Author: James Koblin

Abdul Wadud – By Myself
(Bisharra Records – 1977)

Oasis

Camille

Happiness

Personnel: Abdul Wadud, cello

“The quality of light by which we scrutinize our lives has direct bearing upon the product which we live, and upon the changes which we hope to bring about through those lives. It is within this light that we form those ideas by which we pursue our magic and make it realized.”

Audre Lorde’s words from Poetry is Not A Luxury were published in 1977, the same year Abdul Wadud’s By Myself was released. Lorde’s argument that poetry is crucial applies equally to music like Wadud’s solo cello masterpiece. This art fills the actions and spaces of our lives with emotion, understanding and meaning. So it is our sincere hope at TNB that all will hear By Myself – those who listen will hear a record of great innovation and beauty.

But how to have access and listen to this album has been the question! Wadud released By Myself on his own Bisharra imprint with limited distribution. The album has never been re-issued or made available in any digital format. Good luck finding a copy of the LP, and if you do, you can expect to pay an eye popping sum for it. If it were not for the community of music lovers posting this on You Tube – you can find the whole album here – the vast majority would have no access to this music at all.

Who is Abdul Wadud? Wadud is unjustly obscure. Fortunately, there are two terrific interviews that you can find, one from 1980 and the other from 2014, where we can encounter Wadud speaking in his own voice. Wadud grew up in Cleveland Ohio, in a large family with diverse musical interests – one brother played jazz trombone, a sister sang opera, and a brother played rhythm and blues guitar. Wadud concentrated on cello from grade school and says that his interest in the avant garde goes back to Albert Ayler, also from Cleveland and who used a cello in his band. In 1960’s Cleveland there was a community of progressive musicians, and by age 18 Wadud was on his first recording of the new music with the legendary Black Unity Trio (recently reissued – you can get it here).

By inclination and to make a living as a musician, Wadud made a name for himself in two worlds – by day he played for classical symphonies such as The New World Symphony and The Jersey Symphony, and by night gigged with a who’s who of creative musicians on the 1970’s – Julius Hemphill, Frank Lowe, Arthur Blythe, Leroy Jenkins, James Newton, Anthony Davis and others. After a decade of playing in ensembles led by others, Wadud recorded By Myself in 1977. The interviews linked above provide an important key to understanding Wadud’s playing and to appreciating By Myself in particular. In an exchange with Tomeka Reid, she praises Wadud’s importance to creative music, and in response Wadud explains his innovation on cello:

“Tomeka: I think in my mind, I think of you as how Pablo Casals was with the Bach suites. To me it’s like Abdul Wadud is that important figure in this music. I don’t know if you know what I mean. There were other cellists before him of course but he definitely set the bar, especially in regards to Bach Suites. I feel like as far as creative music on the cello, to me you were that person.

Abdul: I think I said that in my liner notes on By Myself. I approached the cello not in the lyrical sense that it was known for. I had a percussive approach at times, chordal approach, as well as linear approach and tried to incorporate all of that depending on the situation and the demands of the music at that time.”

Wadud expands on this idea in the 1980 interview with David Lee:

“My approach, as I outlined in the liner notes of my solo album [By Myself], is to approach the instrument in its totality. I don’t believe in boundaries, I don’t believe in the cello being necessarily limited to being an accompanying instrument, or a rhythm instrument, or a so-called “lead” instrument. The cello can be anything that I want it to be. If I want it to be a drum, it can be a drum. There are times when I use it as such. When I want it to be a horn, it can be a horn.”

This multifarious approach characterizes the music on By Myself – just play the opening tune “Oasis” to hear the expanded technique Wadud displays. The tune starts with free tempo pizzicato playing, quickly bridging into resonant strummed “blue” chords, followed by a frenzied cubist-like structure which intersperses three different thematic elements in rapid succession. The tune then settles down into a blues based vamp that rides the performance out. The quick intercutting of so much material pushes this performance to the limits of virtuosity. It’s fascinating, complex, and begs to be heard multiple times to appreciate and savor all Wadud is doing here.

The tune “Camille” has become somewhat better known for being included in the New York Times 2020 piece “5 Minutes That Will Make You Love the Cello.” Cellist Tomeka Reid (one of Wadud’s interviewers above) says of Wadud on “Camille” “He uses the whole range of the cello and moves between lyrical, free playing and groove with ease.” “Camille” starts with a slightly melancholy bowed introduction, then switches to pizzicato for the song-like theme. The melody of “Camille” is memorable and really affecting. It closes Side A of the LP and leaves the listener with a lasting impression of Wadud’s depth and ability to communicate.

The album closer “Happiness” starts with a section played on the bow which alternates between deep tonal and dissonant fragments. The tune then transitions into Wadud’s guitar-like strumming, the tempo rapidly picks up and we realize why the tune is called “Happiness.” The rush of music in the last two minutes of this song is truly joyous and life affirming.

By Myself is a brilliant demonstration of Abdul Wadud’s comprehensive technique, not to mention a perfectly programmed album. Wadud has created a work of art that draws the listener in and shares lasting beauty. It’s also an album that speaks across 43 years to the moment that we live in, art created in solitude which through it’s grace and power makes us appreciate the beauty of being alive.

Now somebody needs to get this lost gem a proper reissue!

Where to go next:

For a musician with such a slender discography, Wadud has contributed to a wealth of astounding musical moments. Most notable are his collaborations with Julius Hemphill, foremost being the legendary Dogon A.D. – the subject of this blog’s inaugural post! Wadud’s’s playing on this seminal album is notable throughout, from his fearsome vamps on the title track, to the deep bass tones he gets at the cello on the tune “Rites”, to the earthy pizzicato work on “The Hard Blues.” All essential.

There’s tons of amazing Wadud on the 2021 release of archival recordings from Hemphill, which a whole albums’ worth of duets with Wadud. All of the Wadud/Hemphill duets are terrific, and you should also check out Live in New York and Oakland Duets. These are musicians who had a special bond.

Arthur Blythe was another important collaborator and features Wadud with the unusual lineup of alto sax, cello, drums and tuba on The Grip, Metamorphoses and Illusions. There’s a couple of incredible YouTube clips of this unconventional and amazing band in Berlin in 1980 and Montreux in 1981. The only other video I know of Wadud in performance is a duet with James Newton from 1981. Check out Wadud’s solo here – it deploys the blues in such a unique and powerful way. You’ll notice the melody he plays at the end of this solo is drawn from “Camille”, and played here to stunning effect.

Unfortunately Wadud was sidelined by ill health in the 1990s and he has not recorded since. Much of his discography is out of print, but every recording he appears is something to celebrate. Spread the word!

Starting this month The Necessary Blues will be posting every other week! Mid month you can expect our deep dive into a classic performance from the history of progressive music. Check out our last post about Magma’s strange and wonderful “Last Seven Minutes”. Up next you can expect another post about a classic and overlooked progressive rock/jazz album. Quick teaser – what’s the only album that has Annette Peacock, Kenny Wheeler and a titan of mid 70s rock drumming . . . find out in two weeks!

But now our new feature at The Necessary Blue is monthly album reviews! At the end of each month we’re going to post short reviews and links to our favorite new and recent albums in progressive, experimental and jazz music. We’ll also put together a Spotify playlist of highlights from these records so that you can dive right in – (see the bottom of this post).

So without further ado, here is The Necessary Blues March 2021 record round up!

TNB Album Pick!
Patricia Brennan – Maquishti
(Valley of Search, Released 1/15/2021)

Patricia Brennan, Vibaphone and Marimba

Brennan’s album has all the qualities that make a great solo recital: an engaging program, an original and distinctive sound, and a sense of mystery that keeps the listener moving forward. Most amazing is the wonder at sound itself – a communion of listener and performer over the ringing tones hanging in the air. Brennan’s patience and rigor are singular. My favorite album of the year so far!

TNB Album Pick!
Zeena Parkins, Mette Rasmussen, Ryan Sawyer – Glass Triangle
(Relative Pitch Records, released 2/26/2021)

At almost two minutes into the fabulously named “Begiunners, begges, beattle, belt, believers”, Zeena Parkins’ electrified harp announces itself, sounding like a massive foghorn from the depths of hell. Later in the same piece, she plays repeating patterns reminiscent of laser beams from a science fiction movie. The saxophone playing and drumming here are kinetic and amazing, but what really makes this album singular are the amazing sounds that Parkins dreams app. The flow of the album is also very canny, with each composition skillfully segueing into the next so that it creates a continuous set of music. Bracing and fantastic, the best “out” release of 2021 (so far).

Tamil Rogeon – Son of Nyx
(Soul Bank, released 2/5/2021)

Tamil Rogeon, viola; Sam Keevers, keyboards; Daniel Mougerman, keyboards; Sam Anning, bass; Danny Fischer, drums; Javier Fredes, percussion.

This whole album is pretty terrific, but best in the spirited lead track, “House No Wheels.” Jazz violin (here, viola) is so great. I imagine playing this on a sunny weekend morning while drinking a cup of coffee and enjoying the cool breeze.

Alban Darche – Le Gros Cube #2
(Yolk Records, released 3/5/2021)

Jon Irabagon, alto saxophone; Loren Stillman, alto saxophone; Alban Darche, tenor saxophone; Matthieu Donarier, tenor saxophone, clarinet, bass clarinet; Rémi Sciuto, baritone saxophone, flute; Joël Chausse, trumpet; Geoffroy Tamisier, trumpet; Jean-Paul Estiévenart, trumpet; Olivier Laisney, trumpet; John Fedchock, trombone; Jean-Louis Pommier, trombone; Samuel Blaser, trombone; Matthias Quilbault, tuba; Marie Krüttli, piano; Gilles Coronado, guitar; Sébastien Boisseau, double bass; Christophe Lavergne, drums

There’s a moment on the opening tune “A la bougie” when the alto sax solo hits a crescendo while Darche’s intricate big band chart swells – at that moment the incredible potential of the big band is fully realized. Darche says he conceived this project as a meeting between American musicians (Irabagon, Stillman) and Europeans where they use his tunes to confront and modernize traditional big band music. The playing is terrific and the charts are stirring. I’ll have to listen to more of Darche’s music. Darche says he aims to go from “the familiar to the confusing, offering the disconcerting that sounds “classic.” Offer very personal colors in a familiar landscape, or build a complex landscape with colors that are nevertheless obvious.” Mission accomplished!

Thumbscrew – Never is Enough
(Cuneiform Records, release 2/26/2021)

Tomas Fujiwara, Drums; Mary Halvorson, Guitar; Michael Formanek, Double Bass and Electric Bass

The trio of Halvorson, Formanek and Fujiwara have been making records for years as Thumbscrew. I need to dig more into their back catalogue, but this one is dark, mysterious and feels like it’s own immersive sound world. A highlight is the title track, where Formanek’s electric bass allows the band to suddenly morph into a twisted new wave band. Awesome! Elsewhere, the band feels right at home exploring all types of bent harmony. It’s an accomplishment to make music thus immediately identifiable and distinctive.

Matty Stecks & Dead Cat Bounce – Lucky & Live in STL
(Matty Stacks Music, released 12/30/2020)

Matt Steckler, Jared Sims, Felipe Salles, Charlie Kohlhase – saxes, Gary Wicks – bass, Bill Carbone – drums

I fell in love with the sound of a saxophone choir with the first chord of the World Saxophone Quartet’s Live from BAM, so you know I’m a sucker for this stuff. Here the sax quartet is supplemented with bass and drums in live performances from 2003, but released at the very end of 2020. Stecks plays tenor sax, and gets the expected dense harmonies with his fellow sax players on soprano, alto and baritone. Full of energy and ear catching sax harmony.

Cortex – Legal Tender
(Clean Feed, Released 10/30/2020)

Thomas Johansson trumpet, percussion, Kristoffer Berre Alberts saxophones, percussion, Ola Høyer double bass, percussion, Gard Nilssen drums, percussion

Cortex calls itself “avant garde party music“, and this album delivers spirited and energetic music in spades. The music reminds me of Ornette Coleman’s 50’s quartet, with plenary of fire but also melody to keep you tapping along. The tunes give all the band members a chance to shine – from an intense sax solo on “Standby”, lithe drumming on “GTM” and fiery trumpet playing on “I-95.” Don’t miss the “trick ending” on the last tune “Loose Blues.” Yes, avant grade music can be FUN. Also: classic record cover!

Hedvig Mollestad Trio – Ding Dong. You´re Dead
(Rune Grammofon, released 3/19/2021)

Hedvig Mollestad, Guitar, Ellen Brekken, bass, Ivar Loe Bjørnstad, drums

Right out of the gate this sounds like an outtake from King Crimson’s Red (not a bad thing), and the tunes progress from one vein of guitar riffing to another. Also reminds me of Chris Haskell’s side project when he played guitar with Henry Rollins. I bet this would sound great live.

Binker and Moses – Escape the Flames
(Gearbox Records, released 12/12/2020)

Binker Golding – tenor saxophone, Moses Boyd – drums

Brits Golding and Boyd have been a big deal for years, but this is their first album I’ve listened to. It like Coltrane’s Interstellar Space for the people. You can hear the energy of the musicians, and also a refreshing enthusiasm from the audience. The community of listeners on display here is one way forward for this music.

Gretchen Parlato – Flor
(Edition Records, released 3/5/2021)

Gretchen Parlato, vocals; Marcel Camargo, Guitar and Musical Direction; Artyom Manukyan, Cello; Léo Costa, drums and percussion; Mark Guiliana, Drums; Gerald Clayton, Piano; Airto Moreira, Voice and Percussion

In this wildly varied program, Parlato presents songs that range from the expected Brazilian rhythms of the opener, to a cover of the Anita Baker song “Sweet Love”, and to Parlato doing a wordless vocal to 5th movement of Bach’s 1st cello suite. The album’s range may stop some listeners from digging in, but surprises abound, and it makes me look forward to the next one.

Archie Shepp & Jason Moran – Let My People Go
(Archieball, released 2/5/21)

Archie Shepp, tenor sax, soprano sax, voice Jason Moran, piano

Duets between Shepp and Moran playing a mix of gospel songs and reverential covers of Duke, Strayhorn and Monk – sounds too good to be true! The playing is sincere and the album is solemn at times but loosens up as it goes along. Don’t skip the bonus tracks! They include live performances with memorable piano and tenor sax. Moran really lets loose on this version of “Jitterbug Waltz” – excellent!

Here’s the Spotify playlist, enjoy:

Seven Storey Mountain VI
(2020, Pyroclastic Records)

Nate Wooley – trumpet, amplifier; C. Spencer Yeh – violin; Samara Lubelski – violin; Chris Corsano – drums; Ben Hall – drums; Ryan Sawyer – drums; Susan Alcorn – pedal steel guitar; Ava Mendoza – guitar; Julien Desprez – guitar; Isabelle O’Connell – keyboards; Emily Manzo – keyboards; Yoon Sun Choi – voice; Melissa Hughes – voice; Megan Schubert – voice

The arc of each performance is familiar, but each is also unique. Veiled in mystery, the music begins quietly. Prior iterations started with a shimmering cloud of sound from the ringing of a vibraphone, or crisp rattle of brushes on a snare. This time, the proceedings begin with a haunting wordless vocal, and then settle into the quiet hum of tape loops and a halo of dissonance. Suddenly, just like before, a repeated bell rings out an invocation for the music to morph and grow. Building in intensity, the players use their instruments to add ear-grabbing texture. Under layers of sound, we hear muffled voices, distorted and shaped to the point that they have shed their identify; another mystery in the mix. Yes, this is music, but it’s also more – it’s an enveloping environmental experience, a journey with a gripping and memorable arc, it’s wonder cast in sound.

Nate Wooley has taken us on this journey through his piece Seven Storey Mountain again and again, and has released the most potent update of his vision with last year’s Seven Storey Mountain VI (SSM from hereon). There is so much to say about this music, and we can only scratch the surface here. The best place to start is to look at Wooley’s inspiration and process, which he explains in a spring 2009 interview done for Paris Transatlantic magazine:

“The genesis of SSM was a longstanding interest in mystical religion, . . . as I grew older I became fascinated with the ecstatic experience, the painful ‘dark night of the soul’ stuff. Especially interesting were those that admitted to being worldly beings, like St. Augustine and Thomas Merton. Merton’s Seven Storey Mountain is basically his “confessions”. It’s an autobiography of his early life, leading up to his acceptance into the Lady of Gethsemani in Kentucky and including some of his spiritual life there. There’s no real flowery language in the book, just a lot of writing about indecision, confusion, a little bit of pain, super-self-consciousness. In 2007 I was commissioned to write a piece for Dave Douglas’ FONT festival in New York and as I was mostly consumed with the idea of recreating this kind of ecstatic state with music, using a language that was specific to me at the time and not a traditional drone/repetition scenario, I started working with a long-form piece that would hopefully be a start in the right direction. The musical idea was to create a tape score (all from my air-conditioning unit at home with the exception of one singing portion and piano) that would take the place of the traditional drone, then write very loose music over the top that would give different players some kind of musical idea of how to proceed as the piece went on. Initially the idea was to keep the tape portion and use different players for each iteration, recording as I went. The next grouping, which I’m working on scheduling right now, is with C. Spencer Yeh and Chris Corsano. I’ll make a completely new tape score, as they work in a much more sustained and harsh sound world, so I have to rethink the technical aspects a little (my amp playing has become more refined as well), but the main idea is the same, to attempt to achieve a certain feeling of ecstatic release in an abstract setting. I’m not sure how successful it is, but I end up liking the music, so I keep trying anyway.”

In the 11 years since this interview Wooley has continued developing this idea and realizing new editions of SSM, each time increasing the size of the forces used and complexity of the work. SSM 3 and SSM 4 were both performed and recorded live at Brooklyn’s Issue Project Room. SSM 3 features the hypnotic drone of twin vibraphones; SSM 4 emphasizes a dynamic build to a crescendo of amplified trumpet and a brass choir. SSM 5 (2016) was performed live at Abrams Art Center and again increases the size of the players, now to 18 musicians, and ups the complexity and nuance of the pre prepared tapes and the interactions of the players with the piece.

This brings us to the current version, SSM 6. On top of the other methods Wooley has employed, he has now added an overt message. Words have always been as part of SSM, both as part of the prepared tapes and also intoned by Wooley through his trumpet, but before they were processed and buried in the layers of sound, becoming part of the sonic tapestry. As Wooley says in the liner notes to SSM 6:

“For the first time, I was angry. I was truly angry as I watched what people do to each other: how some make decisions about peoples’ lives as if they were objects . . . This anger manifested as the desire to sing loud, but not just with my voice. I didn’t trust my strength alone. Instead, I put my trust in the voices of the women around me. . . The composition of SSM 6 came into focus when I first heard Peggy Seeger’s recording of “Reclaim the Night” from her album Different Therefore Equal. I listened to it over and over again, concentrating on the power of her words and the clarity of her voice. SSM 6 uses the first few lines of “Reclaim the Night” as a kind of mantra. The hope was that those leaving the performance—or coming to the end of this recording—would not just remember the melody but also, through its repetition, be able to retain some of Peggy’s words.”

The message is made clear by printing Peggy Seeger’s words on the album cover, which is posted above. The cumulative results of this potent message, the canny planning of the album and the musicianship of the players, is exemplary. SSM 6 is the first of this series to be recorded in the studio, and it benefits from detail and fidelity it’s predecessors did not have, while pulling off the trick of retaining the spontaneity and impact of live performance. The music leaves an indelible impression, which Wooley makes explicit as his goal in the liner notes:

“Seven Storey Mountain is meant to make you feel something. The live performances of these pieces make people react. They smile, shiver, cry, run for the door to compose their angry emails. The ensemble is there, playing this music, for people to remember that feeling and to take it home with them. We seek to imprint a moment on you.”

This album and it’s music is an event. Above all, the force of the music does speak for itself – the power of it’s concept is clear from beginning to end yet the complex music is full of mystery that will keep drawing me back. Also, Wooley has said he plans seven records of this project – if that comes to pass – I can hardly wait for the next one!

Where to go next:

If you’re fascinated by SSM 6, please purchase a copy! Artists like Wooley need support for this music to survive. Going back and listening to the prior iterations is time well spent. SSM 5 is available here, and SSM 3 and SSM 4 here.

Outside of writing and performing music, Wooley oversees the Database of Recorded American Music—an incredible streaming-service specializing in American 20th century contemporary classical music, and he created and is the editor of a Sound American, a magazine that does a deep dive on experimental music. Those are worth checking out for people interested in progressive music.

Nate Wooley has been one of the top trumpet players and musicians playing new music for New York, and his discography is extensive. Some places to start are his terrific and more “inside” Nate Wooley Quintet albums, (Dance To) The early Music and (Put Your) Hands Together. Also check out his fantastic album showcasing a “double trio” led by himself and cornet player Ron Miles, and the striking mediation on awe of nature, Columbia Icefield. Keep and eye on Wooley’s website, for updates on what’s he’s doing. Above all, when this Pandemic is over go out and see him and other musicians playing vital new music – this music does not exist without you!

Equipose (1978, Galaxy Records)
Stanley Cowell, Piano; Cecil McBee, Bass; Roy Haynes, Drums

Equipoise

Musa and Maimoun

Dave’s Chant

At the end of 2020, we got the sad news that the pianist Stanley Cowell died on December 17th at the age of 79. Excellent obits by Nate Chinen and Giovanni Russonello are recommended and are very informative about Cowell’s life and his music.

An important key to Cowell’s art is apparent on his first record date, Marion Brown’s Three for Shepp. The album is a prime example of the fire of the mid sixties avant grade, full of dissonant energy. On the tune Spooks, the young Cowell takes the first solo and immediately breaks into stride piano, channeling Art Tatem amidst the maelstrom. You can listen to it here. On his only other solo from this date (the tune Delicado) he plays Cecil Taylor-like runs that were more current for 1966. Right from the beginning Cowell demonstrates that he embraces new progressive music making, but also brings the chops, knowledge and taste from the jazz tradition. Cowell is one of music’s most complete musicians.

Cowell made a number of impressive records that demonstrate this simultaneous embrace of the past and the future. Most prominent is his incredible solo record Musa – Ancestoral Streams, where he plays a fantastic range of potent original compositions. Some highlights are the earthy use of thumb piano on Travelin Man’, the searching modal composition Prayer for Peace, and the avant garde (and amazingly virtuosic) Departure. This is one of the definite solo piano records, period.

Another of Cowell’s outstanding records from the 1970’s is Equipose, released in 1978 on the Galaxy label. The name of the album is taken from Cowell’s composition of the same name. Equipoise seems a fitting title for Cowell’s best known tune – his music embraces a balance between two forces often pitted against each other – modernism and the tradition. I’ve posted the above tracks to celebrate this high water mark of Cowell’s great music.

Much of the success of Equipose is because of the amazing musicians that support Cowell – Cecil McBee on bass and Roy Haynes on drums. These are musicians who knew each other well. Cowell and McBee played together in a crucial working band of the early 70’s – Charles Tolliver’s Music, Inc. Cowell is on two Roy Haynes albums with McBee from the prior year (Thank You Thank You and Vistalite) and McBee, Haynes and Cowell serve as the rhythm section on Art Pepper’s excellent comeback album Today (1978). Cowell and Haynes had both played on Jack DeJohnette’s The DeJohnette Complex (1969), and Haynes clearly had an affection for Cowell’s music – Haynes recorded the tune Equipoise on his own records in 1971 and 2011. You can hear the empathy between these musicians in these definitive performances.

One of challenges of performing the song Equipose is to create excitement and variety when soloing over the call and response melody. Cowell neatly solves this problem by choosing a brisk tempo for this version, leaving room in the arrangement for interaction with the bass and drums, and then playing the second chorus of his solo in double time. The results are quite amazing! Cowell is able to preserve the melancholy mood of the piece, but also fill the performance with energy and texture.

This is the only recording I know of Musa and Maimoun. Not many tunes have the unexpected twists and turns this one does. The performance starts in a somber place but quickly morphs and transforms, sounding more and more urgent with each bar. The way Cowell steadily notches the intensity up as his performance progresses is something to behold. Then McBee takes a wonderful solo which shows his speech-like articulation. Cowell returns and plays forcefully, exchanging fours with Haynes. By the time the tune de-accelerates and slides back into it’s plaintive melody, you’ve been on quite a journey!

Dave’s Chant is a showcase for the excitement this trio can create. After a vamp set up by McBee’s bass, the tune quickly picks up steam. Haynes’ drumming on his snare and ride cymbal is hyperkinetic, and Cowell’s playing at this tempo is fleet and dexterous. Cowell uses blues vocabulary, bebop, and pianistic runs to striking effect. I’ve played this tune over and over – the playing is something to marvel at and the energy level is awesome!

Equipoise is one of many great entries in Cowell’s under appreciated discography. Throughout, he shows how big his ears and heart were, with an openness to both old and new musical language and readiness to make a distinctive statement in any setting. In an interview with Jimmy Heath in Jazz Times (Cowell played piano with the Heath Brothers band for years), Heath said about Cowell:

“His music is unique. It’s not like anyone else’s that I know. He’s not strictly a bebopper, and he’s not strictly from the Tatum school. He’s got his own voice in this world. He has things as avant-garde as Ornette Coleman and that era of music. The whole spectrum of African-American classical music. And he never forgets the history of African-American people, and he tries to do everything he can to better our position in the world.”

Let’s not let a musician of this excellence be forgotten!

Where to go next:

Equipose is on Spotify and Apple Music. Listen and enjoy! The rest of the album is wonderful. Musa Ancestral Steams is one of the most impressive solo piano sets. It’s not on the streaming services, but Acoustic Sounds is coming out with a new vinyl pressing in February 2021. Exciting! If you don’t have an LP player, you can listen to the whole album on You Tube here.

Cowell’s 1960’s and 1970’s discography with trumpet player Charles Tolliver is fantastic. Start with Max Roach’s Member’s Don’t Get Weary (1968), which features both Cowell and Tolliver. It’s on Spotify and Apple Music. Cowell and Tolliver started their own record label, Strata East, and put out the exuberant Music Inc. which features Tolliver’s intense big band, but also a lot of terrific Cowell solos. It’s not on the streaming services, but it will also be reissued in vinyl, and there’s You Tube of course.

After the heady recordings of the 1970’s, Cowell quietly recorded one great album after another for the Danish Steeplechase label, including his last release, a live date from 2019, Live at Keystone Korner Baltimore. They are all on Spotify and Apple Music, where you have access listened to them all – they sound great! The early nineties seems to have been especially strong with Departure #2 (1990), Games (1991), Bright Passion (1993), but I’m still listening and will report back.

If you have a favorite Stanley Cowell record, leave a comment – the beauty of this music should be heard by all.

Today is the 103rd anniversary of Thelonious Monk’s birth. Monk changed music forever with his fantastic (and catchy!) compositions as well as his unique approach to music and stubborn dedication. He’s forever an inspiration for those who give their lives to an idea, a craft, or a vision. And Monk won in the end – there is no other composer from the mid 20th century whose music has been so influential. To celebrate this influence I’m posting some of my favorite covers of Monk’s songs, with my thoughts about the performance. It’s Monk’s time!

Bye-Ya
Jane Bunnett-Don Pullen
New York Duets (Music and Arts, 1990)
Jane Bunnett – soprano sax, Don Pullen – piano

A spirited performance of a very fun tune! Bunnett gives three choruses that build logically, with great sound and spontaneity. Pullen is typically outrageous and amazing. His incredible rhythmic strength is a perfect match for playing Monk. Fortunately, there’s more of a same on Pullen Plays Monk, which is highly recommended. More from Pullen on this site soon! He’s one of my all time favorites.

Monk’s Mood
Jack DeJohnette’s Special Edition
Album Album (ECM, 1984)
Jack DeJohnette – Synthesizer and drums, David Murray – Tenor Saxophone, John Purcell – Alto Saxophone, Howard Johnson – Baritone Saxophone

There are lots of great covers of Monk’s Mood, one of the composer’s most memorable pieces. This one stands out to me for it’s interesting arrangment, which obviously owes a lot to the World Saxophone Quartet (the synthesizer fills in for the fourth horn). I wonder how much credit goes to Murray? No matter who’s responsible, this performance holds up.

Rhythm-A-Ning
Cedar Walton
The Maestro (Muse, 1981)
Cedar Walton – piano, Bob Berg – tenor saxophone, David Williams – bass, Billy Higgins – drums

Walton used Rhythm-A-Ning as a burning vehicle, and this performance really shows off the strength of this band. Berg eats up the changes in his exciting solo. The real star though, is the marvelous togetherness of the trio behind Berg. Even at this blistering tempo, Walton, Williams and Higgins somehow sound relaxed, and play the accents of this arrangement with a startling group precision.

Brake’s Sake
Ben Riley’s Monk Legacy Septet
Memories of T (Concord, 2006)
Ben Riley: drums; Don Sickler: trumpet and arrangement; Bruce Williams: alto saxophone, Jimmy Greene: tenor saxophone, Jay Brandford: baritone saxophone; Freddie Bryant: guitar, Peter Washington: bass

From the best Monk tribute not by Steve Lacy, the pianoless arrangements capture Monk’s wittiness and rhythmic propulsion. The musicians here all rise to the challenge – each of the solos sparkle. Riley – Monk’s drummer through the 60’s – contributes playing that is subtle and amazing.

We See
Ellery Eskelin
The Secret Museum (Hatology, 2000)
Ellery Eskelin – Tenor Saxophone, Andrea Parkins – Accordion, Jim Black – Drums

I just had to include this crazy performance! It’s an absurd rave up/deconstruction of Monk’s tune. There’s nothing else like it.

Hornin’ In
Sphere
Sphere (1998, Verve)
Kenny Barron – Piano, Gary Bartz – Alto Saxophone, Buster Williams – Bass, Ben Riley – Drums

This performance is a refined contrast to the raucous Eskelin track above. The group Sphere was dedicated to making Monks’ tunes part of the repertory, and the elan displayed on this, one of Monk most difficult compositions, shows the result of that dedication. Barron’s solo in particular is fantastic!

In Walked Bud
Steve Lacy Four
Morning Joy: Live at Sunset Paris (Hatology, 1989)
Steve Lacy – Soprano Saxophone, Steve Potts – Alto Saxophone, Jean-Jacques Avenal – bass, Oliver Johnson – drums

When Monk’s reputation was in obscurity in the 1950’s, one of his acolytes was Steve Lacy, who formed a band with Roswell Rudd that played nothing but Monk tunes (captured on the album School Days). Even after Lacy developed into a distinctive composer and concentrated on the performing his own tunes, he continued to carry the Monk torch. Recorded at the Sunset Paris club in 1986, the band is really on fire. The way that Lacy and Potts play unison lines is really special, and the support from Avenal and Johnson is stellar. It’s a shame that you can hear there’s maybe a dozen people in the audience – a fate that Monk had to contend with as well. May our heroes always have an audience to appreciate their art!

James Koblin