The Necessary Blues

Groups that performed:
Group 1: Juan Pablo Carletti-drums / Rob Brown-alto Sax
Group 2: Company Lopez – Brandon Lopez-bass / Sam Yulsman-Electronics, Matt Nelson-sax / TJ Borden-cello / Cecilia Lopez-Electronics
Group 3: Patrick Holmes-clarinet / Sarah Sandoval-dance
Group 4: James Brandon Lewis Vibe Freedom
James Brandon Lewis-tenor sax / Kirk Knuffke-cornet / Michael Bisio-bass / Nasheet Waits-drums

When it comes to the arts, there’s no place like New York City! For proof of that, look no further than Arts for Art’s incredible, free and ongoing concert series “Arts for Art InGardens.” On September 24th, I caught the groups presented at First Street Green Art Park, a little enclave off of 2nd avenue, that you will easily miss when you walk by it.

But the music was not to be missed! First off, a small crowd of about a dozen people gathered to hear the duo of the great Rob Brown and drummer Juan Pablo Carletti. Even though the music was unrepentantly avant-garde and abstract, the audience was quite engaged and stayed for the whole afternoon set. Brown and Carletti played two long performances that started and ended with groove-based interplay between the sax and drums, reminiscent of what Sam Rivers used to start his trio sets with – driving music with cascading lines of saxophone riding on top of surging percussion.

(Brown at left, Carletti at right)

At times the music slowed into a slower blues-soaked meditation by Brown, who’s tone and angular phases were something to behold in this small setting. Carletti used mallets, brushes and sticks to produce an assortment of rhythms and textural effects that kept the music moving along briskly. The audience included families with children who danced to Brown’s saxophone runs, to which Brown acknowledged his junior audience members, and his playing seemed to accompany the children’s playing as much as the other way around.

(Company Lopez – Left to right: Matt Nelson, TJ Borden, Sam Yulsman, Cecilia Lopez, and Brandon Lopez)

But that was only the first set – next bassist Brandon Lopez brought a third steam quintet that focused on fascinating textures. Lopez’ group produced a cloud of buzzing sounds from electronic keyboards, mixed with the interweaving lines of Lopez’ bass and TJ Borden’s cello, and when the music reached an apex, a tenor sax wailing on top of the din. The music’s soup of chordal humming was an effective contrast with the horn-driven groups that dominated the afternoon’s other presentations, and the mid afternoon sounds mingled with the traffic and machinery around the First Street Park, creating an urban environmental tapestry.

(Sarah Sandoval at left, Patrick Holmes, right)

The third set featured Patrick Holmes, who played evocative and beautiful lines on his clarinet as Sarah Sandoval danced in accompaniment. The pairing of Holmes’ serene music and Sandoval’s witty dancing was memorable. Sandoval was often very funny, making striking gestures with her body or face, and sometimes breaking what must be a “4th wall” of dancing by physically leaning into, dancing around (or under) Holmes while he played. At one point a posse of nearby motorcycles drove down 1st street, setting off car alarms. Sandoval reacted to the familiar city nuisance by vibrating her body to the din of the motorcycles, and then flailing to the percussive car alarms, all while Holmes played on. The crowd laughed in appreciation.

As the afternoon sun dipped behind the New York skyline, the fourth group of the day, lead by saxophonist James Brandon Lewis, took the stage. As great as the day’s music was to that point, it did not really prepare the listener for the intensity of Lewis and his group. The first two tunes played by Lewis’ group were built around a dense storm of saxophone playing, seeming to split the difference between Albert Ayler-like ecstasy and Coltrane density (the performance was the day after Trane’s birthday). Live, the star is Lewis’ radiant sound – the audience was hanging on every note, and on the obvious conviction and focus behind those notes. If you get the chance to see him live, go!

(James Brandon Lewis Vibe Freedom – from left to right: Kirk Knuffke, Nasheet Waits (hidden at drums), James Brandon Lewis, and Michael Bisio)

With Lewis on cornet was Kirk Knuffke (who’s also on Lewis’ terrific album from last year, Jesup Wagon). Knuffke played foil to Lewis, his lines darting and weaving against Lewis’ massive energy. On the third tune of the four tune set, Knuffke took over, playing an playful solo introduction which immediately switched the mood to a lighter whimsy. With the last tune of the set, Lewis came roaring back, along with terrific support from his group. Drummer Nasheet Waits was commanding throughout, providing all the fire and spontaneity the music needed. Bassist Michael Bisio was extraordinary, providing a melodic touch, and then switching to broad chordal playing as things built up. Basio’s bass solo near the end of the set was memorable, showing off the depth and talent of this band.

The crowd (which by the end of the afternoon had grown to maybe 40 people) stayed in rapt attention throughout, and included a number of notable musicians (Matthew Shipp was just hanging out in the audience!). The set ended to loud applause, and afterwards, the musicians hung out, breaking down the equipment and making dinner plans. I said “thank you” to some of the players, and then floated up 2nd Ave, buoyed on a great experience and thinking about an afternoon of art. What a great way to spend the afternoon!

More Arts for Art!

As I said above, the InGardens series is ongoing, with more great music this weekend (Oct 1st and 2nd) and next weekend (Oct 8th, 9th and 10th). The link to the artists and shows in the series is here. If you are near New York (and the weather permits), don’t miss the opportunity to see great musicians and hear great music. Also consider donating to Arts for Art, which does important work to support the creative music community.

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)

Kresten Osgood (drums, percussion and poetry)
With:
Tanya Kalmanovitch (viola)
Karen Borca (bassoon)
Marcus Rojas (tuba)

If you flip to the back of the May edition of the New York City Jazz Record, a full page ad announces that “Kresten Osgood is finally back in the US!” That proclamation only drew a small audience to the Downtown Music Gallery on May 28th—those who were there witnessed a low-key, but potent set of music.

The gig was part of Osgood’s NYC run of shows, including appearances with Cooper Moore in Brooklyn on May 29th and at The Stone with Eugene Chadbourne on June 1st and 2nd. As befits a gig in the back of a record store, the Downtown Music Gallery show began informally, with the musicians chatting about life in Europe, listening to Cecil Taylor records and finally kicking pot. After a group of friends, family and fellow musicians gathered in the downstairs space, Osgood and his group played a single improvised piece that lasted over an hour. The inauspicious setting didn’t really prepare the listener for the abilities of these world class musicians—especially impressive was the players’ feat of listening during what appeared to be an entirely improved piece.

From left – Rojas, Osgood, Kalmanovitch and Borca

The music started quietly with soft percussion from Osgood, but quickly gathered steam with statements from Borca’s woody bassoon, Rojas’ resonant tuba, or alternating dissonant and melodic riffs from Kalmanovitch’s viola. At one point 45 minutes in, the music seemed to reach a logical end point and eased into silence; but when the audience held their applause in respectful and rapt attention, Osgood filled that silence with soft percussion patterns, and Rojas and Borca started playing again. The music continued for a 15 minute coda, during which Osgood delivered a spoken word performance about the futility of violence over his drumming. One got the feeling the audience became co-composers in that moment, having given the musicians the comfort zone to stretch out even further.

When the playing did end to raucous clapping, Osgood proclaimed to the audience that he was playing with some of his favorite musicians in the world, and asked everybody to give each one of them individual applause, which was willingly provided. The looks of gratitude on the musicians’ faces were touching—the life of the improvising musician is demanding, far removed from rockstar glamor and acclaim. The vibe of the subterranean record store became one of mutual validation; the audience’s validation of the performers’ skill and creativity, and the performers’ validation of the audience’s willingness to explore the extemporaneous avant-garde.

More Kresten Osgood!

Osgood is known for his playing with Sam Rivers on 2005’s Purple Violets (check out the cover of “The Mooche”) and the following years’ Violet Violets (try “Nature Calls, Part 1”). River’s compositions and instrument switching depend on momentum from the drummer, and Osgood filled the role with aplomb.

Osgood has released many records as leader or co-leader. An excellent example is a co-leader session with Ran Blake, The Dorothy Wallace Suite. Osgood’s drumming is patient and creates the perfect sonic landscape for Blake’s crystalline piano.

Osgood’s leader sessions display enormous variety – a perfect example of Osgood’s new album, Kresten Osgood Plays The Organ For You. Yes, he’s on organ, not drums! The album’s buoyant grooves and melody could not more different from Osgood’s other music, but what they share is a common sense of adventure and fun. Also check out Osgood’s new podcast, Dangerous Sounds, which covers the history of Danish jazz. A truly diverse and amazing artist.

The cover of Osgood’s new record

Moments before the show

Speaking to the audience during his solo piano concert on Saturday May 21st, Jason Moran said he wanted to bring some of the early summer warmth from outside to the Park Avenue Armory audience. Moran talked about how important it was for him to share songs he’d been living with through the pandemic. Moran’s music is about connections between people (he said he’s influenced by “so many” and named his parents and his wife Alicia Hall Moran), between genres of music (his music is at the crossroads of jazz, classical, and experimental musics) and place itself. All those connections were on display in his 90-minute set of solo piano.

The room itself was a constitutive element of the performance, a lush visual backdrop to Moran’s sonic experience. The Veterans Room at the Park Avenue Armory is a historic room built in 1881. This room was the focus of renovations that have transformed it “into a stunning, cutting-edge performance venue”, according to PBDW, the architect who designed the renovations done on this space. Words alone do not do this space justice—if you’re in New York you really need to see it for yourself. Moran first played at the Park Avenue Armory in 2016 as part of the post renovation inauguration of the Veteran’s Room. That live performance was recorded and released as The Armory Concert on Bandcamp. Moran has since been responsible for presentations of other artists in the Veteran’s Room, but the May 21st and 22nd concerts were his first solo piano recitals in this space since 2016.

The beautiful Veteran’s Room

Moran started the 90-minute set playing songs from some of his recent recordings, Music For Joan Jonas and The Sound Will Tell You. He’s a very charismatic performer, and went back and forth between playing these original compositions and speaking to the audience of about 75 people. After the mesmerizing composition “Reanimation,” he told the audience that on a recent trip to his barber, he was trying to write a tune that captured the sounds there. Moran’s barber must have a machine shop nearby; he rolled up his sleeves, reached into the piano’s guts and played a dissonant repeating chord on the bottom keys while he plucked the strings within to create a mechanical, brutal sound.

Following this eccentric piece, Moran began to subvert the traditional sensory expectations of a piano recital. He started by playing a complex multi-part composition lasting 20 minutes, a medley sewing together several original tunes. This section of the concert reached a climax when the intricate opening tones and chords progressed into a single deep, resonant, sustained rumble that Moran held for over five minutes (drawn from the composition “Magnet” on The Armory Concert). Then Moran did something simple but profound—while the piano rumbled on, he had the Veteran’s Room lights fade away, pulling the audience into darkness. Without sight to help make the music familiar, the listener was forced to internalize the rumbling cloud of sound Moran was making, which seemed to grow more ominous with its overtones both louder and more nuanced. The effect was remarkable, a visceral-cerebral experience marrying the visual and sonic elements of live performance. Then, the lights came back on while the music transitioned to the opener from The Sound Will Tell You, “Follow The Light.” The audience felt transported on a journey. The concert concluded to loud applause, and Moran came back for an encore. Moran told the audience that the day of the concert was also Fats Waller’s birthday (Moran put out a tribute to Waller in 2014), and the concert ended with a rousing Waller cover. If you have a chance to see Jason Moran live, go!

Applause after the show; Moran in center

More Moran:

If you’re in the New York area, you will have a chance to see Jason Moran soon—he’s playing with Archie Shepp at New York Summerstage on August 28th. If you can’t make it, make sure you check out last year’s great live duo record with Shepp, Let My People Go. Don’t sleep on the bonus tracks with that record, they’re just as good, such as this performance of “Jitterbug Waltz” (more Fats Waller!). To keep up with Moran, make sure you check out his Bandcamp page and his website. Rolling Stone called him “the most provocative thinker in current jazz” — high praise, but Moran is always interesting, bringing experimental ecclecticism to the power of blues.

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.”

King Crimson – Larks’ Tongue In Aspic
(March 23, 1973, Island records in UK, Atlantic Records in United States)

Personnel –
Robert Fripp – electric and acoustic guitars, Mellotron, Hohner pianet
John Whetton – bass, vocals, piano on “Exiles”
Bill Bruford – drums, timbales, cowbell, wood block
David Cross – violin, viola, Mellotron, Hohner pianet, flute on “Exiles”
Jamie Muir – assorted percussion and drums

Link to Apple Music
Link to Spotify
Link to entire album on YouTube

London progressive rock band King Crimson is a group more often name-dropped than actually heard. For years if a critic would describe an edgy, instrumental heavy and guitar forward “progressive” band, odds are King Crimson would be cited as an influence. But while Crimson spawned a sea of imitators, they remain more a reference point, and ironically their music is woefully under-examined.

Another part of the problem is aside from their legendary debut, you could not actually get their records. However, that all changed last year when Crimson celebrated its 50th anniversary by releasing their discography on the streaming services. So now to hear this formerly obscure and esoteric band, all you have to do is pick up the computer in your pocket and search “King Crimson” in either Spotify or Apple Music. Let’s discuss what makes their music special, and you can listen along if you wish. I am going to take you on a tour of what is arguably the band’s defining album, 1973’s Larks’ Tongue In Aspic.

The Larks’ Tongue lineup: from left, Robert Fripp, Jamie Cross, John Whetton, Jamie Muir and Bill Bruford (DGM Live)

King Crimson is not the typical progressive rock band. In the brief and strange period of the early 1970’s, when fur-coat clad, keyboard toting, utterly extravagant prog rock acts like Emerson Lake & Palmer and Genesis inexplicably packed stadiums, King Crimson sat outside the limelight, quietly blazing a future for the genre after many of their peers wore their novelty thin. The personality of King Crimson is mainly a reflection of it’s guitarist/melotron player and leader, Robert Fripp. Fripp differentiated his band from other groups operating in progressive rock by borrowing from jazz and embracing a high minded self-seriousness, while their counterparts looked to classical music and campy eccentricity. Whether conscious or not, this choice diminished the initial popularity of King Crimson in exchange for music that would hold up to modern sensibilities.

Their debut album, In the Court of the Crimson King (1969), is legendary to many for arguably birthing the world of progressive rock. Court brought a refreshing edginess to the English music scene after the saccharine sweet British Invasion, birthing a dissonant, jazzy sound that King Crimson would… soon drop in favor of commercial obscurity. Their follow up album, In the Wake of Poseidon, is likely Crimson’s most creatively bankrupt – a thematic retread of Court, even down to the track structure and naming convention. Third time proved not to be a charm with Lizard, a new height of weirdness for an already weird band, infusing rock n’ roll with the strange world of chamber music. If nothing else, it was wholly original, and loveable in its own weird way.

Although I hold these first three albums dear, especially Lizard’s wonderful peculiarity, in objective terms Crimson had two big stumbles after their artistic breakout. Introspection was in order. The first generation of King Crimson dissolved and made way for a new, powerful lineup, and a pivot in sonic direction for Fripp. Rather than borrowing from the influences of other musical forms and splicing them into the genetic code of rock music, Crim’s next foray into the outer limits would be deconstructive – breaking down rock’s double helix and shuffling the genes therein. Thus, Larks’ Tongues in Aspic was born – rock music at its most dissonant and dynamic.

Crimson live, picture likely from 1973 after Jamie Muir left the band – from left, David Cross, John Whetton, Bill Bruford and Robert Fripp

Larks’ Tongue In Aspic’s opening drama captures all you need to know. The album starts at the volume of a whisper while Gamelan-inspired percussion slowly builds. Fripps’ acerbic guitar enters with a jagged and dissonant riff, which then spills into one of the loudest guitar hooks ever commited to record. “Larks’ Tongue In Aspic, Part I” is a study in wild extremes that will either have you enraptured or rushing for the “off” button. It’s rock, but stripped of sentimentality and taken to jarring (and influential) extremes.

The quiet and contemplative ballad, “Book of Saturday” is another shock, drenched in melancholy that is distinctive and unexpected after the extreme noise of the opening track. And John Whetton has one of the saddest voices, which beautifully intertwines with David Cross’ violin and Fripp’s melodic guitar.

Speaking of beauty, next is the album’s stunning ballad, “Exiles.” The lyrics evoke the melancholy of travel – “Spring, and the air’s turning mild / City lights and the glimpse of a child.” Mellotron, acoustic guitar and violin-led harmonies flow like a tapestry of emotion sprawled across the lyrics’ pastoral scenes, bursting out in wistful explosions of melody and simmering into arresting quiet.

The next track couldn’t be any more different. “Easy Money” is the most straightforward rock song on this album, but that’s not to downplay it. Verses espousing effigial structures to avarice – “We could take the money home / Sit around the family throne / For two weeks we could appease the Almighty,” and sound effects – the hissing of a snake, the crinkling of a cash wad, and a disembodied zipper – craft a black-comedy tone, making light of the absurdity of its setting and characters. King Crimson in this iteration were masters of tongue-in-cheek satire; “The Great Deceiver” off their next album, 1974’s Starless and Bible Black, pokes holes at the commercialization of religion in the Catholic Church – “Cigarettes, ice cream / Figurines of the Virgin Mary.” “Easy Money” is classic rock with none of it’s swagger. Moreso than any other track on this album, it embodies dissonance and deconstruction, the polish and swagger of rock n’ roll ripped away and only retaining the structural viscera of its original form.

Crimson from 1974 Atlantic Records promotional material (from 1973 after Jamie Muir left) – Fripp, ever the unobtrusive bandleader, always seems to be hanging out in the background!

Every King Crimson track has the “instrumental” track, a flex of Robert Fripp’s auterial power, conveying the band’s use of dynamics and evident jazz influences. Larks’ uses the “The Talking Drum” as a carefully calibrated transition to create tension. The track begins with the distorted cries of horns and slowly builds into the frenetic percussion rhythm created by a talking drum, a double-sided West African drum that is said to sound like a person speaking – the track ramps up into a breakbeat race, flying over Jamie Cross’ wailing violin and the moaning of distorted electric guitar into an abrupt ending of literal screaming strings . . .

. . . with no gap to take a breath, we slam into the album closer and bookend to its first part, “Larks Tongues in Aspic, Pt. 2.” Really, the only way to define this track is epic. Fripp’s guitar sound has a radiant energy, the drums provide frenetic texture, and the violin screeches over the entirety, oscillating between the impending siren of an ambulance, and a Greek chorus imploring the band members to not play so immaculately, lest they be cursed with the Sisyphean task of making material as good. And is it not immaculate? A handful of the defining moments of progressive music come from this track alone, including a completely diabolical guitar riff that bisects the song into two wholes, progressive metal followed by complete insanity. If Part 1 was the album’s thesis statement – “We’re King Crimson and we’re going to make some really weird music” – Part 2 is the grandiose conclusion, drawing together every significant element from the rest of the project into a complete statement. It is a perfect album closer – the catharsis of six tracks of discipline uncuffed and bounding into a chaotic coda.

There are so many other worthy albums and distinct eras to discuss in King Crimson’s lineup – the dark masterpiece Red, the New Age-inspired, Talking Heads-adjacent Discipline, or the postmodernist capstone to their career The Power to Believe, stuck somewhere between meaningful critique of society and unashamed thrash metal. I haven’t even mentioned 1971’s Islands, my personal favorite album from Crimson, a cosmic jazz masterpiece weaving ethereal soundscapes and hard-hitting instrumentation into a conceptual tale reminiscent of Homer’s Odyssey. Even still, Larks’ Tongues in Aspic is the album that best embodies the caustic examination and destruction of popular rock music that is central to this band, and also something new on top of the remains of pop-rock – the virtuoistic creation of some really, really weird music.

Felt portrait of King Crimson by Wasawasawa

Bonus listening/viewing:
There seem to be few video documents of King Crimson from their classic 60’s and 70’s lineups, but one exception are two tracks from Larks’ Tongue recorded for German TV at the Beat Club in Bremen on October 17th, 1972. These recordings are really special because the Crimson experience is really visual, especially in this lineup with Jamie Muir’s wild (and mesmerizing) percussion antics. Two videos exist: and appropriately intense “Larks’ Tongue in Aspic, Part 1” and a really beautiful “Exiles.”

Yes, that’s my LP copy of Larks’ Tounge In Aspic!