Ryo Fukui's Mellow Dream

Mellow Dream is quite similar to Scenery, though it was not released until several decades after being recorded in 1977 (according to this). On the 'banging' opener, the Fukui trio again sounds reminiscent of Bill Evans and McCoy Tyner (but with some Bud and perhaps a hint of Horace Silver). The bassist's extended solo reminded me of Scott LaFaro, further cementing the ties between Fukui and the best trio of Evans. The second number, "My Foolish Heart," a standard and appropriately taken at a relaxed pace, is not as moving or interesting as other standards tackled by Fukui. 

Fortunately, "Baron Potato Blues" picks up where "My Foolish Heart" left off, bringing some bluesy funk to the show. Sure, it's a simple blues that's almost obligatory on any jazz number, but it's swinging, the bassist is very audible, and Fukui's mastery of the blues form is showcased in his solo. On this number, he reminds me of Tyner again, mostly for his block chord-like accompaniment of himself. Regardless, it's a jam-packed adventure where the blues, that most essential of the roots in African American music, is a form for expressing not only the deepest melancholy, but triumphant joy. 

"What's New" takes us into familiar standard material. Fukui's soul-searching piano, with the drummer's excellent accompaniment, feels like a wave on the sea, rolling back and forth over a gentle bass. The highlight is without a doubt the melodic solo taken by the bassist, again recalling Scott LaFaro's work with Evans but far too short. "Horizon" goes into more interesting territory with a modal groove, emphatic drumming, and Fukui's almost ancient-sounding theme pounded on the piano keys. Stuff like this recalls the 1960s McCoy Tyner-Coltrane collaborations which fused spirituals, blues and jazz with an ethos of universal spirituality or ecumenism (which often entailed looking to the past and foreign for a 'grand' sound). "Horizon" does this quite well, including some busy drumwork that recalls the not-quite Latin but polyrhythmic and hectic style of Jones, another key component of the success of Coltrane's 1960s output (prior to him dumping Tyner for his wife, Alice). 

Like Tyner, the roots (blues) appear in Fukui's solo while glissandos and flies at breakneck speed. The bassist deserves brownie points for keeping it all together with such quick plucking. The drummer even gets a solo, almost melodically while utilizing as much of the drumset as possible, though nothing quite like my boy Max Roach. Last but certainly not least, "My Funny Valentine" is approached with the gentleness of a slight breeze while walking at the park as Fukui does a piano solo rendition. Its sparseness actually contributes to the emotional drama of the standard's message, in a way that vocalist Sarah Vaughan perhaps best achieved.

Though not as strong or packing as much of a punch as Scenery, this is certainly excellent evidence of the longevity of jazz piano-led trios. The last track, another version of "Early Summer," takes things to their proper soulful modal groove conclusion. Alas, if only this guy had more albums or recordings. I need to consume more jazz from all corners of the world. 

James Brown's Cold Sweat Meets Miles Davis's So What: The Jazz Soul of James Brown

You can definitely hear an influence of Miles Davis on James Brown's "Cold Sweat," which borrows the "So What" vamp for its own rhythmic genius. Maceo Parker and other members of Brown's band maintained some knowledge and ties to events in the jazz scene, much to the greater benefit of James Brown's music, which embraced funk for the late 1960s and 1970s while keeping an eye on the roots of funk, soul and jazz. According to the wiki page, the song's composer, Alfred Ellis, used the horn line from "So What" and Brown changed up the guitar line to make it funkier with some room for a drum solo and Maceo Parker's saxophone solo. Unlike earlier funk pieces by Brown prior to 1967, "Cold Sweat" is no longer rooted in a blues chord progression, instead, basing itself on a single chord, much like modal jazz and "So What." If you want to jam to a jazzy rendition, check this!The best version, unsurprisingly, remains Brown's original recording with the wailing sax of Maceo Parker and a little "funky drummer" Stubblefield. To hear Brown get down with a jazz orchestra conducted by jazz genius Oliver Nelson, check out these funky, jazzy, soulful songs: "This a Man's World," "For Once In My Life," "September Song," "That's My Desire," and "Your Cheatin Heart."  Brown was quite versatile, eh? He almost sounds like Joe Williams but with additional funk and soul instead of the blues.

Pete La Roca's Basra

For those down for some good-time, soul jazz, the Latin-funk of "Candu" shows Henderson, Pete La Roca, and Steve Kuhn at their funky best. "Candu" shows how this album, from 1965, can be free, modal, experimental, engage in balladry as well as keep things rooted in the blues, with the bass solo so clear on Swallow's solo. The eponymous track, "Basra," takes things in a Middle-Eastern and Indian route, named after the ancient trading town in southern Iraq, which, coincidentally, is where the majority of the Afro-Iraqi population dwells. As a modal composition based on one chord and with obvious "Eastern" themes, it is hard not to think of Coltrane's "Ole" or similar work by Yusef Lateef, but this remains uniquely La Roca. The song evokes a snake, twisting and turning as the stereotypical snake charmer controls him. Naturally, Henderson really shines here, showing off some Coltranesque moves while Henderson's mastery of percussion shows off quite well as the droning bass and La Roca provide rhythm. Here one can catch a glimpse of the Joe Henderson who would perform similarly in the 1970s with Alice Coltrane, especially on albums such as Ptah, the El Daoud. La Roca's drum solo works quite well too, utilizing space, Kunh's piano and the bass to avoid overplaying, but responding to the charm that has thus enthralled the snake. The exoticism of the album carries further however, into "La Malaguena," a classical composition by a Cuban composer of the 19th century.

Based on Andalusian music, this is the track that bears the mark of Coltrane's Ole Coltrane more than any other Spanish-themed jazz song. Like "Ole," it is based on Spanish classical music infused with the folk music of Al-Andalus, reflecting gitano, Moorish, Jewish, and other influences from Africa and Europe. The piano riff and driving bass provide a propulsive force with Henderson's soaring saxophone recalling the composition's debts to Spain's Moorish past. Henderson's avant garde leanings show themselves, while La Roca's drumming and Swallow's bass sound reminiscent of "Ole" by Coltrane, especially with Henderson's Coltrane-like blowing. As for Kuhn's piano solo, he does not sound too similar to McCoy Tyner, but frantically echoes the same Moorish influences. The ballad of the album, "Lazy Afternoon," reminds me of a similarly-titled song by the Roots, but does more justice to how a lazy Sunday afternoon feels than they, with sweet tones and a gentle tempo, almost reminiscent of something from Wayne Shorter's Speak No Evil."Tears Come From Heaven" is a quirky, thoughtful tone poem, with a longing theme and spirited drumming by Pete La Roca. As with most of the album, Henderson's improvisational presence establishes this hard-swinging number's post-bop credentials, sounding like contemporary Coltrane and Wayne Shorter, with perhaps a touch of John Gilmore in atonal and bop vocabulary. La Roca's solo also displays dexterity. "Eiderdown," by Swallow, features a contemplative, mid-tempo swing that sounds, well, okay, but nothing in comparison to "Basra" and "La Malaguena" or "Tears Come From Heaven."

Basically, listen to this album if you enjoy avant-garde Joe Henderson, imaginative drumming and compositions, and jazz with Spanish and Middle-Eastern themes often featuring Latin rhythms. Essential for any collection of 1960s Blue Note jazz, and illustrative of Joe Henderson's brilliant output in the 1960s and early 1970s, blending free, modal, atonal, Latin, and other influences from the best of jazz saxophonists in the 1960s. Moreover, the likely influence of Ole Coltrane does not weaken the album's "Basra" nor "La Malaguena." In fact, the unique voice of Henderson, though reminiscent of Coltrane or perhaps John Gilmore and other adventurous musicians of the period, is nonetheless utterly his own. The blasting use of the upper registers, honks, squeaks and other typical sounds of free jazz are not fully part of his repertoire at this stage, so it's a great example of Henderson's playing in this intermediate stage between the free and fusion jazz of the 1970s and his bop roots. Moreover, Kuhn's piano solo on "La Malaguena" is nothing short of beautiful, haunting brilliance like a deluge of sound enveloping the listener while La Roca swings. Who said jazz musicians can't play classical?

Lee Morgan's Search For the New Land

"Search For the New Land" begins this brilliant album with a long, suite-like jazz composition of a spiritual tone, divided into different sections for each soloist. It sounds like something Coltrane already did with A Love Supreme but somehow unique, largely because of Grant Green's ethereal guitar. The simple, but powerful bassline keeps the song while Billy Higgins, one of my favorite jazz percussionists, keeps it soulful and, although sounding a lot like Elvin Jones, remains truly Higgins. Wayne Shorter begins the first round of solos, soaring above the sweet melody while Herbie Hancock does what he does best, playing in a modal fashion and sounding very Coltranesque. Morgan's solo is also of note, so different from his usual bluesy funk but retaining his fiery spirit, expertly accompanied by Hancock again. Morgan is all over the place but still in control, showing his prowess with modal and avant garde jazz, indicating his successful search for the new land of progressive, post-bop jazz. By far, the best soloist, however, is Hancock, whose dark, exploratory soloing perfectly captures the spirit of modal jazz and captures the spirit of the song title, sounding a little like Tyner. Grant Green's guitar, while useful for effect, is not as memorable. Throughout the entire contemplative piece that is a testament to Morgan's composing genius, Cranshaw's bass foundation holds it together. It's akin to an archipelago of islands, with each soloist on their own but connected by the rhythm and melody, which again fits well into the searching, maritime themes on other tracks of the album, particularly "Morgan the Pirate."

Unfortunately, the proceeding track, "The Joker," as its name would suggest, is too lighthearted and weakens the listener's experience of the album because its so jarring to switch immediately from a darker, pensive piece to a rather simple, bluesy ditty. But "Mr. Kenyatta," a tribute to Kenya's Jomo Kenyatta, and "Melancholee," an olbligatory pun title Morgan was so proud of ("Morgan the Pirate" is another example on this album) save the remainder of the album. "Mr. Kenyatta," which was adeptly sampled by MF Doom's previous group, KMD, for their "Contact Blitt," fusing Wayne Shorter's solo into a hip-hop context. Like "Search For the New Land," "Mr. Kenyatta," another instance of Morgan's pan-African consciousness and internationalism, is built on a simple head and, like good modal jazz, features strong soloing from Morgan, Shorter, and Hancock. Shorter especially blows everyone away, playing in a style one may associate more with stereotypical Morgan style, while indicating he can still blow, as he did with the Jazz Messengers. He shrieks, screams, honks, flies across the keys of the saxophone and, accompanied by Hancock's playing, suggestive of an emergency, provides the perfect frame for his invigorating playing. Grant Green, per usual, is "nice" to hear, but not essential to the song. His guitar, so clean and smooth, is pleasant, but negligible compared to Morgan, Shorter, and Hancock. Morgan ends the round of solos, playing more alongside his usual style, almost topping his playing on Joe Henderson's "Caribbean Fire Dance" with trumpet wails. As a nod to Kenya's independence and political leader, it also, like the title of the album, alludes to a changing world and new political (and musical) possibilities in 1964.

"Melancholee," an obvious pun, is a beautiful, ballad where Green's guitar is actually appreciated. The melancholic mood is enhanced by his sweet, simple guitar lines, and the horns accentuate the melody perfectly. This must be one of Morgan's best ballads, as well as Hancock's moving solo, suggestive of a sad, contemplative mood, while still sounding like his balladry while with Blakey. "Morgan the Pirate" concludes things on a higher note with the ongoing theme of adventure, the seas, and search for new boundaries. The song should also be seen, perhaps, as a reference to Henry Morgan, the infamous pirate who sacked and raided Spanish colonial cities in the Americas. Though named after a horrendous pirate, this song is meant to better allude to the spirit of adventure and journey, which is obvious from the light, simple, and cute soloing, particularly Morgan's. Moreover, Green's solo is actually not horrendous or unnecessary, either! Shorter, whose solo is perfectly suggestive of piracy on the high seas, the adventurous rush of a chase, is a sweet, way to end the album. Higgins keeps drumming, and adds Latin flourishes at times to his polyryhthmic fest and the album ends quite well, though reminding me for some reason (Higgins' drumming, most likely) of Miles Davis's rendition of "Someday My Prince Will Come"). Definitely one of Morgan's best.