Social Distancing Spins, Day 2

By Joel Francis

Welcome to another installment of spelunking in my record collection while the world … well, who knows what’s happening out there. Let’s just stick to the music.

A.K. Salim – Afro-Soul/Drum Orgy (1965) I knew nothing about this album that wasn’t on its packaging when I bought it. I don’t know much more now. But this much is certain: If you want lots of African percussion with blasts of free jazz swooping in and out, this is the place to be. It’s not for every day listening, but at the right time this always does the trick.

Nas – Illmatic: Live from the Kennedy Center (2018) Illmatic is such a great album that this edition marks the third time I’ve purchased it. After owning the original CD and album, I passed on the 20th anniversary edition and rolled my eyes when I heard an orchestral live version was coming out. Then I heard a track and knew I was going to have to buy this again. Hearing these performances with the National Symphony Orchestra takes the album to another level. It’s almost like watching The Godfather in a 1972 theater, then viewing it in IMAX. The jazz organ underpinning the original “Memory Lane” becomes a swirling concerto complemented by the DJ Green Lantern’s scratches. Earlier, Nas shouts out his dad’s original cornet solo on “Life’s a Bitch.” There’s amateur footage on Youtube of Kendrick Lamar doing a similar performance with the NSO. Cross your fingers this someday gets official release.

McCoy Tyner – McCoy Tyner plays Ellington (1965) This is essentially an album by the celebrated John Coltrane quartet without the legendary leader. Without their leader’s sheets of sound, everyone else gets more room to shine. Tyner was usually the person keeping Coltrane’s songs from falling apart – think about his insistent piano line in “My Favorite Things” while Coltrane scrapes the stratosphere. Finally out front and on his own, Tyner showcases and ability to pay tribute to a genre pioneer in Ellington while applying the some of the touches he showed with the futurist saxophonist. We lost a giant when McCoy Tyner died earlier this month.

The Raconteurs – Help Us Stranger (2019) The Raconteurs have always been my least-favorite Jack White project, however their by-the-numbers approach made for a refreshing listen after White’s previous release, the bizarre solo album Boarding House Reach. Help Us Stranger arrived more than a decade after the Racontuers’ previous release. While I didn’t really miss them, it is nice to hear White doing some straight-up rocking without all the cutesy tricks and gimmicks.

Marvin Gaye – Here, My Dear (1978) Here’s a question to pull out when the party gets dull (or maybe when you want it to end): Who had a better 1970s, Stevie Wonder or Marvin Gaye? At first glance, it looks like Wonder in a landslide. He won all the Album of the Year Grammys and graduated from opening for the Rolling Stones to recording with Ella Fitzgerald. A second look reveals that Gaye’s decade was every bit as incredible, even if he didn’t win as many trophies. Of course What’s Going On and Let’s Get It On are the twin pillars, but I Want You and Trouble Man are very, very good, even if they tend to get lost in the shadows. Then there’s Here My Dear, Gaye’s final album of the decade and a bitter kiss-off to his ex-wife (and label boss Barry Gordy’s sister) Anna Gordy.

Gaye knew going into the recording sessions that Anna Gordy would receive all royalties from the album’s release, as per the terms of the divorce. Undaunted, Gaye recorded the longest album of his career and used that time to dissect the relationship, peel open Gordy’s heart and spray lemon juice on the wounds. Here, My Dear isn’t only a bitter album, though. Gaye slides between soul, gospel, funk and jazz as he bares his soul and examines the wreckage. At the time, it seemed few wanted to go on Gaye’s deeply personal journey. The album didn’t sell well initially, but eventually even Gordy came around to appreciating Here, My Dear.

Roy Ayers Ubiquity – A Tear to a Smile (1975) The first time I saw Roy Ayers in concert I didn’t get it at all. I was expecting a jazz vibes player in the tradition of Lionel Hampton or Bobby Hutcherson. Instead, I got what I thought was a smooth jazz crooner going on about sunshine and searching. The second time, I got it. If Louis Jordan is the link between Louis Armstrong and Ray Charles, then Ayers is the cog that connects Milt Jackson with Tupac.

Tom Verlaine – Words from the Front (1982) I think I spotted this at a yard sale for a song a picked it up on a whim. While I like Television, this is the only album I own from the Verlaine catalog. I always enjoy this album while it’s playing, but it leaves my mind almost immediately after it’s done. Sorry, Tom.

Various Artists – The Afro-Peruvian Classics: The Soul of Black Peru (compilation) I got this album in a bundle when Luaka Bop celebrated its 25th anniversary. Dismiss this collection as a mere toss-in at your own peril. You can hear everything from the roots of Celia Cruz and the samba to songs like “Son de los Diablos” that wouldn’t be out of place on the Buena Vista Social Club soundtrack. Afro-Peruvian music originated with the slaves brought over from Africa and forced to settle in Peru. There’s no trace of this horrific history on the 15 hip-shaking cuts here, but it does explain why some of the music sounds like a flamenco band got kidnapped by an aggressive drum circle.

The Dead Girls – Out of Earshot (2010) The Dead Girls were Kansas City band who weren’t afraid to proclaim their power pop influences. This is their second release and as far as I know the only one that made it only vinyl. You can hear a lot of Big Star, the Replacements and Thin Lizzy on this release and while the album plays more like a tribute act than saying something on its own, it’s still a very fine listen.

Paul Simon – Stranger to Stranger (2016) Paul Simon started taking his time between albums after Graceland took off, which is to say more than 35 years ago. Appropriately, Stranger to Stranger sounds like it has been crafted by a patient perfectionist. Simon spent an entire 40-minute podcast breaking down how he built “Werewolf,” the opening track, around the rhythms – but not guitars – of Flamenco music. Other tracks employ the experimental instruments developed by Harry Partch or the laptop sampling of Clap! Clap! “Cool Papa Bell” marries the rhythms and mood of Graceland with the profanity of The Capeman. It’s cerebral stuff to be sure, but also infinitely hummable and pleasurable.

Joe Strummer – 001 (compilation) The 2018 collection 001 is both an overview of Joe Strummer’s career opportunities outside of The Clash and a treasure of unreleased material from his archives. The ten-year jump from his pre-Clash band The 101ers to “Love Kills” from the Sid and Nancy soundtrack is jarring, but other than that the collection flows quite smoothly until its unfortunate, premature ending.

Kudos to the Strummer estate for making this set affordable, instead of a trophy piece that only the super-rich or ultra-dedicated can acquire.

U2 – October (1981) The Irish quartet’s sophomore album is easily the group’s most overlooked release. It doesn’t have the promise of their defiant debut, the hit singles on War or the Brian Eno cache of The Unforgettable Fire. All bets for October’s reappraisal were off once The Joshua Tree and Achtung Baby took off.

October’s status may seem harsh in this context, but it’s pretty fair. October is by no means a difficult listen, but it also doesn’t the chops to muscle its way into the conversation. That said, it is still nice to see “Gloria” and “October,” the album’s two best songs, creeping back into setlists for the first time since the ‘80s.

Five Jazz Legends Still Adding to Their Legacies

(Above: The Dave Brubeck Quartet “Take Five” at the Ottawa Jazz Festival.)

By Joel Francis

In a belated post-script to The Daily Record’s series on 15 jazz greats to emerge in the past 20 years, we look at five artists who are still significantly contributing to their legendary status. Although their reputations were cemented generations ago, it would be criminal to overlook their most recent works.

Roy Haynes

At the 2005 Newport Jazz Festival, Chick Corea, Pat Metheny, Christian McBride, Joshua Redman and several others all paid tribute to drummer Roy Haynes on the occasion of his 80th birthday. These musicians honored Haynes not only for his resume, which includes stints with Lester Young, Bud Powell, Thelonious Monk and Sarah Vaughan, but because he has allowed the younger artists to grow and learn under his guidance. Haynes has released six albums this decade, starting with “The Roy Haynes Trio,” which recaps his career through new performances, “Birds of a Feather,” a tribute to his former bandleader Charlie Parker, and the strong live set “Whereas.”

Dave Brubeck

One of the most important – and popular – jazz pianists of the post-War era, Dave Brubeck landed on the cover of Time magazine and became a legend with his groundbreaking, yet accessible, work with saxophonist Paul Desmond. Although the 16 years Brubeck and Desmond played together in the Dave Brubeck Quartet form the crux of his catalog, Brubeck has built an impressive resume in the 40-plus years since.

Brubeck’s current quartet, consisting of drummer Randy Jones, bass player Michael Moore and saxophonist/flautist Bobby Militello, may be the best ensemble he’s worked with since his mid-’70s pairing with Gerry Mulligan. Unlike many of his contemporaries, there has never been a Brubeck comeback; there are no lulls or low periods in his catalog. Brubeck has continued to write, record and perform regularly well past his 88th birthday. Of the nearly dozen albums Brubeck has released this decade, three stand out. “The Crossing” kicked off the 21st century with nine strong, new selections, including an ode to longtime drummer “Randy Jones,” Militello’s delightful solo on “Day After Day” and the title song, Brubeck’s interpretation of a chugging ocean liner. Brubeck blends old and new songs on “London Flat, London Sharp,” and the his quartet sizzles on the live album “Park Avenue South,” which mixes standards and favorites with more recent material.

Wayne Shorter

After two years of auditioning other horn players, Wayne Shorter’s saxophone turned out to be the piece missing in Miles Davis second great quintet. An alumni of Art Blakey’s Jazz Messengers, Shorter not only filled the spot vacated by John Coltrane, but contributed many key songs to the group’s repertoire. As if that weren’t enough, he was simultaneously cutting magnificent solo albums on Blue Note. Shorter followed his bandleader’s path into fusion, but took a more pop approach in Weather Report, the group he co-founded with keyboardist Joe Zawinul, another Davis alum. Shorter floundered in the days after Weather Report’s demise in the mid-’80s, but his three most recent albums are among the most inspired of his career. After a 12-year absence from recording, Shorter returned with “Footprints Live,” which documents his reinvigorated 2001 tour. He fronted an acoustic band for the first time in over a generation on “Algeria,” which paired Rollins and his “Footprints” rhythm section with Brad Mehldau for several selections. Shorter’s hot streak continued with his most recent album “Beyond the Sound Barrier” and his inspired playing on Herbie Hancock’s Grammy-winning “River: The Joni Sessions.”

McCoy Tyner

More people have probably heard McCoy Tyner than know who he is. The backbone and counterfoil in John Coltrane’s masterful quartet for six years, Tyner’s piano has graced well-known recordings like “My Favorite Things” and “A Love Supreme.” Tyner also put out several stellar albums under his own name on Blue Note and Impulse in the 1960s. No less active today, Tyner collaborated with Bobby Hutcherson for the live album “Land of Giants” and played tenor Joe Lovano and the awesome rhythm section of Christian McBride and Jeff “Tain” Watts for 2007’s  self-titled release. Tyner’s latest album, “Guitars,” was recorded over a two-day span that paired Tyner, Ron Carter and Jack DeJohnette with several of six-string luminaries, including John Scofield, Bill Frisell, Marc Ribot, Bela Fleck and Derek Trucks. Uninformed fans should stay away from 2004’s “Illuminations,” however. A dream pairing on paper of Tyner, McBride, Terence Blanchard, Lewis Nash and Gary Bartz, the performances are ruined by a glossy production that smothers the quintet’s interplay and is suitable only for shopping for a sweater at Nordstrom with your mom.

Sonny Rollins

Sonny Rollins’ legacy includes recordings with Charlie Parker, Miles Davis, Thelonious Monk, Dizzy Gillespie, Max Roach, Bud Powell and Clifford Brown – and that’s just in his first decade of playing. In the half-century since then, Rollins (along with contemporary John Coltrane) established himself as the preeminent post-Bird saxophonist. Although the pace of Rollins’ releases has slowed considerably, what he has put out have only added to his reputation. Recorded in Boston just four days after the Sept. 11 attacks in New York City, “Without A Song” is an emotional listen finding Rollins channeling his conflicted emotions through long solos. “This Is What I Do” continues Rollin’s penchant for transforming b-quality songs into must-listen melodies with the Bing Crosby standard “Sweet Leilani.” Rollins’ most recently release, “Road Songs, Vol. 1” mines the archives for several cherry-picked performances that prove that the passion on “Without A Song” was no fluke.

Keep Reading: 15 Jazz Legends to Emerge in the Last 20 Years

Part One

Part Two

Part Three