Fred Katz: Folk Songs For Far Out Folk

1958's Folk Songs For Far Out Folk is an interesting detour for the visionary artist. Long treasured as an obscure gem by lounge music aficionados, it is easy to hear why this session is so well regarded. Even though Katz himself doesn't play on the record, it does feature his distinctive outsider sensibility.

Exploring folk music from three different cultures, American, Jewish and African, Katz assembled a different band to tackle each ethnicity. Flowing like a quality compilation of period exotica, the overall mood of the session is cohesive, rather than schizophrenic, even though the tonalities and rhythms change frequently.

Despite his radical Leftist politics, Katz's intricate adaptations of African folk songs are more akin to the moody exotica of Martin Denny and Les Baxter than the vitriol of Max Roach and Archie Shepp. Nonetheless, these cinematic hybrids of percolating percussion and mellifluous brass are joyous to behold in their contrapuntal glory. The two Hassidic inclusions fall into the sober, reflective side of the tradition, rich with counterpoint and neo-classical ambition, not the hyperkinetic strains of Klezmer prevalent today. The bulk of the album consists of intriguing arrangements of American folk songs, often delivered with a brisk bop lilt worthy of Herb Ellis or Lionel Hampton.

The mixed ensemble is a surprising combination of A-list artists. The American sessions feature pianist Johnny T. Williams (aka, John Williams, famous Hollywood film composer) and fleet fingered guitarist Billy Bean, while the Hebrew set adds the supple reeds of Buddy Collette and Paul Horn. The African tunes combine the bongo wizardry of Jack Costanzo (Stan Kenton) and the brassy fanfare of trumpeters Pete Candoli (Woody Herman, Stan Kenton) and Irving Goodman (Benny's brother).

An immensely enjoyable set, Folk Songs For Far Out Folk isn't as esoteric as its title might indicate, nor does it sound quaint and dated. A potent reminder of a time when anything seemed possible and the future was just around the corner, this album stands as proof that Katz was well ahead of his time.

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