is a duet album recorded at Theatre Port Royal on July 1, 1989, featuring two of the most talented jazz artists of any generation, alto saxophonist Frank Morgan
and pianist George Cables
. This is the second duet album they've had released, the first being Contemporary's Double Image
A jazz duet is a format which invites intimacy and profundity, more than the typical quartet or quintet setup. Two musicians must really know each other, to be completely cohesive and able to anticipate the other's changes. This sort of album tends to be either great or lackluster, which makes it a bit of a gamble to record live, but Morgan and Cables play those odds and they pay off well for a second time.
And why shouldn't they? They worked together on and off from the mid eighties until the former's death in 2007. Having a career as a pianist for some of the greatest horn players in existence, Cables effortlessly blends his playing with Morgan's singular saxophone voice. Both musicians have very recognizable sounds; if one were to remove either from this record, it wouldn't be difficult to tell who's playing. Neither sacrificed a bit of their character to create this, and Montreal Memories
is a far stronger album for it.
The live set swings out of the starting gate with Bird's "Now's the Time," before mellowing for "All the Things You Are," a standard that allows the pair to showcase their improvisations within the construct of a ballad. Morgan's moody saxophone layers over Cables' subdued piano to lend the song not only emotional resonance, but atmosphere.
The duo rocket through the familiar, swinging "A Night in Tunisia." A decade earlier, Cables had been playing it with another altoist, Art Pepper
, during his legendary Village Vanguard sessions. This recording takes the familiarity and toys with it somewhat, giving it a new twist without ever losing sight of it's familiar melody. "Round Midnight" seems like a logical choice for a pianist like Cables to want to have in his set, considering the admiration he held for Dexter Gordon
, who at the time was making the classic Monk song headlines again with his film and subsequent soundtrack of the same name.
"Confirmation" is an interesting take on a classic Charlie Parker
song. Not truly fast-tempo, yet it feels as if Morgan is pushing just a bit at Cables, nipping at his heels, which as a listener has the effect of nudging the heartbeat a bit faster than it would be if they had chosen a blisteringly fast song like "Cherokee." It's an unexpected, unique effect halfway through the album.
The laid-back tearjerker Morgan wrote for his wife "Blues For Rosalinda" is followed by two Cables originals; the ubiquitous "Helen's Song" and "Lullaby."
"Lullaby," as usual, is a weighty and emotional song, perfectly apropos for it's title. The song doesn't just ache, it moans and sobs and bleeds all at once, clawing at the heart. "Helen's Song" on the other hand gets an interesting take from Morgan. While it's typically played with a piano led trio, this rendition removes the rhythm section and instead allows Morgan and Cables to improvise their way through the performance, breathing new life into the pianist's best known composition. If "Lullaby" is intended to lull you to sleep, "Helen's Song" is designed to roust you from it, with it's assertions of love and hope.
Countering the tenderness of the past 22 minutes, the duo chose to end their live set that evening with an intriguing medley. Bridging together Wayne Shorter
's "Nefertiti" with yet another Bird tune, "Billie's Bounce" was a wise choice, taking all of the sounds the audience heard through the last hour, and molding them together in a way that proves how incredible these two were at the time.
With Frank Morgan no longer alive (though George Cables is still performing both solo as well as with jazz supergroup The Cookers
), this album qualifies as probably the final of 2018's posthumous releases, which included music from such legendary artists as Erroll Garner
, John Coltrane
, Charles Mingus
, Dexter Gordon, and Art Pepper. Some were middling, some were a bit disappointing, and some were valuable treasures. Not only does Montreal Memories
fall into that final category, it is truly one of the must hear jazz albums of the year.