Cary Kilner
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Cary Kilner's Picks: Volume 60
For this month, I shall skip the new artists and bring you some classic recordings that have given me much inspiration and have been favorites of mine since I was a kid and later as a college student hanging out with other jazz lovers. Chick Corea – Now He Sings, Now He Sobs What a totally spiritual rubato introduction to this song. Absolutely gorgeous touch, pedaling—and a sweet piano! Perfect time. Note his little lefthand stabs that support his weaving righthand lines. The album, which has the same name as this song, is the second album by Chick Corea, released in December 1968 and reissued in 2002 by Blue Note with eight bonus tracks recorded at the same session. Along with Chick, the song features veteran drummer, Roy Haynes, and Corea’s discovery of a brilliant new breed of bass player, Czech-born Miroslav Vitouš, who went on to play with Weather Report. https://youtu.be/lIR7rX9ka4g Miles Davis – Nefertiti & Hand Jive Here are two of the best examples from Miles’ third great quintet. Wayne Shorter did a lot of the writing during this period and Nefertiti has always evoked a mysterious feeling in me; may I call it a dirge? This is basically a vehicle for Tony Williams to show off the vast inventiveness in his early twenties that caused Miles to hire him. The horns keep doing that interesting vamp while Tony invents endlessly behind them. Lots of space—no hurry at all. After six-and-a-half minutes it opens up for him to display some even more exceptional drum work! Herbie comps wonderfully in the background of it all, using a myriad of piano effects such as glissandos and with pedaling. On Hand Jive is a great contrast and shows off the band at their cooking best. Once again it seems like vehicle to show Tony because he is an unlimited fount of ideas! Miles tears it up with interesting and integrated ideas, and goes on for a long time, never getting boring. The same goes for Wayne, playing enigmatically with his typical almost human-sounding voice. Then Herbie plays a right-hand horn-like solo, only bringing in his left hand near the end. I don’t think any band has played music as inventive as this since! https://music.youtube.com/watch?v=Iu0IfC_IUaA&si=P0I5K64VflW-Ljax https://music.youtube.com/watch?v=CvBfmpp2BrA&si=js_-_PzTyxlwbzoC John Coltrane Quartet (from Trane's Sounds) – The Night has a Thousand Eyes This is completely exuberant Trane playing, not often found after Miles, and before his darker period. It’s a very nice re-harmonization and revision of a standard tune that is not often played. And I think this is one of the best examples of Trane’s genius. His great rhythm section carries his energy along with such complementarity. He sails through the Latin sections, weaving exquisite lines with some wonderful support from McCoy Tyner and Elvin Jones (and Steve Davis on bass, no Jimmy Garrison yet). And McCoy plays a classic bebop solo, before he got into his later playing using mostly ambiguous fourth chords, that also marks some of Chick Corea’s playing as in our first link above. Notice McCoy’s wonderful playful improvising during the Latin sections https://youtu.be/ioPRCwpB1Ak?si=K67-kH4khPlWAWFv Freddie Hubbard (from Herbie’s album – Empyrean Isles) – One Finger Snap With Tony Williams and Ron Carter, what’s not to like? About a minute-and-a-half in Herbie drops out and Freddie plays a tour-de-force repartee with Tony, while Ron holds the fort like he does so well. Freddie is simply soaring into the ethers throughout, providing brilliant statements and ideas, beautifully integrated. To my mind and ears, Freddie IS the pivotal trumpet player from the mainstream Blue Note Records period. https://youtu.be/yQgv5bRqmnk?si=hnMAhty9t6MImLig Erroll Garner (from Concert By the Sea) – I’ll Remember April Wow! What an amazing introduction! This is something unique about Erroll—his enigmatic intros that leave the audience wondering what the heck standard tune is he going to play? This swings like mad! Note his exquisite use of dynamics amidst this huge groove. Very sophisticated voicings— you can hear why Herbie Hancock cited him as an influence. https://youtu.be/Jt8U9H3xXg4?si=HKOiA-p4q_SbdZzA Blue Mitchell (from Blue’s Moods) – I’ll Close my Eyes There isn’t any happier music than this! Blue just dances along with his beautiful clear tone. Wynton Kelly has such an ebullient sound and bounces over the keyboard. (Note, Herbie has also cited Wynton as an early influence.) The rhythm section also just bounces along, perfectly supporting this happy groove. The bass and drum accompaniment is so sweet. https://youtu.be/NlVPDaYu5EQ?si=PJARAB_WvJI5fDTp Les McCann, Ltd. (from On Time) – Maichen This little-known album has some of the best Joe Pass recorded. It swings like mad; Leroy Vinegar just carries everything along on bass and Ron Jefferson never goes to sticks—plays it all with brushes and it still swings! Go about two-and-a-half minutes in for Les’ little shout-choruses and the bluesy groove that follows each. In my early playing, I picked up a lot of his really effective blues-effects and especially his unique use of rolling chords. https://youtu.be/Nc687x_6fXY?si=ko3Z-gcgGAAMnzxo The Montgomery Brothers – Groove Yard We’ll end with a nice, relaxed example of Wes Montgomery’s early work, playing with his not well-known family. Very pretty and a swinging performance—a classic from this period. Wes just cranks out interesting chorus after chorus, moving to “shout-choruses” near the end that Wes typically used to climax his solos. https://music.youtube.com/watch?v=PHZ8PwWjHso&si=hnzF3LmIdc1NhZaF |
