Bob: a Palindrome
Bebob Records NEW SEASON HIGHLIGHT ****
It’s not quite the heavy metal umlaut, more an upside down version of one as you can see on the sleeve above, but Bob: a Palindrome, is Robert Hurst’s latest on his own Bebob records, a stellar septet befitting the company the musician habitually keeps, as the bassist appeared just last year on Macca’s Grammy winning Kisses on the Bottom.
Branford Marsalis, who Hurst made his name with in the Columbia years, is also on this new septet album, the centrepiece of which is a ‘Middle Passage Suite’ the title referring to the Atlantic slave trade, with individual pieces reflecting survival, death, and the continuum. Robert Glasper plays piano and Rhodes, and it’s interesting to hear Glasper on someone else’s records as well as his own, especially following the success of Black Radio. In some way his playing here recalls the style of one of his earlier records, Canvas. Bennie Maupin, a fellow Detroiter of Hurst’s, makes his presence felt quite early on flute, and another Detroit jazz legend, trumpeter Marcus Belgrave, who taught Kenny Garrett among others, melds more than well with Marsalis, and Glasper knits in beautifully behind the front line playing Rhodes on ‘Picked From Nick’.
It’s good to hear Tain Watts playing again with Branford (the Marsalis quartet hasn’t been the same without Tain), and the great drummer also has a significant musical rapport with percussionist Adam Rudolph who chops up the rhythms just right.
Highlights? Well the opening of ‘Big Queen’ has a sinuous momentum that recalls the Messengers with that slightly ominous atmosphere that Watts and Rudolph do much to build and push along; and Branford burns on the third part of the ‘Middle Passage’ suite.
The suite, in keeping with the rest of the album composed and arranged by Hurst, is the most important part of the record, the 21 minutes of music containing a unifying chamber music dimension as well as a jazz one; and Rudolph and Watts in Part II unite the separate ‘sections’ of the septet and ably direct the converging musics. UK group Zed-U were one of the first to highlight the Middle Passage as a subject for jazz composition in recent years and Neil Charles’ work on that record stands up well to Hurst’s superlative work here.
Later in Bob: a Palindrome ‘Indiscreet in da Street’ has formidable energy, and that’s a hallmark of this excellent album available for now as an import only.
Finally, with or without the upside down umlaut, this record might win an award for the most number of ‘thank you’ acknowledgements. More than 100 individual entries are printed so Hurst is clearly a grateful person! But we as listeners should be even more thankful for this quite superb album that achieves so much and shows such indomitable spirit throughout. MB
Little known now yet one of the most fascinatingly diverse European jazz labels, often synonymous with the ECM aesthetic, Japo (Jazz by post) existed for some 15 years recording from 1971 to 1985.
It all began with the same artist who first started off ECM in 1969, pianist Mal Waldron, and The Call. History was repeating itself in this one respect.
Then came Dollar Brand, or Abdullah Ibrahim as we know the great pianist today, with African Piano.
Other titles swiftly followed: Barre Phillips’ For All It Is; Herbert Joos’ The Philosophy of the Fluegelhorn; a second Dollar Brand, Ancient Africa, then the obscure Bobby Naughton’s Understanding; Edward Vesala’s Nan Madol; Jiri Stivin and Rudolf Dasek’s System Tandem; Tom van der Geld’s Children at Play; and Enrico Rava’s Quotation Marks.
Japo is often seen as an extension of hippie jazz or New Age with a strong improv twist, but some artists are as little known today as Bobby Naughton and Magog were under the radar even then.
The Jazz By Post years: free spirited and unorthodox in nature
They released the self-titled Magog; and Japo also put out Om album Kirikuki; Manfred Schoof’s Scales; Larry Karush’s May 24 1976; Herbert Joos’ Daybreak; a second Om work Rautionaha; and the first Stephan Micus album, the most prolific Japo artist besides Om, called Implosions.
There were a few British artists on the label, and journalist Ken Hyder’s Talisker released Land of Stone on Japo while the more widely known Manfred Schoof recorded Light Lines. Both these records were produced by former cellist Thomas Stöwsand, later a leading European booking agent, who died in 2006, and who produced many records for the label. Other producers included Steve Lake, Manfred Eicher, and individual musicians.
1977, with Japo only six years in existence, saw Rena Rama’s Landscapes; Globe Unity Orchestra’s Improvisations; and the Swiss quartet Om once again with the clumsily titled Om with Dom Um; and released in 1978 Lennart Åberg had made Partial Solar Eclipse for Japo, while bands such as Contact Trio slipped New Marks out, and the late George Gruntz, Percussion Profiles.
The last batch of label releases saw an increased output from Stephan Micus with Till the End of Time the first; Globe Unity Orchestra’s Compositions; Barry Guy’s Beckettian-sounding (in its title at least), Endgame; TOK’s Paradox; Manfred Schoof, once more, with Horizons; and improv pioneers AMM III’s It Had Been an Ordinary Enough Day in Pueblo, Colorado.
Om, a Japo favourite released Cerberus; while English saxophonist Elton Dean’s Boundaries; Peter Warren’s Solidarity; Tom Van Der Geld / Children At Play Out Patients; Contact Trio’s Musik; Alfred Harth’s Es herrscht Uhu im Land; Micus’ Wings Over Water; Globe Unity Orchestra’s Intergalactic Blow; Micus’ Listen to the Rain and East of the Night, brought the trailblazing label’s output to a conclusion. MB
For the first few bars of Cornucopía it’s like the beginning of a Ladysmith Black Mambazo record. Not surprising really as a South African choir is on hand to inject a sense of vibrant motion to the set. Not typical of the record as a whole, though, these songs speak mainly of the sound of Brazil through and through but with the limber German SWR big band conducted by Ralf Schmid, and the persuasive vocals of Brazilian MPB icon Lins (with a fine spot by Paula Morelenbaum on the evocative ‘Atlantida’), there is plenty of stylistic development. All the songs are Lins’: the tantalising ‘Estrela Guia’ my pick of an appealing set made up of mostly unreleased songs. It’s a slow burner that hints at a separate improvisational dimension that in itself speaks volumes for the musical imagination at play. As the samba-strewn Cornucopía unfolds, the record draws on a Quincy Jones-influenced arranging style to great effect, and the SWR respond with impeccable taste.
Released on Monday 25 March
Ivan Lins, above
With a programme that so far has included US jazz-rock fusion heavyweights Yellowjackets, the Henry Threadgill-inspired improv of the acclaimed Trio Red, a sold out slice of New Orleans with Hot 8 Brass Band, pianist Brian Kellock playing the music of Fats Waller, the intriguingly monikered Trio Elf at the Blue Lamp, as well as blues hero Mud Morganfield, gospel from Ruby Turner, and Courtney Pine, the festival moves to a conclusion tonight with Trio Libero featuring the ‘King of Aberdeen’ himself: Polar Bear’s Seb Rochford. The open-minded trio with Rochford joined by Andy Sheppard and Michel Benita make their Scottish debut. More at www.aberdeenjazzfestival.com
Marian McPartland, radio days
There’s a rare screening next week of a film that recalls the career highlights of pianist Marian McPartland, host of US public radio network NPR’s Marian McPartland’s Piano Jazz, the programme that since 1978 has offered a startlingly different look at how pianists present themselves both in conversation and musically.
With Mary Lou Williams and Thelonious Monk in
A Great Day of Harlem, in 1958.
An American radio institution In Good Time, The Piano Jazz of Marian McPartland traces McPartland’s time in the States since leaving England where her jazz story began in the late-1940s and concentrates on the 94-year-old’s tunes and improvisational style down the years, recalling the Hickory House years the 52nd street jazz spot where steaks were on the menu, and sitting-in the order of the day.
Marian McPartland, top and pictured
The screening is on Sunday 24 March at the Stables in Wavendon
For tickets and more details go to www.stables.org
Following quickly on from the death of trad era trumpeter Kenny Ball on 7 March clarinettist Terry Lightfoot has died, aged 77, it’s been announced. Lightfoot had been suffering from prostate cancer, and passed away yesterday, according to ITV news. Born on 21 May 1935 in Potters Bar, the clarinettist and bandleader would go on to lead the Wood Green Stompers while still in his teens, having left Enfield Grammar School and following a brief stint as a reporter on The Barnet Press. He formed his own band, the long-running Terry Lightfoot’s Jazzmen, after RAF service in the mid-1950s, a band Kenny Ball was a member of for a spell. Lightfoot would continue to lead his own bands during his long career in music, although he took breaks for long periods in the 1960s and 70s to run a pub.
Of his records some of his peak early-1960s period has been featured on Lightfoot at Lansdowne, a compilation by trad specialists Lake, with sides originally produced by Denis Preston, better known for his work with Joe Harriott, including ‘Tiger Rag’, ‘Bali Hai’ and ‘Old Man River’. Lightfoot continued performing until last year, with fairly recent shows of his including The Special Magic of Louis Armstrong, Hit Me With A Hot Note, and From Bourbon Street to Broadway along with the Jazzmen who in recent years were joined by his daughter Melinda who survives him, as does Lightfoot’s daughter Michele, and wife Iris.
Terry Lightfoot, above