Paul Motian Band: Garden of Eden.

At 75, it is perhaps indicative of the dedication and passion of Paul Motian that he is still producing excellent and original music. There is something uplifting about the fact, reminiscent of great artists such as Matisse or Picasso, whose desire to share their vision kept them going right into their eighties. The prefect antidote to today’s obsession with youth and triviality.

Garden of Eden, (ECM – 2004), is an excellent example of a master at work. Music that explores its own history while remaining contemporary and open to ideas. For this outing Paul Motian has drawn on musicians that embody a wide range of experience. Chris Creek and Tony Malaby on saxophones, (alto and tenor), the young Dane, Jakob Bro, Steve Cardenas and Ben Monder on guitars, while on electric bass, is Sonny Rollins sideman and talent in his own right, Jerome Harris.

The album is a mix of classic jazz and self-penned compositions. A couple of numbers from Charles Mingus, ‘Pithecanthropus Erectus’ and ‘Goodbye Pork Pie Hat’, Thelonius Monk’s ‘Evidence’ and a glorious take of Charlie Parker’s ‘Cheryl’. Elsewhere there are contributions from Paul Motian himself, ‘Etude’, ‘Mesmer’, ‘Mumbo Jumbo’. ‘Endless’, ‘Prelude 2 Narcissus’, ‘Manhattan Melodrama’ and the title track ‘Garden of Eden’. American guitarist, Steve Cardenas, contributes ‘Balata’ and there is one standard, Jerome Kern’s ‘Bill’.

With six musicians you could be forgiven for wondering if this recording would not sound cluttered and over busy. Yet while warm and full, it pays plenty of attention to space, seemingly working from the premise that, ‘more is less’. The inclusion of three guitars particularly could be problematic, but they resolve their differences and provide plenty of subtle and intelligent play. Allowing each other the room to step up, then falling back when required. As with the saxophones. At times they provide a band-style accompaniment, then break and soar with some fine playing and improvisation.

Most successful tracks have to be ‘Pithecanthropus Erectus’, ‘Etude’, (a lovely, moody piece of music), ‘Mumbo Jumbo’ and ‘Desert Dream’, (fine guitar work on both), ‘Bill’ (an excellent and lyrical interpretation), ‘Garden of Eden’, (classic Motian, the drum work, guitars and saxophones painting the music in with deft strokes) and the before mentioned ‘Cheryl’. These are my personal choices. No doubt you will have your favourites.

Special mention should go to Jerome Harris. He plays the electric bass soulfully and inventively, his phrasing always original and moving. In fact if I have one quibble with this recording, it is that his work is sometimes a little lost in the mix.

Tagged as ‘central to what jazz is becoming’ and probably correct in that assertion, Garden of Eden is another gem from Paul Motian.

Copyright (C) Peter Hodgins Nov 2007

Paul Motian Band: Garden of Eden. BUY

Pat Metheny Group: The Way Up.


The Pat Metheny Group need little introduction. Regards mainstream acceptance and popularity, they are probably one of the more successful jazz groups of the last couple of decades. So The Way Up was released in January 2005 (Nonesuch), to much expectation. A ‘concept’ album in that there were, loosely, four tracks, all forming part of a one musical theme that was to be elaborated on and developed. And right from the start the problem is apparent.

No-one can doubt the musical and performing skills of the three base musicians, Lyle Mays, Steve Rodby, and of course Pat himself. Here they are augmented by contributions from Mexican drummer Antonio Sanchez, Vietnamese trumpeter Coung Vu and Swiss-born harmonica player Gregoire Maret.

This album is basically 68 minutes of non-stop music, the breaks between the four tracks almost impossible to mark, and if I have it correct, intentionally so. But for all that, and the excellent playing throughout, this is a disappointing and frustrating recording. No doubt there is lovely music here - at times - but there is also an overall restlessness, seemingly a need to demonstrate their wealth of ideas, that eventually alienates rather than drawing in. This no more obvious when they do get it right only to break the musical flow with another flourish, another distraction or a needless diversion. Difficult to refer to track by track of course but there are many fine ‘moments’. None more so than 18 minutes into track three, when Pat provides a strange syncopated guitar accompaniment, while Coung-Vu bends and stretches some lovely trumpet work, suggesting the grandeur and desolation of a twenty-first century urban landscape – and just when you are beginning to get into it – the idea disappears with, first, a rather typical guitar lick from Pat and then the introduction of some melodramtic, cinematic-style orchestration. Track four begins with, for once, a simple but effective piano line from Lyle Mays but soon dissolves into what is basically fairly typical PMG fare. The opening track, ‘Opening’ (sic) begins well, an effective collage of sound before the guitar(s) enter, yet again it soon becomes over busy, treading water regards the group’s previous work.

It has to be said this is an indulgent work, that for all its virtuoso playing, its multiple overdubs, its grandiose ambition never quite comes off. It frustrates and does not enlighten. Definitely a work for hard-core PMG fans

Copyright (C) Peter Hodgins Nov 2007

The Way Up: Pat Metheny Group. BUY

John Abercombie Trio: Tactics

Tactics, (ECM), a live album from John Abercrombie’s working Trio circa the mid nineties exemplifies all that is best about this guitarist. It sounds easy on the ears at first, so easy in fact it is takes some time before you realise just how good it is.

Recorded at Visiones, NYC in 1996, and featuring Dan Wall on Hammond B-3, Adam Nussbaum, on drums as well as John Abercrombie on guitars it sticks close to the work of the Trio’s two studio albums, While We Were Young and Speak of the Devil. Noteworthy in the light of the trend by other guitarists to use multiple overdubs and studio technique to enhance their play, this recording sounds as tightly woven and pristine as anything produced in the studio, in fact but for the occasional outbreak of applause you could be forgiven for thinking it was a studio album.

A collection of three compositions by John Abercrombie, two by Dan Wall, one from Adam Nussbaum and two standards, it sets out the work they were doing at the time. Investigating the possibilities of the guitar, organ, drums trio. A collection of reflective and intelligently played numbers. John’s finger picked fret-work central yet with excellent organ play from Wall, and drum and brush work from Nussbaum. As with the Trio’s studio albums of this period the emphasis is on subtly and harmonic exploration within a conventional jazz framework.

Notable tracks are ‘Last Waltz’, (John does love a waltz), ‘You and the Night and the Music’, ‘Dear Rain’ (the drum and brush work here as good anything by that master of drum and brush work – Paul Motian), and a great version of Jerome Kern’s ‘Long Ago and Far Away’.

This is perhaps an album for those familiar with the studio work who want some idea of how the Trio sounded live. If that is your reason for listening you will not be disappointed. However such is the standard of play here it can be recommended for anyone who simply loves good jazz.

A full seventy-six minutes of music, the aesthetic of which is admirably expressed by John’s taut crediting of the band as the final track plays out, then signing of with a succinct, ‘thank you, you’ve been a wonderful audience’. It’s always a pleasure John.

Copyright (C) Peter Hodgins Nov 2007

Tactics: John Abercrombie Trio. BUY

Miles Davis: Panthalassa: The Music Of Miles Davis 1969-1974

It is always good to have something new from Miles Davis. And though he is no longer with us, of course his music lives on. This recording, produced by Bill Laswell was released in 1998 on Sony. Credited to Bill Laswell and Miles Davis, it is an album of re-mixes and interpretations, mainly drawing on out-takes or material from the late 60s and 70s fusion sessions. A time when Miles was deep into exploring the possibilities of electrified instrumentation and taking up some of the challenges laid down by rock and soul.

I have to say, whatever his credibility as a producer I have never been a big fan of Bill Laswell’s personal work. But here he finds something special and contributes an understanding of where Miles was going at the time. Much has been written about this period of Miles’s work and his subsequent disappearance from the music scene. His electric period is often compared to his earlier acoustic playing and then against his later ‘comeback’ work. Not always favourably. And it is a period that is arguably Miles’s most contended.

There has also been much discussion of Miles’s method of recording during this period. Working with Teo Macero, it was often a process of piecing takes together, of creating a weave of sound from what was on tape. Considered revolutionary at the time it laid heavy emphasis on the studio as part of the music-making process. So perhaps it is fitting that Laswell, no stranger to this mode of work, should steward this project.

There are four tracks. ‘In A Silent Way/Shhh/Peaceful/It's About That Time’, ‘Black Satin/What If/Agharta Prelude Dub’, ‘Rated X/Billy Preston’, and ‘He Loved Him Madly’. Basically an amalgam of the best tracks from the albums, In a Silent Way, On the Corner, Get Up with It and Agartha.

You have to approach this project with some caution, wondering how anyone could add to the music. Yet this recording succeeds. It succeeds because it does not tamper with the music, does not attempt to use it as a vehicle for someone else’s vision. At best it stretches the sound palette, adding depth and augmenting. It uses developments in studio technology to showcase Miles’s vision. Yes a little bit of dub here, a tweak there, splicing in some previously un-thought of juxtaposition of texture or sound, but letting the power of the music speak for itself. Some might find the use of so much material from On the Corner, (undoubtedly Miles’s most controversial recording), questionable, but the wah-wah on the horn sounds strangely contemporary. And the way in which notes are bent and stretched, their phrasing, brings to mind the work of some current trumpet players, Nils Petter Molvaer, Jon Hassell or Arve Henrikesen for example. The stand out track is surely ‘He Loved him Madly’, a beautiful piece of music under any circumstance. The horn gliding down through the melody, lingering and swaying, weaving its spell, then stepping back lightly to flit and distort in the upper registers. Always musical, never abrasive. A powerful and graceful piece of music that prowls lion-like across your mind.

Some mention should made of the other musicians who contribute, Joe Zawinul, Wayne Shorter, Chick Corea, John McLaughlin, Tony Williams and Herbie Hancock; John McLaughlin in particular adding some sterling fret-work.

Confirms how far ahead of his time Miles Davis was. Not a ‘tribute’ work or some sort of pastiche that attempts to introduce a new generation to the work of a master. A stand-alone work.

Copyright (C) Peter Hodgins Nov 2007

Panthalassa: The Music Of Miles Davis 1969-1974. BUY.

Future to Future: Herbie Hancock


Back from the days of Head Hunters, Herbie Hancock has shown an interest in picking up popular genres of music and seeing where they took him. With Head Hunters he struck gold, literally, and forged a plethora of imitators. Some of them went on to better things, while others languished and ended up littering the charts with pale pastiches of his work.

With this 2001 release, Future to Future on Transparent Disc, Herbie again turned his hand to popular genres, namely hip-hop and drum&bass to which he added a dash of world.

This recording works best as an exemplar; something to which maybe younger musicians can turn for ideas, or failing that to see what their elders make of their music.

And this is perhaps the problem with this album. Its ambition is a little widely focused. It is never better than good. There is none of the excellence or cross-over successes that marked Head Hunters. Herbie’s choice of musicians cannot be faulted. He gives space to younger artists as diverse as DJ Rob Swift, and Dance artists Carl Craig and A Boy Called Gerald. He also calls on sassy soul singer Chaka Khan plus his old colleagues Wayne Shorter and Jack de Johnette.

Yet the best tracks are those where the other artists determine the direction. This leaves Herbie playing a near supporting role - as though he were a guest on their project. Still there is plenty to enjoy here.

Rob Swift provides a taut contribution named, ‘This is Rob Swift’. Mixing samples of what sounds like a music professor earnestly discussing ‘rhythm’ against neatly syncopated beats and sampling to which Herbie adds some nice electric piano. An ironic touch. Black Gravity, a contribution from A Guy Called Gerald, is funky and textural but never quite takes off. ‘Ionosphere’ remains trippy and pleasant. Of the younger generation only Carl Craig produces something memorable with Kebero Pt 1 and Pt2, a strange middle-eastern electronic chant of sorts. However Herbie’s contribution is that of keyboard effects and an ending motif, and good though that is he seems somewhat superfluous.

Elsewhere there is some nice sax playing from Wayne Shorter on ‘Tony Williams’ though the spoken lyrics sound a little preachy and close to New Age sentiment, (as does the track, ‘Wisdom’). ‘Essence’ is an enjoyable song, Chaka Kahn producing her trademark vocals and the album finishes out with ‘Virtual Hornets’ a closer to standard jazz track that, again, has some nice work from Wayne Shorter.

Perhaps the problem is that for a younger generation their music takes place in a sphere that they alone understand. In the urban poetry of hip-hop or the protocols of the dance club or rave.

Full marks to Herbie Hancock for trying though. But I suspect this recording will make few converts among the twenty somethings and leave us older ones feeling just a little perplexed.

(This review refers to the standard release of the recording and does not include the bonus disc of re-mixes)

Copyright (C) David Millington Nov 2007

Future to Future: Herbie Hancock. BUY

Song X: Pat Metheny


Against the run of play, Pat Metheny released the original Song X (Geffen) in 1985. A radical departure from his dreamy, west-coast jazz, this collaboration with legendary saxophonist Ornette Coleman took many by surprise, not least his already legion fans. A wild and at times atonal journey through free-jazz and improvisation it challenged even the most adventurous of listeners.

Including both Jack de Johnette and Denardo Coleman, (Ornette’s son) on drums and percussion and Charlie Haden on bass, it was a huge stab in the dark and risk for Metheny. This version, the twentieth anniversary re-release (WEA 2005), includes six out-takes from the sessions, adding greatly to the original project.

Despite being officially a Metheny project, undoubtedly Ornette Coleman is the driving force here. Focusing his alto sax like laser, he explores bop, post bop, free-jazz and his previous flirtations with north-African phrasing and melodic lines. In fact it would be true to say that at times Pat is relegated to a supporting role. Something he pulls off with great aplomb and originality. Showing what his virtuoso fret-play can achieve when pushed and challenged. It is tempting to say, (in light of some of the criticism levelled at him later), that in the presence of a true master his comfort zone was so shattered that he reached into himself and came up with something special.

The music itself is a roller coaster of ideas, influences and pure throw away playing. It exemplifies Ornette Coleman’s philosophy of music. An exploration of pure sound and spontaneity, of harmonics and rhythm. It is never less than compelling. Never less than innovative. The freedom and opportunity Coleman gives for experimentation and unconventionality provide Metheny with ample space to show what those lightening-like runs and licks can express. His musings and flights, his inverted scales and stretched arpeggios frequently contrast the sax’s wail, its bent and soaring notes. All of which is driven along by Haden’s forward moving bass lines and de Johnette’s relentless and scattered drumming. (Denardo provides the electronics and extra percussion).

The tracks are of such variety and difference it is difficult to know what to consider special. There is the frenetic and atonal ‘Endangered Species’. The jerky uber-bop of ‘Video Games’. A speedy and stabbing tribute to Charlie Parker on ‘Word from Bird’. ‘Police People’ and ‘Mob Job’ both play with conventional 4/4 swing, the later in particular a glorious toe-tapping gem of exuberance. The quirkiness of ‘Compute’. North- African shades on ‘The Veil’. The angular improvisations of ‘Trigonometry’. And not least the achingly beautiful ‘Kathelin Gray’, just Metheny and Coleman, playing like a father and son, student and master, learning from each other while all the time teasing out the exquisite bluesy twists and turns of melody.

This is not music to sit and reflect on. It grabs you and drags you into awareness. It breaks rules, makes new rules and then breaks them. A great recording. If only there was more.

Copyright (C) Peter Hodgins Nov 2007

Song X: Pat Metheny. BUY

Khmer: Nils Petter Molvaer

Khmer announced the arrival of trumpet player Nils Petter Molvaer on the jazz scene proper. Released in 1997 on ECM, Khmer is an album that sets out the sonic palette that was to define a new field of exploration for contemporary jazz.

Drawing on the talents of some of Norway’s younger and more experimental musical talents it marks a distinct reliance on electronics and processed sound. Yet for all that it is not simply a work of knob twiddling or bleeps and scratches, but an album of warm and searching music.

Central to its expression is the trumpet, minimalist and moving. Holding the differing elements together. Combined with the rock-influenced guitar of Eivind Aarset, the percussive work of Rune Arnesen, sampling from Ulf Holand and Reidar Skår it is a mix of influences, jazz, rock, trip-hop, ambient and drum&bass. It works backwards to the fusion experiments of the late sixties and early seventies and melds them into a unique soundscape.

Prime among its examples are the tracks, ‘Khmer,’ ‘Tlon,’ ‘Access/Song of Sand,’ and ‘Platonic Years’. Each using, at times, a heavily emphasised rhythm foundation over which treated sound or sampling sketches in colours and textures, then through which the trumpet alternates its plaintive and engaging melodic lines. The melodies are stately and insistent but sparse. A dynamic contrary to much ‘conventional jazz’ yet not without value. It is as though the aesthetic of this music is not about embellishment but about letting the austerity and beauty of the ideas stand on their own. There are no flourishes here. No lightening like splays of notes. But there is an elegance of expression. It does not have you tapping your foot but it does create an inner sense of atmosphere and feeling without being self-regarding or needlessly introspective.

Not perfect, for example, ‘On Stream’ I find falls somewhere outside the ambitions of this album, a little too rock-ish, (though pleasant), and at 42 minutes the entire recording seems bit brief, leaves you hankering for more.

However in its own uncluttered and inimitably north-European way this is a groundbreaking project.

Copyright (C) Peter Hodgins Nov 2007

Khmer: Nils Petter Molvaer. BUY