word can mean a fully emotional experi­ of colors and rhythms-rich tapestries of Nairobi and Motown to Mexico ence or i1 weird sound or series of sounds sound against which to pin the soloists' has done it by blending the pri,l'I~ ~d perf~rmed, in tbe case of rock, electroni­ efforts. The album has, as a result, plenty satio.ns of c_ongas and bongos Wit1a ~UI cally. Among jazz "psychedelic::,'' are John of variety and contrast going for it. It is voltage Vanlones and an electric h hi8Ji, Coltrane, Ray Charles, Miles Davis, Sarah never dull, thanks to the shifting back­ chord. arPS(. Vaughan, Dizzy Gillespie, Elvin Jones, and drops which Pearson has so knowingly The concoction is predictably . a few others representing an elite minority. crafted. There's a real sense of motion Aside from a hyperactive rhythm s s~icy, It is harder to discern something that is and dynamics to the music, a witty play whal gives it the most bite are fivecehon, really psychedelic in rock. of the spontaneous and the planned, of pets and five trombones. They're he truni. Hendrix is psychedelic. light and dark, of humor and sobriety that best advantage on Reza, Trumpets ;c1lo The Experience is psychedelic. is simply joyous. And totally, effortlessly Hip Hug Her, Frenesi, and Bol'der e~Jo, The three musicians in the group play effective. The effortlessness is, of course, last teased by a plunger-muted tro (the beautifully, as soloists and together. Hen­ deceptive-a tribute to the skill and ur­ over a refreshing guaganco rhythm)bo11o drix is all over the guitar, finding the wild­ banity of Pearson 's handling of the mate­ The use of voices adds to the s ~ . est (and most psychedelic) sounds imag­ rials. The genre, after all, does not have Harlem flavor. They are just as crf 01sh inable. He is a fast player, who makes to be constricting, his arrangements seem the brass. Contrastingly, the Vnri:~ as good use of the effects possible with elec­ to say. suboctave has a muddy quality. nes• tronic attachments for the guitar: the The playing throughout the set is Accolades to O'Farrill for tightenfo 8 "wa-wa" (cry baby), the fuzz, and feed­ A Man and a Woman so that its ""' .11 P yeasty. None of the solos-even those of . 0 ....n1ng back. He is probably the most exciting the featured Mitchell-are overlong; the p h rases fit mto two measures-not 2'' rock guitarist around (including Eric Clap­ music as a result benefits from compres­ Because the album is such an ad~· ton of Cream). sion, from the mental editing the soloists ture, it was difficult to assign a conven(t; Noel Redding plays the eight-string bass do in their improvising. Everyone on the rating. The three stars mean it's good f~ with fantastic skill. (This bass, made by date plays well and one would be hard what it is. But don't ask what it is. 1/ the Hagstrom Guitar Co., has the four pressed to single out any one soloist for not really in a bag; it's in a blender. s regular strings, plus four strings an octave special mention. This album is, more prop­ -Sider, higher. The strings are positioned as on erly, a group effort; the interaction is ex­ the 12-string guitar, allowing the player to cellent, unflawed, total. play one note plus the note an octave The tunes are well chosen, reinforcing Buddy Rich higher simultaneously.) Redding's best the sense of variety and intelligent con­ work is his good solo on Floating, and his THB Nll\'1:1ONE-Paciiic Jan ST-20126: Awh" trast that suffuses the charts. I particularly Jfc Go; l\fochill~;,T}>• Rom,; Kid.; New a,11J walking figures behind Hendrix's vocal on ::iom ·etlm1g, l'or IJY1/118j', tn11d111J1U 1, In a 114 i liked Corea's Tones for Joan's Bones and mock; Cf?•cngo; L11v; · Can't Gtl Start,d; Grou~ Skies. He wrote Fine, the only song on the the well-named Straight Up and Down, Shot; D,abo/111. album not by Hendrix, and sings the vocal, Personnel: Tracks 1, ~. ll : Yosbico MutaklUIII both of which must be groovy pieces to Charles Findley, John Sotilc, Russc:11 lt•uon: demonstrating both his good, mellow voice, blow on; certainly that's the impression trumpets; Jack Spurlock , Sam Burtis, Rohen and his writing talent. Brawn, trombones: llmie \'drummer, and into it. Mitchell's Latin-styled 0 Russ Turner, piano; Dick Rcsnkoff , 1;u11u; RQn• both rock-soul (Tomorrow) and jazz (lis­ aid Fudoli, bass; Rich, drums. All other 1r11Cks: Mama Enit is full of exuberant good hu­ Mu rnkaml, Findley, S01llc, Oliv er Mi1chcll, trtun • ten to his tasty brush work on Skies, the mor, as is Dave Burns' wryly-titled Rigor pets; Brawn, Jim Trimble, John Boice, 11Qm• first single release from the album) . bon1!5; '"'•tts,J~mes Mo bu , Corr e, Robert Ktl• Mortez, its bouncy, fervent bluesiness be­ !er, Meyer Hirsch, reeds; Ray Smrlint;, piano: Hendrix has the kind of voice that could ing quite the opposite of the suggested Rcsnkoff; Jim Gannon, bass: Rieb. be commercialized to money and back, moribundity. In a similar vein is Pearson's Rating:***** but he has decided to use it as the beauti­ zesty blues Millie, added impetus being The third and best album by that drum­ ful instrument it is. He sings soulfully furnished by the surging, springy attack mer's new band. In spite of ( or because (Spanish), sweetly (Skies) and comically of the rhythm section, led by Cedar Wal­ of?) the many personnel changes, the band (Tomorrow). ton. The most lyrical piece in the set is is getting tighter and is beginning to assume EXP uses electronic sounds exclusively, the much-recorded I Should Care, which its own identity-aside from the always except for a short dialogue. In stereo, the Pearson's sensitive arrangement gives a unmistakable presence of the leader. sounds formed through feedback, reverb, new lease on life. There is a fine variety of material here echo, and just plain playing are tossed All told, a happy, unpretentious, and -more than on either of the previous back and forth between the two speakers totally alive set of performances by a LPs by the band. The 11 charts represent to form a freaky collage of sound. The ex­ group of men committed to and capable work by no less than nine arrangers, rang, citement is there on every track of the of bringing bristling conviction to this far ing from Allyn Ferguson's complex Dia• album. -Wolf from moribund musical genre. To these bolus to Don Rader's simple Chicago. My ears the style hasn't sounded so vibrantly own favorite is Bill Reddie's Mochi11e. (It alive in a long time. Hats off to Duke was Reddie who crafted the memorable Blue Mitchell Pearson for making it happen. A lovely West Side S1ory triptych for Rich. Good as BOSS HORN-Blue Note 4257/84257: Millie; 0 M11 ·11111 Enit; I Sho11/d Care; Rigor Mort~z; set, indeed. that was, it had a show-biz flavor berc To11c for Joan's Bones; Str11ight Up 1111dDow11. Anyone who says that this isn't where Reddie shows U1at he can write fresh and Personnel: Mitchell, trumpet; Julian Priester, trombone; Jerry Dodgion, alto saxophone; Jun­ jazz is at can't hear. The music on this vital big band jazz without frills, and trorn ior Cook, tenor saxophone; Pepper Adams, bari­ album is where the best jazz has always the way the band bites into this chart, he tone saxophone; Cedar Walton or Chick Corea, piano; Gene Taylor, bass; Mickey Roker, drums; been. -Welding must be an expert at scoring things that Duke Pearson, arranger. lie just right for the players.) Rating: * * * * ½ Donall Piestrup's pretly New Blues, While there's nothing particularly new Chico O'Farrill Bill Pott s' Basieish Hammock , and Dave or earth-shaking here (if novelty is one's MARRIBD WBLL-Vuvc 5085: Hip Hug Htr; Bloomberg's moody setting of the cl~ss!e Reza; D1scarg11 N11m,ro 1000; Squth of th, criterion of contemporaneity, that is), Bord,r; 1\111111,ca;Gtqrgy Girl; I1ora Tlmb,ro; Started are also excellent, and from w1_tb~ there's some heavy music in this set. The TmmPtls Fits/a; ,1l"ilfa11 and a IVoma11; Prmtsi . the band comes trombonist John B01~ Personnel: unldemHied brass; Seldon Powell, personnel should tell you what to expect: Lennie Hambro, reeds: Sonny Osacar. elecuic moving Willie, dedicated to the late WiU•~ strong, blues-rich, swinging, emphatic harpsicho,d; Prank Anderson, organ: Don Ar• Den·nis and featuring the composer's wann, none or Sonnr__'Henry, gulum Bobby Rodriguu, mainstream-bop. Not much in the way of ba.ss; Grady Tate or Don Lamond or Her.bie Bill Harrjs-inflected horn. t subtlety, but music that is ear~hy, full of LoveUe, drums; Paraco Valdes, Candido, conga Tenorist Corre was the band's onlY 0 drums; Chino Pozo, bongos; unidendfi .ed vocal i; humor and joy, spontaneous, alive, and 11roup: O'FarrilJ, arranger~onducror . standing soloist in the early days, and n generally familiar in its contours. Rating:*** continues to impress with his ~ork ~­ What makes this set outstanding is the This is more than a mere marriage-it's Kid, Away, Started (his showcase 1n a nes obvious thought that went into its prepara­ polygamy. O'Farrill-whose very name nonsense ballad vein) and especially, Blf1 d: tion. The arrangements Duke Pearson has conjures up a cultural coalition-has But others have arrived. Trumpeter FJIIw furnished are inventive, nicely varied, full wedded Harlem to Havana, Nashville to ley is much more relaxed and assured no 1 28 0 DOWN BEAT d his frequent solo spots here are all wire walker, and never ceases to swing. posed to be a lyrical piece but is merely 11~r-olass, with a fine fire. He not only drives the band, but con­ pretentious; its lyrics, which are printed fl Also fiery is Watts, notably on Shot, ducts it from the drums, cueing in sections on the back of the album, are _trite and ·abo/11s,and in an exciling chase se­ and soloists, backing everybody's spots to disconnected. p:ellcewith fellow altoist Owens on Rot­ the hilt, adding shade and color. He's There are some good things about the qi J(id. Tbe taller track i also distin- always there--enhancing what is well done, LP. Most of Satyrized is a drag, but the 14'!sbedby some fine Gillespie-flavored covering up what is imperfect-the heart­ track has a lovely pastoral ending. Go­ f~n,pet section work, and a bil of unison beat of the band, his band. He is a phe­ mez's solo work on Canzonetla, his fea­ :nsinll from lhe band a la Woody 's Your nomenon; not just for his incredible speed, ture, is poignant. Steig's playing ranges ;n,her's Mustache. (At the end, you can co-ordination, control, and command, but from plaintive to buoyant on Release and bear Buddy's empbalic "Nice kid!") for his dedication to the music. To some, there's sensitive interplay between him and \s{iU1oucstraining to be different, the that music may not be the thing, but that's Gomez on the track . Significantly, Release their problem , not his. It merely deprives has little rock influence and Canzonetta 1 liJllldappears to have found its own fresh anish gr.olivewithin the trad.itional big-band for­ them of the singular joy of experiencing a is not a rock selection, yet these are per­ sp as touches l.ike voicing guitar with saxes master at work. -Morgenstern haps the best tracks on the album. tones' mat. or a pl'Oruinently walking electric bass Guillery's singing is strained and clumsy tM.m:hint:) add a contemporary flavor, but but he's a strong, fluent, earthy guitarist, ~g Up, as his work on Mean Black Snake indi­ eniog tbe "nowness'' of the band is a matter of Jeremy Steig 'If _ cates. spirit and driv.e rather than specific details . JllRBMY & 1'HE SATYRS-R eprise 6282: .l11 "•' 'file instigator, of. course, is the leader. 1/u Wo,ld of G/,ui Teardrops· S11perbaby; S1,e The LP is somewhat disappointing, but dmoc, Did,i'I Evo1JSay - G0Qdb1•; Tiu Do 11; Tf,e First its bright spots lead me to believe that ioi,ent J{e doe n t spare himself, and expects his 7"/me I Smv , You, Lovely Child of TMrs; Bt1by; Jeremy and the Satyrs may have a prom­ d for menro give their all lo the music as mat­ (Le i's Go to 1ho) Mo,ii• Show; Men11 Blncl, S11nk~; C,wxo11el/,r;. llo,·tigll Rd~nse--/lu S,11,yrs; ising future. -Pekar ,: It's ter-of-factlyas he does. This doesn't always Sa11m:a,J. work, of course--.not many musicians are Pcrmnnel: Steig, flute; Warren Bernhardt, that way-but when it does, it's some­ piano, organ, vocal; Adrian Guillery, guitn ,r. Siders built harm .onica, vocals; Edilie Gomez , bass; Donald thing to hear. McDonald, drums. Chades Tyler On this set, there are no solo showcases Rating:**½ EASTERN MAN ALONE-ESP 1059: Cha­ for Rich a la West Side or Bugle Call Rag, There are probably those who have Lacy's Out East1• Man Alone,· Le-Roi,· Eastern. Personnel: Tyler, alto saxophone; Dave Baker, but he makes his presence felt every bar been waiting for this LP with great hopes, cello; Kent Brinkley, Brent McKesson, basses. tl1114j Bllldt/ of the course. And there are brief, brilliant thinking that .if gifted jazzman Steig Rating:***½ ijam• solo spots scattered throughout the album. worked in a rock context the results -Gro'i,p This album, recorded Jan. 2, 1967, (For a play-by-play, see Don DeMicheal's might be startling. They may be let down would have had greater impact if it had akami~ excellent liner notes.) by this effort, which isn't bad, but leaves been released sooner. Now, however, the i'CUOn, Robe« Diabolus is a tour de force, with Rich much to be desired. sound seems a bit dated and monotonous )wen in great form. He negotiates the complex Some of the selections are surprisingly rei!_a,1 for what the music is trying to achieve. ; 'Jlijn, shifts from 9/8 to 6/8, from slow 5/4 to commonplace hard-driving rock with little One of the most beautiful sounds in jazz tracks: fast 3/4, with the surefootedness of a high- attempt at originality. Teardrops is sup- is used on this record: alto saxophone and UWD• trOm• rt Ktl• pinna, drum­ THEAMERICAN :cause band BREED'S FOR ssume 1lways BALDWIN I here ~vious resent rang• Dia· "· My 1e. (It orable The American Breed iod as plays Baldwin instru­ ; here ments exclusively. And h and they're one of the from hottest groups around. 1rt, he s that Just listen to their smash hit, "Bend Me, Blues, Shape Me." This is the Dave electrifying sound of classic quality we build into every witbill Baldwin instrument. . 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