Relay-Version: version B 2.10 5/3/83; site utzoo.UUCP
Posting-Version: version B 2.10.2 9/17/84; site mhuxr.UUCP
Path: utzoo!watmath!clyde!burl!ulysses!mhuxr!mfs
From: mfs@mhuxr.UUCP (SIMON)
Newsgroups: net.music
Subject: Reissues: On the Blue Note Trail (5 of 6)
Message-ID: <351@mhuxr.UUCP>
Date: Sat, 15-Jun-85 13:24:24 EDT
Article-I.D.: mhuxr.351
Posted: Sat Jun 15 13:24:24 1985
Date-Received: Sun, 16-Jun-85 00:55:50 EDT
Organization: AT&T Bell Laboratories, Murray Hill
Lines: 50

Sonny Rollins: A NIGHT AT THE VILLAGE VANGUARD (1957); SONNY ROLLINS Volumes
1 and 2 (1957); NEWK'S TIME (1958)
These were recorded within a year of the SAXOPHONE COLOSSUS sessions and
represent Rollins' expounding on his thematic improvisation discoveries
of that date. Rollins' style, which bypasses the changes or rather makes
them only one element in his rigorous dissection of a theme, really prefigures
Ornette Coleman. Rollins, however, is measured, always contained. His
solos are marked by an incisive logic. Despite the sometimes torrential
note streams he plays, his solos seem sparse, concise. This set of LPs
and others from the same period, catch him at his peak. VANGUARD is
a pianoless session with Elvin Jones, then still groping for his style,
and the master bassist Wilbur Ware. The ROLLINS LPs, expecially Volume
2, are the most varied, with appearances by Thelonious Monk, Horace Silver,
JJ Johnson, Art Blakey and Paul CHambers. The version of "Misterioso",
on Volume 2, ranks with the original and the 1958 Five Spot version with
Johnny Griffin as one of the three best recordings of that discordant blues.
NEWK is a saxophonic tour de force, with just a quartet featuring Wynton Kelly,
Doug Watkins and Philly Joe Jones. It has powerhouse tunes like "Tune Up"
and "Blues for Philly Joe". The crown jewel, though, is a duet version
of "The Surrey with the Fringe on Top" with Jones. Here Rollins takes
a fairly sappy tune and remakes it whole, harmonically and rhythmically
yet remaining in its thematic framework. Jones does some incredible
playing throughout, but particularly shines here, prefiguring as he does
the free time advances of later drummers as Famoudou Don Moye,
Steve McCall or Andrew Cyrille.

Wayne Shorter: JUJU (1965); SPEAK NO EVIL (1966); THE ALL SEING EYE (1967);
and ADAM'S APPLE (1968)
While in Miles' band, Shorter recorded a series of albums for Blue Note.
These have been re-issued. Some others are only available as high priced
imports (on the Liberty or Applause labels) Others still are out of print.
Any one of them is worth hearing, and the most of them are classics.
Like EVIL: the weirdly clashing scales of "Fee-Fi-Fo-Fum"; the minimalist
Coltrane of the title tune; the unspeakably beautiful "Infant Eyes"...
Easily one the 20 best of all time. JUJU is a quartet with McCoy Tyner
and Elvin Jones, and shows Miles' influence in its use of spare melodies
and shrewdly placed silences. EYE is an energy laden septet session
that shows Wayne boldly marching into free jazz territory, and mastering
it. The album has somber themes. The title tune is based on a single
augmented chord that is slowly developed in ominous minor steps. "Chaos"
is virtually themeless, and has two or more divergent solo lines
moving at the same time. "Mephistopheles" is built on a menacing bass
vamp that overwhelms all else. The soloists seem to shy away from it,
as from a great, evil power that is best avoided. APPLE returns to
more traditional ground, with a quartet featuring Hancock. Wayne spins
out straightforward post bop themes, then develops them in long,
elliptical lines that seem to clash, but blend and alter the themes.
By the recap, the theem is usually very different. All these records
provide much meat for a listener to dig into. Their pleasures are endlessly
varied and offer multiple avenues of explration.