Dear All About Jazz Readers,

If you're familiar with All About Jazz, you know that we've dedicated over two decades to supporting jazz as an art form, and more importantly, the creative musicians who make it. Our enduring commitment has made All About Jazz one of the most culturally important websites of its kind in the world reaching hundreds of thousands of readers every month. However, to expand our offerings and develop new means to foster jazz discovery we need your help.

You can become a sustaining member for a modest $20 and in return, we'll immediately hide those pesky Google ads PLUS deliver exclusive content and provide access to future articles for a full year! This combination will not only improve your AAJ experience, it will allow us to continue to rigorously build on the great work we first started in 1995. Read on to view our project ideas...

32

Oregon: In Performance

John Kelman By

Sign in to view read count
Oregon—In PerformanceOregon
In Performance
Elektra
1980

Sometimes it's a great experience to hear a live recording where you were actually at the show and can recall some of its most exhilarating moments. In the case of today's Rediscovery, Oregon's In Performance, I was at only one of the dates from which this original double-LP (reissued on a single CD by Wounded Bird in 2003) was culled—Montreal, which was recorded along with shows in Quebec City and New York City. Still, the free improv that opens the album (and opened the show), "Buzzbox," was one of the pieces from that Montreal show, and remains so memorable- -representing the group's ability to truly compose spontaneously, in the moment, pulling real form from the ether—that I still get shivers up and down my back when I hear it.

In Performance was Oregon's third and final recording for Elektra, a signing that represented a major step up in production values for the group that was playing world music long before the term existed. Every one of the group's earlier Vanguard records were superb, but when guitarist/pianist Ralph Towner, reed and woodwind multi-instrumentalist Paul McCandless, double bassist and occasional pianist/violinist Glen Moore and tablaist/percussionist/sitarist Collin Walcott—who died in a tragic car accident five years later, while the group was on tour in Europe—released its first Elektra record, 1978's Out of the Woods, it was clear that a sonic leap had been made—the recording clearer, more delineated and more present than the Vanguard dates.

In Performance's nine-song, 74-minute set is culled from earlier recordings like the group's 1973 Vanguard release, Winter Light (Moore's oblique, quirky and open-ended "Deer Path") and, from the group's nascent days as part of the Paul Winter Consort (Towner's near-iconic' anthemic "Icarus"). There's new music from McCandless (the powerful, lyrical "Wanderlust") and songs first heard on Towner's Sound and Shadows (ECM, 1977) with his Solstice group ("Along the Way" and an especially striking and extended "Arion") along with "Waterwheel," the opening 11/8 track to his impressive trio date Batik (ECM, 1978). But it's the two free improvs—"Buzzbox," named for Walcott's buzzing percussion instrument and Towner's placing of a tambourine on the strings of his piano, and the more appropriately named "Free Piece" that opened side four, that demonstrate how simpatico these four outstanding musicians were...night after night.

At that time, in fact, the egalitarian group created its set lists in a democratic fashion, passing the responsibility around the members one set at a time, from gig to gig. There were some ground rules: the set always opened with a free improv, and included songs featuring Towner's piano, classical and 12-string guitars and Walcott's sitar and tablas. It kept things fresh, because a song the group hadn't played in a long time could be called. I remember being at a sound check a couple years later, where someone called Winter Light's "Rainmaker"—a particularly challenging song that the group ultimately managed to put together and perform that night, but not after considerable rehearsal and discussion since there was no sheet music. But how the set moved from its opening improv into the compositions was also completely spontaneous, as was how the rest of the set unfolded.

After In Performance, Oregon moved to ECM for three records, to Portrait for one, and Intuition for another six—not including the hard to find self- released soundtrack to a theater performance of Shakespeare's A Midsummer Night's a Dream (1998)—before settling in with Italy's Cam Jazz in 2005 for Prime and a relationship that continues to this day, with its most recent release, Family Tree (2012).

As Oregon approaches its 45th anniversary in 2015, hopefully there will be something to celebrate this remarkable milestone for a group that, other than having to replacing Walcott—first with Trilok Gurtu and Arto Tuncboyaciyan before settling on Mark Walker on 1997's Northwest Passage (Intuition)—has retained an identical lineup for its entire career. Until then, In Performance—its final all-acoustic recording before Towner began bringing synthesizers into the mix with Oregon (ECM, 1983)—is a reminder of just how innovative and groundbreaking this quartet was, each and every night, on one of the indisputable highlights of a discography that's now 28 strong.

So, what are your thoughts? Do you know this record, and if so, how do you feel about it?


[Note: You can read the genesis of this Rediscovery column here .]

Tags

Related Video

comments powered by Disqus

Shop Music & Tickets

Click any of the store links below and you'll support All About Jazz in the process. Learn how.

Live Reviews
CD/LP/Track Review
Rediscovery
Live Reviews
Extended Analysis
CD/LP/Track Review
Live Reviews
CD/LP/Track Review
Highly Opinionated
CD/LP/Track Review
Read more articles
Lantern

Lantern

CAM Jazz
2017

buy
 

Family Tree

C.A.M. Jazz
2012

buy
 

In Stride

Unknown label
2010

buy

Related Articles

Read Five Classic ECM Titles in High Res Rediscovery
Five Classic ECM Titles in High Res
by John Kelman
Published: January 31, 2017
Read Greg Lake & Keith Emerson: Their Best Work Together Rediscovery
Greg Lake & Keith Emerson: Their Best Work Together
by John Kelman
Published: December 31, 2016
Read Mark Isham: Blue Sun Rediscovery
Mark Isham: Blue Sun
by John Kelman
Published: August 24, 2016
Read Sweet Billy Pilgrim: We Just Did What Happened and No One Came [2016 Kscope Remix/Remaster] Rediscovery
Sweet Billy Pilgrim: We Just Did What Happened and No One...
by John Kelman
Published: July 31, 2016
Read Nils Petter Molvaer: Khmer Rediscovery
Nils Petter Molvaer: Khmer
by John Kelman
Published: February 23, 2016
Read Trio Sud: Young and Fine Rediscovery
Trio Sud: Young and Fine
by John Kelman
Published: February 2, 2016
Read "Cross Purposes" Multiple Reviews Cross Purposes
by Geno Thackara
Published: July 25, 2018
Read "John Mayall: In The Pocket at 84" SoCal Jazz John Mayall: In The Pocket at 84
by Jim Worsley
Published: March 11, 2018
Read "Mary Ellen Desmond: Comfort and Joy 2017" Live Reviews Mary Ellen Desmond: Comfort and Joy 2017
by Victor L. Schermer
Published: December 15, 2017
Read "The Vintage Years 1970 - 1991" Extended Analysis The Vintage Years 1970 - 1991
by John Kelman
Published: June 23, 2018