Grant Green's My Favorite Things

An astonishing and Coltrane-like interpretation of "My Favorite Things" from Grant Green. Green is accompanied by pianist McCoy Tyner and Elvin Jones, so comparisons to Coltrane are inevitable. Despite some expected similarities between Coltrane and Grant's approach to this powerful song, I am particularly drawn to McCoy Tyner's piano solo here. Yes, there's the heavy block chords and chromaticism that we've come to expect in Tyner's style, but he plays more ferociously here, as if playing against the more ethereal solo on the famous Coltrane recording. Perhaps because of Jones's even more propulsive drumming, Tyner swings even harder. Maybe this is a sign I should move past my Bill Evans obsession and revisit my old McCoy Tyner obsession for the next few months. 

A Tribute to Coltrane (And Tyner and Jones)

A fascinating tribute to Coltrane, McCoy Tyner and Elvin Jones from David S. Ware. "African Drums" sounds eerily close to Coltrane's take of "My Favorite Things" with a hint of the drum soloing of Jones on Coltrane's "Africa." Sure, Matthew Shipp's piano accompaniment and soloing is derivative of Tyner's singular style, but sometimes you have to take an homage for what it is. Ware's time to shine is distinct enough anyway. 

Larry Young's Unity

Strong, interesting jazz album featuring Larry Young, Elvin Jones, Joe Henderson, and Woody Shaw. Though I am not usually a fan of electric organs in jazz (though I will throw down to some Jimmy Smith soul-jazz and blues), this cut is far more exploratory and experimental, largely owing to the presence of Jones, Henderson and Woody Shaw, whose contributions build the album. "Softly As in a Morning Sunrise" receives beautiful treatment here, "Zoltan" is nice, slightly 'out there' and features a nice little drum solo from Jones with strong Latin-infused flavor and a quirky head! And Joe Henderson keeps things from getting boring. Alas, the organ does not do justice to "Monk's Dream," unfortunately, despite an interesting drum solo by Jones. Regardless, it's nice to hear Larry Young stretch out beyond soul-jazz and hard bop for some nice, exploratory work. "If" fortunately sweeps in and saves the listener after the interesting attempt at a duo electric organ-drum rendition of "Monk's Dream," but lacks the spirited fire and rhythms of "Zoltan" while "The Moontrane" speeds things up and is a swinging number, with Jones' solo reminding me of his playing on "Africa" with Coltrane. If you want to hear interesting, sometimes funky, sometimes contemplative hard bop with some avant-garde leanings, check this out.

Wayne Shorter's Juju

Recorded with Coltrane’s sidemen, Tyner, Jones, and Workman, and heavily influenced by Coltrane’s style, it’s no surprise that this sounds like his work. The dark, African Juju even sounds like “Africa” from Coltrane’s Africa/Brass album, though different in the shrieking sax solo by Shorter that suggests some ominous dark magic, as the name “Juju” implies. Elvin Jones also has a brief solo that suggests a tie to “Africa,” although much shorter, giving the spotlight to Shorter himself. “Deluge,” the following track, is, strangely enough, suggestive of a flood or deluge of sound. Shorter’s talents as a composer capable of crafting music of spiritual or alternate atmospheres, is one of his strengths self-evident in Speak No Evil, another of his masterpieces from the 1960s. Jones and Tyner accompany perfectly, with Jones’ characteristically spirited, powerhouse drumming adding textural complexity to the songs, as if one is truly experiencing a deluge. The “mystical” and “Oriental” feel of “House of Jade,” another beautiful ballad composed by our man for his infant daughter, begins with an elaborate introduction by McCoy Tyner. Little known fact, Wayne Shorter’s wife was Japanese, and his exploration of “Eastern” melodies and music was partially motivated by his wife as well as his Buddhist persuasions. Either way, McCoy Tyner and Elvin Jones, after playing with Coltrane, were ready for exploring spiritual music from around the globe, and “Mahjong” is a beautiful reminder of Shorter’s ability to improvise on ballad, slow tempo numbers, exploring within and around the song’s theme while Jones adds in flourishes and textures of sound through his drumming. Tyner’s accomplished comping propels things forward, and the song switches in tempo, picking up on swing while Shorter’s searing tenor blows wave after waves of dark, sometimes bluesy, notes. Tyner’s solo is blues-rooted but not limited by the blues form, taking us to the song’s finale featuring Shorter’s extended notes.

Moving on, “Majhong,” a beautiful modal piece with more “Eastern” colors, sounds “Chinese” as the name would suggest, but turns around unsurprisingly at times, from a minor, dark feel, to more uplifting, brighter days. Jones brilliantly bangs on the drums, expertly using cymbals to accentuate and conjure an ancient Chinese ceremony, as well as Tyner’s piano solos, mixing his usual left hand chord accompaniment to his right’s powerful fingers. Shorter’s solo nicely compliments the Eastern melody, suggested by Tyner’s accompaniment, and also throws in some more of Shorter’s fiery, bop-inflected soloing from his tutelage under Blakey while simultaneously suggestive of Coltrane’s influence. Jones really blows everything away, though, fusing cymbal work while playing melodically, adding to the song’s “Eastern” theme. Alas, like every other song on the album, Workman’s bass is mixed very low, so it’s barely audible. But “Yes or No,” a contemplative, upbeat yet not simply copacetic, number, shows something of Shorter’s recognition of his days with the Jazz Messengers, indeed, sounding like some of his work with them in the early 1960s. The lively swing provided by Jones and Shorter’s employment of Coltranesque blowing does not challenge his individuality. Tyner’s solo is a work of beauty, quick-paced, light and sweet while maintaining the depth and, paradoxically, serious playfulness suggested by the seeming unknown answer “Yes or No” imparts to the leader. 

 Reggie Workman in the recording studio for the album

The final track, “Twelve More Bar to Go,” a playful title on the twelve bar blues form so widespread in jazz music, is, unsurprisingly, a blues, but with Shorter it transcends whatever limitations people attach to the blues, becoming joyous, upbeat, playful, insightful, and triumphant in Shorter’s solo. Clearly well-versed in the blues from years of playing with Blakey, his solo is a more restrained example of his mastery of the blues compared to his fiery, soulful solos on jams such as “Dat Dere.” As usual, the song is able to maintain this restrained, yet upbeat feel, and, with thundering drums and crashing cymbals, later in Shorter’s solo, the song still remains locked in place and evades collapse. A perfect way to end an album reminiscent of night, with the blues, a form associated with the after hours of clubs, with joy and sadness, gloom and triumph, Shorter’s Juju, in my opinion, surpasses Speak No Evil, though the latter features stronger compositions and lyricism in their melodies, but lacks the unique and powerful drumming of Jones. The Eastern, African, and Latin themes mesh well here, and, I must say, and "Juju" alone tops most of the compositions on Speak No Evil (though songs like "Witch Hunt" benefit from the drumming of Jones as well as Hubbard's scorching trumpet blues, as does the title composition, another blues-drenched, horn-centered piece and "Infant Eyes" is utter delight). The CD also includes some alternate takes on "House of Jade" and "Juju," the latter interesting for providing what seems to be more Tyner-led yet, of course, retaining the strong polyrhythms and African mysticism. The drum solo on the alternate recording seems a little longer, and, as a fan of Jones, means it is something I enjoy, while the alternate of "House of Jade" entertains and features the same back and forth between uptempo and midtempo, with needed additions and cymbal crashing and percussive genius from Jones.