309

Joe McPhee: Underground Railroad + Live At Holy Cross Monastery 1968/6

Derek Taylor By

Sign in to view read count
True to their word the folks behind the Unheard Music Series have continued in their charge of returning all Joe McPhee’s early recordings for the CJR label to circulation. The latest installment and McPhee’s debut as a leader, Underground Railroad does one better by adding an entire archival concert to the package. At the risk of completely compromising any sense of critical objectivity at the inception of this review let me just say that as far as vintage ecstatic free jazz goes it doesn’t get much more nail-biting than this.

Nearly seven minutes elapse on the title track before the entrance of the horns and it’s a space filled with Bostic’s tumultuous percussion. Harnessing the energy of a human dynamo the drummer hammers and pounds with a muscular vigor that truly punishes his kit. McPhee’s solo, chased by Marks’ keening soprano wail, is awash in knotty flutters and dive-bombing register drops. Crabb’s muddy bass foray bleeds out much of the momentum, but the horns soon return with McPhee squeezing off staccato brass shots and Marks’ offering bristling retorts on hoary tenor. With “Harriett” the band jackknifes into more Classically-cped waters. Bostic’s vibes fuse with Crabb’s crystalline arco lines creating a luminous surface of harmonics for the horns to skate across. Marks’ flute adds further color and floats above the darker layered lines. “Message from Denmark” unfolds in a string of solo statements from McPhee and Crabb before a headlong rush into roiling ensemble release. Marks’ quotes tangentially from “A Love Supreme” in the latter half above Bostic’s cascading barrage.

The remainder of the disc is devoted to the opening pieces of an earlier concert held in the same space six months previous. Under the collective rubric of the Contemporary Improvisational Ensemble McPhee and his cohorts augmented by the reeds of Greene and Virigillio turn in a performance of a caliber that belies the leader’s relative youth. “New Spiritual No. 1” suffers from a lapse in horn audibility, but Marks’ mammoth solo surmounts such surface obstacles coalescing into arguably his most arresting statement of the date. The high energy he cuts loose stands in strong contrast to the flimsy ending of the piece. Einstien’s equation of “E=MC²" acts as signifier for the disc’s closing tone poem and Marks is again in brilliant form sounding both scientific and ecstatic.

The set’s second disc completes the concert. After a tumultuous recasting of Monk’s “Evidence” retitled “Justice” for the occasion the band breaks into the soulful and tellingly-titled “Windy City Head Stompin’ Blues” atop the funky backbeats of Bostic. Layering the horns in radiating arcs it’s a piece that pays soulful homage to victims of police violence. The two-part suite “Birmingham Sunday” is also dedicatory in design and touches musically on the travesty of the church bombing which murdered four black schoolgirls in 1963. Marks’ incantatory flute preface flanked by bells and shakers sets a somber mood that later turns caustic under the crushing force of crying horns, bowed bass and crashing drums and what sounds like feedback distortion from the mics. McPhee’s solo seventeen minutes is another a highlight of the performance, at once aggressive and lyrically moving. The closing number matches Flamenco overtones with spacey organ fills from the versatile Marks. In sum this set shows conclusively that McPhee’s massive talent was at his disposal from the onset of his earliest efforts. Any fan of ecstatic free jazz shouldn’t pass this one up!

UMS/Atavisitic on the web: http://www.atavistic.com


Track Listing: Disc One: Underground Railroad (22:43)/ Harriet (11:07)/ Message from Denmark (9:49)/ New Spiritual No. 1 (14:19)/ E=MC

Personnel: Disc One: Joe McPhee- trumpet, pocket cornet, tenor saxophone; Reggie Marks- tenor & soprano saxophone, flute; Tyrone Crabb- bass; Ernest Bostic- drums, percussion, vibes. Recorded: April 13, 1969, West Park, NY. Disc Two: Joe McPhee- trumpet, tenor saxophone, alto horn; Reggie Marks- tenor saxophone, flute, organ; Otis Greene- alto saxophone, harmonica; Joe Virgillio- tenor & soprano saxophones; Tyrone Crabb- bass; Ernest Bostic- drums, percussion. Recorded: October 13, 1968, West Park, NY.

| Style: Modern Jazz


Shop

More Articles

Read Transparent Water CD/LP/Track Review Transparent Water
by Dan Bilawsky
Published: February 20, 2017
Read Billows Of Blue CD/LP/Track Review Billows Of Blue
by Dan McClenaghan
Published: February 20, 2017
Read Love Dance CD/LP/Track Review Love Dance
by Karl Ackermann
Published: February 20, 2017
Read Honest Woman CD/LP/Track Review Honest Woman
by James Nadal
Published: February 20, 2017
Read June CD/LP/Track Review June
by Karl Ackermann
Published: February 19, 2017
Read The Final Concert CD/LP/Track Review The Final Concert
by John Sharpe
Published: February 19, 2017
Read "The Whole World Must Change" CD/LP/Track Review The Whole World Must Change
by Dan Bilawsky
Published: March 13, 2016
Read "Old Locks And Irregular Verbs" CD/LP/Track Review Old Locks And Irregular Verbs
by Glenn Astarita
Published: April 7, 2016
Read "Visual Music" CD/LP/Track Review Visual Music
by Karl Ackermann
Published: April 27, 2016
Read "True Flight" CD/LP/Track Review True Flight
by James Nadal
Published: May 3, 2016
Read "Peace" CD/LP/Track Review Peace
by Karl Ackermann
Published: January 18, 2017
Read "That's What She Said..." CD/LP/Track Review That's What She Said...
by Hrayr Attarian
Published: February 7, 2017

Post a comment

comments powered by Disqus

Sponsor: ECM Records | BUY NOW  

Support our sponsor

Support All About Jazz's Future

We need your help and we have a deal. Contribute $20 and we'll hide the six Google ads that appear on every page for a full year!

Buy it!