yh JAZZ,IMPROVISED MUSIC AND..... JOE HARRIOTT @ PAT SMYTHE @ COLERIDGE GOODE MUDDY WATERS @ GEORGE RUSSELL @ SOUNDSCAPE @ BLUE NOTE FMP @ CHANNEL 4 @ URBAN SAX 7 STEPS TO JAZZ - THE TENOR 7 THE MINGUS BOOK REVIEWED z i 4 | " OPINION COLUMN ij r RECORD REVIEWS & MORE He) . DON CHERRY i m4 ‘oe a e ff r od a Pi al, ce » Ww ™ sh) | (DON CHERRY by irmgard PozorskiON C BeS Reveee@r/O R De 5. & TAPES 10 albums featuring the very best from the world's jazz giants. Blakey to Basie. Satchmo to Brubeck. AT AROUND £2.99 Limited edition ‘| @% JAZZ’ sticker free with every album. Look for the ‘I @ JAZZ’ label at a record store near you—now! Also available: Dave Brubeck plays West Side Story’Previn plays My Fair Lady. ALL TITLES AVAILABLE ON CASSETTE.EDITORIAL, 3. ONTHE WIRE - Opinion Column Richard Cook 24 THE PASSING OF THEM-A-N Alexis Korner 5 HEART ON THEIR SLEEVES - CHANNEL 4-Aviewer's view AdeleJones 7 _ Blue Note Covers Terry Coleman 26 FESTIVALS 83 ‘Anthony Wood 7 EARL “FATHA” HINES Stan Britt 29 SEVEN STEPS TO JAZZ — The Tenor Charles Fox 10 FMP—The Record Label Anthony Wood 30 DON CHERRY — A man & his Communion —Workshop Freie Musik 83 Ellen Brandt 31 Richard Cook 12 Recent Releases Kenneth Ansell 32 JOE HARRIOTT Roger Cotterrell 15 PAT SMYTHE - A sad loss Brian Priestley 17 Beneath “BENEATH THE UNDERDOG” COLERIDGE GOODE Graham Collier 33 Interviewed by Jack Massarik 17 SOUNDSCAPE INNEWYORK — BarryMcRae 34 RATIONAL ANTHEMS — George Russell Part 2 Max Harrison 20 SOUNDCHECK — Record Reviews CLOSE ENCOUNTERS OF THE URBAN KIND by Kevin Henriques, Skip Laszlo, David tlic, David Elliott 22 Jack Massarik & Barry McRae 35 You ain’t seen nothing yet! SO, HERE WE ARE at the end of our frst year with four issues under our belt as promised. We didn't quite manage to strike an exact quarterly policy. If you could have slood this side of the typewriter, however, you might have been abie to see why. But we are happy — not to say, relieved — to find ourselves still alive We wanted a change from the rigid ‘outworn notions about how to define and represent music 80 years old and still in its infancy ~ notions which have consistently ‘boxed the music into tidy categories, period and style. We felt that the growing new “THE WIRE’ 23 MIRABEL ROAD, SW67EQ 01-385 9984 Editor ‘Anthony Wood Editorial Assistant: Adele Jones Production: Chrissie Murray Design: Terry Coleman ‘Typesetting: Typeface 01-460 2082 Printedby: Image Print Resources, ‘587 Wandsworth Road, SW83JD 01-7204460 The vows expressed in Tho Wie are hose of the Teapectve conor and are not necessary howe ot magazine oe eat The Wve does not assume ary responsitty tor upaototea manuscrpts, protographs ana iusratons Stparnereandaboas anaes ey eproactonm whole rn parts erbdon save wah tne exeess permission fhe publner audience to the music should be given a broad picture. Have we suceeded? In part, | think so but tradition has a rock-hard shell and it's difficult to crack at the first attempt. In trying to break the accepted notions of direct crtical appraisal, for example, we are sometimes unconsciously introducing a new set of criteria which can be unproven, therefore, liable to founder. And yet i anew critique, a changed set of notions, is to be established, then the risks and the dangers ‘must be faced, To this extent, | believe The Wire has falled to lve up to its stated intents. It's not really the fault of anybody in particular, but i's 0 easy to fall back on tradition as an easy option. I's also to do with having (or rnot having) the resources to carry forward the ideas which we feel are long overdue. A ‘major feature needs a great deal of research before it even reaches the writer's typewriter. With our current organisation (or sometimes lack of it, and a small hard- pressed production team ~ looking back through the pages of four issues, it's ‘apparent that many features could have been improved; others, on the stocks, could hhave found their way into print. No, rm not ‘making humble apologies; on the contrary, the message is ‘you ain't seen nothing yet But what of you, the readers? Yes, it's ‘great to get feedback trom you. We could have filled two or three pages of each issue with your words of support and praise which are all greatly appreciated. But what 'd personally like to see is @ broader dialogue ‘about the music as you perceive it through provoking arguments, points of information et, (On the subject of letters received, to answer a couple of recurring points Many of you thought that we should have more record reviews. AS you can ap- recite, its difficult - when the magazine is less than quarterly — to inject a freshness into releases that may have been around for a while. | think the methods tried to date have worked reasonably well ~ extended reviews, or on particular artists, releases on the same label being grouped together. The second point is the question of live reviews. This is even more of a problem than records. Do you want to read a review maybe three months ater the event? With ‘our present publishing schedule, i's very difficult to cover lve events However, in this issue we introduce our first festival review (FMP's Workshop Freie Musik) and a comparatively new writer, Germanys Ellen Brandt with aditferent and, I think, a more personal approach to reviewing music. In summing up our first year, | would reiterate our previously stated aim towards breaking the traditional way of seeing and ‘commentating on the music, and providing a {ull service to the ‘Jazz, Improvised Music ‘And... community. nother words, working towards monthly publication. But we can only achieve tha goal with more readers, so show your copy of The Wire to a friend, give them the attached subscription card to send off. You, the readers, have a major part to play in our continuation and growth. ‘We'll be taking a summer break but we'll bbe back in October. We thank you for your continued support. ‘Anthony Wood We apologise that weve had to holdover] our Leters Page, bu next isoue wl cde ‘a bumper selection of your letters. |ms IMS IMS IMS IMS IMS IMS IMS IMS IMS IMS IMS IMS IMS IMS IMS2 Latest Releasesfrom IMS. . BILL EVANS: California Here | Come 8116 741 ART FARMER: Warm Valley (au) ‘Art Farmer =flgelnorn/Fed Hersch - piano Be 22 me JR double sibum of previously unrelesnd Fay Drummond = bass Akira Tana = drume materi BUNK JOHNSON & LU WATTERS qwises Anevbomine | ee | Ce An important recording inthe history of jazz GIL EVANS/The British Orchestra MOLE® —frcluces All need Ie VoulStrset ¥ DreamwfSpring IC 214 me ‘This orchestra porformod at the Bradford Jaze Festival in March. Personnel includes: ‘Don Weller - tenor and sopr rman «baritone and LAURINDO ALMEIOA/CHARLIE 8YRD: cap2n1 synthesizers/ Latin Odyssey aPC 211 me 0 sane, Bob Magnuston -batsJelf Hamilton -drums/Chuck HUMES & WYNTON KELLY 1007 598 TAL PARLOM: Autumn io New York 2304 321 Fay Grown -bast/Chice Mamviton -Orume ging recording from ex-Basio s!nger Helen Humes and pianist Wynton Kelly Eesenceitct ck Panta Soom 1007574 GuRAYMULLIGAN A doocert in Jeez noel Al original compositions, recorded In New York 1961 bats/Jack Sheldon & wold Land = tenor sex! BLOSSOM DEARIE 2304.357 Rescorded 1954 with Herb Elis & Philly Jo Jones ECM 1252 ROLAND KIRK: We Fred Kings ‘Art Davi, Wendell ‘bete/Charie Pera - drums IMS IMS IMS IMS IMS IMS IMS IMS IMS IMS IMS IMS IMS IMS IMS IMS IMS IMS IMS Ms IMS IM cial Edition ECM 1244 GLOBE UNITY ORCHESTRA: Intergalactic Blow JAP 60039 Avantgarde big band, featuring Kenny Wheeler & aes Ms. nrc bi port Music Servi a SIMS IMS IMS IMS IMs IMS IMS IMS IMS IMS IMS IMSIMS ims sia CY a al MuSIC - DANCE i N) | IVAL eae Ee August 23rd to 28th 1983 [eG a RCT Dee ALTERATIONS © CATALOGUE @ KATY DUCK @ UGE el ame say TOSHINORI KONDO @ PETER KOWALD @ STEVE LACY @ JOELLE LEANDRE @ EVAN PARKER @ ALAN SILVA @ SPONTANEOUS MUSIC ENSEMBLE @ TALISKER @ KEITH TIPPETT @ JULIE TIPPETTS @ MONIEK TOEBOSCH ® MAL WALDRON @ OE ee ee oF PRC See ee oC ola oN LP EL)‘The death of blues legend MUDDY WATERS in April received scant ty compared to the tributes ‘we heap on our revered jazz heroes. But the passing of Muddy Waters brought us witha sharp jolt tothe postwar publi end of a classic era Chicago blues. ‘Muddy Waters was the immortal “Father of Modern Chicago Blues’ — 4 man who single-handedly influ fenced two generations of musicians around the world, Alexis Korner is proud to have belonged to that inspired second generation. Here, Alexis pays tribute to Muddy Waters the M-A-N . . .a true blues original BIG BILL BROONZY, though a great performer, was not a great advertiser of other men’s wares This tall, gangling man, full of charm and sly tales ~ he once de Seribed himself as ‘a smoked Irishman’ — had found it expe- dient, in his stories, to despatch some of his friends toa variety of romantic deaths. It fitted in with the fantasy we wished to main tain; it also kept the market nice nd clear for Bill But there were two younger ‘men, still living, of whom he spoke enthusiastically: Elmore James and Muddy Waters. This was 1951 IS have since proved Bill Broonzy to have been absolutely right, Elmore’s presence is still felt through multi-million perfor: manees of the opening to ‘Dust My Broom’, but that came a litle later. The man we first witnessed playing electric country blues guitar (it was a vivid red Fender Telecaster used with bottleneck) was Muddy Waters. We had heard some of his records Dut, at last, we were actually se ing him. By now, it was 1958, There he was, on stage, at St Pancras Town Hall with Otis Spann at the piano. Muddy was 443. He was in his prime. He was a MAN... I spell it MAN, he was a ROLLING STONE, he ‘was READY. So were we. ‘McKinley Morganfield was born in early April 1915 at Rol: ling Fork, Mississippi, in the bot tomlands of the Yazo0-Missis sippi Delta, But he dida’t stay there long. When he was three, his mother died, and he was taken off to Clarksdale to be raised by his grandmother. At thirteen, he ‘was playing harmonica and, some three years later, took up guitar. Time passed. In the summer of 1941, Alan Lomax was searching the South for Robert Johnson who, by now dead, was not to be found. In- stead, he came upon McKinley Morganfield and eagerly re corded him at Stovall's Planta tion. Within two years, Morgan: fied had moved to’ Chicago. There, like an emerging but- terfly, he changed into Muddy Waters, There were jobs with Memphis Slim and his cousin Otis Spann, with Jimmy Rogers and other local players until, in 1950 ~ ac companied by one of the very finest blues harmonica players, Little Walter Jacobs ~ he made, arguably, the greatest ofall elec tric country” blues records: “Louisiana Blues’ ‘Muddy Waters was now well fon the way. And he just got bet= ter, and better, and better. And he ‘got louder; he became even more menacing. This was electro-sext ality on the rampage. He shook a Jeg and the women threw their purses at him. He was a born win: ner. He was shouting, where others had stated; threatening, where others had cajoled. By 1956, he was the New King of Chicago Blues. From belly-but- ton to kneecap, Muddy ruled. Alter a coupie of thinner years, Muddy decided to turn his atten: tion to white audiences. He had rot had a hit since “Trouble No More’ (1956) and he was worried, So, following the example of Big Bill Broonzy, Jack Dupree and Memphis Slim, he visited us. But his was a very mixed reception from an audience which was ‘mostly unsympathetic to electric ity in is blues, Tt was at the 1960 Newport Jaza Festival that the white mar ket really opened up for Muddy and stayed wide open to him for ever. From then on, he played festivals, he played concerts, and he still played clubs, but all over the world In passing, he fired the British blues movement which, through the Rolling Stones, was to repay him publicly for his new sound; new t0 us, at least. Féted, re vered, Muddy held on through his motor accident in 1970, and came back again, a lessable guitar-player but singing as well as ever, until his death in Chicago on the evening of 30th April, 1983, Cardiac arrest is a quick death. He earned it, just asin his lifetime hhe earned his good time Sixty-eight is too young an end for a very great and incalculably influential man_ without. whom the world would not be hearing the bluesas itdoes now. Where to get The Wire You can, of course, obtain your copy of The Wire by subscription, orffom the folowing distributors — LONDON ‘Art Council Booksnop, 8 Long merece ‘aman s, 232 New Row, WC2 Battersea Arts Centre Bookshop. VoL avender Hl Swit Capital Newsagent, $2 O%6 Compton Sweet Wc? Compendium Books, 234 ESmen High Steet AAV! Direction fecords,9?ean Steen Dobeits,21 Tower Sueet, WC2 Plonest ons 278 Poncbelo Roowit ICA bookshop, The Mal SW) lana fraan, 299 Lie fons SVS idee chance Centre, 87 Masboro Roan wre | Mote Jazz 374 Gray’ nn Road, | wer ‘A. Moroni & Sons, 68 Ol! Compton Seer We? New Albany Empire, 179 Deptora igh sweet 368 Potters Musi Shop. 18 Hil Re Retmona Fenythm Records 21 Camden Tohareet Nt Rough Tendo 137 Blenheim | Grestene wi | S06 cub, 06 kings Rowe. ws | $'Soiony, 50 Charing cross Roses | ee Take 5 Muse hop, 202 king Seen We Virgin Megastore, 14 Oxlocs Steecwt Windmill wnolefoods, 486 Fur Road. swe esees | BECKENHAM — Record Trade Centre, 64 Beckenham Road BIRMINGHAM ~ Birmingham | dazz Society, Stratnaien Hotel Hagley Road for do Richard Smith 29 Hope Street Halesowen}, The Record Centre, 44 Loveday Street BRIGHTON — Public House Bookshop, 21 Little reston Street BRISTOL” Geoff Nichols Musi, 54 Cotham Hil CAMBRIDGE - Grapevine Bookshop, 186 East Road COVENTRY - Graham Ruff, 156 Wainbody Avenue, Green Lane DUNDEE BG. Forbes Lid, 2 Commercial street LEICESTER ~ Blackthorn Books, 70 High Street LIVERPOOL ~ Manice Stallbaumer, 63 Maybank Road, Birkenhead | MANCHESTER - stephen Hewitt 21 Everett Road Withington NEWCASTLE - Spectro Arts, Bel Court Pilgrim Street, 3G Windows Lta, 1-7 Central ‘Arcade NOTTINGHAM Vino's. Victoria Street & Notts County Council, Jazz events ‘OXFORD ~ Garon Records, {65 Covered Market SOUTHAMPTON. Southampton Musicians’ Co-op, 51 Downs Park Road, Totten SOUTHEND-ON-SEA ~ Essex Radio, Radio House. Ciifown Road~ jON entg _Joiseq ouJAZZON CHAN AVewers veiw Square-eyed jazz lovers gave ahearty cheer when Channel 4 announced its revolutionary, weekly 4 Up, 2 Down programme. But is 4 Up, 2 Down what we want? With more programmes promised forthe autumn, ADELE JONES looks backat the first series Is it 4 thumbs up down? DESPITE its ambiguous title, we ~ the so- called ‘minority interest Viewers ~ now have four own jazz magazine TV programme. ‘Coming to our homes courtesy of Channel 4, it's asafe viewing bet within the London area land Home Counties but elsewhere subject t0 the vagaries of regional viewing controllers. Try watching 4 Up 2 Down in Wales. Brookside, fine (ntl the sheep come home)— ‘but 4 Up bas been sadly lost en rowe. There will be a further 10-week series starting in September. So, deprived minority viewers, now’s the time to get something done The first series of 4 Up2 Dotom has featured 130 musicians ~ statutory visting Americans such as Jimmy Witherspoon, Bobby McFerrin, Art Blakey, Sam Rivers, George Adams, Don Pullen.” Plus long ‘overdue television recognition for British musicians ~ Don Weller, Pete King, John Surman being among the’ many deservedly getting TV coverage, Peer King Lack of presentation TThe over-all flaw in ths frst series has been Jack of presentation and co-ordination. Tony Myatt may be adequate for Capital Radio's jazz programme but for television he appears out of his depth, especially when he interviewed Sam Rivers. Brian Priestley would have been the ideal choice. However, the music of Rivers worked beautifully Television interpretation at its best. It is difficult to capture the essence of jazz when televised but the magic worked by Rivers was picked up and well translated by sensitive ‘camera direction. But there are lessons to be learned by others when translating the music One of which is that soloists invariably are accompanied by rhythm sections which Consist of piano, bass, drums, and are played by live musicians who deserve notice. Films of jazz musicians are fascinating, ceven the smallest snippets, and 4 Up 2 Down had a fair quota. However, without wishing to bbe morbid, the most interesting flm-clips are of musicians no longer with us. Coltrane, Armstrong, Ben Webster, Parker and Bessie were some’ of the highlights shown in the series. Bessie appeared no less than three times in one week. George Melly featured her in his excellent ‘Soundies’ programme for BBC2's Arena and then it was over to Channel 4 where St Louis Blues was twice shown i connection with the competition spot. What magic it was. The most moving clip of film was the regrettable eviction of Charles Mingus from his New York apartment. But how many Mingus fans didn’t bother to turn on their TV sets that evening, assuming that the whole programme would be devoted to John Dankworth whose name was the only one ‘mentioned in the trailer for the programme. Bad programming "The worst aspect of the live performances was simply bad programming ~ the Pete Thomas Jivin’ Jump Band should never have been allowed to follow after the magnificent film-clip of Louis Jordan, Itwas unfair to Pete Thomas, and their drummer really should be told about TIME. But the audience at the Albany Empire were seen happily clapping ‘out of time tothe band in true British fashion, sof that's what they want .. .! Films of Ray Charles, the MJQ, Lionel Hampton and ‘A Tribute to” Louis Armstrong’ featuring Mahalia Jackson and produced by George Wein are being screened in the interim, no doubt to whet our appetites for the autumn series Let's hope the presentation and co- ordination gets sorted out. Please may we have some blues, and, dare I say, a bit of gospel music; more time, because one hour is not enough and, I think the most important, recognition for the British performers and musicians not belonging to the ‘jazz establishment’ — improvisers, electronic ‘muisic and musicians on the ‘fringe’ of the music. . Arye i tthe onto viw abou coeage on TV a, jor at mata radio? It deat Fhe approach nh (Phar wld pu fe 1 tor ~ end ote hold he FESTIVALS S83 AAs the festival season approaches, ANTHONY WOOD picks up his sleeping-bag offers a prayer for fine weather, and takes us round some of the ‘major events in Europe this summer. SUMMER is here and to most jazz and impro- vised music fans that means an explosion of festivals across the continent of Europe from Cork to Copenhagen. For many of us it’s sometimes the only op- portunity to see top American musicians in the flesh as they descend on Europe for the summer. I well remember trekking across Europe in 197 to see the Art Ensemble Of Chicago having given up any hope of seeing them here, ‘Of course, this caravan of nomadic players hhasa two-sided effect for while the presence of ‘star names’ on a festival bill can be a great boon to promoters, the high fees the musi- cians can sometimes command — and their predominance at the expense of local musi cians ~ causes justifiable concern, particularly {n countries with a strong local scene such as Britain, West Germany, Italy, France and Holland ‘Very few festivals seem to have hit on the right balance to satisfy both sides. One that does come to mind was an event in Portugal a few years back in the wake of the revolution which struck not only a musical balance bur a sense of equality between European and ‘American performers. Asa visitor, I judged it ‘one of the most invigorating and emotionally charged in my experience. The looks of joy on the faces of a thousand newly liberated fans as they sat in silent reverence listening to their heroes has stayed in my memory ever since ‘Unfortunately, even that festival had its sour side, Most of the musicians did not re ceive their fee~ many of them British — which leads on tothe relationship between promoter ‘and musician, Not always the smoothest of af fairs. But, then, not all are the most amenable of people, On the one hand, musicians are after the best deal possible both artistically and financially; on the other, promoters are tet a good return for their money. Ameri- cans, in particular, feel that they're being hired on the cheap ~a harkback to the States where promoters and club-owners have done very nicely, thank you, at the musicians” ex pense over the years. Locally based musicians take a more philosophical view — grateful forthe work, yet resentful of the differentials and secondary ‘Status to which they are subjected. ‘Con: enueFrom Page 7 FESTIVALS Ss Stage-managing a festival is rather like walking a tightrope. Perfect balance is essen- tial —one slip and it’s crisis time. . .a missing piano with the pianist waiting in the wings, a missing musician due to work-permitdifficul- ties, or a missing audience due to the onset of the monsoon season. For the loyal fans, the hazards are more basic. Grumbles about the price ofthe on-site catering, time-consuming queues at the chip van or the toilets. Notall festivals are open-air events which is a relief to weather-watchers and promoters alike, but their nature remains the same, presenting as much music in as short a space of time as possible. ‘Musicians often see festivals as necessary evils ~ a circus of acts trotting on doing theit turn then making way for the next group on the treadmill. Irs probably true thatthe most significant music in jazz's history has not been performed at festivals. Paul Gonsalves’ fam: fous solo with the Ellington band at Newport in 1956 seems to stick in everyone's mind. Its significance has always seemed to me te have been exaggerated but I was not present so ‘maybe there was more to it than the recording displays, for the festival-atmosphere — like any other event ~ always adds to the flavour of the music sometimes distorting the value of the end-result. Jazz festivals have been around for a long, time, giving birch tothe rock extravaganzas of the Sixties and Seventies. They are more than just enlarged venues for presenting music. They act as meeting-places for like-minded individuals, promoters to discuss business (maybe to plan another festival or two), jour- nalists to swop notes, musicians to check out ‘each other's music, and the likes of you and me to meet, talk and feast on a banquet of ‘musical delights then retire to bed (or sleeping. ‘bag) to muse on the day's activities, to resume the next day revitalised. I must admit to feel- ing bloated after a solid period of music but jazz festivals I wouldn't miss for the world. The following is selection of different fes- tivals, varying in style and presentation, hap- pening across Europe during the summer ‘with as much information on each as was to hhand at press time, BRACKNELL JAZZ FESTIVAL Bracknell, Berkshire Ist, 2nd & 3rd July Satisfied punters always say that the nicest thing about Bracknell is the relaxed and friendy atmosphere an opinion well mer- ited. For over the 10 years that South Hill Park has staged a festival, Bracknell has built fan enviable reputation both for its artistic ‘composition and presentation and, in doing so, has struck the right balance between aseri- ‘ous musical event and a weekend family get- together. Bracknell has also come closest toits larger European counterparts in presenting a wide diversity of contemporary jazz from bop tw fusion to free with plenty of bits in the mid- dle, ‘South Hill Park is an arts centre set in its ‘own grounds on the edge of ever-encroaching. Bracknell. The main focus for the music is a large marquee in the grounds. Here, the large-scale events take place from 7.30 on Fri day evening and noon on Saturday and Sun day. Over the years, many great names have ‘graced the marquee stage including Ornette Coleman, David Murray, Evan Parker, Gil Evans, London Jazz Composers Orch and Chico Freeman, to name just a few. This year’s roll-all is equally impressive with Don Cherry, Jackie McLean and Jan Garbarek standing out as possible highlights, Each year, South Hill Park commissions a British composer to write a piece for the festi- val. This year, the honour goes to Graham Collier who has assembled a 19-piece band to perform Hoarded Dreams, Among the musi Cans taking part will be Kenny Wheeler, Ted. Curson, John Surman and Art Themen. I ‘must confess to have been acutely unhappy ‘with past commissions invariably leaving the question ‘so what?” hanging in the air. Could it be that this country does not possess any sig. nificant creative composers (apart from Mike Westbrook)? Hopefully, Graham Collier's piece will prove otherwise. For next year, may Tnominate Keith Tippett and his rarely heard ‘orchestra Ark? In addition to the main concerts, smaller: scale events take place in the house itself. The free/improvised performances are found in the recital room in a very informal atmos: phere, while the cellar bar plays host to plenty of driving, small-group jazz in a true club at ‘mosphere Bracknell has great staying power when ‘many others stumble and fall - tribute to its adaptability inthe face of changing styles and the sense of relaxed enjoyment which it gener ates and, above all else, the compéring of Lol Coxhill who has taken the art to new heights of bizzare informality and good fun. ab LalGoshill Artists Announced To Date Ist - Don Cherry and Rip Rig & Panic; Val: ddez; Orchestre Jazira. 2nd - Jackie McLean, Bobby Hutcherson and Billy Higgins; Jan Garbarek Quartet with Eberhard Weber; Graham Collier Orchestra including Juhani Aaltonen, Conrad Bauer, Paul Bridge, Ashley Brown, Ted Curson, Roger Dean, Malcolm Griffiths, Henry Lowther, Manfred Schoof, John Schroeder, Matthias Schubert, Ed Speight, John Surman, Eje Thelin, Art The- men, Geoff Warren and Kenny Wheeler; Sunwind; Paul Rutherford Trio; Eddie Prevost Quartet; Focus On Sanity. 3rd — Okay ‘Temiz and Oriental Wind; Bobby ‘McFerrin; Oregon with Paul McCandless, Glen Moore, Ralph Towner, Collin Walcott; Bill Perkins with the Lennie Best Quartet; Zila; Ekomé; Ted Curson; Berkshire Youth Jazz Orchestra. Other events — John Surman- Karin Krog Duo; Conrad Bauer, solo; Pete Nu; Guest Stars; Panorama; Frank Toms Quintet; Southampton Musicians Co-op; Pendulum; dance and drum workshops. CAPITAL MUSIC FESTIVAL cs, London ee ‘Throughout July pel 2nd — Jaco Pastorius and the Word of Mouth band, Hammersmith Odeon, Sth-16th — WOMAD (World of Music, Artsand Dance), ICA. Dollar Brand tour: 9th — Ace, Brixton; 10th — Intimate Theatre, Palmers Green; 11th ‘New Albany Empire Deptford; 12th—Com- ‘monwealth Institute, Kensington. 18th— Fats Domino, Royal Festival Hall. 19th - VSOP Ti with Ron Carter, Herbie Hancock, Bran- ford and Wynton Marsalis, and’ Tony Williams. (Further details: 01-388 6137.) NORTHSEA JAZZ FESTIVAL Congress Centre, The Hague, Holland 8th, 9th & 10th July in festivals in one building at the same time! Is it possible? Apparently so, as the or ganiser of the Northsea festival and shocked eye-witnesses constantly remind us. For over the seven years thatthe festival has descended upon The Hague, it has accumulated more statistics than an encyclopedia, How do these figures grab you from this ‘year’s press release? Over three days 120 con- certs, 10 hours each day in seven different hulls involving 600 musicians. Impressed? Of course, you are. Perhaps Northsea reflects the circus syn- drome more than any other event. Six hhundred musicians in three days! Sounds ‘more like an endurance course than a jaz fes- tival. 've yet to enrol on the course but, from vyeswitness accounts, the event is as exacting, as it would suggest. Northsea is an event that ‘one should experience atleast once, so maybe this year I will start training, Of course, attempting more than justapor- tion of the whole is impossible, so choosing Priorities takes on a greater importance. Pre: sumably, there is some kind of grouping t- gether of styles so that, for example, VSOP are not playing at the same time as Freddie Hubbard, or Jaco Pastorius clashing with Ronald Shannon Jackson. “The list of r&b and blues stars looks par ticularly interesting with Screamin Jay Haw: kins, Dr Johi, Willie Dixon and John Lee Hooker standing out. In addition, there is ‘what the organisers describe as a complete gospel festival ‘Now's The Time’ featuring ‘The Stars Of Faith, The Sensational Nightin- gales and the Rev Robert Mayse among others. ‘The total lack of British and European ‘musicians is a worry as isa representation of. the free end of the music but hopefully both these deficiencies will be rectified by 8th July. In addition to the live events, Northsea will include a jazz-film festival, video shows of previous years, a jazz shopping-centre and a jazz exhibition plus a large variety of bars, snack-bars and restaurants. Sounds too much tohandle? Come on, discover that spirit ofArtists Announced To Date Ray Charles & His Orchestra, Oscar Peterson Trio, VSOP II (featuring Herbie Hancock, ‘Wynton Marsalis), Lionel Hampton Big Band, Clark Terry Septet, Nina Simone, Chick Corea/Gary Burton, Woody Herman, Scott Hamilton, Buddy Tate, Arnett Cobb Bud Johnson Quintet, Dorothy Donegan Trio, Shelly Manne Quintet, Hank Jones Trio, Chris Connor Trio, Freddie Hubbard Quintet, Herbie Mann Quartet, Wild Bill Davis Trio, Jimmy Smith Trio, Stephane Grappelli Quartet, Bobby McFerrin, Sphere (featuring Charlie Rouse), Art Ensemble Of Chicago, Jaco Pastorius Band (featuring Randy Brecker), Ronald Shannon Jackson & The Decoding Society, Tito Puente, Celia Cruz; Paquito d’Rivera Quartet, "Tania ‘Maria, Screaming Jay Hawkins, Dr Jobn, Big Joe Turner, Jimmy Witherspoon, John Ham. ‘mond, Willie Dixon, Buddy Guy, John Lee Hooker, Luther Allison. FETE QUAQUA 83 London Musicians’ Collective, London NWI 9th, 6th, 23rd & 30th July Musicians have developed a tradition as promoters within free’ improvised “music stretching back to the Little Theatre Club in the Sixties, the Musicians’ Co-op in the Seventies and, more recently, the London ‘Musicians’ Collective. Performers have some- times found self-promotion tobe the only way for their music 1o be presented. Guitarist John Russell is a prime example. ‘Asa musician involved in all organisations, he has experienced the frustrations of being a ‘musician in an unfavourable climate. Over the last few years, he has attempted to present concerts at various venues around London with little or no financial support. Last year he started a weekly venue over a pub in Is- lington, calling it Club Quaqua (Latin for Wwherescever). The venue ran for several ‘months quite successfully with a lite finan- ial support from the Greater London Arts Association. Later, he moved the club to his local community centre in Finsbury Park here he has struggled to keep it going with ‘no financial support except from his own poc- et. ‘Asan extension ofthe club, John organised weekend festival last year at the London ‘Musicians’ Collective featuring many of the improvisers associated with Club Quagus to gether with guests from abroad. This year, John is presenting a similar event over four ‘consecutive Saturdays with a change of em- phasis. Instead of a pool of musicians with them choosing ad hoc groupings, each week will feature specific groups showing what he believes to be the general scope of free impro- John Russel is well aware of the problems of presenting the music in difficult cir- cumstances. If there were enough organisa- tions offering sympathy to free improvisation, ‘musicians could concentrate on playing. As it is, the enthusiasm of people like John is stil needed. For along with musician-run collec- tives, they provide the backbone to this finan- cially impoverished but highly inventive area of music: Amtists Announced To Date 9th ~ Gilius Van Bergeik, Georgie Born, John Russell, Roger Turner. 16th — Maarten Altena, Steve Beresford, John Russell. 23rd— Gunther Christmann, Lindsay Cooper, Luc Houtkamp, John Russell. 30th ~ Paul Lo- vens, Torsten Muller, Evan Parker, John Russell BRITISH JAZZ AT QUESTORS Questors Theatre, London, WS First and second weeks of August Ealing WS is not the place you would nor mally expect ro find a jazz festival but these days locally organised events are taking on a greater significance as promoters/musicians fight their way through unfavourable cir cumstances fo present the music they fel de Serves to be heard, Dick Crouch is one such individual. As leader-composer-vibes-player with the group Paz, he has experienced the frustrations and hardships which British bands are up against in their own backyard when gigs are hard to come by. So, in February this year, he took ‘matters into his own hands and-organised a week of British jazz at the Questor theatre featuring many leading namesin British jazz— Nucleus, Stan. Tracey, Morrssey-Mullen, Ronnie Scott, Bobby Wellins as well as his own band. Despite general apathy from the media, anda shoestring budget, Dick managed to sell out four of the seven nights though i stil lost him money. Undeterred by the hazards of promoting, and fired by a belie inthe music, hh is organising similar event during the first two weeks in August. On Wednesdays and ‘Thursdays, he will present the groups he par- ticularly Wants and will offer the Sunday, ‘Monday and Tuesday slots to other oranisa” tions such as the Musicians Union and the Jaze Centre to present ther own prograrame “The Questors is a well-equipped theatre with good acoustics and with food and booze fn tap. Concerts will start at Spm and al seats will be Antists Announced To Date Stan Tracey, Humphrey Lytelton, Georgie Fame, Jivin Jump, Morrissey-Mullen, John Surman, Paz, Spike Milligan All Stars, plusa keyboard night. FREE MUSIC 83 Keizerstraat 38, Antwerp, Bel 12th, 13th & 14th August Belgium does not generally have a reputation for staging major jazz events. In fact, it usu- ally gets overlooked when the European jazz scene is being talked about. However, pianist Fred Van Hove ~ Belgium's most famous im- proviser—has, in the last few years, organised a three-day event which has brought together ‘many leading names in improvised music. ‘This year's event - like many others in Europe ~ uses a basic pool of musicians per- forming in different combinations over the three days. So, for example, a percussion trio of Paul Lytton, Gunter Sommer and Ivo Van Der Borghd performing on the second day will be joined by saxophonist Cel Over Berghe and bassist Johnny Dyani on the third, Tn addition, there is a strong nod towards composed music with a Belgium contempor- ary group performing various composed pieces on the first day, while a brass group of ‘Mark Charig, Paul Rutherford, Radu Mal- farti and Larry Fishkind along with Fred Van fe a ht Hove perform a new piece specifically written for the festival by the pianist. seer 12th - Vinko Globokar and Jean Pierre Ivo Van Der Borghd, Johnny Dyani. 14th ~ eens ‘Berghe and Johnny Dyani, ACTUAL 83 Institute of Contemporary Arts, London Swi 23ed-28th August I must admit a vested interest in this event as promoter/artistic director ~ call me what you will. Atthe same time, I make no apologies for writing about my own festival for, since ts in- ception in 1980, I have gained a degree of satisfaction at the results of presenting an event ofthis size and nature. Presenting SO musicians exclusively from the area of free jazziimprovised music was a gamble in 1980. The gamble paid off. No, it didn’t make a profit; on the contrary, it lost the amount I estimated beforehand. That, within the terms of the music, counts asa suc- Like any event of this size, itis dificult ro ‘create enough space to allow the musicians as much freedom as they would idealy like. But ‘giving specific musicians projects (Evan Parker in 1981, John Stevens last year) to ex- tend ideas over a three-day period has added an important dimension to the festival. In ad- dition to last year’s project, two afternoons ‘were given over t0 a pool of musicians to a. range things as they liked. Strangely, nobody really took advantage of the idea. Nobody’s fault ~ just part of the process of evolving ideas. This year, the project idea is being ex- tended. Keith Tippett has the three-day pro- ject while Steve Lacy and Alterations will Ihave extended periods to work through ideas. After three years the festival has developed and expanded its boundaries, Now it extends into the wider area of performance ~ dance, speech, performance art, theatre ~ within im- provisation, as wells fusing different musical forms: for example, Violeta Ferrer reciting the works of Lorca with Tony Coe and French guitarist Raymond Boni, folk-singer Frankie Armstrong singing with Talisker and, hope- fully, poet Brion Gysin with Steve Lacy. The ICA theatre is an intimate-enough space to encourage the creative process with- ‘out performance becoming too removed from the audience. As always, trying to think crea- tively about events is a gamble ~ Will ideas work? Will an audience respond to the chal- lenge? Actual 83 is perhaps the biggest risk yer. In bringing together forms other than music, i runs contrary to traditional notions that still persist in this country. We await the outcome with fingers tightly crossed. Artists Announced To Date Alterations, Catalogue, Katy Duck, Tristan Honsinger, Iskra 1903, Toshinori, Kondo, Peter Kowald, Steve Lacy, Joelle Leandre, Evan Parker, Alan Silva, Spontaneous Music Ensemble, Talisker, Keith Tippett, Julie Tip- ppetts, Moniek Toebosch, Mal Waldron.In the fourth of this series which highlights some of the music’s most influential instrumentalists, CHARLES FOX picks seven tenorists who became pathfinders in thei field. ¢ id COLEMAN HAWKINS (1904-1969) Before Coleman Hawkins took the tenor saxophone in hand, it sounded curiously insipid. Certainly there was no established tradition for using the instrument in jazz as there was for the trumpet, trombone and clarinet. But by the end of the Twenties Hawkins's style was under control and he presented tenor saxophonists everywhere with a method of improvising. That frequently involved arpeggiation, laying out the notes within each chord, placing much emphasis upon harmonic cunning. Indeed, Hawkins’s keen harmonic ear later resulted in his becoming the first bandleader of his generation t0 ‘employ beboppers. But the Thirties really witnessed the lowering of Hawkins’s magnificence as a soloist, He invented the rhapsodic solo, fusing a warm tone with an expansive ‘manner, but pioncered other aspects as well, including the use of riffs to build up a solo's rhythmic excitement He was the first jazz horn-player to record entirely alone (‘Picasso’). By the Sixties he’ hhad even begun to adjust to the modal approach which was ousting those elaborate chord sequences. “Hawkins’s 1939 version of ‘Body and Soul" is as perfect as any jazz solo can be, but a close runner-up is ‘The Man I Love’, recorded four years later. BUD FREEMAN (1906) Bud Freeman's latter-day image - that Anglophile stance, that air of appearing to be en route from quarter deck to officer's mess — rather conceals the fact that Freeman was one of those young white Chicagoans who in the Twenties embraced black jazz, adoring Oliver and Armstrong, Johnny Dodds and Bessie Smith. Their own music was tough and exciting and Freeman invented a way of tenor-playing that fitted with what his confreres were up to. Its inspiration lay in Hawkins’s example (a precedent for “The Ee!’ can be spotted in one of Hawkins’s breaks towards the end of Fletcher Henderson’s ‘Sensation’. Nevertheless, Freeman's methods and ambience are totally different from Hawkins’s. Rhythmic drive is given greater priority; so is the use ofa lighter tone, a less ‘demonstrative manner. ‘Although Freeman continued to work with those Chicagoans who moved to New York (his own Summa Cum Laude Orchestra was really another name for Eddie Condon’s band), he was also a featured soloist in big bands, notably the Tommy Dorsey Orchestra. Indeed, his extended solo on Dorsey's ‘stop, Look and Listen’ (1937) conveys the basic irrepressibility of his style. LESTER YOUNG (1909-1959) Most jazz aficionados feel they have at least some understanding of the motives and personalities as well as the music of the leading soloists. Lester Young, however, remains something of an exception, hiding behind a stylised casualness, remaining, a mystery even to players who worked Lester Youre (Coleman Harkins alongside him. An authoritative biography is badly needed. He burst upon the jazz scene in 1936, already 27 and sounding totally mature on that first recording with a quintet that included Co Basie. Young’s departure from Hawkins’s ‘manner was much more drastic than Bud Freeman's gentler heresies. His sound was cool where Hawkins’s was hot; instead of pushing the beat he preferred to lag behind it. Above all, Young's instinct for lean understatement contrasted with Hawkins's lush romanticism, And here Hawkins liked to cherish each chord, Young took them in his stride, almost as if he chose to imply the hharmonies rather than be disciplined by them, ry appearance he made on records with the pre-war Basie band sounds inspired. But from the mid-Forties onwards a weariness crept in. By then, of course, his many imitators were becoming more famous than their mentor. Yet even in the most wan and tentative of his later solos Young remained inescapably himself The earlier, more zestful though, is encapsulated in recording of ‘Lady Be Good’ approach, hat 1936 \ ‘Bud FreemanSTAN GETZ (1927) Disciples, in their different ways, provide a gloss upon the work of their masters. Chu Berry and Ben Webster allowed different aspects of Hawkins's style to rub off on theirs. ‘The more obscure and ill-fated Dick Wilson he played in Andy Kirk's Clouds of Joy struck a delicate balance between “the attitudes of Hawkins and Young. But most ambitious young tenor-saxophonists of the Forties and Fifties set outro emulate Young's splayed phrasing, his laconic tone. (Of none was that truer than of Stan Gevz, who built his reputation in the Woody Herman Orchestra before launching out on his own. Getz’s sense of form is more enclosed than Young’s rakish explorations, just as his sound is burnished agd_a trifle more self conscious. What Getz did, though; was 0 concoct a completely original manner within the style he took over. His involvement with bhossa-nova. in the Sixties accentuated the prettier side of his playing, but that was 2 temporary alliance, even if TV audiences stil expect him to play “Desafinado One of Get2"s most felicitous solos isan airy version of “Here Comes That Rainy Day’, recorded in the Sixties with a group that included the vibes-player Gary Burton, SONNY ROLLINS (1930) All four tenor-soxophonists selected so far hhave had roots in the swing era rather than in bebop. Not so, however, in the ease of Sonny Rollins, whose early apprenticeship involved weaving his way through the tight chord changes beloved by Charlie Parker’s generation. Rollins enjoyed Lester Young's Playing, too; mainly for its anticipation of harmonic shifts, certainly not for the understated tone, totally unlike Rollins's nd although Rollins understood as well as anybody the interior workings of bebop, he remains one ofthat minority of jazz improvisers for whom the theme can be every bit as important a basis for action as the underlying harmonies, He made a habit of recording the most unlikely material: ‘Someday Pil Find You ‘Wagon Wheels’, “Toot, Toot, Tootsie, Goodbye’, all treated "with refreshing aflronter Tn the Sixties, a Rollins set at a. club resembled nothing so much as what used to be called a musical switch, the saxophonist ‘confounding his accompanists by jumping from one tune to another. Nobady who heard hhim doing this during appearances at Ronnie Scott’s Club will forget the excitement engendered by that spontaneous yet logical improvising Tr was successful because of Rollins’s sense of form, the composer's instinct that allows hhim to construct lengthy solos which involve genuine development “Blue Seven’ is a good example of that process at work JOHN COLTRANE (1926-1967) John Coltrane exerted a greater influence ‘upon the course of jazz than any other tenor. stxophonist. His innovations dusing the early Sixties were a all-embracing as those of Louis Armstrong and Charlie Parker in earlier decades. He may prove, in fact, to have been the last of the major figures whose methods got adopted around the world (jazz has become more fragmented since then, groups ‘of musicians operating autonomously rather than as part ofa broad community ‘What Coltrane passed on to his followers ‘was a way of permutating the possibilities ofa scale or a mode, or just a couple of chords. Every note he played could be justified as a logical part of his harmonic conception. It was, in its way, an extension of Coleman Hawkins’s arpeggiation. First with Miles Davis, then with his own quartet, Coltra reorganised the conventions "of jazz improvising. He even reproduced within jazz some of the procedures of Indian classical music, not merely in his own playing ~ and Coltrane's solo lines, full of litle flurries meandered as discursively as those of a sitar player ~ but in the functioning of the various ‘members of his quartet. ‘A good example of the method in action is Coltrane's treatment of a Harold Arlen tune “Out OF This World’ ALBERT AYLER (1936-1970) ‘Most tenor-saxophonists concentrate upon cutting some sort of pattern in time. A handful, however, put sound before shape Ben Webster, for instance, made a conscious decision to opt for tone rather than speed. i aoe =e Albert Ayler,t00, was impressed by texture and timbres, admiring the strength of Sidney Bechet's vibrato. And although Ayler's phrasing would appear to stem from Sonny Rollins’s jagged manner, Ayler himself seems to have looked on Lester Young as a father figure. With heroes like those, he scarcely seems the outrageous figure he appeared to be atthe start ofthe Sixties. Yet even then a few critics pointed out that he was a very conservative revolutionary, sticking 10 ‘common time, electing — rather like Ornette Coleman = t0 build his solos around motifs Even the starting effects — those squeals and ‘moans and judderings ~ had their parallels in New Orleans brass playing, Nowadays Ayler'sinfluenceis visible in the work of young musicians such as David ‘Murray. His own career asa jazz celebrity was ‘woefully short ~ no more than six or seven years. And, as Max Harrison has pointed out ‘Ayler tended, like primitive blues pianist, 10 rework the same themes again and again Try listening to the two versions of his tune Ghosts’, recorded in Copenhagen in 1 autumn of 1964, . Sonny Rollinsthe contribution of trumpeter DON CHERRY tojazz history, ll too often he has been un- derstated ~ relegated to mere ‘side- ‘man’ rather than acknowledged as a genuine leader, innovator and re- volutionary. Richard Cook thinks it’s time to set the record straight. Here, he as- sesses Don Cherry's recording career and development from the trumpeter's early days as sparring- partner with Ornette to his later, brave explorations of World Music. THE DETRITUS of revolution ccan obscure its deepest. reso: nance. As profoundly liberating as the explorations of The Shape Of azz To Come, Outward Bound and Coltrane Jazz were 0 the im pproviser’s arsenal, the new jazz of the Sixties cracked more than the barriers of harmony and tonality The climate of expression itself was irrevocably altered Tn positing a ‘new" tradition — fone that had no direct obeisance to a European heritage ~ Cole- rman, Coltrane and Dolphy were stabilising something that had the ironical ring of ‘art music’ about it. For the first time, the core of jazz was to shift toa nucleus that polarised the oldest folk forms and the most contemporary and confrontational of languages. Music was reasserting itself over Surprisingly, the musician who has most clearly embodied the many ambiguities of this ‘movement is still historically re garded. asidekick anda dabbler father than a genuine leader Donald Cherry bas played the ‘most individual brass sounds in jazz music for 25 recorded years ‘now, and in the bewildering stack of discs he has made the only binding force is a wilful spon taneity, an unfailing chipper shading of the mysterioso, that seems to make every Cherry re: cord into something uplifting, perplexing and personally useful That sounds a pungent antidote toeritical mortality to me. Twas, in a way, Cherry's bad luck, to step forward asa trumpe- ter (or, cometist, or pocket trumpeter) at a time when the saxophone had established an im- pregnable position as weapon of innovation. Because Parker had proved to be twice as strong as. Navarro and Gillespie, and be cause Miles chose to slow-burn while Rollins blazed, the trumpet had been eclipsed as the symbol of jazz leadership. Strange act of reflection ‘And when it came to choosing partners, Cherry could hardly have picked a more dominating force than the young Ornette Coleman. When they cut their ‘mutual official debuts ~ the two Contemporary albums — that triggered the insurrection in 1958-59 ~ it was “The new music of Ornette Coleman!” that was ‘emblazoned on the sleeves and a hatful of Ornette tunes on the re cords. Yet, in a strange act of re flection, "Cherry's trumpet sounds a voice closer to the edge than even that of the altoist (One way to peruse the develop- ment of Cherry's art isto entrap the improvisation on a very early Piece like the title track of Tomor- row Is The Question!” alongside that on ‘Civilisation Day" which resembles a supercharged variation on the older piece. The younger Cherry (aged 23 in 1959) already had all the joists and pins of a uniquely ambivalent style in place: the “Question!” solo has squirrlly gai that rough-chops @ development of Coleman's perky melody into a raggedy string of phrases that file down into mum bles, punctuated by abrupt dag gers of muuch firmer intention. It sounds at once jubilant and ob: Tiquely fretful ‘On ‘Civilisation Day’, we hear the same, now instantly identifi- able persona, hooked to an imagi nation deepened and coloured by experience. Here Cherry meets the headlong tempo with much longer lines and slivers them up in unexpected ways; an abstruse cluster of cool, distilled notes spins the solo on a new course from the centre, and a fascinating. range of tonal inflections is scat tered with off-hand dexterity through the shape ofthe improvi sation. Yer the emotional duality ch might be glibly para phrased as a mask of Janus, is still present. The inner man is a sur. A natural second fiddle? Criticism of the youthful (Cherry has centred on a weakness of tone, a snatching at ideas anda general air of inferiority to the full-light genius of Coleman. But the trumpeter was actually Facin up to the demands of the leader’ ‘music with an understanding that is sometimes even more astute than Ornette's. That Cherry is al- way’ less ammediatly impressive than Coleman is obvious, because the balance on the classic Atlan tics invariably favours the alto and the leader was at this stage playing with a plangency of tone that only Dolphy could rival ‘Cherry's crabbed squitter made a puny foil, ifa natural second fid de. Consider, though, the aim of the music: a melodie freedom, severing of harmonic and indeed rhythinic restrictions with @ con sequent opening outof expressive dimensions. Omette's group was ‘working in areas that made irony, duplicity and a peculiar sense of tragi-comedy available to the wakeful musician: and Cherry wheeled through these options with amazing alacrty Eerie corridors Take ‘Free’! the alto solos a ‘masterful wriggle of convolution accented with a cantankerous precision, but Cherry's ensuing pick-up goes even further, bril liantly inverting the central idea ofthe leader's solo within a decor ous surround and then chasing down an cerie corridor of squalls that bangs miraculously together. ‘One can hardly lambast the cechaique of a:man who could negotiate themes as taxing as Moon Inhabitants’ "and fash jon a counterpoint of such was pish poster, of tackling a primar. ly lyrical inspiration like ‘Eears*”) and instil a stinging that i anti-poetic. The way hhe deliberately” lightens — the sombre airs of ‘Beauty Is A Rare A Don Cherry, Colin Walcoa, Nina Vascoucelostive he could be. Inasessionover of split voices — a small master- which the spirit of Monk hangs piece of emotional manipulation heavily, Cherry reacts by inveigl- which reads exactly the climate of ing those unorthodox disciplines Ayler’s house. Precise gestures to his own ends, turning ‘Let’s are abandoned for a wide, sweep- Cool One’ into a model respray ingly expressionist method that with newer colours. He crowds blurs ll the chalk-marks of style: the form into a solo that hunches again, the ambiguity is of a super plethora of eects, odd buzzing _ficially unfocused speech used to growls and slurs, into a particu- impart deeper, more elemental larly astringent’ variation on messages. ‘Monk's theme. Rudy Van Gelder recorded him with a clarity that Manoeuvre and dogfight belies that ‘weak’ tone, and it “Holy. Spirit" and ‘Infant brings rather donnish session to. Happiness" offer the same re life wards, although Ayler and Cherry's presence on a scho- Cherry were really working atthe larly date like that was typical of stretch of a full session to com: the emotive flexibility ofhis play- municate such matters. The ing even then. His meetings with exhaustive tumult of New York the three major tenor-players of Eye And Ear Control", where the day provided challenges of re- four horn-players _ ceaselessly sponse which he met superbly manoeuvre and dogtight, is - de well at fundamental level - this spite its manifest agonies ~ the wasn't the catch-all versatility ofa closest realisation of this. great Freddie Hubbard but a deeper conception. Cherry's playing comprehension of the needs of sometimes takes on its most af jazz creation. Cherry - who fecting garb here. The way his claimed only Fats Navarro and spindly melancholy spears out of James Clay as initial inspirations Ayler’s primeval roars is acutely = sounded disarmingly free of — moving. traditional device, as if he had For Cherry's first, overdue ses sprung directly roman untapped sions as a leader in’ 1965-66, he folk root chose to present a synthesis ofall this multifarious work, ‘Com: Entrancingly impish plete Communion’ and "Elephan: With Coltrane, there is an at- tasy""" are extended composi mosphere of tense gravity which tions of alfresco eloquence: the Thing”® is perhaps the most Parker's “Klactoveesedstene’ is Cherry accommodates without first. theme of ‘Communion’ is xe of his primary salutary: the alto-man offers a growing mordant. ‘Cherryco"” gloriously sunny, teasing a fim: to fragment the music, wild fantasy on Parker, but finds him in an unusually severe dialogue out of the trumpet and tither in mood or form, so that it Cherry is even further removed frame of mind, delivering a very Gato. Barbieri’s tenor that_is may develop the more freely. Al- from a bop terminology, even if forceful solo ‘that feeds off a equally harmonious and competi though this fragmentation has he is less confident about it. And favourite theme, and it's pur- tive, and this contrapuntalism beenthe source of mosteriticism, Steve Lacy’s comments on poseful in a way that Trane can- goes on to shade the whole work. inseems to me to be the truest ap. Cherry (‘Ler’s just play") bear out not match. Despite the custom- ‘The concept of one soloist is dis proach to the music Coleman's how advanced the trumpeter al- ary majesty of tone, thereat man _placed by the continuous involve- ‘sroup was investigating ready was, rambles. With Rollins, on the ment of the ensemble, Henry No surprise, really. Hearing very long and open-ended work- Grimes’ bass and Ed Blackwell's the 1958 Hilerest Club recordings Unorthodox disciplines outs that make up Our Man Jn — drums maintaining an argument and noting thedisparatereactions The date Cherry made with Jaze”, che trumpeter isentranc- as soloistic’ as either of the horns, of Coleman and Cherry to Lacy in 1961" shows how intui- ingly impish. While Newk dips (assisted by Blue Note's assidu into his civilised aggression bag ously crisp sound); and, to match for all t's worth on a splendidly this structural drift, Cherry propulsive and chemeleonicjoust_ dreamed up themes that evapo- with ‘Oleo’, Cherry offers up a rated the melodie turbulence of disparate and skittish clutch of — Ayler’s group to an essence of doodles, sometimes pirouetting rare sweetness. The lament of fon a single squeezed motif as if ‘Golden Heart’ is rhapsodically dizzily bewitched, touching, but it never pales be tween the terser ‘And Now’ and But Albert Ayler proved to be artful conclusion of ‘Remembr: Cherry's most complete partner. ance’. Ayler was the only one to surpass Symphony For Improvers) is Parker's tragic slant on his muse, different: more diverse, less sym- dnd it might be surprising that 2 metrical, more provocatively light’ player like Cherry should complex. In enlisting Pharoah mesh so well with that gargan- Sanders, Karl Berger and J F tuan pathos. A listen to two ver. Jenny-Clark, Cherry tested his sins of ‘Ghosts’''"? dispels that organisational powers to the ex rmisgiving, for the tingling lines of treme and still bagged his unruly the trumpet seem todraw out the infidels in a setting that imposed tensions of this most baroque its own disciplines. The arid quartet tothrillingends. The Hil screeches. of the tenor-players versum version was Ayler pro- crest a tireless rise and fall of ducing an almost perfunctory sound that calls time on hysteria, spurt of outraged spirit before and Berger's queer, tinkly intru Cherry wrings and twists the pas- sions on vibes and piano lend a sion of the theme until he falls mysterious ethereality to the quey Seton shetecsed becectnca<