Retro Reviews: The Grateful Dead: Live / Dead

       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. 

The Grateful Dead – Live / Dead (1969)

***1/2

Producers: Grateful Dead, Bob Matthews, Betty Cantor

Musicians: Jerry Garcia, Bob Weir, Phil Lesh, Tom Constanten, Ron “Pigpen” McKernan, Micky Hart, Bill Kreutzmann

Songs: Dark Star, St. Stephen, The Eleven, Turn On Your Love Light, Death Don’t Have No Mercy, Feedback, And We Bid You Goodnight

Reviewed By Matthew Anthony Allair

    The band, The Grateful Dead is in an interesting place. A bay area psychedelic, and counterculture band, that chasing the heels of their Northern California peers. Jefferson Airplane, and Big Brother, yet those bands may have a slight leg up the dead as far as songs, but that might be changing. Those who have been able to see them live often offer up a different point of view over anyone who is just familiar with their three studio albums. The second, the experimental Anthem Of The Sun, had moments of whimsy, but the quality of the material felt uneven and lacked focus. This years Aoxomoxoa had some more focused material, and the presence of lyricist Robert Hunter has given them a more narrative thrust, however lose it may be. They are trying to put across more songs, while still dedicated to the ensemble sound. Their decision to release a live album, and a two disc set, may have been the most beneficial move yet. Let's acknowledge the album cover, the Dead has been one of the few bands to produce the most vibrant album designs yet, and this is no exception, 

    The principle of jazz and free jazz is to build from the inside out, find the core of a piece and build from there. The opening number “Dark Star”, which was a very short form single previously, encapsulates this notion well. It’s a slow burn, exploration, Jerry Garcia and Bob Weir’s guitars weave together, alternating between lead and rhythm and at moments blur into one. Phil Lesh’s bass work acts as a lead instrument that counterpoints the guitars. The first vocal verse comes in at around six minutes. Then progresses, Tom Costanten’s Organ eggs the band onward, one of the guitars goes out of tune, so they play with that in real time. The drums often take on an ambience in the freer second half.  The guitars hedge out of control until the 21-minute mark when the second verse vocal comes in. A guitar abruptly ends the track.

    Side Two’s “St. Stephen” opens with a laid-back tone, a track from the third album that is allowed to grow here as it moves into its heavy groove. The lyrics have a certain whimsy and the interplay between the band has a certain vibrancy Some of the organ work hints at an Irish dirge, the drums jump from a march to more free form. The shift to “The Eleven” just effortlessly falls into place, the number almost fall into chaos in the beginning, but they fall into sure footing fairly quickly, The chord structure of “The Eleven” will harken back for some people to the late fifties or very early 60s. Way past the five minute point do we get the vocal, but it’s a pleasant ride. 

    Side three dominates with “Turn On Your Love Light”, another RNB cover that has a spirited opening, the guitar interplay manages to substitute for a horn section. There are moments with the Dead that remind me of this other new duel guitar band folks have been hearing about, The Allman Brothers Band. While their vocal channels Bobby Blue Bland, it also channels the spirit of Elvis. Hart and Kreutzmann really stretch things out with the drumming around the mid-point. They manage a fun audience rave up with the number. 

    Side four closes it up by toning it down, their spiritual cover of “Death Don’t Have No Mercy” settles into a slow blues, the number also allows “Pigpen” McKernan to showcase his excellent blues organ work, Phil stretches out the bounds over the bass can do in a blues setting. Like all good blues, the number builds with intensity. Weir’s vocal is quite good throughout. The album takes it’s psychedelic turn with the barrage noises on “Feedback”, this is about as free form as you could expect, with the guitars playing a mournful violin role at moments with the volume swells, but it is all just merely interesting. The brief vocal hymn. “And We Bid You Goodnight” brings it back to some grounding. 

    This all makes for an interesting, if slightly uneven, experience as a album, but then again the journey seems far more interesting than the destination, thus making this an colorful time to be used it you turn it on. 

Retro Reviews: The Mothers Of Invention: Freak Out!

      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. 

The Mothers of Invention – Freak Out! (1966)

***1/4

Producer: Tom Wilson

Musicians: Frank Zappa, Jimmy Carl Black, Ray Collins, Roy Estrada, Elliot Ingber, with Gene Estes, Eugene Di Novi, Neil LeVang, John Rotella, Carol Kaye and other session orchestras

Songs and music: Hungry Freaks Daddy, I Ain’t Got No Heart, Who Are The Brain Police?, Go Cry on Somebody Else’s Shoulder, Motherly Love, How Could I Be Such A Fool, Wowie Zowie, You Didn’t Try To Call Me, Any Way The Wind Blows, I’m Not Satisfied, You’re Probably Wondering why I’m Here, Trouble Every Day, Help, I’m A Rock (i. Okay To Tap Dance, ii In Memoriam Edgar Varese, iii It Can’t Happen Here), The Return of the Son Of Monster Magnet (Unfinished Ballet in Two Tableaux – i. Ritual Dance of The Child-Killer, ii Nullis Pretii (No Commercial Potential) )

Reviewed By Matthew Anthony Allair

    The Mother’s of invention is a new band that is headed by Frank Zappa, they represent the new self-described freak culture of Southern California. What is so audacious about this is that it is a double album, and outside orchestral session players were brought in to augment the core band. This is a hybrid of bizarre material and very pointed satire, so it won’t be for everyone. The fact that the band was signed by Verve, a label known for it’s jazz releases is revealing, it’s interesting producer Tom Wilson was brought in for quality control, as this will push the bounds of what is considered ‘pop’ or ‘rock’ The styles jump all over the place, from doo wop, psychedelic blues, free form jazz, and experimental orchestral work. I thought The Beatles were being experimental, but this takes things in a less formal direction. The fact that they were given the freedom to do this is impressive. Nevertheless, it may be polarizing for a certain subset of the culture.

    It’s opener “Hungry Freaks, Daddy” is a rhythm and blues flavored number with a psychedelic bent, but its lyrics are very pointed and the use of vibes hint at something very different. The fact that the singing is off key is beside the point, it an ugly feeling and it feels intentional in the context of the number. “I Ain’t Got No Heart” is a more musical number as far as the vocal and horn ensemble, it comments about a woman who may be too square for this man who narrates. “Who Are The Brain Police?” is a tuneful enough number with a barrage of fuzz guitar within its hint of a pop sheen. “Go Cry On Somebody Else’s Shoulder” is the first true satire of 50s Doo Wop teenage angst, but that character’s self-loathing and guilt shaming hints he isn’t really the hero to cheer for. “Motherly Love” almost feels like a satire of the burgeoning California psychedelic scene, if also hints at just how young the female groupie scene is and questions it. “How Could I Be Such A Fool” is another 50s satire with a horn section, yet it suggests the male character brought it on themselves.

    “Wowie Zowie” which opens side two is another psychedelic blues pop with a good dose of xylophone. “You Didn’t Try To Call Me” leans into a pop number with orchestra that leans into a movie score. Another satire where the main character has a desperate undercurrent. “Any Way The Wind Blows” is a guilt-based manipulation with some good electric 12 string work, much of this isn’t to be taken very seriously. Black and Collins seem to be the best vocalists. “I’m Not Satisfied” has another disaffected you, but the horns and flutes edge towards a western movie score. “You’re Probably Wondering Why I’m Here” is another teen, sardonic number with the flavor of Kazoo to lean into the humor. 

    Side three’s “Trouble Every Day” is a very pointed number about the media’s perception on youth culture - “You know people, I’m not black, but there’s a whole lot of times, I wish I could say I’m Not White.”, yes, boys, I can’t say I blame you for feeling that way. But the album takes a very strange turn with “Help, I’m A Rock” featuring “Okay To Tap Dance”, part two “In Memoriam, Edgar Varese” and “It Can’t Happen Here.” opening with an odd guitar figure, the groove settles into a random chant, morphing into the “Varese” section. This is probably some of the most avantgarde material for a pop. The chant “It Can’t Happen Here” seems to mock the paranoia about the freak culture in middle America, before shifting into some free form jazz, it all feels like a challenging taunt. 

    Side four’s “The Return of the son of Monster Magnet” has the taunt of Suzy Creamcheese, before a swing pop groove, with a strange pulse of plucked piano, and strange electronic sounds, the next chant shifts gears into other strange territory, it all starts to sound like a parody of some B movie. It even seems to morph into loops, backwards tracks, and speeded up audio, “America’s wonderful!” it declares and any aware person can sense the irony. 

    I can’t say the double album completely works, there’s a few songs that are thematically repetitive on the first two sides, and the audacity of side three and four won’t be for everyone. It is meant to provoke, to act as a slingshot for the consciousness, and some might not just want to be along for the ride. But this album feels a year or two ahead of everyone else and I have very little doubt that other musicians will be paying attention to what the Mothers have to offer. It’s a fascinating little ride as far as a sonic rollercoaster. Certainly, worth it if you are looking for something a little different.  

Retro Reviews: Thelonious Monk: Underground

   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. This is a lesser-known album.

Thelonious Monk – Underground (1968)

****

Producer: Teo Macero

Musicians: Thelonious Monk, Charlie Rouse, Larry Gales, Ben Riley, Jon Hendricks on track 7

Music: Thelonious, Ugly Beauty, Raise Four, Boo Boo’s Birthday, Easy Street, Green Chimney’s, In Walked Bud

Reviewed by Matthew Anthony Allair

    Thelonious Monk has not lost his angular style, or sensibility, he is still the same ubiquitous self he was decades ago. The title and cover are fitting, even if it was done with a dose of humor when you consider the current counterculture. What is also interesting is that Monk never really jumped on the free jazz trend like Ornette Colemen, or Coltrane, he, so to speak, never jumped on that trane. Yet Monk was always an outsider, even in the 40s and 50s. His approach was so unconventional that he has transcended trends. So, the new album feels relevant to the current moment. The common complaint I see from rock and pop fans is that classical and jazz is too complicated, and actually, there's a lot of classical music that is accessible, if you look for it, and in the case of jazz music, there's often very simple melodies to be found, but it is the form around it that is sophisticated harmonically, this album into the accessible range.    

    The opening number “Thelonious” has a simple phrase where the roots support the melody. Ben Riley is very free in his drumming from the outset. This is pretty much the trio from the outset, but it showcases that Monk’s touch has not changed. “Ugly Beauty” is a lovely little number, but there’s a point where the piano and horn slightly pitched when they play in unison, but perhaps that is my imagination. Gales takes a bass solo that’s a little free form. The album has its share of slightly imperfect moments. “Raise Four” has more of his unconventional approach as much as it is a swing blues, Gales sort of anchors it while Monk plays single lines. “Boo Boo’s Birthday” has an almost childlike quality to the statement, and Rouse is in fine form on the number. There almost seems to be a musical nod to “It Had To Be You” as the number evolves.

    The second half opener, “Easy Street” is given the standard Monk ballad treatment, there’s some good rhythmic support as the band lays back for Gales bowed solo. “Green Chimney’s” is another odd blues number where Rouse is more present. Rouse may not be at the same level as to when Monk worked with Coltrane all those years ago, but Rouse is a good foil for Monk’s piano at times. Of course, “In Walked Bud” has become a classic, and singer Hendrick’s quickly introduces the number, his vocal scat work adds extra life as Monk dances around him with his accents, Monks solo takes its time to build, You can feel an audible joy between the players and Hendrick’s, Gales and Riley take turns with the solos. The album closes out with a positive vibe, overall a very good follow up the last years Straight, No Chaser album. He is still managing to put out good work under the Columbia label, let’s see where he goes next. Recommended. 

Retro Reviews: John Coltrane: Meditations

 

    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. Some of the albums reviewed are lesser known titles.

John Coltrane - Meditations (1966)

*****

Producer: Bob Thiele

Musicians: John Coltrane, Pharoah Sanders, McCoy Tyner, Jimmy Garrison, Elvin Jones, Rashied Ali

Music: The Father and the Son and the Holy Ghost, Compassion, Love, Consequences, Serenity

Reviewed by Matthew Anthony Allair

    Expressions of spirituality is a challenging thing, whole swaths of past Classical composers dedicated themselves to expressions of faith via music. Duke Ellington less than a decade before built Black, Brown & Beige around the issue of faith. John Coltrane had explored similar themes with A Love Supreme in sixty-four, yet this new album might be the spiritual follow up. John’s direction and new album isn’t a surprise if you have followed his work with Impulse. Even in his time with Atlantic, John was dropping hints he was searching for something new. John’s association with Eric Dolphy, a figure who left us far too soon, had an impact on him and he been a session player on Ole and African / Brass in Sixty-One, in spite of the fact that John had recorded more conventional material for Impulse, namely his Ballads and his collaboration with Johnny Hartman, he was interested in expanding his expression. Earlier in the year we saw Ascension a large ensemble with the theme of the resurrection of Christ. This is merely the culmination of where Mr. Coltrane is.

    The opening moments of “The Father and the Son and the Holy Ghost” is a litmus test, John and Pharoah’s horns sound like some eastern trial chant at the outset, moments later John states the melody, but it sounds like cries for peace in an unstable world. Some of what John is doing is no different from what he was doing in 1959 with “Giant Steps”, but the form and medium have changed, and it might be difficult to digest for some. The piano and percussion have almost no relation to what John is playing. Everything I am writing is just within the first two minutes, it slowly morphs into sounding like chaos – like the big bang, creation, like those terrifying moments of existence in the swirl of fire before the gases form into suns, a reminder that violence is part of any creation. John and Pharoah’s playing turns into squeaks and wails, but this is an intentional device.

    Often new players have no Embouchure or breath control, hence why you often get the squeaks and flat notes. John is using these issues to evoke an emotion. At times, it sounds like human screams, or like the guitar feedback I have been hearing from some rock musicians. This carries on for the bulk of the number, it is unsettling, as much as structure falls in and out of the number. This isn’t for the faint of heart. Which is why the next piece is a welcome change of pace. There’s a kind of more formal quality behind “Compassion”, with McCoy Tyner laying down the structure with his piano, but often shifts to atonal chords and scales. John’s lead has a searching yearning desire. This is music more focused on painting an image. The title of the album is deceptive as John doesn’t sound settled, but working through some spiritual disquiet.

    Jimmy Garrison’s bass sets the tone for “Love” on the side two opener. There’s almost a Spanish structure behind his set up. John sounds more calmer, and reflective, as he comes in. Yet again that longing edges in as Tyner adds to the disquiet, there is a love within here, but it sounds like a mournful love. This all segways into “Consequences” where Pharoah takes on a more prominent role. The chaos of “The Father” reverts back on this number, Pharoah’s playing almost sounds industrial in places. The picture painted sounds like the terror of consequences for a soul that has failed. We haven’t even talked about the drum and percussion work between Elvin Jones and Rashied Ali. Jones sounds like he plays the main kit, while Ali’s percussion adds the coloring in-between Jones. Tyner’s more abstract playing helps to resolve the last half of this. However, any resolution is unsettled. This segways into the closer, “Serenity”, John’s initial playing is reflective and almost altruistic, the album closes quiet but unresolved, The album isn’t about offering answers but raising questions. The soft-focus photo of the cover captures what you'll experience with the album.

    Too many critics or jazz scholars focus on the technical things, for example, time signatures, or Jazz Harmony, scales and chords, but I am much more interested in how a piece of music makes one feel. There is three types of music, pure music for its own sake, music that evokes an emotion or image, or music that tells a narrative. Coltrane is much more interested in evoking a feeling these days, and less about the intellectual aspect of music.  This is an album you’ll have to accept on its own terms, for the uninitiated, it could be overwhelming and advise to follow his prior work before you tackle this, this is not casual listening but more a journey.

    If A Love Supreme was about praising and acknowledging God, and Ascension was another step, this is the other side of that equation, the need to have doubt within faith. You can’t have one without the other. Recommended for those who are ready or patient.

Retro Reviews: Jefferson Airplane: After Bathing At Baxter's

 

    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.

Jefferson Airplane: After Bathing At Baxter’s (1967)

**

Producer: Al Schmitt

Musicians: Grace Slick, Paul Kantner, Marty Balin, Jorma Kaukonen, Jack Cassidy, Spencer Dryden, Gary Blackman, Bill Thompson

Songs and music: The Ballad Of You and Me and Pooneil, A Small Package Of Value Will Come To You, Shortly   , Young Girl Sunday Blues, Martha, Wild Tyme (H), The Last Wall Of The Castle, Watch Her Ride, Spare Chaynge, Two Heads, Won’t You Try / Saturday Afternoon

Reviewed By Matthew Anthony Allair

    It’s pretty surprising that some peers are praising this album, perhaps it has to do with Northern California geography, I can’t say. But after the success of Surrealistic Pillow, this feels like a letdown. That album had two Bonafide hits with ‘White Rabbit’ and “Somebody To Love”, as well as interesting instrumentals like Embryotic Journey”, as well as balanced mixed of songs where everyone contributed. The one notable absence is Marty Balin who only co-writes one song on this, and you can really feel the difference. Now, Kantner is a fine song writer, but his commitment to experimenting with the structure of songs can be a great risk, and it doesn’t pay off. However much The Beatles experimented with Sgt. Pepper, there was a cohesiveness with the writing, as much as the embellishments broke from the norm. I have no problem with experimenting with the form of music, but there has to be some real craft and focus, you can see my prior review about John Coltrane’s Meditations to see when the experimental risks pay off. Too much of this album, feels aimless and not focused, aside from the risk of breaking from the commercial. The weak material sabotages the good material that can be found herein.

    “The Ballad Of You and Me and Pooneil” is the perennial single, as well as the album opener, but it’s an odd opening statement - it sets the tone but it leaves the impression that the album will amble. The short piece, “A Small Package of Value Will Come to You, Shortly” has some free jazz drums and vibes, that just don’t work, and conversations that just spout cliches. The only Balin co-written number “Young Girl Sunday Blues” is the first strong number with some good harmonies between Balin and Cassidy. “Martha” is the first acoustic number with some clever drumming, and the kind of harmonies between Slick and Balin that seem like a natural fit. “Wild Tyme (H)” starts off for a moment promising, but the instrumentation and vocals seem to tumble over each other, and it seems to lack focus. “The Last Wall Of The Castle”, like the prior track, feels aimless, but the middle section tries for something heavy, but it doesn’t work.

    At least the side two opener, Slick’s “Rejoyce” has some interesting moments between the atmospheric piano and horns, and it seems to grow in strength as it evolves. “Watch Her Ride” reminds me of the vide of The Rolling Stone’s “Have You Seen Your Mother, Baby, Standing In The Shadows?”, but this simply doesn’t work. The long “Spare Chaynge” just opens with aimless noodling for the first two minutes before it get’s focused. It feels like a band struggling to find an idea, and it’s in stark contrast to the focus of Pink Floyd’s “Interstellar Overdrive”. It does double up in the second half, but it needed some good editing. “Two Heads” has a good Slick vocal and some interesting harpsicord embellishments, but it meanders. There’s some fleeting promise with the album closer, “Won’t You Try / Saturday Afternoon”, but it ends up feeling as aimless and unfocused as other tracks. The Airplane are as much as jam band as the Grateful Dead, but something has to translate in the studio verses the live performance. Looks like they forgot that. 

    I take no pleasure in not caring for this album - the prior album held such promise for the future. Rumor has it that there was some other material they scrapped to go in this direction, perhaps that was a mistake. This feels like an album that began with the best of intentions, but it doesn’t translate into anything focused enough the grip the listener. I hope this album doesn’t cast doubt into the relevance of the band. Perhaps they were embarrassed by the success of the prior album, I can’t say. Only for the merely curious.

Retro Reviews: Herbie Hancock: Maiden Voyage

     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. Some of the albums reviewed are lesser known titles.

Herbie Hancock: Maiden Voyage (1965)

*****

Producer: Alfred Lyon

Musicians: Herbie Hancock, Freddie Hubbard, George Coleman, Ron Carter, Tony Williams

Music: Maiden Voyage, The Eye Of The Hurricane, Little One, Survival Of The Fittest, Dolphen Dance

Reviewed By Matthew Anthony Allair

    Herbie Hancock has quickly moved up the ranks of the jazz field since he launch his first album for Blue Note in 1962. By the summer of 1963 he was thrust into attention as the pianist of Miles Davis. While they were mostly live dates, he did appear on a few sides of Miles Seven Steps Of Heaven album of that year, yet he still recorded his own Inventions & Dimensions, and Empyrean Isles last year. That fourth album featured The Tony Williams, Freddie Hubbard and Ron Carter line up, they all seemed in perfect synch to Hancock’s sensibilities, which makes this new album all the more interesting. Hancock has shown an uncanny knack to writing pieces that other players engage with, and while he is still exploring the modal jazz aspect of the scene, one senses that there’s an openness and expansiveness to his approach that one shouldn’t dismiss.

    The new album has plenty of astonishing moments, of the five tracks, there’s something interesting offered with each.  The opening title track has a searching quality, with a good Coleman solo, Hubbard’s solo is a slow burn, but it’s something special. One can hear Hancock playing off of Hubbard’s arpeggio’s as it’s progresses. Hancock’s solo takes a nod to Bill Evans, while also being expansive, Willliams cymbal work opens up at this point and it’s a delight. The more up tempo “The Eye Of The Hurricane” has a brief head before Hubbard is showcased first. The chemistry between Williams and Carter is undeniable as a rhythm section. Coleman ups his game on the number. Once again, Hancock seems to embrace not only modal playing but the free jazz sensibility with his soloing, there’s also a hint of Monk in there. The slower and more pensive “Little One” takes it’s time and closes out the first half.

    The next number “Survival of the Fittest” opens the second half and seems to fall into the spirit of free jazz more. But there’s still a focus and structure that differs from Ornate Coleman. Hubbard takes the first lead, Williams takes an early drumming lead before George takes over. Coleman’s lead might  be his strongest yet with some playful start and stops throughout. The title of the number is reflected with the image of oceanic animals in their struggle and dance to prevail. Hancock and Williams seem to be playing off one another by the mid point. The piece ends on a more outside, cryptic note. The final track, “Dolphin Dance” takes things down a little, after the opening statement, Hubbard again reveals why he is so highly regarded. Once again, Hancock’s solo takes an expansive view.

    It's no surprise that Miles Davis took such a liking to Herbie’s composing and playing, there’s an introspection to his work that Miles likely matched up with. There’s a loose oceanic theme to the material on this album. I don’t know why pop fans are so daunted by modern jazz records, there’s a lot to take in if you have the ears for it. Hopefully others will agree with me that is this Hancock’s most cohesive album yet. Highly recommended.