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Posts Tagged ‘McCoy Tyner’

(Above: Jimmy Smith’s “Christmas Cooking,” released in 1964, is a classic, overlooked holiday album.)

By Joel Francis
The Daily Record

The other day I was in a retail bookstore when I noticed the wonderful sounds of the Charlie Brown Christmas soundtrack coming from the overhead speakers. As I enjoyed the music, two thoughts hit me. First, I wondered if the store would be playing Vince Guaraldi’s jazz interpretations of Christmas carols if they weren’t connected to an iconic cartoon. Then I started thinking about my other favorite jazz Christmas recordings. Joining me in this Yuletide journey is my friend Bill Brownlee, the award-winning blogger behind There Stands the Glass and Plastic Sax.

The Daily Record: I don’t pull out the Christmas music until after Thanksgiving, but inevitably the first song I gravitate to is John Coltrane’s reading of “Greensleeves.” He cut this song many times. It can be found on his “Live at the Village Vanguard” collection and his “Ballads” album. My favorite version, though, may be found on Coltrane’s 1961 Impulse debut “Africa/Brass.” Not only does the performance run over 10 minutes – more than enough time to get lost in the playing – but classic Coltrane sidemen McCoy Tyner and Elvin Jones are augmented by a large brass section. The extra players beef up the sound and provide a larger-than-usual context.

Bill, what are some Christmas albums or performances that you turn to year after year?

Bill Brownlee: Along with most Americans, I’m inundated with Christmas music well before Thanksgiving. And as much as I love Donny Hathaway, Nat “King” Cole and Brenda Lee, involuntarily hearing their holiday hits saps my spirit.  Even Charlie Brown Christmas is played out for me.  And speaking of Vince Guaraldi, how often do you hear “Cast Your Fate To the Wind” played at a box store or on the radio?  There’s your answer.

That’s why I embrace the odd and the overlooked material.   Asked to supply music for my compound’s tree trimming festivities on Saturday, I immediately turned to Dan Hicks’ new Crazy For Christmas album.  The hillbilly jazz selection was so unpopular that I had to turn to (predictably boring) Motown Christmas to quell the insurrection.

TDR: The Motown Christmas may not be the most inventive holiday collection out there, but it’s certainly a lot of fun. It seems only a few new Christmas songs are allowed to escape each year. At this pitiful pace, it will be several years before today’s songwriters gift the public with something as great as Stevie Wonder’s “Someday at Christmas.” His “Ava Maria” is also sublime. It’s also difficult to complain with the blending of the Temptations vocals (even if the arrangements are overly familiar) or the joy in Diana Ross and Michael Jackson’s delivery.
If it’s a classic R&B Christmas you want, though, I’d suggest “Christmas in Soulsville” aka “It’s Christmas Time Again.” The tracklisting more inventive – where else are you going to hear “Back Door Santa” and not one, but two versions of “Santa Claus Wants Some Lovin'”? And the lineup is impeccable: Otis Redding, Isaac Hayes, the Staple Singers, Rufus Thomas, Booker T and the MGs, Albert King and more. Stuff that in your stocking.

BB: I remember being so disappointed after I purchased a small stack of Motown Christmas LPs- the Temptations, the Miracles, the Jackson Five and so on. The arrangements and performances were totally uninspired.  Maybe that bad experience enhances my appreciation of stuff like Clarence Carter’s “Back
Door Santa.”

TDR: It sounds like we’re in agreement on the Stax recordings. What are some of your other Yuletide favorites? What’s been tickling your ears this season?

BB: The two new recordings I love are the aforementioned Dan Hicks and Matt Wilson’s Christmas Tree-O. It’s playful in a Lester Bowie/Rahsaan Roland Kirk sense. Fun.How about you?  What are you listening to?

TDR: There are several Christmas albums I reach for every year. Jimmy Smith’s “Christmas Cooking” is incredible. If you can get past the drum machines, Fats Domino’s “Christmas Gumbo” is a lot of fun. My wife insists we listen to Emmylou Harris’ “By the Light of the Stable” every year as we put up the tree. And if you’re stuck in a family situation where no one can agree on anything and you don’t want to be saddled with a commercial Christmas radio station, any of the eight EPs in Sufjan Stevens’ holiday series will do the trick.
Another treat of the season is watching bands incorporate holiday music into their stage act. Do you have any favorite Christmas concert memories?

BB: What kind of postmodern indie rock utopia do you live in?  Your suggestion that everyone can agree on Sufjan seems bizarre.
Oh, Emmylou!  Perfect.  There are certain voices that are ideal matches for the Christian holiday.  And no, Sufjan’s isn’t one of them.  I’m thinking of Emmylou, Johnny Cash, Dolly Parton, Lou Rawls, Louis Armstrong and Mahalia Jackson.
And I seem to remember that both of us attended a Charles Brown gig on a cold winter night shortly before he passed.  “Merry Christmas, Baby”!

TDR: First off, I should clarify that these Sufjan EPs all pre-date “The Age of Adz,” so he’s still very much in folky banjo troubadour mode. I don’t know why these recordings seem to pacify everyone, but it works for some reason. Granted, it’s a small focus group – six people. My sister and I (and our spouses) are Sufjan fans in general. He has some hymns and traditional material that pleases my parents and his arrangements low-key and accessible for them. Plus, after having to endure James Brown’s “Funky Soulful Christmas” and the Buck Owens Christmas album, I’m sure anything sounds good to them.

I’m not sure I can get behind a Dolly Parton Christmas, but I definitely agree with the rest of the singers on your list. Your mention of Mahalia Jackson reminded me to recommend Odetta’s “Christmas Spirituals,” if you haven’t heard it before.

That Charles Brown show was special to me in many ways. Not only was it his last performance in Kansas City, but it was my first experience at the Grand Emporium. I was 18 at the time, so I needed my dad to go with me so I could get in, not that I had to twist his arm to go. Even though it was February, everyone still enjoyed hearing him play his legendary Christmas songs, tell stories and sing the blues. Thanks for mentioning this amazing experience we shared.

More importantly, thank you for taking time to talk about Christmas music with me. Do you have any parting comments before signing off?

BB: I’ll close with a list:

TEN OF MY FAVORITE ODD AND OVERLOOKED CHRISTMAS ALBUMS:
Sam Billen- A Word of Encouragement (2010 release available as a free download)
Brave Combo- It’s Christmas, Man
Charles Brown- Cool Christmas Blues
John Fahey- Christmas Guitar
Dan Hicks- Crazy For Christmas (2010 release)
Tish Hinojosa- Memorabilia Navidena
Manzanera and MacKay Present: The Players- Christmas
Max Roach- It’s Christmas Again
Allen Toussaint & Friends- A New Orleans Christmas
Matt Wilson- Christmas Tree-O (2010 release)

Merry Christmas!

TDR: That’s a great list, Bill. You mention several of my favorites (Allen Toussaint, John Fahey) some I need to hear (Brave Combo, Sam Billen) and some I’ve been unable to find (Manzanera/MacKay, Max Roach). It’s certainly enough to keep me busy until Christmas next year. Thanks for sharing, and thanks for stopping by.

Merry Christmas everyone!

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derek_trucks_band

By Joel Francis
The Kansas City Star

Guitarist Derek Trucks was 12 years old when Bob Dylan asked him onstage during a show to play “Highway 61 Revisited.”

For Trucks, it was just another gig. The look on his dad’s face, however, told a different story.

“I knew who Dylan was because my dad was a massive fan, but it didn’t hit me then like it would have now or even 10 years ago,” Trucks said. “But even though I didn’t realize the significance, I could see it in my dad’s eyes that this was life-changing.”

Trucks and his father were both right. Playing with Dylan was just another encounter for the prodigy who would go on to play with Buddy Guy, Carlos Santana, Eric Clapton and numerous others. But it also opened the door to other possibilities.

Trucks, who turns 30 in June, now helms his own eponymous group (performing Friday at Harrah’s Voodoo Lounge) and also plays in the Allman Brothers Band. He returned Dylan’s favor with his supercharged blues cover of Dylan’s “Down in the Flood,” which opens his sixth and newest studio album, “Already Free.”

“I try to pick covers with some connection to the band,” Trucks said. “Part of that is Dylan is such a good songwriter with a great amount of tunes, but on top of that I figured after Katrina and the flooding in Iowa, the title and the lyrics were just a great metaphor for all that.”

Trucks didn’t go into the studio planning on cutting a record. Finding himself with downtime at his Jacksonville, Fla., home – atypical for a man who averages 300 shows a year – and a recently completed home studio called Swamp Raga Studio, Trucks and his band decided to lay down some tracks just to see how the room felt.

“The first day we wrote and ” Trucks said. “The next thing we recorded (the song) ‘Already Free,’ knew there were a dozen, then two dozen songs. We started calling people from (wife and blues guitarist) Susan (Tedeschi)’s band, Doyle (Bramhall II), Warren Haynes, Oteil Burbridge, to come in.”

The resulting release has a laid-back yet focused organic vibe that inhabits the best of the Allman Brothers’ Capricorn albums.

“It’s the most natural record I’ve done,” Trucks said. “It was very comfortable recording, and I think you can feel it. We captured tunes hours after they were written. There’s a freshness that comes across when songs are captured so quickly.”

Unsurprisingly, Trucks wanted to translate that urgency to the road as quickly as possible. The Derek Trucks Band tour kicked off last week.

For someone who has seemingly played with everyone, Trucks had the opportunity to encounter another legend and influence last year.

When you record two John Coltrane numbers on your debut album, and the opportunity to play with Coltrane’s longtime pianist McCoy Tyner arises, you don’t say no.

Still, Trucks was intimidated. Especially when he walked into the studio and saw bass player Ron Carter and drummer Jack DeJohnette.

“Those guys are legends in their own right, but McCoy is on his own level,” Trucks said. “He was such a sweet guy. He really made it feel comfortable.”

Trucks entered the studio with a list of four songs he hoped to play with the trio, but as the last guitarist on the session, some of his choices had already been recorded.

“My first choice of song was ‘Contemplations,’ but (jazz guitarist Bill) Frisell had already recorded it,” Trucks said.

The two-day session yielded collaborations with Trucks, Frisell, Bela Fleck, Marc Ribot and John Scofield. Trucks was the only “rock” guitarist invited, but he works well on his two featured cuts, “Slapback Blues” and “Greensleeves.” Trucks’ presence in the company of such eclectic legends is unsurprising given the range of covers his band performs – everything from Pakistani qawwali singer Nusrat Fateh Ali Khan to Delta bluesman Son House – and the diversity of the band playing them, which contains a four-decade age span.

Trucks said his innate musical curiosity has not only expanded his palate but has also given him a level of comfort playing with nearly anyone.

“It started at such a young age. I was always around musicians, so I’d try to pick their brains and see what influenced their music,” Trucks said. “A huge part of being able to stay on the road and on top of the game is to keep finding inspiration. You keep finding different things that turn you on, things that tweak different parts of the brain. In the long run you’re a better musician for it.”

Trucks hopes that same level of comfort and curiosity extends to his home Swamp Raga Studio.

“I’ve spent a lot of time with Willie (Nelson) in Maui, and anywhere he is has a clubhouse vibe. I can see that communal feeling. Wherever you are with him – on his bus, in his home – he makes sure everybody is absolutely comfortable,” Trucks said. “That’s kind of what it’s (Swamp Raga) starting to turn into in the month and a half we’ve gotten into it.”

Swamp Raga is not only musician-friendly but environmentally friendly as well.

“The beauty of building from scratch is that you can think about stuff ahead of time,” Trucks said. “When I figured the electric bill would be double, not only was that a financial hit, but psychologically I started feeling guilty because of all the energy we’d be using. We went out of our way to be conscious of that. We made it a point to do everything as efficiently as possible.”

To that end, Trucks and Tedeschi installed 26 solar panels on the studio and their home. And in the months when the family is out on tour, the local utility company pays them for the energy their panels generate.

“Sometimes our bill comes in right around zero,” Trucks said. “By doing the right thing it actually works out better in the end.”

Despite such 21st century enterprises, Trucks believes his band and his music are a throwback to a time where wooden instruments were hand-crafted and stepping onstage meant being ready to cut some heads.

“When you get on stage, you have to bring it,” Trucks said. “I get a sense from new music that the idea is to outsmart your audience or be so ultra-hip you can pull one over on them.

“With a band like ours, we try to represent a more honest music. We’re musicians representing our craft first and then trying to connect with people.”

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(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

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(Above: The Kora Jazz Trio in concert.)

By Joel Francis

Continuing The Daily Record’s look at the state of jazz today, here is the second of three installments shedding light on 15 jazz greats to emerge in the last 20 years. Note that these musicians are not necessarily the 15 greatest jazz artists to arrive since 1990. A brief listen to any of them, though, should more than persuade the most ardent purist that jazz is alive and well.

Ravi Coltrane

Not only has Ravi Coltrane followed in his famous father’s footsteps as a musician, but he’s established himself with his dad’s instrument. The child of John and Alice Coltrane (Ravi was two when his dad died), Ravi cut his teeth with McCoy Tyner and Elvin Jones before finally stepping out on his own. In little over 10 years, he’s build a strong catalog that would sound just as sweet under a different surname. Coltrane is currently on the road in a new septet celebrating 70 years of Blue Note Records. Albums to start with: Mad 6, In Flux.

Kora Jazz Trio

Comprised of pianist Abdoulaye Diabaté (who is not related to kora master Toumani Diabate), griot percussionist Moussa Sissokho and kora player Djeli Moussa Diawara, this trio deftly blends their African heritage with American jazz. Throughout their three albums, they have tackled songs by Charlie Parker, Thelonious Monk and the Buena Vista Social Club and delivered over a dozen dazzling originals. Imagine McCoy Tyner getting lost in an African marketplace and you’re getting close. Albums to start with: Part II, Part III

Diana Krall

Pianist and singer Diana Krall grew up surrounded by her dad’s extensive collection of Fats Waller albums, but ended up with a style and sound closer to that of Ralph Sharon, Tony Bennett’s longtime arranger and accompanist. Although Krall’s music is certainly not aggressive or pushing any boundaries, dismissing her music as smooth jazz for dinner parties would be a mistake. Her performances of Irving Berlin, Cole Porter and Jimmy McHugh have a freshness, energy and vitality lacking in other “supper club” performers. Krall’s most recent album, “The Girl in the Other Room,” leans heavily on original material written with her husband, Elvis Costello. Albums to start with: Love Scenes, The Girl in the Other Room

Medeski, Martin and Wood

Decades of touring have made the bass/keyboard/drums trio of Medeski, Martin and Wood one of today’s tightest ensembles. Their experimental, groove-based sound is broad enough to be equally at home at both Newport and Bonnaroo without changing a thing. Early pieces like “Hermeto’s Daydream” sound like Dave Brubeck run through “A Clockwork Orange,” while newer material features hip hop artists like DJ Logic, and guitarists Marc Ribot and John Scofield. Albums to start with: Notes from the Underground, Combustication.

Jason Moran

Pianist Jason Moran only has 10 years of recording under his belt, but he’s covered a lot of territory in that time. His albums contain interpretations of Prokofiev and Afrika Bambaataa interspersed with original compositions and spoken-word pieces. In addition to releasing seven albums under his own name, Moran has worked and recorded with Andrew Hill, Cassandra Wilson, Christian McBride, Don Byron, Ravi Coltrane and dozens more. Only 34 years old, Moran is just getting started. Albums to start with: Modernistic, Same Mother

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

Part One

Part Three

Five Legends Still Adding to Their Legacies

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