Horace Silver – In Pursuit of the 27th Man (1972)

Horace Silver
In Pursuit Of The 27th Man
 
Original Blue Note release:
     1972 (Germany) BST 84 433 K
     1973 (USA) BN-LA054-F
This pressing, 2012 (Japan) TOCJ-50505


 
1     Liberated Brother     5:22
2     Kathy     4:16
3     Gregory Is Here     6:20
4     Summer In Central Park     4:39
5     Nothin’ Can Stop Me Now     5:14
6     In Pursuit Of The 27th Man     9:43
7     Strange Vibes     5:01

 
    Bass – Bob Cranshaw
    Drums – Mickey Roker
    Piano – Horace Silver    
    Tenor saxophone – Michael Brecker (tracks: 1,3,6)
    Trumpet, flugelhorn – Randy Brecker (tracks: 1,3,6)
    Vibraphone – David Friedman (tracks: 2,5,6,7)
   Producer – George Butler
   Recorded By – Rudy Van Gelder

Critics have often blasted Blue Note Records’ output during the 1970s, and not without reason, for inconsistency and an overeager desire to flirt with a more commercial sound than during their classic  50s and 60s heyday.  Horace Silver’s own wonderfully “far out,” genre-bending, and delightful three-part series of LPs from 1970-72, subtitled “The United States of Mind” , was probably a case in point for purist curmudgeons.  Although he was certainly no stranger to commercial success or soul-jazz crossovers (he did write the song “Doodlin'”, after all), the sprawling eclecticism of the three “phases” of the US of M project must have had some Blue Note fans worried that they’d lost old Horace for good.   So I can’t help hearing 1972’s “In Pursuit of the 27th Man” as a kind of deliberate return to form.  That’s not to imply that it was a reaction to critics:  perhaps Silver just felt like it was time to make a good solid hard bop album again after his recent experimentation.

And that’s what he did here, while retaining a lot of the same players from those other records.  The Latin jazz opener, Liberated Brother (written by Weldon Irvine), is of the same high caliber as anything on his Cape Verdean Blues from 1966.  Recorded during two sessions with slightly different lineups, half the tracks feature the Brecker Brothers on brass and the other half showcase David Friedman on vibes, which is a first for Silver’s bands.  On the titular track, we get both at the same time.  The interplay between Silver’s piano and the vibes on this song is marvelous, fabulous, and stupendous.  The album also features one tune (Kathy) by the great Moacir Santos, then living in the US and who – as Silver mentions in the notes – was just about to make his first Blue Note LP.

This is a very worthwhile offering in the vast discography of one of my favorite jazz pianists and composers, so do give it a listen.

The ambiance of the record as a whole is an adept mixture of taxi fumes and sunlight, as captured by the breezy “Summer in Central Park.”

Hey let’s take a look at Silver’s charming liner notes now.  They include lyrics to one track that are, in fact, not present anywhere on the actual recording.  So read them and memorize them to recite along at the proper moment.

Note: the remastering engineer is not named in the credits, as it oddly the case for many of these TOCJ Blue Note CDs from Japan, but like all the others I have heard, this sounds stellar.

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Doug Carn – Infant Eyes (1971)

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Doug Carn
“Infant Eyes”
Released 1971 on Black Jazz Records (BJ/3)

Welcome 1:15
Little B’s Poem 3:50
Moon Child 7:56
Infant Eyes 9:50
Passion Dance 5:58
Acknowledgement 8:45
Peace 4:30

Doug Carn – piano, electric Piano, organ
Jean Carn – vocals
Bob Frazier – flugelhorn, trumpet
George Harper – flute, tenor, saxophone
Al Hall Jr. – trombone, trombone
Henry Franklin – bass
Michael Carvin – drums

Produced by Gene Russell

Although he recorded a 1969 album in a trio setting for Savoy (which I’ve never heard), Doug Carn is of course most famous for his relationship with the independent Black Jazz label. His albums on that imprint may be single-handedly responsible for the label’s canonical status in Afrocentric spiritual jazz. They are remarkable for many reasons, not least of which is the presence of innovative lyrics sung by his then-wife Jean Carn, who not unlike Abbey Lincoln used her voice as part of the ensemble arrangements rather than as a vocalist with a backup band. The communal family vibe is accentuated by the beautiful album cover photography and the opening tune Little B’s Poem; together with the cover photo, I feel like I knew their daughter and wonder where she is now and how she feels about all the musical attention today. While the following albums from the Doug and Jean Carn would push further with original material, this first album is noteworthy for it’s reworking of compositions by jazz heavyweights that they admired – Bobby Hutcherson, Horace Silver, Coltrane, McCoy Tyner, and Wayne Shorter. In particular, adding lyrics to that material and making the compositions into something else is the big achievement here.

I have a repress vinyl of this that sounds pretty good and began to mess around with a digital rip of it, but am unsure whether or not to keep working on it. This CD pressing from 1997 sounds okay but the second side (of the original LP) suffers from nasty wow and flutter from whatever source tape they used. This was the first appearance of this album on CD and I am not sure if there has been any other remastered versions since, but I kind of doubt it. In fact last year somebody claiming to have a set of Black Jazz master tapes was selling the whole bundle on Craig’s List for a hefty sum; the auction was dubious as they were comprised of 1/2″ reels, which even for a studio on a budget in the early 70s would have been a substandard format, and claimed to come with full reproduction rights. Most likely the reels were production copies or just plain counterfeit, the listing was not online long before it was either met with an offer or taken down. Hopefully that doesn’t mean that we’ll be seeing a new series of reissues mastered from 1/2-inch tape.. Unfortunately a few of the other extant Doug Carn reissues have the same wow-and-flutter problem. Badly stored tapes, damaged playback equipment, sloppy transferring, or all of the above, it doesn’t really matter – the end result is that this precious, important music hasn’t received the treatment that it merits. But the most important thing is that it is still available and people can hear it. Since the reissued vinyls were most certainly just the CD master with an R$AA equalization curve applied, there isn’t much point in having both versions except for purely fetishistic reasons. Unless I can manage to get my hands on original vinyl pressings, they are however all we’ve got..

The liner notes by Doug Carn are a treasure. Written just for the reissue, they have a remarkable amount of detailed recollections for being composed more than thirty years after the recordings, showing just what a special time this was for everyone involved. While this is not my favorite of the Carn albums on Black Jazz, it is unique and on its own it is a great record. The title cut, which according to the notes was the first fruits of Doug’s experience with writing lyrics to other peoples’ music, stands out as the most fully realized work here.

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