Sam Rivers: Contrasts

This great Sam Rivers album from 1979 has an apt title, for sure, and this adventurous (which is self-evident with ever-exploratory multi-instrumentalist) recording is also a contrast for the ECM label, not best known for its free jazz catalog.  

It is also brimming with sonic contrasts that are highly complementary thanks to the interplay between the leader and the remarkable George Lewis on trombone.  Meanwhile, the rhythm section is as tight and inventive as the horn players, with Dave Holland always superlative on bass and the totally underappreciated Thurman Barker on drums (love that solo on "Zip," for example).

The pieces themselves have a broad range of sounds, tempos, and structures with some being more ambient and amorphous and others really hitting hard and swinging.  So the transition from "Zip" to "Solace" is a perfect embodiment of the former being an up-tempo, fairly straight-ahead romp and the latter a beautiful and contemplative work, including Barker's excellent marimba work behind Rivers' sinuous soprano and Lewis' sympathetic trombone work.

Then, it's to "Verve" and Rivers playing a gorgeous flute with the rhythm team right there in perfect synchronicity, while Lewis, always mindful of mood and where bandmates are, does great work after the leader's turn.  "Dazzle" takes off from Rivers' tenor and Barker's rapid cymbal work and, indeed, dazzles when the others join in to display great inter-group dynamics.  Really, though, all of the seven tunes are superlative and Contrasts one of the many highlights in Rivers' lengthy and fascinating discography.

The Art Ensemble of Chicago: Urban Bushmen

I was very fortunate in being able to buy the massive box set, The Art Ensemble of Chicago and Associated Ensembles, released by ECM Records in 2018 and containing 21 discs from the group and side projects involving various members.  The set was missing the box and the first CD, comprising Nice Guys, the first ECM album by the group and released in 1979, but the cost was only $50 plus tax and I soon after bought a used copy of Nice Guys for $5, so this was a spectacular deal.

The music is pretty amazing, including some excellent AEC studio work, such as Full Force, the first album of theirs that I heard thirty years ago, live albums, and the wide-ranging "associated" material, including solo albums by members of the ensemble and recordings by others, like Jack DeJohnette, which featured AEC personnel.  As great as the studio albums were, the live recordings are remarkable, including 1982's double-disc Urban Bushmen.  It features all the hallmarks of the Ensemble, including dense percussion, atmospheric soundscapes, blistering horn playing, and one of the best rhythm teams around with chaos, joy, tradition, innovation, power, beauty and many other adjectives all fitting the bill at various times.

As Joseph Jarman's notes about the group preparing for this performance at the Amerikahaus in Munich, Germany on 6-7 May 1980: "They arrive, without name nor form but as the personators of GREAT BLACK MUSIC—ANCIENT TO THE FUTURE; as it flows from the then to now, the beginningless beginning to the endless end, from the center of the center to the unlimited bounds of the universe."  Listening to this phenomenal album, it really does feel that way and it is, ultimately, uplifting music, especially in the strange year of 2020.

Steve Reich: Music for 18 Musicians

This is generally considered a landmark "minimalist" recording and perhaps the most renowned of the works of Steve Reich.  The composer and colleagues first recorded the work for this release on ECM (notable as the label of jazz pianist Keith Jarrett among many others) in 1978 and there are detailed explanatory notes by Reich.

He stated in the notes that the earliest work on the piece took place in Spring 1974 and completion took place a little under two years later.  The organization of the instrumentation was new with a violin, a cello, two clarinets doubling the bass clarinet, four female singers, four pianos, three marimbas, two xylophones and a metallophone.

Notably, Reich observed that "there is more harmonic movement in the first 5 minuts of 'Music for 18 Musicians' than in any other complete work of mine to date," though he added that most of this consists of "a re-voicing, inversion or relative minor or major of a previous chord" within a narrowed key signature limit.  Certainly, anyone who has heard his "Early Music" recording (featured here previously) or other works prior to 1976 can identify with his statement on harmony.

Concerning rhythm, always a significant component of Reich's work, he pointed out that there were two simultaneous types in the piece, with the first being "a regular rhythmic pulse in the pianos and mallet instruments," while the other consists of "the rhythm of the human breath in the voices and wind instruments."  These pairings involve playing or singing notes "for as long as their breath will comfortably sustain them."  Reich's discovery that these dual rhythms are akin to "waves against the constant rhythm of the pianos and mallet instruments" and constitute a new sound source that he wished to develop in future work is something the listener can easily pick up on, even amateurs such as YHB.  Even though the strings don't "breathe," Reich wrote that the players can "follow the rise and fall of the breath by following the breath patterns of the bass clarinet.

There are also, he went on, a cycle of eleven chords played at the beginning and end of the nearly hour-long piece, that determine the structure, as "all the instruments and voices play or sing pulsing notes within each chord."  In addition, each "pulsing chord" is held for several minutes, during which a construction is added that changes the following chord and stretches them out.  Moreover, repeated elements will vary by harmony and instrumentation, so that a pulse played by the pianos and marimbas in one section will be followed by marimbas and xylophones in a following one.

Reich also employs interesting relationships between harmony and melody, pointing out that "a melodic pattern may be repeated over and over again, but by introducing a two or four chord cadence underneath it, first beginning on one beat of the pattern and then beginning on a different beat, a sense of changing accent in the melody will be heard."  Again, this is also very discernible and is one of several techniques that reveal how repetition can be given variety to develop a freshness that holds the listener's interest in a long, uninterrupted piece.

Finally, the composer explained that the use of the metallophone is as a cue to guide the musicians from one section to the following one "much as in a Balinese Gamelan a drummer will audibly call for changes of pattern, or as a master drummer will call for changes of pattern in West African music."  Because there isn't a conductor who isn't playing, Reich concluded by stating that "audible cues become part of the music and allow the musicians to keep listening."  This also seems to provide a state of constant interplay that aids in the sense that the music flows smoothly in an organic way, though obviously it is a structural facet of the piece.

It is worth pointing out that Reich's studies in drumming in Ghana in 1970 and then study with gamelan in 1973 and 1974 in Bali gave him the underpinning to introduce concepts of these musics in this composition.  Gamelan has influenced a number of composers, including Satie, Cage, Harrison, Bartok and others.

What stands out to this listener on "Music for 18 Musicians" is that there is obvious repetition and order, but the way that the sustained "pulsing chords" evolve harmonically in tune with melody and with varying combinations of instrumentation following from section to section provides a much-needed variation to keep the listener's attention in focus.  Moreover, there is a true warmth to the playing of these acoustic instruments within the evolving framework of the piece.  The result is a richness and beauty that makes for an important benchmark in the development of so-called "minimalism."  Repeated hearing of this fascinating work continues to yield a great deal of enjoyment and it is a testament to Reich's careful and thoughtful approach that this is the case.

Keith Jarrett: The Survivors' Suite

This album was a favorite of this listener when it was purchased on cassette in the early 90s.  Featuring Jarrett's "American quartet" of Dewey Redman, Charlie Haden and Paul Motian, this April 1976 recording employs the multi-instrumental bent that the pianist employed often in the period.

The "Beginning" section, stretching over 27 minutes, begins with the quartet utilizing various types of African-like percussion, wind instruments (Jarrett on bass recorder) and stringed instruments (notably Haden's plucking, apparently, of his double bass), establishing a melancholy and contemplative that builds into a stronger rhythmic "ethnic" and tribal groove. 

This is probably why it was so enjoyed at the time and is now, given this blogger's bent for all types of "world music" and it's always good to see musicians established in certain genres (though this is not of their own making usually) employ other instrumentation and ideas to give a freshness, vitality and variety to their work. 

In Jarrett's case, in particular, given that he has become so identified with solo piano and the covering of standards, albeit fantastically done and also not reflective of the fact that he and his associates often do move into freer playing and other excursions, this move into a very different kind of sound was particularly welcomed.

At about six minutes, the band settles into using their traditional instruments, with some overdubbing of the flute, including harmonizing of Jarrett on soprano and Redman's tenor.  This is another interesting aspect of the leader's work at the time, in which he made more use of his playing of other instruments aside from the piano, which he has not done much of in recent years.  His soprano playing is quite good and this ability of his to play well on other instruments than piano is somewhat reminiscent of the late, great Sam Rivers.

The theme is majestic, compelling and memorable and is restated throughout several minutes with Haden's bass being particularly notable for its deep, rich and "spreading" (can't think of another way to say it) sound, especially as Redman begins a very fine tenor solo at about ten minutes.  Motian's drums are also recorded in a way that emphasizes the use of the hi-hat and his shifting patterns throughout his kit, but almost no cymbal work at all, which makes his playing stand out.  Meanwhile, Jarrett's accompaniment aids further in the rhythm section's foundation behind Redman's solo.

Just prior to thirteen minutes, Redman winds down and the mood changes to a light, dream-like one with Jarrett playing a beautiful solo with Haden's accompaniment.  Overdubbed celeste by Jarrett further highlights the airiness of the portion of the piece.  The solo is short, as by sixteen minutes, Redman comes in with a strong assertive expression of another theme along with Motian, who makes active use of his cymbals here, and the tenor player goes off into another excellent solo, well supported by his band mates.

At nineteen minutes, Haden takes an emotive solo, accompanied by the celeste, eschewing flashiness or a demonstration of technical ability, and this is what has made him such a unique and formidable bassist for so long.  Using the celeste and its delicate tones is a nice way to compliment Haden's excursion, as well.

Just past twenty-one minutes, the full band returns, continuing with the slower rhythm from the bass solo and Redman's playing again soars for a period before Jarrett performs another crystalline and gorgeous solo, this time with the remainder of the band along for the ride.  Towards the end of this opening section, Haden goes into another evocative solo with the celeste as the "Beginning" winds down.

The "Conclusion" has an abrupt change in tempo and intensity as the band tears immediately into a frenetic and powerful theme, propelled by Haden's often-chaotic bass work, Jarrett's freer acompaniment and Motian adept use of cymbals and shifting patterns, while Redman launches into another solo (in many ways, Redman gets the best opportunity to showcase his talents than the others in the quartet on this record.)  For a time, Redman blazes away, while Motian tears at his kit and Jarrett employs various percussion instruments for a very stark and powerful accompaniment before he returns to jabs and off-kilter runs on the piano.

From three minutes or so, Motian solos with Jarrett there for a bit before he drops off and leaves the drummer to explore his kit.  About a minute in, someone lets out a few whoops before Jarrett and Haden return and the tempo is slowed and a steady groove comes in for the pianist's next solo, with more tribal percussion for color employed.  The bass recorder also returns in overdubbed form to provide a ghostly background.

At about 7:15, another theme, bright and catchy comes in and Redman takes it up shortly after on his tenor to considerable lighten the mood and provide the all-important variation needed to keep long tracks from becoming redundant and meandering.  Jarrett has another fantastic solo for about four minutes, before Redman comes in and lays down another beautiful solo along with a bright and telepathic accompaniment from the others that makes for a highlight of a record filled with them.

Haden solos again at just over 13 minutes and this time ranges further over his instrument for a couple of minutes, before Jarrett returns with a plaintive statement on his soprano and Haden and Motian quietly playing behind him.  Then comes an overdubbed bass recorder and Haden's plucked bass, while Jarrett continues on soprano and the piece returns to that spiritual and tribal element that opened the record way back when and then a dramatic fanfare comes in at about 18 minutes with Redman back on tenor and Jarrett on piano as the band winds down to the conclusion of this masterful recording.

Often, these side-long performances in suite form wind up being alienating to some listeners, particular if the playing meanders, but the changes in instrumentation, tempo, theme and expression make The Survivors' Suite a beautifully-integrated and flowing recording that provides enough change in color, theme and instrumentation to grab and hold the listener's attention throughout.  It also helps having the superb band that made up the "American quintet," because Redman, Motian and Haden were such a great combination to work with Jarrett through some impressive 1970s recordings.

The Survivors' Suite is quite likely that group's peak performance and is certainly at the top of this listener's list of great Jarrett and jazz recordings.

Keith Jarrett:  The Survivors' Suite (ECM Records, 1977)

1.  Beginning  27:21
2.  Conclusion 21:19

Keith Jarrett: The Köln Concert

The recent post on Cecil Taylor's solo masterpiece, Air Above Mountains (Buildings Within), is a nice (!) comparison and contrast to this one on another pianist whose solo work has been acclaimed.  Keith Jarrett has, however, had a far larger audience than Taylor because his music has not been perceived to have been near as adventurous (though, at times, Jarrett has alienated some of his longtime followers by excursions into freer, more atonal material, though nothing near as "out" as Taylor at his most accessible.)

While it might be easy for devotees of one to suggest that their favorite is superior to the other, YHB enjoys the music of both for different reasons, not the least of which is whatever mood happens to suggest listening to one as opposed to the other.  Taylor and Jarrett, different as they may be, are both possessed of protean talents, able to improvise entire solo concerts with prodigious technical abilities, and, as importantly, throw themselves completely into what they do.  It is this latter quality which seems most impressive to this blogger, because there are many excellent pianists who can improvise with imagination and precision, but these two inhabit a plane that is elevated because of their total commitment and immersion in the power of the moment when they dazzle in that solo concert setting.

Jarrett, born in Allentown, Pennsylvania in 1946, was a child prodigy on his instrument and made his first splash in the jazz world as a member of the popular Charles Lloyd Quartet in the mid-1960s.  He started his solo career about 1967, though was a member of the electric Miles Davis group in 1970, despite his public dislike of electric pianos and organs, and appeared on such recordings as Live-Evil.  In the earl 1970s, he agreed to record for a brand new German label, ECM, ran by Manfred Eicher, and the partnership has been a 40-year success for both.  Of the dozens of Jarrett released on the label, his solo works and the "standards trio" he has worked with for over 30 years, including bassist Gary Peacock and drummer Jack deJohnette, have been his most successful endeavors.

Jarrett's 1975 recording, The Köln Concert, is generally acclaimed as perhaps his greatest work.  For an hour and ten minutes, the pianist takes the listener on an exploration of many melodic and rhythmic concepts that, to some, preface the coming of "new age" music, though, to this listener, the recording has no relation to so-called "new age."  All that comes to mind is that the wildly experimental work of Taylor or the heavier and denser, but also highly melodic, work of McCoy Tyner might leave the impression that, comparatively speaking, Jarrett's lighter touch and use of silence and space appear to be a precursor to, say, George Winston.

Really, though, Jarrett's playing is beautiful, hypnotic, inventive and brimming with passion, exemplified by the grunts, groans, shouts and other manifestations of emotion that are highly annoying to some, as are the visual representations in which Jarrett writhes, wriggles and otherwise contorts himself as he channels the spirit of the moment.  It doesn't appear in any way to YHB that any of this is contrived, but these aspects of his performances, as well as some of his interview and liner note statements lead some to conclude that Jarrett falls prey to a form of self-indulgence that detracts from the experience of listening.  Without disputing anyone's right to feel that way, obviously, YHB can only say that these aspects of the musician seem totally honest and deeply-held and do not take away from the enjoyment of this incredible musician's work.

In fact, for all of the exciting playing on The Köln Concert, it may be as equally impressive that Jarrett did this under very difficult conditions.  He had a long, draining drive to the German city after playing a show a few days before in Switzerland.  Jarrett also had a serious back injury that required him to wear a brace, yet the pain was still so intense that he had very little sleep during the trip and he very nearly cancelled the show, which took place on 24 January. 

Moreover, his request for a particular type of Bosendorfer piano was followed by the obtaining of the wrong instrument, which was so poor, that Jarrett had to find ways to make up for deficiencies in the bass range by playing ostinatos and rolling rhythms with the left hand.  He also used vamps of a single chord or two for long periods of time, the repetitiveness of which often draws criticism, but which, to this listener, are part of establishing a deep, solid groove against which the derive his beautiful sweeping melodies.  In fact, his melodies often seem folk-like or have a tinge of country or rock in them and his classical training also appears to take much of the playing away from the syncopated rhythms associated with jazz (in quite a different way, Cecil Taylor's classical training leads him to play in ways that seem removed from most jazz piano, as well.)

This may account for Jarrett's unusual popularity--this recording, the best selling of any solo piano work period, much less that of jazz, has sold nearly 4 million units--in the fact that his playing is more "accessible" than that of other jazz pianists.  Those long repetitive chords in rhythm and his sprightly melodic sense have, some jazz lovers complained, been more pop or rock than jazz should be.  As if jazz has ever had a fixed set of criteria for pianists to follow.  One can run the gamut from Jelly Roll Morton, Art Tatum, Duke Ellington, Bud Powell, Thelonious Monk, Cecil Taylor, Bill Evans, McCoy Tyner to untold others and then figure out whether there is a standard approach to how to play "jazz piano" and apply that to Jarrett (or, for that matter, to Brad Mehldau, who does just fine working with pop and rock songs in innovative and exciting ways, too.)

There are many other remarkable Keith Jarrett solo recordings out there (Vienna, Sun Bear, Radiance and the recent Sol come to mind), but the Köln is the one that has the biggest impact on fans (and, perhaps, the most resistance from critics.)  To this listener, it is one of the signal jazz recordings of any type and testament to the talent of one of the most imaginative and inspired musicians anywhere.