Sitting down to prepare for the spring ’14 semester at Berklee, and I’m on to a batch of jazz records….which I am totally looking forward to.
Hal Galper
Speak with a Single Voice – I loved this record when I first got it. Bob Moses and Wayne Dockery (bass) are incredible together, and with the Brecker Brothers and Galper’s great playing and writing, this record totally rocks. Right away on the first track (the title track), Moses kills it, showing why his groove is so amazing. Drum and Bass in 1978! But man, everybody plays great – this session was on fire!
Naturally – This great set from a live performance in Australia is less burning, but very, very thoughtful/insightful. Galper plays with such care on this set, so clearly moving towards something, one phrase clearly leading to the next. And Rufus Reid and Victor Lewis sound wonderful, too! One thing that Galper does on this record that is unbelievable is how he accompanies Reid during the bass solo on “Don’t Blame Me” – Freddie Green style, strumming the strings inside the piano…!
Jan Garbarek
The Esoteric Circle – This album was produced by George Russell (former teacher of mine: I loved studying with George), and features Terje Rypdal, Arild Andersen, and Jon Christensen. It’s related to George’s Electronic Sonata for Souls Loved by Nature (which is an AMAZING record), if only by personnel. This is a really fantastic outing, modal in nature (of course) and performed by adventurous kids (recorded in 1969 by musicians around the age of 22)! Interestingly, Garbarek’s tone on the opening, “Traneflight,” is more akin to Gato Barbieri’s sound at that time then what Garbarek would go on to sound like.
Places – An atmospheric record, to say the least. I love Garbarek in this kind of setting. It takes patience and focus, but there is a lot in this music to enjoy. The only time I heard him live was on my first trip to Europe. Somehow, the first day, I ended up handing out flyers for upcoming shows put on by the promoter who was hosting us (I think? It was all in French, so I’m not sure), and in exchange, I got to listen to Garbarek with the Hilliard Ensemble inside this huge cathedral-like hall in Brussels – no idea what the name of the building is, and I was so jet-lagged and such a green traveler that I just didn’t retain it. Anyway, super reverb room, calm, peaceful music, incredible tone. It was an incredible experience. Garbarek was able to play harmony with himself, the reverb was so strong.
Paths, Prints – The next three Garbarek records have Eberhard Weber on them. I love Eberhard Weber’s playing. He plays an electric upright bass with a high C string and until his stroke a few years ago, was doing amazing things with effects and loops. I deeply hope he returns to playing, and that I can see him play sometime. He’s amazing. So, this record, like the two to follow, stands out for me because of Weber. The rest of the cats are amazing, too! But man, Eberhard…
Wayfarer – Even more than the last LP, Eberhard Weber sounds amazing. And with much more active compositions, the great Bill Frisell and Michael DiPasqua, and really fantastic Garbarek, man, this album rocks. My favorite tune is “Singsong.”
It’s OK to Listen to the Gray Voice – This LP replaces Frisell with David Torn, and as such, is simultaneously a more synth-y record and a more crunchy one.
Ok, on to the next batch!
Enjoy, Rick