| Impulse! Reissue Series
By Douglas Payne
Since GRP Records inherited the historic Impulse! catalog from its mutual parent
company, MCA, in the early 90s, it has reversed years of shoddy issues and
reissues with the love and respect due a legacy once called "the new wave of jazz." GRP started off right by hiring veteran producer, historian and all-around jazz
messiah Michael Cuscuna to bring this important music to the CD generation.
Cuscuna, in addition to producing new jazz recordings, running his own label
(Mosaic) and supervising the American and Japanese jazz-reissue programs of
both the Blue Note and Columbia catalogs, has single-handedly restored the
glamour and class Impulse! strived toward – and, more important, has brought
back much of the music which made Impulse! such a significant force in jazz during
the 1960s.
All the discs covered here were recently issued or re-issued by Impulse! with
crystal-clear 20-bit mastering technology, in beautiful tri-fold "digipak" cardboard
packets featuring picture-packed booklets with original notes and subsequent
information (when applicable). Much of this music is priceless and worth owning.
And these new issues, endowed with an artistic and financial commitment by the
good folks at Impulse!, return a lot of the joy and excitement of purchasing and
listening to good jazz.
Sonny Stitt and Paul Gonsalves Salt and Pepper (Impulse IMPD-210): Sonny Stitt
(1924-82) was afforded many, many opportunities to record in a variety of settings
throughout his career. But Salt and Pepper is a clear stand out. This release pairs
the marvelous September 5, 1963, session of the same name (Impulse A(S)52) with
a non-Gonsalves Stitt recording from June 10, 1963, titled Now (Impulse A(S)43).
The five tracks of Salt and Pepper find the two tenor players dueling in top form
(though Stitt’s on alto for "Stardust"). And it’s fascinating to hear Stitt, who was
often teamed with Gene Ammons for tenor duels like this, and his Bird calls
sparring with Gonsalves’ always distinctive Ellingtonia. The two tenors are
accompanied by a first-flight rhythm section featuring the always resplendent
Hank Jones on piano, Milt Hinton on bass and Osie Johnson on drums. They
battle out such standards as "S’posin," "Perdido" and the remarkable "Stardust"
as well as the unusual choice of "Theme from Lord of the Flies." But the sparks fly
best on the leaders’ blues anthem, "Salt and Pepper," (one hopes the title has more
to do with the musical spices the two conjure than the more obvious "Ebony and
Ivory" association). A truly marvelous and swinging session. The disc is rounded
out with the eight tracks of Now, a solid if unremarkable album. Since the group
was more or less the same (less Gonsalves and Al Lucas in for Milt Hinton), it’s
naturally paired with the more exciting Stitt/Gonsalves session. But, on the whole,
Salt and Pepper is recommended to Stitt’s bop fans and, most especially, those
enamored of the glorious sound of Paul Gonsalves. (First time on American CD.
Features eight bonus tracks.)
Gabor Szabo The Sorcerer (Impulse IMPD-211): Gabor Szabo’s 1967-68 quintet,
featuring classically-trained guitarist Jimmy Stewart, was one of the iconoclastic
guitarist’s very best units. Live performances like this, recorded April 14 and 15,
1967, at Boston’s Jazz Workshop, document some of the exciting interplay the
group stirred during its brief existence. The quintet’s constants were the two
guitarists, Szabo’s childhood friend from Hungary, bassist Louis Kabok, and
percussionist Hal Gordon. The drummer’s chair, here filled by Marty Morell, was
bound to be different every night; filled at various times by West Coasters Jim
Keltner, Bill Goodwin, Dick Berk and others. The Sorcerer reveals how
successfully the group was combining jazz with rock (the utterly lightweight "The
Beat Goes On" and the Hendrix-like "Space"), bossa nova (Little Boat" and
"Corcovado") and exotica ("Mizrab"). The two guitarists are able to create and
envelope listeners in just about any mood they explore. It is most apparent in the
way they ignite the standards, "People" and "What Is This Thing Called Love."
This reissue is fleshed out with three excellent tracks from the same concert that
were originally included on the LP More Sorcery (Impulse A(S)9167) -- the
hypnotic "Los Matadoros," the potent "People" and the effervescent
"Corcovado." Until Impulse! gets around to releasing the guitarist’s superior
Spellbinder on CD, The Sorcerer is one of the best introductions to one of the
most outstanding and unique guitarists to have emerged during the 1960s.
(Features three bonus tracks not included on the 1989 CD release).
Oliver Nelson More Blues and The Abstract Truth (Impulse IMP-212): The
daunting historic status of Nelson's 1961 album, Blues and the Abstract Truth,
cause many to devalue and ignore this outstanding 1964 session. Unlike the earlier
record, Nelson's distinctive sax work is not heard here. But his painterly talents for
sharp composition and evocative arrangements set the stage for these ten
blues-based performances. The two strongest pieces, the intricate "Blues and the
Abstract Truth" and the hard-swinging "One for Bob," are Nelson originals and
both feature wonderful contributions from pianist Roger Kellaway, alto player Phil
Woods and baritone player Pepper Adams. Nelson offers distinctive arrangements
to the two Dave Brubeck themes from the Mr. Broadway TV show they worked on
together as well as Johnny Hodges' "Blues O'Mighty" (featuring Thad Jones), Neal
Hefti's "Midnight Blue" (featuring Ben Webster) and Count Basie's easy rocking
"Going To Chicago Blues" (featuring bassist Richard Davis). More Blues and the
Abstract Truth was recorded at the end of that period in the early 60s when
orchestral jazz flourished in the New York and LA studios -- and right before
Nelson fled to the more affluent halls of Hollywood, where his work became
brassier and less subtle. Although Nelson's sax is missed here, the strong
collection of material and the outstanding musicians who contribute make More
Blues and the Abstract Truth a worthwhile listen. (Features two bonus tracks).
John Coltrane Live at The Village Vanguard Again (Impulse IMPD-213):
Coltrane, magnificent as ever during this 5/28/66 performance, is unfortunately
thwarted throughout this surprisingly mild program by Pharoah Sanders’s cackles
and screeches and the seemingly disinterested entanglements of a quartet
featuring Alice Coltrane on piano, holdover Jimmy Garrison on bass, Rashied Ali
on drums and Emanuel Rahim on percussion. Two familiar Coltrane staples
("Naima" and "My Favorite Things") are explored at length. But it seems too often
that everyone is just doing their own thing; floundering within their own
preconceived notions. Even Coltrane must have been bored by these songs at this
point. Many admire this disc – and every note Coltrane blew is worth hearing. But
Live at The Village Vanguard Again doesn’t have the exciting and amazing
invention of the 1961 Vanguard recordings of the Coltrane quartet with Eric Dolphy
(finally due to be released this fall as a five-disc set by Impulse!). (First time on
American CD.)
John Coltrane The John Coltrane Quartet Plays (Impulse IMPD-214): John
Coltrane was recorded prolifically during 1965, and this album (recorded over four
sessions in Feb., March and May 1965) bridges the gap between the solemn
explorations of A Love Supreme and the more atonal explorations of Ascension.
Plays, as it has come to be known, originally featured a popular children’s tune
("Chim Chim Cheree" with Coltrane on soprano), a standard ("Nature Boy," a 1948
Nat King Cole hit) and two excellent Coltrane originals, "Brazilia" (which sounds
like ’63-era Coltrane) and "Song of Praise" (one of many beautiful spiritual tunes he
spun out that year). This disc adds the relaxed "Feeling Good," originally released
in the 70s on a compilation album of the same name, and two versions of "Nature
Boy." Second bassist Art Davis, who’s hardly second string, is intriguingly added
on "Feeling’ Good" and the two studio versions of "Nature Boy." There’s a
curious conciliatory appeal about Plays that is similar to Ballads; an opportunity
to reach farther out without letting go of his musical past (and old fans). Coltrane,
despite an acute musical sensitivity, is clearly dancing outside the modes here. But
his classic quartet with pianist McCoy Tyner, bassist Jimmy Garrison and drummer
Elvin Jones keeps the music from getting too stratospheric. What becomes
interesting, though, is comparing the various versions of "Nature Boy." From the
Indian chant of the first version to the stirring hypnotic atonality of the live
version, the evolution of Coltrane’s inventions are nothing short of stunning. This
newly reissued disc, always considered something of a transition in Coltrane’s
career, is now very much a microcosm of the tenor giant’s musical artistry. The
John Coltrane Quartet Plays has something of value for everyone – and is most
heartily recommended. (Features three bonus tracks).
John Coltrane Coltrane (Impulse IMPD-215): A true gem and one of the great jazz
records of all time, Coltrane is a model of modal jazz. Recorded at various times
during 1962, this record is the first to feature studio performances by Coltrane's
classic quartet featuring McCoy Tyner on piano, Jimmy Garrison on bass and Elvin
Jones on drums. Something about the evocative Pete Turner photograph on the
cover indicates the promise Coltrane fulfills inside. This is passionate, soulful
music that is easy to like and, quite often, entrancing too. Coltrane and company
start with a fiery version of Johnny Mercer's "Out of This World" that is unlike any
other version before or since. This 14-minute modal workout is the album's
highlight and one of Coltrane's all-time great performances (Tyner's too). Mal
Waldron's oft-played "Soul Eyes" gets it's most defining performance here in
Coltrane's lullaby-like reading. Coltrane returns to soprano for "The Inch Worm,"
an annoying tune which, nevertheless, the quartet invests with a sincere
conviction. Coltrane then explores two memorable originals; "Tunji," an evocative
mood piece that suggests Indian influence, and "Miles' Mode," a throwback to
some of the glorious bandstanding Coltrane did as part of the Davis quintet in
1958. Both bonus tracks are Coltrane originals -- and tremendous additions too.
"Up Against The Wall" (originally released on the record Impressions) is an
excellent piano-less blues that would sound right at home on Coltrane Plays The
Blues (Atlantic). And "Big Nick" (originally released on the compilation The
Definitive Jazz Scene Vol. One) returns Coltrane to the soprano for a corny melody
line, but hearty, invigorating solos from both Tyner and the tenor legend. This was
influential music that remains filled with wonder and excitement nearly four
decades later. Essential listening. (First time on American CD. Features two
bonus tracks).
McCoy Tyner McCoy Tyner Plays Ellington (Impulse IMPD-216): McCoy
Tyner’s Impulse! recordings don’t have the high-level reputation of his Blue Notes
from the late 60s and Milestones from the early 70s. That’s a shame, because he
made some great music while a solo artist at Impulse! Records. Perhaps at the time
it was perceived that Coltrane drove Tyner harder than he drove himself and the
pianist’s reputation and originality weren’t truly acknowledged until after the
saxophonist’s death in 1967. Either way, this December 1964 recording, obviously
made at producer Bob Thiele’s suggestion, is a most pleasant surprise. Recorded
only a few days before Tyner’s participation on A Love Supreme, Tyner tackles the
well-known Ellington catalog with a great deal of flair, appreciation and genuine
joy. The pianist is accompanied here by Coltrane bandmates Jimmy Garrison on
bass and Elvin Jones on drums and on four songs, by Latin percussionists Willie
Rodriguez and Johnny Pacheco. Even during the war-horses, Tyner manages to
express something insightful: "Duke’s Place" (only non-Bob Thiele productions
still list this as "C Jam Blues"), "Caravan," "Satin Doll," "It Don’t Mean A Thing"
and "I Got It Bad" are all more exciting than one might expect at this point. What he
does with "It Don’t Mean A Thing" is worth the price of the disc alone: it is one of
the muscular variations he’d pull off so brilliantly and effortlessly for Coltrane on
"My Favorite Things" and "Summertime." Tyner’s impressions of Ellington’s
lesser known tunes are also quite notable: "Searchin," "Mr. Gentle and Mr. Cool"
and "Gypsy Without a Song." McCoy Tyner Plays Ellington is certainly not as
substantial as anything this trio recorded with Coltrane – but recommended
nonetheless for it’s light, effervescent take on classic, familiar material. (Features
two bonus tracks not included on the the 1989 CD release).
Archie Shepp Four For Trane (Impulse IMPD-218): Archie Shepp’s first solo
record was this superior Coltrane tribute from August 10, 1964 (several months
before Shepp’s participation in a still-unreleased version of "A Love Supreme" and
less than a year before Ascension). Annotator Leroi Jones (Amiri Baraka) correctly
notes that Shepp is such an original who, despite the "emotional allegiance" he
feels toward Coltrane’s music (and patronage), does not simply spit Coltrane back
at the listener, like so many of today’s ungainly amount of tribute records too often
tend to do. Shepp has assembled an outstanding sextet of unique improvisers to
interpret this music: John Tchicai on alto, Alan Shorter (Wayne’s brother) on
trumpet, Roswell Rudd on trombone, Reggie Workman on bass and Charles
Moffett on drums. Together they explore Coltrane’s now well-known "Syeeda’s
Song Flute," "Mr. Syms," "Cousin Mary," and "Naima" as well as the Shepp tune
"Rufus." Shepp’s beautiful tenor growl (which faded by the mid 70s) is much in
evidence here and his musical ideas are often quite exciting. It’s easy to hear how
much he enjoys playing these tunes in this format. Perhaps because of the
familiarity of the material, this is the most accessible Shepp got in the 60s. Plus, it’s
one of his most cohesive musical statements. His later Impulse releases (he
recorded for the label until 1972), almost all of which are worth hearing, tended to
be eccentric collections with moments of erratic brilliance sandwiched in between
clumsy tunes or off-beat ideas. Four For Trane, which the originally released
record indicated was produced by Coltrane and Bob Thiele – meaning it was
probably produced solely by Coltrane (Thiele alone is credited as producer in the
CD), is by all accounts, a winner. (First time on American CD.)
Pharoah Sanders Black Unity (Impulse IMPD-219): This one-song LP, recorded
on November 24, 1971, seems a most unlikely choice for CD. On vinyl, "Black
Unity" was split over two sides of a record that was released in 1972. For CD, this
intense and passionate 37-minute musical statement becomes one piece again. The
music is performed by two tenors (Sanders and Carlos Garnett), two bassists (Cecil
McBee and Stanley Clarke), two drummers (Norman Connors and Billy Hart) as well
as Hannibal Marvin Peterson on trumpet, Joe Bonner on piano and Lawrence
Killian on percussion. Clarke drives it all with his signature bass patterns, but
Sanders, Bonner and McBee solo most memorably. Both Sanders and Killian are
occasionally heard blowing into something called a balaphone -- something that
has the effect of a synthesized accordion. Like Miles phrasing weird chords on
organ, it adds a haunting atmospheric effect. "Black Unity" has the collective
quality and free exchange of "Ascension" and the hypnotic groove of "The
Creator Has a Master Plan" – but it takes in many recognizable black musical forms
and weds them to a surprisingly cohesive whole (as the title suggests). Very
interesting and worth hearing. (First time on CD.)
McCoy Tyner Inception (Impulse IMPD-220): Tyner’s debut as a soloist is a solid
trio recording featuring Art Davis on bass and Elvin Jones on drums. Tyner was
first recorded at Rudy Van Gelder’s studio on January 10 and 11, 1962, just two
months after the historic Live at the Village Vanguard sessions and two months
before the Coltrane record. And it’s precisely what you’d hope for and expect
from this melodic and powerful pianist. Inception mixes two standards ("There Is
No Greater Love" and "Speak Low") with four Tyner originals ("Inception," "Blues
for Gwen," "Sunset" and the enduring "Effendi"). It’s a swinging session, with
Tyner’s fluid and flexible lines much in evidence. His powerful (and identifiable)
left-hand lines don’t kick in much here and that means it’s up to his quick-witted
right-hand technique. Davis is allowed ample space to show his musical gifts on
the upright bass. Whether bowing or plucking at the strings, he’s always graceful
and insightful and his neat, compact lines truly enhance the proceedings. Jones,
who’s never sounded less than incredible, is sensitive to the machinations of the
trio and fuels Tyner more than drives the music. "Blues for Gwen," especially,
highlights much of what made Tyner’s contributions to My Favorite Things and
Coltrane Plays The Blues (both on Atlantic) so memorable. Recommended to
piano-trio fans and listeners who want to single out one of the more significant
joys of Coltrane’s famed quartet.(First issued as ‘two-fer’ CD in 1989 that also
featured Nights of Ballads and Blues.)
McCoy Tyner Nights of Ballads and Blues (Impulse IMPD-221): If the album’s
title suggests anything, and it’s a mostly accurate summary, it is the image of your
typical lounge piano trio. Upon listening to the evidence, that’s pretty accurate
too. Recorded on March 4, 1963, between John Coltrane and Johnny Hartman
(Impulse) and several of the tracks that ended up on the Dear Old Stockholm CD,
Nights of Ballads and Blues finds Tyner in a sort of lounge-lizard mood. He’s
dragged down in this effort by former Coltrane colleagues Steve Davis on bass and
Pittsburgher Lex Humphries on drums. Neither is willing to challenge Tyner during
the 39-minute program that includes such overworked war-horses as "Satin Doll,"
"We’ll Be Together Again," "Round Midnight," "For Heaven’s Sake," "Star Eyes,"
"Blue Monk" and "Days of Wine and Roses." The one exception, however, is the
lone Tyner original, "Groove Waltz." This is a great tune buried on an otherwise
useless record. Tyner generates some sinewy blues juice and funky, clever lines
with his right hand, while his left hand very subtly suggests an entire rhythm
section. "Groove Waltz" is a true joy; one worth repeated listens. It’s a shame the
rest of the disc is utterly forgettable. (First issued as a ‘two-fer’ CD in 1989 that
also featured Inception.)
Quincy Jones The Quintessence (Impulse IMPD-222): Perhaps the title was
nothing more than a play on Quincy Jones’ name, but it fits none the less. This is,
as Michael Cuscuna notes inside, quintessential Quincy Jones. Recorded in
November and December 1961, this record taps Jones' talents as an arranger and
orchestrator at a time when he was unbelievably busy writing and arranging for
everyone from Count Basie and Tommy Dorsey to Dinah Washington, Sarah
Vaughan and Peggy Lee. The Quintessence features superior, swinging material
(including Jones' now-standard "For Lena and Lennie," named for the famed
couple who contribute the wacky liner notes) fashioned for such outstanding,
distinctive soloists as Phil Woods ("Quintessence"), Oliver Nelson ("Robot
Portrait"), Curtis Fuller ("Straight No Chaser") and Thad Jones and Freddie
Hubbard ("Hard Sock Dance"). Arrangements, as evident elsewhere in Jones'
orchestral work, tend toward counterpoint: brasses state the melody to set up a
distinctive reed solo, or vice versa. But brass is the flavor Q likes best (after all, he
began his jazz career as a trumpeter). From the vantage point of nearly forty years
of retrospect, it's clear where famed arrangers such as Oliver Nelson and Lalo
Schifrin (both of whom worked in Jones' orchestras) got some of their ideas. Even
Henry Mancini, clearly a more talented writer, was listening closely to what Quincy
Jones was coming up with. From here, Q left to head up A & R at Mercury Records
(where he quickly became VP) and began working in film. He'd make a series of
excellent, though more commercially viable orchestral jazz records while at
Mercury. But one could easily argue that this 'quintessential' recording has never
been subsequently bettered by Quincy Jones. Excellent orchestral jazz. (Features
the original cover art of the Impulse A(S)11 issue).
Sonny Rollins Sonny Rollins On Impulse (Impulse IMPD-223): This is the second
of Sonny Rollins' four records for Impulse! and the first of three very interesting
studio dates he made for the label between 1965 and 1966. This July 8, 1965,
session finds the tenor giant heading up a terrifically complimentary rhythm
section with Ray Bryant on piano, Walter Booker on bass and Mickey Roker on
drums. On Impulse is an excellent collection of standards and non-originals that
benefits greatly by it's leader's always-unique approach. Instead of concentrating
on the melodies of a song, Rollins uses his unique embouchure throughout to coax
stunning rhythmic variations in the music. "On Green Dolphin Street," most
significantly, has a mood that so many reverential variations often lack. It's sort of
a 'Stan Getz cool' meets 'Coleman Hawkins hot' -- without ever sacrificing Rollins'
deep, emotional personality. The calypso of "Hold 'Em Joe" is a natural for the man
who introduced "St. Thomas" into the jazz vocabulary. It's filled with a joy and a
swing that is Rollins' stock and trade. What's even more notable is the unique way
Rollins grasps a ballad ("Everything Happens To Me"), knocks out the blues
("Blue Room") and tears through bop ("Three Little Words").
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