avant garde with the JCOA), and so I working of Good Golly Miss Molly with Halcyon 101: My Monday Date; Off Time Just Too Soon; Chimes In Blues; Chica Bzu,,, regret that he has so often proven dull for a soup9on of Jailhouse Rock), Rain, which Life; Blues In _Thirds[ Stowaway; Panth!,° Dlligh me. Perhaps he lacks the chops (but I is effective medium-tempo melancholia, Personnel: Hmes, piano. '"'g, doubt it) or the passion. Whatever, I parts of Ramble (though for my taste it's Rating: * * * * * cannot honestly convince myself why I maybe a minute or so too long), and The neatly simultaneous reissue of If cannot "get into" his music, and sincerely Back Door, in which Fogerty demonstrates fabeled 1928 solo piano performances ines• presume the fault is my own. that he's the only vocalist since Buddy release of his 1970 reinvestigation of id Otherwise, the tunes on Spaces are most­ Holly who can get away with singing, same material offers a unique perspe t' e ly improvisatory sketches or mood pieces "Oh, boy" convincingly. on one of the greatest pianists in jazz c lVe The 1928 solos rank with the gr~ t ( Gloria's Step by Scott La Faro, Rene's However. It seems a time of searching st Theme by Rene Thomas, the others by for many bands, and CCR is looking for achievements of that rich decade, toge~h Larry or Julie Coryell), all especially new material and, as their recent pub­ with the four solos recorded for Columb:r graced by the rhythmic constancy of Cob­ licity extravaganza demonstrates, a wider later that year. The eight reissued h ia ham and Vitous, with the latter contribut­ audience, or more critical approval, or were made for the QRS label and receiere ing several lyrical solo and lead moments. something. only very limited distribution at first (t~ed Unfortunately, the ensembles generally Consequently, the newest album tries to were subsequently reissued on 78 by }f~ tend toward monotony as both McLaugh­ be experimental, but isn't. (Awakening is and on 10" LP by Atlantic-in both ca with better sound quality than the M:s lin and Coryell become consistently !icky an instrumental featuring mostly organ: stone). e- (all those bubbly finger runs) and appear Jots of distortion and free playing, speeded­ more as if always feeling each other out up versions of My Country 'Tis of Thee. Hines, then not quite 23, was the fl rather than urging each other forward; but It's very boring.) It tries for a new sound, important pianist to break with the r:~ again, the listening involvement is sadly with Fogerty multi-tracked on saxes and time and Harlem stride traditions an~ lost trying to grasp the somehow retarded organ and guitar, but succeeds only in establish a new language for jazz piano or at least static musical propulsion. adding eminently predictable backup sounds He _based his style ~n the linear playin~ of Jazz horns, due 10 part to his ear] And so I can hear this album and I to recognizable CCR material. Fogerty's training on trumpet, his youthful admiri. 1 can enjoy the tasty sounds throughout, but ego seems finally to have broken loose tion for trumpeter Joe Smith, and his en. dynamic electric music it is not, and once from the group ethos; he's trying so hard counter, in 1926, and subsequent playing more I must despair of my inability to con­ to prove something that he appears to experience with Louis Armstrong. Fitting. clude precisely where Larry Coryell hits. have forgotten that the music is where -Bourne it is. ly, Hugues Panassie labeled it "trumpet. i style piano." .··• As a concomitant, for the first time, However, Hines had already mastered· there isn't one track that makes a new and the earlier styles, and utilized elements of , CREEDENCE CLEARWATER joyful noise. Oh, Rain will sell a trillion, just like their last 79 singles, and most of them to fashion his new approach. Hisl 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: Ramble bers Susie Q, I Put A Spell On You, Proud Tamble; Before You Accuse M'e; Travelin' combined with a rich musical imaginatio~; Band; Ooby Dooby; Lookin' Out My Back Door; Mary, Born On The Bayou, Bad Moon and highly developed sense of contrast Run Through The Jungle; Up Around The Rising, Lodi, Fortunate Son, Don't Look Bend; My Baby Left Me; Who'll Stop The Rain; and drama made his impact on the instru­ I Heard It Through The Grapevine; Long As I Now, among others, Pendulum is pretty ment's future role in jazz decisive. Can See The Light, pale. Personnel: John Fogerty, lead guitar, lead vo• Forty-two years later, these revolution­ cals; Tom Fogerty, rhythm guitar; Stu Cook, Some good times. After a first section in ary solos still sound fresh and vital, and electric bass; Doug Clifford, drums. a very dull straight four, Pagan opens up are often startling in their rhythmic free­ Rating: * * * * rhythmically and Fogerty begins to cut dom and sudden flights of fancy. How PENDULUM-Fantasy 8410: Pagan Baby; Sail­ loose on guitar. Move is the best tune on they must have struck the tradition-bound or's Lament: Chameleon; Have You Ever Seen the album, employing varying tempos and The Rain; Hideaway; Born To Move; Hey To­ ears of his contemporaries is difficultto night; It's Just A Thought; Molina; Rude Fogerty's only interesting organ work­ imagine! Awakening #2. which, however, is heavily indebted to Personnel: Same as above, except John Fogerty Perhaps the most beautiful of the pieces also plays organ, piano and saxophones. early-middle Ray Charles. (You want to ( all Hines originals, some of them based Rating:*** really hear cliches? Dig on his rock 'n' roll on, standard patterns) is Blues In Thirds, Cosmo's Factory sounds just like the tenor garbage on Molina, another Little with its lovely melody and relaxed, re­ previous four CCR albums. It's terrific: its Richard spinoff-roughly Tutti Frutti at a flective mood. Monday Date, a perform· rewards are the satisfactions of returning slower tempo.) The second best cut is ance charged with vitality, and Panther to a meaningful and worthwhile ritual Thought, a minor melody that manages to Rag, an near surrealistic romp through amid the empty rituals other bands re­ be both pretty and vaguely troubling (same Tiger Rag procedures, are also standouts, create out of desperation or fiscal am­ effect as Lodi, though the songs 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 sustained group did a very analogous tune a while Some returns to earlier form: Ramble throughout. . W and Grapevine are long cuts with plenty back. I think it was called Who'll Stop Reinvestigating these youthful achieve­ guitar space, like Susie Q. The latter is The Rain. ments 42 years later, Hines brings to theDl out of sight-soul cum misterioso. Fo­ Well, talent will out, as a rule. Unless a lifetime of musical experience and ~ gerty's vocal hits the falsetto phrases right ego gets in the way. Ask Big Brother, or pair of hands even nimbler at 64 than ad on, every time. His second guitar spot be­ Electric Flag, or McCartney. One hopes 23. Though he consistently has surround ~ gins with some incredibly beautiful warp­ Fogerty won't finally deserve inclusion in himself at every opportunity with. ba~ ing, and climaxes with a relentless, sym­ the Jong list suggested by the names above. big and small, with vocalists, and with. metrical chord series that keep screaming -Heinema,n trappings of showmanship so dear to h~ q to be broken off into single-line runs. No Hines is and was at his greatest ~henWJl way. Fogerty keeps sticking them damn works with just a piano and bis 0 understated chords to you till you'd like EARL HINES boundless imagination. ria!l to bust. Thus we must be grateful to Ma for That's the really fine thing about CCR's A MONDAY DATE: 1928-Milestone MLP McPartland, who produced the _date,and 2012: A Monday Date; Chicago High Life; Stow­ first five sessions, incidentally. You can away; Chimes In Blues; Dear Old Southland; coming up with this brilliant id: that run through the jungle as much as you Motherless Child; Panther Rag; Just Too Soon; realizing it. There can be no dou Blues In Thirds; Off Time Blues; Isabel; For The the want without finding a single moment Last Time Call Me Sweetheart; Congaine. Hines enjoyed the task hugely-:am:g past when the integrity of the material is sac­ Personnel : Hines, piano ( all tracks) ; on tracks many solo albums he has cut in t d 5, 6, 11, 12, add Lois Deppe, vocals; track 13: with rificed to melodrama, histrionics, or ego. Deppe's Serenaders: unknown personnel including seven years, none seems as charge Control, logic, and-above all-natural­ Vance Dixon, saxophone. enthusiasm and spirit. , (!is· ness. Rating:***** The album abounds with sta~gennJ th'. You'll also dig Travelin' Band (a re- QUINTESSENTIAL RECORDING SESSION- plays of virtuosity. At times, 1ndee'

24 □ DOWN BEAT music threatens to overflow boundaries of invited to perform. (That's what th . · form and development and spill over into notes say!) e unrestrained excess, but whenever this is Make no mistake, this is an ex. · about to happen, Hines pulls in the reins album. I'm sure that people who b Cel)ellt and returns to the structure of the piece, albums, and especially those whouy Ja~ · only to take off again. lean slightly toward free music ~;l eat\ ' Since the 1928 solos were restricted to preciate this one. All of the r:erf 1 ap. the 3 minutes-plus limit of 78 recording, involved play brilliantly. All of theormers they have more consistent formal structure. dies are distinctive although Tribal ;;ielo. In that sense, and that sense only, they are sounds very much like something a11ce superior, each seems to stand as the last Coltrane wrote. DeJ ohnette's acco Joh~ word on its theme. ment is right on the button, almC:~lll­ The contemporary versions, on the other peccable. He sets a good fire under un. hand, though not as well thought out or both Lloyd and Jarrett. nea(h rounded off, enable the pianist to stretch Jarrett has become a consistently . his powers to, the limit-and they are awe­ f ymg... piamst. Hh e as a marvelous satis t · some powers. If, at times, there are lapses niqu~ an.d one can !e.el th~ confidenc:c~. of taste ( the introduction of a superficial • has m his own mus1crnnsh1p if one 11 t e riff here, of a run for run's sake there) to h 1s. touc h . H e h' its every note precisens where the older versions were unblem­ and that takes a great knowledge of finse 1¥ ished, the many moments of brilliance and ing in combination with one's head ger. true inspiration more than make up for sometimes plays too many sequential t~alk this, and there is the added spice of free­ P?sitions and_ imit~tive motifs which tna~ dom to do as he pleases. him sound hke Bill Evans. His work Essentially, Hines has remained him­ Sweet Georgia Bright is one of the re~ 11 self. The most striking change is the much classic things you'll ever hear. He ru y greater independence of the left hand. through so many periods and, at one poi: 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 Colt;ane 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 ou~ 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!) Just look at the expression how well he had mastered the essentials In a recent conversation I had with . on 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". Whal 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 contrive~ cian produced such startling evidence in There seems to be an overwhelming nee It's in with the people support of the too often overlooked fact to hold on to the familiar, to those th!ngs who . . . dig the best. that this music is not a neat series of his­ which feel comfortable. Freedomland 15 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 itl SEND COUPON NOW FOR FREE CATALOG ------yesterday and today-is music for the Bassist McClure is more than adequa!t ages. -Morgenstern This is by far the best thing ~; •• IISTKUMEl'n DB NEyt HARTFORD, CONNECTICUT 06067 heard from Lloyd. '

NAME AGE CHARLES LLOYD AQDRESS CHARLES LLOYD IN THE SOVIET UNION WILLIE SMITH __-:' -Atlantic SD 1571: Days and Nights Waiting; Sweet Georgia Bright; Love Song to a Baby; THE BEST OF WILLIE SMITll-G~P