Altoist Jackie McLean made loads of great records for Blue Note in the 1960s, and this is one I come back to time and again. Three of the four long tracks are uptempo, adventurous yet melodic modal-leaning hard bop, all of which feature excellent arrangements and KILLER solos by a band that includes Larry Willis (piano), Bob Cranshaw (bass) and Clifford Jarvis (drums). But the highlight is the ballad “Poor Eric” (written for Eric Dolphy who had recently passed away), which has an atmosphere that takes over the room—reflective, melancholic, and achingly beautiful. Give “Poor Eric” a listen and I’m pretty confident it will find a place on whatever playlist holds your favorite ballads. While listening ‘Right Now!’ this morning over coffee, two enthusiastic thumbs up were delivered from my wife—the equivalent to a jazz Michelin Star. Jackie McLean has a reputation for a somewhat sharp tone and freer structures (see his incredible and essential ‘Destination Out!’ album, for example), but ‘Right Now!’ eschews those elements and the more straightforward approach with this quartet works marvelously. This is a GREAT jazz record that has a lot to offer—highly recommended. And dig that Reid Miles LP jacket! This is a 2015 Music Matters 33RPM reissue MMBST-84215, stereo. Originally recorded 29 Jan 1965 and issued in 1966
It’s worth immersing yourself into each of the records released during his remarkable, prolific, late-60s run. ‘Expansions’ finds Tyner leading a septet featuring Wayne Shorter-tenor sax/clarinet, Woody Shaw-trumpet, Gary Bartz-alto sax/flute, Ron Carter-cello, Herbie Lewis-bass, and Freddie Waits-drums. “Vision” opens the record—a high-speed modal exploration with Tyner’s left hand serving as timekeeper and taskmaster, while his right hand dances madly and melodically. A series of musical conversations unfold over the next twelve minutes, some veering into edgy territory. It’s an exciting listen, though it comes in second among the four Tyner originals here. Top slot goes to “Peresina,” which is one of my fave Tyner tunes ever. Here, Tyner establishes a compelling piano groove before launching into a beautiful solo accompanied by a subtle yet perfect horn arrangement—one has to believe that producer Duke Pearson had more than a little arranging input—leading into a classic Wayne Shorter solo. The handoff back to Tyner is like butter, and Tyner takes another solo that revels in melodic joy before it’s all over after what feels like a short ten minutes. The whole record is pretty great—Shaw never fails to deliver, and it’s interesting to hear Carter on cello, even though he’s a stronger bassist than a cellist. This is a 1985 French DMM (Direct Metal Mastering) pressing BST 84338 as part of the Cadre Rouge Audiophile series. I’ve not compared it to any other pressing, but it sounds fine to my ears, and it came with this nifty poster (photos 2 and 3). I don’t know if the poster was included with all DMM pressings or if it was a retailer-specific thing…can any other collector’s shed light on this?
Post-bop bliss! The beautifully demented solo Herbie Hancock plays in “Dance of the Tripedal” alone makes this record worth owning. It’s fearless, captivating, moving, and each bar feels like a new tale of the unexpected. There are many thrilling moments just like it throughout Sam Rivers ‘Contours’, recorded in May 1965. Rivers (sax/flute) composed all four long tracks and led a stellar quintet. Joining Rivers and Hancock are Freddie Hubbard (trumpet), Ron Carter (bass), and Joe Chambers (drums). With song titles like “Mellifluous Cacophony,” it would be understandable that less adventurous ears might whistle past the graveyard on ’Contours.’ But you’d be missing out on one of the great mid-60s sessions…one that was increasingly difficult to come by on LP until reissued as part of the series last year. Now, to be honest, it’s still a challenging listen, and there there are a few moments with sharp edges. But those moments don’t show up often, and much of this music is truly MESMERIZING. It’s also a record with a very high replayability factor—the interplay can be so subtle and understated (or on the other end of the spectrum, so fast and furious) that it doesn’t register on the first spin. Or tenth. I dig this one more with each spin. Highest recommendation bop
Night—with all of its mysterious energy and unsettled calm—is beautifully realized by Wayne Shorter on his Blue Note debut, ’Night Dreamer.’ It all comes together—the overall vibe of the music, the compositions (all by Shorter), the artwork, and the stellar playing of the quintet which featured Lee Morgan (trumpet), McCoy Tyner (piano), Reggie Workman (bass) & Elvin Jones (drums). Even the album title ’Night Dreamer’ was evocative and perfect. This album was one of several remarkable beginnings for Shorter that year—he’d soon be a key part of next Big Bang, the formation of the @milesdavis Second Great Quintet. And it was a busy year for Shorter he also recorded ‘Indestructible’ and ‘Free For All’ with Art Blakey and ’Search For the New Land’ with Lee Morgan. I like taking the entire album in as I think it’s particularly well-sequenced and works best as a whole. If I had to choose highlights, ‘Virgo,’ the ballad that closes Side A is GORGEOUS. Wayne Shorter’s solo is wonderful, and the rhythm section is remarkable. Another highlight is “Armageddon.” While the title might suggest a mood of anger, chaos, or explosive energy, the vibe is more contemplative. There’s a quiet urgency and an unsettling undercurrent that keeps the atmosphere slightly charged—it’s extraordinary. This session was recorded on this day, 29 April, 1964. Shorter would only level up from here. This Music Matters 33 pressing is a joy
Elvin goes to work leading a piano-less trio with longtime cohort Jimmy Garrison on bass, and Joe Farrell on tenor/soprano sax, flute, and piccolo. Everyone contributes a composition, which are matched with some well-chosen originals that showcase the versatility of this trio. For three guys, they sure make a lot of great noise, and I mean that with the utmost respect. In the world of rock, I’d say the same thing about Rush—they also sound WAY bigger than three guys. The sound is helped by a particularly sweet mix. It’s easy to see why Ron, Joe, and the rest of the Music Matters crew chose this one (and ‘Genesis’) for release. The music is generally high intensity, modal and advanced hard bop. Stylistically, it rarely strays into the mid-60s Coltrane sound one might expect. Yet there’s a power here that’s unmistakable. A presence that makes the session feel…charged. This is really excellent music that I highly recommend. ‘Putin’ It Together’ was Elvin’s debut for Blue Note as a leader, and set a high bar for his tenure at the label. He hit that bar and raised it on subsequent releases, particularly ‘Genesis’. I’ve not heard all of Elvin’s releases from the late 60s/early 70s, but every one that I have heard has been excellent and I look forward to discovering the rest. Recorded on this date, 4 April, 1968
Before I knew better, I misinterpreted the cover art as a soundtrack, and the credits noting electric piano and flute gave me pause that the music was going to lean electric, funkified, proto-fusion; with Starsky & Hutch-Esque car chase vibes. Wrong, wrong, wrong. ‘The Prisoner’ is more like a larger-format transmogrification of Second Great Quintet meets Gil Evans. So to others who perhaps made a similar error in snap-judgment, or who’ve passed over this little-discussed title in the discography, I encourage you to open your ears to this great, under-recognized masterpiece. I’m pleased (and grateful) that @donwas @jazzsaraswati @ckurosman and the rest of the team at saw fit to reissue ‘The Prisoner’ as part of their series. I pre-ordered a copy the moment it was announced and given the state of things, I was surprised and delighted to see it on the doorstep today. ‘The Prisoner’ is a post-bop session from April 1969, showcasing Hancock’s playing and composing chops in the context of a formidable nonet: Joe Henderson (tenor sax/alto flute), Johnny Coles (flugelhorn), Garnett Brown (trombone), Tony Studd (bass trombone), Hubert Laws (flute), Jerome Richardson (bass clarinet), Buster Williams (bass), & Albert Heath (drums). The liner notes and song titles—along with subsequent interviews and articles—allow Mr. Hancock to establish his narrative: “The Prisoner” as a metaphor for the African-American experience, in what Hancock calls “a social statement in music”. The LP is also his dedication to the memory of Dr. Martin Luther King, Jr. It’s a gripping listen—cerebral, dense, and with an overall tone I’d describe as somewhat solemn, but it’s not gloomy or heavy-hearted despite the gravity of the subject matter. Hancock, Henderson, and Coles are the standout players, though this is truly a team effort. This pressing sounds HUGE with marvelous separation among the instruments, a deep low end, and the vinyl is perfectly quiet. A job well-done on a reissue that hopefully gives this overlooked record another day in court. Apologies for the crap photo…the LP jacket looks great but is rather reflective!
‘A Slice of the Top’ showcases Hank Mobley at the peak of his powers. It was the session that Mobley has said he was most proud of, and he pulled no punches in expressing his frustration that it sat unreleased—along with a half dozen of his other sessions—in Blue Note’s vaults for over a decade. With clever arrangements by the amazing Duke Pearson, the octet of Hank Mobley-tenor sax, Lee Morgan-trumpet, McCoy Tyner-Piano, James Spaulding-flute/alto sax, Kiane Zawadi-euphonium, Howard Johnson-tuba, Bob Cranshaw-bass & Billy Higgins-drums created one of Mobley’s GREATEST albums. It’s got a bigger sound due to the expanded lineup, the material is on the more adventurous side for Mobley, though he never strays from his trademark melodic excellence. Originally recorded 18 March 1966, it first saw the light of day as part of Blue Note’s LT Classics series in 1979 (cheap and plentiful in second-hand shops, with covers that look either like cheap packages of magnolia seeds, or the work of a first-day intern at Windham Hill), and then Blue Note’s Connoisseur series (this copy) in the mid-90s with a bit more sonic heft, mastered by Wally Trautgott. This session is collected along with the rest of Mobley’s 60s output (including all of his shelved sessions) as part of Mosaic’s ‘Complete Hank Mobley Blue Note Sessions 1963-70’ CD box, which from a sound quality perspective beats all the vinyl issues I’ve heard from these later 60s sessions. ‘A Slice of the Top’ is an often overlooked title in Mobley’s largely stellar catalog, which is a shame as it’s a superb record that I’d categorize as “must hear” material. Fortunately, it is available across the digital spectrum, and second-hand copies of the vinyl are fairly easy to come by h/t @gs_va12 for the suggestion!
Seductive. If it’s not in your library, it should be. Tied with ’Search For the New Land’ as my favorite Lee Morgan album, this session has star power galore: Lee Morgan (trumpet), Wayne Shorter (tenor sax), Bobby Hutcherson (vibes), Herbie Hancock (piano), Ron Carter (bass) and Billy Higgins (drums). Carter, Hancock & Shorter were recording ’Nefertiti’ with @milesdavis when Morgan “borrowed” them for this session, so the freebop sensibility of the Second Great Quintet blends seamlessly with Morgan’s advanced hard bop proclivities. Add a generous dose of Hutcherson’s shimmering, percussive vibes and the result is an immersive atmosphere that draws you in from the opening notes of the title track to the final notes of “Soft Touch”. In between, you’ll find a variety of excellence, from the verbosity of “Start Stop” (that Morgan solo is 🔥🔥🔥) to the album highlight “Dear Sir”, a ballad that quests with the spirit of the Second Great Quintet. This album has a long, convoluted history which I’ve detailed in the comments, but for the time being digital ubiquity is at hand, so head over to your favorite streaming platform and immerse yourself in one of Lee Morgan’s finest records. This is a tremendous session @icalledhimmorgan @herbiehancock @wayne.shorter @roncarterbass @musicmattersjazz
Wayne Shorter’s entire @bluenoterecords run is great, but if pressed I’d have to say this one is my favorite. Every time I play it I enjoy it a bit more—I don’t know that there’s a bigger or better endorsement of an album. It’s everything one could ask for: thrilling compositions that are hummable, memorable, engaging and full of surprises; a band that plays with gravitas, swing and telepathy; and a recording that captures the energy, power and nuance of the session. If this were the first jazz record you ever heard, you’d have picked a fantastic entry point. Veteran jazz listeners return to it again and again for good reason. The year was 1964 and Wayne brought along 2 of his Miles Davis second great quintet band mates Herbie Hancock (piano) and Ron Carter (bass) who by this point had both stage & studio experience enough with Wayne’s music to knock it out of the park. Add firebrand trumpeter Freddie Hubbard and drum powerhouse Elvin Jones and it’s no wonder that ‘Speak No Evil’ rises above great. This record should loom large in every jazz collection. This is Music Matters MMBST-84194, reissued in 2015 and sounding SPECTACULAR
Two sessions make up this fantastic Blue Note rarity: a trio session with Freddie Roach (organ), Eddie Wright (guitar) & Clarence Johnston (drums) from 29 Nov 1963, expanded to a quintet with the addition of Blue Mitchell (trumpet) and Hank Mobley (tenor sax) for a second session on 9 Dec. Freddie Roach’s ‘Good Move’ is a cooker, though you’ll rarely hear Roach launch a blitzkrieg attack on the Hammond B-3. He prefers to build a groove that prioritizes blues over bravado, and gospel over grandstanding. Not that Roach doesn’t toss in the occasional flourish to remind you that he’s got the chops, he just doles them out on an as-needed basis. He’s also masterful at leveraging vibrato to underscore a mood. The opening track—an eerie, almost unsettling take on “It Ain’t Necessarily So”—is a great example. While there’s a bit of a dark undercurrent, and a slower, more deliberate tempo than versions I’ve been spinning lately (lookin’ at you Grant Green/Sonny Clark), it still swings pretty hard. As I listen to this trio play it, I keep expecting them to bust into The Animals take on “House of the Rising Sun” at any moment…I’m sure a musicologist among you has an answer for that, particularly in that The Animals didn’t release that until 1964! Moving on…this isn’t all a downtempo affair. The original “Wine, Wine, Wine” is a cooker, with Mobley having himself quite a blast during his time in the spotlight. “When Malindy Sings” is a terrific mid-tempo groover with a really well-executed solo by Blue Mitchell…great vibe. This copy is a 1963 original stereo pressing (BST 84158) with RVG and Plastylite “ear” in the dead wax