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Morgenstern, Dan. [Record Review: Barry Miles: Barry Miles] Down Beat

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Morgenstern, Dan. [Record Review: Barry Miles: Barry Miles] Down Beat supplements the originals, but it does not jazz musicians, and among free performers second part, followed by the band vocal supplant them. In fact, particularly in the only by John Coltrane. If you can't find ("Sing a song of Jupiter"). After a brief case of the Concerto, your enjoyment of the great majority of them, it's because ensemble, an altoist begins with trills and the present version will be enhanced by they're issued by the mysterious, elusive plays a good solo over varyfog accornpani• hearing David Oistrakh's performance on Saturn label. Saturn is located variously in meat. In open space, then, another alto Deut sche Gramopbon, and/o r the piano Chicago, Detroit, and even Minneapoli s; and the bassist ( apparently Boykins, though transcription (BWV 1054) as played by as many Sun Ra admirers have sadly the sleeve doesn't identify him) make Glenn Gould on Columbia . These are learned, that Chicago address on the unique sounds at each other, pausing for a three different ways of interpreting the Saturn sleeves is non-existent. Recor d bowed bass solo. Finally several horn s, led same music, and each has its validity and stores cannot order Saturn s-they must by the piano, enter individually, a melange own special qualities. -Klee wait for an irregularly-appearing salesman of tempos is suggested, a clarinet-like horn to bring what LPs be will. It's an inter­ plays over these, and suddenly the ending esting game, ·but also a shame, for a num­ simply cuts them off. This hardly indicates the variety of BARRY MILES ber of Saturn LPs are quite fine ones which should be far better known and more sounds, band effects, and rhythms that the BARRY MILES-Poppy PYS 40,009 : Hijac k; music includes. Here is the reason for Contrasts; Aural; Tak, Your Clotbts; Alon ,; readily available. Ne-w Deri vativts. They're well-produced and usually well­ Ra's eminence, for the clearly defined and Personnel: Lew Soloff, trumpet ; Lou Delgato , recorded-important considering that so segmented movements of band-soloist> Joel Kaye~ reeds; Miles , piano , electric piano ; Ja ck Wilkins, gu11ar; Rod King, bass ; Joe Cor• much New Music bas been shabbily pre­ rhythm section-background are truly u sello, drums; Ray Baretto, conga. sented. They start with Ra's 1957-58 hard original development of traditional bia Rating:*** bop band , and include a landmark in free band techniques. 11he maneuverable Very pleasant, well-crafted and well­ jazz, The Magic City (Saturn LPB-711- pects of Ra's method are first rhythm, played music in a mold that includes a at one time most Saturn s were catalogued then sound, then ensemble density; st variety of influences. Miles, who com­ as LPB or 711 or both). It is well worth ture, though, is the great force of Ra posed and arranged all the pieces, calls it the listener's effort to discover this music: communications. Perh aps it is a one-si "syncretic music". time may yet prove Ra one of the seminal music-the Jess tradition-minded Roscoe A former drum prodigy who long since modern thinkers. Mitchell has had greater success in invent• has concentrated on piano and composing , The LP presents the strictly musical ing free struc tures, though with smalllr Miles is a gifted and sincere musician, but features of the band-the science fiction­ groups-but good soloists and Ra's odll the album is curiously lacking in impact. electronics-colored lights-poetry-philosophy organization of material often make lhi Neat and gentle, the music flows prettily, features of Ra are elsewhere . Ra's big music attractive. marked throughout by certain favorite de­ band method is to present his players with Sun Ra has been an important enigma vices, such as shifts in rhythm and cyclical clearly-defined outlines of his music's for a decade and a half now, and his m · patterns. It's nice to listen to, but not a form. Within these they are required to must be heard-e ven with the bother lot more. improvise, though occasionally prepared tracking down these now-you-see-them· The horns do not solo. Effective use is band or section sequences appear. Sun Ra you-don't Saturn s. -Litw · made of reed doublings, yet the color is is the most featured performer , of course, rather monochromatic. Miles and guitar­ but the others are interesting individuals. ist Wilkins are the only soloists. The lead­ Amon g several fine woodwind players Mar­ ANDREW LLOYD WEBBER/ er certainly has chops, and his writing and shall Allen often stands out- he is one playing is tasteful. On Alone , a piano solo of the best modern altoists. Gilmore is a TIM RICE without accomp animent, be shows a liking sober, careful tenori st, Boykins a most JESUS CHR I ST SUPERSTAR-Decca D for the impressionist school- there are 7206: Overture; H eavm 0 11 1·b,ir Minds; II' able bassist, and the unidentified trumpete r the Buzz / Strang, Thing Mystifying ; Everyl : echoes of Ravel and De Falla as well as in Festival is extremely gifted: Ra has Alr ight; Thi, Jesus Musi Di,; H osanna; S of Hanco ck and Corea-but the piece Zealotu / Poor /trusalem ; Pilate 's Drta• ; chosen a fine band . T emple; Everytbing's Alright; I Don 't Know doesn't go anywhere; it's like an introduc­ His preference for a big-band medium To Love H im; Damn ed For All Tim,/ tion to something that never appears. Money; The Last Supper; Getbstman, (I derives mainly from his love for sound Wa111 To Say); Tbt Arrest; Ptttr 's Dtnial; The pretty Aural and the punchy N ew colors: actually, four to six players per­ and Christ; King H trod ' s Song; Judas' Derivatives are to me the most interesting form the short pieces on Continuation. Trial B efore Pilat e (Including th, 39 ensemble tracks; on the latter, Miles' elec­ Superstar; Crucifixion; John Nint/ttn : Fo The slow Blues has pleasant trombone and Personnel: Chris Mercer, tenor sax; Peter tric piano catches some fire, and the baritone solos. Research moves slowly son, keyboa rd s; Ne il Hubb ar d, Henry M ~hythm section drives. 11hroughout, Wilkins gu itars; Alan Spenner, bass; Bruce Rowland. throug,h space from low tones on a moan­ cuss ion; Murray Head, Ian Gillian , Yvonne is excellent, and it is likely that more will ing reed instrument to Ra's making treble man, Paul Raven, Vi ctor Brox, Brian Keith, be heard from him. His solos are the high Gus tafson, Barry Dennen , Annette Brox, organ chords over bass stabs on some­ Davi s, Mike d' Abo , pr inci pal singer / actors; spots of the LP. thing that sounds like an electric harpsi­ by Andrew Lloyd We bber; libretto by Tim I wis•b I could be more enthusiastic chord. Earth is a wooden flute improvising Rating:*** about this album. The music couldn't pos­ as free-spaced percussionists scratch, tin­ Inevitable compariso ns will be sibly offend anyone, and it is indicative of kle, and ring a cymbal. In New a flute between Jesus Christ Superstar and the current trend towards a new genre improvises over a 3/ 4 piano vamp while my, for both are heralded "rock without labels, including elements of jazz, an echo-chamber makes heavy reverbera­ and in that perspect ive are unique ev rock, and modern "classical" . The crafts­ 'tions. These are interesting, controlled, but but otherwise, both are also ove man ship is of high caliber. But overall, easy and simple pieces. with praise and somewhat unfulfilleil this is an appetizer rather than a meal. Festival is all of side 2. Afte r the open­ intent, which are observations likely -M orgenstern ing ensemble wail, pianist Ra plays a se­ to be widespread. For one granted h quence of uncharact eristically swinging the music of Tommy was at least fast chords. The following very long trum­ and exciting throughout, even though SUN RA pet solo is most fascinating for the man's plot was contrived-y et it was clear)J CO NTIN U ATION-S aturn 520: Bi osJ>btrt rhythmic -spatial brilliance and thoughtful energetic performance by The Who Blu ts; lnt,rga/ 4ctir R,starc b; Earth Primiti v, dynamics. He opens in space and then compensated for any lack of drama. Earth; N ,w Pla n, t; Continuation To Jupiter l'estival. plays, perfectly poised and personal, against But Jesus Christ Superstar mustbe Per sonnel : Ebah, Wayne Harri s, trumpets; Ali the rhythm's 4/ 4 vamp, brief band chords, nessed in production to be effective, Hassan, trombon e; Marshall Allen , alto saxo­ opera (which it is, which Tommy i phone , oboe , Jupi terian flute; Danny Thompson, and the vamp's return . His rhythms are alto saxophone, N eptunia n libfl ecto; Dann y Davis, determined entirel y by his linear needs, simply does not communicate on alto saxo phone; John Gilmore , teno r saxop hone; -unle ss one follows the libretto, Pat Patrick, baritone saxophon e; Robert Cummins, without refere nce to stated time or the bass clarinet; Ra, piano, space organ, galac rone band 's doings. Thus the solo is a freely­ soon becomes tiresome. Furthe space instrument; probably Ronni e Boykins , bass; moving lyric curve, a gentle movement music separate from visual illum' Bob Barry , drum s, lightning drums; Carl Nimrod, space drums; James Jacson, log drums. amo ng the band 's and rhythm sect-ion's revealed as mostly ordinary rock ' R ating:**** relative hardness; it's a beaut ifully suc­ with a touch of quasi-hip vaudevillc, By now Sun Ra ba s recorded at least cessful conception.
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