viernes, 24 de abril de 2015

Cannonball Adderley - Big Man The Legend of John Henry 1975 (Remastered 2015)

Big Man: The Legend of John Henry is the final album the 46-year-old Cannonball Adderley completed before his death from a stroke in 1975. It is also his most ambitious musical project, and given his catalog — Soul Zodiac, Soul of the Bible, etc. — that’s saying something. This “folk musical” was composed by the great altoist with his brother Nat; the libretto was written by Diane Lampert and Peter Farrow. The Adderleys employed a full jazz orchestra, chorus, strings, a rhythm section, and singing actors — including Robert Guillaume.

The story uses the American folk myth of the 98-foot-tall man who took on the machine and beat it, but couldn’t stop it and won by losing. He is resurrected here as a metaphorical African-American Jesus. The legend is told symbolically rather than literally, refracted through the lens of the Civil Rights struggle, of which the Adderleys were a vocal part. The lead role is played and sung with soulful aplomb by the great Joe Williams. This date also marks the recorded debut of vocalist Randy Crawford (who was a mere 21 at the time) as Carolina. 

The jazz band features Cannonball’s quintet — including George Duke, under the pseudonym Dawilli Gonga — and the album was produced by David Axelrod. The orchestra contains many heavy hitters including Don Menza, Oscar Brashear, and George Bohannon.

The music weds Cannonball’s love of jazz, soul, and funk together with his and Nat’s large-group harmonic ideas, and their love of folk songs, Caribbean and Brazilian rhythms, blues, and gospel. For jazz fans in 1975, it sounded like a mess — it is not a jazz record per se, but a work of musical theater that employs it to serve an end. “Poundin'” has a righteous electric bassline by Carol Kaye and Rhodes piano grooves by Duke, and the strings and horns buoy Williams, who walks the line between militant soul and new school gospel. (The track was sampled by Dr. Dre for “Bar One” on Chronic 2001). “Anybody Need a Big Man,” with its collision of squalling percussion (Airto Moreira), crackling Rhodes, strolling bass, strings, and Williams’ lead vocal, cruises atop samba and funk grooves. Crawford imbues “Jesus Where Are You Now” with spacy, sophisticated soul; it is timeless in its poignant beauty. Fans of Cannonball’s alto playing may be disappointed because his horn doesn’t make an appearance until the final quarter of the recording, and then only briefly. But his soloing isn’t the point of this in-your-face-and-heart meld of musical and metaphorical ideas. To that end, Big Man: The Legend of John Henry works.

The unfettered ambition on offer here was wasted on a conservative ’70s jazz audience. In the 21st century, this work is a revelation — even if its execution is sometimes flawed by an unwillingness to edit — and an essential part of the Adderley brothers’ legacy.

Remastered by Joe Tarantino

01. Overture
02. Anybody Need a Big Man
03. Who Bend the Rainbow
04.Forty More Miles To Go / Rouster's Chant
05. Ten Mile of Mountain / Recitative: Who Up in Heaven
06. Dialogue (Carolina)
07. Gonna Give Lovin' A Try
08. The Broomstick Song
09. Next Year in Jerusalem
10. Dialogue (Carolina, John Henry)
11. Stayin' Place (Intro)
12. Stayin' Place
13. Dialogue (Carolina)
14. A New Star Risin'
15. The Steamdrill Race (Intro)
16. Anybody Need a Big Man
17. Grind Your Own Coffee
18. Anybody Need a Big Man / Dialogue (Deputy)
19. Hundred An' One Year M'Ria
20. River
21. A New Star Risin'
22. Dialogue (Carolina & Jassawa)
23. Hundred An' One Year / M'Ria
24. Recitative: Born Black
25. Dialogue (Jassawa)
26. Poundin'
27. Dialogue (John Henry & Bull Maree)
28. The Steamdrill Race
29. We Saved / Dialogue (Carolina)
30. Jesus Where You Now?
31. If I Was Jehovah
32. On His Bones (Finale)

Edgar Lustgarten: Strings
Airto Moreira: Percussion
Jimmy Jones: Piano
Randy Crawford: Voice Actor
King Errisson: Percussion
Nat Adderley: Producer
Walter Booker: Bass
Joe Williams: Voice Actor
David Axelrod: Producer
Carol Kaye: Bass
Julian "Cannonball" Adderley: Alto Saxophone, Producer
Charles May: Chorus
Robert Guillaume: Voice Actor
Joe Tarantino: Remastering
Phil Carroll: Art Direction
Dick Hyde: Trombone
George Bohanon: Trombone
Oscar Brashear: Trumpet
Pamela Goldsmith: Strings
Stephanie Spruill: Chorus
William Green: Reeds
Billie Barnum: Chorus
Gareth "Garry" Nuttycombe: Strings
Jackie Kelso: Reeds
Alexander Neiman: Strings
Allen DeRienzo: Trumpet
Bernard Kundell: Strings
Billy Fender: Guitar
Don Peake: Guitar
Henry Roth: Strings
Jack Shulman: Strings
Jay Migliori: Reeds
Jerome Reisler: Strings
Jessie Richardson: Chorus
Mortonette Jenkins: Chorus
William Henderson: Strings
Bruce Talamon: Photography
Fleming Williams: Chorus
Jim Stern: Engineer
William Hymanson: Strings
Dawilli Gonga: Keyboards
Alfred Lustgarten: Strings
Sherwood Sledge: Chorus
Kathleen Lustgarter: Strings
Lane Smith: Voice Actor
Roy McCurdy: Drums
Oliver E. "Ollie" Mitchell: Trumpet
Donald Dandridge: Chorus
Mary Newkirk: Strings
Diane Lampert: Liner Notes
Donald Menza: Reeds
Gwendolyn Owens: Chorus
Vernettya Royster: Chorus
David Turner: Mastering
Josef Powell: Chorus
Tony Lane: Photography
Arthur H. Brown: Strings
Michael Gray: Chorus
David Lance Goines: Design, Original Cover Artwork
Bill Kopp: Reissue Liner Notes


Ivo Perelman - Book of Sound (2015)

The mighty tenor saxophonist Ivo Perelman leads a team of frequent collaborators and superior craftsmen, pianist Matthew Shipp and bassist William Parker. Drawing on past endeavors in various settings, the trio's remarkably intuitive powers are inherent throughout. With movements that are the cogs in the wheel of instantaneous forays in composition, they navigate through broad vistas amid customary mimicking and contrapuntal maneuvers. 

Moreover, Perelman keenly incorporates bluesy interludes, heightened by his plaintive cries, and when he mirrors human voice characteristics as a storytelling mechanism. But the group's multifarious inventions transmit a sense of elasticity, often intertwined with firmly rooted structural components via micro-motifs that synthesize into a given piece. 

The final and lengthiest track "Veritas Vos Liberabit," teems with intersecting motifs, concise phrasings and playful digressions. The artists' telepathic interplay is locked in tenth gear. Perelman even tosses in some husky barrelhouse phrasings, reminiscent of tenor sax pioneer Coleman Hawkins, although the primary impetus is securely latched in the avant-garde spectrum. At times, the trio revs the engine and cycles through numerous pulses. Shipp's rolling chord patterns and complementing mosaics add a wavering flow in spots. 

Yet Parker's somber arco-bass lines generate notions of lament as the band switches gears, featuring the bassist's duo breakout with Perelman. They slowly raise the intensity, where the saxophonist bores through these choruses with upper-register bravado, segueing to closeout. Hence, another milestone in Perelman's already extensive discography.

Ivo Perelman: tenor sax
Matthew Shipp: piano
William Parker: bass

01 Damnant Quod Non Intelligunt
02 Candor Dat Viribus Alas
03 De Gustibus Non Est Disputandum
04 Adsummum
05 Adde Parvum Parvo Magnus Acervus Erit
06 Veritas Vos Liberabit

John O'Gallagher Trio - The Honeycomb (2015)

Label: Fresh Sound New Talent
Source: Allaboutjazz
Gab's Rating: ☆ ☆ ☆ ☆

What if jazz was rock-and-roll? Not the corporate-halftime show-American Idol rock, but the dangerous music your parents (maybe grandparents) were afraid of. Remember, there was a time when jazz was threatening. Charlie Parker and Dizzy Gillespie startled listeners with their revolutionary 'bebop,' before Ornette Coleman and Albert Ayler caused fist fights and mini-riots. Jazz has since been tamed and put on display in Lincoln Center, safe for listeners to consume unscathed.

Be warned, there still are some wild men on the loose, creating seditious music. Exhibit one: alto saxophonist John O'Gallagher. Like his brethren Steve Coleman and Rudresh Mahanthappa, O'Gallagher's music peels back the nice, to deliver pure unembellished jazz. The Honeycomb follows The Anton Webern Project (Whirlwind Recordings, 2013), a sextet recording with vocals that utilized the Austrian composer and conductor's music.

With The Honeycomb, he pares down his approach to a simple trio. O'Gallagher has previously released three trio discs, Dirty Hands (Clean Feed, 2009) and two on the CIMP label, with different bands. This lineup with bassist Johannes Weidenmueller and drummer Mark Ferber, powers-up for some muscular and energetic interactions.

The disc opens with "Uroboros," stilted rawbone composition that lurches angular sounds over an intricate form. The music mixes pugnaciousness with an infectious groove applies by Weidenmueller and Ferber. O'Gallagher reconfigures Charlie Parker's "Relaxin' At Camarillo" into the anagram-titled "Extralogical Railman." The Parker composition gets scrambled as it is tele-transported through time, but the saxophonist pieces the DNA strands back together, making a recognizable yet new animal. The trio has a special chemistry here, it maneuvers a sly a serrated edge on "Eve Day" never overindulging, nor derailing. This is edgy music, played with a dangerous touch.  - Mark Corroto -

01. Uroboros 6:39
02. Extralogical Railman 6:36
03. Petulant Snoot 8:38
04. The Honeycomb 4:41
05. Go Where You Are Watching 6:02
06. Eve Day 7:13
07. Kerberos 8:14
08. Turducken 4:28

John O'Gallagher (alto sax)
Johannes Weidenmueller (bass)
Ferber (drums)

"Master your instrument, master the music 

& then forget all that & just play."


 - Charlie Parker -