Retro Reviews; Miles Davis: Nefertiti

 I decided to launch a new series to imagine myself as a critic at the end of the 60s and start of the 70s, and to rectify certain reviews from Rolling Stone magazine and Creem. This not meant to be contrarian, but to offer a more balanced perspective. These albums are lesser-known titles.

Miles Davis: Nefertiti (1968)

**** ½

Producers: Teo Macero, Howard Roberts

Musicians: Miles Davis, Wayne Shorter, Herbie Hancock, Ron Carter, Tony Williams

Music: Nefertiti, Fall, Hand Jive, Madness, Riot, Pinocchio

Reviewed by Matthew Anthony Allair

    Nefertiti is an incredible jazz record, the fourth of Miles new quartet with Shorter, Hancock, Carter and Williams. The blend of Davis and Shorter as horn players compliment each other well, Hancock’s playing has a fresh harmonic complexity, and the Carter and Williams rhythm section has an astonishing inventiveness. While Davis did not compose any of these titles, his assured presence drives the tone throughout. Sorcerer went into some interesting directions, but this new record has an additional confidence. All of the players who composed for the album seem to have the talent to present to Davis the kind of material that reflects his introspective nature. The album is another example of his continued explorations into modal playing. 

    The title track, written by Wayne Shorter is a wonder, a mournful piece where Davis and Shorter states the melody on horn while the shifts come from Hancock and the rhythm section, a haunting piece. The next piece written by Shorter, “Fall” is another introspective piece and another wonder, Hancock’s piano soloing is beautiful on this. The next piece, “Hand Jive” is the one Williams composition and seems to connect back to Miles hard bop tradition. The piece allows Williams to stretch out as a player.

    “Madness” is another fast tempo piece written by Hancock, another fast tempo piece that allows Davis to shine as a soloist. Ironically, Hancock sits out during the Davis solo, and comes in during Shorter’s section. There’s an element of self-discovery as this progresses. The next piece, the all too brief “Riot” finds a fitting tone and the other Hancock composition. The final piece, written by Shorter, “Pinocchio” simply illustrates what an adept composer he is, the interplay between the three of them is so satisfying, but Hancock manages to bring it home with his solo before the resolve.

    Davis has managed to assemble such a blend of players with this quartet, that I hope it never ends but it probably will, it is indeed exciting, and he has managed to move forward from John Coltrane’s free jazz expressions and find his own way, his own sound, to explore that ideas that Coltrane was so bravely willing to examine. This album hints at the direction Davis may go in the next decade.  This moves forward from Davis’s past work in the fifties and it’s a wonder to behold. Recommended.

Retro Reviews: Supertramp: Famous Last Words

    I decided to launch a new series to imagine myself as a critic at the end of the 70s and start of the 80s, and to rectify certain reviews from Rolling Stone magazine and Creem. This not meant to be contrarian, but to offer a more balanced perspective. All the albums reviewed are classic albums. This is in tribute to Rick Davies, rest in peace.

Supertramp: “…Famous Last Words…” (1982)

***

Producers: Peter Henderson, Russell Pope, Supertramp

Musicians: Rick Davies, Roger Hodgson, John Helliwell, Dougie Thomson, Bob Siebenberg, Claire Diament, Ann & Nancy Wilson

Songs: Crazy, Put On Your Old Brown Shoes, It’s Raining Again, Bonnie, Know Who You Are, My Kind Of Lady, “C’est le Bon”, Waiting So Long, Don’t Leave Me Now

Reviewed by Matthew Anthony Allair

    To be honest, it was bound to happen that the follow up to Breakfast In America would face challenges. In part, the first issue with the album is the sequencing, the two strongest tracks, and likely singles, ‘It’s Raining Again’ and ‘My Kind Of Lady’, don’t open the album. ‘Last Words’ is evenly split between Rick and Roger songs, some of the stronger songs are placed often towards the middle of the album, this makes for a frustrating listen, in contrast considering how well paced “Breakfast In America’, and “Even in the Quieter Moments…” ended up being. Overall, Roger’s songs are stronger, yet many of Rick’s songs have a certain whimsy. There’s also a lot of introspection in the songs, and it feels like, at times, that the full band isn’t always utilized as well as you’d expect. 

    In fairness, both Supertramp and Rush have been the two bands from the 70s that carried the torch for Progressive Rock, and found ways to evolve it, keeping it fresh while accessible at the same time. On the other hand, for many, the cardinal sin of acts from the 70s was to go pop at the start of the decade – it’s a balance. 

    “Crazy” would have made a fine track for the middle of the album, but it almost feels like self-sabotage that this is the first statement you hear. It’s a fine instrumental, but it feels too much like a slow burn. Rick’s “Put On Your Old Brown Shoes” is playful with some nice interplay between the electric piano, piano, and a dab of harmonica, but it feels a little too understated for a second opener. Halliwell’s humor is allowed to come through on this though. There’s real life with Roger’s “It’s Raining Again, it’s catchy and direct. Halliwell is allowed to shine and there’s a fun little quote towards ‘It’s Raining, It’s Pouring’. Rick’s “Bonnie” is merely good. Aside from being more introspective, Roger’s “Know Who You Are” feels like a nod to mid-seventies acoustic Genesis.

    Rick’s “My Kind Of Lady” is his strongest track, a pastiche of 50s doo wop that is very appealing. Roger’s “C’est le Bon” as an acoustic number even feels stronger than “Know Who You Are”, Rick’s “Waiting So Long” is an improvement as a second to last track, but yet there feels an absence of the full band interplay on these tracks, when it is there. Roger’s “Don’t Leave Me Now” is a stronger album closer, and limited interplay I felt was missing on other tracks is more present on this track, and a number of players are allowed to shine. The band feels like there’s a conflict between their pop instincts and their progressive rock leanings. It’s all beautifully done as far as the musicianship, production and arrangements, it just feels like there’s a lack of focus now, and I really don’t know where the band goes from here, but “My Kind Of Lady, It’s Raining Again,” and “C’est le Bon” make this worth it.

Retro Reviews: Supertramp: Even In The Quietest Moments...

 

    I decided to launch a new series to imagine myself as a critic at the start of the 70s and start of the 70s, and to rectify certain reviews from Rolling Stone magazine and Creem. This not meant to be contrarian, but to offer a more balanced perspective. All the albums reviewed are classic albums. This is in tribute to Rick Davies, rest in peace.

Supertramp: Even In The Quietest Moments… (1977)

****1/2

Producers: Supertramp

Musicians: Rick Davies, Roger Hodgson, John Helliwell, Dougie Thomson, Bob Siebenberg

Songs: Give A Little Bit, Lover Boy, Even In The Quietest Moments, Downstream, Babaji, From Now On, Fool’s Overture

Reviewed by Matthew Anthony Allair

    Supertramp’s first two albums were commendable but not distinctive enough for me. Crime Of The Century was a notable improvement, and Crisis? What Crisis? was somewhere in-between. But this album feels like a notable step forward. There’s a greater focus on the songs, the balance between their Progressive Rock and pop instincts is better. It’s just about no surprise that ‘Give A Little Bit’ is the perennial single. The band has been labeled as ‘art rock’ or ‘art pop’, and while that makes sense, I question if the label is too limiting. They are simply a good band that can write great songs. The bulk of the writing remains between Davies and Hodgson and there’s a simpatico between them that should remind people of Lennon and McCartney, or Elton John and Bernie Taupin.

    The informal feel of the opening from Roger with ‘Give A little Bit’ pulls the listener in, while acoustic, the introduction of Halliwell broadens the piece out. The full band drives the second half, and there’s some nice organ accents to give it a little color.  Rick’s “Lover Boy” has a playful yet dark under current, that especially builds when the full band and support vocals come in, it also has a nice false ending before the crescendo. Nature sounds and an Eastern drone set up Roger’s lovely “Even In The Quietest Moments”, an acoustic number with gradual build up from the band’s support, John’s horns really enhance the piece, Rick’s keyboard work really sympathizes with Roger’s efforts. Rick’s “Downstream” is a solo piano number, sincere and tasteful.

    Roger’s “Babaji” is a piano driven piece with some clever percussion from Siebenberg, and a nice dynamic range that has a compelling orchestral build up. The Thomson and Siebenberg rhythm section remains solid on the album. Rick’s “From Now On” opens with a playful stuttering barrelhouse feel before it shifts into in main core. While Roger’s lyrics tend to be more pensive, Rick’s lyrics often recognize the dark underside of a society that is just barely holding together and not listening to the outcast. Roger’s “Fool’s Overture” might very be the tour de force of the album, it opens as a morose piano ballad before a sound collage that harkens to the flavor of Pink Floyd’s better work, build into a lament about World War II, a good half of this acts as a concerto before the vocal. There’s some nice synth work in the final half that is both playful yet menacing.

    This remains a strong, consistent album that explores hope, humanity, despair and desire, and very likely one of the better albums of this year. Recommended. 

Retro Reviews: George Harrison: Living In The Material World

 

    I decided to launch a new series to imagine myself as a critic at the end of the 60s and start of the 70s, and to rectify certain reviews from Rolling Stone magazine and Creem. This not meant to be contrarian, but to offer a more balanced perspective. All the albums reviewed are indeed classic albums. 

George Harrison: Living In The Material World (1973)

*** ½

Producers: George Harrison, Phil Spector*

Musicians: George Harrison, Nicky Hopkins, Gary Wright, Klaus Voormann, Jim Keltner, Ringo Starr, Jim Horn, Zakir Hussain, John Barham, Leon Russell, Jim Gordon, Pete Ham

Songs: Give Me Love (Give Me Peace On Earth), Sue Me – Sue You Blues, The Light That Has Lighted The World, Don’t Let Me Wait Too Long, Who Can See It, Living In The Material World, The Lord Loves The One (Who Loves The Lord), Be Here Now, Try Some Buy Some*, The Day The World Gets ‘Round’, That Is All

Reviewed By Matthew Anthony Allair

    George’s new album is out and it was bound to be met with high expectations. From out of the gate of the end of 1970, George had put out the best of the first wave of post Beatles albums. “All Things Must Pass” was gargantuan accomplishment, an album with a cinema scope grandeur sonically, and he had amassed such a range of material that was rejected by the Beatles, that the album enjoyed few weak tracks. He then followed this up with the “Concert for Bangla Desh”, a megastar live event, multiple album set and concert film in 1971. How does this album measure up? Well, it all depends on your point of view and what may have been George’s intention. In truth, it is uneven, but not terrible. It has several great tracks, several good tracks and the rest average.

    It is no surprise that the opening track “Give Me Love (Give Me Peace On Earth)” was the single, it is outstanding, with some spry acoustic guitars, and clever slide guitar harmonies, and a very universal sentiment. The next track is the fun blues slide number, “Sue Me, Sue You Blues”, a serious issue that is taken lightly – and in light of numerous legals with the Beatles – it’s not surprising he is being open about them. “The Light That has Lighted The World” is a fairly earnest, spiritual ballad and demonstrates the major difference between “Must Pass” and this, that album’s focus on spirituality was broader, people could read into the Christian theme, but now George is being more specific about his Khrisna faith. The song has some great keyboard and slide guitar work that is notable.  “Don’t Let Me Wait Too Long” is a more upper tempo number. “Who Can See It” is a lovely, rich ballad, that reveals how George is developing as a writer. Quite emotive. The closing track on side one is the lively “Living In The Material World”, which includes Ringo’s playing and the line “We got Richie on the tour”, a tuneful bridge as well.

    “The Lord Loves The One (That Loves The Lord)” is another fun folk blues infused number, and some good guitar work, another tale about the relativity of karma. “Be Here Now” is an inauspicious guitar and organ number, with a nod to Indian scales in his vocal inflection. “Try Some, Buy Some” is the only actual track that Phil Spector was involved with, a little more dramatic and something that feels like Ronnie Spector could tackle. It also has a little of that grandeur I had mentioned previously, merely an interesting track. “The Day The World Gets ‘Round” seems to mirror the theme of the prior track “The Light” with some dynamic piano. The closer and lovely “That Is All” is another ballad, the album is less demanding on the listener, but should satisfy those in a often mellow mood.

    Let me address the prior point about expectations, it does feel like George is trying to scale down the expectations, and it reminds me of what happened to Dylan after his motorcycle accident circa 1967, his approach and priorities changed, he simply could not keep writing the same material he wrote from 65 and 66. The reality is The Beatles in their 20s had lived five lifetimes in the scale of less than a decade, they had seen it all and done it all, they were in their 30s now and George seems to want to offer his insights. George already may already know he can never repeat the accomplishments of the last record, and he may have proved everything he needed to say with it. Nevertheless, one has to move forward and he seems to be in a different place now. These changing expectations may be a cardinal sin for some music fans. This album doesn’t have such blazing numbers as “The Art Of Dying”, so you will have to take it on its own terms. As far as if that makes for a good listening experience – for some – that is debatable. But the positives outweigh the negatives on this, and I will be curious to see what he comes up with next – if anything. Time will tell. Recommended.

Retro Reviews: Frank Sinatra: Strangers In The Night

 

I decided to launch a new series to imagine myself as a critic at the end of the 60s and start of the 70s, and to rectify certain reviews from Rolling Stone magazine and Creem. This not meant to be contrarian, but to offer a more balanced perspective. All the albums reviewed are indeed classic albums. 

Frank Sinatra: Strangers In The Night (1966)

****

Producer: Jimmy Bowen

Musicians: Frank Sinatra, Arranger: Nelson Riddle, Ernie Freeman, Band: Artie Kane, Bill Miller, Michael Rubini, Chuck Berghofer, Ralph Pina, Al Viola, Al Casey, Bill Pitman, Glen Campbell, Tommy Tedesco, Hal Blane, Irvin Cottier

Songs: Strangers In The Night, Summer Wind, All Or Nothing At All, Call Me, You’re Driving Me Crazy, On A Clear Day (You Can See Forever), My Baby Just Cares For Me, Downtown, Yes Sir That’s My Baby, The Most Beautiful Girl In The World.

Reviewed by Matthew Anthony Allair

Frank Sinatra’s new single, the title song, is doing very well, you can take that for what it is the only track arranged by Ernie Freeman. But it bodes well for an album when it has three potential singles, along with “Summer Wind” and “All Or Nothing At All”. This is a solid album and Sinatra sounds assured here, he is managing to contemporize his sound, while keeping the big band swing elements he is known for. His most notable album with Gorgon Jenkins, September of My Years had another memorable hit with “It Was A Very Good Year” in 65 and hinted at the possibility he could still compete with the likes of The Beatles. In a lot of respects Frank Sinatra and Miles Davis embody cool, and while their styles are very different, they also embody the rock n roll spirit that others have carried forward. Never forget that in the 50s, during the rise of Elvis Presley, Little Richard and Chuck Berry, Sinatra was holding his own with a group of albums from Capitol that defined quality, and he set up the blueprint for the ‘concept album’ before it was an idea.

“Strangers” is a lush sweeping, following ballad and he does it well. The B-3 Organ, probably played by Artie Kane on “Summer Wind” adds to the relaxed swing of the tune, and Sinatra owns the piece. ‘All Or Nothing At All” is a perennial standard, and the swing setting is quite apt, he had recorded it before, and the organ makes another appearance in the horn breakdown, nicely done. “Call Me” is a more contemporary number, but Frank puts a nice swing accent to it. The interplay between the Organ and horn section on “You’re Driving Me Crazy!” is quite fun, and Frank sounds playful.

While a somewhat known musical, Frank’s arrangement of “On A Clear Day (You Can See Forever)” is quite good, this selection fits Frank well. “My Baby Just Cares For Me” is another Gus Khan standard. Something should be said about the bulk of Nelson Riddle’s arrangements, he has not lost his simpatico with Sinatra as a creative partner. “Downtown” is another more contemporary pop number, originally done by Petula Clark, a very self-conscious attempt at a pop number, and Sinatra’s read is, to say the least, quirky. Frank’s read on “Yes Sir, That’s My Baby” is back to more comfortable territory. The album closer, “The Most Beautiful Girl In The World” is a very brisk arrangement and not something you’d expect for a track that could have been given the lush ballad treatment. The album manages to find a covert way to stay true to Sinatra’s swing inclinations. The title track has already managed to keep Sinatra relevant in the singles market, I will be curious to see where he goes next with these new opportunities on the charts. A Very satisfying edition to the Sinatra cannon.