Chief Crazy Horse

A personal favorite from one of Wayne Shorter's most consistent Blue Note releases. "Chief Crazy Horse" features Joe Chambers on drums and is obviously inspired by the eponymous Native American leader. Much like Shorter's other compositions with "exotic" overtones, the drumming of Chambers plays with polyrhythms like Elvin Jones on Shorter's "Juju" but Shorter's solo sounds like some approximation of a sun dance. Beautiful. 

Joe Henderson's Caribbean Fire Dance

Joe Henderson’s “Caribbean Fire Dance” from Mode for Joe is a rousing Walton number, with a mesmerizing ostinato, propulsive Afro-Caribbean rhythms provided by Joe Chambers and perfect piano vamp from Walton, expressing the song’s debt to especially Cuban music. Bobby Hutcherson’s finely executed vibes add to the haunting quality of a song that perfectly captures the mood of Caribbean peoples dancing to a fire in a pitch-black night, perhaps for some “Vodou” or other African-influenced religious ceremony. Chamber’s drumming is, however, what makes the song, as well as Lee Morgan and Curtis Fuller blowing away on trumpet and trombone respectively. Hutcherson’s vibes expertly solo alongside the main piano vamp and Chambers’ funky, polyrhythmic drumming. Later, with the horn section blowing, Chambers plays a game of call-and-response with his solo, reminding one of Max Roach’s melodic, voice-like solo on Sonny Rollins’ “St. Thomas,” itself based on an old calypso song. Did I neglect to mention Henderson’s initial rousing solo, emulating the winding turns of song’s theme? Overall, Morgan builds this song, screaming through his horn an exhortation to the African spirits of ancestors while Chambers keeps the rhythm going strong, playing his drums like one does with Caribbean hand percussions in terms of tone. Undoubtedly one of the best Latin Jazz songs out there, I give this 5 stars.

A live rendition of the tune from Henderson's At the Lighthouse maintains the fiery spirit of the original with added liveliness to the drums and more free, or nearly free, soloing. The electric piano actually reinforces the tune's darkness, while the exciting, nearly Spanish-sounding horn solos rearticulate the song's debts to the Afro-Caribbean and Spanish roots of the Caribbean.

Two Versions of Catta

Bobby Hutcherson was the first to compose the Andrew Hill number in 1965, on Dialogue. Listen!

Andrew Hill recorded his composition with a large band in 1969 as "Noon Tide." Definitely worth a listen for taking the song into more interesting directions, particularly the brass.

Of the two versions, I actually prefer the latter. Something about experimental larger ensembles playing jazz moves me, like Coltrane's Africa/Brass or Oliver Nelson's The Blues and The Abstract Truth.