Jazz

Bill Bruford

Bill Bruford Jazz Drummer

As a founding member of the rock band YES, drummer Bill Bruford subsequently went on to a sophisticated engagement with straight ahead and several of its iterations through his evolving jazz group Earthworks. Yet on his way to becoming a jazzman, Bruford left YES, played with the band Genesis (as a friend of Phil Collins) and joined King Crimson (as a nemesis of Robert Fripp). He tells his story in Bill Bruford – The Autobiography, originally published in 2009. This marks Bruford as more of a musical flaneur than journeyman drummer.

|That a jazz player engages with a rock band is not surprising, but completely changing one’s skin is a different matter.|

Bill Bruford Jazziz Magazine

That a jazz player engages with a rock band is not surprising. Sonny Rollins plays lyrically (and uncredited) with the Rolling Stones on Tattoo You and then there is Branford Marsalis’ extensive touring with Sting. Even a hootenanny is possible with Wynton Marsalis and Willie Nelson recording two successful albums together. Conversely, Red Hot Chili Peppers bassist Flea recording with Joshua Redman on Momentum shows the musical collaborations flow in both directions.

But completely changing one’s skin is a different matter. Though rockers like Peter White (collaborator with Al Stewart) and Craig Chaquiso (Jefferson Starship stalwart) both chose to pursue a different sound and enjoy influential smooth jazz careers. Even a rock legend, Rolling Stones drummer Charlie Watts, has been a leader on several jazz albums (most recently with the Danish Radio Big Band). Yet Bruford’s evolution as a jazz musician has a different feel to it. I recently played the two albums Close to the Edge (YES, 1972), and Random Acts of Happiness (Earthworks, 2004), back to back. Perhaps Bruford’s career doesn’t ever really bifurcate with rock and pop segregated from modern jazz?

 

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Jazz

Does it taste like jazz or classical?

Jazz vs. Classical

In a room full of people, are you part of a gang or alone in a crowd? The distinction between jazz and classical musicians, players, and composers, to their respective tasks, offer up an interesting question. The jazz musician has to adapt his playing to the boys-in-the-band, and usually on the fly, while the classical musician stays on task no matter what happens around him. Is there a musically definable middle ground?

Jazz and Classical - John ColtraneWith jazz, the focus is more often on what the player brings to a composition (consider old warhorses like Basin Street Blues, CherokeeBody and Soul). Do you prefer Lester Young or John Coltrane, Chet Baker or Miles Davis? Sometimes it doesn’t even sound like the same song as musicians apply their personal touch to a tune. The acknowledged jazz greats known for their orchestral compositions and arrangements, Duke Ellington and Quincy Jones come easily to mind, specifically describe thinking about particular players when writing or arranging for large ensembles. Consider Ellington and Hodges or Jones and Sinatra.

Jazz and Classical - BOPSIt seems to work differently within classical music circles.  Rarely do individual players achieve notoriety, such as Goldberg playing Bach or Yo-Yo Ma on cello. A specific orchestra like the London Philharmonic or Boston Pops (aka, the Boston Symphony Orchestra) is more likely referenced when discussing a classical performance than their famous conductors, let alone the first chair violin by name. For example, we tend to think of Mozart’s music in relation to the instruments (Flute Concerto #2 in D), but rarely associate that same composition with a particular musician.

An Intro to Classical Music from a Jazz Enthusiast’s Perspective

Jan Swafford’s terrific new book, Language of the Spirit: An Introduction to Classical Music inspired me to create a playlist of exceptional classical music. The first surprise was how much of the music Swafford recommended was already in my collection. Recordings by David Munrow with the Early Music Consort of London and the Goldberg Variations on Bach had been, regrettably, gathering dust. Conversely, lots of music by Mozart and Stravinsky are in regular rotation on my daily soundtrack. The complete Beethoven symphonies, well, not so much.

Going in chronological order, I added works by Berlioz, Ravel, and Bartok. Not among the music mentioned by Swafford that made my list is a personal favorite, Messiaen: Quartet for the End of Time (context is important to fully appreciate this work, composed in a Nazi death camp, so check out this link). Finally, though Swafford probably wouldn’t approve, I finished out my seven-hour survey of classical music with some Phillip Glass, the Saxophone Quartet Concerto  all movements. This playlist is an absolute delight to play, especially for friends not expecting classical music from a jazz enthusiast; and also another example of the intersection between elements of jazz and classical music.

So classical music was much on my mind as I recently watched an interview with Dizzy Gillespie from 1990 (during a made for TV documentary by Norwegian Jan Horne, To Bop or Not to Be: A Jazz Life).

A curious segue was provided by trumpeter Red Rodney as he explained why hard bop is the hardest form of jazz to play well (cut to Gillespie), “Because you got to think all the time.” Gillespie went on to observe that, “Classical musicians just play that (points to a sheet of music), period. No added notes, no nothing else.”

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Jazz

The Evolution of Grachan Moncur III

Granchan Moncur III

The name Grachan Moncur III floats mostly unremarked through the music of post-bop jazz, not unlike his opening notes on the title cut of his second album as a leader, Some Other Stuff. Despite walk-on roles in biographies of Dizzy Gillespie and Wayne Shorter, and mentioned favorably in interviews with Sonny Rollins and Jackie McLean, Moncur remains mostly a shadow from the 1960’s even with his trombone and compositions appearing on the recordings of not just McLean and Shorter, but also Herbie Hancock, Joe Henderson, Lee Morgan, Benny Golson and Art Farmer.

Grachan Moncur III: The Beginning of an Evolution

Grachan Moncur - evolutionDue to myriad problems both personal and professional, Grachan Moncur’s first and most satisfying album, Evolution from 1963, proved to be a high water mark. Until the new millennium, Moncur was only occasionally to be heard, and mostly on albums by artists such as Archie Shepp and Cassandra Wilson. While Moncur did have an important comeback with Exploration in 2004, featuring trumpeter Tom Hagans and reedman Gary Bartz, this album is hardly a simple reprise of his earlier success. Exploration requires a taste for the avant-garde and can be challenging for the casual listener. Which might also be said for much of Moncur’s music after Evolution. And just perhaps, is one of the reasons he has struggled to gain wider appreciation.

After high school, Grachan Moncur went on the road with the Ray Charles Big Band in 1959, a time he recalls fondly in later interviews. Leaving the band a couple of years later for health reasons, Moncur spent the next several months woodshedding and experimenting with other musicians. It was his friend, sax man Jackie McLean, who helped kick-start a journey of musical exploration still underway, Moncur now 79 years old. This turning point would be McLean’s 1963 Blue Note release One Step Beyond.

 

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Jazz

Lots of Miles Between Us

Miles Davis-Miles Between Us

Finding myself home alone for a long weekend, I was determined to play as much of Miles Davis albums from my collection as time would permit. There was not enough time to hear all 42 titles. Which was fine since many of these albums are played frequently, with Jack Johnson, Seven Steps to Heaven and Miles Ahead at the top of my usual playlists. This allowed me to focus on CDs that had not been heard in a long time. For the half-dozen albums that contain two, or more, CD’s I just played the first disc. That list included Circle in the Round, Agharta, Big Fun and the Bootleg Sessions.

The experiment was a raging success and there will be some changes to the usual suspects that end up in my car and office over the next few months. For today’s Jazz-Notes I’m going to make some observations, many likely to be inflammatory for hardcore fans.

A Journey into the Miles Davis Albums

Miles Davis albums - Modern Jazz GiantsThe best surprises were two of Miles Davis albums separated by thirty years; Miles Davis and the Modern Jazz Giants that included recording sessions from 1954 and 1956, and Tutu from 1986. We’ll start with Jazz Giants since it needs some context. There are, in fact, two albums with this name, both released by Prestige and recorded by Rudy Van Gelder. The first was recorded during two separate sessions in 1954 and ultimately titled Bags Groove (though the actual song title is Bags’ Groove) with Sonny Rollins, Milt Jackson, Thelonious Monk, Horace Silver, Percy Heath and Kenny Clarke. A reissue in 1987 included multiple takes of Bags’ Groove and But Not For Me. A terrific album, but less impressive than the album released in 1956 with cuts from one of the 1954 sessions and another from 1956. It was remastered in 2008 by Rudy Van Gelder.

Miles Davis and the Modern Jazz Giants provided an unexpected jolt. As happened often over the weekend, a song would pop out and send me to the liner notes. Here the line-up on a single tune, ‘Round Midnight, was John Coltrane, Red Garland, Paul Chambers, Philly Joe Jones. The difference between the sound of the earlier session in December of 1954 and the ‘Round Midnight session of 1956 was incredible. If there was ever a question regarding Miles ability to evolve intelligently, it is answered by this album. The journey to Kind of Blue seems inevitable.

 

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