Clifford Jordan is joined by John Gilmore of Sun Ra's Arkestra, Art Blakey, Horace Silver, and Curly Russell on bass. As suggested by the title, Jordan is bringing his Chicago jazz background to the New York scene in the late 1950s, when this album was released. It's fascinating to hear the amazing John Gilmore on tenor, who was an important influence on John Coltrane and avant-garde jazz, play in this rather accessible and conventional hard bop release. Furthermore, Horace Silver and Art Blakey were among the finest hard bop jazz artists in the 1950s. Interestingly, both Jordan and Gilmore studied music at DuSable High on the Southside, where many famous Chicago jazz artists were educated (as well as future mayor of Chicago, Harold Washington). So if you want to hear some great hard bop jazz with two of Chicago's finest saxophonists, check out this album. Below are my thoughts and comments on each track. Some of the links are to mog.com, the only site where I could find the entire album online, but one may have to register an account to listen. Unfortunately, I could not locate the bonus track added to the CD issue, so I have only commented on the 6 original tracks, which truly are a fantastic jam session with some of the finest musicians in the game. Listening to this album proves that Blakey was an essential ingredient in any great hard bop jam session, or in hard bop generally. His presence on seminal albums such as Somethin' Else demonstrates this, as well as how the albums were geared toward black urban culture and slang.
That review can be found here.
1. "Status Quo" (John Neely) - 5:36
Beautiful, short drum solo by Art Blakey that goes Latin, a beautiful head, and great soloing from John Gilmore. Blakey really keeps this piece together for the jam session, providing strong rhythms and some spontaneity. Silver's piano solo also provides a nice break between Jordan's sax solo and Gilmore's solo, even though the album is focused on a jam session between these two masters of the tenor saxophone. I swear that I hear Horace Silver quoting another famous jazz song in his brief solo by Duke Ellington, but I cannot recall which. Anyway, I think John Gilmore won this duel. His solo almost sounds like future John Coltrane.
2. "Bo-Till" - 5:56
Features a great Latin beat from my man, Art Blakey. The head is cute, too, but Art Blakey really steals the show. After the brief Latin-infused intro, Blakey swings hard while Jordan's solo, bluesy and funky, keeps things from settling into boredom. Silver's proceeding piano solo also has it's cutesy charm, but not enough to maintain my interest. Gilmore's next solo picks up the song, but ends too quickly before the song reverts to the Latin-inflected theme. Overall, not a great track, except for Blakey's lovable short solo in the conclusion.
3. "Blue Lights" (Gigi Gryce) - 6:38
A fun blues, Jordan excels here. Coming from the Chicago jazz tradition, it's inevitable to not become adept at the blues form, which Jordan does well in his angular, bebop-based improvisation. Silver does nice accompaniment and Blakey knows when to mix it up a little himself to add some spice with different rolls and rhythms. Silver, as someone whose entire style is still in debt to the blues, plays an interesting solo which takes multiple directions, but emphasizes the groove. Gilmores' solo is also good, too, with him responding to himself with different notes and Blakey's fine rhythmic presence. Though hardly as far out or avant-garde as his later work, Gilmore's contribution is welcomed. Curly Russell's bass solo even works here, though too short. Same for Blakey's as well, which ends too soon before the band restates the short bluesy theme.
4. "Billie's Bounce" (Charlie Parker) - 9:34
This certainly lives up to the "bounce" suggested in the title, with Blakey beginning alone at a loud, uptempo pace. The bluesy theme then picks up while Blakey rocks the drumset. Another fun, bluesy romp where Jordan's solo is also likable and pleasant with excellent accompaniment, especially from Blakey's thunderous drums that will have you tapping your feet. Who said jazz ain't dance music? This is classic, good times hard bop everyone in the family can enjoy. None of the solos are difficult to follow or deviate from the blues, especially Horace Silver's piano and the saxophonists. The later exchanges between Blakey and the saxophonists is another highlight, in addition to Blakey's funky solo.
5. "Evil Eye" - 5:14
A funky blues, "Evil Eye" doesn't really connote an evil eye, though it does sound a little ominous as a minor blues. Jordan's searching, soulful solo really does encapsulate one of the highlights of blues in jazz music, however. In addition to fine saxes, Silver's funky piano brings an additional element of blues into the piece, by playing funky lines. This, when combined with Jordan and Gilmore's call and response, a central feature of African-American music, one cannot help but love this piece more than "Blue Lights." Though not well-known, compositions like this best represent the zenith of hard bop's funkier side in the 1950s as well as providing a musical landscape of urban black America.
6. "Everywhere" (Horace Silver) - 5:45
Silver's composition is a catchy number that swings, like every track on the album. The initial saxophone solo is quite lovely with its sudden shifts and honking sounds. Then we are treated to Silver's "cute" solo and Blakey's polyrhythmic improvisation. Of course one cannot overlook Curly Russell's constant bass picking. Blakey's solo, though short here, displays his mastery of Latin and African styles, hitting different to get different tones.
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