Author: James Koblin

Picture from The Guardian

We recently received the sad news that the great cello player Abdul Wadad died on August 10, 2022, at the age of 75. Please read excellent obits at NPR, The Guardian, and at The Free Jazz Blog. The always fascinating Ethen Iverson posted a tribute with an analysis of 3 great Wadud performances, including an album I have not heard before, I’ve Known Rivers (with Anthony Davis and James Newton, in addition to Wadud). I’ll be checking this album out! Link to YouTube here.

Even though Wadud has not recorded since the 1993 Oakland Duets album with Julius Hemphill, his influence on progressive music has not faltered, and musicians like cellist Tomeka Reid have carried the torch for Wadud’s music. This blog has celebrated Wadud’s music in our inaugural post on Julius Hemphill’s Dogon A.D., a record which prominently features Wadud, and our post about Wadud’s only solo cello album, By Myself.

At the time of those posts, both Dogon A.D. and By Myself were out of print, a situation which thankfully is changing. You can now get Dogon A.D. in a limited edition vinyl release from International Phonograph, and it was announced (sadly only days before Wadud’s death) that By Myself will be released by Grove Records. Wadud’s music will not fade away – its power and humanity are there to be heard by people now and in the future. Abdul Wadud lives!

Picture from Jazz R Us Facebook Page

Music Discussed:

Grachan Moncur III – Evolution
(Recorded November 21, 1963, Released April 1964 – Blue Note BST 84153)
Link to Apple Music
Link to Spotify
Link to YouTube

Personnel:
Grachan Moncur III – trombone
Lee Morgan – trumpet
Jackie McLean – alto saxophone
Bobby Hutcherson – vibes
Bob Cranshaw – double bass
Tony Williams – drums

Jackie McLean – One Step Beyond
(Recorded April 30, 1963, Released January 1964 – Blue Note BST 84137)
Link to Apple Music
Link to Spotify
Link to YouTube

Personnel:
Jackie McLean – alto saxophone
Grachan Moncur III – trombone
Bobby Hutcherson – vibes
Eddie Khan – bass
Tony Williams – drums

Jackie McLean – Destination… Out!
(Recorded September 20, 1963, Released November 1964 – Blue Note BST 84165)
Link to Apple Music
Link to Spotify
Link to YouTube

Personnel:
Jackie McLean – alto saxophone
Grachan Moncur III – trombone
Bobby Hutcherson – vibes
Larry Ridley – bass
Roy Haynes – drums

With the number of musicians who have died recently, it’s difficult to avoid this blog becoming a litany of memorial posts. At TNB we prefer to focus on supporting living musicians and the current development of music. But awareness of the past and its masters is as important as acknowledgement of the present, and the trailblazers of this music create an excitement and nostalgia that inspire both todays’ performers and audience. The music of Grachan Moncur III is one such inspiration. Moncur’s music finds a happy (and rare) combination of structure married to the adventure of the avant-garde. For that reason, we’d like to write about the great Grachan Moncur III, who died last month at the age of 85.

Moncur came from a musical family, the son of a well know bass player with the Savoy Sultans. In interviews, Moncur emphasized how close he was to music growing up – he was friends with Wayne Shorter from a young age (they’re both from Newark) and Sarah Vaughn was a friend of his mother’s (she would come over and cook dinner!). Moncur’s father played the trombone as a second instrument, and Moncur describes his father’s sound as a unmistakably dark and sonorous tone; I would say that’s a good description of Moncur’s sound as well.

The young Moncur’s talent as a trombone player was recognized early, and he went on the road with the popular Ray Charles band for a few years. But experimental music is what inspired Moncur, and Charles responded in disbelief when Moncur quit his band and its steady paycheck to pursue the hard life of a musical creative. Moncur then played with the Benny Golson/Art Farmer Jazztet for a short time, where he made his first records and began writing his first compositions.

This brings us to the genesis of one of the most remarkable debut albums as a leader in music history, Moncur’s Evolution, recorded in November 1963 and released in 1964. Here, I have to confess my connection to this album – Evolution was personally an important gateway to creative music for me. At a time when music that projected transformative energy meant everything to me, I latched onto the music of Moncur’s friend and musical partner, alto sax legend Jackie McLean. McLean’s edgy solos defined what I felt music should be, especially McLean’s breakthrough albums One Step Beyond and Destination Out. But who was this mysterious trombone player with the deep, dark sound, responsible for writing the band’s most incredible tunes? This question led me to Moncur and to his great debut, which really is the source for my love and appreciation of creative music. This blog would not exist without Evolution!

The band that appears on these three albums – McLean’s One Step Beyond and Destination Out, and Moncur’s Evolution, is based around a core group consisting of Monchur’s trombone, McLean’s alto, Bobby Hutcherson on vibes, and Tony Williams on drums (except on Destination Out, where Roy Haynes subs). This is a phenomenal band, but Moncur is the glue, the musician that defines this band and sparked it’s creation.

Moncur’s centrality to this band touches on why he is such an important musician. Moncur was 25 years old at the time and was 7 years younger than his mentor McLean. Like McLean, Moncur has a grounding in the blues and hard bop that is essential in Mclean’s music, but Moncur also brings his own exploratory sensibility that invigorates bop with the exploration of more open, experimental music. Even more than this sensibility, it’s Moncur’s compositions are the spark for this band. In a interview with All About Jazz, Moncur explains how inspiration struck in the summer of 1962, which resulted in these pivotal records:

“So what I did was I didn’t even concentrate on working that summer. I just lived off a little bread that I had made that year and just shedded. I just shedded on studying Monk’s tunes. I didn’t have a piano. I didn’t really do that to learn his repertoire to play it. I was just doing it to analyze his music. I just wanted to get the sound of his music inside of my body. Between shedding on Monk’s stuff and then I started writing on my own and this particular night, I had been listening to a lot of television and science fiction sounds and all that kind of stuff. This particular night, I would say about two hours before Jackie called, I wrote both, “Frankenstein” first and then “Ghost Town.”

Go listen to McLean’s One Step Beyond to hear the results: “Frankenstein” uses a loping, off-centered melody that depicts the titular character – the unusual setting inspires an incredible solo by McLean with strong support from Williams. “Ghost Town” sets a contrasting and equally compelling mood – the long descending notes create their own center of gravity which evoke the desolation of the title. The singular mood created by Moncur is on even greater display in Destination Out with the epochal “Love And Hate.” This may be Mocur’s most cherished composition – the hummable melody is both wistful and solemn, and makes a lasting impression which again matches the evocativeness of the great title.

There’s the LP copy (picture from fleetwoodmac.net)

After the success of these compositions, Moncur was given the opportunity to record his own album as a leader. He re-assembled the One Step Beyond band, using Bob Cranshaw on bass, in addition to McLean, Hutcherson and Williams. Moncur wanted to add a trumpet player, and originally had youngster Woody Shaw in mind. However, Alfred Lion of Blue Note suggested trumpet phenom Lee Morgan may be available, and by making this record date with Morgan there is an extra level of spontaneity and power. Morgan, who is best known for his roaring, hard bop playing, could also play outside, and he fills both of those roles here. What a band.

Moncur brought all originals to the Evolution date, which are smartly programmed to heighten the drama. “Air Raid” starts mysteriously with vibraphone cords ringing in the air, loping bass steps, and drums playing freely out of time. This opening is contrasted with a fast temp section against which the players play blazing solos until the rhythm unspools in a cycle back to the opening chords. The mood darkens even further with the gloomy and luminous title track. Of this track, Moncur gave a fascinating interview in 2001 with Hank Shteamer on WKCR, where Moncur emphasizes that he felt something unexplainable and dark when Evolution was recorded. Hours later, Moncur heard that President Kennedy had been assassinated, and forever associated the making of this record with a type of premonition of the future.

Side A certainly is heavy, but then, in what might be my favorite transition in music, side B starts with “The Coaster.” “The Coaster” is a charged hard bop rave up with epic solo statements from McLean, Morgan and Hutcherson. Just a few highlights of this endlessly re-playable track: McLean’s trademark stepped-down phrases at 3:11, 3:26 and 4:52; the moment at 4:23 when McLean smartly heightens the tension by moving his horn closer to the mic; Morgan’s repeated phase that builds tension at 5:22, followed by his blazing playing at 5:38; and Hutcherson’s dense lines and clusters throughout his solo. Throughout, Tony Williams’ drumming is uniquely interactive, constantly shape-shifting with each phase. For one example among many, check out Williams’ accents behind Morgan when his solo takes off, caressing every line from the great trumpet player. Following all of the extroverted playing on “The Coaster”, Moncur ends the record with strange and jaunty “Monk In Wonderland.” An explicit tribute to Moncur’s inspiration, the closing tune consists of a haltering, extroverted strut that continues the contrast with the moody side A. Morgan, McLean, Moncur, Hutcherson and bassist Cranshaw all put in terrific solos to conclude a stone-cold classic.

For a very erudite analysis of Evolution, check out pianist and critic Ethan Iverson’s breakdown. I’m not the only one who counts this album as a favorite!

Evolution is an album at a crossroads between introversion and extroversion, iteration and exploration, past and future. It captures one of the definitive composers of modern jazz in a moment of pure inspiration, and in a stroke of luck, found the ideal musicians to execute his vision. This combination of virtues makes Evolution, along with the other albums by this band, a great jumping-off point for further realms of progressive music. Evolution is an endlessly rewarding springboard to the unknown.

More Moncur:

Unfortunately Moncur’s discography is very slim, but it’s deep with amazing compositions and playing. After you’ve checked out Evolution, listen to Moncur’s second album as a leader for Blue Note, Some Other Stuff. Here Tony Williams returns for a second sideman appearance with the same leader (something he hardly ever did, except with Miles Davis) and Moncur is joined by Newark chum Wayne Shorter. The thing that stands out about Some Other Stuff is how contemporary sounding it is – it literally sounds like it was recorded yesterday. Look no further for proof Moncur was ahead of his time.

Moncur got involved in a dispute with Blue Note because he insisted on owning the rights to his compositions, and as a result, he didn’t record as a leader again for six years after Some Other Stuff. To hear more playing by Moncur as a sideman during the 1960’s and more of his great compositions, check out Hipnosis, where he’s reunited with Jackie McLean. The title track especially is killer, and another essential contribution by Moncur to modern music.

Moncur recorded as a leader again in 1969, cutting two albums for the French BYG label as part of a flurry of recording capturing the jazz avante grade when they were in Europe. The circumstances of these albums suggest they were made in a rush, but that doesn’t affect the result – New Africa in particular has a radiant air and open approach that’s distinct from the more claustrophobic Moncur Blue Notes. Both Dave Burrell (piano) and Roscoe Mitchell (alto sax) are brilliant. Though not as powerful, Aco Dei de Madrugada (One Morning I Waked Up Very Early) is a beautiful album and also recommended.

One of the most facinating Moncur albums is 1975’s Echoes Of Prayer, written during a period of trauma after Moncur had lost his home and all of his possessions in a fire. I again recommend the Shteamer interview for the inspiring story as to how Moncur rebounded from losing all his music to write and record this astounding album. Echoes Of Prayer is a four part suite played continuously by a 22-member band featuring heavyweights like Carla Bley, Charlie Haden, Jeanne Lee, Beaver Harris and Hannibal Marvin Peterson, who create a dense layers of percussion, wind instruments and voices. A gripping album all the way through, and the guitar driven coda is not to be missed. Echoes Of Prayer has not been reissued since 1975 – the world needs a new release of this album, now!

After 1975 the frequency of music from Moncur became more sporadic, but his towering influence on music was cemented in place. Moncur returned in 2004 with Exploration, which featured new performances of older Moncur compositions, and acts like a great summation of Moncur’s genius. By the time Exploration was recorded, Moncur’s importance was obvious – his music creates an important bridge between the structure and sly humor of Monk, with the rhythmic and harmonic freedom of the avant garde. It’s a crucial mix that has been widely influential of modern music, and Moncur’s music will continue to reward study and enjoyment. Moncur lives!

(picture from All About Jazz)

Music discussed:
Charles Mingus – Jazz in Detroit / Strata Concert Gallery / 46 Selden
(Recorded February 13, 1973, released November 2, 2018 – BBE Records)
Link to Bandcamp
Link to Apple Music
Link to Spotify

Charles Mingus – Mingus Moves
(Recorded October 29, 30 and 31, 1973, released 1973, Atlantic SD 1653)
Link to Apple Music
Link to Spotify

Charles Mingus – Live At Carnegie Hall
(Recorded January 19, 1974; Originally issued 1974 with C Jam Blues and Perdido only; Complete concert issued 6/11/2021 Rhino Records)
Link to Apple Music
Link to Spotify

Charles Mingus – Changes One
Charles Mingus – Changes Two
(Recorded December 27, 28 and 30, 1974, Released 1975 – Atlantic SD 1677 [Changes One] Atlantic SD 1678 [Changes Two])
Changes One:
Link to Apple Music
Link to Spotify
Changes Two:
Link to Apple Music
Link to Spotify

Charles Mingus – Bremen 1975
(Recorded July 9, 1975 – Cool Jazz (J) 346/347; Reissue released November 13, 2020 with Bremen 1964 – Sunnyside)
Link to Bandcamp
Link to Apple Music
Link to Spotify

April 22nd was the centennial of Charles Mingus’ birth! Hopefully, Mingus needs no introduction to the readers of this blog, but for some Mingus may be just a name. Unfortunately, sometimes even the greatest art is quickly forgotten, and art lovers will always have to work on communicating their passion and appreciation to the world. Even for an artist as great as Mingus, we need to continue to share his music, with its embodiment of humanity, outrage at injustice, arresting surrealism and so much beauty. Mingus at 100 is something to celebrate and proselytize.

Mingus’ music from the early 1950’s to the early 1960’s is better known – his incredible compositions from the period, the great 1953 Massey Hall concert with Charlie Parker, the astounding albums of the late 1950’s and early 60’s for Columbia and Atlantic (start with Mingus Ah Um!) and his scorching small group with Eric Dolphy are all justly celebrated. This post will bypass those well known landmarks and look at the lesser-explored band Mingus led at the end of his career in the 1970’s.

In spite of Mingus’ brilliance and influence, it was not a foregone conclusion that the world would get to hear Mingus music after 1966. In that year, Mingus hit rock bottom, and the depths of his fall was remarkably caught on film. Thomas Reichman’s documentary Mingus captures the great bassist looking through his scattered belongings the night before he was evicted and locked out of his home. How did Mingus hit this low? It’s been speculated that his decline was caused by the death of bandmate Eric Dolpy in 1964, or maybe was due to more diffuse problems of poverty after the collapse of a jazz scene in the 60’s, compounded by Mingus’ personal problems. Whatever the cause, Mingus didn’t record a note for over four years.

In 1970 Mingus finally returned to activity with a band featuring saxophonists Charles McPherson and Bobby Jones which was captured on the Paris-recorded America Sessions. This hesitant first step was followed by the striking large ensemble writing of Let My Children Hear Music, which signaled that Mingus was finally back. Mingus followed that February 1972 release with touring the McPherson/Jones small group, which is unfortunately not documented on any commercial recordings. But from early 1973 on, the personnel of Mingus’ small group was consolidated, and we get one wonderful recording after another which shows us the power of Mingus music from the 1970’s as played by the exemplary musicians he surrounded himself with. The recordings below are all majestic, but lesser known.

Jazz in Detroit/Strata Concert Gallery was recorded in February 1973 by radio station WDET-FM and documents a live performance in Detroit. You can hear the concert was poorly attended, but fortunately the music is caught for posterity, and Mingus’ band stretches out on classics like “Peggy’s Blue Skylight,” “Celia” and the little known “Dizzy Mood”, with each performance lasting 20 minutes are more. This is no “pick up” group either – all the ensemble and solo parts are played flawlessly, another example of Mingus’ incredible talent for leading a band. Don Pullen, John Stubblefield, Joe Gardner and Roy Brooks all sound wonderful. There’s a lot here, so for the highlights start with the intense opening track “Pithecanthropus Erectus”, and “Orange Was The Color of Her Dress.” The performances caught at this previously little known gig deserve much more attention, and are a great example of how heavy this music can be, even on a little attended and “ordinary” night.

Later in 1973 Mingus’ favorite drummer Danny Richmond returned to the band after pursuing other musical projects, and the saxophone chair found a long term player in George Adams. Mingus brought this band into the studio on October 29, 30 and 31, 1973 to record Mingus Moves. Richmond would stay with the band until Mingus’ death in 1979, and the personnel of Mingus mid 70’s small group was consolidated. On this all-originals program, Mingus wrote three tunes for this session, and gave space for sidemen and collaborators to present the other three. From Mingus Moves, try “Opus 4”, “Wee” and “Flowers For a Lady.” A great next step, but only hinting at what was to come, one of the most extraordinary nights of Mingus’ career.

On January 19, 1974 Mingus played a concert at Carnegie Hall, the opportunity to perform in the prestigious hall signaling he was finally, truly back! For years the recordings of this concert were released in a truncated form and we only could hear the last two tunes played. This was rectified in 2021, with the release of the entire concert.

The (newly released) first half sees a band playing a bit loosely, but obviously happy to be in the limelight. The band again stretches out on the Mingus tunes (and one by Don Pullen), and the solo statements are all rousing and spirited. In particular, Danny Richmond’s drums sound crackling, and Don Pullen seems overjoyed to be playing on a good piano (never a given on the road!). Another pleasure of this band is the addition of baritone saxophonist Hamiet Bluiett. Like George Adams, Bluiett plays an extended range on his saxophone, and Mingus makes the most of this by arranging his pieces so that Bluiett and Adams’ solos blend into each other. The Carnegie hall date is a great place to experience Mingus’ working band in the limelight.

But even better is the legendary second half. Before the intermission Mingus teases the audience that they should come back for the “battle of the saxophones” and that is what was delivered – Adams and Bluiett joined by John Handy, Charles McPherson and Rahsaan Roland Kirk going toe to toe, each player topping one another in a battle of chops, wit and daring. Who wins? That’s up to you, but the audience in the room reacts volcanically to Kirk, who deploys his unique doubled horns and circular breathing in an incredible display. But all the solos are great and distinct. A classic, and a landmark event. Listen and behold in wonder.

The Carnegie Hall concert signaled not only the return of Mingus soulmate Danny Richmond, but also the arrival of a consistent lineup for the Mingus small group in Pullen/Adams/Richmond/Mingus. This would be Mingus’ group for the next three years, and each recording shows an increasing degree of polish, maturity and depth of group chemistry.

After touring the world for a year, this group recorded Mingus’ classic double album Changes in December 1974, which would be released as Changes One and Changes Two. Most significantly, these albums showed new writing from Mingus, who wrote tunes such as the overtly political “Remember Rockefeller at Attica” and “Free Cell Block F, Tis Nazi USA” and the compositional jewel of Mingus’s 1970’s compositions, “Sue’s Changes.” While the studio sound on these albums is a little flat, the playing shows the polish of great musicians playing together as a working band. In the liner notes, Nat Hentoff interviews Mingus, who says of the Changes records “They’re among the best records I’ve made.” The reason, he said, was “because this band has been together longer than most of the bands I’ve had.”

The small group we’re celebrating lasted into 1975, when Don Pullen left the band, followed later by George Adams. After Mingus’ death from ALS in 1979, Pullen and Adams would form one of the most powerful small groups of the 1980’s with Dannie Richmond and bassist Cameron Brown, which will be the subject of a future TNB! That group carried on the torch of Mingus’ fiery music, and even lent the name to this blog. The music that Mingus made in the 1970’s showed that an artist can be dragged down by life, and through determination and a devotion to craft come back to pursue their art again. In an artist of Mingus’ genius, that second act gave us extraordinary music to wonder at and enjoy.

Some further notes and thoughts:

1) For those interested in some really rare recordings from the Mingus/Pullen/Adams/Richmond band, check out the podcast Deep Focus with guest Gary Lucas. Host Mitch Goldman and Lucas listened to live Mingus from 1973 and 1974 in less than stellar audio but great music. Just as important are the wealth of observations about Mingus and this band. Goldman’s Deep Focus podcast is highly recommended and for those who want to learn a lot more about this music!

2) The Carnegie Hall saxophone battle is so much more fun with a roadmap. I could not find a resource online that gives the solo order on “Perdido” and “C Jam Blues,” but this is what my ears tell me – correct me if I’m wrong!
Perdido: McPherson (as), Bluiett (bs), Kirk (ts), Handy (as), Adams (ts), Faddis (t), Pullen (p)
C Jam Blues: Handy (ts), Bluiett (bs), Adams (ts), Kirk (ts), Faddis (t), McPherson (as)

3) “Sue’s Changes”: I said above it’s the jewel of Mingus 1970’s compositions. It’s a complex extended composition that has a suite-like form, with sections that change in tempo and mood. The composition is really too complex to adequately describe here, and it’s so beautiful and winning that words won’t do it justice – so use the links below to listen!

There are three performances that are commercially available played by Mingus, and in each of these readings have a bravura showcase for the incredible Pullen at the center. The first is on Changes One, recorded December 1974. This 15 minute long performance has a Pullen solo that shows his strong rhythmic sense and his ability to summon the tradition with Ellington-like block chords. Adams’ solo is especially beautiful, digging into his radiant tone to create something wonderful.

By the time the band play’s “Sue’s Changes” in Bremen, Germany on July 9, 1975, the reading of Sue’s Changes had expanded to over 1/2 hour long. Jack Walrath, who had just joined the band at the time of the Changes recording and did not get solo space at that time, takes the first solo here – he sounds confident and has ton a great ideas. Walrath is the surviving member of this band, and has since helped to keep the music of Charles Mingus alive by playing with Mingus Dynasty. Pullen’s solo here leans into the slow opening section of the piece, where he uses great peddling, and then opens the tune up into a long cadenza which seems to suspend time. Magic!

This band is recorded again at the Montreux Jazz Festival 11 days later on July 10, 1975. This time the concert was caught on video, giving us the great pleasure of seeing this band as well. You can watch the 1/2 hour long performance of “Sue Changes” on YouTube in 4 parts – Part 1, 2, 3 and 4. It’s remarkable how different Pullens’ solo is here from the Bremen performance – especially the cadenza, where he deploys a concept of suspended chords that he’d revisit in later performances in the 1980’s. Adams’ solo here is also remarkable, where he indulges his winning and often hilarious penchant for quotation. Great stuff!

4) Go see Mingus Music live! The forcefulness and depth of Mingus music is best captured live, which you can still do, even though the great bassist and composer is gone. If you’re near New York you may know of the long running tradition of the Mingus Big Band, which was formed by Mingus’ widow Sue Mingus, and started performance in NYC in 1991. This weekly gig kept up until the sad demise of the Jazz Standard during the pandemic, which had served as the home for the Mingus Big Band. Now the band is back – and you can catch your dose of Mingus Music at The Django on Mondays, reserve your seat here. I’ll be there soon – and report on it here!

Music Featured:
Annette Peacock – I’m The One
(LP RCA Victor ‎- LSP-4578 (1972, US), Issued January 1972)

Reissues:
CD Ironic Records ‎- Ironic US2 (2010, US) Remixed by Annette Peacock and 24-bit Remastered
CD Future Days Recordings ‎- FDR 601 (2012, US)

Link to Apple Music
Link to Spotify
Links to YouTube – (I’m The One, Seven Days, Pony)

Personnel:
Annette Peacock – vocals, electronic vocals, acoustic piano, electric piano, and synthesizers
Mike Garson – piano and organ on “I’m the One”, organ on “One Way”
Mark Whitecage – alto saxophone
Michael Moss – tenor saxophone
Perry Robinson – clarinet
Tom Cosgrove – guitar
Stu Woods – bass
Glen Moore – bass on “Blood”
Rick Marotta – drums
Laurence Cook – drums
Barry Altschul – percussion
Airto Moreira – percussion
Dom Um Romão – percussion
Orestes Vilató – percussion
Apache Bley – piano on “Did You Hear Me Mommy?”

Annette Peacock’s trailblazing album I’m The One just turned 50 in January! It’s an album and a milestone worth acknowledging. I’m The One stands out for breaking down distinctions between genres with it’s stew of rock, jazz, blues, Moog-fueled electronica, and song balladry. Let’s look at what led up to this great album and think about it’s still unwritten influence.

By the time Peacock recorded I’m The One, she had already made a lasting and under-appreciated impression on music. Peacock’s beautifully minimal compositions appeared on albums from the mid 1960’s on, (prominently on those of Paul Bley) and are essential to the “ECM sound.” For a good look at Peacock’s instrumental piano-based writing, check out Paul Bley’s Ballads (recorded 1967, released 1971), Mr. Joy (1968) Open, To Love (1972) (featuring two Peacock songs), or Marilyn Crispell’s Nothing Ever Was, Anyway: Music of Annette Peacock (1997). Of this last record Thom Jurek aptly says it “establishes the deep world of Ms. Peacock’s often shadowy but nonetheless imposing and impressive lyricism that transcends all musical genres.”

The other pillar of Peacock’s influence is as a pioneer of electronic music. After listening to Wendy Carlos’ Switched On Bach (released in 1968), which used Robert Moog’s prototype synthesizers, Peacock was inspired by the possibilities for the brand new instrument. Moog agreed to give Peacock a synthesizer, on the condition she would find ways of deploying and exposing the new instrument in her music. Through trial and error, Peacock learned not only how to play the novel device, but developed an innovative technique for modulating her vocals though the synthesizer. The results were first heard on Peacock’s album released with (her then husband) Paul Bley in 1971, Revenge: The Bigger The Love The Greater The Hate. (The album was rereleased as I Belong To A World That’s Destroying Itself in 2014). The results are brisling, intense and utterly radical – check it out here)

In 1971 RCA was looking to sign new acts in the wake of David Bowie’s success on the label, which resulted in a one-record deal for Annette Peacock. She used the opportunity to record her “rock” record, and the result is I’m The One. A “rock” record is, but it also does not sound much like any other rock album you might hear!

There is so much to say just about the opening title track – it’s a song that has one surprising twist after another. “I’m The One” starts with a dramatic jolt of thick dissonant chords, and then fades into two minutes of moody instrumental haze. A drum break announces Peacock’s vocals: “I’m the One/You don’t have to look any further/I’m the One” she sings with a timbre that ranges from the guttural to swooping high notes. Peacock’s synthesizer then doubles with wordless vocals in a kind of crazed strut. In yet another turn, the song morphs into a torchlight ballad; Peacock sings “I looked all over/Put my head on somebody’s shoulder/And there is no one else.” Then, in the most intense moment of this song, Peacock modulates her vocals through her Moog – as she sings “can you hear it in my voice” those vocals sound more and more processed. But the effect is anything but robotic! Instead, the emotional intensity of this moment is heightened by the “processed” texture the Moog gives to Peacock’s voice. The effect is remarkable and way ahead of its time. A classic track.

While the title track is the undisputed high point, the rest of this record is really strong too. The second track “Seven Days” is a spare blues ballad that perfectly balances the intensity of the title cut. “Pony” features an earthy bass and guitar matched against Peacock’s double entendre wordplay. “One Way” is startlingly original, starting with a soundscape of percussion and Peacock’s Moog, then building into a blues with organ accompaniment. Peacock even does an arrangement of Elvis’ “Love Me Tender!”

I’m The One features a combination of Peacock’s trailblazing use of Moog synthesizer, and the engaging blend of the avant garde and familiar song forms. It’s style is unique, but also very accessible and immensely pleasurable too. Peacock’s music has been very influential in jazz, electronica and progressive leaning rock, but owing to how unavailable her records have been, she’s also a potent influence waiting for more to discover. Listen and spread the word!

Where to go next:
Just about anywhere! Peacock’s discography is unfortunately slender but everything’s great. We already mentioned the potent Revenge. If you Like “I’m The One”, Peacock continued in the vein of a rock hybrid on X Dreams, an amazing album that features Mick Ronson on guitar. (Peacock was an influence on the David Bowie guitarist, not to mention on Bowie himself). For The Perfect Release Peacock hired Jeff Beck’s band and used it’s jazz-rock background for a witty examination of money, extraterrestrial life, and love. Peacock’s 1980’s albums have all been out of print for ages – although some of them are on YouTube (try here and here). This is music that really needs a reissue, when that happens you’ll find out about it on this blog!

(Sonic Boom records)

After much contemplation and reflection, here’s my top 20 albums from 2021 – my 10 favorites plus another 10 Honorable Mentions. 2021 ended up being a terrific year for progressive music, and the vibrant albums that came our way were a stark contrast and welcome respite from the state of the world last year. May the state of things in 2022 get much better, and the music stay just as great!

1 Ches Smith – Path of Seven Colors
Smith’s fusion of jazz harmony and Haitian chants and rhythms is my #1 album of the year. Powerful, enchanting – an inventive album with a singular sound.

2 Patricia Brennan – Maquishti
Don’t let the quietness of Brennan’s music fool you – her playing is structured, intelligent, rigorous, and beautiful. This album came out at the start of the year, and managed to stick with me throughout 2021.

3 East Axis – Cool With That
The perfect free jazz record. Devoid of cliche, constantly moving, always inventive.

4 Sara Schoenbeck – Sara Schoenbeck

Schoenbeck plays music chess with nine partners on nine tracks, each a captivating duet. With each performance she makes a great case for her bassoon and for careful listening to an understated future classic.

5 Fuubutsushi – Shiki
Fortunately, Fuubutsushi spared me from picking one of their four seasonally-themed albums recorded during 2020-2021 by putting them all in one massive release, Shiki. A resource of beauty and peace in a year where both seemed scarce.

6 Darius Jones – Raw Demoon Alchemy
Jones’ solo recital is focused and intense, an intimate document of a great concert. Like the best live albums, Jones makes tangible a moment in time, immortalizing the act of creation.

7 Sō Percussion – Stay On It

Julius Eastman is seeing a needed renaissance, and Stay On It was one of two notable performances of Eastman work from 2021. Featuring parade rhythms and a descent into cacophony, Stay On It is a joyous celebration in a year that needed joy.

8 Blacktop Presents – Some Good News

Link to Cafe Oto Website

Pat Thomas was both a new discovery and a revelation to me in 2021. I could have chosen either his live album with [Ahmed] or the studio album with [Ism], but Some Good News gets the nod for its wild sonic exploration and the classic William Parker/Hamid Drake rhythm section.

9 Henry Threadgill – Poof
This would probably be my album of the year, except it also sounds a lot like, well, a bunch of other Henry Threadgill albums. Really not a bad thing – his unique compositions, trademark intensity, and searing saxophone tone are all on full display. If you don’t know Threadgill, a great place to start.

10 Amir ElSaffar- Rivers of Sound: The Other Shore
Each song twists and turns in unexpected ways in this fusion of Middle Eastern themes and an expanded ensemble playing advanced jazz harmony. A great adventure.

Honorable mention:

11 Erica Dohi – I, Castorpollux

12 Artifacts Trio – …and then there’s this

13 Anna Webber – Idiom

14 Peter Eldh and Koma Saxo – Live

15 Wadada Leo Smith – The Chicago Symphonies

16 Burnt Sugar The Arkestra Chamber – Angels Over Oakanda ~ Digital Edition

17 Nate Woolley – Mutual Aid Music

18 New Muse 4tet – Blue Lotus

19 Irreversible Entanglements – Open The Gates

20 Stephanie Nilles – I pledge allegiance to the flag, the white flag

December and 2021 are a wrap! Even though 2021 was a dismal year in so many ways, there were a lot of extraordinary albums that were released. Each of the six albums featured here are special in it’s own way, so we didn’t single out any as “Pick Hits” – they’re all great! In January TNB will publish our best of 2021 list. In the meantime, here are the new albums that came our way which we enjoyed in December 2021. To a happy and healthy 2022!

Darius Jones – Raw Demoon Alchemy (A Lone Operation)
(released November 5, 2021)

Darius Jones – Alto saxophone

Rarely does silence have this dramatic an effect – every pause taken for a breath heightens the drama. Darius Jones shows us why he has been one of the most talked about musicians around. The music is played as one tense continuous set, and builds slowly from the gorgeous opener “Figure No. 2” to the soaring shriek an the center of “Love In Outer Space.” The music is not afraid of abstraction, and lets the drama of its presentation and the excellence of it’s execution bring it all home. Only at the end, when you hear a yelp of excitement from an audience member, do you realize you’ve been listening to a live performance, and that the audience has been clinging onto every phrase until the rapturous applause at the end. A bravura performance, a really great album, and on the short list for this year’s best.

East Axis – Cool With That
(released June 25, 2021)

Matthew Shipp – piano
Allen Lowe – alto and tenor sax
Gerald Cleaver – drums
Kevin Ray – bass

Yes, another album with Matthew Shipp on it, but this one is especially good, and so is the whole band. Lowe’s saxophone is a revelation to me – he has both a weighty sound and runs spectacular, quicksilver lines. Cleaver is his usual best, providing a varied and attention-grabbing beat. Bassist Ray is also new to me, and holds down the proceedings nicely. The album is “free jazz,” but contains a lot of melody and beauty, and also channels moments from the tradition, such as the blues title track (which has a very Monk-like Shipp.) The 28 minute long closer “One” morphs spontaneously from each minute to the next in a feat of spontaneous creativity. Yes, I’m cool with this!

​Artifacts – ..​.​and then there’s this
(released October 29, 2021)

Nicole Mitchell – flute, electronics
Tomeka Reid – cello
Mike Reed – drums, percussion

The second release by the Artifacts trio of Mitchell, Reid and Reed is really enjoyable – I keep on coming back to it, and each time it gets better. Michell says at the album’s Bandcamp page that “the free improvisations on the album reflect how we’ve grown together. The new album is also more focused on groove than our debut, and this is the first record together where we are supporting each other as composers – contributing to each other’s arrangements, developing more of a vibe in our grooves, and getting almost telepathically close in our open improvisations.” It’s all quite infectious, and “Song for Helen” is one of the most beautiful things I’ve heard all year. Highly recommended!

Malcolm Jiyane Tree-O – UMDALI
(released November 12, 2021 )

Ayanda Zalekile – electric bass
Brandon Ruiters – trumpet
Gontse Makhene – percussions & toys
Lungile Kunene – drums
Malcolm Jiyane Xorile – trombone & vocals
Nhlanhla Mahlangu – alto saxophone
Nkosinathi Mathunjwa – piano & keyboard
Tebogo Seitei – trumpet
Tubatsi Mpho Moloi – vocals

When I first put on this album, it immediately felt like a wonderful respite from the stress of the world, healing music. UMDALI is Jiyane’s debut after playing with and being mentored by key South African musicians such as Johnny Mekoa. The music does not overstay its welcome at 5 tracks and 45 minutes in length, and the emphasis always is on beauty over showing off chops. It harkens back to classics and sounds like a classic itself, as if UMDALI could have been made in the 1970’s, but always sounds timeless rather than dated.

Burnt Sugar The Arkestra Chamber – Angels Over Oakanda ~ Digital Edition
(released September 23, 2021)

Greg Tate – Conduction
Jared Michael Nickerson – Bass, percussion
Lewis Flip Barnes – Trumptet
Avram Fefer – Alto sax
V. Jeffrey Smith -Tenor and Soprano sax
Moist Paula – Baritone sax
Ben Tyree & André Lassalle – Electric guitars
Leon Gruenbaum – Fender Rhodes
Greg Gonzalez – Drums & Percussion
Shelley Nicole – Percussion
Satch Hoyt – Flute
Lisala Beatty – Vocals

Among the many reasons 2021 was not a good year was the sudden death of Greg Tate in December. Tate was so influential in promoting the kind of music this blog follows, and also created remarkable music as The Burnt Sugar Orchestra. I don’t know if this will be the last Burnt Sugar album due to Tate’s death, but if so it’s a fitting capstone – it’s an amazing album. Angels Over Oakanda seems inspired by early 70’s Miles Davis, but sounds very contemporary and fresh as well. The four tracks segue into each other in a hypnotic way; it’s easy to play the whole album through, and then play it again from the beginning. Really quite addictive.

ILL CONSIDERED – Liminal Space
(released November 12, 2021)

Idris Rahman – saxophone
Liran Donin – bass
Emre Ramazanoglu – drums
With guests:
Tamar Osborn, Ahnanse and Kaidi Akinnibi -saxophone
Sarathy Korwar and Oli Savill – percussion
Theon Cross – tuba
Ralph Wyld – vibraphone
Robin Hopcraft – trumpet

Hardly ill-considered, the music on this album seems deployed for maximum impact, with post-production that emphasizes each thump of the drums and echo deployed to increase ambiance and intensity. The album maintains the intensity of a rock album for it’s 60 minute length, and you might find yourself dancing pretty quickly. Also a great way to introduce yourself to the terrific London improvised jazz scene – Liminal Space captures it’s freshness and multiculturalism. Key tracks: “Loosed” and “The Lurch.”

November’s round up features quiet and introspective duets with bassoon, extroverted radical music from a poet backed by fiery improvisators, and pastoral late night music from a sax titan. Rounding out this month are spiky guitar/piano duets, an overdubbed sax choir, and two albums that are pure audio comfort food (good for company at Thanksgiving)! Next month we’ll be working on the year’s best!

TNB Pick!
Sara Schoenbeck – Sara Schoenbeck
(released November 26, 2021)

Sara Schoenbeck in duet with:
Harris Eisenstadt – Drums
Nicole Mitchell – Flute
Nels Cline – Electric Guitar & Electric Bass
Roscoe Mitchell – Soprano Saxophone
Matt Mitchell – Piano
Mark Dresser – Bass
Wayne Horvitz – Piano & Electronics
Peggy Lee – Cello
Robin Holcomb – Piano & Voice

The sound of the bassoon is unique – there is nothing else like it’s earthy wooden tone, tangible vibrato and human-like humming sound. All of those flavors are on display in Schoenbeck’s striking album. The unusual sound of the bassoon is complemented by nine duet partners who are all stars that serve the music and share space equally. The way Schoenbeck deploys these duets for maximum variety and how these guests react to her are fascinating to follow. Music for the mind and the emotions, and one of this year’s best.

TNB Pick!
Irreversible Entanglements – Open The Gates
(released November 12, 2021)

Camae Ayewa – voice, synth
Keir Neuringer – saxophone, synth, percussion
Aquiles Navarro – trumpet, synth
Luke Stewart – double bass, bass guitar
Tcheser Holmes – drums, percussion

I was reading Octavia Butler’s Parable of the Sower when I put on this album and was struck by some common themes (imminent dystopia, racial injustice, revolution, religion and the form of the creator) and images (gates, seed, water, baptisms). I have no reason to think Irreversible Entanglements is connected to Butler, aside from some serendipity – but they’re both very impressive and speak to the here and now. The focus of Open the Gates is on the voice of Camae Ayewa (who also records as Moor Mother), which is a marvel – her sound and poetry are resonant, powerful and convey so much meaning. The rest of the band brings intensity, but smartly varies the arrangements and instrumentation.

TNB Pick!
Floating Points, Pharoah Sanders & The London Symphony Orchestra – Promises
(released March 26, 2021)

Who thought that you could put avant garde titan Pharoah Sanders in a contemplative suite of ambient music with the LSO? Sanders has the most commanding tone anywhere, but the overdriven saxophone you’re expecting is replaced with a more laid back feel. There’s plenty of opportunity to marvel at just how beautiful his tenor is. Best to turn down the lights late at night and put this on – it casts a spell.

Sylvie Courvoisier & Mary Halvorson – Searching For The Disappeared Hour
(released October 29, 2021)

Sylvie Courvoisier – piano
Mary Halvorson – guitar

Two musicians who are always exciting in a program of duets. The album starts off with a bang – “Golden Proportion” is a collision of classical and avant jazz, riffing off a piano etude and then morphing into a dissonant interrogation of the first movement of the Moonlight sonata (!). “Bent Yellow” is another dialogue of musical forms which sees Courvoisier channelling Don Pullen while Halvorson plays sweet and sour contrast. Those are just two highlights, but there’s a lot of thought and flavors to behold.

Patrick Shiroishi – Hidemi
(released October 29, 2021)

Patrick Shiroishi – Voice, and alto, baritone, tenor, C melody, and soprano saxophones

Every time you check Shiroishi’s Bandcamp page, he’s dropped a new record – or three. Seventeen in 2021! Even more astounding is the excellence of most of his records such as the four Fuubutsushi Quartet albums, his solo album resting in the heart of green shade, and this record. Here Shiroishi plays multiple horns, creating trios, quartets, and quintets of overdubbed saxophone choirs. I could compare this to the World Saxophone Quartet, but Shiroishi’s sound world is personal to him, as is this project. Shiroishi named and composed this album for his grandfather Hidemi Patrick, who has jailed in an American concentration camp during World War II. Shiroishi says the music seeks to push “forward while acknowledging historical evil. . . moving towards a society where our children and future generations may live without fear.”

Ben Allison – Moments Inside
(September 2021)

Link to Apple Music
Link to Spotify

Chico Pinheiro (acoustic & electric guitar),
Steve Cardenas (acoustic & electric guitar),
Ben Allison (acoustic & electric bass), and
Allan Mednard (drums & percussion)

At TNB we look at a lot of OUT music – the musicians’ commitment to explore and play sounds and ideas that have never been performed are what progressive music is all about. But sometimes – I have to be honest here – you can get tired of all the squeaks, honking and squiggles. Some days music that is “thought provoking” or “challenging” just feels tiring and intimidating. When that happens, you just feel like you need a beautiful and purely melodic place to hang out and recharge your batteries. So put this album on, or watch them play live here. The dual guitars are subtle, quiet and enveloping and the compositions memorable and happy. Healing music that gets you ready for the next challenge.

Brandee Younger – Somewhere Different
(released August 24, 2021, Impulse! Records)

Link to Apple Music
Link to Spotify

Personnel – Brandee Younger – harp
Rashaan Carter -electric and acoustic bass
Allan Mednard – drums, percussion
Marcus Gilmore – drums, drum programming
Tarriona “Tank” Ball – vocals
Dezron Douglas- electric bass (#1)
Ron Carter – acoustic bass (#6,7)
Maurice Brown- trumpet (#2)
Chelsea Baratz – saxophone (#1)
Anne Drummond: flute (#1).

More comfort music – in fact Younger says “I hope it is enjoyable to listen to, not hard to listen to, nothing to be analyzed or over-analyzed.” There’s a lot to take pleasure in, from the spirited solos of the opening track “Reclamation” (harp, flute then sax), the beautiful melody and arrangement of the title track, and the presence of Ron Carter’s bass of “Beautiful Is Black” and “Olivia Benson.” Warm music for dark times.

Poster art from Villeneuve’s Dune

Music discussed:
Richard Pinhas – Chronolyse
(recorded 1976, released 1978, original issue Disjuncta, rereleased on Cuneiform Records)
Personnel:
Richard Pinhas – Moog P3, Polymoog, Revox A700, Mellotron, Guitar
Francois Auger -drums
Didiet Batass – bass

Link to Bandcamp
Link to Apple Music
Link to Spotify
Link to YouTube (“Paul Atreides” only)

Klaus Schulze – Dune
(1979, Thunderbolt)
Personnel:
Klaus Schulze – Electronics, Guitar, Keyboards, Synthesizer, Vocals
Wolfgang Tiepold – Cello
Arthur Brown – Vocals

Link to Apple Music
Link to Spotify
Link to YouTube

Dün – Eros
(1981, Soleil Atreides)
Personnel:
Jean Geeraerts – electric & acoustic guitars
Bruno Sabathe – piano, synthesizers
Alain Termolle – xylophone, vibraphone, percussion
Pascal Vandenbulcke – flute
Thierry Tranchant – bass
Laurent Bertaud – drums
Philippe Portejoie – saxophone

Link to Apple Music
Link to Spotify
Link to YouTube

With Denis Villeneuve’s version of Dune in the theaters, the story and themes of Frank Herbert’s 1965 science fiction classic are back in popular view. Really those ideas never left, and are no less relevant today. Dune has been among the most influential intellectual properties, and its preoccupation with the environment and imperialism are no less relevant today, themes deeply rooted in the science fiction universe. Not to mention Dune clearly gave birth to the Star Wars!

While Villeneuve’s new movie captures the needed visual awe, an ideal film version of Dune remains elusive – but not for lack of trying. One of the great “what if’s” of movie history is Alejandro Jodorowsky’s unfilmed adaptation, which would have boasted a cast including Orson Welles as the Baron, Salvador Dali as the Emperor and Mick Jagger as Feyd-Rautha. The art design was by Swiss artist H.R. Giger, and music was to have been by Pink Floyd and Magma!

Artist H.R. Giger with some of the visuals he created for Alejandro Jodorowsky’s unfilmed Dune

Jodorowsky’s script went into pre production in the 1970’s, and would allegedly would have created a 10 to 14 hour movie (Frank Herbert visited the set and commented that the script “was the size of a phonebook”), but after spending millions of dollars designing the movie, the project failed to find a studio backing and evaporated. The version of Dune we lived up until Villeneuve’s was David Lynch’s much maligned 1984 version. Really, Lynch’s film is much better than it’s reputation (the actors are well cast and Sting is deliciously over the top) but the 1984 version is something altogether different than the source material.

For a book that has such a wide influence, it’s remarkable that an adaptation of Dune failed to materialize for so long – if you look at the movies. But music is another story! Perhaps that’s fitting; music is the most ineffable and elastic art form, and has a unique capacity to portray and communicate the themes and feelings that have eluded film interpretations. Musicians have been very inspired by Dune, with numerous tributes from funky CTI jazz like David Matthews’ Dune, to Iron Maiden’s “To Tame a Land.” However, there are three albums created before Dune was made into a movie that stand out for their quality and fidelity to the source – Richard Pinhas’ Chronolyse, Klaus Schulze’s Dune, and Dün’s Eros.

Richard Pinhas’ Chronolyse was the first of these albums to be recorded, and strikes this writer as a flat-out masterpiece. Pinhas is a fascinating musician and thinker, who is a trailblazer in both the electronica and prog rock worlds. In 1974, Pinhas received a PhD in Philosophy from the Sorbonne, where he studied philosophy. His dissertation was titled ”Science-Fiction, Inconscient et Autres Machins”, on the relationship of time manipulation, science fiction and analogue electronic music. In 1974 Pinhas also founded Heldon, creating his own Disjuncta imprint (one of France’s first independent labels) to release a slew of groundbreaking prog rock albums. Heldon interweaves Pinhas’s guitar with electronics over with bass and drums – we will have to feature their music in a future article at TNB!

In 1976, after the release of four Heldon albums, Pinhas took on a highly personal solo project – making an audio tribute to Dune. To capture that universe, Pinhas deeply explored electronica. After acquiring a Moog P3 and a new Polymoog to accompany two Revox A700s, Pinhas spent six months in his home studio creating his own sound world in response to the themes and ideas of Herbert’s novel. The result was the record Chronolyse, recorded in 1976, but not released until 1978.

Pinhas with a bank of the synthesizers used for Chronolyse

Chronolyse is an arresting listen right from the start. Side A of the record consists of 7 variations named after the female magician-seers of Dune, the Bene Gesserit, and a composition named after Duncan Idaho, the mentor of the prince. Pinhas does something simple yet brilliant here – each of the 8 tracks of side A starts with sounds in dialogue with each other – in the right channel appear cycles of electronic scales, and in the left channel a mechanical clicking which reminds the listener of the valve or keyboard action from an acoustic instrument, but here appearing in an electronic context. These effects create a dialogue between machine sounds and human made ones, a musical depiction of the struggle between technology and humanity. Very simply rendered, but deep stuff, which shows how well Pinhas has thought about the thematic and philosophical meaning of the source material.

Then Pinhas flips the script for Side B, which is entirely devoted to one 30 minute composition, “Paul Atredes.” The song is named after the novel’s protagonist and Pinhas challenges the electronic world he assembled in Side A by introducing his Robert Fripp-inspired electric guitar and Mellotron, and bringing in his band mates from Heldon (Francois Auger on drums and Didiet Batass on bass). The track builds mysteriously, and patiently develops the interplay between layers of electronic and electrified instruments against percussion. The results are impressive and a bit apocalyptic.

While Richard Pinhas has been influential in both the electronica and rock worlds, the influence of Klaus Schulze on music history is on another order. Schulze was the drummer in early versions of Tangerine Dream, and his real influence has been through his analogue 1970’s electronic albums, including classics such as X (1978), Moondawn (1976), and Timewind (1975). Impressively, Schulze created “electronic” music without electronics on Irrlicht (1972), where he took samples of string orchestras and manipulated the tapes of those recordings to make atmospheric drone effects. It’s hard to imagine the development of electronic music without Schulze, who created a personal sonic template and showed how cool a musician looks next to a tower of synthesizers and computers!

A trailblazer ahead of his time in Daft Punk mode

Schulze signalled his interest in Dune when he named one of his compositions “Frank Herbert” on his 1978 double album X. A year later Schulze followed with an entire album inspired by Herbert, 1979’s Dune. The music on Schulze’s Dune has a cinematic texture – very much a soundtrack released 5 years before a movie version of Herbert’s novel was realized. Here he employs a variety of synthesizers in duet with cellist Wolfgang Tiepold. The music features carefully programmed shifts in dynamics, dramatic waves of synthesizer and cello counterpoint, all crying out for a visual depiction to accompany the music. Schulze suggests the visual nature of the music in the cover photograph on the album – a snapshot the composer took of his television screen during a scene from the Soviet science fiction film Solaris. The reference to Solaris suggests Dunes‘ wide influence!

Schulze created the album cover at home by taping the letters of the title to his TV, and taking a picture of the screen while Solaris was on!

Arthur Brown appears on side B, reading and singing text written by Schulze. This element seems to be much maligned, but to these ears the music is strong throughout, and the Dune inspired poetry is another sign of the sincerity of this project. If you like the music here, try going backwards and checking out Schulze’s vastly influential electronic music – you will find the original inspiration for a legion of synthesizer-toting musicians here.

The influence of Dune has been just as strong on prog rock as on electronica. Taking their name from Herbert’s book, the French band Dün was active from 1977 to 1981, putting out only one album. However, that album, 1981’s Eros, has developed a cult classic status with fans of prog. Although the band states in a 2018 interview that they didn’t have a lot of gigs at the time, they must have practiced together a lot because the band sound is very confident and the musicianship is excellent.

Like a lot of prog rock, the band on Eros features atypical instrumentation: in addition to guitar, bass, keyboard and trap drums, the band prominently features flute and vibraphone. The approach taken to these instruments is distinctive as well – for example the flute playing eschews an Ian Anderson vibrato-heavy approach, and instead shows classical influence and technique. All the playing is quite advanced, as is the conception of the music. In the 2018 interview Dün described the music as “European advanced electronic music with a powerful rhythm section, complex harmonies, rich melodic lines and unusual structures”, which seems fitting enough.

Like the other albums we’ve looked at, Eros also shows a cinematic scope. The album consists of four extended tracks ranging from seven to ten minutes in length, each subdivided into sections which quickly change moods, tempos, textures and sonic approaches. Music arranged and choreographed for the changes of scenes, just no movie attached! The sound world is distinctive enough that a visual component is not needed, as with all of these albums, they evoke worlds through sound.

Dün playing live sometime in the late 1970’s in a gym (check out the Dün posters taped onto a basketball backboard!)

Richard Pinhas’ Chronolyse, Klaus Schulze’s Dune, and Dün’s Eros were all made at a time when our planet was going through the first shocks of an environmental crisis, the late throes of European colonial imperialism, and a global confrontation with technology. With these challenges in the air, Dune is a novel that begged to be adapted for a wider audience. It’s a real mystery that the novel went almost 20 years without any film adaptation. These three albums filled that gap, capturing the expanse, intensity and world building of the source material. Even with the Lynch and Villeneuve film versions of Dune with us, these albums remain a potent companion and reaction to a timeless classic.

Some notes and a confession –

#1: I’ve looked at but never read all of Dune! While Dune is so influential, I know I’m not alone here. The language and scope of its world may be thrilling but it’s a bit intimidating too. Especially with that giant glossary of terms in the versions I’ve looked at! However, I certainly intend to remedy this problem and read the whole book – when I do, that may provoke a new post.

#2: This post was inspired by the new Dune movie (which is good in many ways and you should see it in a movie theater if you can – the visuals are incredible). Additional inspiration is from the wonderful trailer put together by the Alamo Drafthouse, called “Wormsong: Dune’s Prog Rock Legacy and Beyond” which covers the music discussed here as well as other albums inspired by Dune. Check it out, it’s a lot of fun!

Music featured:
Billy Bang – Billy Bang Lucky Man
(released May 14, 2021 – BBE Music)

Link to Apple Music
Link to Spotify

Billy Bang – violin
with
Banhar Gong Group of Kuntum
Hanoi Symphony Orchestra
Duc Dau – Stone Lithophone (Dan Da)
Phu Dong Family Band
Trần Mạnh Tuấn – saxophone, with Sax n’Art Band

An excellent way to observe this Veterans Day is to listen to Billy Bang’s Lucky Man, which was released earlier this year, or to watch the documentary of the same name available here.

Bang, who died ten years ago, was a Vietnam veteran who served on the front lines for a tour of duty in 1966-7, arriving in Vietnam just before the bloody Tet Offensive where he saw active combat. After his service, Bang returned to the United States with real trauma from the war, which Bang said he tried to shake “through alcohol, drugs and music.” Music, of course, is where we connect with Bang and how he will be known to the ages – from the 1970’s until his death he was one of the leading lights in New York’s creative scene of improvisers, making fantastic recordings with Sun Ra, William Parker and under his own leadership.

Notable among Bang’s leader recordings are those he made to address his experience in war. In 2001 Bang recorded Vietnam: The Aftermath, with fellow Vietnam vets Frank Lowe, Ted Daniel, Michael Carvin, and Butch Morris. Bang composed all the songs on this album, weaving together Southeast Asian melodies with Western harmony and jazz improvisation. Three years later Vietnam: Reflections continued the same project with the same band, but adding Vietnamese musicians in a marriage of East and West with the goal of reconciliation and healing. For an example of how extraordinary Bang’s music from these albums is, try “Doi Moi” from Reflections.

Released posthumously earlier this year, Lucky Man sees Bang traveling back to Vietnam when the opportunity arose to play violin with various musicians around that country. Bang took a translator and played impromptu concerts with professional and amateur musicians alike. These encounters were fortunately recorded, and you can hear cross cultural musical pollination in real time. Bang also recorded interviews where he talks about the war and how going back to Vietnam affected his views on personal responsibility, being a veteran, and playing music in the country where he had been sent to fight 40 years earlier. This wealth of material is all there to explore on the 1 1/2 hour album and the documentary. Both are fascinating and quite moving.

Veterans Day is a chance to honor those who have served our country, but Bang goes much deeper, meditating on the personal sacrifice it means to be sent to war, and the responsibility and consequences that veterans, and all of society, carry for the actions our soldiers were ordered to take. With the opportunity to go back to Vietnam and try to heal wounds on both sides of this conflict, we have music and audio that bears witness to this extraordinary process. Lucky Man is a deep exploration of remembrance, love, reconciliation and healing.

We listened to lots of sounds this October, starting with an 11-year delayed release from an English free jazz supergroup, then a brilliant acoustic guitar recital. Filling out the autumnal roster were the return of an indie rock stalwart, a pair each of futuristic synthesizer landscapes and big bands, and some sparkling straight-ahead jazz. October’s albums came in every shade, just like the leaves on the trees outside.

TNB Pick!
Mujician – 10 10 10
(October 10, 2010, released September 24, 2021, Cuneiform Records)

Keith Tippett – piano
Tony Levin – drums
Paul Dunmall – soprano and tenor saxophones, bagpipes
Paul Rogers – 7-string acoustic bass

Honestly, I’m new to the musicians of Mujician, but now I believe the hype. After putting on this album I was listening in awe at the level of communication between four players who sat down to play with no preconceptions. And even though this is “free” jazz, it does not use noise or energy as a crutch, instead focusing on sustained dialogue, and often delightful sonic exploration (a music box and some small bagpipes make an appearance!). Sadly, this is Mujician’s last studio recording, because Tony Levin passed away a few months after it was recorded. Now to catch up on their extensive catalogue – many of which are on Cuneiform records on Bandcamp here and here.

TNB Pick!
Pittsburgh by Matthew Stevens
(released October 1, 2021)

Matthew Stevens – acoustic guitar

A solo recital is a chance to show off mastery of one’s instrument, emotional and stylistic range, and the ability to hold the attention of the listener for an entire album. How does Mr. Stevens’ Pandemic-composed album fair? Check, check and check. A truly impressive . . . no, a stunning, recital. Press play and listen in wonder.

Low – HEY WHAT
(Released September 10, 2021, Sub Pop Records)

Low seems to have picked up the torch passed by Kevin Shields to explore the emotional content of feedback and sonic texture. But there’s much else going on in the terrific album. All the noise is a perfect vehicle for Mimi Parker and Alan Sparhawk’s patented dual vocals, and their songs about alienation and modern life have a lot of presence. It’s amazing that their music seems this fresh on the group’s 13th record. Now I’ll have to go back and catch up on 2018’s Double Negative, where they developed their current sound.

Masahiro Takahashi – Flowering Tree, Distant Moon
(released April 30, 2021)

Masahiro Takahashi – color wheel electronics, software synthesizers, granular samplers, plug-in FX, MIDI controllers, and a shruti box

Another album that has been a balm through stress. On the album’s Bandcamp page it says “Japanese multi-instrumentalist Masahiro Takahashi’s latest album is a meditation on seasons and distance, recorded in isolation at his temporary home studio in Toronto. Following “the coldest winter I have ever experienced,” he began crafting hushed, lush vignettes.” The music feels rooted in nostalgia, a meditation on beauty and missing places created in isolation. Takahashi says, “I dreamt of places outside my room and traced the music from my memories.” Truly transportive.

The Garden by Rachel Eckroth
(released September 3, 2021, Rainy Days)

Rachel Eckroth – Piano, Voice, Yamaha CP70, Prophet 6, Mellotron
Tim Lefebvre – Electric Bass, Guitar
Christian Euman – Drums
Donny McCaslin – Tenor Saxophone
Andrew Krasilnikov – Soprano Saxophone
Nir Felder – Electric Guitar
Austin White – Modular Synth

I’m sure you don’t need to read about another “Pandemic album” born from new perspectives brought on by confinement during the lockdown, but we have to take the silver linings from the last year and half where we find them. Here Eckroth and her partner Tim Lefebvre have imagined a lush, dark sonic world built around orchestral synthesizer arrangements. Donny McCaslin is the perfect saxophone player for this project, helping to bring home the futuristic vision he’s explored on his own albums. Some of the palette seems drawn from elsewhere, but Eckroth is super talented and I’m enjoying Garden, as well as looking forward to the next one.

Jonathan Blake – Homeward Bound
(released October 29, 2021, Blue Note)

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Johnathan Blake – Drums
Immanuel Wilkins – Alto Saxophone
Joel Ross – Vibraphone
David Virelles – Keyboards
Dezron Douglas- Bass

Drummer Jonathan Blake interacts with some of the hottest musicians around. I’ve been playing this nonstop since it was released! Blake calls his new group Pentad, created with the intention of having a fuller chordal sound. There’s nobody better to bring on board for that sound than Ross and Virelles, and Wilkins’ solos throughout are pretty amazing. Lots of fun.

David Sanford Big Band – A Prayer for Lester Bowie
(released September 24, 2021, Greenleaf Music)

Personnel:
SAXOPHONES
Ted Levine and Kelley Hart-Jenkins – alto saxophones
Anna Webber (tracks 1, 2, 7, 8),
Marc Phaneuf (tracks 3-6) and
Geoff Vidal – tenor saxophones
Brad Hubbard – baritone saxophone

BRASS
Brad Goode (tracks 1-7), Tony Kadleck (track 8),
Tim Leopold, Wayne J. du Maine,
Thomas Bergeron and Hugh Ragin – trumpets
Mike Christianson, Jim Messbauer,
Ben Herrington (tracks 1, 2, 4, 6-8)
and Mike Seltzer (tracks 3, 5) – tenor trombones
Steven Gehring – bass trombone
Raymond Stewart – tuba

RHYTHM SECTION
Dave Fabris – electric guitar
Geoff Burleson – piano
Dave Phillips – electric and acoustic bass
Mark Raynes – drums
Theo Moore – percussion

CONDUCTORS
David Sanford (tracks 1-4 and 6-8)
Hugh Ragin (track 5)

David Sanford pays tribute to the great Lester Bowie. The music captures the depth and spirit of Bowie, but also reminds me of David Murray’s 1980’s and 1990’s large groups, which also often featured Hugh Ragin. Make sure you hang out for Sanford’s terrific cover of “Dizzy Atmosphere.” The Bandcamp page helpfully provides the solos, by players who are distinctive and should be better known.

Arturo O’ Farrill – …Dreaming In Lions…
(Released September 23, 2021, Blue Note)

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Arturo O’ Farrill – Keyboards
Adam O’Farrill – Trumpet
Zack O’Farrill – Drums
Vince Cherico, Carlos “Carly” Maldonado and Victor Pablo Garcia Gaetan – Percussion
José “Bam Bam” Rodriguez Platiau – Bass
Rafi Malkiel – Trombonist and Euphonist
Alejandro Aviles – Flutist/saxophonist
Travis Reuter – Guitar
on “Dreams So Gold” – Alison Deane

O’Farrill creates two exuberant suites that have dancing in mind. Of “Despedida’, the first piece here, O’Farrill says “There’s something noble about being able to say farewell — not, ‘I’ll see you later.’ It’s about embracing despedida [separation, parting], knowing that there’s a finality to life.” But the music is much more positive than you might expect! The second suite, “Dreaming In Lions” draws inspiration from Ernest Hemingway’s novella The Old Man and The Sea. O’Farrill says of the source material (and his music) “To me the book is about being still in the midst of great movement. It’s about being caught in the stillness of the moment while life swirls around you, which can be a kind of sacred holy experience.” At its best (such as on the tracks The Deep and Intruso) the music is truly magnificent. It’s all lively and entertaining – don’t forget to dance to it!

Gabriele Mirabassi – Nando Di Modugno – Pierluigi Balducci – Tabacco e Caffè
(Mar 30, 2021, Dodicilune – ED423)

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Bass Guitar – Pierluigi Balducci
Clarinet – Gabriele Mirabassi
Classical Guitar – Nando di Modugno

A sort of music tribute to coffee and tobacco of which clarinetist/leader Mirabassi says: “Both invite to rituality, to sociability, up to meditation. The music we share here with Pierluigi and Nando was born in the friendliness of the kitchens of our homes, precisely between a coffee and a cigar, telling and playing distant and exotic worlds, ” The music here is by turns evocative and fun, and seem to product of the rapport among these musicians, no doubt over shared espresso and cigars.