TAKE FIVE

Recently, my friend William, who gets really excited when music magazines publish their best-of-the-year-album-lists, asked me for my five favorite jazz albums I purchased in 2007. William said to include new releases as well as re-issues. His request was unusual because most music rags normally list at least 50 to 100 albums they deemed their best.

Why five I asked? Listing 50 to 100 would be too easy. Narrowing down the many jazz finds I purchased required thorough consideration, William said. Fair enough. I enjoyed the challenge although I wondered if William would think I'm nuts because Booker Ervin's "Exultation," Frank Strozier's "Cool, Calm, and Collected," and Steve Lacy's "The Straight Horn of Steve Lacy," re-issues I scored this year, didn't make the cut. I expect William to contact me soon. Finally, after thorough consideration, I selected the five jazz albums I listened to over an over.

1. David Murray
Scared Ground-Justin Time

Wow! This is the saxophonist 220th album. That has to be a world record. "Scared Ground" is a lean album. Murray and pianist Lafayette Gilchrist soloing on “Family Reunion” is still dancing in my ears. And vocalist Cassandra Wilson was the prefect fit for those eerie songs written by poet Ishmael Reed.

2. Kenny Cox
Introducing Kenny Cox and the Contemporary Jazz Quintet-Blue Note

Two classic Detroit jazz albums (Kenny Cox and the Contemporary Jazz Quintet and Multidirection) recorded in 1968 and 1969 re-issued on one disc. Pianist Kenny Cox, bassist Ron Brooks, saxophonist Leon Henderson, drummer Danny Spencer, and trumpeter Charles Moore did what’s expected from Detroit jazz pros. They sung from start to finish.

3. Red Garland
Red Alone-Prestige/Moodville

Recorded in the spring of 1960, Garland was in his element on this solo album, playing mostly standard love songs. This album feels like a love letter.

4. Ron Carter
Dear Miles-Blue Note

Bassist Ron Carter, pianist Stephen Scott, drummer Payton Crossley, and percussionist Roger Squitero reworked “My Funny Valentine,” “Seven Steps to Heaven,” “Someday My Prince Will Come” and “Bye Bye Blackbird,” songs Davis turned into classics. The quartet made the standards sound brand new.

5. Lafayette Gilchrist
Lafayette Gilchrist3-Hyena

The Baltimore native fingers speed across the piano keys a la the late jazz pianist Don Pullen. Gilchrist is not your run-of-the-mill jazz pianist. The pianist brings his musical influences to the table. On this trio album, Gilchrist serves up a hearty portion of jazz mixed with Go Go and Hip Hop.

THE COOLEST

Have a seat Frank. Welcome to my blog. I’ve wanted to chat with you every since I listened to “Cool, Calm and Collected, the album you recorded in Chicago 47 years ago. Before I question you about the music on that recording, let me take your coat. Make yourself comfortable. Let me get those Sonny Criss albums out of the way. I was listening to them last night. You guys sound so much alike. We can rap about that later.

In July, a dear friend introduced me to your music. We were browsing through the jazz bins at Street Corner Records on 13 Mile and Southfield Road. I found an album you made with MJT+3. The band looked prim and dignified in those black business suits. I asked my friend about the MJT+3 because the cover photo reminded me of the dapper Modern Jazz Quartet.
“Have you every heard this group?”

“Yeah, they were a solid band. They made a handful of recording, but they only stayed together for a year, from 1959-1960.”

“They look like the MJQ.”

“The members are from Memphis”

“Is the album blues based?”

“No. But Frank Strozier, the alto player, plays the ballads and the blues so well he could make a motivational speaker sad.”

“Which one is Strozier?”

“He’s the white guy to the right of pianist Harold Mabern.”

“Strozier looks like a hair stylist. Is this album worth having?

“Yes. And you should get Strozier’s Cool, Calm and Collected. The ballads and blues on that date will blow you away.”

Frank, I want to ask you about those ballad and blues. Where did you learn to play with such raw emotion? You have a lot of soul, man. Before I listened to the album, I googled you. After reading several articles about you, I had more of an understanding of why you had so much soul.
You grew up in Memphis. You hung around musicians such as pianists Phineas Newborn Jr. trumpeter Booker Little, and saxophonist George Coleman. Charlie Parker and Lee Konitz influenced you. Frank, honestly, I think your style and tone is more akin to alto saxophonist Sonny Criss, another jazz musician from Memphis.

Like Criss your forte’ is playing ballads. Am I the first person to compare you to Criss? Criss made love to the ballads he played on albums such as “Saturday Morning” and “Out of Nowhere”. Frank, you treat ballads with the same tenderness and attention to detail. You and Criss should have made a record together.

I also like your versatility. Your work as a sideman is equally impressive. On drummer Roy Haynes’ album for Prestige Records “Cymbalism” your flute playing was smooth.

You had an endless supply of tricks up your sleeve on Booker Ervin’s album “Exultation”. You kept pace with the tenor saxophonist as he sped through the chord changes on “Mooche Mooche”.

Frank, before you leave will you listen to “Cloudy and Cool,” the first selection on “Cool, Calm, and Collected,” with me? That song gives my heart goose bumps. I love the way you dimmed the light on the tempo and cuddled the melody.

“Cool, Calm, and Collected summarizes perfectly your style.

Frank, you’re probably tired of me gushing about how great your playing is. I invited you to my blog because I wanted to pick you brain, and tell you I think you’re the coolest alto sax player I’ve ever listened to.

UNSUNG

Ken, yesterday I listened to “Stone Blues,” your first album for Prestige Records recorded at Rudy Van Gelder's place in Englewood Cliffs, NJ the last day in May 1960. The blues you played got inside me right away. I felt like I was eavesdropping on a personal conversation the way your horn was talking. You should be a household name like Eric Dolphy and Ornette Coleman because you had a unique way of blowing. You could make your alto laugh and cry in the same breathe, and the blues you served on "Stone Blues" were upbeat not the woeful variety.

In fact, I like "Stone Blues" more than “Looking Ahead,” your sophomore album that featured Eric Dolphy. The album felt like his date. Did Prestige want it that way? Back then, you were a newcomer. I read you didn't know Prestige had hired, bassist Sam Jones, pianist Walter Bishop Jr. and drummer Arthur Taylor for the date until you arrived at Van Gelder's place. I bet you were nervous surrounded by those greats.

Anyway, I listened to your blues tune “Cornballs,” the first track on “Stone Blues,” repeatedly. It’s an upbeat blues not one of those life-is-so-damn-rough blues. I liked the softness of your flute on the ballad “Blanche”. And how pianist Dizzy Sal--one of your running buddies from the Boston jazz scene--tiptoed down the piano keys. Ken, on this album you had the alto and flute singing.

It bothers me you weren’t more celebrated--more of a jazz icon.

I wonder if jazz critics and jazz historians considered you just another face in the crowd. That’s a question only they can answer. Or, was your timing bad? When you got to New York Eric Dolphy, Cecil Taylor and Ornette Coleman were popular. Making a name for yourself must have been difficult given the speed those guys were playing at.

To paraphrase jazz historian Joe Goldberg (he wrote the liner notes for Stone Blues) you had high expectations. You believed you could get steady work because you were a skilled musician with two degrees in music from the Boston Conservatory. To work regularly, you discovered, required a lot of hobnobbing.

Hobnobbing wasn’t your thing. It consumed too much time, and you had mouths to feed. To provide for your wife, Charlotte, and your sons, you worked at a Post Office and taught in the public schools. Forgive me, Ken, for bringing up those lean times. People need to know your sucess wasn't handed to you. You praticed, practiced until you developed a sound, an identity. The Ken McIntyre Sound. That what I call it.

There were good times, too. I bet you reminisced a lot about the first time you played with Dolphy. In 1959, you showed up at Minton Playhouse to hear Dolphy. Trumpeter Freddie Hubbard asked if you brought your horn. It was in your car. Locked in the trunk. Hubbard made you fetch it because he wanted you to sit in. You wowed Dolphy, and he agreed to appear on “Looking Ahead”. What did Dolphy say to you after the gig, and how did you ask him to record with you?

I imagined it took place as the crowd was leaving Minton's. Hubbard and the other band memebers were packing up. Dolphy told you how good you were as he unhooked his alto from his neckstrap. Your horn was cooling off atop the house pinao.

"Man you played your ass off," Dolphy said.

"Thanks. I just came here to listen. I didn't know you wanted me to sit in. Charolette won't believe it.

"Is she your old lady,"

"Yeah."

"You pushed us to another level," Dolphy said

"I was real nervous. But after the second number it felt really natural like I've been playing with you for ever."

I damaged my horn trying to keep up with you, man," Dolphy said joking.

"I just got a recording contract with Prestige Records."

"I heard about that."

"Would you be interested in recording a few tunes with me?"

"Lets do it. Name the time, the place, the tunes, and I'll be there."

Dolphy praising and agreeing to record with you must have boosted your confidence. Let me stop talking about that night. It was a long 48 years ago. There're many highlights in the great career you had.

You made some wonderful music. Twelve albums, and it would take days to list all the great musicians who performed with you. The workshops you put on through The Contemporary African-American Music Organization (CAAMO), a music and performing arts educational organization, you started in 1983, help a lot of people. You were an accomplished, Ken. You should be a household name.

HEIR APPARENT

Mr. Pullen, are you familiar with Lafayette Gilchrist, a jazz musician from Baltimore who started playing piano at 18, who was influenced by Funk and Hip Hop music, and who mixes those genres with jazz. My mentor says Gilchrist sounds like you did on those Blue Note albums you made with saxophonist George Adams, which is a helluva compliment.

By the way, my mentor's name is William. Two months ago, we listened to saxophonist David Murray album “Sacred Ground”. After Gilchrist soloed on “Family Reunion,” William asked me: “Who is that piano player? He sounds a lot like Don Pullen.”

“He’s from Baltimore.

“Do you have any of his albums?”

“Just one, but I heard him in 2005 at the Harlequin Café. He did a solo performance. He played some originals and a medley of Duke Ellington compositions. The performance was okay.”

Honestly, Mr. Pullen, I did not hear the similarities right away. But I trust William’s ears implicitly because he's a true jazz aficionado. I re-listened to Gilchrist’s album “Towards the Shining Path,” and I purchased “Lafayette Gilchrist 3”.

Gilchrist style is akin to yours, particularly on “Visitors, and “Spheres of Existence” two tunes on the pianist latest album “Lafayette Gilchrist 3”. He plays every square inch of the piano. It appears Gilchrist has four sets of hands zipping up and down the keys. On the ballad “The Last Train,” he plays pretty like the tips of his fingers are flowers.

Gilchrist performs best, like you did, with a trio. I’m not knocking the work you did with saxophonist George Adams, drummer Dannie Richmond and bassist Cameron Brown. “Breakthrough” and “Song Everlasting” are outstanding albums.

You brought everything to the table on“Random Thoughts,” the album you recorded on Blue Note in 1990. Your trio made the album fun, passionate, danceable, and even a little melancholic.

I'm not sure if you disliked jazz pianists who emulate you. Be assured, however, Gilchrist is no copycat. He's your heir apparent, Mr. Pullen. If you want proof listen to "Lafayette Gilchrist3".

LICKS!

It's been a month since drummer George Davidson's "Drum Summit" at Bert's Marketplace, which featured four of Detroit's finest drummers Bill Higgins, Sean Dobbins, Bert Myrick and Spider Webb. Their licks and rim shots still resonates inside my ears.

For those who missed that event, I found video footage of a drum battle among three drum stylists Sunny Murray, Elvin Jones, and Art Blakey. The battle has the same level of superb drumming showcased at Davidson's "Drum Summit".

THE REAL CYRUS CHESTNUT

On October 21, 2007 I posted a blog titled "WHAT'S HAPPENING TO CYRUS CHESTNUT". I wrote the pianist recordings "Cyrus Plays Elvis" and "Genuine Chestnut" were disappointing. That was a tough statement for me to make because for years, I have admired the pianist. This YouTube video captures in three minutes what a gifted "improvisation-ist" Chestnut really is.

DEAR RED

Dear Mr. Garland-

I found your solo album “Red Alone” at Dearborn Music. I dig the cover photo of you leaning against a wall holding a cigarette.

You had a surprised look on your face like a photographer yelled: “Hey, Red say cheese!” The plaid blazer you sported was really sharp. It reminded me of one I saw displayed in the window at Hot Sam’s, a men’s clothing stores in downtown Detroit.

“Red Alone” is a love letter. Mr. Garland, when you played “The Nearness of You” and “You Are Too Beautiful” was there a particular lady you had in mind--a lady who inspired you to be your best.

Growing up in Dallas, Texas, you had a colorful life. You were a welterweight boxer. You fought Sugar Ray Robinson. That took guts. Did Robinson beat you so badly you realized playing music would be a safer occupation? I’m just kidding.

I would have never guessed you were involved in such a brutal sport. Pardon the pun, you strike me as a romantic not a fighter.

As a teenager, you played the alto sax and the clarinet. How was it playing with alto saxophonist Buster Smith? I heard Smith was popular on the Texas’ jazz scene. He taught you to play and how to read music. I bet he was a great teacher. Pianist John Lewis(not the musical director of the Modern Jazz Quartet) got you hooked on the pianio.

You heard pianist Lewis playing at the recreation center. Lewis took you under his wing. Did he teach you to play blocked chords?

Mr. Garland, I don’t want to consume anymore of your time. You are probably somewhere in heaven practicing. I bet there are plenty of jam sessions around.

I’m sure God is treating you, Trane, Paul and Philly Joe like royalty. You guys made a lot of jazz folks happy. Have you heard anything about Miles?

Is Miles still in that rock/hip hop bag? Have you guys patched things up? Are you still mad at him for firing you? Miles tried to change your style. He wanted you to be more modal. You refused.

Mr. Garland I hope I haven’t asked too many personal questions. I didn’t mean to stray from my reason for writing you. “Red Alone” made me curious. It touched me.

--Charles
.