Mysterious. Innovative. Gripping. Endlessly fascinating. Jackie McLean’s ‘One Step Beyond’ is the first in a loose “trio” of albums that includes McLean’s ‘Destination…Out!’ and trombonist Grachan Moncur’s ‘Evolution’ as they all share quite a bit of musical DNA and personnel. I hesitate to call them a trilogy as I’m not certain that was anyone’s artistic intent, though hearing them together in any sequence feels like a “whole” listening experience. This album is extremely well-titled: McLean had clearly heard the war cries of Ornette Coleman and @johncoltrane pushing the boundaries of modal jazz, and this session reflects McLean’s desire to put his own stamp on their approach by keeping hard bop in the mix and forming a unique melodic frontline (vibes, trombone and alto) who create that mysterious atmosphere that does feel “beyond”. Trombonist Grachan Moncur’s two compositions have an eerie, somewhat dark approach and an occasional unsettling undercurrent (“Ghost Town” is well-titled) that veer into somewhat disonnant territory—the band isn’t exactly out to lunch here, but definitely waiting for a table. McLean’s two songs go down a bit smoother, but just a bit—his alto still retains its acerbic bite and the while the structures and playing are rooted in blues/hard bop, it’s swing with sharp elbows. Bobby Hutcherson wields two instruments of power: vibraphone and space. The effortlessness with which he wields both is often mind-blowing. While bassist Eddie Khan holds the rhythmic ebb and flow accountable, he and the rest of the group are perpetually challenged, underscored by, and inspired by 17 year old drummer Tony Williams. In particular, the dialogue between Williams and Hutcherson is MESMERIZING and sounds especially clear on this Music Matters 45RPM 2XLP edition. This is one helluva band, and they made one helluva record. For awhile, I was obsessed with ‘Destination…Out!’ and thought it was the best of the three. Then I got sucked into the vortex of Moncur’s ‘Evolution’ and that LP rose to the top of the heap. Guess which record is in heavy rotation now?
Brilliant. It takes a special gift to select a group of simpatico players with the chops to turn musical ideas into an album that moves effortlessly between unadulterated joy, thoughtful introspection, great improv, and relentless swing. Welcome to the world of Duke Pearson, one of the most well-rounded talents to ever walk both the corporate hallways and studios of @bluenoterecords. Pearson’s talents as a pianist are obvious right off, and on this album he also serves as primary composer (other than the closing track by trumpeter Donald Byrd), arranger and bandleader. Pearson also had a “day job”—he was head of A&R for Blue Note so he knew the business from both sides of the desk. This album has an interesting history—it slipped into a bit of relative obscurity as the master tape was inadvertently filed in the wrong box so it was “missing” for nearly three decades, reappearing a few years ago during a vault crawl and—having not been used/handled/transported for so long—was in excellent shape and brought to new life in the marketplace by the Music Matters crew. It’s a stunner—easily my favorite Pearson record. Helluva band too: Joe Henderson (tenor sax), James Spauding (flute/alto sax), Bob Cranshaw (bass), Mikey Roker (drums) and the aforementioned Pearson (piano) and Byrd (trumpet). The music from this 21 Nov 1964 session is often described as “advanced hard bop” which I suppose is close enough though it’s more than that. I can’t quite find the words to do it justice but there’s a real magic afoot here that must be heard to be understood. I suggest you do so at once
The most overlooked, under-appreciated album in the Blue Note catalog that swings powerfully with a fearless sense of adventure. Elvin Jones ‘Genesis’ is a prime example of the old adage “Don’t judge a book by its cover”, and I’m not sure if my crappy photo helps or hurts! This is high-intensity, interstellar post-bop delivered with near-telepathic elegance by the piano-less quintet of Elvin Jones (drums) Frank Foster (tenor sax/alto flute/alto clarinet) Joe Farell (tenor/soprano sax) David Leibman (tenor/soprano sax) and Gene Perla (bass). This is a truly FANTASTIC, far-reaching, inventive (not quite out-there enough to be considered avant garde) and multi-faceted set that packs a visceral wallop while blowing your mind. Listen to this one when you’re ready to LISTEN. And you’ll want a strong cup o’ coffee as your co-pilot. I can hear why Music Matters chose this (comparatively) obscure record to release amongst its library of classics: sonically, this record is a *BEAST*—the Notorious RVG was at the top of his game. And what is there to say about Elvin Jones except that listening to this record, he sounds like the mightiest drummer to walk the earth. Thunderous. Standout track: “Three Card Molly”. Recorded at Rudy Van Gelder Studios, Englewood Cliffs, NJ 12 Feb 1971# joefarrell