working of Good Golly Miss Molly with Halcy on 101: i\ly Monday Dat e; Ou y· avant garde with the JCOA), and so I Just T oo Soon: Chimtr In Blu tr• rh·""• II/• regret that he has so often proven dull for a soup1;on of Jaillw use Ro ck) , Ra in, which Life: Blutr In Thirds; St owawayf i-.,:r;1o1ft me. Perhaps he lacks the chop s (but I is effective medium-tempo melancholia , Personnel: Hine s. piano. t , ~l doubt it) or the passion. Whate ver, I parts of Ramble (thou gh for my taste it' s Rating: * * * * * · The neatly simultaneou s reis• c of cannot hone stly convince myself why I maybe a minute or so too long) , and lii fabeled 1928 solo piano per forma nce llt ca nnot "get into " his mu sic, and sincerely Back Door, in which Fogerty dem onstrat es release of his 1970 reinve stig<1,ion sfan presume the fault is my own. that he's the only vocali st since Budd y O same materi al offers a uni que rers ~ Otherwi se, the tunes on Spaces are most­ Holly who can get away with singing, on one of the greatest pia nists in ja:cti "Oh , boy" con vincingl y. ly improvi satory sketches or mood pieces The 1928 solos rank with ..ie g · However. It seem s a tim e of sea rching (Gloria's Step by Scott La Faro , R ene's achievements of that rich dec,d~ rea1c1 for many band s, and CCR is looking for 10 Tl,eme by Rene Th oma s, the other s by with the four solo s recorded fo Larry or Julie Coryell ), all especi ally new material and , as their recent pub­ 1 ci'lht later th at year. The eight ru,\ uedui:: graced by the rhythmic constanc y of Cob­ licit y extravaganza demonstrate s, a wider 1 audience, or more critical approval, or were made for the QRS lab el and rec. ham and Vit ous, with the latt er contribut­ only very limited distributi on at first ;:~ ing several lyrical solo and lead moment s. something . Con sequentl y, the newe st album tries to were subsequently reissued on 8 by ~ Unfortunately , the ensembl es generally and on 10" LP by Atlanti c-i n both c be experimental, but isn't . (A wakening is tend toward monot ony as both McLaugh­ wilh better sound qualit y th an the ~: an instrumental featuring mostly organ: lin and Coryell become consistently !icky stone). · (all those bubbly finger runs) and appear lots of distortion and free playing , speeded­ Hines , then not quite 23, w15 the fl up ver sion s of My Countr y 'Tis of Thee. more as if alwllys fee ling ea ch other out i~p ortant pianist to b~eak with the r ~ It's very boring.) It tries for a new sound , rather than ur ging each other forward; but time and Harlem stnde Ira , •tions with Fogerty multi-tracked on saxes and :!, again, the listening involvem ent is sadly establi sh a new langua ge for iazz pialXl organ and guitar, but suc ceeds only in lost trying to grasp the somehow retarded He _based his style ~n the linear pla>~ adding eminently predictable backup sound s or at least sta tic mu sical propulsion. of Jazz horns, due m part k his cart And so I can hear this album and I to recognizab le CCR material. Fogerty's training on trumpet, his youthful admifi. can enjoy the tasty sounds throughout, but ego seems finally to have broken loo se Lion for trumpeter Joe Sm ith , and his ,:, from the group ethos; he's trying so hard dynamic electric mu sic it is not, and once counter, in 1926, and subsequ , '11 playillt more I mu st despair of my inability to con­ to prove something that he appears to experience with Louis A rmstro n~. Fitting. clude preci sely where Larry C oryell hits . have forgotten that the music is where ly, Hugues Panassie labeled it "trumpet. -Bourn e it is. style piano." A s a concom itant, for the first time, However, Hines had alre ady mastel?\1 there isn't one track that makes a new and the earlier styles, and utili zed eiements of joyful noise. Oh, Rain will sell a trillion, them to fashion his new app 1ach. Hit CREEDEN CE CLEARWATER just like their last 79 singles, and most of REVIVAL sparkling technique , ear for unusual bar. the songs are nice. But when one remem­ monies, and uncanny mastery of time, COSMO ' S FACTORY-Fantasy 8402: Rambl e bers Susie Q, I Put A Spell 011 You, Proud Tambl e· Be/ore Y ou Auuse i\le; Travelin ' combined with a rich music al ir1aginati011 Band ; Ooby 'Dooby; Looki11' 0111 i\1y Back D oor; Mary, Bom On The Bayou , Bad Moon and highly developed sense of cont111t Run Thr ough The Ju11gle; Up Around The Rising, Lodi, Fortunate Son, Don't Look Bmd; My Bab)' Left M t; Who 'll St op The Rain ; and drama made his imp act on the instro• I Htard II Thr ough The Grapevine ; Long As I Now, among others, Pendulum is pretty ment's future role in jazz dec isi· , Can Set Th t Light. pale . Forty-two years later, these revolution­ Personnel: John Fogerty . lead guitar, lead vo• Some good times. After a first sect ion in ca ts; Tom Fogerty , rhythm guitar; Stu Cook, ary solos still sound fre sh and , ital, and eleClric bass; Doug Clifford, drums. a very dull straight four, Pagan opens up are often startling in their rh ytlimic fret• Rating: * * * * rhythmically and Fogerty begin s to cut dom and sudden flights of fancy. How PENDULUM-Fantasy 8410: Pagan Baby; Sail­ loose on guitar. Mo1•e is the best tune on they must have struck the tradit.on-bound or's lAmtnt: Cha111e/eo11; Havt Y ou E,,.,,r Seen the album , employing varying tempos and 1 Tht Rain; Hideaway ; Born T o Mo ve; Hey T o• ears of his contemporaries is t :fficult t~ nighli ll 's Just A Th ought ; M olina; Rude Fogerty's only interest ing organ work­ ima gine! Au·a1u11i11g #2. which, howe ver , is heavily indebted to Personnel: Same as above , except John Fogerty Perh aps the mo st beautiful of the pieces also plays organ, piano and saxophones . early -middle Ray Charles . (You want to (all Hines ori ginals, some of thr m based Racing: *** really hear cliches? Dig on his rock 'n' roll on standard patterns) is Blues 111 Third!, Cosmds Factory sounds just like the tenor garbage on Molina, another Litt le with its lovely melody and rcux ed, re· previou s four CCR albums. It's terrifi c : its Richard spinoff-roughly Tutti Frutti at a flecti ve mood. Monday Dale, a perform· rewards are the sati sfactions of returning slower tempo.) The second best cut is an ce charged with vitalit y, and Pantht1 to a meaningful and worthwhile ritual Thought, a minor melody that manage s to Rag, an near surrealisti c rom~ through amid the empty ritual s other bands re­ be both pretty and vaguely troubling (same Tiger Rag procedures, are also standoull. create out of desperation or fisca l am­ effect as Lodi, though the song s are dis­ and none of the other six is far behind-­ bition. similar). As for Rain, seems like another the high level of inspiration is , ustaincd Some returns to earlier form: Ramble group did a very analogous tune a while th roughout. and Grapevine are long cuts with plenty back. I think it was called Who'll Stop Reinv estigating these youth ful acbie\C· guitar space, like Susie Q. The latter is The Rain. ments 42 years later, Hines bring to thclll 1 out of sight - soul cum misterioso. Fo­ Well , talent wilJ out , as a rule . Unle ss a lifetime of musical experi ence and 11 gerty' s vocal hits the falsetto phra ses right ego gets in the way. Ask Big Broth er, or pair of hands even nimbler at 64 than Ele ctric Flag , or McC artney. One hopes 23. Though he consistently has s1 rounded on, every time. His second guitar sp ot be­ nd; gins with some incredibly beaut iful warp ­ Fo gert y wo n't finally deserve inclu sion in him self at e ver y opportunity with ba ing, and climaxe s with a relentless, sym­ the long list suggested by the name s above. big and small , with vocali sts. and with !b( metrical chord series that keep screaming - Heineman trappings of showman ship so dea. to h~ to be broken off into single -line runs. No Hin es is and was at his great est when 0 1 way. Fogerty keeps sticking them damn works with just a piano and bis ~ understated chords to you till you'd like EARL HINES boundles s imagination. . , to bust. Thus we must be grateful to Mart~ A MONDAY DATE : 1928-Mil estone MLP McPart land , who produced the date, , \ That's the really fine thin g about CCR' s 2012: A Monday Date; Chicago High Life; St ou•­ first five sessions , incid e ntally. You can away; Chimes In Bluts ; Dtar Old Southl and; comin g up with thi s brilliant ile a ;;: run through the jungle as mu ch as you Motherless Child; Panther Rag; Just T oo Soon; realizing it. There can be no doubt ; Blues In Third ,; OD Tim e Bluts ; 1rabtl; For T/1t want without finding a single moment Last Time Call M t Swttlhearl ; Congaint . Hine s enjo yed the task hugely- amongpast when the integrity of the material is sac­ Personnel: Hines. piano (all tracks); on tra cks many solo albums he has cut in the ·tt, 5, 6, 11, 12, add Lois Deppe. vocals; tra ck 13: rificed to melodrama, histrionics, or ego. Deppe 's Screnaders: unknown personn el includi ng seven yea rs, none seems as charged WI Control, logic, and - abo ve all- natural ­ Vance Di xo n. saxoph one. enthusiasm and spirit. , (Ii;· ness. Rating : * * * * * The album abounds with sta ggc 1ng ti!' You 'll also dig Tra1•c/i11' Band (a re- QUINTES SENTIAL RECORDING SESSION - plays of virtuosity. At times, indeed,

24 0 DOWN BEAT music threatens to overflow boundaries of invited to perform . (That's what the line. One of the tl form and development and spill ove r into notes say!) classic jazz ( ale unrestrained excess, but whenever this is Make no mistake, this is an excelk and Benny Carter about to happen, Hines pulls in the reins album. I'm sure that people who buyjl!: 1967-some 18 1 and returns to the structure of the piece, album s, and especially those whoseea. was recorded. Ur only to take off again. lean slightly toward free music, will,; ready an ill man Since the 1928 solos were restricted to preciate this one. All of the performr title is a misnorr the 3 minutes-plus limit of 78 recording, involved play brilliantly. All of the mi musician past his they have more consistent formal structure. dies are distinctive although Tribal Da Nevertheless , it · In that sense, and that sense only, they are sounds very much like something J~ a labor of Jove b; superior, each seems to stand as the last Coltrane wrote. DeJ ohnette's accompa: the years has prodi word on its theme. meat is right on the button, almost· on records) has fl The contemporary versions, on the other peccable. He sets a good fire underll( day, for it has hi hand, though not as well thought out or both Lloyd and Jarrett. well worth hearing. rounded off, enable the pianist to stretch Jarrett has become a consistently1c The supporting c; his powers to . the limit-and they are awe­ fying pianist. He has a marvelous~­ but also consists 0 some powers. If, at times, there are laps es nique and one can feel the confidenci heard on record t1 of taste ( the introduction of a superficial has in his qwn musicianship if one!is:. ~uarnieri are supei riff here, of a run for run's sake there) to his touch. He hits every note preci, ists and soloists· where the older versions were unblem­ and that takes a great knowledge of fu:, work is good to he; ished, the many moments of brilliance and ing in combination wilh one's head.K boss timekeeper. A true inspiration · more than make up for sometimes plays too many sequentialllt.­ good as ever. Due tc this, and there is the added spice of free­ positions and imitative motifs whichmi of his instrument, G him sound like Bill Evan s. His wort dom to do as he pleases. not be to every lis Essentially, Hines has remained him­ Sweet Georgia Bright is one of the Ill blends very well wit class ic things you'll ever hear. Hen self . The most striking change is the much while his solo work greater independence of the left hand. through so many periods and, at oneJI. plays horn-like li nes There are also things here and there that does a fascinating neo-stride. Along, ful. ' Hines has picked up from others-a Tatum only a handful of other pianists, he Tasteful, in fact tinues to offset my balance which,to· run , a locked-hands pasage, a Bud Powell relaxed, easy-swin ;i~ lick, a Garnerism. But all are synthesized is a mark of creativity . His Days ~haracteristically slasl Nights Waiting is by far the best me into pure Hines, with that remarkable mg, he compensate s touch and dynamic range that no other line here. phrasing, and it is int My criticism of Lloyd has always hands can duplicate. be conserves his strer that he sounds like so many otherpe,: The Milestone album contains an added untypically) under- st; bonus in Hines' very first recorded per­ If you listen to this record from st;; what climaxes he can finish, you will hear mostly John Col formances. dating from 1923. Exceedingly He is in somewhat rare ( and dubbed from originals in less but also Coleman Hawkins , SonnyR B side (tracks 4-7), a than mint condition) they offer a fascinat­ and (for the first time for me) ~­ nal blues, Friday an, ing glimpse of a 17-year-old on the thresh­ Shorter. But where in the hell is Ch. approximates his healt Lloyd? Not that the tradition in jw old of genius. The choice of materi Four are vocal accompaniments, and learning from one's peers and predw. touches are uniformly Lois Deppe' s singing, while showing a has not been positive. But hangin1 recording balance and being with, talking to, and even s • good voice, is mainly of historic intere st among the best I've evi like, should lead to being. Lloydilll ( the rolling r's, articulated consonants and Harry Lim will have n "proper" pronounciation are strictly on arrived at being yet, and it's too bi: soon. Lord know s that the 19th century salon tradition). But cause he is an exceptional musician. use a man of his tai Hines' solo flashes are delightful, showing that is not a dichotomy!) today. Just look at the expression how well he had mastered the essentials In a recent conversation I had on Eric's face and you will of the Eubie Blake -Lucky Rob erts-James Clifford Thorton, he related bis ex P. Johnson schoo l (one of Johnson 's fa­ in playing with Sun Ra: How SunRl know how he feels about vorite licks shows up several times). always telling him to "unlearn, u The band side, Congaine, is rhythmically and "don't play anything familiar'. ROCKBRJ his new Ovation. spirited but corny (the saxophone work is a tremendous discipline that mu;t quaint indeed), but when Hines comes in and also a tremendous challenge.(A BYMIKE BOURNE It's got the NEW sound; for his solo chorus, the scene changes. album, Llody make s attempts at Not since Louis Armstrong's 1957 re­ free but he's too committed to tk 'IRE MAIN DILEMMA in the ROUND sound. makes of past landmarks has a jazz musi­ of fifths. His attempts sound coo column is knowing hov. cian produced such start ling evidence in There seems to be an overwhelmin;To knock in detail albur It's in with the people support of the too often overlooked fact to hold on to the familiar, to tbO!e Jilely be heard much an} who . . . dig the best. that this music is not a neat series of his­ which feel comfortable. Freedomlao..less, but then every artis torical progressions but a creative con­ hard thing to reach, but one youge• wretched,deserves his d tinuum. The music Earl Hines ha s here­ you're there, and that's it! c critical service may ------SEND COUPON NOW FOR FREE CATALOG yester day and today-is music for the Bassist McClure is more than air. d otherwise, any rock ages . -Morgenstern This is by far the best thing· makes the stars bit •• IIITlt■MEIITll OB heard from Lloyd. only fair records to' NEW HARTFORD, CONNECTICUT 08057 tus by comparison t NAME AGE gs. But whatever thi! CHARLES LLOYD --IL_L_I_E_S_M_IT_H______1ncls,herewith some qui cl ADDRESS CHARLES LLOYD IN THE SOVIET UNION ______W _____ th_ a few select nods to -Atlantic SD 1571 : Days and Nights Waiting; THE BEST OF WlLLIE SMITH-G.\ nt rock dat es. CITY Swett Georgia Brighi ; Love Song lo a Baby; Tribal Danc e. scendo GNPS 2055: Up1own Bluts: r, . (Deram DES 18035 Personnel: Llo yd, tenor saxophone. flute; K eith Fashioned: Idaho: I Rem embtr Yo•;~ STATE ZIP Jarrett; piano ; Ron McClure, bass; Ja ck OeJohn­ Friday; Who Can I Tum To; Wil/it's _que aspects of Egg is ette, drums. Personnel: Smith, alto saxophone (aD Bill Perkins, tenor saxophone (track!l•l _ch the three musician s NAME OF YOUR FAVORITE MUSIC STORE Rating: * * * * ½ my Gumina , accordion (tracks 4-~ ity of their instrumen This album was taped during the 1967 Rowles (tracks 1·3 ) or Johnny Guami<: 0 , Irving Ashby, guitar (tracks 4-7); ~bt org~n, and tone gea STORE ADDRESS ANO CITY Tallinn International Jazz Festival in (tracks 1-3) or Paul Ruhland, bass;SJ., wart; his effects are ni Estonia. This was the 14th year of the drums. expertly expres sed. Or festival, but the first time Americans were Rating : * * * ½ tly amusing Symphon. 26 D DOWN BEAT