’58 Sessions by Miles Davis, Julian “Cannonball” Adderley, Paul Chambers, Jimmy Cobb, John Coltrane, Bill Evans.
From this remove, it’s hard to hear that this record was somewhat radical at the time of its recording. It seems to represent a bridge between the Bebop, that the young Davis came up in, and the “Modal Jazz” he would soon become famous for popularizing on “Kind of Blue”. Adderley is especially great on this, and Coltrane is solidifying the sounds he would become known for.
The Art of The Improv Trio Volume 5. Gerald Cleaver, Joe Morris, and Ivo Perelman.
I enjoyed Joe Morris’ playing, but I didn’t fully appreciate his perspectives until I read an interview with him in a collection of interviews William Parker did with improvisors for RogueArt. Anyway, Morris and Perelman seem to have a real connection and their interplay on this album is fantastic to listen to.
The Art of The Improv Trio Volume 4. Gerald Cleaver, William Parker, and Ivo Perelman.
Mr Perelman must have had three espressos before this set, because he is out in front, right out of the gate. After a few failed attempts to connect with Perelman, Cleaver and Parker establish a dialogue between themselves and carry on. Perelman eventually realizes he’s not in sync with the rest of the trio, and tries to connect with what Parker and Cleaver are doing, but never finds a way in. I found myself wishing I could turn off Perelman’s Sax and just listen to the Bass and Drums as a duo.
Interesting how Mr Perelman tailors his Tenor playing to his partners. In this case he is matching Maneri’s cello with a formidable display of his glissando technique and upper register playing. Very different from Volume One.
Music with its roots in the Jazz tradition is always moving forward, always incorporating new influences. Mr Lewis’ group brings a rap inflenced groove to the music formerly known as Jazz. While I enjoy individual tracks on this album, listening to the whole thing at once, it gets a little “samey”. Mr Lewis’ emulates the rhythmic cadences of a rapper with his Sax, but without lyrical variation, it ends up a bit like finding the backing tracks from a great lost rap album.
It was Pharoah Sanders Soprano Sax playing that initially grabbed my ears on and pulled me in to this recording, but listening closer, the real hero of the session is Cecil McBee on Bass. His solid playing is the root which allows the flowers of Alice’s harp and the brambles of Pharoah’s Soprano to flourish.