"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.
No comments:
Post a Comment