Lonnie Liston Smith & The Cosmic Echoes – Cosmic Funk Vinyl rip in 24-bit/192 kHz | FLAC | 300 dpi scans | Jazz, Spiritual jazz
2022 Real Gone Music || 1974 Orig. Flying Dutchman
So I actually crafted a new, short write-up of this record without remembering that I posted about it once before, 13 years ago, because of course I did. You can read that screed here, if you like. I will probably blog about this album a third time, when I get around to transferring an original Flying Dutchmen pressing I have. I think this recent reissue holds up quite well against it, sonically speaking, so here we go….
Chico Freeman – The Search
Vinyl rip in 24-bit/192 kHz | FLAC | Web scans | Jazz
1.52GB (24/192) + 806 MB (24/96) ||
1983 India Navigation IN 1059
I have not posted on this blog in nearly 6 months. For those of you still hanging around, I hope you are all doing well. A lot has been happening in the world, and in my personal and professional life, that have kept me away. But I will try and check in more frequently.
Ramsey Lewis passed away at a dignified age as an elder statesman of jazz since I last posted. Gal Costa, among the first artists to attract my ears to Brazil, passed away this week suddenly and in a manner that sent the country into a spasm of collective grief. At least she got to see the country kick the fascist scum Bolsonaro out of office. I don’t really do “memorial blog posts” any longer but I will probably post about both of those artists in the coming weeks and months. Meanwhile, I have been listening to a lot of Chico Freeman lately, who is alive and well.
The search for peace in times of war, for stillness in times of agitation – that is the basic sentiment that motivates, opens, sustains, and closes this nonchalantly beautiful record by Freeman (who is from a prolific jazz family that includes his father Von Freeman and brother George). It builds on a tradition of ‘spiritual jazz’ whose efflorescence was happening when Freeman was just getting started, and brings it into that most un-spiritual of decades, the 1980s. But there is nothing nostalgic or backward-looking about this record; it could have been made at any time in the last fifty years. And Freeman is still out there making good music, having recently returned to New York after a long period living in France.
This album was never released on CD and it is very, very good. It is one of several examples of great work Freeman has done with jazz vocalists — in the year following this album, he also released a collaboration with Bobby McFerrin, titled ‘Tangents’, which is excellent as well. Vocalist Van Eley is better known for her work in musical theater than for jazz sessions (this is her only credit on the resource Discogs); a few years before this she participated in the and this appears to be her one and only album credit, so that is a bit mysterious.
I have a handful of Freeman’s output on India Navigation (not all of them, but getting close) as well as stuff he recorded for other labels. I’ll make a banal observation about a difference between the worlds of jazz and pop music here: the ability, or maybe insistence, of artists not to be tied to exclusive contracts is interesting to me (although it can also work the other way around – the unwillingness of major labels to commit to promoting and fostering an artist in the long-term). Freeman maintained a relationship with the indie label India Navigation that allowed him to continue his warm embrace of the modal and the experimental at the same time he was releasing more commercial recordings on labels like Elektra. The interested vinyl collector will be happy to know that you can find those releases on Elektra and other labels like Contemporary on the cheap out there at your local record shop — and they are all solid and worth picking up. . The India Navigation titles will cost you a bit more.
An example of the Freeman’s ease with taking risks can be found as soon as the needle hits the vinyl here, opening with the only the voice of the relatively unknown Van Eley reassuring us that there IS peace, if we look within. It is one of those sentiments that sounds trite when spoken, but get a good vocalist to SING it on a jazz record and it becomes an invocation, or at least an invitation – Freeman has a message he wants us to hear, something he feels strongly enough about that a purely instrumental jazz record just won’t cut it. As bold a statement as the opening title cut, things really get moving with the second piece, which heavily features Brazilian percussionist Nana Vasconcelos doing all the things he does, opening the track with one of his trademark musical invocations on the berimbau. Cecil McBee contributes a pretty traditional jazz balad, Close To You Alone, which is an refreshing grounding back in the element of Earth and the more ordinary varieties of love and loneliness. Soweto Suite brings back the hard edges and merges Earth and Spirit, a drum solo from Billy Hart near the beginning along with an urgent vibraphone riff as a base, the angular melody of Val and Chico blending voice and saxophone, cascades of piano from Kenny Barron, and the whole structure subjected to a controlled demolition in several places of free-jazz skronk. Although I don’t hear any musical nods to the rich South African jazz scene, I’m not actually trained in this stuff so maybe someone else can illuminate me if I missed it. I assume the subject matter is more concerned with the abomination of apartheid.
To the best of my knowledge, this album has never been released on CD or on a digital streaming platform. I hope you enjoy it as much as I do.
Tracklist A1 – The Search (10:50) A2 – Illas (11:40) B1 – Close To You Alone (07:25) B2 – Soweto Suite (12:15)
Total length: 42:10
More information: https://www.discogs.com/release/1134622-Chico-Freeman-The-Search
Published By – Nisha-Ayl Publishing Company
Published By – LeMac Music
Mastered At – Europadisk
Bass – Cecil McBee
Berimbau, Percussion – Nana Vasconcelos
Drums – Billy Hart
Piano – Kenny Barron
Tenor Saxophone, Flute – Chico Freeman
Vibraphone, Marimba – Jay Hoggard
Vocals – Val Eley
Design – Tan Ohe
Photography By – Beth Cummins
Producer – Bob Cummins
LINEAGE: 1983 India Navigation IN 1059 pressing; Pro-Ject RM-5SE with Audio Tecnica Signet TK7E cartridge; Speedbox power supply; Pro-Ject Tube Box S2 preamp; Audioquest Black Mamba and Pangea Premier interconnect cables; RME Babyface Pro interface ; Adobe Audition at 32-bit float 192khz; Click Repair with output monitored manually; further clicks and pops removed manually with Adobe Audition 3.0; dithered and resampled using iZotope RX Advanced. Converted to FLAC in either Trader’s Little Helper or dBPoweramp. Tags done with Foobar 2000 and Tag and Rename.
Various Artists – Freedom Rhythm & Sound: Revolutionary Jazz & The Civil Rights Movement 1963-82 2009 Soul Jazz Records
I apologize for my absence during these challenging times of turmoil. The truth is I am exhausted by everything happening in the world, but not anywhere near as exhausted as my black friends, especially those in the United States. I feel like those who know me, know where I stand. Continue reading
Soprano Saxophone, Alto Saxophone, Nagasuram, Flute – Charlie Mariano
Vocals (on “Mirror” only) – Asha Puthli
Written-By – Charlie Mariano (except A4)
Produced and mixed by Arif Mardin
Recording engineer – Gene Paul
Although his name appears on classic records by Mingus, Chico Hamilton, Shelley Manne, Elvin Jones (hey, lots of drummers seem to like him), I think I first started really paying attention to Charlie Mariano through his work with the wonderful Toshiko Akiyoshi, to whom he was married for a few years in the 60s. Incidentally this is also how I discovered Lew Tabackin, who became Toshiko’s second husband and formed a much longer musical partnership. Along with Phil Woods, these artists constitute a group of highly prolific jazz cats about whom I’d love to spread some enthusiasm. Might as well start here, even if this is an atypical example.
I had no idea Mariano had made any records this heady until I stumbled on it. The garish cover art, with a creepy eyeball thing glaring out at you, acts like a sort of magnet. It either attracts or repels you away, depending on your musical polarity. I’m not sure the album art does the music justice, and in fact I would nominate it for my art gallery of Garish and Gaudy 1970s Jazz-Funk Album Covers, a project I am initiating right now (other inductees include a Blue Mitchell record I picked up recently, and this amazingly fugly George Duke/Billy Cobham thing).
Musicians of Mariano’s caliber can pretty much do whatever they want and pull it off. I don’t know what kind of soundscape he had in mind when he went into the studio to make this album, but with the help of some very competent friends, he created a canvas on which he could moan, wail, and shriek (pleasingly) on soprano and alto sax in ways I did not expect. The band he put together to create this moody, genre-blurring music with vaguely spiritual inclinations is more than up to the task. One pleasant surprise is the presence of a young Tony Levin on bass, years before he would start progging it up with Peter Gabriel and King Crimson. Levin was not a complete stranger to soul jazz/funk sessions in the early 70s – other records I have with him from this period include Jack McDuff and Deodato – but this is probably the first time that he really stood out for me in this capacity. This may partly be due to the fact that he is featured right alongside upright bassist George Mraz. Levin lays down the lower register funk, freeing up Mraz to do more textured and melodic things in the upper register.
Airto is somewhat underutilized on this record. He doesn’t seem fully present or into it all the time, sometimes more like a percussionist “playing in the style of Airto” rather than the man himself. Perhaps Mariano kept his eccentricities on a short leash, or maybe this was just session #374 for Airto in 1972 and goddamnit what do you want from the guy, does he have to be on fire all the time or what? Keysman Pat Rebillot satisfies the urge to hear some Fender Rhodes and also favors us with some acid-drenched, reverby organ on the opening cut, but his solos don’t really push the music anywhere adventurous. Session vet David Spinozza gets in some nice solos on the guitar, in particular on the title track. Drummer Ray Lucas is one of those guys who probably never got his due recognition. His credits include King Curtis, Roberta Flack, Eugene McDonald, Shirley Scott, Donny Hathaway and a ton of other people: he was even briefly a bandmate of Hendrix, as part of Curtis Knight and The Squires. There is nothing flashy about his playing, it doesn’t call attention to itself, but it casts a solid foundation to build around, and provides agile fills and texture when needed. Never underestimate the importance of simply playing time. Indian singer Asha Puthli contributes vocals to the album’s titular track (she also appeared on Ornette Coleman’s “Science Fiction” sessions from the same year). At first I thought this was wordless vocalizing before I checked the back of the LP cover and saw that she was singing the free verse poem there. I’ll have to assume her voice is deliberately submerged in the mix, perhaps to trigger subliminal spiritual contemplation.
Deliberate, because producer Arif Mardin was no amateur. That guy knew how to mix. And this record sounds great. In fact, in spite of the fact that I started with a not-quite-perfect copy (although in better shape than the cover would indicate), the sound is pretty solid. This is not only the mixing but also the famous Monach Pressing Plant who should get a shout-out. Quality control!
All of the compositions are by Mariano except for Michel Legrand’s famous “Summer of ’42” theme, which is here given a languid deconstruction where Charlie plays the flute. Slow funk grooves are blended with modal and outside riffing. The second track, “Shout,” is like the opening of a baptist tent revival meeting, with Charlie coaxing harmonics from his sax by overblowing furiously. F-Minor Happy is very Deodato-esque (Deodatismo?), a more rough-hewn and stoney take on CTI-style jazz funk. “Vasi Bindu (Raindrops)” is a free and open piece coming halfway through the second album side, as if to help us come down from the plateaus of the massive title track. The album closes with the short “Madras,” which features Charlie on the nagasuram for the first time on this album. This South Indian instrument ends the record on a truly ceremonial note, sounding a bit like Mariano may have been trying to beat Don Cherry to doing the soundtrack for The Holy Mountain. It makes you sit up and pay attention.
This record goes pretty deep, but is also just a damn pleasurable listen that you can enjoy while going about your day. I feel the need to point that out because a lot of the adjectives used in this post (heady, spiritual, free, modal) would tend to indicate a record that might get in the way of activities like reading a novel, making love, writing a novel, or tidying up the house (unless you are the type of person who likes to fold laundry and clean bathrooms while listening to Anthony Braxton or AEoC in which case this warning doesn’t apply to you). I hereby declare this record completely safe for “taking care of business.” It might uplift you and inspire you to seek enlightenment, but it won’t automatically induce a trance state, epileptic fit, or other central nervous system anomaly.
Hear, Sense and Feel
1972 Black Jazz Records BJ9
1 Awakening – Prologue / Spring Thing 9:36
2 When Will It Ever End 7:16
3 Convulsions 6:37
4 Kera’s Dance 10:05
5 Jupiter 7:33
6 Brand New Feeling 5:50
7 Awakening – Epilogue 1:08
Bass – Reggie Willis
Drums – Arlington Davis, Jr.
Flugelhorn, Trumpet – Frank Gordon
Piano, Electric Piano – Ken Chaney
Tenor Saxophone, Flute – Ari Brown
Trombone – Steve Galloway
Electric bass on “Brand New Feeling” – Richard Evans
Produced by – Gene Russell
Recorded at Streeterville Studio, Chicago
A lovely, dare I say a gorgeous record from jazz ensemble The Awakening, all of whose members seemed to have connections of the AACM collective founded by Muhal Richard Abrams in Chicago. While Frank Gordon and Ken Chaney were co-credited as bandleaders, the record has the kind of musical egalitarianism you might expect. Recording for the short-lived Black Jazz label, they were only around for about four years and put out two excellent albums of mostly mellow, modal, moody jazz in the more soulful corner of the Afrocentric “spiritual” jazz idiom. In spite of having a track titled “Convulsions”, everything on the record is melodic, with the occasional free riffing or over-blowing coasting on top of solid grooves. The record opens up with a invocation-type poem that leads into “Spring Thing,” which eases us into the album. If I have any criticism of the record it might be that, while this first track features obligatory solos from everyone as a way of introducing their voices, it somehow ends up not particularly representing the musical identity of the group. But that is okay, because 1972 was a time when people seemed to have more time to sit and listen to music and didn’t have to be `hooked` in the first few minutes to stay interested. Patience, my friend. “When Will It End” has a circular-time thing going apropos of the title, with the bass playing a five-note ascending riff that barely changes over the course of seven minutes. Chaney switches to electric piano for this one with delicious results. Speaking of piano, for whatever reason, random association or coincidence, the two compositions by (trumpeter) Frank Gordon remind me a lot of McCoy Tyner
With the exception of special guest Richard Evans, who plays the only electric bass on the record on the funky closer “Brand New Feeling,” the two members with the broadest pedigree outside the AACM seem to be Steve Galloway and Ken Chaney. Galloway played with Count Basie in addition to credits on the cult-classic “Funky Skull” album by Melvin Jackson and a respectable number of soul sessions (Jerry Butler, The Dells, The Staples), and Ken Chaney, who among his other accomplishments played on the massive hit “Soulful Strut” by Young-Holt Unlimited.
“Hear, Sense, and Feel” is an immediately accessible, uplifting jazz record. Their next album, “Mirage,” was a bit funkier and a little bit more “out” as well.
A long time ago I promised to share a whole bunch of stuff from the Black Jazz discography. Well as the saying goes, promises were meant to be broken. Anyway this should help ease the pain until I dip back into their catalog again here.
A1 Spirit Dance A2 The Tenth Pyramid A3 John Coltrane Was Here A4 Ballad For Mother Frankie White B1 Samba B2 Unlocking The Twelfth House B3 Praise Innocence
Bass – Ray Drummond Percussion, Flute [Bamboo], Vocals – Baba Omson Piano – Ed Kelly Producer, Photography – Ed Michel Violin, Vocals – Michael White Vocals – Makeda , Wanika King
Engineers – Ken Hopkins, Rick Stanley Mixed By – Baker Bigsby Artwork and Photography – Philip Melnick
Pneuma (Part 1) 5:16
Pneuma (Part 2) 4:57
Pneuma (Part 3) 4:11
Pneuma (Part 4) 4:13
Pneuma (Part 5) 1:52
Ebony Plaza 9:18
Journey Of The Black Star 2:53
The Blessing Song 6:25
Bass – Ray Drummond
Engineer – Baker Bigsby
Percussion – Kenneth Nash
Piano – Edwin Kelly
Producer – Ed Michel
Violin – Michael White (2)
Vocals – D. Jean Skinner, Faye Kelly, Joyce Walker, Leola Sharp
If you are a person for whom jazz violin is an acquired taste, then the notion of “free jazz violin” will probably send you running or at least reaching for the earplugs. I confess that I am personally still grappling with the finer nuances of Leroy Jenkins and occasionally undergo a self-imposed “music appreciation course” at my house featuring his recordings. So you could say I appreciate the fact that Michael White’s music is not nearly as abrasive as Jenkins and in fact often crosses over into the downright accessible and melodic. White has a lengthy resume that includes sideman gigs with people as diverse as John Handy and Sun Ra, but it was his electric proto-jazz-rock band The Fourth Way that led me to seek out these two albums. Well neither “Spirit Dance” or “Pneuma” sound anything like The Fourth Way but if I felt any disappointment at that discovery, it didn’t last long. These are both excellent records.
Initially the listener is likely to be struck by what the records lack as opposed to what they offer – the absence of any horns whatsoever, as well as a traditional trap drum kit. The versatile percussionists (Baba Omsun for “Spirit Dance,” Ken Nash for “Pneuma”) manage to let you hardly miss the drums, and as for lack of reed or brass instruments.. well you’ll just have to deal with it, because the tonal palette is a bit thin in the upper register at times. The upside is that when he lost the horn charts, White gained not only a unique sound but also the flexibility that makes his avant-garde and free jazz flourishes more focused. Considering the technical designation of the piano as a percussion instrument, Michael White is often the only voice here that isn’t in the rhythm section, which liberates him to switch between riffing on melodies and freaking out at will. The stuff stays grounded, though – there are quite a few shortish compositions with audible roots in blues and gospel, and the group often leans more towards modal jazz than free jazz. Note the very brief use of an overdubbed violin at the end of the first track “Spirit Dance” here, too. The turgid tabla of The Tenth Pyramid reminds me of the few months that I took tabla lessons – is this in tintal? – but it only lasts for four minutes so if sloppy faux-Indian jazz annoys you then at least your suffering will be brief. “John Coltrane Was Here,” besides having a great smile-inducing title for a tribute to the late deity, is a lovely modal piece with the almost requisite quotations from ‘A Love Supreme.’ It satisfies your nagging curiosity about what a violin-jazz invocation of Coltrane’s spiritual vision would sound like. Now that you know, you can finally sleep at night. Again there is judicious use of overdubbing – is this cheating? I’m not keeping score so I’ll let it slide. Another interesting piece here is the unimaginatively titled “Samba,” which may leave you scratching your head until you hear the congas and the electric bass guitar whose notes accent the downbeat where the surdo drum would be. The abstract sandbox of “Unlocking The Twelth House” is a great closer for the album. Unfortunately it doesn’t actually end the record, but since I usually just skip over the last track, that’s my story and I’m sticking to it – this is a great way to end the record. However if atonal wordless vocals sung by children are your thing, by all means crank up “Praise Innocence.” After all you may have been hoping to annoy your neighbors with this album, and up until now you may have not succeeded. This ought to do it.
I usually don’t listen to the two records included on this disc back to back, in order to “maximize their efficacy” or something like that. While “Spirit Dance” manages to keep things fun, “Pneuma” actually ranks a bit higher for me. It may be a bit more sombre but it also seems more fully-realized, like he went into the studio with a more single-minded approach to make a statement, as opposed to recording a collection of pieces. The original first side of the LP is comprised entirely of the “Pneuma” suite. For a spiritual jazz homage to the breath of life, it actually boasts a pretty traditional jazz arrangement, with each instrument getting equal time to lead the group after the primordial swells and slow, sustained crescendos of the opening. First White’s violin, then the bass (acoustic this time, which is a welcome choice), then piano, and finally percussion before wrapping the whole thing up. It’s pretty brilliant and if you are only going to listen to one “side” of this two-on-one release, I would pick this one. The second half of “Pneuma” is just as impressive, with the additional textures of vocal arrangements on “Journey of the Black Star” and “The Blessing Song.” The latter is just downright catchy and merits a place on a compilation of that ill-defined ‘genre’ referred to as “spiritual jazz.” It’s a beautiful and sweet resolution to the little musical journey Mr. White takes us on, which is one where his intensity is balanced by warmth that is often missing from these styles of jazz. Solid stuff. And check out The Fourth Way if you don’t know them.