Dan, Author at JAZZ IMPRESSIONS

Archie Shepp – Le Matin des Noire

1965 was a busy year for the young Bobby Hutcherson, releasing his first album as leader (Blue Note’s Dialogue) and joining the Archie Shepp Quartet, a group at the vanguard of the “New Thing”. Free jazz relinquished the restrictions of song form in order to better express oneself musically, and for Shepp, politically.

Max Roach – Tears for Johannesburg

As tens of thousands of protestors march against police brutality and systemic racism, one album demands to be heard. We Insist! Max Roach’s Freedom Now Suite is a protest record from 1960, and the inspiration behind many subsequent works including ‘The Reverend King Suite’ from Jack DeJohnette’s Sorcery (1974). As Ollie mentioned, Roach said after its release: “I will never again play anything that does not have social significance.”

Mahavishnu Orchestra – Vital Transformation

Category is: skull-crushing breakbeats. Enter the Mahavishnu Orchestra, whose high-intensity fusion of psychedelia, prog and jazz took the rock world by storm with its explosive debut The Inner Mounting Flame in 1971, which according to critic Richard S. Ginell “may have been the cause of more blown-out home amplifiers than any other record this side of Deep Purple.”

Miles Davis – Black Satin

Following on from Herbie Hancock’s jazz-robotics on ‘Rain Dance‘, we turn to another album that was Miles ahead of its time, and features three of the musicians who would go on to appear on Sextant: Herbie Hancock (keys), Bennie Maupin (bass clarinet) and Billy Hart (drums).

Herbie Hancock – Hang Up Your Hang Ups

In terms of musical revolutions, Herbie Hancock going electric rivals Bob Dylan at Newport and Rebecca Black’s ‘Friday’ for the title of most controversial industry moment.

Santana – Going Home

When people hear the name Santana, depending on their generation they’ll probably either think of the ’60s heyday of ‘Black Magic Woman’ or their turn-of-the-century comeback hits like ‘Smooth’. Arguably though, the band’s most creatively fertile period was in the ’70s, when Carlos and co. were experimenting with jazz, spirituality and collaborating not with pop stars (no offence to Rob Thomas – I like Veronica Mars as much as the next guy) but with such virtuosos as Alice Coltrane and John McLaughlin.

Joe Henderson – Fire

The same year as Pharoah Sanders’ Elevation (1974), saxophonist Joe Henderson enlisted that record’s violinist (Michael White) and percussionist (Kenneth Nash) for an ambitious, conceptual collaboration with the great Alice Coltrane.

McCoy Tyner – Valley Of Life

Today we pay tribute to McCoy Tyner, whose work from the 1950s right up until his death earlier this month made him “the most influential pianist-composer in modern jazz,” according to the Penguin Jazz Guide. Best known for his work in John Coltrane’s legendary quartet, Tyner was an extraordinary artist in his own right, recording countless classic albums for the likes of Impulse!, Blue Note and Milestone.

Duke Ellington – Money Jungle

Our last two posts focused on Max Roach and Charles Mingus, who (along with Mingus’ wife Celia) founded the short-lived Debut Records, designed to bypass the commercialism of major labels. Both musicians had played with the great Duke Ellington, though Mingus’ stint lasted a mere four days before being fired for – you guessed it – fighting.

Charles Mingus – Wednesday Night Prayer Meeting

You just heard altoist Jackie McLean, a man with the (actually very common) distinction of playing with and having his teeth knocked out by Charles Mingus, one of the greatest composers and bassists in jazz history, and a great friend of Joni Mitchell (that’s not a euphemism).