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Down Beat 38:5 music threatens to overflow boundaries of invited to perform. (That's what the liner form and development and spill over into notes say!) unrestrained excess, but whenever this is Make no mistake, this is an excellent about to happen, Hines pulls in the ~eins album. I'm sure that people who buy jazz .' and returns to the structure of the piece, albums, and especially those whose ears . :· lean slightly toward free music, will ap­ , i,· only to take off again. -~ ~);· Since the 1928 solos were restricted to preciate this one. All of the performers the 3 minutes-plus limit of 78 recording, involved play brilliantly. All of the melo­ they have more consistent formal structure. dies are distinctive although Tribal Dance In that sense, and that sense only, they are sounds very much like something John superior, each seems to stand as the last Coltrane wrote. DeJohnette's accompani­ word on its theme. ment is right on the button, almost im­ The contemporary versions, on the other peccable. He sets a good fire underneath hand, though not as well thought out or both Lloyd and Jarrett. rounded off, enable the pianist to stretch Jarrett has become a consistently satis­ his powers to. the limit-and they are awe­ fying pianist. He has a marvelous tech­ some powers. If, at times, there are lapses nique and one can feel the confidence he of taste ( the introduction of a superficial has in his own musicianship if one listens riff here, of a run for run's sake there) to his touch. He hits every note precisely where the older versions were unblem­ and that takes a great knowledge of finger­ ished, the many_moments of brilliance and ing in combination with one's head. He true inspiration more than make up for sometimes plays too many sequential trans­ this, and there is the added spice of free­ positions and imitative motifs which make dom to do as he pleases. him sound like Bill Evans. His work on Essentially, Hines has remained him­ Sweet Georgia Bright is one of the really self. The most striking change is the much classic things you'll ever hear. He runs greater independence of the left hand. through so many periods and, at one point, There are also things here and there that does a fascinating neo-stride. Along with Hines has picked up from others-a Tatum only a handful of other pianists, he con­ run, a locked-hands pasage, a Bud Powell tinues to offset my balance which, to me, lick, a Garnerism. But all are synthesized is a mark of creativity. His Days and into pure Hines, with that remarkable Nights Waiting is by far the best melodic touch and dynamic range that no other line here. hands can duplicate. My criticism of Lloyd has always been The Milestone album contains an added that he sounds like so many other people. bonus in Hines' very first recorded per­ If you listen to this record from start to formances. dating from 1923. Exceedingly finish, you will hear mostly John Coltrane rare (and dubbed from originals in less but also Coleman Hawkins, Sonny Rollins, than mint condition) they offer a fascinat­ and (for the first time for me) Wayne ing glimpse of a 17-year-old on the thresh­ Shorter. But where in the hell is Charles old of genius. Lloyd? Not that the tradition in jazz of Four are vocal accompaniments, and learning from one's peers and predecessors Lois Deppe's singing, while showing a has not been positive. But hanging out, good voice, is mainly of historic interest being with, talking to, and even sounding ( the rolling r's, articulated consonants and like, should lead to being. Lloyd has not "proper" pronounciation are strictly on arrived at being yet, and it's too bad be­ the 19th century salon tradition). But cause he is an exceptional musician. (And Hines' solo flashes are delightful, showing that is not a dichotomy!) lust look at the expression how well he had mastered the essentials In a recent conversation I had with 011 Eric's face and you will of the Eubie Blake-Lucky Roberts-James Clifford Thorton, he related his experience P. Johnson school (one of Johnson's fa­ in playing with Sun Ra: How Sun Ra was know how he feels about vorite licks shows up several times). always telling him to "unlearn, unlearn" The band side, Congaine, is rhythmically and "don't play anything familiar". What his new Ovation. spirited but corny (the saxophone work is a tremendous discipline that must be­ quaint indeed), but when Hines comes in and also a tremendous challenge. On this It's got the NEW sound; for his solo chorus, the scene changes. album, Llody makes attempts at playing Not since Louis Armstrong's 1957 re­ free but he's too committed to the circle the ROUND sound. makes of past landmarks has a jazz musi­ of fifths. His attempts sound contrived. cian produced such startling evidence in It's i11 with the people There seems to be an overwhelming need support of the too often overlooked fact to hold on to the familiar, to those things who ... dig the best. that this music is not a neat series of his­ which feel comfortable. Freedomland is a torical progressions but a creative con­ hard thing to reach, but one you get there, tinuum. The music Earl Hines has here­ you're there, and that's it! yesterday and today-is music for the Bassist McClure is more than adequate. ages. -Morgenstern This is by far the best thing I have NEW HARTFORD, CONNECTICUT 06067 heard from Lloyd. -Cole NAME AGE CHARLES LLOYD ADDRESS CHAR.LES LLOYD IN THE SOVIET UNION WILLIE SMITH -Atlantic SD 1571: Days and Nights Waiting· CITY Ste.eel Georgia Bright; Love Song to a Bab/ THE BEST OF WILLIE SMITH-GNP Cre­ Trrba/ Dance. ' scendo GNPS 2055: Uptown Blues; I'm Old Personn_el: Lloyd, tenor saxophone. flute; Keith Fashioned; Idaho· I Remember You; Never On STATE ZIP Jarrett; piano; Ron McClure, bass; Jack DeJohn­ Friday; Who Cad I Turn To; Willie's Blues • .. ctce, drums. Personnel: Smith alto saxophone (all tracksJ, NAME OF YOUR FAVORITE MUSIC STORE Rating: * * * * ½ Bill Perkins, tenor 'saxophone (tracks 1-3) : '.fom­ my Gumina, accordion ( tracks 4-7); 11!"m~ This album was taped during the 1967 Rowles (tracks 1-3) or Johnny Guarnieri. piano; STORE ADDRESS AND CITY Tallinn International Jazz Festival in Irving Ashby, guitar (tracks 4-7); Max Bennet (tracks 1-3) or Paul Ruhland, bass; Stan Levey, Estonia. This was the 14th year of the drums. festival, but the first time Americans were Rating:***½ 26 □ DOWN BEAT e of the three greatest altoists of 0 !hrust of the improvisation always remains ~c ·azz (alongside Johnny Hodges c1 asSI 1 S . h d' d . M h m balance and progressive from trio in­ d Benny Carter), mil 1e m arc , trospection through cooking, and only ~~67_s 0 me 18 months after this music r~aches volume bombast after a logical The Best recorded. Unfortunately, he was al­ nse to that tension. Elsewhere the several wa~y an ill man, and thus the album's rea . h origin~! songs ( especially the witty While title is a misn?me~-one ears a grea 1 Growmg My Hair and / Will Be Ab­ sician past his pnme. sorbed) showcase the obvious discipline of Of mi~evertheless, it is good that the album, the players, with intricate rhythms and I bor of Jove by Harry Lim (who over harmonies, control enough to be both \ ayears bas produced so much fine music 1 tight and spontaneous, and particularly a e records) has finally seen the light of Ornette sens~ of musical structure often quite on for it has his expert touch and is day, . foreign to pop music-the perfect quasi­ well worth hearing. rock LP for jazz freaks afraid, and justly The supporting cast is n_o!only excellent, so, of Top-40. Coleman but also consists of musicians too rarely Bread, 011 The Waters (Elektra EKS- heard on record these days. Rowles and 74076): That characteristic union of lush G arnieri are superb, both as accompan­ textures and poppy beats which defiies the . tu and soloists; Perkins' warm tenor lsOn is s d L . 'II best Top-40 ballads defines this second work is good to hear, an . evey 1_sst1 a Bread LP, an album most hard-rock freaks boss timekeeper. Ashby 1s a delight, as may overlook as it offers neither maniac ood as ever. Due to the peculiar character g G . , intensity nor much charisma. only soft Atlantie of his instrument, umma s presence may pop diversion. The languid hit single ot be to every listener's liking, but he Make It ll'ith You fairly represents the ~lends very well with Smith in ensembles more quiet mood songs, while the band while his solo work, especially when he Reeords chops more bouncy uptempo: a curious plays horn-like lines, is musical and taste- and perhaps overall unstellar record, but ful. at least bubblegum gone good for once. Tasteful, in fact, is the word for this Ringo Starr, Beaucoups Of Blues (Apple relaxed, easy-swinging music. If _Smi~h's SMAS-3368): Just as his first solo date em­ V characteristically slashing strength 1s nms­ ployed the best arrangers. the second Starr ing, he compensates with expertly turned date also features the best of the Nash­ OrneueColeman 'lfteci\11 of 'lfte'lmprovisers phrasing, and it is interesting to hear how ville studios, and as before, the result is he conserves his strength and uses ( again nonetheless abominably bland.
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