Clifford Jordan was a fine inside/outside player who somehow held his own with Eric Dolphy in the 1964 Charles Mingus Sextet. Jordan had his own sound on tenor almost from the start. He gigged around Chicago with Max Roach, Sonny Stitt, and some R&B groups before moving to New York in 1957. Jordan immediately made a strong impression, leading three albums for Blue Note (including a meeting with fellow tenor John Gilmore) and touring with Horace Silver (1957-1958), J.J. Johnson (1959-1960), Kenny Dorham (1961-1962), and Max Roach (1962-1964). After performing in Europe with Mingus and Dolphy, Jordan worked mostly as a leader but tended to be overlooked since he was not overly influential or a pacesetter in the avant-garde. A reliable player, Clifford Jordan toured Europe several times, was in a quartet headed by Cedar Walton in 1974-1975, and during his last years, led a big band. He recorded as a leader for Blue Note, Riverside, Jazzland, Atlantic (a little-known album of Leadbelly tunes), Vortex, Strata-East, Muse, SteepleChase, Criss Cross, Bee Hive, DIW, Milestone, and Mapleshade.
Glass Bead Games - Clifford Jordan
Powerful Paul Robeson The Glass Bead Games Prayer To The People Cal Massey John Coltrane Eddie Harris Biskit Shoulders Bridgework Maimoun Alias Buster Henry One For Amos
1 Pithecanthropus Erectus 10:33 2 A Foggy Day 7:47 (George Gershwin) 3 Love Chant 14:56 4 Profile Of Jackie 3:07 5 Laura 4:52 (David Raskin) 6 When Your Lover Has Gone 2:27 (Einar Aaron Swan) 7 Just One Of Those Things 6:06 (Cole Porter) 8 Blue Greens 11:42 (Teddy Charles)
Disc 2 TT 56:21
1 The Clown 12:29 2 Passions Of A Woman Loved 9:43 3 Blue Cee 7:48 4 Tonight At Noon 5:58 5 Reincarnation Of A Lovebird 8:31 6 Haitian Fight Song 11:57
Disc 3 TT 70:20
1 E's Flat Ah's Flat Too 6:37 2 My Jelly Roll Sou 6:47 3 Tensions 6:27 4 Moanin '7:57 5 Cryin 'Blues 4:58 6 Wednesday Night Prayer Meeting 5:42 7 E's Flat Ah's Flat Too (Alternate Take) 7:16 8 My Jelly Roll Soul (Alternate Take) 11:51 9 Tensions (Alternate Take) 5:30 10 Wednesday Night Prayer Meeting (Alternate Take) 6:56
Disc 4 TT 71:40
1 Prayer For Passive Resistance 8:06 2 Wednesday Night Prayer Meeting 11:54 3 Folk Forms I 11:08 4 What Love? 13:34 5 I'll Remember April 13:39 (DePaul, Johnston, Raye)
Disc 5 TT 67:34
1 Devil Woman 9:38 2 Ecclusiastics 6:55 3 "Old" Blues For Walt's Torin 8:59 4 Peggy's Blue Skylight 9:42 5 Hog Callin 'Blues 7:26 6 Oh Lord Don't Let Them Drop That Atomic Bomb On Me 5:38 7 Passions Of A Man 4:52 8 Wham Bam Thank You Ma'am 4:41 9 Invisible Lady 4:49 10 Eat That Chicken 4:36
Disc 6 TT app. 75:00
1 Charles Mingus interviewed by Nesuhi Ertegun 75:00
All compositions by Charles Mingus unless otherwise noted
Disc 1, 1-5:
Charles Mingus - bass Jackie McLean - alto sax J.R. Monterose - tenor sax Mal Waldron - piano Willie Jones - drums
Disc 1, 5-8:
Teddy Charles - vibes Hall Overton - piano Charles Mingus - bass Ed Shaughnessy - drums
Charles Mingus - bass Shafi Hadi (Curtis Porter) - tenor sax Jimmy Knepper - trombone Wade Legge - piano Dannie Richmond - drums Jean Shepherd - improvised narration on 'The Clown'
Charles Mingus - bass John Handy - alto sax Jackie McLean - alto sax Booker Ervin-tenor sax Pepper Adams - baritone sax Willie Dennis - trombone Jimmy Knepper - trombone Horace Parlan - piano (except 1 and 7) Mal Waldron - piano (on 1 and 7)
Charles Mingus - bass, piano (on 2,3) Eric Dolphy - alto sax, bass clarinet (on 5) Booker Ervin - tenor sax (on 1-5) Ted Curson - trumpet Bud Powell - piano (on 6)
Disc 1, 1-5 January 30, 1956 Audio-Video Studios, New York City Disc 1, 5-8 November 12, 1956 New York City Disc 2, 1 February 13, 1957 Audio-Video Studios, New York City Disc 2: 2-6 March 12, 1957 Atlantic Studios, New York City Disc 3 February 4, 1959 Atlantic Studios, New York City Disc 4 July 13, 1960 Antibes Jazz Festival, Juan-les-Pins, France Disc 5 November 6, 1961 Atlantic Studios, New York City Disc 6 late 1961/early 1962 Nesuhi Ertegun's office, Atlantic Records, New York City
Live at Le Chat Qui Pêche, Paris, France, June 11, 1964. Released March 1, 1993.
Of the four tracks on this final Dolphy concert, only one, the 19-minute Springtime appears to have never been recorded for release. It starts off promisingly with Dolphy ululating on the clarinet. Visions of free jazz appear but soon the composition begins its middle-eastern tempo. It’s the empty desert at midnight and Dolphy’s clarinet wails uncomfortably but his trumpeter and saxophonist continue to stay with tradition giving Springtime its BeBop style.
Had Dolphy more time, perhaps he could have explained his new ideas. Both Donald Byrd and Nathan Davis actually make this music accessible and easy to listen to. They fill in the melody that Dolphy disregarded. The language of discomfort never connects because the pair are busy making everything sound harmonious. They were not alone in misunderstanding Dolphy.
Wikipedia has this comment from John Coltrane: “Although Coltrane’s quintets with Dolphy (including the Village Vanguard and Africa/Brass sessions) are now legendary, they provoked Down Beat magazine to brand Coltrane and Dolphy’s music as ‘anti-jazz’. Coltrane later said of this criticism: ‘they made it appear that we didn’t even know the first thing about music (…) it hurt me to see [Dolphy] get hurt in this thing’.”
The rest of the show contains Dolphy’s earlier compositions from 1960, all very traditional. These “last sessions” have been released several times before in Europe unofficially. They became widespread when CD bootlegs arrived.
01. Springtime 02. 2.45 03. GW 04. Serene
Personnel: Eric Dolphy (as, bcl) Donald Byrd (tr) Nathan Davis (ts) Jack Diéval (pno) Jacques Hess (bass) Franco Manzecchi (dr) Jacky Bambou (congas on 2, 3)
Ornette Coleman (alto sax) Don Cherry (trumpet) Paul Bley (piano) Charlie Haden (bass) Billy Higgins (drums)
Recorded: Los Angeles, CA, October 1958
Recorded during a club gig several months after the sessions for his first commercial recording as a leader (Something Else! on Contemporary Records), this track is a fascinating historical document of Coleman's experiments in stretching the parameters of conventional bebop-based jazz performance. It proves that in the case of Ornette, the origins of so-called free jazz represented more of an evolution than a revolution.
The group is the classic Coleman Quartet plus pianist Paul Bley, and here they explore a Charlie Parker line based on "Perdido" changes. They faithfully include Parker's original intro and tag, and though the horns play a wrong note in the second bar of the A sections, they play it with conviction and repeat it each time. Ornette's solo here should put to rest for good the accusations that he (a) discarded chord changes completely, and (b) couldn't play changes anyway. A striking feature of his solo is how much of Bird's language he used and how well he understood it. It reminds me of the parallel experience of noticing how much verbatim Lester Young was contained in Parker's early work.
Since this was obviously a bootleg recording done on less than ideal equipment, the sound leaves something to be desired, especially as it affects the piano, obviously not a vintage Steinway to begin with. Bley contributes an energetic solo that includes some angular a cappella passages, but it would have been interesting to hear his comping more clearly, as he has always been a player who can exert an enormous amount of harmonic and rhythmic influence over any group he plays in.
1.Klactoveesedstene 2.I Remember Harlem 3.Blessing, The 4.Free
"Music is your own experience, your own thoughts, your wisdom. If you don't live it, it won't come out your horn. They teach you there's a boundary line to music. But, man, there's no boundary line to art." - CHARLIE PARKER