. It’s an intergalactic big band epic that—at times—reminds me of Hoyt Curtin’s theme music from The Jetsons. On acid. Powered by urgent drums and backed by brass amassed in a sonic wall of power, pianist Linda Hill’s solos elegantly, gracefully, playfully and awesomely. This segues into a serpentine, intertwining alto clarinet/bass led section with tricky interplay, but the pocket never collapses—the groove here is unshakeable. Moving on to “Quagmire Manor at Five A.M.”, a lovely, soothing, albeit brief vocal/piano groove lulls you into a false sense of complacency as your moment of zen quickly gives way to a frantic, double time rhythm section workout while Hill’s piano tears it up, leading into a passionate tenor solo that’s teeters on the edge of “out” but never falls off, another massed horn section, brief bass solo, then back to the vocal head. Phew! Fortunately you get a moment to catch your breath and refill the coffee because it’s time to flip the record! Side B opens with “Nakatini Suite”. If you think you’re familiar with it from Lee Morgan’s “Leeway” album, or perhaps from Coltrane’s “The Believer”, take your familiarity, crumple it up and give it to the cat to play with. Tapscott’s Pan African People’s Arkestra take the first few bars to construct it as a demented waltz for people with two left feet, and then take the next nine minutes to explore its melodic potential. Gorgeous. The album closes with “Peyote Song No. III”, a large scale modal exploration a la mid 60s Impulse-era Coltrane. Deep, introspective, searching and beautiful playing abounds. So yeah…I’m completely smitten by this record. Originals from 1978 on Nimbus West are difficult to find but the recent @outernationalsounds reissue is widely available, inexpensive and sounds good