Thad Jones - The Magnificent Thad Jones

Thad Jones The Magnificent Thad Jones (Blue Note 1956)

Hackensack magic on The Magnificent Thad Jones, the trumpeter’s most celebrated early career outing.

Thad Jones - The Magnificent Thad Jones

Personnel

Thad Jones (trumpet), Billy Mitchell (tenor saxophone), Barry Harris (piano), Percy Heath (bass), Max Roach (drums)

Recorded

on July 9 & 14, 1956 at Van Gelder Studio, Hackensack, New Jersey

Released

as BLP 1527 in 1956

Track listing

Side A:
April In Paris
Billie-Doo
If I Love Again
Side B:
If Someone Had Told Me
Thedia


The year 1956, hard bop has been gathering substantial steam for a few years now. The Magnificent Thad Jones is on some level affected also by the fresh extensions of modern jazz that Horace Silver, Miles Davis, Lou Donaldson and Art Blakey introduced. The album’s harmonic textures run along bop’s course, it includes bop-inflected phrasing, particularly by tenor saxophonist Billy Mitchell and pianist Barry Harris. However, the stress is on bouncy mid-tempos typical for hard bop instead of fast, familiar bop tempos, the mood is relaxed but vivacious and Jones introduces clever writing with one of two original compositions, the blues-based Billy-Boo and, especially, Thedia. Two seldom played standards, Murray/Oakland’s If I Love Again and DeRose/Tobias’ If Someone Had Told Me, alternate with the well-known, beautiful melody, April In Paris.

It is often said that talented musicians that hailed from the same city and have come to try and conquer the jazz capital of the world, New York, often had a special rapport as a result of their mutual background. Perhaps it is still like that today. Assisted by Percy Heath from Philadelphia and Max Roach from New York, the three remaining Detroit-raised guys, Harris, Mitchell and the leader, Thad Jones, indeed gel particularly well. Harris, by then already a long-time devoted bop pianist with an encyclopedian knowledge of Monk, Powell and standard melodies, and a mentor to John Coltrane, Charles McPherson, among others, is the personification of glue, his resonant harmonies and concise tales provide refined support and sparkle. Max Roach, VIP bop veteran, incubator of the finest hard bop with Clifford Brown, balances fervent and delicate swing. His alert, melodic ear is virtually unparalleled. During the ensembles, the full, punchy sound of tenor saxophonist Billy Mitchell blends well with the happy-blues-sounds of Jones, and Mitchell regularly chimes in with short, resonant, smoky statements.

To get you into this place where time stands still. Not a place that’s safe from the outside troubles, but perhaps instead a state wherein you chew on them, let them heat like hotcakes on a stove, live through them, to come out of them somehow cleansed. If that is the purpose of good jazz, April In Paris, the opening track of Thad Jones’ The Magnificent Thad Jones, is a winner. And winner takes all. There’s a loping gait to the standard of Vernon Duke and Edgar Harburg that’s exquisite, courtesy of the precise flow of bassist Percy Heath, the lush backing of pianist Barry Harris and the conversational coloring of Roach, who drives this band home with sensitive hi-hat and crystalline ride cymbal drumming.

And courtesy definitely of Thad Jones. If a diamond could blow, it would probably sound like Thad Jones on his second album for the Blue Note label. Moreover, the moving story of the trumpeter and future bandleader of the renowned Thad Jones/Mel Lewis Orchestra is a poignant amalgam of ideas strung together from series of keenly divided notes, the silence between them functioning as the apex of improvisational flow and coherence. It’s a story that runs over several choruses, and Jones keeps it simultaneously relaxed and intense, on a constant high level. His solo of Thedia, a beautiful, boppish, elongated line is longer still and an example of taste and sustained energy.

There’s something special about the trumpet sounds that Van Gelder recorded in Hackensack, New Jersey. Jones has become one of those angels blowing from the upper celestial plateau, the tone full and sensual like a female body on a Rubens painting, juicy like the flesh of the blissful orange, a perfect blend of sweet and sour. Yes, Charles Mingus said that Rudy van Gelder messed up everybody’s sound, depersonalized it through his innovative but all too strict methods. It’s a valid statement. But did Mingus mean it? This comes from a bandleader who told every sax player he worked with not to play like Charlie Parker. Yet Charles McPherson, a singular player yet more firmly steeped in the Parker tradition than most of his colleagues, played longer than anybody in the Mingus band except for drummer Danny Richmond. Regardless, the sound of ‘RVG horns’ and in this case, Thad Jones, is fantastic. The overall production is bliss. The execution, focus and mellow drive of the quintet are exceptional. The Magnificent Thad Jones is a perennial favorite for lovers of classic mainstream jazz and will undoubtedly attract newcomers for years to come.

McCoy Tyner - Today And Tomorrow

McCoy Tyner Today And Tomorrow (Impulse 1964)

McCoy Tyner picked Brother Elvin and a bunch of interesting, first-class colleagues for his fourth album as a leader, Today And Tomorrow, arguably his most varied Impulse recording.

McCoy Tyner - Today And Tomorrow

Personnel

McCoy Tyner (piano), Thad Jones (trumpet A1, A3, B2), John Gilmore (tenor saxophone A1, A3, B2), Frank Strozier (alto saxophone A1, A3, B2), Butch Warren (bass A1, A3, B2), Jimmy Garrison (A2, B1, B3), Elvin Jones (drums A1, A3, B2), Albert Heath (drums A2, B1, B3)

Recorded

on June 3, 1963 (A2, B1, B3) and Februari 4, 1964 (A1, A3, B2) at Van Gelder Studio, Englewood Cliffs, New Jersey

Released

as Impulse A-63 in 1964

Track listing

Side A:
Contemporary Focus
Night In Tunesia
T ‘N’ A Blues
Side B:
Autumn Leaves
Three Flowers
When Sunny Gets Blue


Perhaps The Real McCoy is pianist McCoy Tyner’s greatest achievement as a leader. The Blue Note album, released in 1967, certainly is a perennial favorite for many fans and musicians alike. On a series of inventive and ‘meaningfully simple’ modal pieces, Tyner’s whirlwind style was totally synced with the interaction between Joe Henderson, Ron Carter and Elvin Jones. The album’s emotional directness goes straight to the gut. It’s got that something. However, the discography of Tyner is filled with hi-level gems. For all their boisterous dips into scales and dynamic voicings, most of them in fact have a conservative touch, as if the pianist took a breather from the intense wrestling match with Coltrane, whose famous quartet Tyner was part of from 1960 to 1965. Titles like Plays Ellington and Nights Of Ballads And Blues offer evident clues. Obviously, Today And Tomorrow, Tyner’s fourth album on Impulse, also finds Tyner realizing his indebtedness to the tradition. At the same time, the pianist revels in his ongoing search for new lands.

The album is divided between tunes with a trio and sextet line-up. The trio includes drummer Albert Heath, the sextet Elvin Jones, his friend from the Coltrane group. Tyner and Jones lock tight, the interaction of Tyner’s hefty voicings and the pushing-and-pulling rhythm of Jones on the modal blast Contemporay Focus is unbelievable. Contemporary Focus comes close to the energy of, say, Coltrane’s Crescent or Art Blakey’s Free For All. How’s that for spirit? The sidemen on Contemporary Focus, T ‘N’ A Blues and Three Flowers, the latter a beautiful melody that dances like a surfer on the waves of Butch Warren’s waltz figure and the contrasting polyrhythm of Elvin Jones, are Thad Jones, John Gilmore and Frank Strozier. Differing textures mingle, each one, Thad Jones’ snappy, balanced trumpet playing, John Gilmore’s soothing and refreshing mix of blues and space oddities, and Frank Strozier’s fervent twists and turns on the alto, equally distinct.

Whether in small or larger ensembles, McCoy is McCoy, all colorful strokes like Van Gogh high on absinthe. Underlined by a dense chordal labyrinth, his rather otherworldly technique creates patterns resembling the running of water, his right hand lines high on the keyboard flowing like cool water that splashes and gurgles its way through the narrow channels of a rocky river, and develops into cascading waterfalls before you can say ‘awesome’. Too much? Can’t breathe? Not taking away anything from Tyner’s unmatched gift, I can imagine. It may just be me. Regardless, there’s a balance of flamboyance and romance in McCoy Tyner’s playing that will intrigue listeners till kingdom come.

Of the trio recordings, Night In Tunesia stands out. Albert Heath’s brush playing is meaty, swift, rivaling the unforgettable mastery that Elvin Jones regularly displayed, notably on Tommy Flanagan’s Overseas. You can see Tootie sitting behind the kit, body erect, arms slightly moving along with the swift wrist that is doing the job so expertly. Today And Tomorrow is a masterclass in musical excellence, intense stuff. A rather indistinct title but a major league McCoy Tyner album.