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Morgenstern, Dan. [Record Review: Randy Weston: Blue Moses] 39:19 (November 23, 1972): 23–24

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Morgenstern, Dan. [Record Review: Randy Weston: Blue Moses] 39:19 (November 23, 1972): 23–24 - mic) already present in his music. RANDYWESTON which. paced by the extraordinary Billy Cob­ While these elements are always interesting ham. performs admirably. I have a feeling. BLUE MOSES - CTI 6016: lfrane; Ganawa; and certainly inextricably from the whole of however. that the the percussion (notably Az­ Night in Medina; Ma_rrakesh Blues. , Weston's music. it continues to be marked by Personnel: Freddie Hubbard. trumpet; Grover zedin Weston's exciting conga work) was Washington. Jr .. tenor sax; Hubert Laws. flutes; a very personal and very strong melodic mixed down a bit too much-certainly it plays Weston. piano; Ron Carter or Bill Wood (track_ 3). sense. Inspired chiefly by Thelonious Monk a more prominent role in Randy's in-person bass; Billy Co_bham. drums; Ph1_I Kraus. A1rto and Duke Ellington (fellow pianist-composers performances. Moirera. Azzedin Weston. percussion. plus back­ themselves inter-related). Weston has long u band of John Frosk, Alan Rubin, Marvin The tunes are all fine. particularly the s\amm. trumpets; Wayne Andre. trombone. bari­ since established himself as a composer of haunting ~/i-011<'-a typical Weston line. There tone horn; Garnett Brown. Warren Covington. melodic-harmonic-rhythmic structures in­ is no padding here. just music nf uncommon paul Fanlise. trombones; _George Marge, Romeo stantly recognizable as his and no one else's. Penque. reeds. flutes; David Horowitz. Moog syn­ beauty. The recording. especially of the thesizer; Madame Meddah. vocal effects; Don His pieces lend themselves to creative im­ horns. does it full justice. Sebesky. arranger. provisation -a fact that becomes evident A.fi'ica11 Cookhook was originally released when comparing Freddie Hubbard's work Rating:***** on Weston's own label. Bakton. and had only throughout Moses with other recent efforts. limited distribution. Atlantic's Michael Cus­ AFRICAN COOKBOOK-Atlantic SD 1609: The trumpeter here never falls victim to his Berkshire Blues; Portrait Of Vivian; Willie's Tune; cuna is to be commended for rescuing it from Niger Mambo; African Cookbook; Congolese own cliches and facility but plays with in­ permanent obscurity. Children; Blues for Fives Reasons. spired invention. Indeed. his work on this All but one of the seven pieces arc West­ Personnel: Ray Copeland, trumpet, fluegel­ album is welcome reaffirmation of his stature on's own. and Slin1e have become standards in horn; Booker Ervin, tenor sax; Weston. piano. as the leading trumpeter of his generation. his repertoire. I'm particularly fond of celeste; Bill (Vishnu) Wood. bass; Lenny McBrowne. drums; Big Black, congas (vocal. The other featured soloist. Grover Wash­ Bcrkshir<' Bl11l's. a spiritual descendant of the track 6); Sir Harold Murray, percussion. (Record­ ington. Jr .. emerges on this "heavy" jazz date famous Iii-Fly; the title piece. which really ed October 1964.) as a fluent and tasteful player with a warm. cooks. and the lovely l'or1rui1 o( I 'h·ic111.dedi­ full sound. His work is perhaps not dis­ Rating:***** cated to the composer's mother. tinctively original. but always musical and Herc it becomes a memorial to Booker The nearly simultaneous release of a great swinging. It will come as a surprise to those Ervin. who made it his own with this maJ.:nifi­ new album and reissue of a rare earlier work who know him only from his hits -and not cent ballad performance. Ervin is in wo~der­ should focus needed attention on Randy only because he plays tenor here and alto on ful form throughout. There was a special rap­ Weston. composer and pianist of major stat­ those. port between Randy and Booker. and it ure. Laws doesn't solo much. but his warm shows. The tenorist could get into a piece of Weston was involved in things African long sound. particularly on the seldom used bass music. imbue it with his uniquely poignant before it became the fashion. and the in­ flute. enhances the ensemble textures. The sound and phrasing. and cut through to the volvement was sincere and abiding. A resi­ backup horns are used quite discretely. com­ essence. Posterity. I'm certain. will recognize dent of Morocco since 1968. he recorded ing to the fore in climaxes only. this artist in his true stature -as a for greater Blue Moses during a visit home earlier this Weston. heard mainly on electric piano. is player than some of his temporarily more year. His first album since A.fi-irnn Cookbook. not cast enough in a solo role - the only com­ famous contemporaries. it shows that the African sojourn has en­ plaint about the album. On the other hand. he Weston himself is amply featured-and on hanced and deepened elements (mainly rhyth- is a very important part of the rhythm section. a real piano. His very personal sound and Les McCannhas always dreamed that one day he would Ibe able to walk into a studio and put all the fire and excitement that he has in his live performance into a studio album. u;: j ~--,His dream has come true. ,Ii'. November 23 ll 23 vo1cmgs are much in evidence, both in the percussive work on the faster pieces and the reflective (but never static) playing on the blues and ballad. The too-seldom heard Ray Copeland is well featured. His command of the instrument and the music is such that one wonders why he isn't among the best-known modern jazz trumpeters -listen to him on Niger and Berkshire, and you'll agree. (Unfortunately, the re-recording mix has endowed Copeland's solos with an unwanted echo effect.) If you're not into Randy Weston yet, there's a double invitation to meet a giant. - morgenstern THEWORLD'S GREATEST JAZZBAND CENTURY PLAZA-World Jazz WJLP-5-1: Cen­ tury Plaza; A Long Way From Home; At Sundown• Colonial Tavern; Out Back; Frog and Nightgown'· Dreaming Butterfly; Heavy Hearted Blues; She'; Funny That Way; Navarre. Personnel: Yank Lawson, trumpet; Billy But­ terfield, trumpet, fluegelhorn; Vic Dickenson, Ed Hubble, trombone; Bob Wilber, clarinet, soprano 1 sax; Bud freeman, tenor sax; Ralph Sutton, pi­ Herbie Hancockturns ano; Bob Haggart, bass; Gus Johnson Jr., drums. Rating:****½ "With the release of the first album on its i1!Js into music with an own label, the World's Greatest Jazzband takes another significant step forward." 0 So begin Leonard Feather's notes to this ~.~ 2600 synthesizer If you're a mus1c1an,you know that there are sounds in your head that have never been heard. That's what an ARP synthesizer is for. Take a landmark. The Significant Step referred to is tip from Herbie Hancock, Stevie Wonder, Oscar Peterson, Joe that "Tht; WGJ now controls its own destiny Zawinul, and dozens of other great musicians who in terms of what, when, where, and how to record, and, most importantly, how to reach found what they need to get it all out. its growing multitude of fans through direct distribution." Controlling one's own destiny, See the ARP Group of electronic music syn~hesizers of course, is made much easier if one is being bankrolled, as is the case here. at your local music dealer, or write: A further Significant Step, unheralded but ARP Instruments, Inc., 320 Needham Street, more obvious to the jazz fan, is the omission of dixieland numbers from the program. Since Newton Upper Falls, Massachusetts 02164 seeing the band in person, through several sets in mid '71, I've come to realize that those tunes are mostly given as tokens, anyway; can anyone fail to understand Bob and Yank's weariness of South Rampart and Tin Roof .i}J OLIVER NELSON Blues? Still, I miss the dixie, because these men do STAGE BAND ARRANGEMENTS it so well. Good lead men have dwindled down to a precious few, and Yank is one of AS RECORDED the very best. And I can't help feeling that, For information write: Oliver Nelson thrilled as I was to the curtains parting and the P.O. Box 90460, Worldway Postal Center band blasting Up, Up and Away, that tpese mod-pop-rock tunes that dominate the WGJ Dept. D, Los Angeles, California 90009 repertoire exemplify the try-to-please every­ ALSO AVAILABLE body, please-nobody syndrome. The Old Guard will like Colonial (really The Original - PATTERNS FOR SAXOPHONE justSi.l'ter Kate), At Sundown (Bud and Yank An Aid To Improvisation. with rhythm), and Back (a medium-up blues, Send $7.00 Check or Money Order. solos all around) best, as well as Billy's famil­ iar feature, Funny, and Bob's pretty Butterfly. ( Coming soon - PATTERNS Vol. 2) Home is Bob's too, an archetypal coun­ try&western ballad, wherein he Bilks a Foun­ tain. Fans will recognize the "strange" titles ANITAO'DAY NEW RECORD RELEASE New LP "Once Upon a Summertime" as belonging to some of the clubs the band has Stereo album of mainstre~m jazz features guitarist enjoyed playing on its circuit; a nice idea, "'She belongs up there with Bi/fie. Effa. and Sarah."" JERRY CASE and steel guitarists MAURICE ANDER­ -July Playboy 1972. SON & TOM MORRELL with rhythm section. $6.00 these dedications. ANITA O'DAY RECORDS $6.00 postpaid MAIL-ORDER RECORDS Box 442, Hesperia. CA 92345 Box 4049. Fort Worth. TX 76106 I'll always wonder if that ending on Sun- do11·nwassupposed to be like that. -jones 24 □ down beat .
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